Elements of Acroyoga

Author: Jason Nemer
Project Manager: )ustyna Fiuk

Design & Art Direction: Ash a Tyska Mclaughlin e: fotodesignn @gmail.com
Production Artist, Layout, Copywriting & Editing: Bonnie Argo www.bonnieargo.com
Editing: Linda Mittel
Printing: Krishna Copy Center, University Ave. Berkeley
Photography: Kadri Kurgun www.kadrikurgun.com
All photographs are Copyrighted property of 2013Kadri Kurgun
Copyright and Trademark Information
Copyright 2006-2013 AcroYoga, Inc. Serial # : 77066872. All rights reserved .
All content of the Manual , and the information which it contains, is the property of AcroYoga, Inc. and its affiliates and licensors, and is protected
from unauthorized copying and dissemination by United States copyright law, trademark law, international conventions and other intellectual
property laws . Under the United States and International Trademark laws, all Content is protected but not limited to text, descriptions, software,
scripts, code, designs, graphics, photos, sounds, music, videos, applications, interactive features and all other content; ("Content") as a collective
work and additionally the proprietary property of AcroYoga, Inc. By way of example only, and not as a limitation, "AcroYoga" and the AcroYoga
Inc. logo are registered trademarks of AcroYoga , Inc., under the applicable laws of the United States and for other countries. Other AcroYoga, Inc.
products or service names or logos appearing in this Manual are either trademarks or registered trademarks of AcroYoga, Inc. and for its affil iates.
The absence of a product or service name or logo from this list does not constitute a waiver of AcroYoga , Inc. trademark or other intellectual
property rights concerning that name or logo. Utilization of the term "AcroYoga " or variations therein are appended by the United States and
International trademark laws, as are all descriptive terms, sequences, and content. Additionally, all entities and representatives of the practice that
have been Certified under AcroYoga, Inc. are officially listed on the AcroYoga.org website. All non-certified practitioners are asked to immediately
cease and desist the use of all AcroYoga, Inc. trademarks, intellectual property and language. AcroYoga, Inc. will strongly enforce and pursue their
legal rights to the Trademark.
)
)
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DEDICATION :
I dedicate this book to all the teachers that have blessed and inspired
me. To my mother for supporting me to follow my dreams. To Jenny
Sauer-Kiein for co-authoring many of the sequences in this manual
and for bringing her gifts and passion to life through this practice.
To all the AcroYoga teachers for being bright lights that attract and
feed community. To all the students around the world that are living
examples of how we can support and play with each other.
ACROYOGA INC. CAUTIONARY STATEMENT

The following recommendations have been designed specifically for AcroYoga Inc. participants. Because of the physical demands
required , participants are asked to read and understand certain cautions and responsibilities designed to improve the safety and
enjoyment of the activity.
PREPARATION :
Choose an outfit which fits comfortably and allows free movement but will not inhibit movement or interfere with partner grips
and connections.
Wear supportive undergarments .
Be aware of your surroundings; secure space for partner work, stable foundations, choose an environment where you will not
collide with anything, etc.
Do not apply lotions or oils to your hands or feet prior to starting partner work.
Do all stretching exercises prior to practice. Take time to stretch leg, arm, neck, ankle, wrists, and back muscles before each
session.
Participants with a medical history or current condition (to include but not limited to seizures, neuromuscular, renal, cardiac,
insulin/diabetic, pregnant, or chronic skeletal problems, disorders, or diseases must seek a Physicians approval prior to participation in the practice.
ACROYOGA TRAINING SESSION
Think safety FIRST!

Always be aware of the proximity of others when executing large motor movements.
Please follow the Manual. AcroYoga is a methodology and should be practiced in a progression from simple to complex.
Advanced work/unfamiliar movement should only be attempted with the assistance of spotters and only if your skill level (and
the skill level of your partner and spotter) supports the movement.
Always use proper spotting techniques when executing off the mat work. In all examples of unfamiliar movement, spotters must
employ the "hands-on" technique.
No jewelry.
No nylon shorts or wind pants.
No gum or candy.
Hair should be managed to ensure safety.
Table of Contents
HISTORY o F AcRoYoGA
How TO PRACTICE AcRoYoGA
3
5
8
9
14
17
20
21
GRIPS & FooT PLACEMENTS

THE ART OF PARTNERSHIP
PARTNER YoGA
THREE RoLES oF AcRoYoGA
THREE PERSON PARTNER YoGA
WHY Do AcRoYoGA/MISSION
CIRCLE CEREMONY
LUNAR HEALING ARTS PRACTICES
INTRODUCTION
LuNAR AsANA SEQUENCE
THAI MASSAGE & THERAPEUTIC F LYING
SUPINE THAI MASSAGE LEVEL
SUPINE THAI MASSAGE LEVEL
1
2
FooT PLAC EMENT

FoRWARD FLYING
PRONE THAI MASSAGE
BACK FLYI NG
HIGH FLYING WHALE
Low FLYING WHALE
HAMMOCK
24
26
27
32
33
35
40
41
47
49
55
61
63
AcROBATIC FLYING TRANSITIONS
66
68
69
77
89
91
93
95
97
99
100
101
103
109
117
THANKS & PRAISES
133
SoLAR AcROBATIC PRACTICES

INTRODUCTION
SoLAR AsANA WARM UP
INVERSION PYRAMIDS
AcRoBATIC TRAINING PHILOSOPHY
SPOTTING
FOUNDATIONAL AcROBATICS
PARTNER INVERSIONS
STANDING CouNTERBALANCES
HAND BALANCING
PYRAMIDS
FLYING VocABULARY
FLYING PRESSES
MOUNTS & DISMOUNTS
History of AcroYoga
WHAT ACR OYOG A HAS BEEN
AeRo YoGA BY JASON & JENNY
Acrobatics and yoga have mixed in many ways for thousands of years.
It is impossible to cite all the masters that explored the alchemy
of acrobatics and yoga; here we will point out some of the most
prominent we know. The father of modern yoga, Krishnamacharya,
was a pioneer in the blending of these arts. There is footage from
1938 of Krishnamacharya flying children, in similar postures we do in
modern Aero Yoga. His appreciation and integration of gymnastics,
brought to India by the British, inspired this fusion of acrobatics and
yoga, which planted many seeds that have continued to bear fruits.
Since Krishnamacharya's exploration with flying yoga, multiple
practitioners have continued the fusion of these arts over the past
few decades. For example, in 1985, an acrobat named Benjamin
Marantz developed a form of therapeutic flying called Acrosage.
Ken Nateshvar Scott, another acrobat gone healer, developed
Contact Yoga, a practice with therapeutic flying and Thai massage.
Kevin & Erin, students of Ken Nateshvar Scott started Circus Yoga,
a family approach to blending circus arts and yoga. Eugene Poku
and Jessie Goldberg developed AcroYoga Montreal in 2000. Their
style is geared towards creativity and performance. At this point
Aero Yoga has grown beyond any one school or person. All of these
teachers have laid a foundation that is still supporting the positive
momentum of Aero Yoga worldwide.
Jason and Jenny met in December of 2003 in San Francisco through

mutual yoga friends . Jason had trained and competed in acrobatics
and gymnastics for many years. Jenny taught youth circus acrobatics
and had studied Contact Yoga, a partner flying and massage practice.
Their first meeting they jammed and envisioned for many hours .
Jenny had never done the high level hand balancing they played
with that night. It was also Jason's first time receiving therapeutic
flying. After hours of talking, a partner practice that would blend
their passions and talents was born . In January of 2004 they were
teaching a partner doubles acrobatics class at the San Francisco
Circus center. Their first public workshop was at Yoga Tree in SF for
Valentines Day. They sold it out, got inspired and took the show on
the road in California.
Carolyn Cohen was their first dedicated student. She came to every
class and would always bring a friend. She was also a Thai massage
therapist and Chinese med icine doctor. Jason's roommate and
friend Francisco Morales-Bermudez was a yoga teacher and Thai
massage therapist as well. Both Carolyn and Francisco were invited
to join the teaching team of what they called then Contact Aero.
The four played, taught, jammed and expanded the practice in the
early days in San Francisco. In April of 2006 Contact Aero became
Aero Yoga. During this transition, Jason & Jenny took the active roll
PHOTO OF KRISHNAMACHARYA, THE FATHER OF MODERN

YOGA, FLYING HIS STUDENTS
(1938)
in developing the practice. Carolyn became their first senior teacher

and Francisco branched off and developed Synergy, a partner practice
with a greater emphasis on circle asana and healing arts.
After 3 years of traveling and teaching Jason & Jenny met many
students that wanted to go deeper in the practice. They started on
their first manual for the teacher training. They soon realized that
the manual could be a tool for all students of Aero Yoga and released
their first flight manual in
2006.
In August of 2006 they hosted their
first AcroYoga teacher training for 19 students . Now 7 years later,

there are over 300 teachers worldwide on
out of 7 contents.
History of AeroYoga
THE Loco
2 008
2003
2 011
Like the practice the logo has evolved through the years. Our first
logo was designed by Nick Ruben , the second Arianne Traveso
WHERE CAN AcRoYocA Go?
and our final by lzzy Vanhall. Our current logo of the triple infinity
By design AcroYoga is about community, relationships and
symbol represents the interconnectedness of the three branches of
partnerships. In our viewpoint there are no founders of AcroYoga.
the practice. When the solar and the lunar practices are combined
This movement is riding on the shoulders, feet and hands of many
skillfuly, the balance of yoga is achieved. The broken circle represents
gifted people. This manual is an offering of an AcroYoga system
the dynam ic nature of the ever growing community.
designed to support students to have a step by step guide to learn
RED-ORANGE: SOLAR - Acrobatic Practices that cultivate trust,
communities where AcroYoga teachers bring the practice.
how to play AcroYoga. Where this practice grows depends on the

empowerment and joy.
Many spiritual traditions have been shared orally; this tradition is
BLUE: LUNAR - Healing Arts Practices that cultivate listening,
communicated through touch and shared experience. Due to this
loving and healing.
fact, AcroYoga can never really belong to any one person. It is a
PURPLE: ELEMENTAL - Yogic Practices that cultivate breathe

awareness, softness , strength and harmony.
the Sanskrit word Yoga
more we all play with each other the bigger the global party gets.
Where the practice can go is to every park in every city around the
DE FINITI ON OF AcRO Y OGA

The word AcroYoga comes from the Greek root akros
growing collective of physical wisdom that is ever expanding. The
world in an expression of divi ne play and human connection.
high and
un ion . Together they form AcroYoga -
High Union . From this place, many amazing physical shapes can
be formed , and students literally and figuratively elevate each other.
Our highest aim is to bring individuals into a state of union with
themselves , with each other, and with the community. From this
place of mutual support the true self can be realized, celebrated and
shared for the benefit of all.
AcroYoga is a community based practice that encourages personal
transformation . We ignite our collective potential as we support each
other to reach new heights. AcroYoga invites you to experience the full
spectrum of your being through opportunities to: give and receive;
support and be supported; experience strength and sensitivity. It is a
systematic approach to health and healing designed to be accessible
for every practitioner. The best part is that it's fun to do and fun
to watch . It brings people together the old fashioned way, through
human connection, touch and play.
How to Practice AcroYoga

THE GOLDEN RULES
Self
IN THE LUNAR PRACTICES: IF IT FEELS GOOD, IT IS RIGHT
There are many types of bodies; no one recipe will work for the
cultivation of the AcroYoga practice. The body will not lie. As we
learn to listen to signals from our body, we can make choices that
support our health and happiness. If students are ever unsure about
a posture or practice, refer to the golden rule. Does it feel good in
your body?
IN THE SOLAR PRACTICES: IF YOU ARE HAVING FUN, IT IS RIGHT
SADHANA =THE PRACTICE
"PRACTICE AND ALL IS COMING" PATIABHI jOIS
Sadhana is a Sanskrit word for practice. Sadhana is a life long

journey. There is no fixed point of attainment or finish line. Like many
languages, Sanskrit words have multiple meanings, some of these

other meanings are; home, reservoir, or residence. This is where true
wisdom is held , experienced and expressed. Wherever we are, there
is always more room to learn , refine and appreciate. When this is
There are many reasons to do acrobatics, fun is the juice that will
understood and embodied the student can enjoy the scenery and build
keep the tree of acrobatics alive for many years. The deeper students
their life long practice. Reading about AcroYoga can give you a mental
go down the acrobatic path, the more challenges they will find,
foundation, but the real experience cannot be explained in words. It is
the more opportunities to be clearer, stronger, softer and more
communicated from person to person and is amplified by the number
harmonious. After the struggle comes victory and if there can be a
of people that practice.
stable sense of fun and joy along the path that is an ideal condition
to grow an acrobatic relationship. If students are ever unsure about
a posture of practice, refer to the golden rule. Are you having fun?
THE
POWER
OF
THE
MIND,
EVOLUTION VS. REVOLUTION

One is not better than another. The combination of the two is more
PH I LOSOPH I ES
SELF, OTHER , COMMUNITY
KNow THY SELF, SuPPORT OTHERS, ENJOY CoMMUNI TY
All reality starts with the perspective of the seer. This is where we will
do most of our work as yogis. Partner practices are not a substitute
for individual practice; it's quite the opposite. The deeper we go in
partnersh ip, the more important it is that we dedicate to our solo
practices to discover our patterns, our struggles and our strengths.
We create the majority of our happiness and struggles before we ever
meet our enemies or friends. One can see solo practice as a form of
weeding, pulling the thoughts , words, and movements that do not
support our positive evolution from our lives. We then have a more
fertile ground to plant thoughts words and actions that do support
powerful than either of these concepts, alone. Evolution is a slow,

gradual process. Dedicating to evolution is what we do every day as
conscious yoga practitioners. Revolution is a much faster path . This is
the path that starts in the mind. Once a belief is born in the mind that
something is possible, the road to realization can be short, easy and
paved! It comes from the ability to believe in the potential you have
not yet realized. This belief is stronger than any yoga prop, teacher or
text. This ability to change your mind is the gift of a student ready to
abandon who they are to see who they can become.
EFFORT FOR EASE, ALIGN WITH

YOUR BONES
Acrobats seem to defy comon laws of physics as they balance each
our highest potential. What we learn in our own lives and our own
other in countless ways with magical grace and ease. What is their
practice we can apply to our partnerships. Partnership allows us to
trick? Usually they have trained hard for many years to attain that level
be seen and challenged and supported . As partnerships develop,
of ease in high level skills. There is a period of great effort that in time
they invite expansion, reflection and growth . That growth can be
translates to a place of ease. This is only true if the effort is channeled
exponentially elevated by community, a place for a partnership to be
in a way that will increase your technical efficiency. For example, to
celebrated and supported to new heights.
get the arms straight in handstand takes considerable effort. Once the
arms are straight, the effort pays off with a new sense of ease because
the bones are stacked and the muscles are working more efficiently.
The bones are our bodies' evolutionary response to gravity. Smart
acrobats will always train techniques that cultivate the most efficient

support and least effort. This recipe will always start with the sacred
hearts. Communication as well has many vehicles - voice, breath,
geometry of the bones . The acceleration of gravity is a planetary
touch, hands, face. Communication , when done well, can be clear
constant that yogis, acrobats and all matter on earth exist within.
honest and kind . In general, when we express our experience of
There are no special rules that allow exception to this deeply rooted,
the practice with our partners we start with what worked. From this
grounding force. Acrobats and yogis alike position their bodies in ways
place we are affirming the relationship and the exchange. This helps
that demand strength, increase flexibility or a combination of both .
us feel good and remain open. After both partners exchange, there is
Their applications and training methods often differ. Using your God
time for evolutionary feedback. Evolutionary feedback explores how
given bone structure is a destination that yoga and acrobatics will
things could evolve to an even a better exchange. It is not negative
arrive at either by trial and error, or the blessings of good teachers. The
feedback, constructive, or even solutionary. It is for the positive
degree to which this principle is embodied will be a contributing factor
evolution of the partnership.
towards the degree of ease in postures and the difficulty of skills.
THREE TYPES OF
Other
COMMUNICATION
Verbal techniques - This is thetimeto starttheflowofcommunication
between partners . You can never check in too much. Do you need
THE ART oF CoMMUNICATION
more or less pressurefweight? How are you doing? How does this
There are many elements that contribute or detract from the fluidity
feel? Do you want to re-adjust?
of partner work. Communication is the vehicle that brings partners to

a place of common understanding. Words, facial expressions, touch,
breath and even thoughts are all ways to communicate. When honest
communication is being exchanged the connection deepens, and this
foundation is where all partner work grows from .
Non-Verbal techniques - Besides communicating with words, also
encourage students to have an awareness of their partners. Breath

(ease, depth, and overall quality of the breath) , Facial Expressions
(relaxed, tense or grimacing) and Body Reactions (from deep release
and surrender to resistance and tension).
AHIMSA (COMPASSION) &
Tactile techniques - You may also want to use signals through touch,
SATYA (TRUTH)
One squeeze means "that's enough right there". Two squeezes
Two of the founding principles of Yoga can strengthen the ability to
such as when partners are being stretched and have a forearm grip:
means "you can go further".
give and rece ive. Ahimsa translates as compassion or kindness, Satya

translates as truth or non-lying. If one communicates their truth then
their partner can interact compassionately. For example if partners are
stretching each other and the one receiving the stretch is being pushed
How WE CONNECT: GRIPS &

FOOT PLACEMENTS
too much but does not communicate this truth, their partner cannot
One of the principles of acrobatics is how to stack the bones
proceed with kindness . The more honest partners can be about where
to optimize our God given structure. This practice is magnified
they are and what they need , the stronger their connection can grow.
greatly by how two people learn to connect through grips and foot
COMMUNICATION: LISTENING
the rest of the body so this aspect of the practice is refined over
& HOW WE EXCHANGE
support and in therapeutics you are look ing more for muscles to
placements. There are more bones in the hands and feet than in
FEEDBACK
As we take the brave step off our yoga mat and decide to engage
decades. In general in acrobatics you are looking to find bones to

support. The quality of touch from acrobatics to therapeutics can
have differences and commonalities. Universally there is a high
value to bases that are confident and clear in how they connect.
in partnership we have many tools to support us. One of the most
Compassion with strength is an ideal that will let the flyer trust and
important tools in partnership is listening. If communication is present
surrender. The more sensitive a base becomes in lunar practices ,
without listening, it ceases being communication and becomes noise.
the more intelligent their acrobatics becomes . The stronger the base
We have many ways to listen - our ears, eyes, skin, feet, hands and
becomes in acrobatics, the more steady they are in the therapeutics.
Grips
FOREARM
HAND TO HAND
CROSSED FOREARM
REVERSE HAND TO HAND
HAND TO HAND : STEEP
HAND TO HAND : FLAT
FOOT TO HAND
FOOT TO HAND
LIFTED BADDHAKONASANA HAND PLACEMENT
REVERSE FOOT TO HAND
Foot Placements
FOLDED LEAF
FRONT BIRD
BACK LEAF
Feet turned out below hip bones of flyer

at top of thigh . Flyer's thigh rests in the
middle of the foot
Feet parallel, flyer's hip bones in

the soft part of the foot (the arch).
Toes on the belly, heels on the thigh
Feet turned out cupping the gluteal

fold with the arch of the foot
BACK BIRD
BAT/STRADDLE BAT
HIGH FLYING WHALE
Feet parallel cupping the glutes with the

feet. Toes at the waistband
Feet parallel or slightly internally rotated,

inseam of foot touching flyer's hip bones
Feet parallel either side of flyer's spine, toes

around waistband and heels at bottom of
shoulder blades
STAR
REVERSE STAR
Feet turned out with toes around collar bone

and flyer's shoulders resting into arch offoot.
Heels together behind flyer's head
Feet parallel with toes towards top of flyer's shoulder

blades. Flyer's shoulders rest into arch offoot
6
The Art of Partnership
PARTNERSHIP SELECTION
In choosing a partner, it is helpful to pick someone who:
You trust and respect.
Is committed to the process of giving and receiving feedback.
Is interested in working as a team .
Compliments and supplements your strengthsjweaknesses .
You can learn from.
Has similar goalsjvision for the cultivation of your AcroYoga practice.
CULTIVATING THE PARTNERSHIP

In the vein of giving and receiving, the relationship between partners
will grow and bloom as much as it is being watered and nourished .
Basically, you get out what you put in. If you fully commit yourself to
the journey and process of partnership, it can be a time and energyconsuming project. It is, however, highly fulfilling and can be quite
harmonious if both partners are willing to put the time in together.
PARTNER YoGA
Partner Yoga is one ofthe best places to cultivate win -win situations. Partners
develop communication and listening to find the space of mutual support
and release . In all of these practices , gravity and loving touch help us let
go of fear and pain. As we learn to listen deeply we can use our power in a
sustainable way.
Partner Yoga FACE TO FACE
GROUNDING
SPINAL FLEX & RouND
Seated face to face, cross

legged, knees touching
Inhale bend elbows, draw heart

through between arms
INFINITY SPINAL TWIST
Exhale extend arms and round spine
Left arm behind back, right an ..

on the outside of partner's arr
to hold their hand. Bend left a
to deepen twist
SOLE-TO-SOLE FORWARD FOLD
DOUBLE BOAT
Connect soles of feet, both partners

extend legs and fold forward. One partner
at a time points toes into the other's foot
Bend knees and place feet on the floor, toes touching. Connect at forearms and joining one side
sole to sole, extend leg as straight as possible. Do both sides extending arms and lifting the heart,
shoulders drawing back
STRADDLE WHIRLPOOL
TRANSITION TO STANDING
Stay in straddle with feet connected, connect forearms in a crossed grip. Close eyes, start with small
circles and gradually expand to explore range of motion. Reverse directions and spiral back to stillness
Hold forearms, bend knees and

place feet on floor. Leaning away
from partner elevator up to stand
CHAIR TWIST COUNTERBALANCE
STEEPLE
DIAMOND TWIST
Maintain Utkatasana, open left arm up

and back and lean away from partner.
REPfAT OTHER SIDE
Palms touching, reach arms up and walk

back hinging at hips. Keep arms straight
and draw heart through shoulders
From Steeple, exhale and twist open to

one side, botom palm stays connected as
top arm reaches up. REPfATOTHER SIDE
Partner Yoga FACE TO FACE
BouND ANGLE SEE SAw
Lean away with extended arms,

backbend over bent back arm .
REPEAT OTHER SlOE FROM SPINAL TWIST
One partner's legs are straight, feet connected to the shins of bound angle. Connect forearms, on exhale one
partner folds forward , the other leans back. Inhale to come up, Exhale to reverse the fold . Backbending partner
keep heart lifted, shoulder blades down . SwrrcH ROLES AND REPEAT
STRADDLE BOAT
STRADDLE BOAT TWIST
STRADDLE SIDE BEND
Keep arms connected and feet

off Aoor, bend knees under
arms, re-extend legs in straddle
Hold right arm to right arm on the inside

of legs, reach out with left arm spiral
torso. REPEAT OTHER SlOE
Place legs on the ground in a straddle connecting feet. Hold

right forearm to right forearm, inhale lift left arm up, exhale
sidebend. REPEAT OTHER SlOE
STANDING PLANK COUNTERBALANCE
BACKBENDING FOUNTAIN
(HAl R (OU NTERBALANCE
Stand 6 inches apart, hold forearms, lean back with

a stra ight body and straight arms
Inhale lift the heart, exhale drop head

back. Inhale to come back to center
Partners stand about 1 foot apart, hold

crossed forearm grip, bend knees so
thighs are parallel to the Aoor
TABLE TOP
(LOSING
Hands rest on shoulders, arms straight, hinge at hips

for go degree angle, melting heart between shoulders
Stand with left hand on own heart, right hand on

partner's heart, grounding in breath
10
Partner Yoga BACK TO BACK
GROUNDING
SPINAL TWIST
Sit back to back, cross legged
Connect palms with thumbs pointing up, twist to the right
Arm on floor starts straight, then work forearm
with awareness on breath
bending left arm to open chest, keep arms at shoulder
to floor. Upper hand can connect to partner. Hips
SIDE BEND
height. Place hands on knees, ground down, find length
grounded. Take thumb and index finger oftop hand
in the spine. REPEAT OTHER SIDE
around partner's wrist, gently lengthen their arm.

REPEAT OTHER SIDE
MASSAGE TABLE
CHILD'S POSE TRACTION
Giver comes to table top, receiver sets hips below giver's pelvis
Giver come to elbows, hold wrists
Both partners transition to a
and rests head between shoulder blades of giver. Giver arches and
of receiver and tractions arms out
foot-to-foot child's pose
rounds the spine like catfcow as receiver stays relaxed
and down while pressing tail up and
DOUBLE CHILD
back. SWITCH RoLES FROM MASSAGE TABLE
FULL BACK PACK
MINI BACK PACK
11
Flyer squats down
Base leans forward towards
Release interlace of elbows,
Base squats down so
Base leans forward towards
so hips are below
a flat back, keeping elbows
traction flyer's arms overhead.
hips are below flyer's
a flat back, keeping elbows
base ' s hips, elbows
and back connected.
Keep backs connected to return
hips, elbows interlaced
connected, taking flyer' s weigl-
interlaced
Flyer's feet stay on the floor
to standing. SWITCH RoLEs
Partner Yoga BACK TO BACK
CROSS lEGGED SEAT WITH BACKBEND
ASSISTED FORWARD BEND WITH BACKBEND
Both partners stay in cross legged easy

pose, receiver's hands come to floor or on
knees in forward bend as giver leans back,
keep spines connected. SWITCH ROLES
Receiver extends legs straight, receiver bends knees and places feet flat.
Receiver folds over legs as giver leans back, supporting weight with bent knees ,
keeping spines connected. Backbending partner can grab toes of paschi, pas hi
partner can point toes or clasp wrists to traction giver. SWITCH RoLES
GROUNDING
DOUBLE PRASARITA PADOTTANASANA COUNTERBALANCE
Sit back to back with knees bent, feet flat, elbows

interlaced . Press into partner's back, and through feet
to trans ition to stand ing
Stand back to back with

awareness on breath
Heels a few inches apart between partners, arms

between legs holding at forearms , lean hips away
from each other bringing weight into toes
Base can release interlace of elbows and traction flyer's

arms to side or overhead , while pressing tailbone back
HERO VARIATION
FULL BACK PACK DISMOUNT
(LOSING
Base guides flyer's feet

into hip crease for hip
opener, and bends forward
while hold ing hips of flyer
Base unhook flyer's feet, holding

flyer's hip bones to slowly stand ,
keeping backs connected.
SWITCH RoLES FROM FuLL BACK PACK
Standing back to back

grounding into feet and
focus ing on breath
12

Community
SITA, RAM, HANUMAN
In Ind ia t here is a beautiful story about three divine creatures; Sita
Ram and Hanuman . Their relationship can serve as a template
for how we interact in AcroYoga . This is a very long beautiful story
made short. Sita got kidnapped , Ram her husband was devastated,
Hanuman came in and saved the day. It was Hanuman 's service
to Ram that connected the partners . Sita represents the feminine,
receptive, lunar, all embodied by the flyer. Ram represents the
mascul ine, power, solar, all embodied by the base. Hanuman
represents service, support, yoga, all embodied by the spotter.
IS THE
MAGIC
NUMBER
SMALLEST COMMUNITY
A group of 3 is the smallest community. The way we encourage
students to practice AcroYoga is in groups of 3: Base, Flyer and
Spotter. As we learn to listen, commun icate, struggle, soften, adjust,
try again, we learn everyth ing we need to work in larger and larger
commun ities. Commun ity is a natural evolution. As we feel secure in
ourselves and secure in our partnerships, we can bring our attention
ROLES OF AcROYOGA
higher and higher, expanding to bless more and more people.
BASE - The safety, balance and support of the flyer.

When we come together in circle we all form one organism . In
th is shape you can see everyone and everyone ca n see you . There
FLYER - In acrobatics: squeeze and trust. In therapeutics :
is a baseline of equality and interconnection that serves as the
breathe and let go.
foundation for the practice. We all take roles: base, flyer, spotter,
teacher, student, intermediate, advanced , wh ite, black, Asian ...
When we are in circle none of these labels carry the same weight,
SPOTTER - Primary role to support the safety of the flye r,

secondary role to support good alignment of the base.
we have the potential to loose our individuality for these brief

moments and feel the support of a greater identity. These practices
and philosoph ies can bui ld a model for how we see and interact with
the world at large. Th is connection is the mission of AcroYoga, and
it is the nature of humanity to live, work and play together to build a
healthy supportive global community.
14
Three Roles of AcroYoga

Spotting:
In all spotting the spine is straight, the hands are soft and there is
a constant awareness of where the flyer may move and where the
spotter might be at risk.
THE GLUE TO THE PRACTICE,

THE
MOST
IMPORTANT
ROLE
FOR BUILDING COMMUNITY

Spotting is the most important role in the practice; it can either
STANCES:
Warrion spotting stance: Good for
supporting a flyer in one direction,
far from the spotter, then transitioning closer to the spotter, the front
leg bent is the power leg, back leg straight is the anchoring leg.
promote advancement or limit growth of a community. As a spotter
Goddess spotting stance:
you are giving your full attention and energy towards the safety and
spine straight. This is good for many different angles of support, not
well being of the person attempting the skill. It is an art best learned
as strong as the warrior but much more versatile.
Feet wide, knees bent and over the feet,
by doing. This book will give you ideas but you have to apply them
many, many times to gain the wisdom of how to spot well. The safest
Duck squat spotting stance:
Feet hips width or a bit wider, knees
way to start is to practice with a partner who can already do the skill
knocked in to support the back or shoulders of the flyer. This is
safely without a spot. Practice with them to get feedback about your
specific for some inversion work and Thai massage techniques.
touch and technique. Skilled spotters help communities flourish.
LEVELS OF SPOTTING:
The spotter is the glue between the base and flyer. The spotter's
outside eye can see things neither the base or flyer can see. They can
serve as an interpreter between the acrobats and offer suggestions
Heavy hands on: Great
for beginners that have fear, builds trust and
confidence.
to aid the stability of the skill. The spotter is there to increase the
Light hands on :
potential of a successful skill attempt.
this allows for the flyer to feel more of what they are doing.
Hands are in the same position but with less force,
Spotting is a form of love, you can have too much or not enough.
Hot potato:
We aim to give the right amount of lovefsupport to help our partner
go back to supported. This gives the flyer freedom to eventually not
find their own center. Over spotting is like smothering someone
need support at all.
Hands on lightly, then let the flyer go unassisted, then
with love, they cannot receive it and can resist the support. On the
This is when the spotter is in places but does not touch
other side if there is not enough love/support the partner can feel
Safety spot:
scared and not trust. Ideally the perfect amount of love and freedom
the flyer unless they start to fall.
is reached, as a spotter you are always looking to do the minimum

to maximize the skill and confidence of the flyer.
Before attempting a new skill there must be two conditions:
1.
No doubt that you can spot the flyer. No doubt that the person
is ready to attempt the skill.
2.
If there is any doubt, do not attempt the skill without an

additional spotter. Or do another skill that is easier, and a
stepping stone towards that skill.
THREE BASIC LEVELS OF RISK:

Low risk : Therapeutic
flying, foundational acrobatics and flying.
Medium risk : Acrobatic
and therapeutic flying transitions, standing
counterbalances.
High risk: Two-high acrobatics,
SPOTTER
V1 RTU ES:
One pointed focus. Good pos ition . Stability. Strength. Confidence.

Speed. Sensitivity. Dedication. Devotion.
SPOTTER PITFALLS:
- Not fully present
- Eyes focused in the wrong place
-Too far from flyer
-Too hands on
- Too close to flyer
TECHNIQUES & PRINCIPLES:

Keep your eye on the ball. If your eyes stay on your partner the whole
time their confidence in you grows and your effectiveness increases.
Find the place that you are most effective spotting. On your knees,
popping, acrobatics with momentum.
wide stance, on the side, front, or back of your partner. You have to
be stable to support.
15
- Not hands on enough
Three Roles of AcroYoga

Stay out of harms way. If you get a foot to the head you cannot spot
anyth ing! When all else fails go for the center of gravity (the hips) .
Flying:
There can be too much of a good th ing. Light spotting will give the
student enough sensation to understand how to do it on their own.
The base is the pillar on which everything rests . The more stable
the base is, the more fun can be had above. The base is ultimately
respons ible for the flyer's safety, no matter what. The buck stops with
the base, they are the primary spotter and responsible for the flyer's
safety. It takes much longer to learn to become a stable base but once it
is atta ined a base can offer the gift ofinviting flyers to trust and be free .
The flyer is the one that takes the risks and trusts their base completely.
The combination of strength and flexibility in synchronicity is the
dance of the flyer. Over time the flyer must embody a wide range of
physical states , ranging from highly passive in therapeutic flying to
highly engaged in partner acrobatics. As these elements come more
into balance for the flyer, the more poss ibilities there are for artistic
expression .
FLYER V1 RTU ES:
Basing:
Unified "One Piece": The ability for the whole body of the flyer to act
as one unified piece, huge muscular energy from out to in .
BASE VIRTUES:
Trust: The ability to surrender to the base and spotter to know that
Sensitivity: The ability to listen first and know what will be the most
they will do their job and keep the flyer safe.
supportive way to interact with their flyer, is the most powerful tool
of a base.
Flexibility: The more range of motion the flyer has the more
expressive they can be and the more easeful many acrobatic flying
Strength: Starts in the mind and flows through the body.
trans itions will be.
Stability: Us ing technique and bones to support weight.
Bravery: Self-trust that allows for more dynamic acrobatics.
Confidence: Flyers will feel this in the quality of touch and tone of
High strength to weight ratio (i.e. "press handstands "): Flyers don 't
have to be super strong, they are better off if they are strong in
voice.
relation to their weight, not weightlifter heavy muscles, strong light

Safe: Understands own limitations and that of their flyer and spotter.
acrobatically smart muscles .
Calm: Able to react but not overreact. Even , level-headed in their
Fluid and controlled transitions: The way flyers move will either
communication and how they move.
support or challenge the relationship with the base. In general flu id
Trustworthy: As the flyer trusts more and more the base respects
this trust by keeping the flyers safety above all other pursuits .
Grounded: Literally and energetically receiving support from the
earth and translating that grounded quality up to the flyer.
Patient: Power is only useful to a base if it is used at the right time,
waiting fo r that time is the mark of an experienced base.
and controlled styles of movement are easier to harmonize with.

Grace in motion and in static positions: The best flyers always have
a quality of grace in their movement. All the elements earlier stated
will lead to grace.
FLYER PITFALLS:
- Trying to control the balance
- Fear
Powerful: When the flyer needs support the base has the clarity,
- Adjusting positions abruptly
- Not trusting
confidence and power to lift the flyer, there is an element of speed
- Holding breath
- Inflexibility
here.
- Bending or loosen ing body
BASE PITFALLS:
- Lack of commun ication
- Holding breath
- Lack of compass ion
- Using muscle vs. alignment
-Unclear commun ication

- Abrupt movements
- Bent arms and legs

- Over correcting
- Dropping partners due to lack of progressions or spotters

16
Three Person Partner Yoga
TRIO TREE
FOREARM GRIP
Connect palms and raise arms to the sky,
Transition to standing. Take a forearm
Keep forearm gri p lift right leg and extend
place foot into tree pose. Connect gaze
grip on either side, extend arms
over partner's leg. Hook toes around partner's
HEART OPENER
and breath. REPEAT BOTH SIDES
waist. Sh ift grip to hands and open heart
DANCER ' S POSE
PRASARITA PADDOTANASANA
Connect left palm with partner' s in center, unhook right leg and
Turn to face away from partners, separate feet and connect
catch w ith right hand . Kick foot back into hand to open the chest.
REPEAT FROM H EART O PENER ON LEFT LEG
cross forearm grip. Lean hips away from each other
heels. Fold forwards , reach ing through legs t o connect in a
STRADDLE PILLOW
ElEVATOR UP
Sit in a comfortable straddle, raise left arm overhead , lean to the right and lay back over
Connect shoulders , hook elbows and bend
partner's th igh . REPEAT OTHER SIDE
knees with feet Aat. Press back i nto partner's

and press through feet to stand
17
Three Person Partner Yoga
HALF BOUND TWIST
Keep right leg in place, bring left hand into a

half bind behind back and reach right hand
to connect with partner on your left. Turn
gaze over left shoulder
FORWARD FOLD
SIDE BEND
Return to center, keep right leg in place.

Bring hands to partner's shoulders and
begin to fold in towards the center
Thread right hand towards the left, find

partner's foot. Rotate torso open and reach left
arm over left ear, connect to partner's shoulder
ELEVATOR TO THE GROUND
Coming back to standing, hook elbows with partner's and

press shoulders into one another
HIGH FIVE!
Bend the knees maintaing contact through shoulders and

lower to the earth
NEVER GONNA GET DIS!
18
Why do AcroYoga
Mission
"WE B U I L D C 0 M M U N I TY T H R0 U G H D IV I N E PLAY."
Community is the medium where the practice of AcroYoga lives. With this practice we can bring the world
t ogether th rough play. From play we create a worldwide network of friends and family we have many t hings
in common with .
By doing AcroYoga you stand to enjoy these benefits: Build strength, flexibility, confidence, coordination,
community & friendships. Become more balanced, open, kind , present, connected
& healthy.
Through practicing AcroYoga you may find yourself: Experiencing more joy; practicing compassionate
communication skills; cultivating kindness; taking more risks in your daily life; making new friends ; building
community; feeling centered; expanding the full spectrum of your being; enjoying life as play; releas ing fear;
embracing the unknown; surpassing t he limitations of the mind; communing with the divine.
PHOTO CREDIT: WAR I
O M WWW.WARI.CAT
20
Circle Ceremony
GROUNDING IN SELF
HEART SANDWICH
KNEE CONNECTION
Sit in a circle touching knee to knee. Grounded in Place left hand on front of own heart and right Rest hands on the knees of the person to either
the breath bring hands to heart center
hand on back of neighbor's heart
side
MASSAGE SHOULDERS
SliDE BEND
Exhale rest ams on shoulders to either side.

Massage partner's shoulders
Inhale lengthen at center, exhale to side bend

to the right
FORWARD BEND (PASCHIMOTTANASANA)
TABLE TOP- LEFT AND RIGHT
Inhale at center, exhale fold forwards over legs

and find someone else's toes
Place hands behind hips and feet flat on the

floor, lift hips and extend crown
WARRIOR
Shift arms to neighbor's back, lift chest to open

heart using support of partner's hands
21
Keep hands on backs, extend leg back and

reach crown forward
REPAT OTHER LEG FROM STANDING FOREST
Inhale lengthen at center, exhale to side bend

to the left
Lift one leg up, keeping hips lifted
SUPPORTED BACKBEND
Stand hip to hip, support with hands at low

back, lift chest to the sky
Circle Ceremony
SPINAL FLEX & ROUND
ARM EXTENSION
Inhale to arch the spine
Exhale to round the spine
Connect palm to palm, inhale extend arms to

the sky
FORWARD FoLD
HEART OPENING
TRANSITION
Inhale lengthen at center, exhale fold forward
Inhale lengthen at center, exhale lean into

support of partner's hands to lift chest
Connect palm to palm, raise arms, extend

legs straight and walk hips and legs forward
STANDING FOREST
Drop leg over to the side to rest on your partner. Connect palm to palm, place feet flat on the
Lift hips more to support your partner's .
floor, press through feet and hands to stand
Staying connected palm to palm place one foot

to inner thigh for Tree Pose
REPEAT OTHER SIDE
GROUP SIT (UTKATASANA)
Stand close in circle, hands to shoulders, sit

down angling hips for thighs of person behind
Turn head to face center, lean forwards with

arms relaxed
Lean back, angle body in towards center of circle
22
G
lJ
HEALING
ARTS
)
)
J
J
'
Lunar Healing Arts Practices
SENSITIVITY BEFORE STRENGTH

All true strength has an element of softness and all true softness has an element of strength . As
we invest time to soften before channeling our strength, that strength is guided by the precision
that can only be achieved by subtle, fine, lunar awareness. In the physical practice it means to
bend slowly and listen to where your partners weight really is, then add power. Healing arts also
start softly, listening with our hands, eyes and heart as we make passes on the body to investigate
before we add a lot of body weight or pressure. This is why we introduce the lunar aspects of
the practice first. This philosophy also translates to many other aspects inside and outside the
practice. The ability to be patient, receptive and soft will give the practitioner the information they
need to be skillful with their power.
LUNAR HEALING ARTS PRACTICE

The Lunar Therapeutic Practice supports healing, relaxation and letting go. Practitioners cultivate
deep listening, loving touch and the ability to give and receive. This branch is much more subtle,
patient and slow. It is based on understanding the flow of energy in the body, where it may be
blocked, and how to use breath, gravity, body weight, emotions, thoughts, prayers and vibration
to free up these blockages.
The Lunar elements include: the lunar a sana sequence, partner yoga massage, therapeutic flying,
singing & meditation.
LuNAR AsANA SEQUENCE

The lunar asana sequence helps students understand how to listen, move energy in their own
body and use their bodyweight in a comfortable, efficient way. Chi/energy cultivation stances,
asana, massage body positions and self-massage are the ingredients that fine-tune the lunar
aspects before students work with each other. Partner Yoga is a gentle way to get practitioners
working together, sharing touch, bodyweight and communication. The massage sequences give
students the opportunity to refine touch and learn the parts of the body they will be in contact
with when they fly their receivers. Giving and receiving can be equally healing. Therefore, both are
practiced. Therapeutic flying is the deepest expression of the lunar arts. Flying allows the receiver
to release and surrender to gravity while being nurtured and supported by the giver.
26
Lunar Asana Sequence
27
CENTERING
CHI BALL
CHI GENERATION
Right hand to heart,

left hand to belly,
3 breaths
Step feet hips width.

Rub palms together,
separate hands to
feel energy
Bend knee, lengthen tailbone.

Raise arms in circle, palms face
towards body
C1 RCU LATE ENERGY
SELF HEALING
Place hands to
anywhere that you
need healing
FORWARD FOLD & LIFT
CRESCENT LUNGE
CHI GENERATION
PRAYER HANDS
Inhale sweep arms up, Exhale fold , Inhale flat back,

Exhale fold. Pulse 3 times between flat back & fold
Step right leg back

coming into high lunge
Arms in line with

shoulders imagining
holding a ball, 3 breaths
Inhale hands to
prayer posit ion
PRASARITA PADOTANASANA
CRESCENT LUNGE
CH I GENERATION
PRAYER HANDS
Inhale extend legs and interlace fingers,

Exhale fold forwards, 3 breaths
Turn over right leg into

high lunge
Arms in line with

shoulders imagining
holding a ball, 3 breaths
Inhale hands to prayer position
TABLE TOP PALM PRESSING
WRIST STRETCH
KNEEL DIAMOND
SELF MASSAGE
Lean weight left and right with

hips, palming with breath:
Inhale to shift weight, exhale to
pour weight through hands
Palm walk to stretch wrists: turn

hands out, to back and lean back for
wrist stretch, then hands palm walk
all the way around to front again
Take knees wide with

toes together and
tucked under, sit on
heels
Alternately palm press thighs

with straight arms
SELF BLESSING - STAN Dl NG
BODY SCAN
WALKING MEDITATION
Scoop energy in palms, bathe the head, shoulders, arms,
Inhale sweep arms up, Exhale fold
Step one foot forwards and shift weight from
then draw to low back, down the backs of legs, tops of feet,
from wrists and allow hands to
heel to toe by bending knee. Repeat out to
up the front of legs, to the belly and then release energy.
scan down body. Repeat 3 times
the side at 45 and 90 degrees retrace same

steps to center. REPEAT OTHER FOOT
Repeat 3 times
HEART OPENING
LUNGE PULSE
Exhale bend back
knee
Inhale extend back

leg. Pulse 3 times
LUNGE PULSE
GODDESS WITH BODY SCAN
FOLDED LEAF TRACTION
Open arms to cactus,
Inhale sweep arms up, Exhale
Exhale place heels of hands
lift heart
fold at wrists, hands scan down
in hip crease, extend arms
the body. Repeat 3 times
to traction spine
HEART OPENING
DowN Doc
CAT/Cow
Exhale bend back
Inhale extend back
Open arms to cactus,
Step back to Down Dog, 3
Inhale arch, exhale round ,
knee
leg. Pulse 3 times
lift heart
breaths
Pulse 3 times
MONKEY LUNGE
DowN Doc
LOW LUNGE WITH PALMING
Press back to Down Dog,
Step left leg into low lunge. Inhale
Draw back leg underneath
Use hands
place hands, exhale pour weight,
pelvis and sit with buttock
to transition
(palm walk out 90 degrees)
on heel , toes tucked under.
3 breaths
Other side.
Hands in prayer
3 breaths
Hands in prayer 3 breaths
28
DOWN Do c
Low LUNGE W ITH PALMING
MONKEY LUNGE
Press back t o Down Dog, 3

breaths
Step right leg into low lunge.

Inhale place hands, exhale pour
weight. Palm walk out go degrees to
the right
Draw back leg under and

sit with buttock on heel,
toes tucked under. Hands in
prayer 3 breaths
Use hands
to transition
RUNNERS LUNGE
RusSIAN DANCE
TWISTED LUNGE
TWISTED THIGH STRETCH
Extend fron t leg flex toes and

fold forward , 3 breaths
Place hands to earth , com ing onto

knees to switch sides. Practice
changing sides several times
Turn over right leg, keep left hand

on the earth , lift right arm to twist
open , 3 breaths
Place back knee down , take right

arm to left foot to draw heel in
and rotate chest open , 3 breat hs
WRIST CIRCLES
FOREARM STRETCH
Keeping wrists connected circle

wrists 3 times towards the body and
3 times away from the body
Hands in prayer, inhale at center,

exhale ta ke hands off to one side
and turn head in opposite d irection.
TORSO C1 RCLES
Inhale interlace
fingers & stretch
palms up
Circle torso 3 times in each directions
REPEAT TO OTHER SIDE
29
Other side.
Hands in prayer
3 breaths
THAI CHOPS
Hands in prayer fl ick from

wrists to chop with pinkie
edge of hand on lowe r leg
Brush energy off leg
BRUSHES
REPEAT FROM S ELF M ASSAGE FOOT

OTHER SIDE
SELF BLESSING - SEATED
Bathe energy over head and neck
DOWN DOG
TWISTED LUNGE
LIZARD LUNGE
Press back to Down Dog, 3 breaths
Step left leg forwards , keep

right hand on the earth, lift
left arm to twist open , 3
breaths
Place back knee down , take

left arm to right foot to draw
heel in and rotate chest open,
3 breaths
Place hands or forearms to

earth inside front foot, back
toes tucked under, 3 breaths
LIZARD LUNGE
RUNNERS LUNGE
DOWN DOG HEEL PULSE
SIT ON TOES
Place hands or forearms to

earth inside front foot, back
toes tucked under, 3 breaths
Extend front leg flexing toes

and fold forward, 3 breaths
Inhale rise onto toes , exhale root

heels to earth , pulse 3 times
From Down Dog pulse lift onto

toes, place knees down and sit on
heels keeping toes tucked under
BACKBEND
TOE STRETCH
SELF MASSAGE FOOT
SELF MASSAGE CALF
Inhale at center,
exhale arch to open
heart and shoulders
U ntuck toes, sit back and

stretch tops of feet lifting
one knee at a time
Self massage, palming

or thumbing on foot with
mothering hand on knee
Thumb or palm up
and down lower leg
CLOSING
Sweep across the

shoulders and
down arms
Draw energy to
low back/kidneys
Brush energy
down the legs
Release off the toes
Seated meditation
30
Thai Massage &Therapeutic Flying

HEALING ARTS
massage. Keeping your body aligned with ease as much as possible

will allow for more circulation of blood and energy throughout the
This is the nectar of AcroYoga . These elements have the power to
body. As you work with your own body's alignment and posture, be
create huge transformation and healing. It is an exchange between
patient. It may take time for our bodies to adapt to Thai massage
two practitioners, a dance between giver and receiver. The Thai
stances.
sequences designed in this manual are in service of students learning

techniques that will support them becoming skillful bases. The
base grounds the flyer and creates the potential for release of pain,
tension, and muscular holding patterns. The flyer is responsible for
breathing deep, relaxing their muscles and communicating what is
working and what can work better. The base uses their body with the
support of gravity to sculpt the flyer into many shapes that stretch
and open the flyer's upper body. As the flyer trusts the base, the
opening of the emotional body aids the opening of the physical
body. The passive nature of the flyer allows for gravity to re-balance
their body. After 3-15min depending on the bases skill set, the flyer
comes down and gives Thai massage to the legs and lower body of
BODY COMFORTABLE:
Keep a long spine. Use your legs as much as possible during any
lifting maneuver. Stack the bones, especially keeping arms straight
(when possible) to prevent over-use of the muscles . Push off the
back foot or knee to shift your body weight forward when pouring
your weight. Keep your hands soft and use your whole palm to
distribute the weight evenly. Allow your hands to mold around body
contours.
TooLs:
the base. Supporting the flyer warms the base's legs . This warmth
Audible breath - synchronized, guided, or expressed exhale with
creates an ideal environment for the base to receive massage. After
movement and stretching.
an equal exchange of Thai and Fly, they switch roles of flyer and
base. When the exchange is done both have given and received a
Check in with facef bodyfbreath of receiver.
full body treatment. When both Thai and Fly are exchanged the two
Slow gradual movements - pour weight on exhale.
practitioners leave feeling healthier, happier and more balanced .

Very few people will leave their first flight without a smile or giggle. It
Stacking bones - no extra, using own body weight vs. muscle
makes people happy; every one likes that!
strength.
Efficient alignment - "arms straight- back straight".
Techni ques for Giving

Thai Massage :
Embodying nature's rhythm & movements by keeping a

constant movement or rocking in your body and the breath
flowing.
BO DY MECHANICS :
Using Your Weight: The beauty, grace and effectiveness of Thai
massage is based in the ability of the masseur to use their whole
body. The hands and feet apply pressure, but the energy comes from
using one's whole body weight through the strength and openness
of the core. A visualization of 'pouring one's weight' through the
bones into the recipient also makes for a smooth distribution of
energy, as well as effectiveness and ease for the practitioner.
EN JOY Y ouRSELF:
It is always important to protect one's back when giving Thai
massage. Finding comfort and ease in your positioning will translate
to your cl ient as well , and vice versa. If you are straining or working
too hard, your partner will sense it, even on a subconscious level.
Using proper stances will also help facilitate ease in giving a
32
Supine Thai Massage LEVEL 1
CENTERING
FIRST CONTACT
TRACTION & EXTERNAL ROTATION
3 breaths to center and ground
Rub hands together generating heat. Lightly

place hands on receiver's feet
Lift feet, gently traction, place the feet on the ground

turning toes out to provide external rotation, lightly
press down to ground
ALTERNATE PALM I NG
GROUND THIGHS
FOREARM BODY ROCKS
Alternately palm the thighs with

hands turned out (up, down, up)
Scoop the thighs with fingers on outer line of leg and

lift towards midline, on exhale ground the thighs with
double palm pressing offering synchronised pressure
through both hands . Work from knee up to hip
Sit hips back towards heels, place forearms

alongside receiver's outer thigh , rock body
side to side working the rock to the feet
ALTERNATE PALM SHOULDERS
GROUND SHOULDERS
Palm the shoulders, shifting weight

side to side. Find the perfect fit of
heel of hand beneath collar bone
Inhale set hands at chest-shoulder junction

nest the heel of hand beneath collar bone,
lean weight back into monkey lunge
33
(Limo BADDHAKONASANA HAND PLACEMENT)
BLOOD STOP
WALKING MEDITATION
Keep heel on the ground, begin

stepping up inner foot and calf
(up, down, up) . Allow foot to
sink into muscle, avoiding bone
Exhale double palm press, lean weight forward intr

both hands, stack shoulders over wrists 3 times
Step off and bend

receiver's leg into half
happy baby to create
space to work thigh
Keep heel connected

to the earth begin
stepping up inner thigh
(up, down , up)
Place foot below hip bone at hip crease with toes

turned out, sink weight straight down . Hold for 5
breaths then release slowly
(FOLDED
lEAF FooT PLACEMENT)
PALM FEET
THUMB FEET
ALTERNATE PALMING
KNEE C1 RCLES
Palm the feet alternately side to

side, shift weight on inhale, pour
weight on exhale
Thumb the feet alternately side

to side, shift weight on inhale,
pour weight on exhale
Palm the calves shifting weight

side to side, hands turned towards
receiver's midline to stay on muscle
and stay off bone (up, down, up)
Place fingertips around the

kneecap and circle the knees both
inwards and outwards 3 times
TRANSITION : LIFT LEGS
SACRAL FLOAT PREP
SACRAL FLOAT
SHOULDER SHIMMY
Lift from heels, press legs

up over receiver's body
Come into lunge to one side,

drape receiver's legs over thigh
ensuring backs of knees are
snug and supported
Cross receiver's toes, press down on tops of feet

to lift the hips. Move from hips, rock to shift hips
and release low back. Use free hand to help rock.
If needed come up onto toes to lift hips
Sit back into monkey lunge

take receiver's wrists, shimmy
shoulders by lengthening arms
from side to side
BRUSH DowN ARMS
BULL F IGHTER (TORERO)
SPINAL ROCKS
Simultaneously sweep energy off the

arms and hands
Transition to standing holding receiver's heels.

Step one foot forward, lean forward , turn their
toes towards each other. Exhale lean weight back
pressing buttocks onto tops offeet x 3
Come into low squat with forearms

on thighs, rock forward and backward,
watch rock translate through spine
and head of receiver
ROCKING SPINAL TWIST
TRANSITION: LOWER LEG
Step across to outside of

receiver's leg, step one foot
forward, rock receiver towards
you to release low back
Step back to center, either place receiver's foot

on the ground or practice catching their heel with
the top of your foot and release to the ground
3 BRUSHES
Brush energy from hips
off the toes
CLOSING
Both giver and receiver honor

each other and the exchange
REPEAT FROM WALKING MEDITATION ON OTHER LEG
34
35
CENTERING
FIRST CONTACT
TRACTION & EXTERNAL ROTATION
Rub hands together generating heat. Lightly place

hands on receiver's feet
Lift feet, gently traction towards you, place the feet on

the ground, turn toes out to provide external rotation,
lightly press down to ground
ALTERNATE PALMING
INTERNALLY ROTATE AND GROUND THIGH
Alternately palm the thighs with hands turned out

(up, down , up)
In lunge place one hand on outer thigh and one hand on inner thigh. Hug the muscles
onto the bone, lift and rotate the leg inwards, check that the toes sprial internally.
Ground the thigh with both hands
SACRAL FLOAT
ROOT & GROUND SHOULDER BLADE
Cross receiver's toes, press down on tops offeet

to lift the hips . Move from hips, rock to shift hips
and release low back. Use free hand to help rock.
If needed come up onto toes to lift hips
Reach for receiver's opposite hand,

take a butterfly grip
ALTERNATELY PALM SHOULDERS
GROUND SHOULDERS
Palm the shoulders, shift weight side

to side. Find the perfect fit of heel of
hand beneath collarbone
Inhale set hands at chest-shoulder junction,

nest the heel of hand beneath collar bone,
lean weight back into monkey lunge
Lean back into monkey lunge to lift their shoulder

blade off the ground, cup scapula with free hand,
replace arm to the earth
Exhale double palm press, lean weight forward into

both hands, stack shoulders over wrists 3 times
(Limo BADDHAKONASANA HAND PLACEMENT}
C1 RCLES
PALM FEET
THUMB FEET
ALTERNATE PALMING
KNEE
Palm the feet alternately side

to side, shift weight on inhale,
pour weight on exhale
Thumb the feet alternately side to

side, shift weight on inhale, pour
weight on exhale
Palm the calves, shift weight side

to side with hands turned towards
receiver's midline, stay on muscle
and stay off bone (up, down, up)
Place fingertips around the

knee cap, circle the knees both
inwards and outwards x 3
FOREARM BODY ROCKS
TRANSITION: Ll FT LEGS
SACRAL FLOAT PREP
Sit hips back towards heels, place forearms

alongside receiver's outer thigh, rock body side
to side working the rock to the feet
Lift from heels, press legs up over

receiver's body
Come into lunge to one side, drape

receiver's legs over thigh, ensure backs of
knees are snug and supported
Place hand at chest-shoulder junction , on

exhale draw scapula down the back, pour
weight through top hand to ground shoulder
PALM FOREARM AND HAND
TRAPEZ I US TRACTION
Palm tile forearm, keep a mothering hand at the chestshoulder junction, continue to palm down to the hand.
Cup fingertips over the top of the

shoulders , exhale sit back into onkey
lunge to release the trapezius keep
receiver's head relaxed
REPEAT FROM SHOULDER LOOP ON OTHER SIDE
BRUSH DOWN ARMS
BUTTERFLY RoCKS
Simultaneously sweep energy off the

arms and hands
Transition to seated by pressing receiver's knees in towards their chest, take a wide
butterfly with legs with giver's feet resting on pinkie edge by receiver's hips. Find perfect
fit of receiver's feet resting into giver's hip crease and hug receiver's knees together. Rock
receiver's knees side to side, work feet underneath the glutes, continue to rock side to side
36
37
TRANSITION : TO STANDING
Bus DRIVER
BULL FIGHTER (TORERO)
Press receiver's knees in towards their chest

and shift from seated to standing keeping
their weight over their body
Hold receiver's heels, allow knees

to softly bend towards happy baby.
Arms straight, sway side to side
Transition to standing holding receiver's heels. Step

one foot forward, lean toward receiver and turn their
toes towards each other. Exhale shift weight pressing
buttocks onto tops of feet 3 times
DEEPER VARIATION
BLOOD STOP
ROCKING SPINAL TWIST
Lift heel off the earth and step on

inner thigh or towards top of thigh
(up, down, up)
Place foot below hip bone at hip crease with

toes turned out and sink weight straight down.
Hold for 5 breaths then release slowly
(FOLDED l...eAF FOOT PLACEMENT)
Step across to outside of

receiver's leg, stepping one foot
forward rock receiver towards you
to release low back
THAI LUNGE STRETCH
PEDAL BOAT
KNEE TRACTION
Place receiver's foot in own hip crease and

find see-saw palming on hamstring and thigh .
As weight pours into one hand, allow other
hand to lift and receiver's pelvis to rock
Transition to seated allowing receiver's leg

to rest out to the side, knee in line with hip.
Place outer foot inside their knee and hook
toes around own shin. Use other foot to
walk on hamstring
Align receiver's knee over their hip,

place foot on thigh below knee and cup
their foot with hands. Press into foot
first, then traction back with arms
SPINAL ROCKS
WALKING MEDITATION
Coming into low squat with forearms

on thighs, rock forward and backward
watching rock translate through spine
and head of receiver
Keep heel on the ground, step up

inner foot and calf (up, down , up) .
Allow foot to sink into muscle,
avoiding bone
Step off and bend

receiver's leg into half
happy baby to create
space to work thigh
Keep heel connected to

the earth, step up inner
thigh (up, down , up)
TRANSITION : LOWER LEG
HlP CIRCLES
Stepping back to center, either place receiver's foot on the

ground or practice catching their heel with the top of your
foot and release to the ground
In lunge support receiver's heel and knee, circle their hip 3 times
in each direction using own center to generate movement
REPEAT FROM WALKING MEDITATION ON OTHER LEG
WHOLE LEG TRACTION
3 BRUSHES
CLOSING
Lengthen receiver's leg and traction .
Brush energy from hips off the toes
Both giver and receiver honoring

each other and the exchange
REPEAT FROM HIP CiRCLES OTHER LEG
38
Adjusting Foot Placement: Base, Flyer, Spotter
SPOTTER ADJUSTMENT
Stand to one side of flyer's legs, loop arm around thigh and lift while using other hand to
reposition base's foot
SPOTTER:
BASE ADJUSTMENT
FLYER ADJUSTMENT
BASE: Take reverse hand to hand grip press up through

arms, reposition foot placement one at a time
F LYER: Press through hands, lift one leg at a time
Hold base's ankles , lift one leg at a time and

use hands to reposition foot placement
BASE: Hold flyer's shoulders and press up

FLYER:
40
Forward Flying LEVEL 1
FUNKY Doc MOUNT
LIFTED BADDHAKONASANA
FOLDED LEAF
FLYER: Place hands by base's ears, step
BASE: Straighten arms and legs, stack bones
FLYER: Legs separate into a piked straddle, arms
feet close to base ' s hips
FLYER: Soles of feet together, knees wide,
relax, backs of hands on floor by base's hips
BASE: Place hands on flyer's shoulders,
arms behind back hold opposite elbow
place feet turned out on flyer' s upper thigh
TRANSITION : HANDS TO ELBOWS
BASE: Release flyer' s chest towards legs, hands to

back, legs at go degrees
REVERSE NAMASKAR
FLYER: Ma inta i n straight arms
FLYER: Soles offeet together, knees w ide, bend
BASE: Walk one hand at a time above flyer' s elbows, straight arms
elbows and take hands to base of neck

BASE: Arms and legs straight, draw flyer' s
elbows together
41
TRANSITION: HANDS TO WRISTS
SUPER YOGI
BASE: Take space between thumb and index

finger to Ayer's wrists and sweep arms
overhead
FLYER: Interlace fingers, keep legs piked,

exhale on traction
BAS E: Hold wrists, bend elbows and keep
arms close together
FOLDED LEAF
HAND TO HAND DISMOUNT
FLYER: Legs separate into piked straddle,

release hands
BASE: Bend elbows to bring Ayer's chest
towards legs, place hands on flyer's back
FLYER: Bend elbows to take

base's hands
BASE: Take Ayer's hands
BASE:
F LYER:
BASE: Exhale press legs away and pull wrists

with arms to traction. Inhale legs to go
degrees, exhale repeat
Straighten arms, bend knees

Straighten arms, bring feet to the ground
42
43
HAND TO HAND MOUNT
FOLDED LEAF
HARMONICS
FLYER: Step feet close to base's hips,

take reverse hand to hand grip,
BASE: Place feet turned out on
flyer's upper thigh , take reverse
hand to hand grip, bend elbows and
straighten legs
FLYER: Legs separate into a piked

straddle, arms relax, backs of hands on
floor by base's hips
BASE: Release flyer's chest towards
legs , hands to back, legs at go degrees
BASE: Hands on flyer's shoulder blades, gently rock side

to side to release spine
FOLDED LEAF
SUPER YOGI
FLYER: Legs separate into piked straddle,

release hands
BASE: Bend elbows to bring flyer's chest
towards legs, place hands on flyer's back
FLYER: Interlace fingers, keep legs piked,

exhale during traction
BASE: Hold wrists , take arms overhead ,
bend elbows and keep arms close together
BASE: Exhale press legs away and pull wrists

with arms to traction. Inhale legs to go
degrees , exhale repeat
TRANSITION : WALNUT
WALNUT
BASE: Bend knees and press flyer's head all

the way through then extend legs
FLYER: Bring soles offeet together, knees
wide, reach around base's legs to catch ankles
FLYER: Point toes towards the ceiling, allow arms to straighten and head relax
BASE: Place palms, thumbs or pinkie edge of hand either side of flyer's spine
and rock the legs forward and backward to shift the weight into hands
TRANSITION : LIFTED BADDHA PREP
ll FTED BADDHAKONASANA
HIPPY TWIST (LEVEL 1)
FLYER: Bring hands behind back, take
FLYER: Bring soles offeet
FLYER: Keep toes anchored towards the ground ,
opposite hand to opposite elbow
together, knees wide
relax head and neck
BASE: Take fingertips to top of flyer's
BASE: Straighten arms, hands at
BASE: Keep arms straight, exhale bend one knee.
shoulders
chest-shoulder junction, stack
Inhale both legs straight, exhale other knee bends
bones in arms and legs
REVERSE NAMASKAR
REVERSE NAMASKAR SIDEBEND
FOLDED LEAF
BASE: Walk hands to flyer's elbows, straighten
BASE: Exhale take hands off to one side, turn pelvis
FLYER: Legs separate into piked
arms and draw flyer's elbows together
so that legs accentuate flyer's side body lengthening.
straddle, release hands
FLYER: Bring soles offeet together, knees
Inhale return to center, exhale repeat other side
BASE: Place hands on flyer' s back
wide, bend elbows and take hands to base of

neck

FLYER: Bend elbows to offer hands
BASE: Take flyer's hands, bend knees to release head
BASE: Straighten arms, bend knees

FLYER: Straighten arms, bring feet to the ground
44
HAND TO HAND MOUNT
FOLDED LEAF
LEAF HUGGER
FLYER: Step feet close to base ' s hips, take
FLYER: Legs separate into a piked
BASE: Thread hands underneath flyer's arms and place on
reverse hand to hand grip
straddle, arms relax, backs of hands on
shoulder blades. Exhale bend knees and press feet away,
BASE: Place feet in flyer' s hips crease, take
floor by base' s hips
lengthen spine by drawing hands away from feet. Inhale
reverse hand t o hand grip, bend elbows
BASE: Release flyer's chest towards legs,
return to straight legs at 90 degrees, exhale repeat
and stra ighten legs
hands to back, legs at 90 degrees
FLYER: Exhale on traction
SUPER YOGI VARIATION
HALF MOON
FOLDED LEAF WITH SCARECROW
BASE: Bring flyer' s hands overhead
FLYER: Keep legs in piked straddle, arms extended
FLYER: Allow arms to bend , keep torso
FLYER: Interlace hands behind base ' s head
with fingers interlaced
relaxed
BASE: Exhale press legs away to traction spine,
BASE: Keep arms straight, exhale take hands off
BASE: Take space between thumb and index
hold flyer' s forearms for support. Inhale legs
the m idline to one side, turn pelvis so that legs
finger to flyer' s elbows, turn hands out so
return to 90 degrees, exhale repeat
accentuate flyer' s side body lengthening. Inhale
can see own thumbs
return to center, exhale repeat other side
TRANSITION : YOGA MUDRA PREP
YoGA MuDRA: SHOULDER OPENER
YoGA MUDRA: SHOULDER MASSAGE
FLYER: Bring hands behind back and interlace fingers
FLYER: Keep legs in piked straddle
BASE: Place pin ki e edge of hand either side
BASE: Use ha nds t o help flyer interlace fingers . Bend
BAS E: Cup outside of flyer' s arms,
of flyer's spine and rock the legs forward and
rotate thumbs in and up, draw
backward to shift the weight into hands. If
knees and press the head through , then extend legs
hands towards the ground
possible place their hands behind back of head

to deepen stretch
45
LIFTED BADDHAKONASANA
HIPPY TWIST (LEVEL 2)
FOLDED LEAF
FLYER: Bring arms behind back,
FLYER: Keep feet anchored towards the ground, relax head and neck
holding opposite elbow, soles of
BASE: Exhale bend one knee, bend opposite arm. Inhale both legs
feet together, knees wide
straight, both arms straight, exhale repeat other side
BASE: Place hands on flyer's back
BASE: Fingertips to top of flyer' s

shoulders, stra ighten arms,
hands to chest-shoulder junction
TRANSITION : TWISTED LEAF PREP
TWISTED LEAF
FOLDED LEAF
BASE: Extend arms to lift flyer's chest. Thread one
BASE: Bend knee to press flyer' s shoulder through legs,
arm between legs keeping other arm extended
hug legs together to pin shoulder in place. Exhale use
hands on Flyer's shoulder to twist torso, turn pelvis to
BASE: Place hands on flyer's back
deepen twist. Inhale release twist, exhale repeat

FLYER: Relax arms, exhale during twist
LEG LOVE: Bus DRIVER

FLYER: Bend elbows to offer hands BASE: Straighten arms, bend knees
FLYER: Offer gratitude and therapeutic release back to the base
BASE: Take flyer's hands, bend
FLYER: Straighten arms, bring feet to the
through leg love. Catch the heels, invite the knees to bend and
knees to release head
ground
in a wide stance arc side to side drawing knee towards shoulder

FoR MORE LEG LOVE, SEE SUPINE THAI MASSAGE (PG
33)
46
Prone Thai Massage
CENTERING
TRACTION AND INTERNAL ROTATION
PALM FEET
Cup receiver's foot, lift and lengthen one leg towards you, rotate
Palm the soles of the feet
toes inwards and gently replace foot to floor. REPEAT OTHER LEG
alternately side to side, shift weight

on inhale, pour weight on exhale
;J
_,
CALF STRETCH
WINDSHIELD WIPER
JJr ,
j,
PALM HAMSTRINGS
Bend receiver's legs, stack receiver's ankles over knees, align
Sway receiver's legs side to side to
Rest receiver's lower leg over own
fingers at heels and forearms along the soles of the feet. Exhale
release lower back
thigh and alternately palm the
sit weight down, bend elbows to flex ankle and stretch calves
LIZARD TAIL TRACTION
hamstrings with hands turned out
FIGURE 4 PALMING
TRANSITION: LOWER LEGS
Cup receiver's feet, step one foot forward and lift
Bend receiver's legs , take one foot and tuck toes into
Extend legs to straight
their legs, being aware not to compress the lower
the back of their opposite knee. With one hand on
back. Offer a gentle traction, separate the knees
the top of their foot to stabilize leg position, palm the
wider than the hips, replace legs to earth
outside line of their leg. REPEAT OTHER SIDE
PALM THIGHS
TRANSITION: TO SEATED
PALM SHOULDERS
Ensure receiver's knees are wide,
Bring one hand to receiver's low back and
alternately or double palm press
the other hand to their shoulder. On exhale
Transition receiver to comfortable seated position,

turn one foot alongside receiver's low back, invite
on thighs
draw their shoulders up over their hips to
them to lean onto leg for support. Alternately
seated
palm side to side, vary hand placement fingers

facing forward, out to the side and backwards
47
1111
Prone Thai Massage
STEP ON FEET
PALM CALVES
Transition to standing and step on the feet,

shift weight from side to side, keep heels on
the ground for stability
For deeper pressure turn so that the giver's

heels are applying the pressure with ball of
foot in contact with the ground for stability
STEP ON HAMSTRINGS
MARKING FooT PLACEMENT
Stand to the inside of receiver's leg, align inner arch

of own foot with their knee crease, if possible hook
their toes around shin. Shift weight side to side
to press on hamstring working from knee to hip.
FooT PosiTION 1: BAcK LEAF

Turn toes out, place inner arch on
gluteal crease, pour weight straight
down for blood stop, hold for 5 seconds
Alternately palm the calves, shift weight

side to side with hands externally rotated
(up, down , up)
FooT PosiTION 2: BACK BIRD

Turn toes forward aligning toes around waist
band and heel on buttocks, give light traction
REPEAT BOTH FOOT POSITIONS OTHER LEG
REPEAT OTHER SIDE
PALM BACK WITH KNEES IN GLUTEAL FOLD
TRANSITION : CHILD' S POSE
Gently place knees in receiver's gluteal fold . With butterfly palms, inhale
place hands either side of receiver's spine, exhale to pour weight, stack
shoulders over wrists. Work this up and down the spine to the height of
the shoulder blades
Receiver brings hands under shoulders, giver cups receiver's

hips . On exhale shift hips back to heels bringing receiver to
Child's Pose. Palm press on the sacrum
NECK CLAMPING
MoTORCYCLE
THAI CHOPS
3 BRUSHES
CLOSING
Invite receiver's head

to bow towards chest,
interlace hands, squeeze
up and down the neck by
drawing elbows together
Hold hands with receiver

in butterfly grip, walk up
and down either side of
spine with soft feet
Interlace thumbs,
spread fingers,
flick wrists, chop
hands up and down
receiver's back
Brush energy from head off

the back and arms 3 times
Both giver and receiver

honor each other and
the exchange
48
Backward Flying LEVEL 1
HANDS TO ANKLES MOUNT: FOOT POSITION 1
BACK LEAF
FLYER: Stand at base' s hips facing away,
FLYER: Bend knees and lean back
FLYER: Relax legs and arms
hold ankles with thumbs turned in
BASE: Bend knees to receive weight,
BASE: Support flyer's shoulders with
BASE: Turn feet out and place arch along
catch flyer's upper arms or shoulders,
hands, straight legs and stacked over hips
gluteal crease (FooT PosiTION 1)
then extend legs
Bow (DHANURASANA)
FtSH (MATSYASANA)
FLYER: Reach outside base's legs to catch ankles
FLYER: Reach hands through base's legs,
BASE: Support flyer' s shoulders
interlace fingers leaving index free. Extend

legs and cross one ankle over the other.
Repeat with other ankle on top
BASE: Support flyer' s shoulders
49
TRANSITION : BACK BIRD TO FOOT POSITION
F LYER:
Lean weight into one leg, stag opposite leg. Once base repositions foot , release stag leg
BAS E: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband , heels on buttocks (Foor PosmoN 2)
DISMOUNT
FLYE R:
Hold base's ankles , use them for support to help chest lift as feet come to the ground
BAS E: Maintain support of flyer 's shoulders , bend the knees to place feet on the ground us ing toes
to press and lift flyer's chest
50
BACK LEAF
FLYER: Hold base's ankles with thumbs turned
FLYER: Relax legs and arms
in, bend knees and lean back
BASE: Support flyer's shoulders
BASE: Bend knees to receive weight, catch
with hands, straight legs and
flyer' s shoulders and extend legs
stacked over hips
Bow WITH CHEST OPENER
TRANSITION: BADDHAKONASANA TO BAT
FLYE R: Reach outside base's legs to catch
FLYER: Hold base's ankles, bring soles of
FLYER: Bring feet over towards head, using
ankles
feet together and look up towards feet
hands to reposition base's feet
BASE: Support flyer's shoulders. If flexibility
BASE: Support flyer's shoulders
allows use hands to open the chest
BASE: Turn feet to follow flyer's hips finding

slight internal rotation at hip crease
REVERSE CANNONBALL DISMOUNT

FLYER: Hold base 's heels, tuck knees in towards chest and chin to chest. Roll through base' s legs bringing feet to the floor, use heels to
stand , hold heels and lean away to traction base
BASE: Hold flyer' s shoulders , maintain straight legs at go degrees for flyer to roll out
51
TRANSITION : BACK BIRD TO FOOT POSITION
Lean weight into one leg, stag opposite leg. Once base repositions foot, release stag leg
Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband, heels on buttocks (FooT PoSITION 2)
F LY ER :
BASE:
BAT FOOT PLAC EMENT
BAT
PALM SHOULDERS
BAS E: Feet sl ightly turned in, inner arch

as close to flyer's hip crease as possible
FLYER: Legs pike down towards the
earth
FLYER: Keep soles offeet

connected , reach up and catch
ankles with arms extended
BASE: Place hands on flyer's shoulders with fingers pointing

out, alternately press upwards
FLYER : Hold ankles with arms extended, relax head and neck
52
Bow (DHANURASANA) VARIATION
FLYER: Stand at base' s hips facing away, hold
FLYER: Hook feet around base's
FLYER: Stag one leg at a time to
ankles with thumbs turned in . Bend knees and
shins and reach hands to backs of
adjust foot positon
lean back. Relax arms and legs
knees
BAS E: Turn feet out and place arch
BAS E: Place feet parallel with toes around waist
BASE: Support flyer' s shoulders, help
along gluteal crease (FooT PosiTION 1)
band , heels on buttocks. Bend knees to receive
hook feet
TRANSITION : FOOT POSITION 1
shoulders and extend legs
..
'
FOOT PLACEMENT STRADDLE BAT/BAT
TRANSITION : BACK LEAF TO STRADDLE BAT

FLYE R: Hold base's ankles, look up towards feet
FLYER: Bring feet over towards head , using hands
BASE: Feet slightly turned in, inner arch
and take legs wide into straddle
to reposition base's feet, find piked straddle
as close to hip crease as possible
BASE: Support flyer' s shoulders, begin to follow
BASE: Turn feet to follow flyer' s hips finding
FLYER: Legs pike down
hips w ith feet turning toes in
internal rotation at hips crease
LIFTED )ALANDHARA
FLYE R: Legs in piked straddle, arms relaxed, communicate with base about depth of stretch
BASE: Bring both hands to back of flyer's head with heels of palms together. Exhale begin to raise flyer' s chin towards chest by
extend ing arms, flex feet to deepen stretch . Release slowly, catch head and neck with care
53
URDHVA MUKHA HIPPY TWIST WITH THUMBING
HAND PLACEMENT: URDHVA MUKHA HIPPY TWIST
FLYER: Relax arms and legs

BASE: Walk hands underneath flyer's shoulder blades, place thumbs
between shoulder blades and spine. Bend one knee at a time, if
possible bend opposite arm and leg to apply pressure through thumbs
NECK MASSAGE
BAT MASSAGE CHAIR: PALM SHOULDERS
BAT MASSAGE CHAIR: THUMBING
HAND PLACEMENT THUMBING
BASE: Gently
FLYER: Bring soles offeet together, catch
BASE: Turn palms towards head, take
BASE: Hands beh ind flyer's
squeeze hands on
ankles with arms extended
hands through legs, place fingertips
shoulders, fingertips either

side of flyer's spine
back of flyer's neck
BASE: Place hands on flyer's shoulders with
between flyer's shoulder blades and
fingers pointing out, alternately palm press
spine. Bend knees to press weight
upwards, bend knees to apply more pressure
into fingertips
FLOATING BUDDHA DISMOUNT

BASE: Press up on flyer's shoulders and
FLYER: Transition legs into a tuck holding around shins and tucking chin to chest
transition one foot at a time from hips onto
BASE: Shift grip from shoulders to tops of arms. Bend knees and begin to lower flyer towards
flexed parallel feet, cupping the glutes
the ground , use arms to slow down and stay connected , allow own torso to rise off the ground
until both base and flyer land softly in a seated tuck
54
High Flying Whale LEVEL 1
HIGH FLYING WHALE MOUNT
FooT PLACEMENT: HIGH FLYING WHALE
Stand either side of base's shoulders, help base place feet then lean back
Hold flyer's ankles, bring legs towards flyer, place feet either side of the
spine with toes around waistband . Press legs away until flyer's feet are weightless;
then straighten arms. Legs may be beyond go degrees
BAS E: Heels towards the bottom of the shoulder

blades, toes around waistband . Feet parallel either
side of the spine
FLYER :
BASE:
POINT AND FLEX
BASE:
55
Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend
ARM VAR IATIONS: HIGH FLYING WHALE

FLYER: Arms overhead for
FLYER: Arms out to the sides
FLYE R: Arms crossed over
FLYER: Hands interlaced
deep backbend
for moderate backbend
chest for mild backbend
beh ind back of head for

neck support
HIGH FLYING WHALE DISMOUNT
DOWN DoG SACRAL PRESS
BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .
FLYER: Come into Down Dog
Press with t oes to help Ayer stand
BASE: Place hands with fingers turned out on

Ayer' s low back, stand in Warrior 1 and press
Ayer' s hips towards heels to lengthen spine
56
FLYE R:
Stand either side of base's shoulders, help base place feet then lean back
BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away
until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees
TRANSITION : LIFT LEG AND STAG
ARDHA USTRASANA
BASE: Keep arms straight
FLYER:
Press down through one foot to lift other leg, bend knee and
touch toes to opposite knee
BASE: Support flyer's bent leg with hand, bend knee to meet
F LYER:
SUPPORTED USTRASANA
FLYER:
Bring stag leg to base's knee, catch ankle
BAS E: Support both flyer's knees with hand ,
bend knees to meet flyer 's feet
57
Bring stag leg to base's knee, catch ankle
flyer's foot
TRANSITION: HIGH FLYING WHALE
BASE: Sh ift one hand to flyer's ankle, straighten arms, receive second foot
FLYER:
Extend one leg, press down to lift and offer second leg
POl NT AND FLEX

BASE: Keep arms straight and shoulder width apart, roll through point and Aex with feet to change depth of backbend
TRANSITION : LIFT LEG AND STAG (OTHER SIDE)
ARDHA USTRASANA (OTHER SIDE)
BASE: Keep arms straight
FLYER: Bring stag leg to base ' s knee, catch ankle
FLYE R: Press down through one foot to lift other leg, bend knee and
BASE: Support Ayer' s bent knee with hand, bend knee
touch toes to opposite knee
to meet Ayer's foot
DowN Doc HIP TRACTION
BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .
FLYE R: Come into Down Dog
Press with toes to help Ayer stand
BASE: Hold Ayer's hip crest, stand in

Warrior 1 and traction hips towards heels
58

FLYER: Stand either side of base ' s shoulders, help base place feet then lean back
BASE: Hold flyer' s ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband . Press legs
away until Flyer' s feet are weightless; then straighten arms. Legs may be beyond go degrees
ARDHA PADMASANA (OTHER SIDE)
ARDHA PADMASANA
ARDHA YIRASANA (OTHER SIDE}
FLYER: Bend one knee
FLYE R: Lift bent leg, bring
FLYE R: Bend one knee
FLYER: Lift bent leg, bring heel
BASE: Switch grip to
heel towards hip into half
BASE: Switch grip to top of
towards hip into half lotus, catch
top of flyer' s foot, bend
lotus ; catch foot with hand
flyer's foot; bend knees and
foot with hand
knees and press flyer' s
BASE: Support bent knee
press heel towards buttock
BASE: Support bent knee
ARDHA YIRASANA
heel towards buttock
DowN DoG SACRAL PRESS

FLYER: Come into Down Dog
BASE: Bring legs towards head; bend elbows to place flyer' s feet on the ground . Press
BASE: Place hands with fingers
with toes to help flyer stand
turned out on flyer's low back, stand

in Warrior 1 and press flyer' s hips
towards heels to lengthen spine
59
POINT AND FLEX

BASE:
Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend
USTRASANA
HIGH FLYING WHALE
Bring one foot at a time to

base's knees , catch ankles
BASE: Support flyer 's legs during
transition
FLYER: Extend one leg at a time,

arms overhead
BASE: Support legs during
transition, straight arms
F LYER:
60
Low F:lying Whale
THRONE ON SHINS MOUNT

BASE: Lift legs to go degrees; take
BASE: Bend elbows to make a seat,
hands to backs of flyer's knees
draw feet to meet flyer's shoulders
BASE: Bend knees to receive flyer's
FLYER: Sit on base's forearms
torso, knock knees together to support
FLYER: Lay back
low back, flex feet around shoulders
Low FLYING WHALE

BASE: Extend arms, transition arms from behind knees to the ankles. Keep feet flexed and knees knocked together, begin to rock with arms and
knees forward and backward
FLYER: Relax arms overhead
UPAVISTHA KONASANA
FLYER: Draw legs overhead and catch toes in
straddle
BASE: Keep feet flexed and knees knocked
together, take hands to flyer's thighs to deepen
61
THRONE ON SHINS DISMOUNT

FLYE R: Extend legs back out towards the ground
BASE: Extend legs to lift flyer's chest
BASE: Transition hands to back of flyer' s knees
FLYER: Sit up on base's forearms ,

then stand
Hammock
HAMMOCK MOUNT
FLYER: Stand close to base's hips, facing away
FLYER: Bend knees and sit back on base's
FLYER: Relax arms over head, press lower
BASE: Place feet turned out behind flyer's knees,
shins, relax shoulders back
legs towards the ground; relax hips
BASE: Bend knees to allow weight to rest on
BASE: Straighten arms and legs
raise arms ready to catch shoulders
shins, catch flyer's shoulder blades in hands
CHI MACHINE: LEG SWAY

BASE: Keep arms and legs straight, take legs apart and return together
CHI MACHINE: SIDE BEND

BASE: Keep arms and legs straight, take hands off the
midline to one side; turn hips off midline to same side to
lengthen flyer's side body
THRONE ON SHINS DISMOUNT
63
CHILD's PosE
BASE: Bend knees to bring flyer's feet towards the ground, hug knees together to create a
FLYER: Bring knees wide and place
platform with lower legs, press flyer's head and chest up

FLYER: Reach hands towards knees, bring feet to the ground, sit on base's shins to stand
forehead on the ground

BASE: Place hands on flyer's sacrum
Hammock
(HI MACHINE: HIPPY TWIST

BASE: Keep arms stra ight, bend one knee at a time
FLYE R: Keep hips relaxed , press lower legs towards the ground
TRANSITION : KNEES AND ELBOWS SUPPORT
OcCIPUT RocK
BASE: Take hands to back of flyer' s head
BASE: Bend knees taking heels towards and away from buttocks. Ma intain support of flyer' s head
with heels of palms connected, bring
FLY ER: Keep arms , head and legs relaxed
elbows between shoulder blades; knock

knees together
64
)
)
)
)
)
Solar Acrobatics Practices
PowER & PoTENTIAL

The Solar Acrobatic Practices are tools to unlock power in ourselves and others. We cultivate the ability
to take risks and attempt skills that many would think impossible. The deeper students go on this path,
the more open they become to their true potential. They become capable of many advanced physical
expressions of courage, teamwork and balance. Students skillfully wield the fire of acrobatics by using
clear, positive communication and sensitive listening. These elements are the keys that support
partnership and partner acrobatics .
SOLAR ACROBATIC PRACTICE

The Solar Acrobatic Practice supports empowerment and embodiment. Practitioners cultivate full
body strength and flexibility. This branch is much more dynamic, active and engaged. It is based on
understanding the progressive steps in building strength, cultivating an inversions & spotting practice,
investing in solo practice as a tool to inform and enhance a partner practice, and how to implement
these principles in partner acrobatics .
The solar elements include: the solar as ana sequence, strength & flexibility building exercises, inversions
& spotting, and partner acrobatics .
SOLAR ASANA WARM
UP
The solar asana sequence teaches the alphabet of acrobatics, and the names and shapes needed for
students to communicate as they do acrobatics together. The sequence also strings together strength
and flexibility building exercises in a progressive way to warm and open the body. Acrobats build
strength by using their bodyweight and their partner's bodyweight. Push-ups, down dog push-ups,
abdominal exercises and partner condition ing drills are some of the building blocks that bring the mind
and body into powerful harmony. The inversions and spotting build confidence, communication and
support for students to move through fears. Step by step we build acrobatic techniques for headstands,
handstands and beyond . The most dynamic expression of the practice is partner acrobatics .
68
Solar Asana Warm Up
69
CENTERING
MouNTAIN STRETCH
Left hand on belly, right

hand on heart. 3 breaths
to center and ground
Inhale extend arms

overhead , fingers
interlaced in kali mudra,
pointer finger extended
Exhale lean to
the right
Inhale extend arms

overhead
Exhale lean to
the left
In hale to center,
arch backwards
PLANK
DowN DoG
TABLE ToP
ElBOW ARTICULATION
Exhale step back to plank,

legs together, shoulders
over wrists .
3 breaths
Exhale hips back, separate

feet, 3 breaths
Exhale knees to floor, bone

stack arms and legs
Inhale and microbend elbows to the side, exhale

squeeze forearms in to find straight arms, repeat
3 times
ARCH AND HOLLOW
FLOAT
FORWARD FOLD & LIFT
HOLLOW LUNGE
Keeping arms stra ight, inhale arch spine, exhale

round spine, repeat 3 times
Keep hollow in
ribs and extension
in arms, jump feet
forward to hands
Exhale relax torso over legs, inhale

extend spine halfway, repeat 3
times
Step right foot back to

high lunge, lean into front
leg to find hollow body
KNEE PusH UPs
CHILD's PosE
Exhale belly to floor, inhale extend

arms , repeat, repeat 3 times
Sit hips back, relax for

breath
SPHINX ARCH AND HOLLOW
Foreams parallel with elbows under shoulders, inhale arch,

exhale hollow, keeping hips on floor 3 times
Solar Asana Warm Up
T POSITION
ARCH AND HOLLOW
MAHA BANDHA
HANDSTAND MUDRA
FORWARD FOLD & LIFT
Exhale press arms

down to aT
Inhale open arms to cactus,

shoulder blades together.
Exhale hollow, gazing at feet,
repeat 3 times
Exhale hands to
rest on thighs ,
squeeze midline
with hollow shape
Inhale raise arms up

while keeping ribs
down and hollow
Exhale relax torso over legs, inhale

extend spine halfway, repeat 3 times
CAT AND Cow
DOWN Doc
ELBOW ARTICULATION
Keep arms stra ight, inhale arch spine, exhale round

spine, repeat 3 times
Exhale hips back, separate

feet
Inhale microbend elbows to the side,

exhale squeeze forea rms in to find straight
arms, repeat 3 times
INTEGRATE SHOULDERS
HANDSTAND MUDRA
Inhale reach forward ; exhale plug arms

back into shoulder sockets
Inhale lift arms up keeping

ribs down , exhale to extend
arms high
PLANK TIGHTNESS
Exhale to plank, tap oppos ite shoulder 7 times

wh ile mainta ining full body tightness
FOREARM PLANK
SPHINX
DowN Doc PUSH UPS
Exhale, press into tops

offeet, lift hips , hold 3
breaths
Draw shoulder blades

together, gaze up for 3
breaths
From a narrow Down Dog bend elbows out to the side, eventually touch ing
nose in between the thumbs . Push down and up, repeat 3 times
70
Solar Asana Warm Up
71
HOLLOW LUNGE
INTEGRATE SHOULDERS
HANDSTAND MUDRA
Step right foot forward to high

lunge, lean into front leg to
find hollow body
Inhale reach forward; exhale plug arms back

into shoulder sockets
Inhale lift arms up keeping ribs down;

exhale to extend arms high
COBRA
LOCUST
FRONT BIRD
Curl chest up and back, 3 breaths
Interlace hands behind back and lift chest,

3 breaths
Separate hands to the side, 3 breaths
SPOTTER'S STANCE
LEG PRESSES
GODDESS POWER
Exhale lower hands down;

imagine you are holding a
flyer's hips
Inhale bend the front knee, exhale extend the front

leg, keep spine straight, repeat 3 times
Turn to the right with knees wide, inhale open arms

and reach out for strength, exhale draw power into
core, repeat 3 times
LEG PRESSES
DowN Doc
TucK juMPS
Inhale bend the front knee, exhale to

extend the front leg, keep spine straight,
repeat 3 times
Exhale place hands down,

step back to Down Dog
Walk forward to Uttadogana, hips over shoulders,

jump to tuck bringing knees to chest, repeat 3 times
Solar Asana Warm Up
PLANK TIGHTNESS
PLANK PUSH UPS
CHILD's Pose
Exhale to plank, tap opposite shoulder 7 times

while maintaining full body tightness
Exhale to lower down, inhale to push up keeping

body straight, repeat 3 times
Sit hips back, relax for

breath
DowN Doc PusH UPs
WARRIOR
From a narrow Down Dog, bend elbows out to the side, eventually touching nose in
between the thumbs. Push down and up, repeat 3 times
Inhale step left leg forward, arms up
GODDESS SQUATS
PRASARITA PADOTTANASANA
WARRIOR
Inhale bend knees, exhale extend

legs, keep spine straight, repeat 3
times
Exhale fold forward with

hands interlaced behind back,
3 breaths
Inhale turn towards right

leg, arms up
SPOTTER'S STANCE
Exhale lower hands down;

imagine you are holding a
flyer's hips
HEADSTAND TUCK PRESS
CHILD'S POSE
CROW
In a supported headstand, keep legs together. Tuck press legs in and up,
press 3 times
Relax, 3 breaths
Maintain hollow body with

knees close to shoulders,
push with fingers, 3 breaths
72
Solar Asana Warm Up
CONNECTING VINYASA
SEATED PIKE
Step or jump back to Plank, Upward Dog, Down Dog
Step or Aoat through , legs together
SHOULDERSTAND
TUCK UPS
UTTADOGANA
Hollow body to a tuck, keeping core engaged throughout the
Support back, legs squeeze
Exhale roll forward to
motion , repeat 3 times
together, 3 breaths
forward bend , hips over

shoulders over wrists
PLANK
Place hands face up
Step or jump back,
Lower all the way to
Place left forearm parallel
Place right forearm parallel
under feet, stretch
legs squeeze together,
the ground
to front of mat, draw right
to front of mat, draw left
THIGH STRETCH
tops of wrists , 3
shoulders stacked over
heel towards left buttock,
heel towards left buttock,
breaths
wrists
keep shoulders square
keep shoulders square
HEART OPENER
DowN Doc
TWISTED LUNGE
LIZARD LUNGE
RUNNER 'S LUNGE
Extend arms, lower
Lift hips up
Inhale step left leg
Release back knee to
Exhale release
Straighten front leg,
heart towards Aoor,
and back
forward , left arm up,
Aoor, top arm reaches
forearms to the
foot Aexed, inhale
for outside of back foot,
inside offront leg,
lengthen spine,
forehead or chin to
descend hips and curl
3 breaths
exhale lower torso, 3
ground , 3 breaths
back, 3 breaths
hips over knees ,
73
LOWER
WRIST STRETCH
3 breaths
breaths
Solar Asana Warm Up
STAG
PIKE STRETCH
TUCK ROCKS
Draw one leg up, tracing

the inner edge of other
leg, both sides
Inhale raise arms up, exhale reach forward

with hollow body and extended arms, legs
and feet squeeze together with toes pointed
Roll back and forth with core engaged , small movement,

repeat 5 times
HOLLOW BODY HOPS BACKWARDS
HOLLOW BODY HOPS FORWARDS
Jump legs back, squeeze and press legs down, keep

extension in the arms , repeat 5 times
Jump legs forward to meet hands, squeeze and press legs down,
keeping extension in the arms, repeat 5 times
Bow
CHILD's PosE
DowN Doc
DOLPHIN
LEG HOPS
Catch the outer

ankles, use the power
of the legs to lift up
Press hips to heels .

Relax, 3 breaths
Lift hips up and back
Place elbows shoulder width, shoulders stacked over

elbows. Lift one leg holding the midline, kick or press to
an L shape, do both sides, repeat 3 times
HALF MOON/SIDE STAR
VERTICAL SPLIT
SIDE LUNGE {SKANDASANA)
TWISTED LUNGE
Step onto front leg, stack

hips, lift left leg, reach
left arm up, 3 breaths
Exhale fold over

front leg, lift back leg
towards sky, both legs
straight, 3 breaths
Step top leg out towards right, hold both ankles, keep
hips low, glide side to side, repeat 3 times
Inhale turn towards right leg,

right arm up, 3 breaths
74
Solar Asana Warm Up
LIZARD luNGE
RUNNER'S LUNGE
HALF MooN/SIDE STAR
Release back knee to Aoor,
Exhale release
Straighten front leg, foot
top arm reaches for outside
forearms to the inside
Aexed, inhale to lengthen
of back foot, descend hips
of front leg, 3 breaths
spine, exhale to lower
and curl back, 3 breaths
torso, 3 breaths
TRIPOD HEADSTAND STRADDLE PRESS
SEATED STRADDLE
Press legs through a pike staddle to vertical, then back down
Sit with legs wide
Step onto front leg, stack

hips, lift left leg, reach
left arm up, 3 breaths
VERTICAL SPLIT
Exhale fold over
standing leg, lift back
leg towards sky, both
legs straight, 3 breaths
jANUSIRSASANA SIDE BEND

Bend right knee, lean to left, open
side body, 3 breaths
through pike straddle to Aoor
jANUSIRSASANA FORWARD FOLD
PIGEON
P1 KED STRADDLE STRETCH
Turn towards straight leg and
Turn hips towards bent leg, inhale lengthen spine,
lean forward, 3 breaths
exhale fold forward, 3 breaths
Exhale lean forward, keeping legs active, 3

breaths
V-UPS
SHOULDERSTAND
UTTADOGANA
From hollow body, sit up to a V, and back to hollow body, keeping core
Support back, legs squeeze
Exhale roll forward to
engaged , repeat 3 times
together, 3 breaths
forward bend, hips over

shoulders over wrists
75
Solar Asana Warm Up
GODDESS WITH TRACTION
STRADDLE jUMPING jACKS
Place hands in the hip

crease and straighten arms,
sit hips down to traction
spine, 3 breaths
Place hands on floor under shoulders, bend knees and jump in and out 5 times. Keep legs close to chest
and press arms down
jANUSIRSASANA FORWARD FOLD
PIGEON
jANUSIRSASANA SIDE BEND
Turn towards straight leg and

lean forward, 3 breaths
Turn hips towards bent leg, inhale to lengthen spine, exhale

to fold forward, 3 breaths
Bend left knee, lean to right, open

side body, 3 breaths
PIKE STRETCH
HOLLOW BODY ROCKS
Swing left leg around to meet right, inhale raise arms up,
exhale and reach forward with hollow body and extended
arms, legs squeeze together with toes pointed
Keep core engaged, toes and shoulders off floor, rock back and forth with
small motion, repeat 5 times
KICK SWITCHES
FORWARD BEND
HANDSTAND MUDRA
(LOSING
Keeping foundation strong, lift one leg and kick up to L, switch legs
in the air. Do both sides, repeat 3 times
Exhale release torso

over legs, 3 breaths
Inhale raise arms up,

keep ribs down and
hollow
Feet together,
hands in prayer,
sealing the
practice
76
Inversions & Spotting
PRINCIPLES OF INVERSIONS & SPOTTING

You are only as strong as your foundation . The inversion pyramid is a systematic approach to inversions. All students will have
different strengths and struggles. This system will help students find the individual keys they need to set their inversions free.
Inversions are great for our physical and emotional bodies, turning our world upside down to bring out our childlike nature.
When the playing flows the ego goes! Inversions force us to summon our courage and let go of fear. Spotting techniques
develop deeper levels of trust, building the foundation for acrobatic partner skills. Before a student inverts on a partner they
should have already experienced an inversion with their body and the earth. As the spotter and the flyer get their techniques
honed and aligned there is much more success moving to partner acrobatics.
PYRAMID PHILOSOPHY- THE SECRET OF PROGRESSIONS

When most people look at high level acrobatics it seems superhuman because they don 't know the science of progressions.
For every polished act you see at the circus, there have been years of training and baby steps that steadily got the performers
to that unbelievable level.
Every time you do a skill successfully you are theoretically adding a stone to your pyramid. Every time you attempt a skill and
fail you are taking a stone away. If the skil l you are trying is beyond your current skill set, try something similar but easier to
build your foundation . After many successes your base will be ready to support the next level on your pyramid of skills. The
moral of the story is to cultivate patience by working progressively, and in time you will reach your highest potential.
(Philosophy based on conversations with Yevgeny Marchenko - USA Olympic Gymnastic coach and 5 time World Champion
Mixed Pair Sports Acrobatics base.)
77
Pyramid #1
9
Handstand Building Blocks
BODY POSITIONS, THE
ALPHABET OF AcROBATics
Straight: In this position the body is in one lin e from head to toe.
This is the most important pos ition in acrobatics due to its intrinsic
strength. Once this position is mastered all other positions are a
variation of this seed .
Arch: This is a back bend . It refers to the shape of the spine, then
FouNDATIONAL ALIGNMENT
OF HANDS, ARMS, UPPER BODY
Table, Cat, Cow: Hands shoulder width, knees hips width, feet flexed ,
arms straight, shoulders over wrists, thighs vertical, knees under hips,
head neutral. In this pose we can learn vertical bone alignment with
little weight bearing. The cat is embodying hollow and maximum
extension through the arms, the cow is embodying arch .
how that relates to the rest of the body. Arch is a common shape in
Plank: Feet together, body straight from head to toes, arms straight
many yoga asanas and also the shape of the spine for many Thai
wrists under shoulders.
stances .
Hollow: This is a shape of the spine from the hips to the head, it is
most acute in the thoracic spine, ribs moving towards the spine,
tailbone tucked forward. The body makes a hollow shape like inside
a spoon . This is the position that takes the most training to embody.
Arching is very natural , one can think of hollow as the medicine for
overarching in the attempt to find straight.
Tuck: This is a verb and a noun, the verb is to move the legs from
straight to bent, the full position is knees close or touching the
Down Dog: Body is in an inverted V-shape, hands shoulder width ,
straight line from wrists to hips , feet hips width apart.

Dolphin: Elbows under shoulders, ribs in hollow body, looking towards
hands , the rest of the body is like a down dog.

Tightness drill: The flyer lays on their back with arms overhead , the
spotter lifts the flyer's legs up and holds the legs with straight arms.
The spotter drops one leg at a time as the flyer tries to keep their legs
squeezing together, 15 seconds or less.
chest, feet close to the butt.
PusH-UPS (Two LEVELS}:
Pike: This is a verb and a noun , the point of reference is the hips
1.
specifically the hinge is at the hips. To pike is to move the legs closer
Knee Push up: Lying on the belly, knees and feet together, legs
bent on the ground at go degrees, fingertips in line with the
to the upper body. The full position is legs together and a bend at
shoulders, hands just wider than shoulders , chin on the floor. On
the hips.
exhale straighten arms, bend arms until chin touches the floor,
body stays straight the whole time.
Hollow Pike: Feet together, arms parallel with the floor and reaching
towards or past toes, ribs in and actively moving towards the spine.
2.
fingertips in line with the shoulders, hands just wider than
Piked Straddle: This is the shape of a seated straddle with legs wide
shoulders, chin on the floor. On exhale straighten arms, inhale
apart, knees and toes facing the sky. This is the shape of folded leaf
bend arms until chin touches the floor, body stays straight the
and many other flying postures, where the legs are at go degrees to
whole time.
the chest.
Open Straddle: This is the shape of standing with the legs apart a bit
wider than hips, knees and toes are facing forward, this is the shape
Push up: Lying on the belly, feet together and flexed, legs straight,
DowN Doc PusH -UPS (THREE LEVELS}:
1.
of an acrobatic handstand great for hand to hands .
Half Down Dog Push up: Walk the down dog in a third of normal
distance, feet hips width, look between thumbs , bend arms

straight out to the side about half way, aim your nose to land in
Stag: One leg straight one leg bent, foot of the bent leg touches the
between your thumbs .
knee of the straight leg.

2.
Down Dog Push up (gaze between thumbs): Walk the down dog in
a third of normal distance, feet hips width , look between thumbs ,

bend arms straight out to the side, touch your nose to land in
between your thumbs.
3.
Down Dog Push-up (with head neutral) : Walk the down dog
in a third of normal distance, feet hips width, head neutral to

encourage more hollow body, bend arm straight out to the side,
touch the top of your head in between your thumbs .
78
Pyramid #1- Handstand Building Blocks

THE (ORE AND PRESSING
STATIC INVERSIONS
TECHNIQUES
Supported Headstand: Elbows shoulder width, fingers interlaced
Tuck rocks: Roll from the hips to the shoulders , knees bent, feet
together, arms extended , shou lders touching ears. Ma ke the rocks

as small as you can , move body as one piece.
cupping the top of the head, walk feet in as close as possible, tuck
knees into chest, press up to a straight body.
Tripod Headstand: Hands shoulder width , head placed in same
distance as hands to make a perfect triangle, walk feet in as close

Hollow body rocks: Roll from the hips to the shoulders, legs straight,
feet together, arms extended, shoulders touching ears. Make the
as possible, tuck knees into chest, press up to a straight body, keep

elbows over wrists.
rocks as small as you can, move the body as one piece.

Tuck ups: From hollow body swing arms down towards the legs, at
the same time tuck knees in towards the chest. Once in the tuck
Crow: Place hands shoulder width , bend arms, place knees as close
to armpits as possible, straighten arms as feet lift off the floor, feet
together.
extend back to the hollow body. The faster with good form the better.
V-ups: From hollow body swing arms down towards the legs, at
the same time pike legs up towards the chest. Once in the V shape
extend back to the hollow body. The faster with good form the better.
Hollow body hops forwards: This drill is to teach you how to press
down . Hands shoulder width , arms straight, shoulders over wrists ,

very narrow down dog. Bend knees and jump hips over hands,
extend through straight arms, find as much hollow as you can. Keep
shoulder behind tips of fingers, feet softly land closer to hands. As
you get stronger you can jump less and press more.
Hollow body hops backwards: This drill is to teach you how to press
up. Hands shoulder width, arms straight, shoulders over wrists, very
DYNAMIC INVERSIONS AND

jUMPS
Tuck Jumps: From a very narrow down dog, hands shoulder width,
shoulders over wrists, hollow body with a lot of extension through

the arms, bend knees and jump into a tuck position , knees close
or touching chest, feet close to butt, feet and knees together at all
times .
Pike Jumps: From a very narrow down dog, hands shoulder width,
shoulders over wrists, hollow body with a lot of extension through

the arms, bend knees and jump into a pike position, feet together
and knees straight while in the air.
narrow down dog. Bend knees and jump hips over hands , extend
through straight arms and find as much hollow as you can. Keep
Straddle Jumps: From a very narrow down dog, hands shoulder
shoulder beh ind tips of fingers, feet softly land further behind the
width, shoulders over wrists, hollow body with a lot of extension
hands. As you get stronger you can jum p less and press more.
through the arms, bend knees and jump into a piked straddle
position, feet apart and knees straight while in the air, landing where
Straddle Jumping Jacks: From a very narrow down dog, hands
shoulder width, shoulders over wrists, hollow body with a lot of

extension through the arms, bend knees and jump into a piked
you took off from .

Dolphin
Leg Hops: From dolphin lift one leg as high as possible,
straddle position , feet land apart. Then starting with feet apart, jump
bend the other leg and jump off of it. At the same time swing the top
bringing feet together again and land in a standing pike. Land softly.
leg overhead, maintain shoulders over elbows the whole time.

Handstand Kick Switches: From a very narrow down dog, lift one
leg as high as possible, bend the other leg and jump off of it, at the
same time swing the top leg overhead and switch the legs in the air,
maintain shoulders over wrists the whole time.
79
Pyramid #1- Handstand Building Blocks
80
Body Positions: The Alphabet of Acrobatics
STRAIGHT
ARCH
HOLLOW
Body stays in one

line from top to
bottom
Chest lifts and arms

arc back into a
backbend
Ribs draw down and pubic bone Knees draw in to chest and
curls up, engage abdomen, arms heels to buttocks, hands
cup knees
by ears
TUCK
PIKE
HOLLOW PIKE
PIKED STRADDLE
OPEN STRADDLE
STAG
From a pike, reach hands

forwards over toes, find
hollow through torso
Hinging at the hips, legs

open, body in two planes
Legs open to wider than

hips width, body in one
plane
One leg bends, trace the toes up

the inseam of straight leg to the
knee, hug the midline
Legs squeeze
together, hinging at
the hips
SPLIT
Legs separate as wide as

possible front to back, chest
stays over hips
Alignment of Hands, Arms & Upper Body

TABLE
feet flexed , knees hip width, hands

shoulder width, head neutral , eyes
at thumbs
Cow, ARcH
tail bone up, shoulders relaxed,

head back, eyes up
1
flyer on back, arms up,
hips up, feet together,
squeeze legs together
TIGHTNESS DRILL
KNEE PUSH UP PREP
KNEE PUSH UP
hands wider than shoulders,

elbows wide, body straight, knees
bend feet together
on exhale straighten arms,

inhale bend arms until chin
touches floor
CAT, HOLLOW
tail bone down , ribs in,

shoulders extended, head down ,
eyes at navel
PLANK PUSH UP PREP
PLANK
feet together, body straight and

unified, hands under shoulders, head
neutral, eyes at thumbs
TIGHTNESS DRILL
hands wider than shoulders,

elbows wide, body straight, legs
straight, feet together
PLANK PUSH UP
on exhale straighten arms,

inhale bend arms until chin
touches floor
base drops one foot at a

time, flyer stays unified
and squeezes legs
together
DowN Doc
feet hip width, hands shoulder width,

head neutral
DOWN Doc PUSH UP PREP

DOLPHIN
elbows under shoulders, forearms

parallel, eyes at thumbs, body straight,
feet together
81
DowN Doc PusH UP 1
narrow down dog, walk in 1/3 of look in between thumbs,

normal down dog, feet hip width, bend arms to the side
until nose touches floor in
hands shoulder width
between thumbs
DowN Doc PusH UP ".t.

head neutral, bend arms tc
the side until top of the he an
touches floor in between
thumbs
The Core & Pressing Techniques
HOLLOW BODY HOPS: FORWARD 1
hands shoulder width, shoulders over

hands, knees bent, jump hips up, extend
shoulders, hollow body, legs come
towards chest
HOLLOW BODY HOPS: FORWARD 2
look in between thumbs, arms straight,

legs straight
TucK ROCK 1
TUCK RocK 2
TUCK ROCK
feet and knees together, knees over

hips, arms stright and extended,
shoulders by ears, eyes to knees
keep same shape, rock

towards shoulders, hips lift
keep same shape, rock towards

hips, shoulders lift
HOLLOW BODY HOPS : FORWARD
softly land feet close to hands
HOLLOW BODY ROCK 1
HOLLOW BODY ROCK 2
HoLLow BoDY RocK
feet together, legs straight,

arms stright and extended,
shoulders by ears, eyes to
toes

shoulders, hips lift

hips, shoulders lift
HOLLOW BODY HOPS:
BACKWARDS 1
hands shoulder width , shoulders over

hands , knees bent, jump hips up, extend
shoulders, hollow body, legs push away
from chest
TUCK UP 2
TUCK UP 1
3
return to hollow body
TucK UP
swing arms down , sit up

and tuck legs in
start in hollow body
HOLLOW BODY HOPS:

BACKWARDS 2
look in between thumbs, arms straight,

legs straight
HOLLOW BODY HOPS:

BACKWARDS
softly land feet further from hands

V-UP 2
V-UP 1
V-UP
swing arms down, sit up

and pike legs in
start in hollow body
return to hollow body
Foundational Inversions
SUPPORTED
Dynamic Inversions
TRIPOD
HEADSTAND
HEADSTAND
fingers interlaced, elbows

shoulder width, body
straight
hands shoulder width ,

forearm vertical,
elbows over wrists
body straight
TucK)UMP1
TucK)UMP2
hands shoulder width, jump hips up, touch

shoulders over hands knees to ribs
DoLPHIN HoPs 1
elbows under
shoulders, forearms
paralell, eyes at
thumbs, one leg up
CROW
hands shoulder width, knees

supported by upper arms, feet
together, eyes to thumbs
Handstand
STRADDLE jUMP 1
STRADDLE jUMP 2
hands shoulder width , jump hips up, bring

shoulders over hands legs to a pi ked
straddle
DOLPHIN HOPS 2
bend bottom leg
KICK SWITCH 1
KICK SWITCH 2
KICK SWITCH
hands shoulder width,

shoulders over hands,
bottom leg bent
jump bottom leg as

top leg swings into
a split
bottom leg swings

up as top leg swings
down
KICK SWITCH
softly land with

opposite leg on
the ground
4
P1KE)UMP1
PIKE)UMP2
hands shoulder width , jump hips up, bring

shoulders over hands legs to a pike
DOLPHIN HOPS 3
jump bottom leg as top
leg swings into a split
82
Pyramid #2 - Free Handstand

UNIFY, P RESS & W ALK
Plank Tightness drill: The spotter stands to the side of the flyer
do ing plank at their feet facing towards their head, flyer lifts one leg.
Levell : From straight, pike legs down to 45 degrees, extend back up

to vertical.
Spotter holds flyer's ankle like a suitcase, flyer unifies the legs and
Level 2: From straight, pike legs down until legs are horizontal with
squeezes legs together, spotter lightly pushes back and forth to help
the floor, extend back up to vertical.
flyer find res istance in the fingers. Spotter steps to a wide stance
facing the flyer's hips , placing other hand on the hips to encourage
Level 3: From straight, pike legs down until toes touch the floor,
strong hollow position . Spotter in a wide stance facing the flyer's
extend back up to vertical.
head with stra ight arms holding the ankles , spotter drops on foot at
a time, flye r tries to keep legs together.
hands , use fingers pushing into the floor to slow the decent as you
Tuck Press Headstand: Tripod set up, walk feet in as close to head
lower the top of the head to the floor for a tripod headstand, tuck
as possible, when feet are weightless , push hands into the floor like
knees into chest, feet towards butt, press to vertical and stra ight.
a down dog push up, keep elbows over wrists, press hips over the
shoulders , bring feet towards butt and knees towards chest, extend
legs in a vertical plane until body is straight.
Levell : From straight, knees bend until body is in a tight tuck shape,
extend back up, keep legs moving only in the vertical plane.
Headstand to Crow: Knees into chest and feet towards butt, tight
ball, feet and knees together, open knees and place as high on
triceps as possible, find the strength from your fingers to lift your
head and come back to crow.
Air Vinyasa Handsta nd Walking: Spotter holding flyers ankles, flyer
Level2: From straight, knees bend until body is in a tight tuc k shape,
in a plank, shoulders over wrists. Flyer presses hips over shoulders
extend the legs to a pike horizontal with the floo r, re-bend knees into
until their body is in an L shape, from there the flye r walks forward
tight tuck, extend to vertical.
and backwards . This drill can also be done with one leg vertical.
Level 3: From straight, knees bend until body is in a tight tuck shape,
ALIGNMENT, TIG H TNESS ,
extend down towards the floor until toes touch the floor, re-bend
knees into tight tuck, extend to vertical.
BALANCE
Straddle Press Headstand: Tripod set up, walk feet in as close to
Alignment, Tightness, Balance (ATB) Philosophy:
head as possible, when feet are weightless, push hands into the floor
like a down dog push up, keep elbows over wrists , press hips over
the shoulders as the legs come to the widest straddle possible, press
legs in a ve rtical plane until body is straight.
Level
1:
Fro m straight, straddle legs to an open straddle all staying
in the vertical plane.

Level 2: From stra ight, straddle as wide as possible, pike legs as
close to the belly as possible, bring legs horizontal with the floor,
stradd le as wide as possible, legs horizontal with the floor, press
back to st ra ight.
Level3: From straight, straddle as wide as possible, pike legs as close
These are the 3 magic steps to finding ease, grace and stability in
inversions.
Alignment - Bones (hands placed shoulder width for handstand or
elbows directly under shoulders for forearmstand , etc) .

Tightness -
Muscles (squeezing and firming the muscle layer
to unify the body around the steady and efficient structure of the
bones) .
Balance - Gaze (having a gaze point that supports steady balance,
usually the floor between the hands , without taking the head out of
alignment with the spine).
to the belly as poss ible, bring toes to touch the floor, straddle as wide
Wall Alignment Handstand: From a narrow down dog one heel
as poss ible, bring thighs towards belly press back to straight.
touching the wall , other leg extending up the wall . Spotter with
Pike Press Headstand : Tripod set up, walk feet in as close to head
as poss ible, when feet are weightless, push hands into the floor like
a down dog push up, keep elbows over wrists, press hips over the
shou lde rs, extend legs in a vertical plane until body is straight.
83
Crow to Headstand: From Crow bring gaze to a point in front of your
hands at hip bones gives a heavy spot to aid the flyer to walk their
hands close to the wall as the legs come together, heel of the palms a
few inches from the wall , flyer's toes are pointed , head neutra l. Flyer
tries to get their body as close to the wall without touch ing, spotter
supports flyer's hips as they cartwheel down to one side.
Pyramid #2 - Free Handstand

Hanuman Finger Power Handstand : Flyer measures out distance
Pike Jump to Handstand : Start with shoulders over wrists, arms
from wall by lifting one leg to hip height with foot touching the wall,
straight and ribs in towards the spine, bend knees while upper body
the standing foot is the approximate distance to place hands for a
holds the same shape. Jump strong, bring hips over the shoulders,
scissor lift to hanuman handstand . Once in the hanuman handstand,
extend to vertical.
the foot touching the wall is flexed so the only way to come free from
the wall is by pushing with the fingers.
HANDSTAND BAIL OuT
L Balance Handstand : Flyer measures out distance from wall by
TECHNIQUE
lifting one leg to hip height with foot touching the wall, the standing
foot is the approximate distance to place hands with fingers pointing
Handstand Bail Outs from the Wall: From L handstand with one foot
away from the wall. One foot pushes off the wall as the other extends
on the wall other foot vertical, jump off the wall to fall past vertical.
to vertical ; the foot touching the wall is at hip height. Very slowly flyer
With a heavy spot at the hips, take one large step with the hand
points their foot touching the wall until they can balance free from
under the vertical leg and cartwheel down .
the wall, keeping the legs in the L shape.

Scissor Lift to Forarmstand ATB: From dolphin one leg lifted as high
Kick-Press to L Handstand to Bail Out: From a vertical split

with both hands on the floor, the foot on the floor is pointed.
as possible, shoulders over elbows the whole time. Spotter supports
By pressing or a small hop then pressing the bottom leg lifts
the top leg as the flyer pushes the leg down into the spotter, flyer
parallel to the floor. With a safety spot, more pressing than
floats the bottom leg up to meet the top leg, head of the flyer in
jumping, come through vertical. Once past vertical take one large
neutral. Spotter walks to the flyer's back side, steps on the hands,
step with the hand under the vertica l leg and cartwheel down.
lifts the flyer from the thighs to help them find a straight extended
position . Spotter tries to pull legs apart to encourage the body
unification. Spotter steps off the hands as the flyer looks in between
HANDSTAND
their hands, spotter is giving as little support as possible, hot potato
Free Straight Handstand: From a vertical split with both hands on
spotting.
the floor, the foot on the floor is pointed . By pressing or a small hop
Scissor Lift to Handstand ATB: From a narrow down dog one leg
then pressing the bottom leg to meet the top leg in a vertical plane.
lifted as high as possible, shoulders over wrists the whole time

spotter supports the top leg as the flyer pushes the leg down into
the spotter. Flyer floats the bottom leg up to meet the top leg, head
of the flyer in neutral. Spotter walks to the flyer's back side, lifts the
flyer from the thighs to help them find a straight extended position .
Spotter tries to pull legs apart to encourage the body unification.
Flyer looks in between their hands, spotter is giving as little support
as possible, hot potato spotting.
HANDSTAND ENTRIES
Tuck Jump to Handstand: Start with shoulders over wrists , arms
holds the same shape. Jump strong, tuck knees to chest feet towards
butt, once hips are over the shoulders, extend to vertical.
Straddle Jump to Handstand: Start with shoulders over wrists, arms
holds the same shape. Jump strong, open legs to a pike straddle as
wide as possible, once hips are over the shoulders start bringing the
legs in a wide straddle to vertical.
84
Pyramid #2- Free Handstand
86
Unity, Press & Walking
PLANK TIGHTNESS DRILL
2
Flyer: bring feet together,
shoulders over wrists or even
slightly over the fingertips
Flyer: plank one leg up

Spotter: hold raised ankle
li ke a su itcase
TuCK PRESS HEADSTAND
Spotter: step to goddess,

push down the sacrum
Flyer: bring your belly
towards the spotter's hand
PLANK TIGHTNESS DRILL 4

PLANK TIGHTNESS DRILL 5
Spotter: step to goddess holding Spotter: drop one foot at a time
both feet
Flyer: try to keep feet together and
body in one piece
tripod, legs pike
2
tuck knees in towards chest
TUCK PRESS HEADSTAND
1
hands shoulder width or wider, strong
fingers, knees up high into armpits
(ROW PRESS TO HEADSTAND

TuCK PRESS HEADSTAND
extend legs vertical
STRADDLE PRESS HEADSTAND
(ROW PRESS TO HEADSTAND
look in front of hands , bend

arms and slowly lower head ,
forearms vertical , feet in close
to hips
HEADSTAND PRESS TO (ROW
tuck knees in tight towards arm pits, strong

fingers , slowly lift head , stra ighten arms
tripod , legs pike
open into wide stradd le
press to pi ked straddle

1
Flyer: shoulders over finger
tips, body straight and unified
Spotter: goddess stance
AIRVINYASA HSWALKS
press to open straddle
press to vertical
PIKE PRESS HEADSTAND
tripod , legs pike
press legs up
press to vertical
87
AIR VINYASA HS WALKS 4
Flyer: lift one hand at a time, step

forward andfor backward
Spotter: step with flyer, follow
their pace
2
Flyer: push down into straight arms, draw
ribs towards the spine, belly in
Spotter: stand up step in until flyer's hips
are over their shoulders
A I R VINYASA HS WALKS
AIRVINYASA HS WALKS
Flyer: lift one leg vertica l
Alignment, Tightness, Balance

BELLY WALL HANDSTAND
this type of handstand training

will support finding a straight
or slightly hollow handstand ,
toes pointed, everything 1 mm
from the wall. Heavy spot on
entry and exit
FINGER POWER HANDSTAND
set up about one legs length

from the wall place your hands
for a handstand , split your
legs and only let your heel
touch the wall, with only finger
strength try to bring your heel
off the wall. If it is easy go
further from the wall. If it is
not possible move your hands
closer to the wall
FOREARM STAND A.T . B. l

Flyer: elbows shoulder width , shoulders
over elbows, head neutral, one leg up,
Spotter: warrior one stance, hand on shin,
foot by shoulder
HANDSTAND A.T.B. l
Spotter: step to the back of the
flyer, firm grip on shins and calfs
Flyer: head neutral
FOREARM STAND A.T.B. 2
HANDSTAND A .T . B . 2
Flyer: push into supported leg until other

leg is vertical, bring legs together
Spotter: push into supported leg walk
forward until flyer is vertical and you are
supporting on the side
Flyer: push into supported leg until

other leg is vertical, bring legs together
Spotter: push into supported leg walk
forward until flyer is vertical and you are
supporting on the side
FOREARMSTAND A.T.B. 3
Spotter: step gently on hands, firm grip on
flyer''s shins and calfs
3
Flyer: hands shoulder width, shoulders
over wrists , head neutral , one leg up
Spotter: warrior one stance, hand on
shin, foot by shoulder
FOREARM STAND A.T.B.

FINGER POWER (LOSE UP
heel connects to the wall,

foot flexed
l HANDSTAND BALANCE
set up in an L handstand slowly
point your toe to bring your
weight from the heel of your
palm to the base of your hand,
into your fingers and fingertips ,
from 95% vertical one degree at
a time until it is 100% vertical
l
shoulders over wrists,
jump hips over hands
STRADDLE jUMP

shoulders over wrists ,
PIKE jUMP
hands shoulder width ,

shoulders over wrists,
TucK juMP 2
knees touch the chest
HANDSTAND A .T . B.
HANDSTAND A.T.B. 4
Spotter: lift flyer straight up to align the

bones vertical
Flyer: keep head neutral, extend and unify
the body
Spotter: lift flyer straight up to align

the bones vertically
Flyer: keep head neutral, extend and
unify the body
FOREARMSTAND A.T.B. 5
Spotter: tries to pull flyers legs apart
Flyer: try to keep legs unified
HANDSTAND A.T.B. 5
Spotter: try to pull flyers legs apart
Flyer: try to keep legs unified
FOREARMSTAND A .T.B. 6
Spotter: steps off the flyers hands and
supports the minimum
Flyer: eyes to thumbs, find balance
HANDSTAND A.T. B . 6
Spotter: support the minimum
Flyer: eyes to thumbs, find balance
Handstand Entries
TucK juMP
,_ _
TucK juMP
Handstand Bailouts
BAIL OuT
BAIL OuT 2
BAIL OuT
Safety Police: goddess stance, Flyer: cartwheel the legs down

hands on hips, opposite side Saftey Police: follow the Ayers
hip as they come down
to the vertical leg
Flyer: step the hand furthest

from the spotter forward
Saftey Police: steer the hips of
the flyer down as they lift up
STRADDLE jUMP 2
STRADDLE jUMP
straddle press legs

in and up

KICK/PRESS TO
HANDSTAND
hands shoulder width, shoulders

over wrists, one leg just off the
ground the other ready to bend
and jump
PIKEjUMP2
PIKE jUMP 3
pike press up
KICK/PRESS TO
HANDSTAND 2
bottom leg jumps, the top leg swings

to vertical
Handstand
88
Acrobatic Training Philosophy

PH I LOSOPHY OF ACROBATICS
path for it hap pening in the physical world. For visualization to work,
you first have to believe it is possible.
The 3 elements of any physical practice:

Do What Works: If you are struggling while trying acrobatic skills
Strength, Flexibility and Technique
Strength and Flexibility are first a practice of the mind, then a
practice of the body. Confidence, determination and sensitivity are
there are two possible reasons:

1.
You are not using the best technique for you and your partner
2.
You are not ready to attempt the skill
the elements that must be present before feats of high-level strength
Either way consistent, intense struggle does not have to be a part
and flexibility can be experienced consistently. Physical strength and
of your acrobatic practice. Hard work and struggle are not the same
flexibility can be increased gradually over time. The trick is learning
thing. Struggle causes injuries, increases frustration and takes the
how to channel what you already have. Strength is all about will.
beauty away from the skill. Hard work is a discipline that will help
Flexibility is a practice of letting go. There is no way to quantify how
build strength and improve technique if channeled by a good coach.
much will you can have or how much you can let go. Once this
infinite potential is realized in the mind, the athlete is ready to train
the body.
Acrobatic technique is different from many other disciplines because

a major determining factor is the interaction of different bodies.
The way one pair does an element might be very different than
Confidence: Confidence is a virtue that acrobatics helps cultivate.
another pair due to bone structure, strength, flexibility, etc. When
As students become more confident they rise to their true potential.
attempting acrobatic skills, one should let go of the idea of right and
Students over time can realize the power of connecting mind and
wrong technique. The trick is to keep trying ways that make th ings
body. Confidence starts in the mind then is realized into the physical
easier for both partners. Learning about your partner's strengths
world through the body. Huge leaps can be made in the physical
and difficulties will help you find ways to highlight your common
practice by first deciding and knowing in the mind that you are
strengths and support your challenges.
capable of that skill. This illustrates confidence in yourself, which

will naturally begin to extend to confidence in others. Both types of
confidence are needed to do acrobatics . In order to have confidence
in others, the element needed is trust.
PARTNER
Trust; The Currency of Acrobatics: Trust is earned over time and can
To excel in the practice of acrobatics one key component is training
be seen like a bank account. Every good experience can be seen as a
regularly with a partner. The more time and energy you invest in
deposit and accrues interest. If a partner is not supported in the way
each other and training consistently, the easier and smoother
they need , it is a withdrawal. The transaction amounts can vary; a
everything becomes. There are many elements that go into choosing
small deposit may be a smile and hug, while a huge withdrawal may
an acrobatic partner:
be dropping a partner to the hard floor. When deciding about trying

an acrobatic skill the flyer will run a credit check, the riskier the move
the more trust must be accrued . Spotters serve as insurance to aid in
the trust building process. Over time partners become established
in their ability to communicate and trust. These ideas and actions
form the foundation that AcroYogis can grow from.
Concentration: One of the gifts of acrobatics is its built in demand
for concentration. In the eight steps of yoga concentration , is the 6th
step. In acrobatics trust is an entry level requirement. In acrobatics
if you have another body in your hands, most of the time you wi ll be
very present and concentrated. This high degree of concentration
can be applied in all aspects of the practice but is most common to
acrobatics.
Visualization: Visualizing is a powerful compliment to concentration.
Visualizing is very effective while the body is still and calm . With eyes
closed , the ability to see the skill being done in your mind paves the
89
CHoosiNG AN AcROBATIC
Size - The ty pe of acrobatics you want to' do will help you choose a
partner fit for your style. If you want to do mainly counterbalances
and intro level elements, similar size might be best. If you are
doing high-level acrobatics (hand to hand etc.) with a lot of flight, a
difference in size will work better.
Strengths & Weaknesses - Identify the strengths and weaknesses
of both you and your potential partner. You can either choose a
partner that has similar strengths, so you are both very good at some
aspects, or choose a partner that has strengths where you do not.
The clearer you are as to what type of acrobatics you want to train
will help you choose a suitable partner.
Personality - If you have a sense of what types of personal ities you
get along with and which ones drive you crazy; do a bit of research
about your potential partner to see where they fall. It is much more
enjoyable to train acrobatics with someone you get along with .
Acrobatic Training Philosophy

Level of Dedication- This one is very important. If you both know how
many times a week you want to train and what you want to learn, the
journey will be more smooth and enjoyable. If your expectations are
very different, problems will arise, as the training gets more intense.
Coach vs. Guru - A guru can be translated as the one who takes
away the darkness. In the Indian tradition the guru is the one that
leads disciples further down the yogic path . The guru has seen and
felt what the student is searching for. They are the well of wisdom
and guidance to make the journey more direct, and keep the yogi on
track. The yogi surrenders to the guru and takes on the words of the
teacher as truth . Once these truths are tested in the world they can
become knowledge, and through meditation they can be realized as
wisdom .
In Acrobatics it is a similar role with differing themes . To learn how
to do death-defying stunts the student must trust their coach with
their life. The coach will teach enough building blocks for the student
to understand the foundation . From that foundation the skill can
be attempted and felt with the coach's assistance. With enough
repetition and faith , the student attempts the skill by themselves,
real izing their full potential. These relationships are ancient and
sacred . They are built on respect and love. The inner coach, like the
inner guru is the true teacher. Any great teacher will lead you to this
conclusion .
90
Acrobatics and Spotting
DUCK SQUAT SPOTTING STANCE
GODDESS SPOTTING STANCE
WARRIOR 1 SPOTTING STANCE
Feet wider than hips, knees in ,
Feet wide, legs bent, hips low,
Front leg bent, back leg rooted,
hands at your hip height
spine straight, hands sensitive
spine straight, hands sens itive
FRONT 81 RD LEG PRESSES FREE WITH SPOTTER

SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when
pressing by bending knees to stay beneath flyer
BACK PLANK LEG PRESSES WITH SPOTTER

SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when pressing
by bending knees to stay beneath flyer
91
Acrobatics and Spotting
SCISSOR LIFT TO STAR MOUNT WITH SPOTTER

BASE: Hand to hand grip, place feet on flyer's
shoulders with toes around collar bones
FLYER: Place shoulders on base's feet, hand to
hand grip, lift one leg
SPOTTER: Support flyer's leg from the outside,
offer resistance for the flyer to press against
FLYER: Press into spotter support to lift

other leg straight up, tuck chin to chest
SPOTTER: Resist flyer as they press,
step forward to aid flyer find hips over
shoulders
BASE: Be patient for flyer's hips to lift
over shoulders
BASE: Extend legs to straight when flyer's hips are

over shoulders, press heels together behind flyer's
head, extend arms straight and wide
FLYER: Tuck chin to chest, then press head into
base's shins, squeeze legs together, straight arms
SPOTTER: Transition from flyer's leg to standing
behind base with hands at flyer's hips. Hands on
hips for dismount
jUMP TO STAR MOUNT WITH SPOTTER

SPOTTER: Hands around the flyer's
hipbones, Warrior 1 stance
SPOTTER: Step back as the flyer

inverts, hands stay at the hips
until the base and flyer are set
SPOTTER: Stand behind base & flyer, hands

supporting the hipbones. Step back to
Warrior 1 with hands on hipbones to
support the flyer coming down
92
Foundational Acrobatics
DOUBLE PLANK
DOUBLE PLANK WITH ONE LEG
DOUBLE TABLE
DOUBLE TABLE WITH ONE LEG
BASE: Place feet flyer's
FLYER: Lift one leg, keep
BASE: Find strongest position for
FLYER: Lift one leg, keep lifting hip
shoulder width distance
body unified
hands, lift hips, head back
BASE: Lift one leg, keep lifting
FLYER: Tops of feet rest on
FLYER: Place hands on base's
base's shoulders, unified body,
shoulder, one foot at a time on
hands on base's ankles
base's knee, transition slowly to

lift hips
TITIBASANA ON CHILD'S POSE
BEACH
STRADDLE PEACOCK ON CHILD'S POSE
BASE: Find tabletop with shoulders over
BASE: Find comfortable Child's Pose
BASE: Find comforrable Child's Pose
wrists, hips over knees
FLYER: Place hands on base's lower back,
FLYER: Place hands on base's lower back,
FLYER: Hook one forearm under base's
fingers point down the back, lift legs up,
fingers point down the back, elbows
midsection , wrap other arm around
strong and straight arms and legs
together at stomach, body strong, legs in
shoulder of base's near side, neck hangs
open straddle, body unified
free, jump or press to piked straddle
SHOULDERSTAND ON BRIDGE
BASE: Place feet directly under knees, lift hips, take arm variation that supports hips staying lifted
FLYER: Place hands on base's knees, position shoulders on base's thighs toward the knees, jump or
press into shoulderstand
93
Foundational Acrobatics
DOWN DOG COUNTERBALANCE

BASE: Place feet one at a time on flyer's hip crest, feet turned out, bend knees with arms at down dog angle, keeping upper body stable
and strong, straighten legs pressing flyer back, maintain eye contact
FLYER: Enjoy gentle spinal traction, allow weight to shift back into heels until arms lift up, then continue leaning weight onto base's feet
to stabilize the couterbalance, maintain eye contact
TITIBASANA ON PLANK
)EDI PLANK
PLANK ON KNEES
SCORPION ON KNEES
BASE: Set up in Plank, shoulders
BASE: Lay on back, place hands
BASE: Lay on back, place
BASE: Place hands on flyer' s
over wrists, feet as wide as flyer's
over shoulders, separate feet as
hands over shoulders, bend
knees
shoulders, body strong
wide as flyer' s shoulders
knees, feet flat on floor, feet
FLYER: Hips lower, bend knees
as wide as flyer's shoulders
to reach toes towards head,

arch spine
ankles, bend knees and lift
shins, lift one leg at a time into
FLYER: Place hands on
legs as high as possible, then
base's hands, strong body
base's knees, lift one leg at
straighten legs
a time into base' s hands
SPLIT CouNTERBALANCE
STRADDLE VARIATION
BASE: Keep knees together, place them towards flyer's low back. Slowly lean
TRANSITION FROM SPLIT COUNTERBALANCE
back while holding onto flyer's heel, arm extended, knees bending
FLYER: Present both legs to base, moving slowly
FLYER: Begin in squat, tight interlaced grip above base's hips behind back.
BASE: Hold both heels of flyer, press them down and back
Present one leg to base, to counterbalance slowly lift other leg and extend
just above the floor, keep legs in a spit
94
Partner Inversions
PARTNER HANDSTAND
PARTNER FOREARM STAND (OPTIONAL STAG VARIATION)
Place hands far enough apart that you

have space to kick and connect feet. Use a
spotter to help connect the feet, find arch
through the spine
Set up for forearmstand with enough space between you to kick up. Connect feet,
allow an arch throught the spine. Option to take stag one leg
FRONT L I MBER
L HANDSTAND ON DOWN DOG
BAS E: Stand with feet hips width

apart, ready to receive flyer's
legs and latch over shoulders
FLYER: Kick up to handstand
hands beh ind base's feet, bend
legs over base's shoulders
Find comfortable Down Dog

Place hands facing away from base, lift
one leg at a time and point toes over sacrum.
Stack shoulders over wrists, keep arms straight,
option to lift one leg
BASE: Lever flyer's lower legs by bending over

shoulders, begin to bend forward with a flat
back until flyer's feet come to the ground . Keep
legs as straight as possible on transition
FLYER : Relax arms overhead and enjoy the
backbend . As feet near the ground bring arms
by side waist to come to standing
BASE:
FLYER:
HANDSTAND ON DOWN DOG (OPTIONAL SCORPION VARIATION)
FLYE R: Place hands directly on top base's hips, slide torso

onto base's spine. Keep shoulders behind wrists like
down dog arms, press chest back into spine of base
95
FLYER:
Lift legs up, lift head, gaze up
Partner Inversions
BACK PACK WALKOVER
BAsE: Bend knees to place buttocks underneath flyer's buttocks, interlace elbows to lift flyer, begin to transition towards a forward fold
slowly, keep legs extended when placing flyer's hands on the ground
FLYER: Place buttocks above base's buttocks, allow feet to raise off the ground, take arms overhead, look towards the ground. Place hands
down and split legs to dismount through walkover
jEDI Box
HALF LOOP DE LOOP
BASE: Lay on ground, stack wrists over shoulders, separate feet flyer's shoulder width apart.
Simultaneously engage core and stack shoulders over hips. Option to release one arm
FLYER: Place hands on base's ankles, lift one leg at a time, place feet in base's hands, strong
body. Simultaneously engage core and stack hips over shoulders. Option to release one leg
BASE: Place feet flyer's shoulder width apart,

raise one arm to recieve flyer's leg
FLYER: Facing away from base, place hands
near base's ankles. With control, halffront
walkover to present one leg to base. Split and
lean away with free leg, pressing heart forward
away from base
SOLE TO SOLE HANDSTAND WITH LEG VARIATIONS
Start in a short down dog facing away from one another. Connect toes, press actively into feet to extend to standing splits variation.
Maintain press to lift other leg and extend overhead. Keep arms straight. Option to take leg variations such as half scorpion
96
Standing Counterbalances
REVERSE THIGHSTAND WITH SUPPORT
Legs bent, feet parallel on base's

lower back
BAS E: Thighs parallel to floor, forearm grip
FLYE R: Feet turned out place one foot on
base's thigh , forearm grip
SuPPORT:
REVERSE THIGHSTAND COUNTERBALANCE WITH SUPPOf..
F LYER: Step straight up onto base's

thighs, feet turned out
BASE: Stay steady as flyer steps up
THIGHSTAND COUNTERBALANCE WITH SUPPORT
THIGHSTAND WITH SUPPORT
Legs bent, feet parallel on

base's lower back
BAS E: Thighs parallel to floor, hands
on flyer's hips
F LYE R: Place toes on base's knees,
hold base's wrists
SUPPORT:
97
Lean chest back and straighten arms

Lean back with straight body, straight arms
SuPPORT: Feet hover as base's back peels away
BAS E:
FLYER:
FLYER: Step straight up onto base's

thighs, feet parallel
BAS E: Support flyer's hips, pull in
and down on flyer's legs
BAS E: Transition to forearm grip, lean chest

back and straighten arms
F LYER: Transition to forearm grip, lean
forwards with straight body, straight arms
SuPPO RT: Feet hover as base finds ease with
the counterbalance
Standing Counterbalances
REVERSE THIGHSTAND WITH CROSSED ARMS WITH SUPPORT
Su PPORT: Legs bent, feet parallel

on base's lower back
BASE: Thighs parallel to floor,
crossed forearm grip
F LYER: Feet turned out place one
foot on base's thigh, crossed
forearm grip
Step straight up onto

base's thighs, feet turned out
BASE: Stay steady as flyer
steps up
FLYER:
REVERSE THIGHSTAN D CouNTERBALANCE WITH CROSSED ARMS WITH SUPPORT
BASE:
F LYER:
Lean chest back and straighten arms

Lean back with straight body, straight
arms
SuPPORT:
Feet hover as base's back peels
away
BASE: Release one arm, keep

connected arm straight
FLYER: Release one arm,
maintain straight body, keep
connected arm straight
S uPPORT: Feet hover if base's
back peels away
FLAG
BASE: Thighs
parallel to floor, forearm grip

Place one foot across base's thighs
turned out, forearm grip
FLYER:
F LYER: Step straight up onto base's

thighs, lift other leg and hook foot
behind base's neck, flex foot
BASE: Stay steady as flyer steps up,
press head into flyer's foot
BASE: Wrap arm around flyer's heel, hold leg

and anchor, lean chest back, lift other arm
F LYER: Lean away with straight body, body
stays in one plane, keep foot flexed
98
Hand Balancing
Low FOOT TO HAND
Box
HIGH FOOT TO HAND
BASE: Wrists over elbows, elbows close to body, strong grip
BASE: Arms straight, wrists over

shoulders, legs at 90 degrees
FLYER : Hips over ankles, shoulders
over wrists
BAS E: Arms straight, wrists

over shoulders, strong grip
FLYER: strong legs, squeeze
midline, gaze up
Hold base's feet, offer one foot to set grip then press
into arms to stand. Point through toes and squeeze midline
with legs, gaze up
F LYER:
THRONE TO REVERSE Low FooT TO HAND
BAS E: Two fingers under feet, bend elbows and stack wrists
BASE: Hand to hand grip, arms straight, writst over shoulders , tight grip
over elbows , squeeze elbows in close to body, strong grip

FLYER: Body tight, squeeze feet in towards each other, flex
feet slightly, gaze up
Step through one foot at a time to base's knees, squeeze knees in

and up towards chest, gaze up
STRADDL E SIT, TITIBASANA
FLYER:
L SiT
BASE: Arms straight, wrists over shoulders, strong grip
BASE: Arms straight, wrists over shoulders, tight grip
Draw legs outside arms lifting knees towards shoulders ,

extend legs stra ight and strong into piked straddle
Step through one foot at a time to bases's knees, squeeze legs

together and up towards chest
F LYER:
99
TUCK SiT
FLYER:
Pyramids
SUPER YOGI PYRAMID
DOUBLE BIRD PYRAMID
DOUBLE Bow PYRAMID
HIGH FLYING WHALE PYRAMID
DOWN DoG PYRAMID
CANDLESTICK PYRAMID (STAG)
HIGH FLYING WHALE PYRAMID (STAG)
HIGH FLYING WHALE PYRAMID (HANUMAN)
WARRIOR ON DOWN DOG PYRAMID
DOWN DOG SCORPION PYRAMID
100
Flying Vocabulary
101
FRONT BIRD
FRONT PLANK
Bow
REVERSE FRONT Bl RD
BAT
STRADDLE BAT
FLOAT! NG PASCH I
VASH/VISHNu ' s CoucH
THRONE
STRADDLE THRONE
REVERSE THRONE
REVERSE STAR : DOUBLE STAG
SIDE STAR (SUPPORTED)
SIDE STAR
CANDLESTICK
Flying Vocabulary
BACK BIRD
BACK PLANK
BOAT
REVERSE BACK PLANK
STAR (PI KED STRADDLE}
STAR (OPEN STRADDLE}
STAR (PIKE}
STAR (TuCK)
STAR (STRAIGHT)
FREE STAR (OPEN STRADDLE}
FREE STAR (STRAIGHT)
REVERSE STAR (STRAIGHT)
SHOULDERSTAND (STRAIGHT)
SHOULDERSTAND
REVERSE SHOULDERSTAN D
(PI KED STRADDLE}
(SPLIT)
REVERSE SHOULDERSTAND
102
Flying Presses
FRONT BIRD LEG PRESSES (WITH HANDS)

BASE: Place feet parallel on flyer's hips, take
BASE: Bend knees to receive flyer,
BASE: Bend knees and arms simultaneously as low as possible
reverse hand to hand grip
then extend legs to straight, feet
while maintaining stability, then extend to stacked position
FLYER: Keep arms straight and body engaged
over !lips, wrists over shoulders
FLYER: Keep arms straight, gaze up, strong body with chest and
FLYER: Arms straight, lift chest
legs lifting
and legs , gaze up
Bow LEG PRESSES

BASE: From Front Bird point toes to lift flyer's chest and
BASE: Bend knees as much as possible, then extend legs to straight,
release grip. Keep hands stacked over shoulders
feet over hips, adjust toe point to keep flyer' s chest elevated
FLYER: Reach one hand at a time to ankles and kick feet
FLYER: Maintain body position by kicking feet into hands
into hands to lift chest
THRONE LEG PRESSES

BASE: Bend knees , place feet parallel on flyer's thighs,
BASE: Press legs to straight, transition hands to support soles of flyer's
hold flyer's ankles

FLYER: Stand by base's shoulders facing away, reach for
feet, extend arms over shoulders, feet over hips. Bend knees and arms
simultaneously as much as possible whilst maintaining stability, press
the feet, begin to sit
back to straight and stacked

FLYER: Allow legs to bend so knees stack over base's wrists and shoulders
stack over base's hips. Maintain body position
103
Flying Presses
FRONT BIRD LEG PRESSES (FREE)

BASE: From Front Bird point toes to lift flyer's
BASE: Bend knees as much as possible,
BASE: Extend legs to stacked position
chest and release grip. Keep hands stacked
then extend legs to straight, feet over hips
FLYER: Maintain body position
over shoulders
FLYER: Keep lifting chest and legs, gaze up
FLYER: Reach arms along sides, lift torso and

legs, gaze up
FRONT BIRD TO BIRD ON HANDS

BASE: From Front Bird bend knees, turn toes out to place hands on flyer's hips. Place index and middle finger on belly, ring and pinkie
finger around outer hip, flyer's hip bone should rest in center of palm . Remove legs, stack wrists over shoulders, keep arms straight.
Bring feet to flyer' s th ighs, heels turned out, then work feet under flyer's hips to remove hands, press legs back to straight, feet over hips
FLYER: Maintain body position, lift chest and legs, gaze up
104
Flying Presses
BACK PLANK LEG PRESSES
BAS E: Feet parallel on flyer's lower back, bend knees to receive

weight, extend legs straight, hands stay stacked over shoulders
FLYER: Hold base's ankles, maintain hol low body during mount,
gaze towards toes, reach arms alongside legs
BASE: Bend knees as much as possible whilst maintaining

stability to press flyer, keep arms over shoulders, move legs at
the same time, extend back to straight
FLYER: Maintain body position, engage core
BACK PLANK TO BACK PLANK ON HANDS
BAS E: Bend knees as much as possible whilst ma intaining stability to press flyer, turn toes out to place hands on low back
and buttocks, stack wrists over shoulders, keep arms straight, press through fingers to lift flyer's chest. Bring feet back
with heels turned in, then transition foot back underneath flyer, press legs to straight
F LYE R: Maintain body position, engage core. Can be done in tuck, boat or back plank variations
lOS
Flying Presses
BACK PLANK LEG PRESSES {TUCK VARIATION)
BASE: Feet parallel on flyer's lower back, bend knees to receive

FLYER: Hold base's ankles, maintain hollow body during mount,
tuck knees into chest, reach arms alongside legs
BASE: Bend knees as much as possible whi l st maintaining

stability to press flyer, keep arms over shoulders, move legs
at the same time, extend back to straight
FLYER: Maintain body position, engage core
BACK PLANK LEG PRESSES (BOAT VARIATION)
BASE: Feet parallel on flyer's lower back, bend knees to receive

FLYER: Hold base's ankles, maintain hollow body during mount,
draw knees into chest with legs extended, reach arms alongside legs
BASE: Bend knees as much as possible whilst maintaining

stability to press flyer, keep arms over shoulders, move
legs at the same time, extend back to straight
F LYER: Maintain body position, engage core
106
Flying Presses
CANDLESTI CK: TUCK PRESS

BASE: Bend knees place feet close to hips , extend arms straight
FLYER: Place shoulders in base's hands, hold base's thighs ,
stra ight arms, walk feet to base's knees . Press or jump legs up
through tuck to straight
BASE: Ma intain straight arms , press through fingert ips to keep flyer
connected to thighs
FLYER: Keep arms straight, tuck knees into chest with control then
extend back to straight
STAR TUCK PRESSES

BASE: Begin in Star, ma intain heels together, legs straight and arms straight
FLYER: Begin in Star, tuck knees in towards chest, keep arms straight, press back of head into base's sh ins, extend back up to stra ight
STAR PIK E PR ESSES

BASE: Begin in Star, maintain heels together, legs straight and arms straight
FLYER: Begin in Star, pike legs in towards chest, keep legs straight and lower as much as possible, keep arms straight, press back of head into
base's sh ins, extend back up to straight
107
Flying Presses
1
CANDLESTICK : STRADDLE PRESS
BASE:
FLYER:
From candlestick maintain straight arms, press through fingertips to keep Ayer connected to thighs
From candlestick keep arms straight, straddle press legs as low to ground as possible then back up to straight
STAR STRADDLE PRESSES
Begin in Star, maintain heels together, legs straigh and arms straight
Begin in Star, press legs through piked straddle as low as possible, keep legs straight, keep arms straight, press back of head into base's
shins, extend back up to straight
BASE:
FLYER:
108
Mounts and Dismounts
FRONT BIRD MOUNT
FRONT BIRD DISMOUNT
BASE: Place feet parallel on flyer's hips, take reverse hand
BASE: Keep arms straight, bend knees to place flyer's feet on the
to hand grip, bend knees to receive flyer. Extend legs, feet
ground close to hips
over hips, wrists over shoulders
FLYER: Maintain body position, arms straight
FLYER: Keep arms straight and body engaged, gaze up
CANDLESTICK STEP TO KNEES MOUNT
CANDLESTICK PIKED STRADDLE MOUNT
BASE: Bend knees place feet close to hips, extend arms straight
BASE: Bend knees place feet close to hips, extend arms straight
FLYER: Place shoulders in base's hands , hold base's thighs,
FLYER: Place shoulders in base's hands, hold base's thighs, straight arms,
straight arms, walk feet to base's knees. Press or jump legs up
step feet to outside of base's legs, press or jump through piked straddle
CANNONBALL MOUNT
109
BASE: Extend legs straight, feet over
FLYER: Tuck knees into chest,
FLYER: Pull with arms, lift hips, extend legs up and out to
hips, place hands on flyer's shoulders
keep arms straight
piked straddle, use hands to draw base's feet to hip crease
FLYER: Hold the outside of base's feet
BASE: Keep legs straight,
BASE: Press up on flyer's shoulders, keep legs stra ight, turn
and lower torso, extend arms
support flyer's shoulders
feet in slightly to find Straddle Bat foot placement
THRONE MOUNT
THRONE DISMOUNT
BASE: Bend knees, place feet parallel on flyer's thighs,

hold flyer's ankles. Press legs straight, transition hands to
soles of flyer's feet, straighten arms
FLYER: Stand by base's shoulders facing away, reach for
the feet, sit onto the feet
BASE: Trans ition hands to cup behind flyer's ankles, bend knees
and place flyer's feet close to shoulders, release the feet
FLYER: Maintain body pos ition , hold base's feet for extra support
when coming to stand
jUMP TO STAR
BASE: Hand to hand grip, place feet on flyer's
shoulders with toes around collar bones
FLYER: Place shoulders on base's feet, hand to
hand grip, step close to base's shoulders
FLYER: Press or jump legs to piked

straddle, tuck chin to chest, press
through arms
BASE: Be patient for flyer's hips to lift
over shoulders, press through arms
BASE: Extend legs to stra ight when flyer's hips

are over shoulders, press heels together beh ind
flye r' s head , extend arms straight and wide
FLYER: Tuck chin to chest, then press head into
base's shins, engage legs, straight arms
CANNONBALL DISMOUNT
BASE: From Straddle Bat, place hands on flyer's shoulders ,
keep legs straight
FLYER: Hold outside of base's feet, tuck knees into chest
FLYER: Straighten arms, mainta in tuck shape, roll through

bases legs , bring feet to the ground
BASE: Support flyer's shoulders, keep legs extended as flyer
rolls through, press flyer's chest up
110
FLOATING PASCH! DISMOUNT

BASE: From Bat, bring hands to flyer's upper arms close to the
shoulders, bring legs forward to stack wrists over shoulders, keep
arms straight, allow feet to release from flyer's hips
FLYER: Keep strong grip on front of ankles , extend legs straight,
squeeze legs together, straight arms, strong press through hands
BASE: Release feet, flex feet behind flyer's back, use toes as a back spot
to stop them rolling back if necessary, find balance, then tip flyer's feet
to the ground
FLYER: Maintain body position, straight arms and legs
WALKOVER TO BACK BIRD MOUNT - STANDING DISMOUNT

BASE: Support flyer's upper arms with
hands , draw legs forwards ready to receive
flyer's low back, feet parallel , flex feet, place
toes at flyer's waistband
FLYER: Place hands by base's shoulders ,
front wa lkover with control , keep split
through legs wh ile base connects feet
BASE: Bend knees to receive flyer, press legs to

BASE: Bend knees to place flyer's feet to
straight, feet over hips , use hands to lift flyer's arms the ground
FLYER: Clasp base's ankles , allow feet to
FLYER: Stag one leg, extend other leg, active
backbend . Once hands leave the ground reach them come to the ground
along sides of base's legs
WALKOVER TO THRONE MOUNT

BASE: Feet para llel , ready to receive flyer.
Place feet on buttocks and thighs as flyer's
legs come over, ra ise hands
FLYER: Place hands close to base's hips ,
controlled front walkover, arms stra ight,
keep legs split to slow the entry
11 1
BASE: Bend knees to receive flyer's weight, clasp

outsides of flyer's feet and pull down to offer
resistance for flyer to sit up. Straighten legs once
flyer's chest has lifted
FLYER: Flex feet into base's hands to lever chest up,
curl shoulders over hips
BASE: Transition hands to soles of flyer's feet,

stack feet over hips, wrists over shoulders,
straight arms
FLYER: Allow knees to bend , shoulders over hiJ=
jUMP TO REVERSE STAR
BASE: Place feet on flyer's shoulders, toes towards shoulder blades ,

receptive through legs as flyer leans in
F LYER: Place shoulders on base's feet, place hands on backs of
base's legs, fingers point down, squeeze elbows in, lean weight
forwards to begin the jump
F LYER: Press of jump hips over shoulders, press down

through arms, squeeze elbows in, gaze down at base
BAS E: Wait for flyer's hips to be over shoulders, then press
legs to straight, feet stacked over hips
.J
BACK BIRD MOUNT - WALKOVER DISMOUNT
BAS E: Feet parallel, toes at waistband, heels on buttocks, raise arms . Bend
knees until hands connect to flyer's shoulders
FLYER: Step close to base's hips facing away, reach back for base's ankles,
thumbs turned in. Lean weight back, when feet leave the ground stag one leg
BAS E: Transition hands from flyer's shoulders to upper

arms , bend knees, place flyer's hands on the ground
close to shoulders, press toes to help flyer transition
F LYER: Place hands on ground , straight arms, split legs
to bring hips over shoulders, walkover out
BACKWARD ROLL TO REVERSE SHOULDERSTAND MOUNT
BASE: Sit in tuck with feet on

the ground , place hands on
flyer's shoulders
FLYER: Sit on top of base's
feet, tuck knees into chest,
hold base's ankles
BAS E: Begin to roll towards back, bend knees

into chest, flex feet to scoop flyer's hips, draw
flyer's shoulders into hands
FLYER: Follow momentum to roll back, keep
knees in tuck, gaze towards toes, maintain
hold of base's ankles
BASE: Extend legs and arms to press flyer into

shoulderstand, wrists over shoulders , ankles over hips
F LYER: Extend arms to press base's legs away, extend
legs up, squeeze legs together, gaze up
112
CARTWHEEL TO STRADDLE BAT

BASE: Hand to hand grip, extend leg to the side to meet flyer,
turn foot to line up beneath flyer's hipbone
FLYER: Step close to the side of base's hip, angle toes towards
base's hip, hand to hand grip
BASE: Bend knee in to receive flyer, press through arms, extend legs,
place other foot in flyer's opposite hip crease
FLYER: Lean weight into base's foot, press through arms, pike lower
leg to create shelf, extend top leg up and over, keep body in one plane.
Place other leg onto base's foot
CARTWHEEL TO VISHNU'S COUCH

turn foot to line up beneath flyer's hipbone. Bend knee in to
receive flyer for Straddle Bat
base's hip, hand to hand grip. Lean weight into base's foot,
press through arms, pike lower leg to create shelf, extend top
leg, keep body in one plane
113
BASE: Press through arms, bend knee to allow flyer's chest to lift, place
free foot towards flyer's armpit, press legs away from each other
FLYER: Press through arms to lift chest, maintain pike through bottom
leg, extend other leg up, keep body in one plane
BASE: Press through arms to release foot, bend other leg to place flyer's feet to ground
FLYER:
Press through arms to lift chest, place feet to the ground close to base's hip
BASE: Extend both legs, press

legs away from each other
FLYER : Transition lower hand
to base's leg, extend top arm
BASE: Transition to hand to hand grip, press through arms, bend leg to place flyer's feet to the ground
FLYER:
Transition to hand to hand grip, press through arms, place feet to the ground
114
CARTWHEEL TO STAR WITH STEP
turn foot to line up beneath flyer's hipbone
base's hip, hand to hand grip
BAS E: Bend knee in to receive flyer, press through arms, extend

leg, bend opposite knee to place foot on flyer's shoulder
FLYER: Lean weight into base's foot , press through arms, pike
lower leg to create shelf, extend top leg up and over, keep body
in one plane.
(ARTWH EEL TO STAR
BASE: Hand to hand grip, extend leg to the side to meet

flyer, turn foot to line up beneath flyer's shoulder
F LYER: Step close to the side of base's hip, angle toes
towards base's hip, hand to hand grip
115
BASE: Bend knee in to receive flyer, press through arms , extend leg, bend
opposite knee to place foot on flyer's shoulde r
FLYE R: Lean weight into base's foot , press through arms , pike lower leg
to create shelf, extend top leg up and over, keep body in one plane.
BASE: Press through arms and legs, transition foot from flyer's
hip to shoulder, press to star, extend arms straight and wide,
press heels together behind flyer's head
FLYER : Maintain piked straddle, press through arms, once in
star extend arms straight and wide, press head into base's
shins in Star
BASE: Press through arms and legs, press to star,

extend arms straight and wide, press heels together
behind flyer's head
FLYER : Maintain piked straddle, press through arms,
once in star extend arms straight and wide, press
head into base's shins in Star
BASE: Bend elbows, find active resistance through arms, step one foot
to flyer's hip, press through arms to lift flyer's chest, bend knee to place
flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through leg
onto base's foot , press through arms to lift chest, step feet to the ground
BASE: Bend elbows, find active resistance through arms, step one foot out, press
through arms to lift flyer's chest, bend knee to place flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through legs, press
through arms to lift chest, step feet to the ground
116
Acrobatic Flying Transitions
PRASARITA TWIST TO STRADDLE BAT

BASE: From Folded Leaf thread Ayer's arm in front of legs, bend opposite
BASE: Keep arms straight, wrists over shoulders , step foot out of
knee, press shoulder until Ayer reaches footjleg for Prasarita Twist.
Ayer's hip. Place foot with heel turned in to inside of other foot on
Switch hands on shoulders, turn Ayer to stack wrists over shoulders
Ayer' s hip crease. Once foot is in place begin to straighten leg
FLYER: Reach for opposite footjlower leg, allow torso to twist open. Keep
FLYER: Hold onto footflower leg, ma intain pike through legs
pike through both legs
TURNTABLE
BASE: From Reverse Bat place one
BASE: Use arms to turn Ayer until able to straighten
BASE: Continue to turn Ayer using arms, with
hand between Ayer's shoulders ,
arms , shoulders over wrists. Step foot out, place to
support of foot. Place other foot in Ayer's hip for Bat
other hand at Ayer' s sacrum
inside of Ayer's hip crease with toes turned in
FLYER: Keep hold of ankles, look up towards own
FLYER: Keep hold of ankles, look
FLYER: Keep hold of ankles, tuck chin to chest
feet until arrived in Bat
up towards own feet
FRONT BIRD TO PIKED STRADDLE SHOULDERSTAND

BASE: From Front Bird raise hands to receive Ayer's shoulders . Keep arms
BASE: Keep arms and legs straight and stacked , use legs to pull
straight, wrists over shoulders
Ayer back if needed to keep wrists over shoulders
FLYER: Hold base' s ankles, place shoulders in base ' s palms, take legs to
FLYER: Straighten arms to press base's legs away, stack hips
piked straddle
over shoulders, keep legs in piked straddle. Pull base's feet into
hip crease to land in Folded Leaf
117

r
BASE: Catch flyer's hip crease with free foot, turn toes in slightly for Straddle Bat. Maintain arms straight
until both feet are in place with legs straight
FLYER: Release foot when base's foot has released, open into piked straddle, trace leg along horizon line
REVERSE TURNTABLE
BASE: From Bat place one hand

between flyer's shoulders, other hand
at flyer's sacrum and lift flyer's chest
FLYER: Keep hold of ankles, tuck chin
to chest
FRONT
B1 RD TO
BASE: Use arms to turn flyer until able to

straighten arms, shoulders over wrists.
Step foot out, place to inside of flyer's hip
crease with toes turned out
FLYER: Keep hold of ankles, look up
towards own feet
BASE: Continue to turn flyer using arms, with support

of foot. Place other foot in flyer's hip for Reverse Bat
FLYER: Keep hold of ankles, look up towards own feet
until arrived in Reverse Bat
STRAIGHT SHOULDERSTAND
BASE: From Front Bird raise hands to receive flyer's shoulders . Keep arms
straight, wrists over shoulders
FLYER : Hold base's ankles, place shoulders in base's palms, maintain a
straight body, legs engaged
Keep arms and legs straight and stacked

Straighten arms to press base's legs away, stack
hips over shoulders, keep legs squeezing together and
straight. Pull base's feet into hips to land back in Front
Bird
BAsE:
FLYER:
B1 RD TO SHOULDERSTAN D 180 TWIST TO STRADDLE BAT

BASE: From Front Bird raise hands to receive flyer's
BASE: Turn flyer's shoulders using arms, place foot in flyer's hip crease. Keep
shoulders. Keep arms straight, wrists over shoulders
turning torso using arms and leg until other foot can be placed in Straddle Bat
FLYE R: Hold base's ankles, place shoulders in base's
FLYER: Turn hips , look at base's foot, place foot into hip crease. Pike down
palms , take legs to piked straddle. Press arms straight,
through leg, thread arm in front of base's legs to twist torso, open top leg into
stack hips over shoulders
piked straddle for Straddle Bat
CANDLESTICK FREE SHOULDERSTAND 180 TWIST TO STRADDLE BAT

BASE: From Candlestick bend knees in towards chest until
BAS E: Keep arms stacked , press through fingertips to support wrists
wrists stack over shoulders
FLYE R: Transition one hand at a time to base's forearm above elbow,
FLYER: Ma intain piked straddle, stay engaged
thumbs in, fingers pointing towards the ground . Root down towards
the ground with hands, squeeze elbows in
SUPPORTED HELICOPTER
BASE: From Straddle Bat place hands on flyer's shoulders as the flyer turns . Begin
BAsE: Step free foot inside the other to catch flyer's hip
to press arms to stra ight and stacked, release foot as weight transfers to arms
crease, toes turned out, keep pressing flyer's shoulders,
FLYER: Begin to twist torso, maintain piked straddle, squeeze elbows in
transfer foot to other hip crease, catch in Folded Leaf

FLYER: Squeeze elbows in , ma intain piked straddle
119
BACK BIRD TO REVERSE SHOULDERSTAND

BASE: From Back Bird place hands on flyer's shoulders. Keep arms
straight, bring wrists over shoulders
FLYER: Hold base's ankles, place shoulders in base's palms, take legs
from stag into spl it
BASE: Use arms to twist flyer's torso, catch hip crease with
foot toes turned out, keep arms straight
FLYER: Ma intain piked straddle, squeeze elbows in, root
down through hands
BASE: Keep arms and legs straight and stacked, use legs to pull flyer
back if needed to keep wrists over shoulders
FLYER: Stra ighten arms to press base's legs away, split legs until hips
stack over shoulders then extend to stra ight. Pull base's feet in to
return to Back Bird
BASE: Continue to turn flyer's torso, catch flyer's hip crease with
other foot in Straddle Bat
FLYER: Maintain piked straddle, release contact with hands
when base has placed both feet
120
FREE SHOULDERSTAND TO REVERSE THIGHSTAND COUNTERBALANCE

BASE: From Free Shoulderstand, place feet flat on the ground hips width apart, press through fingertips to support wrists, keep arms straight
and stacked . Press through fingertips to anchor flyer towards legs
FLYER: Root down towards ground through arms, squeeze elbows in, pike legs down towards base's knees, use core to slow decent of legs .
Place feet with toes towards base's knees. Press through hands to lift chest as hips lower
STAR TO THIGHSTAND COUNTERBALANCE

BASE: From Star keep arms straight, draw wrists over shoulders, press strongly through arms. As flyer's feet come to knees, bend legs and take
feet towards the ground , feet hips width
FLYER: Keep arms straight, engage core to pike legs down slowly with control , curl legs in as close to chest as possible, stack shoulders over wrists.
place toes on base's knees
THIGHSTAND COUNTERBALANCE TO SiTTING ON SHOULDERS

BASE: From Thighstand Counterbalance bend arms to draw flyer directly over shins , press through arms with active resistance, tuck ch in to th read
head through flyer's legs, extend legs as flyer sits
FLYER: Draw body back in a plank until standing straight, bend knees to allow base to thread head through, sit onto base's shoulders, as feet
release from knees tuck them around base's torso
121
BASE: Transition to forearm grip, keep arms straight, curl up using core as flyer leans away, send knees over toes, as hips lift lean
shoulders away from flyer, keep chest lifted
FLYER: Transition to forearm grip, keep arms straight, sit hips towards heels, lean away from base, as base's hips lift, extend legs and
lean back
BASE: Keep arms straight, place feet hips width, use core to coil chest up as flyer begins to lean away, send knees over toes to lift hips,
lean shoulders away from flyer, lift chest
FLYER: Keep toes on base's knees, arms straight, sit hips towards heels and lean chest forwards , send knees over toes, pull away from
base with arms, send hips forward and extend legs
BASE: Bend knees, send hips backwards, place flyer's feet on knees. Take hands to flyer' s hips, draw head out, lean shoulders back,
extend arms, lift chest for Thighstand Counterbalance. Support flyer's hips until their feet are on the ground
FLYER: Place toes towards base's knees, lean hips into base's hands, send chest forwards, extend legs. To dismount, bring hands to
base's forearms , press through hands, hop feet to the floor
122
STRADDLE BAT STEP TO STAR

BASE: From Straddle Bat take hand to hand grip, find active resistance
through arms, elbows squeeze in. Remove one foot from flyer's hip,
bend knee deeply to place foot under flyer's shoulder
FLYER: Take hand to hand grip, squeeze elbows in, active resistance
through arms, maintain piked straddle
BASE: Press through arms and leg to make space to remove

second foot, place to flyer's shoulder. Press heels together
behind flyer's head, take arms wide and straight for Star
FLYER: Press through arms, keep hips over shoulders , maintain
piked straddle, press head into base's shins in Star
STRADDLE BAT POP TO STAR

BASE: From Straddle Bat take hand to hand grip, find active resistance through arms, elbows squeeze in. Bend knees and extend
legs to pop flyer up, keep legs close and feet ready to catch shoulders in Star
FLYER: Take hand to hand grip, squeeze elbows in, find active resistance through arms, maintain piked straddle
BARREL ROLL
BASE: From Straddle Bat take reverse hand to hand grip, bend
arms to allow flyer to twist torso, press through arms to remove
one foot and lift flyer's chest
FLYER: Twist torso, take reverse hand to hand grip, press through
arms to lift chest, circle top leg around
123
BASE: Press arms straight to lift flyer's chest, step foot to hip of
flyer's free leg crossing in front of other foot, toes turned out
FLYER: Press through arms to lift chest, reach top leg back, place hip
onto base's hip, lift other leg
STAR STEP TO STRADDLE BAT
BASE: Bend arms, squeeze elbows in , active resistance through arms . Step one foot out from
flyer's shoulder, trace along side body while bending opposite knee, place foot in flyer's hip
crease. Remove second foot and place in hip crease for Straddle Bat
FLYER: Bend arms, squeeze elbows in, active resistance through arms, maintain piked straddle
STAR POP TO STRADDLE BAT
BASE: From Star bend elbows, find active resistance through arms, elbows squeeze in . Bend knees and extend legs to pop flyer up, keep
legs close to flyer's side body, press through arms to slow decent, feet ready to catch hip crease in Straddle Bat
FLYER: Bend arms, squeeze elbows in, find active resistance through arms, maintain piked straddle, press through arms to slow decent
BASE: Stabilize flyer on one leg, hug leg in to center. Bend arms to allow flyer's chest to come down , place other foot
to hip crease for Straddle Bat
FLYER: Pike through leg on base's foot, turn torso to look between arms , circle other leg up and over, place leg on
base's foot for Straddle Bat
124
FRONT BIRD TO HIGH FLYING WHALE

BASE: From Front Bird bend one knee to turn foot out, extend leg as
flyer rolls onto foot
FLYER: Place one hand above base's knee on lower leg, extend arm,
BASE: Internally rotate foot to begin to turn flyer, reach

hand for flyer's bottom foot to help continue turning.
FLYER: Maintain straight arm, pike through lower leg,
pike down through bottom leg to create shelf for Side Star, keep body
extend through top arm and leg
in one plane, raise top arm and leg
BIRD TO THRONE TO HIGH FLYING WHALE

BASE: From Front Bird keep arms straight, release one foot, step to
BASE: Find active resistance through arms and leg to transfer
flyer's th igh
other foot to flyer's thigh. Bend both knees until flyer's

shoulders stack over hips, then extend legs
FLYER: Press through arms as base releases foot, draw knee towards
armpit to offer th igh, place foot on base's shin
FLYER: Keep arms straight, press through leg to draw other

knee forward , place both feet on base's sh ins and sit up
HIGH FLYIN G WHALE TO THRONE TO BIRD
125
BASE: From H igh Flying Whale switch grip to reverse foot to hand . Bend
BASE: As flyer sits up press through leg, use toes on other leg to help
arms, remove one foot, knee and place foot to flyer's upper thigh
flyer's chest rise. Step other foot to flyer's thigh , stra ighten both legs anr'
FLYER: Bend knees, bring arms by sides , engage core
arms for Throne

FLYER: Use core to sit up, allow knees to bend , stack shoulders over hips
BASE: Bring free foot to flyer's shoulders, turn toes in , extend through leg as flyer turns to support torso , turn toes down to wa istband ,
catch flyer 's top foot as it comes over. Extend arms, feet parallel either side of spine
FLYER: Keep arm straight to lift chest, maintain pike of lower leg, slowly bring top leg over once base's foot is at shoulders , lift hips.
Release arm once base transitions second foot in place
BASE: Transition hands to flyer 's feet , reverse foot to

hand grip for Throne. Bend arms and legs , trace one foot
down flyer's back, flex foot to receive flyer 's weight
FLYER: Keep core engaged , curl back onto base's foot
BASE: Transition second foot to flyer's shoulders, switch grip to

flyer 's ankles for High Flying Whale
F LYER: Keep core engaged until both base's feet are engaged, lift
one leg at a time to switch grip
BASE: Transition flyer 's feet to shins, take
BASE: Keep arms straight, step one foot to flyer's hip at a t ime for Front Bird
reverse hand to hand grip, keep arms straight

F LYER: Place feet on base's shins , take reverse
hand to hand grip
FLYE R:
Keep arms stra ight, lift one leg at a time and extend back to Front Bird
126
REVERSE BIRD STEP TO STAR
BASE: From Reverse Bird reach hands towards legs,

find d iagonal power line with straight arms from
shoulders to flyer 's shoulders, hand to hand grip
FLYER : Hand to hand grip with base, keep arms
straight, squeeze legs together with body engaged
BASE: Bend elbows, find active resistance through arms,

remove one foot, step to flyer's shoulder, bend knee
deeply. Wait for flyer 's hips to stack over shoulders, then
press through leg and step other foot to flyer's shoulder
FLYER: Bend elbows , find active resistance through arms,
split legs to tip hips up over shoulders , maintain spl it
and press through arms, squeeze elbows in
BASE: Press both legs to straight,

press heels together behind
flyer's head, straighten arms out
to the side
FLYER: Straighten arms and legs ,
press head back into base's shins
FRONT B1 RD STEP TO REVERSE STAR
BAS E: From Front Bird take reverse hand to hand grip. Find active
resistance in arms, remove one foot, bend knee to place foot to flyer's
shoulder
FLYER: Take reverse hand to hand grip, find active resistance in arms,
pike through leg as base removes opposite foot, allow shoulders to
come towards base's foot
127
BAS E: Receive flyer's weight by bending knee deeply, take hands widr
turn palms up to open flyer's shoulders . Once flyer's hips are over
shoulders press through leg to step other foot to flyer's shoulder
F LYER : Split legs to stack hips over shoulders, press through arms
BASE: Bend elbows, find active resistance through arms, remove

one foot, step to flyer's hip. Bend knee deeply. Press through arms
to lift flyer's chest, remove other foot and bring it to flyer's hip
FLYER: Bend elbows, find active resistance through arms, split legs
to bring hip to base's foot, lift chest and lift gaze
BASE: Press both legs to straight, ankles

over hips, transition flyer's hands to
lower legs one at a time
FLYER: Squeeze legs to straight, transition
hands to base's calves, fingers pointing
down, root towards the ground. Squeeze
elbows in , gaze at base's navel
BASE: Press arms towards diagonal power line, straighten

legs as flyer's chest lifts, flex feet to help lift flyer's chest
FLYER: Squeeze legs together, lift chest and gaze, straighten
arms to find diagonal power line. If possible, lift chest and
find hands free
BASE: Transition to reverse hand to hand grip, find active resistance in arms. Step one foot out from
flyer's shoulder, bend opposite knee to lower flyer, place free foot at flyer's hip, flex foot to receive
flyer's torso. As weight transfers bend knee and press through arms to lift flyer's chest, remove
second foot and place at flyer's hip for Front Bird
FLYER: Transition to reverse hand to hand grip, find active resistance in arms, split legs to lower one
hip to base's foot. Press through arms to lift chest, lift gaze
128
CORKSCREW
BASE: From Folded Leaf take hand to hand grip as flyer turns
torso, find active resistance through arms . Turn flyer with hips,
step one foot out from hip, bend knee deeply, place foot on
flyer's shoulder
FLYER: Turn torso, take hand to hand grip, find active res istance
through arms, maintain piked straddle through l'e gs
BASE : Press through leg to release other foot. Press through arms, place
other foot to flyer's shoulder, extend both legs and arms for Star
F LYER : Press through arms, maintain piked straddle through legs
CATHERINE' S WHEEL
BASE: From Front Bird raise arms ready to receive flyer's shoulders.
Bend knees to lower flyer into Free Shoulderstand, point toes to raise
flyer's hips over shoulders
F LYER: Place hands on base's forearms, fingertips towards the ground,
squeeze elbows in , keep body straight and engaged
129
BASE: Take legs outside and around flyer's torso, bend knees
and place feet towards flyer's buttocks. Press arms through
legs to direct flyer's chest towards backbend
F LYER: Switch grip to cup around outside of base's forearm,
bend knees, begin to backbend to take legs over, use arms for
resistance as legs decend and buttocks land on base's feet
BAS E: Find active res istance through arms, as flyer turns hips remove foot from opposite shoulder, bend arms and knee to lower
flyer, step foot to flyer's hip crease, use hips to turn flyer, place other foot to hip crease for Folded Leaf
F LYE R: Find active resistance in arms, begin to turn hips, mainta in piked straddle. Bend elbows as chest lowers, press through leg
as base places foot to hip crease, turn torso to face base's legs
BASE: Support flyer's hips with feet, trans ition to reverse foot to hand
grip, bend arms until elbows are on the ground directly under wrists ,
squeeze elbows in. Use toes to press flyer up to standing in Low Reverse
Foot to Hand
FLYE R: Release arms along side waist, use core to lift chest to sit on
base's feet and stand into Reverse Foot to Hand . Squeeze legs in , allow
feet to flex deep ly, lift gaze up
BASE: Bring legs through flyer 's legs, feet parallel , place on the hips
as flyer leans forward, release flyer's feet away for Front Bird
FLYER : Lean hips forward once base's legs come through , keep
gaze and chest lifted , lift legs up and back
130
TUMBLEWEED
BASE: From Star bend arms, find active resistance, remove one foot and trace
down flyer 's back to sacrum for Back Bird, release and replace other foot
FLYER: Bend arms, find active resistance, stag one leg, as base places foot
allow weight to transfer back into back bend
BAS E: Bend knees to trans ition hands to foot to hand grip on

flyer's feet, place elbows on the ground, wrists stacked over
elbows. Press through feet to help flyer stand in Low Foot to Har -'
FLY ER: Bend both knees, allow feet to lower towards the ground ,
use core to stand up, squeeze legs together, lift gaze
REVERSE TUMBLEWEED
BASE: From Back Bird take hand to hand grip, find active resistance
through arms, step one foot to flyer's shoulder. Once flyer's hip are over
shoulders extend through leg, place other foot, extend both legs for Star
FLYER: Take hand to hand grip, bend arms , find act ive res istantce, split
legs to stack hips over shoulders , extend straight to Star
131
BASE: Transition hands open, keep legs straight, stack wrists

over shoulders ,
FLYER: Transition hands to base's wrists, pike down, legs hips
width , draw feet towards base's hands
BASE: Place feet to flyer's shoulders, bend knees deeply to allow flyer to stack hips over shoulders, transition hands one at a time to hand
to hand grip and press legs straight to find Star
FLYER: Pike forwards to place shoulders on base's feet, take hands to base's shins, fingertips point towards ground, squeeze elbows in ,
press legs up into piked straddle, transition one hand at a time to hand to hand grip, extend up to straight
BASE: Take foot to hand grip, bend knees to free flyer's head and
shoulders, keep legs up to aid flyer into Low Foot to Hand
FLYER: Place feet into base's hands, release grip, use core to stand up
into Low Foot to Hand , use hands on base's legsjfeet if needed
BASE: Take legs through flyer's legs, place feet at low back, bend knees
to receive flyer's hips, release feet away, extend legs for Back Bird
FLYER: Sit onto base's feet as they arrive at lower back, arch spine and
stag one leg for Back Bird
132
Thanks & Praises

A huge thanks to so many amazing talented supportive beings that
soul has been a grounding chord for me, thank you for all the ways you
have made t his practice a reality.
showed me how to receive divine light.
I am humbled by all the amazing people in my life that have
To Sianna Sherman, for opening me to the grace within me that I could

not see.
supported me and the vision of AcroYoga. Th is is a small list of many

beings that have made th is vision into a practice that continues to
change the way we relate to each other.
To Janet Stone, for opening your family to me and being such a consistent
friend .
To jenny Sauer-Kiein, for co-creating many of the flows and sequences

in this manual. For your devotion to compassionate communication
and years of dedication to build ing this practice from the seeds of
our first conversations and jams. Through being my most dedicated
partner for almost a decade, the lessons you shared with me are a
big part of what AcroYoga is, and always will be.
To Kadri Kurgun , for your vision and skill to capture and create this
practice, for being the guy with the lens that sees the world's beauty
and reflects it.
To Bonnie Argo, for laying out the manual, from the detailed text to
giving the book life and a feel. For being such a bad ass in so many
ways, for singing your heart into the world , for being a rock that I can
count on , for mentoring so many.
To our AcroYoga models in the manual, Jenny Sauer-Kiein, Jeremy
Simon, justin Bench, Jane Hansen .
To my Mom, for all your support from birth until now, your love and
teachings are the foundation of my being and I will always see you as
my first teacher of yoga, meditation, and how to be a loving human .
To )ai Uttal, for teaching me to fall in love with my voice and teach ing me
how to invite others to do the same.
To Carolyn Cohen, for being the first student of AcroYoga , without you
none of this would have happened .
To Francisco Morales-Bermudez, for your brotherhood and support.
To Tim & Tara Dale, for being the first people to say yes to AcroYoga.
To the Thai Circus Family, for being the cousins I never knew I had , for
opening your practice to ours and building a big global family of metta
monkeys .
To Dr. Scott Blossom , for your ins ight into healing arts , amazing intellect
on so many topics and for playing music for spirit and fun .
To Dr. Eric Ruben, for being one of the most skilled healers to every lay
hands on me, your ability to help the body find balance is a huge source
of inspiration .
For being my biggest supporter in all ways . You not only said yes to
To Alexandra Ruiz, for being one of my best friends , for creating a home
my dreams you helped them come true.
for AcroYoga en Mexico, for inspiring so many teachers and being an
To my Dad, thank you for teaching me about kindness , patience,

hum ility and for sharing Mexican culture.
To my Step Dad, fo r teach ing me about how to honor spirit in plants
and an ima ls, how to listen, communicate and believe in magic.
To my Step Mom, for your positivity, encouragement and always
being a cheerleader.
To Jenny's parents , for all your love and support and for raising such
an amazing human .
To Tom Monas , for teaching me how to train acrobatics and build
progressions.
To Lu Yi , fo r teach ing me how to extend and have good feeling,
your mastery in teach ing is second to your ability to see the good
in people.
To Dharma Mittra, my teacher of saintly behavior and humility. Your
133
To Rusty Wells, for your huge generosity, big heart and bhakti seeds .
amazing leader.
To Jennifer Yarro, for your dedication to sharing healing arts, for teaching
me how to use x-ray vis ion and for bringing your skills and passions to
the world .
To David Lurey, for bringing bhakti to so many AcroYogis, for being an
example of a man living with integrity, for being one of my best friends .
To Adam Rinder, for being there from the start, for singing, for inspiring
so many to become more bright.
To )onny Nobleza, for your amazing studentship for being my flyer and
brother. For helping me become a mus ician.
To Chris Loebsack, for the constant support that you offer to me and the
practice. For being so strong and soft.
To juan P, for building an AcroYoga army in South America . Your ability to
live AcroYoga has produced one of the strongest communities on Earth .
Thanks & Praises

To Jaqui Wan, for being an example of how selfless a community
builder can be.
To Paige Elenson, for putting the world on your feet, turning your
dream of flying some Kenyans into a movement that is changing
thousands of people's lives .
To Jeremy Simon, for dedication to building commun ity, your
studentship, friendship, your ability to be one piece and many hot
cookies.
To Katie Capano, for going to the ends of the earth to bring light to
dark places , for being a friend and a supporter when I needed both.
To Jason & Chelsey Magness, for being real and down to Earth, even
when you spend so much time suspended from it.
To lux, for being an acrobatic genius , masterful teacher and
someone I can lean on in so many ways .
To Pau Castellsague, for how you use your enthusiasm to bring love
to so many.
To Wari Om Castellsague, for bringing your family into AcroYoga and
for capturing the beauty with your perspective.
To Justin Bench, for supporting the photo shoot and supporting
everything you come into contact with that has the letters AY on it!
To Justyna Fiuk and Asha Tyska Mclaughlin, for your diligent work
producing th is manual and the artistic standards of the company.
lastly but very importantly to Rob Izumi and Deven Sisler the two
most supportive people in my AcroYoga life, your dedication hard
work and love are the water that keeps the AcroYoga tree growing, I
will never be able to thank you enough .
To all the students that move me on a daily basis. You are the reason
for al l of th is.
In loving support,
Jason Nemer
134

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ACROYOGA INC. CAUTIONARY STATEMENT

Think safety FIRST!

How TO PRACTICE AcRoYoGA

GRIPS & FooT PLACEMENTS

FooT PLAC EMENT

AcROBATIC FLYING TRANSITIONS

THANKS & PRAISES

SoLAR AcROBATIC PRACTICES

AeRo YoGA BY JASON & JENNY

Jason and Jenny met in December of 2003 in San Francisco through

PHOTO OF KRISHNAMACHARYA, THE FATHER OF MODERN

in developing the practice. Carolyn became their first senior teacher

In August of 2006 they hosted their

first AcroYoga teacher training for 19 students . Now 7 years later,

WHERE CAN AcRoYocA Go?

By design AcroYoga is about community, relationships and

symbol represents the interconnectedness of the three branches of

partnerships. In our viewpoint there are no founders of AcroYoga.

This movement is riding on the shoulders, feet and hands of many

skillfuly, the balance of yoga is achieved. The broken circle represents

gifted people. This manual is an offering of an AcroYoga system

the dynam ic nature of the ever growing community.

designed to support students to have a step by step guide to learn

RED-ORANGE: SOLAR - Acrobatic Practices that cultivate trust,

communities where AcroYoga teachers bring the practice.

how to play AcroYoga. Where this practice grows depends on the

communicated through touch and shared experience. Due to this

loving and healing.

fact, AcroYoga can never really belong to any one person. It is a

PURPLE: ELEMENTAL - Yogic Practices that cultivate breathe

the Sanskrit word Yoga

DE FINITI ON OF AcRO Y OGA

growing collective of physical wisdom that is ever expanding. The

world in an expression of divi ne play and human connection.

un ion . Together they form AcroYoga -

How to Practice AcroYoga

IN THE LUNAR PRACTICES: IF IT FEELS GOOD, IT IS RIGHT

SADHANA =THE PRACTICE

"PRACTICE AND ALL IS COMING" PATIABHI jOIS

Sadhana is a Sanskrit word for practice. Sadhana is a life long

languages, Sanskrit words have multiple meanings, some of these

foundation, but the real experience cannot be explained in words. It is

the more opportunities to be clearer, stronger, softer and more

communicated from person to person and is amplified by the number

harmonious. After the struggle comes victory and if there can be a

of people that practice.

EVOLUTION VS. REVOLUTION

KNow THY SELF, SuPPORT OTHERS, ENJOY CoMMUNI TY

powerful than either of these concepts, alone. Evolution is a slow,

EFFORT FOR EASE, ALIGN WITH

practice we can apply to our partnerships. Partnership allows us to

be seen and challenged and supported . As partnerships develop,

they invite expansion, reflection and growth . That growth can be

translates to a place of ease. This is only true if the effort is channeled

exponentially elevated by community, a place for a partnership to be

in a way that will increase your technical efficiency. For example, to

celebrated and supported to new heights.

How to Practice AcroYoga

hearts. Communication as well has many vehicles - voice, breath,

geometry of the bones . The acceleration of gravity is a planetary

touch, hands, face. Communication , when done well, can be clear

honest and kind . In general, when we express our experience of