Instructing

Hatha Yoga
A Guide
for Teachers
and Students
Second Edition

Diane M. Ambrosini

Human
Kinetics
 Library of Congress Cataloging-in-Publication Data
Ambrosini, Diane M., 1962-
Instructing hatha yoga : a guide for teachers and students / Diane M. Ambrosini. -- Second edition.
pages cm
Includes bibliographical references.
1. Hatha yoga--Study and teaching. I. Kappmeier, Kathy Lee, 1964- Instructing hatha yoga. II. Title.
RA781.7.K36 2016
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2015000918
ISBN: 978-1-4504-8465-7 (print)
Copyright © 2016 by Diane Ambrosini
Copyright © 2006 by Kathy Lee Kappmeier and Diane Ambrosini
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This edition is dedicated to the memory of Kathy Lee Kappmeier. Without
KLee’s original vision and inspiration, Instructing Hatha Yoga would never
have made it to press. Her love for the discipline and art of yoga cannot be
overstated. Were it not for her devotion and passion for teaching, many people
in San Diego and abroad might never have experienced yoga in any form.
Even when she became ill, she was always at her finest when she was prac-
ticing yoga, and most especially when she was teaching her beloved students.
While her physical presence is no longer with us, the bright light of her
soul still illuminates the yoga paths of students and teachers alike through
this edition. And although I missed out on a whole lot of chai and chat this
time around, her energy was with me throughout every aspect of this revi-
sion. I am eternally grateful for the guidance and seemingly serendipitous
epiphanies I received from my dear friend and teacher along the way! I am
honored to continue on with our collective vision of this book.

Profound thanks also to the following:

All of my students throughout all of the years. You are my teachers—and
a constant source of joy and inspiration as I teach and continue to learn.
All of those with whom I’ve had the honor to study, whether in person
or via other seemingly disconnected sources. You are my teachers and
guiding lights; I bow to your wisdom, generosity, and illuminating energy.
All of my family and the friends whom I also consider family. You are my
teachers—also my role models, confidantes, and steadfast foundation.
My deepest Universal Self. You are my eternal teacher—whether I am
aware or not, you connect all of me to the Divine Everything.
Dave and Ben Massey. I’m overwhelmed by your continuous love and
support! Thank you for sharing the journey and shining your light my
way. I love you both with every timeless atom of my being!
 Contents

Poses vi
Preface xv
Acknowledgments xxi

Part I  The Practice of Yoga

Chapter 1 Understanding Yoga 3
Types of Yoga 4 • Types of Hatha Yoga 5 • Yoga Lexicon 14 • Standards for Yoga
Teachers 14 • Liability Insurance and Employment Classification 18

Chapter 2 Basics of Teaching Yoga 19

Qualities of a Yoga Teacher 20 • Becoming a Yoga Teacher 24 • Recognizing Your
Students’ Needs 27 • Class Management 30 • Summary 35

Chapter 3 Creating a Class Environment 37

Equipment Selection 38 • Safety and Comfort Concerns 40 • Class Atmosphere 43 •
Summary 46

Chapter 4 Breathing and Beyond 47

Pranayama 48 • Instructing the Breathing Process 52 • Linking Pranayama With
Asanas 53 • Summary 54

Chapter 5 Energy and Anatomy 55

Yoga Postures and Major Body Systems 56 • Energetic Anatomy 60 • Human
Movement Systems 63 • Mechanics of Asanas 66 • Summary 72

Part II  Asanas and Adjustments

Chapter 6 Sun Salutations 75
Classical Surya Namaskara 77 • Surya Namaskara A 78 • Surya Namaskara B 79

Chapter 7 Standing Postures 81

Tadasana or Samasthiti (Mountain Pose) 83 • Vrkshasana (Tree Pose) 86 • Utkata
Konasana (Fire Angle Pose) 90 • Utthita Trikonasana (Extended Triangle) 93 • Parivrtta
Trikonasana (Revolving Triangle Pose) 98 • Uttanasana (Intense Forward Bend) 102
• Prasarita Padottanasana (Extended-Leg Forward Bend) 105 • Garudasana (Eagle
Pose) 108 • Utthita Parshvakonasana (Extended Side-Angle Stretch) 112 • Ardha
Chandrasana (Half-Moon Pose) 116 • Parivrtta Parshvakonasana (Revolving Extended
Side-Angle Stretch) 120 • Parivrtta Ardha Chandrasana (Revolving Half-Moon Pose) 124
• Utkatasana (Fierce, or Chair Pose) 128 • Virabhadrasana I (Warrior I) 131 •
Virabhadrasana II (Warrior II) 135 • Virabhadrasana III (Warrior III) 139 •
Parshvottanasana (Intense Side Stretch) 143 • Utthita Hasta Padangusthasana
(Extended Hand-to-Toe Pose) 147 • Natarajasana (King Dancer) 151

iv
 Contents v

Chapter 8 Seated Postures 155

Malasana (Basic Squat, or Bead Pose) 157 • Dandasana (Staff Pose) 160 • Janu
Shirshasana (Head-to-Knee Pose) 163 • Ardha Matsyendrasana (Half Lord of the
Fishes Pose) 167 • Marichyasana A (Marichi’s Pose, Variation A) 171 • Marichyasana B
(Marichi’s Pose, Variation B) 174 • Marichyasana C (Marichi’s Pose, Variation C) 177 •
Marichyasana D (Marichi’s Pose, Variation D) 180 • Paschimottanasana (Seated Forward
Bend, or Intense West-Side Stretch) 183 • Gomukhasana (Cow’s Face Pose) 187 •
Paripurna Navasana (Full Boat Pose) 190 • Baddha Konasana (Bound Angle Pose) 193 •
Upavishtha Konasana (Wide-Angle Seated Forward Bend) 196 • Parighasana (Kneeling
Triangle, or Gate Pose) 199 • Virasana (Hero Pose) 202 • Bharadvajasana (Bharadvaja’s
Pose) 205 • Padmasana (Lotus Pose) 208 • Tolasana (Scale Pose) 212 • Hanumanasana
(Forward-Split Pose) 215 • Bakasana (Crane Pose) 218

Chapter 9 Supine and Prone Postures 221

Durga-Go (Cat and Cow Pose) 223 • Utthita Chaturanga Dandasana (Plank Pose) 226
• Chaturanga Dandasana (Four-Limbs Staff Pose) 229 • Zen Asana (Transitional Pose)
232 • Vasishthasana (Side Plank Pose) 235 • Purvottanasana (Reverse Plank, or Intense
East-Side Stretch) 238 • Bhujangasana (Cobra Pose) 241 • Urdhva Mukha Shvanasana
(Upward-Facing Dog) 244 • Shalabhasana (Locust Pose) 247 • Dhanurasana (Bow
Pose) 250 • Setu Bandhasana (Bridge Pose) 253 • Urdhva Dhanurasana (Upward Bow
Pose) 256 • Eka Pada Rajakapotasana (One-Legged Royal Pigeon Pose) 260 • Ushtrasana
(Camel Pose) 264 • Supta Virasana (Reclining Hero Pose) 268 • Matsyasana (Fish Pose)
271 • Supta Padangusthasana (Reclining Hand-to-Toe Pose) 274

Chapter 10 Inverted Postures 277

Adho Mukha Shvanasana (Downward-Facing Dog) 279 • Salamba Sarvangasana
(Supported Shoulderstand) 283 • Pincha Mayurasana (Peacock Feather Pose) 286
• Adho Mukha Vrkshasana (Downward-Facing Tree, or Handstand) 289 • Salamba
Shirshasana (Supported Headstand) 292 • Halasana (Plow Pose) 296

Chapter 11 Restorative Postures 299

Balasana (Child’s Pose) 301 • Pavanamuktasana (Purifying, or Wind Relieving Pose) 304
• Supta Urdhva Dhanurasana (Restorative Backbend) 307 • Jathara Parivartanasana
(Belly Twist) 310 • Viparita Karani (Restorative Legs-Up-the-Wall Pose) 313 • Shavasana
(Corpse Pose) 315

Part III  Structuring a Class

Chapter 12 Class Framework 321
Class Outline 323 • Lesson Plans and Class Descriptions 325 • Summary 328

Chapter 13 Sample Classes 329

Sample 30-Minute Class 330 • Sample 60-Minute Class 332 • Sample 90-Minute Class
335 • Sample Prenatal Yoga Class 338 • Sample Children’s Yoga Class 340 • Sample
Six-Week Course 342 • Putting It All Together 344

Appendix A Sample Relaxation Scripts 349 • Appendix B Yoga Resources 352 • Appendix C Self-Inquiry
Questionnaire 355 • Appendix D Yoga Class Evaluation Form 357 • Appendix E Sample Classical-Eclectic
Hatha Course Syllabus 358 • Appendix F Chapter Review Answers 360 • Appendix G Anatomical
Illustrations 364 • Glossary 367 • About the Author 370
 Poses

Adho Mukha Shvanasana [uhd-HOE moo-KUHSH-vuhn-AAH-suh-nuh] 279

(Downward-­Facing Dog)—This inverted posture is practiced on the mat lengthwise
with the feet and hands pushing against the ground and the hips lifted high in the air.
It is practiced most often as part of the Sun Salutations (Surya Namaskaras) series.

Adho Mukha Vrkshasana [uhd-HOE moo-KUH vrick-SHAAH-suh-nuh] 289

(Downward-­Facing Tree, or Handstand)—This inverted posture involves the basic
handstand, an arm balance in which the hands are placed on the ground and the
rest of the body is upside down with the feet in the air.

Ardha Chandrasana [AR-dhuh chuhn-DRAAH-suh-nuh] (Half-Moon Pose)—This 116

standing posture starts from Utthita Trikonasana (Extended Triangle). The body
weight is balanced on the forward leg as the trailing leg lifts off the ground in an
arcing motion. As an extension of Utthita Trikonasana, Ardha Chandrasana provides
similar benefits, most notably by opening the chest, hips, and pelvis.

Ardha Matsyendrasana [AR-dhuh muht-see-yen-DRAAH-suh-nuh] (Half Lord of 167

the Fishes Pose)—In this seated twist, one leg is straight out in front of the body
and the other leg is bent and usually crossed over the straight leg near the opposite
hip. The upper torso is rotated in the direction of the bent leg.

Baddha Konasana [BUD-dhuh kohn-AAH-suh-nuh] (Bound Angle Pose)—In this 193

seated asana, the knees are bent, the thighs are rotated externally to the sides, and
the soles of the feet are pressed together or held together with the hands to make
a seal or lock.

Bakasana [buhk-AAH-suh-nuh] (Crane Pose)—In this squatting arm balance, the 218
arms support the weight of the body as the bent knees rest on the backs of the upper
arms. When balance is achieved on the hands, the feet are lifted off the ground.

vi
 Poses vii

Balasana [buhl-AAH-suh-nuh] (Child’s Pose)—In this restorative kneeling and 301

prone position, the lower legs are tucked under the torso and the chest rests on the
thighs. The arms may be extended over the head (Ancient Prayer Pose), resting on
the ground, or wrapped around the outside of the body with the hands resting beside
the ankles. This pose is refreshing when practiced after backbends and inversions.

Bharadvajasana [bhuh-RUHD-vaah-JAAH-suh-nuh] (Bharadvaja’s Pose)—This 205

gentle, seated twist can be practiced with the legs in Virasana (Hero Pose) or with
one leg in Virasana and the other in Ardha Padmasana (Half-Lotus Pose).

Bhujangasana [bhoo-juhn-GAAH-suh-nuh] (Cobra Pose)—This prone backbending 241

posture has numerous variations. In its simplest form, the chest is lifted off the
ground with the arms resting at the sides. A deeper variation brings the head and
feet closer together.

Chaturanga Dandasana [chuh-tour-RUHN-guh duhn-DAAH-suh-nuh] (Four- 229

Limbs Staff Pose)—This pose is similar to the downward phase of a push-up. The
elbows are bent, and the body hovers a few inches (centimeters) above the ground.

Dandasana [duhn-DAAH-suh-nuh] (Staff Pose)—In this seated pose, the spine and 160
lower body are straight and strong and the hips are flexed to 90 degrees.

Dhanurasana [dhuh-noor-AAH-suh-nuh] (Bow Pose)—In this moderate to deep 250

prone backbend, the knees are bent and abducted slightly wider than the hips and
the hands reach back to grasp the feet or ankles.

Durga-Go [DUR-guh-go] (Cat and Cow Pose)—This pose is practiced on the hands 223
and knees to move the spine through a gentle range of flexion and hyperextension
in the sagittal plane. The rounded, flexed spine of the cat portion of the posture
resembles a cat with its back arched. The hyperextension in the spine is reminiscent
of the sway in a cow’s back.
viii Poses

Eka Pada Rajakapotasana [eka-PAAH-duh-RAAH-juh kuh-poht-AAH-suh-nuh] 260

(One-Legged Royal Pigeon Pose)—This pose is generally accessed from a low lunge
where the flexed front knee is externally rotated and placed on the ground. The
extended back leg rests on the ground so that the psoas receives a strong stretch.
The chest remains lifted and open, and those with adequate flexibility and balance
may flex the back knee and reach for the foot.

Garudasana [guh-rood-AAH-suh-nuh] (Eagle Pose)—This one-legged balancing 108

posture involves crossing the non-weight-bearing leg over the standing leg. The
thighs and hips are engaged by the slight crouch. The mid back and shoulders are
stretched as the arms are crossed in front of the chest.

Gomukhasana [go-mook-AHH-suh-nuh] (Cow’s Face Pose)—In this seated posture, 187

the legs are on the ground, stacked in front of the hips with the knees bent. One
knee is folded on top of the other and aligned with the middle of the body. The
spine is upright, and the arms are bent with one elbow pointed up and the other
pointed down and reaching behind the back.

Halasana [huhl-AAH-suh-nuh] (Plow Pose)—In this pose, the neck and the tops 296
of the shoulders rest on the ground with the spine as vertical as possible. The hips
are flexed with the legs outstretched as the feet rest on the ground behind the head.

Hanumanasana [huh-noo-maahn-AAH-suh-nuh] (Forward-Split Pose)—This 215

forward split lengthens both the hamstrings and the hip flexors.

Janu Shirshasana [JAAH-noo sheer-SHAAH-suh-nuh] (Head-to-Knee Pose)—In 163

this seated forward bend, one leg is extended forward and the opposite leg is flexed
at the knee and rotated externally so that the outer knee lowers laterally toward
the ground.

Jathara Parivartanasana [juht-HAR-uh par-ee-VAR-tuhn-AAH-suh-nuh] (Belly 310

Twist)—In this restorative posture, the hips are flexed at 90 degrees and the legs
are rotated to one side of the body. The knees can be bent or straight. The torso
remains as flat on the ground as possible.
 Poses ix

Malasana [maahl-AAH-suh-nuh] (Basic Squat, or Bead Pose)—This squatting 157

position is a good transitional posture when moving from a standing posture to a
seated one or when moving in a vinyasa practice from one seated posture to the next.

Marichyasana A [mar-EE-chee-YAHH-suh-nuh kuh] (Marichi’s Pose, Variation 171

A)—In this seated pose, one leg is extended forward and the opposite knee is bent
and pressed close to the chest. The same-side arm wraps around the bent knee, and
the hands are clasped together behind the back to create a deeper stretch in the
shoulder joints. The pose can be intensified through a forward bend from the hips.

Marichyasana B [mar-EE-chee-YAHH-suh-nuh k-huh] (Marichi’s Pose, Variation 174

B)—This pose is similar to Marichyasana A, except that instead of the leg being
extended in front of the body, the knee is now flexed and the ankle is placed in
Half-Lotus (Ardha Padmasana) or tucked under the opposite hip.

Marichyasana C [mar-EE-chee-YAHH-suh-nuh guh] (Marichi’s Pose, Variation 177

C)—This pose is similar to Marichyasana A, except that the foot of the bent leg is
now crossed over the opposite thigh. The arms are bound behind the back, but the
torso twists in the direction of the bent leg.

Marichyasana D [mar-EE-chee-YAHH-suh-nuh g-huh] (Marichi’s Pose, Variation 180

D)—This pose is a combination of the Half-Lotus element of Marichyasana B
and the twisting direction of Marichyasana C. It is by far the most challenging
Marichyasana variation because it combines Half-Lotus, a spinal twist, and the
binding of the arms in one posture.

Matsyasana [muht-see-YAHH-suh-nuh] (Fish Pose)—In this supine backbending 271

posture, the hips and crown of the head remain on the ground and the chest and
ribs are lifted. Traditionally, Matsyasana is practiced with the legs in Padmasana
(Lotus).

Natarajasana [nut-tuh-raahj-AHH-suh-nuh] (King Dancer)—This is a one-legged 151

standing posture with a backbend. The non-weight-bearing leg is drawn behind
the back with the arms reaching toward the foot of the lifted leg. Persons with
adequate flexibility reach overhead to the foot; alternatively, one can simply reach
the hands behind the back to clasp the foot.

Padmasana [puhd-MAAH-suh-nuh] (Lotus Pose)—This is generally an upright, 208

seated position in which the legs are crossed in front and each ankle rests com-
fortably on the opposite thigh, near the crease of the opposite hip. This pose is the
quintessential seated posture in yoga and East Indian meditation.
x Poses

Parighasana [par-eegh-AAH-suh-nuh] (Kneeling Triangle, or Gate Pose)—This 199

intense side stretch is generally practiced in a kneeling position with one leg
abducted and rotated externally.

Paripurna Navasana [par-ee-POUR-nuh naah-VAAH-suh-nuh] (Boat Pose)—In this 190

seated jackknife balancing position, the legs are together and straight with the toes
at eye level. The spine is straight, and the arms are extended parallel to the ground.

Parivrtta Ardha Chandrasana [par-ee-VRT-tuh AR-dhuh chuhn-DRAAH-suh-nuh] 124

(Revolving Half-Moon Pose)—In this half-moon posture, the upper torso turns
toward the standing leg.

Parivrtta Parshvakonasana [par-ee-VRT-tuh paarsh-vuh-kohn-AAH-suh-nuh] 120

(Revolving Extended Side-Angle Stretch)—This is a twisted or revolving flank
stretch. Starting from Utthita Parshvakonasana, the torso rotates so the chest turns
to the bent leg side and the lower hand reaches toward the ground.

Parivrtta Trikonasana [par-ee-VRT-tuh tree-kohn-AAH-suh-nuh] (Revolving Tri- 98

angle Pose)—In this standing pose, the legs are positioned in an orientation similar
to that of Utthita Trikonasana (Extended Triangle), but this pose rotates the torso
so the chest faces the opposite direction. The twist through the mid-thoracic spine
makes this posture more challenging than Utthita Trikonasana for most students
because it requires greater strength, flexibility, and balance.

Parshvottanasana [paarsh-voht-taahn-AHH-suh-nuh] (Intense Side Stretch)—This 143

standing pose is similar to Uttanasana (Intense Forward Bend), but here one leg is
forward and one leg is back. This placement of the legs requires more balance and
creates a deeper stretch through the hips and sides. The arms are typically held
in Anjali Mudra, or Prayer Pose, behind the back. The stretch extends from the
backs of the heels all the way up into the neck, thus releasing tension throughout
the entire back of the body.

Paschimottanasana [puhsh-chee-moht-tuhn-AHH-suh-nuh] (Seated Forward 183

Bend, or Intense West-Side Stretch)—In this seated, full forward bend, the legs
are outstretched in front of the body and the pelvis tilts forward as the torso folds
over the thighs. The belly and chest rest on the fronts of the legs to the best of the
student’s ability.

Pavanamuktasana [puh-VAH-nuh-mookt-AAH-suh-nuh] (Purifying, or Wind 304

Relieving Pose)—In this restorative, supine pose, one or both legs are drawn
toward the chest.
 Poses xi

Pincha Mayurasana [PIN-chuh may-oohr-AAH-suh-nuh] (Peacock Feather 286

Pose)—This arm balance works the shoulder-stabilizing muscles as in Salamba
Shirshasana (Supported Headstand), but here the head and neck do not support
any body weight.

Prasarita Padottanasana [pruh-SAAH-ree-tuh paah-doht-taahn-AAH-suh-nuh] 105

(Extended-Leg Forward Bend)—This standing pose is a variation of a forward
bend with the legs abducted.

Purvottanasana [poohr-VOHT-taahn-AAH-suh-nuh] (Reverse Plank, or Intense 238

East-Side Stretch)—This is a reverse plank pose in which the hands press into the
ground behind the back as the front of the body is lifted.

Salamba Sarvangasana [saah-LUM-buh sahr-vaahng-AAH-suh-nuh] (Supported 283

Shoulderstand)—In this inverted pose, the shoulders, back of the upper arms, and
back of the head rest on the ground. The elbows are pointed directly behind, and the
hands press against the back or rest on the ground to provide greater lift to the body.

Salamba Shirshasana [saah-LUM-buh sheer-SHAAH-suh-nuh] (Supported Head- 292

stand)—This inverted, supportive version of a headstand puts less stress on the
neck because the forearms and shoulders support the majority of the body weight.
The crown of the head is cradled between the hands, and the back of the head rests
against the fingers while the spine and legs are vertical.

Setu Bandhasana [sey-TOO buhn-DHAAH-suh-nuh] (Bridge Pose)—In this rela- 253

tively easy supine backbending posture, the back of the head, lower neck, and top
edges of the shoulders remain on the ground while the hips are lifted. The knees
are flexed, and the feet are flat on the ground for support.

Shalabhasana [shuh-luhb-HAAH-suh-nuh] (Locust Pose)—This prone pose, in 247

which the legs and chest are lifted off the ground, strengthens the posterior mus-
culature.

Shavasana [shuh-VAAH-suh-nuh] (Corpse Pose)—This restorative pose is the 315

quintessential finishing, resting, and restorative posture. The body reclines on
the ground with the arms and legs stretched in a relaxed manner out to the sides.
xii Poses

Supta Padangusthasana [SOOP-tuh paah-daahng-oost-AHH-suh-nuh] (Reclining 274

Hand-to-Toe Pose)—In this supine position, one leg is flexed at the hip and the
big toe or foot is usually grasped by the same-side hand, either with or without a
strap. This pose releases hip and lower back musculature.

Supta Urdhva Dhanurasana [SOOP-tuh oohr-dhuh-vuh dhuh-noor-AAH-suh-nuh] 307

(Restorative Backbend)—This posture modifies the more strenuous backbends by
using a supportive prop, such as a fitness ball, chair, or set of folded blankets, to
support the spine.

Supta Virasana [SOOP-tuh veer-AAH-suh-nuh] (Reclining Hero Pose)—In this 268

supine posture, the knees are bent and the lower legs are tucked under or to the
outsides of the thighs. This posture provides an excellent stretch for the quadriceps.

Tadasana [taahd-AAH-suh-nuh] or Samasthiti [suhm-uhst-HEE-tuh-hee] (Moun- 83

tain Pose)—This posture serves as the foundation for all standing postures. It is
generally performed at the beginning of a practice to direct the student’s focus
inward and to begin warming the muscles for further practice.

Tolasana [tohl-AHH-suh-nuh] (Scale Pose)—This arm-balance pose is often used 212

as a transition from one posture to another. Ideally, it is practiced with the legs in
Padmasana (Full Lotus) and the body lifted off the ground and balanced between
the hands.

Upavishtha Konasana [oo-puh-VISH-tuh kohn-AAH-suh-nuh] (Wide-Angle Seated 196

Forward Bend)—In this seated straddle position, the legs are outstretched from
the center and the pelvis tilts forward as the torso moves toward the ground from
the hips.

Urdhva Dhanurasana [oohr-dhuh-vuh dhuh-noor-AAH-suh-nuh] (Upward Bow 256

Pose)—This is a full backbend in which the hands and feet support the body and
the abdomen faces toward the sky.

Urdhva Mukha Shvanasana [oohr-dhuh-vuh moo-KUHSH-vuhn-AAH-suh-nuh] 244

(Upward-Facing Dog)—In this pose, the body is lifted off the ground and supported
on the hands and the tops of the feet. The spinal extension is deep, and strength is
needed to maintain the openness in the chest and shoulders.
 Poses xiii

Ushtrasana [oosh-TRAAH-suh-nuh] (Camel Pose)—This is a kneeling backbend in 264

which the hands reach behind the body and rest on the heels. The chest remains
lifted to retain length in the low back.

Utkata Konasana [OOT-kuh-tuh kohn-AAH-suh-nuh] (Fire Angle Pose)—This 90

wide-legged standing squat, sometimes called Goddess Pose, is a fairly intense hip
and thigh strengthener; it also affects balance, since the legs are externally rotated.

Utkatasana [OOT-kuht-AAH-suh-nuh] (Fierce, or Chair Pose)—This is a semi-­ 128

standing squat in which the arms are lifted overhead. It strengthens the hips and
thighs and warms the body.

Uttanasana [oot-taahn-AAH-suh-nuh] (Intense Forward Bend)—This basic stand- 102

ing forward bend should be done by folding at the hips like a hinge while main-
taining length in the low back. It can be practiced with the legs at any distance
apart that feels comfortable yet challenging. Uttanasana is usually performed as
a resting, rejuvenating posture between other standing postures or as part of the
Sun Salutations. It intensely stretches and lengthens the spine and hamstrings.

Utthita Chaturanga Dandasana [oot-T-HEE-tuh chuh-tour-RUHN-guh duhn- 226

DAAH-suh-nuh] (Plank Pose)—This prone pose uses the extended arm position-
ing of a push-up and is a transitional movement in the Surya Namaskaras (Sun
Salutations).

Utthita Hasta Padangusthasana [oot-T-HEE-tuh HAAS-tuh paah-daahng-oost- 147

AHH-suh-nuh] (Extended Hand-to-Toe Pose)—In this one-legged standing pose, the
non-weight-bearing leg is extended parallel to the ground with one hand holding
onto the big toe of the lifted foot.

Utthita Parshvakonasana [oot-T-HEE-tuh paarsh-vuh-kohn-AAH-suh-nuh] 112

(Extended Side-Angle Stretch)—This side-stretching lunge is performed with one
hand on the ground of the lunging side or with the forearm resting on the thigh.
The opposite arm extends overhead so that the upper arm is close to the ear.

Utthita Trikonasana [oot-T-HEE-tuh tree-kohn-AAH-suh-nuh] (Extended Trian- 93

gle)—Beginning from Tadasana, the legs are abducted as far as is comfortable, then
one leg externally rotates 90 degrees. The arms are abducted and extended out to
the sides. Then the torso bends out over the straight leg, with the arms kept in the
frontal plane but now perpendicular to the ground.
xiv Poses

Vasishthasana [vuhs-eesht-AAH-suh-nuh] (Side Plank Pose)—This strengthening 235

side-plank pose is most often practiced with the body balanced on the side of one
foot and on the palm of the hand on the same side.

Viparita Karani [veep-uh-REE-tuh kuh-ruh-nee] (Restorative Legs-Up-the-Wall 313

Pose)—In this supine position, the torso rests on the ground while the legs are
outstretched up a wall. A bolster or set of blankets is often placed under the hips
to lift them slightly higher than the heart, which helps loosen a tight low back and
create relaxation.

Virabhadrasana I [veer-uhb-huh-DRAAH-suh-nuh kuh] (Warrior I)—In this stand- 131

ing forward lunge, the arms are extended overhead and the hips face forward with
the legs in the sagittal plane. One leg is placed forward and the other leg back.
Virabhadrasana I works deep into the hip muscles.

Virabhadrasana II [veer-uhb-huh-DRAAH-suh-nuh k-huh] (Warrior II)—This 135

lunge is similar to Virabhadrasana I, but here the lunge is to the side in the frontal
plane with the arms extended out to the sides instead of overhead. The bent knee
is slightly rotated externally, directly out to the side. The spine is perpendicular to
the ground instead of arching back.

Virabhadrasana III [veer-uhb-huh-DRAAH-suh-nuh guh] (Warrior III)—In this 139

variation of Tadasana, the arms are extended overhead and the body is balanced
over one leg. The upper body and opposite leg are parallel to the ground. This pose
works deep hip muscles in the standing leg to create stability.

Virasana [veer-AAH-suh-nuh] (Hero Pose)—In this kneeling posture, the hips 202
reach for the ground between the feet. Variations of this posture are used to sit in
certain styles of meditation.

Vrkshasana [vrick-SHAAH-suh-nuh] (Tree Pose)—In this one-legged balance 86

posture, the trunk, spine, and rib cage reach upward and the arms are stretched
overhead like branches reaching for the sun. The bent knee is rotated externally,
and the foot presses against the standing leg.

Zen Asana [zehn AAH-suh-nuh] (Transitional Pose)—In this prone pose, the toes, 232
knees, hands, chest, and chin touch the ground. The hips are flexed and raised,
stretching away from the waist. The hands are placed under the fronts of the
shoulders, the elbows are bent, and the shoulders are relaxed.
Preface
The discipline of yoga is thousands of years old,
yet even today many of the original tenets are
followed by yoga enthusiasts across the world.
At the same time, yoga is a dynamic and evolv-
ing realm, and it has grown and changed con-
siderably even in the relatively short time since
the first edition of Instructing Hatha Yoga was
published in 2006. For one thing, the number of
new yoga practitioners has steadily increased.
The most recent data comes from the Yoga in
America market survey conducted by Yoga Jour-
nal, which found an increase of more than four
million devotees between 2006 and 2012. Based
on even more recent trends, that number will no
doubt continue to increase. Today, yoga continues
to establish itself solidly in the mind-set of the
Western world. Indeed, on any given day, one
is likely to come into contact with someone or
something related to yoga.
This mainstream expansion of all things yoga
includes, on a more specific level, an increase in
the diversity of hatha yoga styles and the indi-
viduals who receive the benefits of this ancient
field of mind–body awareness. No longer is yoga
the territory solely of East Indian monks. For
example, many fitness enthusiasts now tout yoga
practice as a way to add mindful focus to one’s
physical training. Numerous professional sports
teams use yoga to minimize injuries and enhance
conditioning; indeed, some say the Seattle Sea-
hawks’ use of yoga was their secret weapon in
winning the 2014 NFL Super Bowl! Yoga is also
used for stress relief in various groups, includ-
ing children and military personnel affected by
post-traumatic stress disorder. More broadly, yoga
serves as a way of life for a growing number of
mindfully compassionate individuals who use it
as a way to promote the holistic idea that healthy
lifestyles lead to healthy communities.
Strangely enough, despite all the positives
associated with yoga, the discipline has also had
its controversies. Fairly recently, for example, a
number of publicized lawsuits have been brought
against well-regarded yoga teachers based on
ethics charges. These indictments have changed
the face of two popular styles of hatha yoga,
Anusara and Bikram. The repercussions of these
allegations and indictments are still being felt by
devotees, many of whom felt betrayed by these
leaders and are still seeking out other sources for
employment and yoga instruction for themselves.
In another example, in 2013, a family in Enci-
nitas, California, sued their local school district
in an attempt to end its teaching of yoga. The
suit asserted that yoga is a religion and therefore
cannot be taught legally in a public school. The
court ruled against the family, stating that yoga is
a secular practice, and the plaintiffs appealed. In
July 2015, the court once again ruled in favor of
allowing yoga into the school system. The plain-
tiffs had an opportunity to petition the California
State Supreme Court, but chose to forgo further
litigation. However, it is likely that other such
disputes will arise.
Even among yoga practitioners, there have
been some dustups. In 2012, New York Times
science reporter William Broad wrote a gut-­
wrenching exposé titled “How Yoga Can Wreck
Your Body.” This article, along with Broad’s book
The Science of Yoga (2012), reported on numerous
injuries sustained by hatha yoga practitioners and
assigned some of the blame to underqualified
and undereducated instructors. Although these
pieces stirred up much of the yoga community,
many longtime teachers and students were
already acutely aware of how important it is to
work with a well-rounded and knowledgeable
yoga instructor. Well-trained instructors teach
properly executed yoga sequences and cues; in
addition, with adequate understanding of the
human body, they reduce the risk of injury, both
for their students and for themselves.
xv
xvi Preface
J. Kat Photo, Inc.
A stand up paddle board (SUP) yoga class in San Diego Bay illustrates the diversity of hatha yoga styles available today.
These caveats lead us to the purpose of this
book. The first edition of Instructing Hatha
Yoga was the brainchild of the late Kathy Lee
Kappmeier, a dedicated San Diego–based yoga
instructor and yoga teacher trainer, who left
this world far too early. After years of personal
study and teaching, she had a vision to create a
comprehensive yet practical reference guide for
hatha yoga teachers in training—and for anyone
interested in deepening her or his understanding
of the practices of yoga. Her idea was to formulate
a manual that would meld the traditional spirit
of yoga with both ancient and modern medical
sciences, as well as contemporary mental and
physical stress reduction techniques. The text was
made particularly necessary by the fact that many
new yoga instructors lacked adequate training in
human anatomy and physiology as related to yoga
and therefore were inadvertently placing students
in injurious positions.
Kathy Lee invited me to collaborate with her
in writing the book due to my extensive back-
ground in biomechanics and human movement
sciences. She asked me to infuse the book with
information about these subjects in a manner
easily understood both by yoga neophytes and
by experts. Even as a novice yoga teacher, I rec-
ognized the extreme importance of providing
sound mechanical cueing and adjustments for
the wide variety of students who attended my
classes. For this reason, I gladly accepted Kathy
Lee’s offer to work together and create a one-of-
a-kind teaching manual.
At the time of the first edition, very few if any
books were dedicated to the “how to” of teaching
yoga, and none provided information about how
to properly make safe hands-on adjustments.
Kathy Lee and I recognized that yoga students
would continue to experience injuries unless
a comprehensive teaching resource was made
available to help both instructors and students
alike develop a deeper understanding and proper
awareness of how to safely move the body when
practicing hatha yoga. With this end in mind,
our book was the first to break down the bio-
mechanics of many of the foundational asanas
(poses) practiced in hatha yoga classes. It was
also the first to present a variety of techniques for

adjusting and modifying a pose to meet a variety
of students’ needs throughout the practice. These
skills and instructions were blended with the
time-honored wisdom of long-established yoga
traditions.
Our intention while writing the first edition
was to include information with timeless appeal
to the wide variety of people who are drawn to
yoga and want to learn how to successfully and
safely teach it to a wide range of students. We
hoped to design a guide and reference that was
easily understandable and intriguing for anyone
interested in building the qualities and knowl-
edge base to become a confident, well-qualified
yoga teacher. As it turns out, we were successful!
Instructing Hatha Yoga has had consistent sales
from the moment it became available, both
nationally and internationally.
Since our original publication date, a number
of other texts have addressed many aspects of
contemporary yoga teaching, and a few have
included comprehensive anatomical information.
Some authors have also attempted to cover a wide
spectrum of hatha yoga and its teachings, and
they have addressed many deeper esoteric aspects
of the subject. This is no small undertaking; yoga
is a vast field of study, and no single book can
hope to encompass every facet of the discipline.
As a result, such texts may be challenging or even
overwhelming for a novice. In contrast, this book’s
comprehensive yet straightforward approach
allows anyone interested in the field to teach a
safe, compelling, and profound hatha practice
to a wide range of students with varying abilities
and interests. The manner in which the book is
written also appeals to yoga students interested
in independently furthering their understanding
of the discipline.
Updates for the
Second Edition
Because much of the information presented in the
first edition of Instructing Hatha Yoga is timeless
and has been greeted with acclaim, the book’s
foundation remains as it was. However, much
of the cueing language has been given a softer
tone, and some of the descriptive cues have been
updated to reflect more appropriate mechanical
alignment. For example, the older cues meant to
bring a student into anatomically sound standing
Preface xvii
alignment such as “tuck the tailbone” and “draw
the navel up and in toward the chest” place the low
back in an unnatural alignment that may strain the
lumbar vertebrae and hip joints over time. These
phrases have been replaced with more anatomi-
cally sound language such as “Draw the front of the
ribcage and chest slightly back toward the spine.”
Other changes include the following:
• The addition of anatomical charts for refer-
ence in appendix G
• New asana photos
• Updated registration information for Yoga
Alliance, a U.S. nonprofit association for
yoga teachers, schools, and studios
• The addition of prenatal and children’s yoga
standards
• Updated information about contemporary
yoga styles
• An accompanying web resource, which
includes 75 video clips and illustrates
hands-on adjustments for all asanas pre-
sented in the book
Key Features and Benefits
The response to Instructing Hatha Yoga from yoga
teachers and students alike has proven the book’s
appeal to a variety of audiences: novice instruc-
tors (regardless of personal yoga experience),
seasoned teachers, and inquisitive yoga students.
Among other topics relevant to all of these groups,
the text highlights concerns of personal awareness
and safety. It also presents information that even
many experienced teachers have been searching
for, such as detailed hands-on adjustments, bio-
mechanics information, and cautionary details
about asanas. One of the book’s most important
features is the inclusion of illustrated, step-by-
step guidelines that help instructors understand
how to execute the deeper nuances of teaching
and how to safely and effectively give students
hands-on adjustments in each posture.
Instructing Hatha Yoga is a user-friendly guide
accepted by many physical education teachers in
grades K through 12. Indeed, the book has been
reviewed favorably and used effectively not only
by a variety of yoga teachers but also by physical
therapists, physicians, psychologists, and recre-
ation directors. Here is a more detailed listing of
what the book addresses:
xviii Preface
• The impact of yoga today and its potential
evolution and further growth
• Valued and effective qualities that students
expect in a teacher
• The importance of the basic forms of pra-
nayama [praah-naah-YAAH-muh] (breath
work)
• Updated definitions of the most popular
styles of yoga and how they evolved
• 68 asanas (postures) with variations
• Verbal and visual cueing examples, with
the addition of energetic focus and physical
points of stability
• Adjustments and modifications for each
posture
• Physical and energetic anatomy applied in
asanas and related chakra (energy) centers
• Examples of how to work with many people
with different capacities in one class
• Class overview, outlines, lesson plans, and
sample syllabi
• Sample relaxation scripts for guiding
students into a relaxed, meditative state
(appendix A)
• Information about a variety of yoga
resources
The unique features of this book include
simple yet comprehensive verbal instructions to
help you guide each student into her or his most
comfortable and appropriate physical alignment,
as well as detailed directions for making safe,
effective, hands-on physical adjustments and
modifications. For each asana, basic kinemat-
ics and muscle recruitment are presented in
table form. In addition, appendix C provides a
self-inquiry questionnaire that complements the
discussion in chapter 2 of provocative concerns
regarding personal integrity and ethics in teach-
ing yoga. The self-inquiry can help you integrate
the information you gain from reading this book
with your own experience; it can also help you
assess your readiness, willingness, and ability to
teach hatha yoga.
Part I of Instructing Hatha Yoga consists
of chapters 1 through 5, each of which includes a
review in the form of study questions (for which
the answers are provided in appendix F). These
self-tests give you an opportunity to answer many
of the questions that a yoga instructor is expected
to address. The questions highlight important
information about practicing and teaching yoga,
and grasping this information aids both your
personal yoga practice and your understanding
of an instructor’s role.
The web resource, located at www.Human
Kinetics.com/InstructingHathaYoga, allows you
to view video clips of each pose and offers opin-
ions on how best to physically assist and adjust
students when the need arises. For each pose that
has a video clip, you’ll see a “play button” icon
near the pose title. The asanas are presented with
descriptions of how to guide each student toward
his or her most appropriate alignment for each
pose. You can use this material to deepen your
understanding of your students’ abilities and
your awareness of the best ways to direct them
toward comfort in each pose. The online resource
also includes the chapter review questions and
appendixes.
While reading the book, teachers, prospective
teachers, and students alike are invited to remain
mindful that the job of a truly qualified yoga
instructor is not merely to teach poses and hope
for the best but to direct students toward their
own internal awareness. An instructor cannot give
students awareness; rather, each student must be
offered opportunities to find this self-awareness
on her or his own. A successful teacher facilitates
the student’s path to discover his or her own inter-
nal teacher—the all-knowing presence that each
of us was born with but has forgotten.
Those of us who are teachers can open up the
opportunity for these connections to be made in
each student by providing a suitable atmosphere
for personal development. If you are a hatha yoga
teacher, then, your task is to empower each stu-
dent to adapt the poses to her or his body with
comfort, ease, and awareness while attaining
deeper self-understanding. Use the information
in this book as a guide to support your students
as they open fully to themselves.
Sanskrit Pronunciation
To some, it may seem unnecessary to learn the
Sanskrit names and pronunciations of the poses.
In practice, however, it is important to establish a
standard way of referring to the asanas in order
to enable continuity between classes and teach-
ers. This task is made more challenging by the
fact that a particular pose may be given differ-
ent English names in different translations and

schools of thought; fortunately, however, most
poses have a common Sanskrit term. In addition,
the ancient yogis, and many contemporary yoga
practitioners, believe  that the Sanskrit sounds
themselves have a specific divine vibration, or bija
(BEE-jhuh), and that when spoken they stimulate
energy balance in the human body and spirit.
With these considerations in mind, this book
presents Sanskrit words and their pronunciations
in a user-friendly format. For certain words, the
letter h has been added after an s when the pro-
nunciation of the Sanskrit calls for such (many
publications leave out the h in transliterations,
even though the sound is pronounced “sh”).
Often, publishers lack the capacity to include
diacritical markings, and many people do not
know how to properly read them in any case.
For a more complete introduction to Sanskrit
pronunciation and the alphabet, please see the
resource list in appendix B.
Asana Text
The asanas presented in part II of this book are
addressed in an easy-to-follow format that pro-
vides key information about each pose, including
its physical and energetic benefits, a script to
help each student move into and out of it in a
manner appropriate to individual ability, and
the muscular recruitment patterns used in each
phase of the pose.
The asana discussions include the following
elements:
• Description—quick-reference summary of
the pose
• Energetic focus—main energy center
(chakra) affected by the pose
• Foundational focus—points of physical
stability that students should focus on to
increase steadiness in the pose
• Benefits—key positive effects of the pose for
both mind and body
• Cautions—any aspects of the pose requiring
extra care for certain students
• Verbal cues—basic, point-by-point examples
of how to guide your class through the pose
(updated to enable the soundest mechanical
alignment)
• Adjustments—what to watch for while stu-
dents move into and maintain their poses,
Preface xix
along with ways to guide them into more
comfortable alignment
• Modifications—changes you can use for
students who need assistance from a prop or
are unable to comfortably or safely perform
the full posture, including examples to help
you modify the pose to best fit each student’s
individual body
• Kinematics—reference charts that describe
positioning and movement patterns of body
segments, indicate muscle recruitment, and
specify the type of muscular contraction
used throughout the asana (muscles active)
and times when muscles are stretched or not
active during the posture (muscles released)
Each asana section includes a photo of the
main posture, and many photos are also pro-
vided of adjustments and modifications. These
elements help you see the ideal body alignment
for each pose.
Disclaimer: It is a teacher’s responsibil-
ity to caution anyone with a preexisting
medical condition not to practice certain
poses presented in this book. Please
note that the book presents a variety of
possible variations and modifications
that teachers can adapt for students with
a medical condition. Always ask new
students to inform you if they have any
known medical ailment or injury; also
check in regularly with continuing stu-
dents regarding their physical well-being.
As with any physical activity, if a student
has an existing or recurring condition,
advise him or her to check with a health-
care professional before beginning a
hatha yoga program.
Summary
You are encouraged to study and absorb the
information presented in this book and to use it
as both a foundation and a reference as you find
your authentic and self-assured voice as a yoga
instructor. With experience, you will add your
own perspective and creativity to both polish
xx Preface
and expand your skills and your overall teaching
repertoire. The practical, easy-to-understand
instruction provided in these pages highlights the
knowledge, expertise, and credibility needed by
anyone who is seriously interested in practicing
and teaching yoga at any level.
As a yoga teacher, you enable your students to
experience a euphoric release simply by guiding
the body to move in a compassionate, mindful,
and self-controlled manner. With this end in
mind, use the information presented here to pro-
vide safe, engaging classes. Teach each student
according to her or his individual learning style
while adapting each pose to each student’s body
and overall ability. At the same time, develop a
solid sense of yoga’s controversies and ethical
considerations so that you are able to rise above
such unnecessary distractions.
As a yoga teacher, you must be fully prepared
to acknowledge and experience your students
on a physical, mental, and emotional level in
the short span of time in which you are called
to teach a session. Some students will see you as
the end-all authority on “Life, the Universe, and
Everything,” whereas others may recognize you
simply as the person who unlocks the studio door.
In any scenario, you can use the foundational
Sometimes translated as follows: “The divine light within me acknowledges and sees the divine light within you, and together
*
we are that one divine light. Be the Eternal Peace.”
information communicated in this book as a tool
for deftly guiding any student toward a meaning-
ful relationship with his or her truest Self via the
time-honored wisdom of hatha yoga.
My hope is that even as you instruct others, you
also continue to be an eternal student yourself.
Learn from your students and from all of your
personal experiences. By teaching in a way that
resonates with your own heart—as you would
appreciate being taught—you will succeed in
opening the hearts of others as well. Being a yoga
teacher is a timeless calling, and if you choose it
you may have the opportunity to positively affect
the lives of students for many years to come.
At the time of this writing, the spectrum of
known yoga teachers ranges from 13-year-old
Jaysea DeVoe of Encinitas, California, who
earned her certification at age 12, to 97-year-old
Tao Porchon-Lynch of New York state. Since
you probably fit comfortably within that 84-year
range, I wish you many happy years of teaching.
As stated by Olympian Mary Lou Retton, “Each
of us has a fire in our heart for something. It’s our
goal in life to find it and keep it lit.” May your light
shine brilliantly as you illuminate the path of yoga
for yourself and so many other wonderful souls.
Namaste, Om Shanti.*
Acknowledgments
At face value this revision may appear to be a
solo endeavor. Nothing could be further from the
truth! This body of work could not possibly have
come to fruition without the combined efforts of
so many. I am eternally grateful to the following
supportive people whose guidance and hard work
were essential to the success of this edition:
• Carolyn Wheat, Lanita Varshell, Celeste
Schwartz, and Dave Massey for editing
advice, professional suggestions, and much-
needed feedback along the way.
• Eternally patient and supportive acquisi-
tions editor Gayle Kassing for being, in so
many ways, a positive influence in my life
and someone I hope to meet face to face.
Thank you for your kindness and guidance
in navigating this ship on my own.
• Extreme gratitude to Kristin Akerele for the
wonderful children's yoga sequence and for
permission to photograph your kids.
• Developmental editor Bethany Bentley,
thank you for injecting your creativity and
conscientiousness into this project and for
making sure I stayed top of things with both
the text and the photos. I believe HK still
owes you a trip to San Diego!
• Managing editor extraordinaire Carly
O’Connor, your gentle persistence and
calming responses have made the final edits
much less painful for me . . . although I’m
not sure if the reverse is true! Your attention
to detail has elevated the professionalism of
this book significantly. Also, the fact that you
answered so many of my questions when it
was well beyond your quitting time amazed
me. Much gratitude!
• Copyeditor Tom Tiller, thank you for
smoothing out all the rough edges and for
the seemingly endless follow-up questions,
which help to clarify so many points.
• The incredibly unflappable videographer
Gregg Henness miraculously filmed all the
video we needed on time, even with a five-
hour delay, hardly any food, and not much
sleep. Gratitude!
• Neil Bernstein is the most eagle-eyed,
entertaining, considerate, and multitalented
photographer I’ve ever met. You found the
yoga in each of the poses!
• Without Michelle Blanchard’s top-notch
organizational skills, calming sense of
humor, and behind-the-scenes actions
before, during, and after the video and photo
shoots, those crucial days would not have
run as smoothly as they did!
• Permissions manager Dalene Reeder, thanks
for managing the contacts for the various
permissions needed for the book.
• Marketing specialist Alexis Koontz, thank
you for accepting the idea of the subtitle.
And thank you in advance to getting word
out that we now have an updated version of
an exceptional yoga resource.
• The video, arts, and graphics teams, Doug
Fink, Keith Blomberg, Dawn Sills, Jason
Allen, Joyce Brumfield, Laura Fitch, Kelly
Hendren, Al Wilborn (and I'm sure others),
showed exceptional creativity and skills in
enhancing the aesthetics of this project.
• Thanks to the wonderful original models
whose photographs still adorn these pages:
Tara Bogota, Mary Brown, Dr. Beau Casey,
Lauren Derstine, Ann Keenan, Vivienne Ken-
nedy (we miss your beautiful spirit!), Eiko
Keyser, Nadège Margaria, Jon Pobst, Brandy
Proppe, Brian Ruiz, Jennifer Schilder, and
Jim Walther. Thank you for sharing your time.
• And a wholehearted bow and thank-you to
the second-edition photo and video models
Leng Caloh, Veronica Cruz, Bridgette
xxi
xxii Acknowledgments
Garcia, Elka Haeckel Almeida, Patty Justo
Ober, Joe Lewis, Nori Nolan, Jennifer Oh,
Adrian Oritz, Jan Penhall, Cheryl Reiff,
Carol Ryan, Sean Ryan, Sheila Shaw, Scott
Truel, and Lanita Varshell; mothers-to-be
Kacey Holsman Valla and Merrin Muxlow;
and superkids Ade Akerele, Ikela Akerele,
Jackson McCartney, and Lily McCartney. As
with those before you, the beauty of your
practice will inspire so many others.
• Thanks to all the lovely yogis,—teachers
and students alike—at A Gentle Way Yoga.
Whether you have shared classes with me or
we have passed in the hallway, your constant
encouragement is so uplifting and empow-
ering. Namaste, Om Shanti!
 Part I
The Practice
of Yoga
© Hongqi Zhang/Dreamstime
This page intentionally left blank.
 1
Understanding
Yoga
I f you traveled back in
time to the point when
yoga was introduced
to the United States, you
would likely be surprised
by the varied nature of the
discipline as compared
with what we consider
yoga to be today. In 1893,
the Indian Hindu monk
Swami Vivekananda set sail
from Kolkata (Calcutta) for
Chicago to participate as
a delegate in the World’s
Parliament of Religions. Sri
Vivekananda captured the
attention of many attend-
© Thomas_EyeDesign/istock.com

ees with his message of the

divinity of existence and the
Universal  Oneness of the
soul; as a result, he gained
many devoted followers.
There was no discussion,
however, of matters such as
the merits of one pose over

3
4 Instructing Hatha Yoga
another, whether a headstand should be used at
the beginning of a session or near the end, or what
style of music (if any) should be played during a
yoga class. In fact, there was no mention whatso-
ever of the physical practices of yoga. Instead, at
that time, the practice was much more centered
on the heart and mind, and the physical postures
of hatha yoga did not become particularly popular
until the late 1960s.
Today, of course, yoga is practiced in the West
in many forms. However, the past four decades
have seen a decided shift in emphasis away from
a mainly quiet and meditative discipline to one
that is more fully movement oriented. The fact
that yoga now provides a vehicle for people to
stretch and strengthen their bodies, minds, and
spirits makes it attractive to a widely diverse set
of enthusiasts. As a result, yoga can be found
in gyms and spas, professional sport training
rooms, corporate wellness programs, prison cells,
hospitals, and even classrooms ranging from
kindergarten through high school.
This popularity has brought yoga to a point
where it is now a worldwide multimillion-­dollar
industry. In the United States alone, a 2012
market survey conducted by Yoga Journal found
that more than 20 million people practice yoga
and that U.S. residents spend well over $10
million annually on yoga-related products and
services.
To some, the current influence of yoga is mind
boggling in light of the fact that yoga is believed
to have originated five or six thousand years
ago. It developed on the Indian subcontinent as
a nonreligious yet spiritual discipline meant to
unite an individual with his or her divine nature.
The revered teachings of yoga derived from the
world’s oldest hallowed texts—the Vedas—and, in
some way or another, the wisdom and teachings
of these foundational texts likely influences most
modern-day yoga scholars and instructors.
Within that sweeping context, this chapter
briefly defines and demystifies the discipline of
yoga, particularly the types of yoga that you are
most likely to practice and teach. What does it
mean when people say they practice yoga? Is it
a mystic spiritual practice? Is it a religion? Or
is it simply a program of physical postures and
meditation techniques? As yoga continues to
evolve from its ancient roots, the answers to such
questions can sometimes be unclear.
In Sanskrit, the word yoga means “to yoke or
unite”; it can also mean “discipline.” The second
tenet expressed in the Yoga Sutras, a cardinal text
defining yoga, states, “Yoga chitta vritti nirodha,”
which is often translated as, “Yoga is the ces-
sation of fluctuations or distractions to enable
movement toward evolved consciousness and
being.” In another translation: “Yoga is the pure
connection with Universal consciousness within
our heart.” As such, yoga can refer to any method
by which we can become balanced and united
with our own higher nature (self) and obtain
supreme bliss.
Thus, yoga is a journey of contemplation and
self-discovery on the path to personal enlighten-
ment. For this reason, Mother Teresa and Socra-
tes can both be considered as yogis (people who
practiced yoga). Moreover, yoga is not a religion;
rather, it is a discipline without dogma. There-
fore, a person of any faith or fellowship can be
considered a yogi.
When referring to a female yoga
practitioner, the term is yogini [yoe-
GEE-nee], whereas when speaking of
a man, or of a mixed-sex group, the
term yogi, yogis, or yogin is applied.
Types of Yoga
There are as many ways to practice yoga as
there are to unite with bliss and enlightenment.
Essentially, however, current practice involves
four primary types of yoga: karma, bhakti, jnana,
and raja.
• Karma [KAR-muh] yoga is  the path of
service through selfless action for the good of
others—for example, Mother Teresa’s works to
serve poor people as a way to connect the compas-
sion of God with humanity. Unconditional service
is a tradition in Hindu monasteries or ashrams
[AAHSH-ruhms], and many yoga teacher training
programs require candidates to practice karma
yoga by cooking and cleaning or providing other
voluntary service for others.
• Bhakti [b-HUHK-tee]  yoga cultivates the
expression and love of the Divine through devo-
tional rituals. Forms of this path include regular
prayer, chanting, singing, dancing, ceremony, and
celebration. For example, bhakti yoga is practiced
and shared in the uplifting music of renowned

kirtan (devotional chant) vocalist and spiritual
leader Krishna Das.
• Jnana [YAAH-nuh] yoga is the path of intel-
lect and wisdom, and its components include
study of sacred texts, intellectual debates, philo-
sophical discussion, and introspection. Socrates
was a jnana yogi, as are modern-day yoga scholars
such as David Frawley and Ravi Ravindra.
• Raja [RAAH-juh]  yoga, also known as the
“royal path,” refers to the journey toward personal
enlightenment. This path consists of balancing
the three main yoga types just described—karma,
bhakti, and jnana—while integrating the eight
limbs, or stages, of yoga (for further discussion,
see the sidebar titled The Eight Limbs of the Royal
Path). Hatha [HUH-tuh] yoga is represented as a
combination of the third and fourth limbs of the
royal path—that is, asana [AAH-suh-nuh]  and
pranayama [praah-naah-YAAH-muh] (see figure
1.1 and the sidebar about the eight limbs).
Hatha yoga is the type generally practiced in
modern (and especially Western) society. The
word hatha is usually translated from Sanskrit as
“sun and moon,” with ha signifying sun energy
and tha signifying moon energy. Balancing the
active ha energy and the more calming tha energy
is the ultimate aim of hatha yoga practice. Hatha
is also translated as “forceful” (see figure 1.2),
and this translation  is included in the Hatha
Yoga Pradipika [praah-DEE-PEE-kuh]—a classic
text used by those who study hatha yoga. Some
practitioners have expounded that this transla-
tion is appropriate because hatha yoga requires
great physical effort. On a symbolic as well as a
physical level, then, hatha refers to a balancing
of energies or forces.
Types of Hatha Yoga
Hatha yoga focuses on the path toward personal
wellness and enlightenment through physical,
mental, and spiritual means. The category of
hatha yoga encompasses a number of popular
styles of practice. Most hatha classes are generic
in style, which means that  they blend popular
elements of various styles that stand alone as spe-
cific forms. Two of the best-known styles of hatha
are Iyengar and Ashtanga, and classical-eclectic
hatha classes often include traits of either or
both of these styles. As a result, many students
are confused into thinking that hatha yoga is a
Understanding Yoga 5
style in and of itself, apart from any other named
style, when in fact it is the umbrella under which
all hatha styles fall.
Although approaches to hatha yoga differ
from each other, all of these methods are meant
to help practitioners achieve the goals of greater
health and general well-being through deeper self-­
awareness. With this end in mind, this text pres-
ents an overall picture of the physical discipline
while also bridging the gaps between East and
West, ancient and progressive, physical and spiri-
tual, science and art, flexibility and strength, and
student and teacher. Yoga is not associated with
rebellion or revolution; instead, it is a practical
response to the hectic nature of our modern lives,
which likely provides the impetus for the tidal
wave of interest in yoga throughout the world.
The general practice of hatha yoga strives to
be progressive while maintaining a basic connec-
tion to traditional teachings. Over the millennia,
considerable changes have occurred—in prac-
tice venues, students, and teachers—and such
changes are likely to continue. Yet even as forms
and styles branch out and evolve, they continue
to derive from the same basic roots. In fact, the
founders of two of the most popular styles of
modern hatha yoga, Iyengar and Ashtanga, had
the same teacher—Sri Tirumalai Krishnamach-
arya (see figure 1.3).
Iyengar Yoga
In the early twentieth century, world-renowned
yoga master B.K.S. Iyengar created a style of
hatha yoga focused primarily on achieving precise
physical alignment during the execution of poses.
At times, especially in the 1970s and 1980s, Mr.
Iyengar was likened to a drill sergeant because his
teaching style was somewhat strict in its extreme
attention to physical positioning. To assist in this
positioning, Iyengar yoga students use many
types of props, which enable people at all levels of
proficiency to go deeper or stay longer in postures
with more accurate physical alignment.
Props are becoming more common in classical-­
eclectic classes as well, but Mr. Iyengar was an
innovator in hatha practice because of his insis-
tence on precision with props and his demand
that his yoga students be consciously focused in
the mind and obediently energetic in the body. As
a result, Iyengar teacher trainings can take three
or more years to complete, depending upon which
level of certification a candidate is interested in
 The Eight Limbs of the Royal Path
Think of the eight limbs of yoga as parts of the great tree of yoga. Each limb connects to the trunk, and
yoga is grounded and nurtured by its deep, ancient roots. Each limb has leaves that express the life of the
limb; these leaves are the techniques of the yogic limbs. The eight limbs, or stages, of yoga are outlined in
the text of the Yoga Sutras, which was compiled and written around 300 to 200 BCE by the sage Patanjali
[pa-TAHN-jah-lee].

Limb 1
Yamas [YAAH-muhs]—guidelines for ethical standards and moral conduct
• Ahimsa [uh-HEEM-saah]—nonviolence
• Satya [SUHT-yuh]—truthfulness
• Asteya [uh-STAY-uh]—nonstealing
• Brahmacharya [bruh-muh-CAHR-yuh]—moderation
• Aparigraha [uh-PUH-reeg-ruh-huh]—nonattachment

Limb 2
Niyamas [nee-YUH-muhs]—observances and disciplines
• Saucha [SHOWH-chuh]—cleanliness
• Santosha [suhn-TOH-shuh]—contentment
• Tapas [TUH-puhs]—austerities (translated as “heat” or “purifying practices”)
• Svadhyaya [svaahd-HYAAH-yuh]—study of spiritual scriptures
• Ishvara pranidhana [EEHSH-vuh-ruh pruh-need-HAAH-nuh]—practice of awareness and surrender
to the presence and divine will of God

Limb 3
Asana [AAH-suh-nuh]—practice of physical postures
Pranayama [praah-naah-YAAH-muh]—special breathing
techniques used to control the life force, or energy, in
the body

Limb 5
Pratyahara [pruht-yaah-HAAH-ruh]—with-
drawal of the senses as part of the transcen-
dence of constant nervous stimuli; practice
of sensory detachment through deep relaxation
techniques

Limb 6
Dharana [dhaahr-UHN-aah]—concen-
tration and focus

Limb 7
Dhyana [dhahy-AAH-nuh]—medi-
tation

Limb 8
Samadhi [suh-MAAHD-hee]—state of
ecstasy, bliss, and enlightenment that
transcends the Self and merges with the
Divine Figure 1.1  The tree of yoga.
E6251/Ambrosini/fig01.01/518456/pulled/r1-alw

6

Yamas
Ashtanga
Raja
Niyamas
Asanas
Hatha
Jnana
Pranayama
Yoga Pratyahara
Bhakti Dharana
Dhyana
Karma Samadhi
Figure 1.2  Yoga lineage.
E6251/Ambrosini/fig01.02/518457/pulled/r1-alw
reaching with their training; Iyengar has three
basic levels of training.
Iyengar yoga places so much emphasis on
physical alignment, as Mr. Iyengar believed that
it takes most people most of their lives to get the
body into its most appropriate physical alignment,
that Surya Namaskaras (Sun Salutations) are
not performed and pranayama (breath work) is
abandoned in the asana classes until students are
proficient in their alignment practices. However,
certain pranayamas are taught in workshops or as
a separate practice altogether. Iyengar yoga also
prohibits music and partner work because they
are thought to be distractions. Although some find
this hatha style to be intimidating, it is generally
the safest form of physical practice because of its
diligent attention to body alignment.
Even so, many people are uncomfortable with
this style because instructors generally do not
allow students to go as deeply into a posture as
they might like. Instead, instructors insist that
students use props and move only as far into a
posture as they are able to manage while main-
taining the most optimal alignment possible.
Given this focus, Iyengar classes disallow baggy
clothes because they hide so much of a student’s
body that the instructor might miss a detail need-
ing adjustment. Of course, each teacher conducts
Understanding Yoga 7
Iyengar
Pattabhi Jois
Ashtanga
Krishnamacharyra
Hatha
Desikachar
Vinyasas
Figure 1.3  Hatha yoga lineage. The blank lines repre-
sent other lineages.
E6251/Ambrosini/fig01.03/518458/pulled/r1-alw
class in her or his own way, but true-blue Iyengar
instructors tend to be strict in their teaching styles
in order to adhere to Iyengar’s exacting guidelines.
Ashtanga Yoga and Power Yoga
Ashtanga means “eight limbs”; in contemporary
hatha circles, it also refers to a style of yoga prac-
tice introduced by Pattabhi Jois. This dynamic
form of hatha yoga involves vigorous flow from
posture to posture. More specifically, Ashtanga
practice today involves six series, or set combi-
nations of postures, in which practitioners move
from one posture to the next without stopping.
Generally, however, only the primary (yoga
chikitsa) series and the second (intermediate,
or nadi shodhana) series are taught in class set-
tings because the remaining four series are quite
physically demanding. In fact, those four can be
practiced only by persons who have spent con-
siderable time learning and accomplishing them.
Ashtanga yoga was rediscovered in the twen-
tieth century when Pattabhi Jois and his teacher,
Sri Krishnamacharya, translated a practice they
found outlined in an ancient text called the Yoga
Korunta. Krishnamacharya found the manuscript
written on leaves in a form of Sanskrit used 5,000
8 Instructing Hatha Yoga
years ago; according to interpreters, the estimated
date of its transcription is at least 1,500 years ago.
Pattabhi Jois named the practice Ashtanga, based
on the second Pada (or chapter) of Patanjali’s
Yoga Sutras. In the pada, the term ashta-anga
(eight limbs) are outlined and the Pattabhi Jois
believed the integration of the eight limbs were
steps to gradually awaken to Samadhi (Divine
Consciousness).
Because many people either did not recognize
the term Ashtanga or misunderstood it as referring
to raja yoga, the practice was referred to for some
time by the term power yoga. In the 1990s, Beryl
Bender Birch wrote a book called Power Yoga that
demystified the practice of Ashtanga for many,
and the book still serves as a great reference on
the benefits of this style. Unfortunately, however,
some confusion persists about Ashtanga and
power yoga. Ashtanga is the practice of a set series
of postures. In contrast, power yoga classes are
generally hybrids that use some of the postures and
flow of Ashtanga but are often not true to Ashtanga
sequencing. The practice of power yoga continues
to be brought alive by innovative modern yoga
teachers, such as Baron Baptiste and Bryan Kest.
In this book, the term Ashtanga refers to
the dynamic series of postures rediscovered by
Pattabhi Jois and Sri Krishnamacharya. Many
Ashtanga classes use abridged versions of these
Table 1.1  Physical and Mental Comparison of Iyengar and Ashtanga Styles of Hatha
Yoga
Iyengar
Pace Postures generally held for 30 to 90 seconds
No set routine; postures often repeated with
Routine
resting postures between
The mind is focused on the physical form. The The mind and body are focused on surrendering to
Mental focus surrender comes from staying in the posture
with great effort and attention to alignment. details of alignment.
Quiet, natural
Pranayama
(breathing style)
Using and opposing the force of gravity in the
Physical focus postures expands energy throughout the body
and mind.
Name of Tadasana (Mountain Pose)
opening posture
Props Mats, straps, blocks, blankets, bolsters
No
Sun Salutations
No
Partner work
original series because a hatha class is often
only one hour long and the students are often of
mixed ability.
In practicing either Ashtanga or Iyengar yoga,
one sees (and feels!) both the physical and the
mental distinctiveness of the chosen style. At the
same time, the two approaches share common
ground since their founders—Pattabhi Jois and
B.K.S. Iyengar, respectively—are contemporaries
who had the same mentor in Sri Krishnamacha-
rya. In fact, at first glance, it may seem surprising
that two such different styles could be traced back
only one generation to the same root. However,
Sri Krishnamacharya was known to teach each
student according to his or her personal needs.
Table 1.1 illustrates the differences between these
two styles of hatha yoga in mental focus and
physical components.
Vinyasa Yoga
Another style of hatha yoga involves the practice
of linking Surya Namaskaras (Sun Salutations)
or similar postures between poses. Practitioners
repeat each pose in the sequence before going
on to the next one; after adding each new pose,
they do a vinyasa [vin-YAAH-suh]—a flowing
movement linked with the breath. Most vinyasa
Ashtanga
Postures typically held for four breaths
Set routine; continuous flow between postures
the flow of the movement. Less attention is paid to
Deep, audible ujjayi breath. Ujjayi means “victorious
breath” and refers to an audible diaphragmatic breath
achieved by slightly closing the back of the throat.
The increase in body heat, attained by continuous
movement between postures, allows the student to
move deeper into each posture.
Samasthiti (Mountain Pose)
Mats, rugs
Sun Salutations provide the foundation for staying
warm and flowing.
Partner work is used to aid placement in some posi-
tions.

teachers use variations of poses and sequencing
to create a smooth flow from pose to pose rather
than simply stopping one posture and starting
again. The word vinyasa refers to the flowing
or linking of poses in synchronization with the
breath.
Variations of Sun Salutations are the vinyasas
that link other poses together in Ashtanga yoga.
However, vinyasas do not have to be vigorous; in
fact, they can be slow and gentle as one pose flows
easily and softly into another, similar pose. The
key is to connect poses with the breath.
Viniyoga
Not to be confused with vinyasa yoga, viniyoga
is another method of hatha yoga linked to Sri
Tirumalai Krishnamacharya. His son, T.K.V.
Desikachar, used a style of classical-eclectic hatha
that directly applies the physical practices of yoga
as a purely therapeutic modality based on an
individual’s specific needs. The style is referred to
as viniyoga, meaning “applied yoga,” by Western
students of Desikachar, including Mark Whitwell
and American Viniyoga Institute founder Gary
Kraftsow.
Viniyoga emphasizes using the breath as a
means to achieve specific outcomes, either with
or without accompanying movement. When
asanas are practiced as part of therapy, they are
often repeated and are linked directly to func-
tionality. This style uses the ancient practices
of yoga for physical, emotional, and spiritual
healing. Classes are often taught one on one or
in small groups so that the teacher can address
each student’s individual needs.
Bikram and Hot Yoga
Once known mainly as the “yoga of the stars,”
the Bikram style of hatha has spread from Bev-
erly Hills throughout the United States since the
late 1970s. The Bikram style is the original “hot
yoga” style, and its classes are taught in a room
kept at approximately 106 degrees Fahrenheit (41
degrees Celsius). Bikram yoga is based on one
series consisting of 26 poses, which are practiced
twice in a class session.
Though this style of yoga is purported to have
originated with its namesake, Bikram Choud-
hury, it can be traced back to Bishnu Ghosh,
the brother of Paramahansa Yogananda, who
founded the Self-Realization Fellowship in 1925.
Understanding Yoga 9
Mr. Choudhury insists that, barring any physical
limitations, newcomers participate in class every
day for two months before easing into the regi-
men. He believes that this intensity serves as an
incentive and as an initiation into the style, which
promises a better body and new life through a
detoxifying practice that some liken to a yoga
boot camp. Many Bikram-trained teachers have
migrated away from teaching Mr. Choudhury’s
particular style of hatha yoga due to trademark
and copyright disputes as well as allegations of
his misconduct. Instead, they teach their own
version of heated yoga.
Many Bikram yoga studios are now built
from the ground up and include state-of-the-art
heating systems to maintain the desired room
temperature for classes. Scores of students revel
in the feeling of looseness that they attain in the
penetrating heat; at the same time, many people
are leery about the intense temperature used in
these styles. Indeed, the room’s high temperature
is enhanced by the mass of body heat exuding
relentlessly from class participants as they prac-
tice one posture after another. In contrast, in
Ashtanga hatha, the heat is created solely by the
practitioner’s own body moving through linked
poses via vigorous vinyasas.
For some people, the high temperature is
overwhelming; for many others, however, the
effect of performing the asanas in a sauna-like
environment is what gets them hooked. Indeed,
sweating can be therapeutic and cleansing. Still,
these yoga styles are not for everyone.
People with potentially complicating
conditions should be very mind-
ful when considering whether to
practice in the heat—for example,
deconditioned students who have a
tendency toward high blood pres-
sure or whose core body temperature
tends to run high. In addition, some
people simply do not tolerate heat
as well as others, and these people
need to allow themselves rest periods
and water breaks when they attend
a class, especially when the heat is
extreme.
10 Instructing Hatha Yoga
Students should choose the type of hatha yoga that will be most beneficial to their emotional and physical needs. Con-
sider both the types of class available and the environment in which each class is taught.
Kundalini Hatha
In 1968, Yogi Bhajan introduced a form of Sikh-
ism to the West, and with it came a form of hatha
that, to many, resembles calisthenics. He founded
the Healthy, Happy, Holy Organization (3HO), a
teaching institution that offers guidance through
yogic practices to awaken the dormant Kundalini
Shakti—divine spiritual energy—described meta-
phorically as a coiled snake residing at the base of
the spine and believed to be housed in each of us.
The purpose of Kundalini yoga is to prepare the
body–mind and awaken the dormant Universal
energy within the practitioner.
Those who follow Yogi Bhajan’s teachings
in their entirety wear white cotton outfits with
turbans or head scarves. The white clothing is
thought to enhance the radiance of a person’s
aura, and covering the head is said to aid in
meditation. Doing so is not required, however,
in order to partake of this form of hatha, which
is known simply as Kundalini [KOOHN-duh-lee-
nee]. People practicing Kundalini hatha often
chant syllables and perform segments of rapid
deep breathing, or “breath of fire,” while holding
poses. It is common to practice the poses at a
fast pace for as many as 108 repetitions per class
and to hold certain hand gestures (mudras) for
© Christopher Futcher/istock.com
prolonged periods—all to allow the Kundalini
energy to rise through the body and integrate
the energy of the chakras (energy centers) for
personal enlightenment.
Classical-Eclectic Hatha
Together, the words classical and eclectic are used
to describe the mixed form of hatha yoga that is
generally taught today. The term hatha indicates
that this type of yoga involves asana practice,
“classical” indicates that the poses practiced are
time honored, “typical” poses taught in more
than one hatha style, and eclectic indicates that
the style is blended—in other words, that it does
not follow one strict method or consistent routine
of postures. This category includes the integral
yoga series taught by Swami Sivananda and the
Himalayan tradition brought to the United States
by Swami Rama, as well as the practices of many
yoga teachers who combine elements from vari-
ous traditions and styles.
Most yoga teachers choose to teach a classical-­
eclectic, or mixed, style of hatha without naming
it as such. This method combines elements from
many styles and generally appeals to the broad-
est population. For example, an instructor may

use a combination of deep breathing and back-
ground music, along with attention to alignment
and physical adjustments. In contrast, another
school—for example, Iyengar hatha yoga—may
focus on alignment yet oppose allowing music
in class because it might be distracting. Further-
more, the expression of a style is often colored
by a teacher’s personality; therefore, two classes
taught by different teachers might share a lineage
yet feel very different.
Given these variables, the label classical-eclectic
hatha can create confusion since it encompasses a
number of styles that range from gentle to vigor-
ous. As a result, the term can make it difficult to
know what to expect if one is not familiar with the
instructor. In addition, yoga offerings often lack
a true class description; instead, many advertis-
ing brochures include a list of goals and benefits
but avoid describing the style and method of the
class. For example, a class pamphlet might read
something like this: “Experience the bliss of your
muscles and your mind at once” or “Connect with
your heart and soul for better well-being.”
These promises sound great, and they may
offer a true invitation to a class; however, they
offer no hint as to how the promised results are
achieved. Indeed, they could just as easily refer
to a class in which students lie on their backs
and rest under blankets in a nearly meditative
state as to a class that poses great physical chal-
lenge in a room heated to more than 100 degrees
Fahrenheit (38 degrees Celsius)! Both of these
styles exist—and both offer great boons to their
practitioners—but without understanding a style
from its name and reputation, or from a precise
description, you would not know what to expect.
Classical-eclectic hatha can be found at var-
ious levels of intensity, and it usually involves
elements of the methods described earlier in
this chapter. For example, a Sivananda [Sheev-
uhn-AAHN-duh] or integral hatha yoga class as
taught by Swami Sivananda has a nice sense of
flow similar to that of Ashtanga classes. However,
integral yoga classes hold postures longer and
use more rest between poses (as Iyengar classes
might do); they also approach the emphasis on
alignment in a different manner, focusing more
on joint flexibility and overall stability.
Anusara
In 1997, U.S.-born yoga teacher John Friend cre-
ated a hatha style that he labeled Anusara, which
is generally translated  as “flowing with grace,”
Understanding Yoga 11
although the more literal Sanskrit definition is
“following.” Mr. Friend had begun studying and
practicing yoga at a relatively early age, and over
the years he had explored numerous hatha styles,
including Sivananda, Kundalini, Ashtanga, and
Iyengar, as well as several Eastern philosophical
belief systems.
Friend was a dedicated student of both Pat-
tabhi Jois and B.K.S. Iyengar and based much
of the physical nature of Anusara yoga on Mr.
Iyengar’s alignment systems. In Anusara, these
elements are organized into what are described as
the Five Universal Principles of Alignment, which
encompass opening the heart to grace, as well as
awareness and integration of energetic pathways
(loops) and biomechanical geometry. Anusara
yoga also follows physical and philosophical
ideals referred to as the Three As—attitude, align-
ment, and action—which, when followed both on
and off the yoga mat, are believed to enhance a
person’s entire life.
In early 2012, Anusara was rocked by alle-
gations against Mr. Friend of ethical, financial,
and sexual misconduct, all of which he admit-
ted before stepping away from his leadership
of Anusara Inc. Because of the scandal, many
Anusara-certified teachers relinquished their
titles. However, due to the popularity and deep
love of the practice in the worldwide Anusara
community, a group of dedicated independent
teachers formed the Anusara School of Hatha
Yoga in October 2012 and continue to certify
teachers in the style.
Restorative and
Meditation in Movement
Style Yoga (MIMSY)
In 1995, Judith Hanson Lasater, a renowned yoga
teacher and longtime Iyengar student, introduced
the world to restorative yoga in her comprehen-
sive book Relax and Renew: Restful Yoga for Stress-
ful Times. Lasater pointed out that it is essential
to slow the nervous system and quiet the mind in
order to heal from the negative effects of stress.
Toward this end, her work addresses specific
asanas and other yogic techniques as therapeutic
tools. Restorative yoga is generally described as
a relaxing, modified, traditional hatha style. It
tends to be relatively slow moving and generally
involves seated, supine, and prone poses. It also
uses numerous props that allow students to hold
12 Instructing Hatha Yoga
poses longer while focusing on more passive
stretching and deeper relaxation.
Students new to yoga often mistakenly think
of restorative yoga as simply beginner’s yoga.
At the same time, many yoga teachers advertise
their classes as restorative when, more often than
not, they are simply slowed-down versions of
classical-eclectic poses that use few if any props
or modifications. For this reason, in 1996, Lanita
Varshell, a longtime yoga teacher and student of
Ms. Lasater, developed Meditation in Movement
Style Yoga (MIMSY) to help would-be yoga prac-
titioners for whom nonmodified yoga was not a
good fit.
Diagnosed with fibromyalgia, Ms. Varshell
found that yoga practices relieved her symptoms
and brought comfort and peace to her mind
and body. She also noticed, however, that many
traditional poses—even in their slowed and
supported versions—were too challenging for
many people. At the same time, she recognized
that practitioners can move more easily into a
relaxed, restorative state when the body shifts
fully from the sympathetic nervous system to the
parasympathetic nervous system, thus cultivating
the relaxation response.
MIMSY classes begin with the practitioner in
a supine position with props. They use focused
breathing and gentle, easy movements to release
tension in the spine, hips, internal organs, and
mind. From this point of relaxation, many classes
remain on the ground and focus on energetic
healing and slow, simple movements. Other
classes progress from the ground to seated or
even standing poses; depending on the students,
they may also move into more traditional asana
practice. By design, all of the classes are nurtur-
ing and begin with modified versions of poses so
that less physically able students feel comfortable
and safe. More physically active students are
invited to take the poses to a level that is more
challenging to them yet still comfortable. In Ms.
Varshell’s studio, these MIMSY classes are con-
sidered Aalamba, which means “with support”
in Sanskrit.
Yin Yoga
Yin yoga is a slower-paced hatha style in which
each pose is held for five minutes or longer. This
style was first taught in the United States in the
1970s by Paulie Zink, a martial artist and yoga
teacher, and it has been popularized by instruc-
tors Sarah Powers and Paul Grilley. The aim of
yin yoga is to apply moderate force on the fascia,
ligaments, and tendons in order to increase
flexibility, circulation, and subtle, or life-force
energy,  throughout the joints. Many yin poses
are traditional hatha poses modified slightly to
safely stretch the overlying muscles and keep a
joint within its natural range of motion.
Though this style of hatha is slower than other
styles, some students find the deep stretch and
extended time in the pose to be uncomfortable at
best, and deleterious at worst. On the other hand,
the style can be very beneficial for students with
no history of injury and for those who are in touch
with the limits of their bodies and know when to
leave a pose. For these students, yin yoga often
helps them sit more comfortably in meditation.
Other Contemporary Variations
of Hatha Yoga
Classical-eclectic hatha includes a growing list
of specializations that serve specific populations
with unique needs and approaches to the prac-
tice. Some popular, specifically adapted styles of
classical-eclectic hatha yoga are described in the
following subsections.
Prenatal Hatha
Prenatal hatha is a practice of modified asanas
for women during or after pregnancy. Prenatal
classes, which have grown in popularity, offer
multifaceted approaches that address both the
woman’s changing body and the safe and healthy
development of her child. As you might imag-
ine, modifying hatha yoga poses for pregnancy
involves certain inherent risk factors. For this
reason, anyone interested in teaching this special
population should enroll in additional training
courses. An outline of a prenatal class can be
found in chapter 13.
Children’s Hatha
Children’s hatha classes are designed specifically
for younger children, who should not be treated
simply as small adults. Children have specific
developmental needs that can be addressed
through specialized training. The classes are fun
and sometimes involve game playing; in addition,
both the classes and the individual postures are
 Understanding Yoga 13

usually shorter in order to cater to children’s typi- Partner Hatha

cally shorter attention span. In 2008, Galantino et
al. published a literature review in Pediatric Phys-
ical Therapy addressing the therapeutic effects
of yoga on children. These studies showed that,
as with adults, yoga benefits kids by increasing
overall fitness; expanding attention and memory;
and decreasing anxiety, stress, and aggression. An
outline of a children’s yoga class can be found in
chapter 13.
Chair Hatha
Chair hatha can be designed either as a corporate
yoga program or as a set of asanas adapted for
physically challenged people who are unable to
move into standing or ground postures. Chair
sequences are incorporated into many classes
for seniors or for people with special needs.
Workshops on teaching chair hatha can be found
throughout the country.
Senior Hatha
Senior hatha classes are designed specifically to
address the psychological and physiological needs
of people as they age. Senior-oriented classes also
serve an important role as a community connec-
tion for many individuals who are underserved or
otherwise socially separated. One source of such
classes is the Silver Age Yoga organization, which
has its own teacher training program. The group’s
founders, Frank and Serpil Iszak, have certified
more than 300 teachers on five continents since
the program began in 2003. This type of class
seems likely to grow as the life span of the overall
population increases.
Partner hatha yoga is usually done for light enjoy-
ment, although many teachers use this practice
as a means to bring people closer together in a
trusting fashion. Partners can hold poses together,
or one person can assist the other. Partner yoga
can also be used to practice many moves of Thai
massage. In fact, one relatively new form of part-
ner yoga is acroyoga, which blends asanas with
Thai massage techniques and acrobatics for a fun
and balanced practice. This particular style also
offers certification programs.
Water Hatha
Water hatha yoga is like other forms of water exer-
cise in that movements performed in the water
take away much of the gravitational forces in the
joints and alleviate any discomfort some students
may feel when exercising on land. Because of the
buoyant nature of water or aqua yoga classes, stu-
dents generally achieve more profound increases
in joint range of motion with less strain than in
traditional land-based yoga classes. Many water
yoga classes are held in warmer water, which
increases the therapeutic nature of the sessions.
Each type of hatha can be broken down fur-
ther, and overlap can be identified among various
styles. For example, a prenatal yoga class might
consist of an Iyengar-like practice with a number
of props; alternatively, it might be done in the
water. Similarly, a chair class might use partner
work or begin as a restorative class and move up
to a chair. The possibilities are as vast as one’s
imagination.

Adjunct Practices of Hatha Yoga

Practitioners of hatha yoga often strive to engage in lifestyle regimens of physical and mental cleanliness
both on and off the mat. Although many teachers in public yoga classes do not regularly discuss or teach
much about topics such as meditation, philosophy, or diet specified for body type, yoga teachers should
have an awareness of such subjects.
For example, yoga is a sister science of Ayurveda, the medicine of ancient India. One Ayurvedic or
yoga lifestyle practice is the use of a neti [NEH-tee] pot—a device used to wash the nasal passages—as a
daily ritual akin to brushing one’s teeth. Another level of yoga lifestyle practice involves discovering ways
to incorporate principles of the Yoga Sutras (whether all or part of the eight limbs) or insights from asana
sessions into the rest of one’s daily life. Because yoga is a discipline without dogma, each person finds his
or her own ways to incorporate aspects of yoga practice into daily life. One way to do so is simply to be
more flexible in both mind and body; another way is to strengthen both the muscles and the willpower.
14 Instructing Hatha Yoga
Yoga Lexicon
Like any widely practiced discipline, yoga uses
its own particular jargon to describe its philos-
ophy and physical actions. In addition, each
instructor, based on personality, devises her or
his own phrases to express feelings and motions
to students. Appropriately worded direction
sets the stage for a student’s ego to relax more
completely while his or her body is engaged in
an asana. Therefore, your words should create a
warm, nurturing environment for your students.
Allow each student to feel comforted and safe in
both a physical and psychological way, and select
your words with care.
Your words set the tone of a class and affect
its progress. With that in mind, avoid words that
imply judgment or classification—for example,
“advanced students” and “correct” or “perfect”
posture—as well as all negative-sounding words.
Appropriate descriptive terms include “ideal
posture,” “more aware,” “deeper,” and “explore.”
In addition, the following phrases are ways to
descriptively guide students through a class.
• “Open space in your lower back.” The idea
here is to encourage students to lengthen and
expand the low-back area without overly tight-
ening the buttocks or moving the pelvis out of
neutral; as a result, the top of the pelvis remains
relatively level. “Open space” indicates a gentle
expansion of the lower back region and a slight
lengthening of the lumbar spine. In contrast, the
phrase “tuck your pelvis” is interpreted by many
students as curling the tailbone forward or under
to create as much length as possible in the lower
spine. Unfortunately, this action moves the lower
back in the opposite direction of its natural curve
and takes the pelvis out of a neutral orientation.
• The phrase “edge of balance” refers to the
delicate balance point that one reaches just before
falling. Being at the edge of balance tests the
range of motion and stability of both the body
and the mind.
• “Bend at the hips like a hinge.” This phrase
means simply to fold forward not from the waist
or low-back area but from the hip joints. Bending
at the hips keeps the spine long and extended and
keeps stress off of the spine.
• “Breathe into your __________” (any place
other than your lungs). The mechanisms of
breathing are introduced in chapter 4, and this
phrasing is mentioned here because the impor-
tance of continuous focus on breathing cannot be
overemphasized. When a teacher tells a student
to breathe into her or his knees, the teacher is
really asking the student to bring awareness to
and feel the breath and all the associated healing
energy in the knees.
• “Stay centered.” This directive helps stu-
dents keep their awareness as internally focused
as possible. By honing attention to their breathing
and movements, they can eliminate a number of
external distractions, thus aiding in stress relief
and relaxation.
• “Inhale as you expand, and exhale when you
release.” This directive indicates how the breath
should be used when moving into or out of a
posture. Typically, one inhales when moving into
a posture that lengthens and extends the body.
On the other hand, when relaxing into a folding
posture, such as a forward bend, one exhales.
Although this list could continue, these phases
were chosen because they are used widely in yoga
classes. It is not necessary to use these phrases
constantly to express concepts; however, they
offer effective ways to relay directions when one
is just starting out as a teacher.
Standards for Yoga
Teachers
As hatha yoga classes gained in popularity, it
became apparent that some form of oversight was
necessary in order both to preserve the integrity of
this ancient practice and to protect yoga students
from underqualified or unethical teachers. In
1997, to meet this need, a grassroots group of U.S.
yoga teachers began formulating guiding princi-
ples for yoga teachers and training schools. The
group formed a not-for-profit organization called
Yoga Alliance (YA), which in 1999 developed a set
of generalized requirements for yoga teachers.
The requirements are sufficiently generic to
include all hatha styles, and they meld yoga’s
diverse demands with awareness of safety and
ethical concerns, as well as mindfulness of yoga’s
ancient philosophical heritage. The standards
outline mandatory minimum levels of training
hours in five categories (see table 1.2 for a more
comprehensive overview of the training standards
categories required for registration):
 Understanding Yoga 15

1. Teaching techniques and practice (asana,
pranayama, and other traditional prac-
tices)
2. Teaching methodologies (class manage-
ment, overall teaching principles)
3. Anatomy and physiology (both gross and
energetic or esoteric)
4. Philosophy, lifestyle, and ethics
5. Teaching practice and study
Though some disagree with the move to stan-
dardize a discipline that has been taught and
studied for thousands of years, Yoga Alliance
enhances both the public perception and the
genuine professionalism of yoga teacher-training
programs—and, by extension, of yoga teachers
themselves. In 2004, the alliance counted approx-
imately 300 approved yoga schools and 8,000
registered instructors. Just 10 years later, these
numbers had skyrocketed to 3,000 schools and
45,000 teachers. As a result, anyone seeking a
qualified yoga teacher need look no farther than
the YA website.
To remain registered with YA, teachers pay
yearly dues, participate in at least 30 hours of
documented continuing education, and teach
a minimum of 45 hours every three years. At
least 10 of the 30 hours of this training must be
performed in the presence of a lead teacher, and
all hours must relate directly to one of YA’s five
main educational categories. As incentives, Yoga
Alliance offers numerous professional benefits,
including inclusion in YA’s comprehensive online
directory, discounted yoga supplies, business ser-
vices, health and liability insurance, and outreach
and occupational development conferences. Also,
as part of a restructuring effort between 2007
and 2010, the organization hired yoga teachers
to provide customer service and credentialing
advice to both new and veteran teachers and
training schools.

Table 1.2  Yoga Alliance Standards

Standards category Definition
Techniques, training, and Includes but is not limited to asanas, pranayamas, kriyas (specialized practices intended for
practice specific outcomes), chanting, mantras, meditation, and other traditional yoga techniques.
These hours must include a mix of (1) analytical training in how to teach and practice the
techniques and (2) guided practice of the techniques themselves; both areas must receive
substantial emphasis.
Teaching methodology Includes but is not limited to communication skills, group dynamics, assessment of individ-
ual and special population needs, principles of demonstration, observation, assisting and
correcting, teaching styles, teacher qualities, the student learning process, and business
aspects of teaching yoga (the business component can account for a maximum of 5 hours).
Anatomy and physiology Includes but is not limited to human physical anatomy and physiology (e.g., organs and
systems) and may also include energy anatomy and physiology (e.g., chakras, nadis,
koshas). Involves both study of the subject and application of its principles to yoga practice
(e.g., benefits, contraindications, healthy movement patterns).
Yoga philosophy, life- Includes but is not limited to study of yoga philosophies and traditional yogic texts, yoga
style, and ethics lifestyle, ethics for yoga teachers (e.g., those involving the teacher–student relationship),
and the value of teaching yoga as a service to others. At least 2 hours must be spent on
ethics for yoga teachers.
Practicum Includes practice in teaching as a lead instructor (not including hours spent assisting,
observing, or giving feedback), receiving and giving feedback, observing others teaching,
and assisting students while someone else is teaching. Each trainee must spend at least ten
contact hours in practice teaching as the lead instructor. A maximum of 2 practicum hours
can consist of noncontact activity, which includes evaluating or observing yoga classes
outside of the teacher training program.
Remaining contact hours Remaining contact and elective hours are distributed among all five categories according
and elective hours to the registered yoga school’s discretion based on its chosen emphasis.
© Yoga Alliance
16 Instructing Hatha Yoga

© Wavebreakmedia Ltd | Dreamstime.com

A teacher’s personality can greatly influence their students’ yoga experience.

Table 1.3  Yoga Alliance Minimum Requirements for 200-Hour and 500-Hour
Programs
200-hour1 program 500-hour2 program
Total Contact hours Total
Category hours with lead teacher hours Contact hours
Techniques, training, and practice 100 75; 50 with lead trainer(s) 150 100; 100 with lead trainer(s)
Teaching methodology 25 15; 10 with lead trainer(s) 30 20; 20 with lead trainer(s)
Anatomy and physiology 20 10 35 20; 0 with lead trainer(s)
Yoga philosophy, lifestyle, and 30 20 60 45; 0 with lead trainer(s)
ethics
Practicum 10 5; 5 with lead trainer(s) 40 20; 10 with lead trainer(s)
Electives 15 185
Remaining contact and elective 55 245
hours (combination of contact
and noncontact hours allocated
by a registered yoga school)
Total hours 200 180 including 65 with lead 500 450 including 200 with lead
trainer(s) trainer(s)
1
Standards effective as of 2005.
2
Effective for all established and new registrants as of January 1, 2008. A 500-hour program consists of the total cumulative hours from a
200-hour program and 300 hours of additional (nonrepetitive) advanced training.
© Yoga Alliance

In addition to the originally established 200-
and 500-hour registry levels (see table 1.3), YA
now also offers standards for 300-hour, prenatal,
and children’s yoga categories (see tables 1.4, 1.5,
and 1.6). The 300-hour category was added in
2013 to eliminate confusion about how to achieve
the registered yoga teacher (RYT) 500-hour desig-
nation, which, for many instructors, is a second
tier of training, similar to earning a master’s
degree after first earning a bachelor’s degree.
The importance of women’s health concerns
during and after pregnancy was recognized
early on by many yoga teachers. The YA prenatal
standards address the physical and physiological
Table 1.4  Yoga Alliance Minimum Requirements for 300-Hour Program
Category* Total hours Contact hours
Techniques, training, and practice 50 25; 25 with lead trainer(s)
Teaching methodology 5 5; 5 with lead trainer(s)
Anatomy and physiology 15 10; 0 with lead trainer(s)
Yoga philosophy, lifestyle, and ethics 30 25; 0 with lead trainer(s)
Practicum 30 15; 5 with lead trainer(s)
Electives and remaining contact hours 170
Total hours 390 270 including 135 with lead trainer(s)
The 300-hour standards refer to advanced training that deepens the participant’s understanding of fundamental material taught in the
*

200-hour training.
© Yoga Alliance

Table 1.5  Yoga Alliance Minimum Requirements for Prenatal Yoga

Category* Total hours Contact hours

General background in the specialty area 5 5
Techniques, training, and practice 25 25; 18 with lead trainer(s)
Teaching methodology 10 10; 6 with lead trainer(s)
Anatomy and physiology 10 10
Yoga philosophy, lifestyle, and ethics 5 5
Practicum 20 10 observing; 6 with lead trainer(s)
10 teaching; 6 with lead trainer(s)
Electives 10 10
Total hours 85 85; 36 with lead trainer(s)
*
After earning a certification with a registered prenatal yoga school (RPYS), an instructor must teach 30 hours of prenatal yoga before they
are eligible to register with Yoga Alliance as a registered prenatal yoga instructor.
© Yoga Alliance

Table 1.6  Yoga Alliance Minimum Requirements for Children’s Yoga

Category* Total Minimum contact hours
General background in the specialty area 12 12
Techniques, training, and practice 20 20; 15 with lead trainer(s)
Teaching methodology 15 15; 12 with lead trainer(s)
Anatomy and physiology 10 10
Yoga philosophy, lifestyle, and ethics 12 12
Practicum 18 6 observing; 4 with lead trainer(s)
12 teaching; 6 with lead trainer(s)
Electives 8 8
Total hours 95 95; 37 with lead trainer(s)
*
After earning a certification with a registered children’s yoga school (RCYS), an instructor must teach 30 hours of children’s yoga before
they are eligible to register with Yoga Alliance as a registered children’s yoga instructor.
© Yoga Alliance

17
18 Instructing Hatha Yoga
changes that a woman goes through during preg-
nancy; they also focus on safe ways to modify
poses and sequences in order to ease physical
and emotional discomfort before and even during
the birthing process, as well as the postpartum
period.
YA children’s yoga requirements address the
fact that although kids benefit greatly from prac-
ticing yoga, they are not little adults. Rather, they
form a population that is both diverse in itself
and, at the same time, marked by specific devel-
opmental needs. As a result, the standards focus
on understanding the developmental stages of
childhood and how best to design age-appropriate
classes for a range of age groups.
If you graduate and receive a certification from
a school approved by the Yoga Alliance, you can
choose to register with the alliance and place
the letters RYT after your name. The process
is akin to getting a diploma from an accredited
school and then applying for registration as a
nurse. However, it is not against the law to teach
without being registered; association with YA
is completely voluntary. Perhaps in the future,
education standards for yoga teachers will be
expanded to parallel those for chiropractors and
acupuncturists, in which case getting registered
would become an essential aspect of the profes-
sion.
As of this writing, numerous states require
specific licensure for yoga teaching schools, and
many more are considering such requirements.
As a result, people interested in teaching yoga are
advised to understand their state’s laws regarding
yoga licensing and certification requirements. As
the demand for hatha yoga continues to evolve, so
must teacher qualifications in order to maintain
the integrity of the practice and all that it may
encompass.
Review Questions
1. Approximately how old is yoga?
2. Define yoga in a few sentences.
3. What four types of yoga are typically prac-
ticed, and of which type is hatha yoga?
4. What is Ashtanga yoga?
5. How did Patanjali codify yoga practice?
6. What well-known type of hatha yoga
focuses on alignment, form, and the use
of props?
Liability Insurance and
Employment Classification
No matter where you teach—and regardless of
whether you are paid or volunteering your time—
it is vital that you acquire professional liability
insurance for yourself. Even if you teach in a
yoga studio, gym, spa, or educational facility that
is required to have a business insurance policy,
an individual policy can help guard against legal
action against you. Moreover, many teaching
facilities hire teachers as independent contractors
(rather than as employees) and require them to
provide their own individual insurance policy.
Even if a business maintains an umbrella
policy that includes workers, the coverage it pro-
vides could be less than needed if damages are
brought against you as an individual instructor.
Fortunately, most insurance companies that cater
to fitness and wellness professionals provide cov-
erage of an individual even if she or he teaches
in various locations—obviously a good thing for
independent contractors. Liability insurance pol-
icies are offered by many yoga and fitness-related
organizations, including Yoga Alliance.
Most small, noncorporate yoga facilities hire
instructors as independent contractors because
these businesses often have a relatively small profit
margin and teachers generally do not work full-time.
In addition, by hiring independent contractors, U.S.
businesses eliminate the responsibility imposed by
many state and federal tax laws. At the same time,
as independent contractors, yoga teachers qualify
for certain tax benefits for operating as their own
yoga business. Depending on your desired teaching
locale, you may be required to obtain a business
license along with your teaching certificate.
7. Identify some popular styles of hatha yoga
practiced today.
8. Describe some concerns facing modern
yoga practitioners and some of the ways
in which the needs of today’s yoga students
and teachers are being met.
9. What are the five categories of yoga teacher
training by Yoga Alliance?
10. Explain the meanings of the terms yamas
and niyamas.
 2
Basics of
Teaching Yoga
I t can be a challenge
to teach any subject.
Beyond this basic real-
ity, yoga instructors must
be particularly mindful of
the bodies, minds, and emo-
tions of their students—not
only as an overall group
but also as individuals who
come to class with various
abilities and needs. On
some days, it may seem
easier to teach yoga to
a dog than to a group of
highly diverse people! A
dog doesn’t care whether
you have charisma, what
you wear, whether you are
in good physical condition,
or whether you practice
what you teach. People,
however, generally expect
all of this and more.

19
20 Instructing Hatha Yoga
Yoga teaching today continues an ancient tra-
dition of master and pupil even as it engages the
complex expectations, agendas, and reactions of
a modern, materialistic, and often competitive
society. In this challenging environment, one of
the keys to success is to develop awareness both
of your own teaching inclinations and of your
students’ learning styles. To help your students
expand their skills, you first need to examine
your perceptions of yourself as an example and
mentor. If you explore your own moral compass
and motives, you gain understanding, tolerance,
and compassion for your students. If, on the other
hand, you do not balance your personal needs and
desires with the demands of providing service to
others, you will likely experience teacher burnout.
This chapter highlights several aspects of
teaching yoga, including ways to build trust and
rapport with your students, ways to optimize
your students’ yoga experience based on their
learning styles, and instructor traits often cited
by students as preferable or not preferable. This
information will help you recognize and expand
your own capabilities and those of your students.
The chapter also presents guidelines for applying
hands-on adjustments as well as questions to ask
yourself before doing so.
Yoga teacher training programs often require
a solid background in yoga practice for at least
one year and generally more. This is a wise
approach, because your teaching style should
form as an extension of your personal practice. A
practice of your own not only gives you tremen-
dous insight into the asanas but also provides
you with residual calm and confidence for times
when you are too busy teaching to enjoy a yoga
class for yourself.
The process of learning to teach yoga can take
years, but you can accelerate it by reading and
applying the information provided in this book.
Even if you are relatively new to the practice of
yoga, you can use this material to evaluate your
readiness, willingness, and ability to begin teach-
ing. Toward this end, appendix C offers a self­-
inquiry questionnaire to help you introspect while
studying the information provided in this book.
Qualities of a Yoga Teacher
First, you may be relieved to know that you do not
have to be able to put your foot behind your head
in order to be a good yoga teacher. You do need to
look deep within yourself to find the qualities that
you can use to build trust and instill confidence
in your students. These qualities allow you to
demonstrate both to yourself and to your students
that you have the knowledge and experience to
guide them authoritatively through a class. This
is true for both veteran and novice instructors.
A yoga teacher’s main responsibility is to help
people “remember” themselves as they travel the
path of self-awareness—to help them become
whole again. As young children, we explored
our bodies and tested our boundaries; unfortu-
nately, as adults we generally forget the joys and
challenges of that exploration. People often pay
no attention to their bodies, other than in super-
ficial critiques, unless they are feeling intense
pain or displeasure. Even athletes tend to focus
on the performance of their bodies rather than
the associated sensations. In fact, they often play
through pain in an effort to win, believing that the
“no pain, no gain” mentality is a virtuous model
of behavior.
After years of disassociation from bodily
awareness, it may be difficult for people to per-
ceive sensations that are not painful enough to
grab their attention. It is as if their mental mus-
cles have atrophied; that is, people who are used
to paying attention to their bodies only when they
can no longer ignore the pain have experienced
atrophy of awareness. Your job is to open their
minds and hearts through yoga in order to guide
them back to that integral awareness. Do not
expect, however, to stand up in front of a group
of complete strangers and miraculously send
them on a path to bliss. You first need to open
your own heart to them and allow their hearts
to open to you.
To gain or enhance your ability to
guide your students to their own
awareness, remember the four Cs of
teaching yoga: connection, compas-
sion, confidence, and commitment.
Connection
Think back on the most joyous learning you
have experienced with the help of a mentor.
Most likely, your joy derived in part from the
strong connection you felt with your instructor
 Basics of  Teaching Yoga 21

Find Your Purpose

Kathy Lee Kappmeier, coauthor of the first edition of Instructing Hatha Yoga, once served as a delegate
at the International Yoga Conference in Rishikesh, India. While there, she asked Swami Veda Bharati
for his opinions on requirements of yoga teachers in today’s world. He spoke about connection and the
importance of each teacher’s ability to facilitate a change in consciousness in students. He explained
that a good yoga teacher is someone who, simply by presence and manner, can soothe another person.
The renowned scholar and spiritual master also said that he worries about the hours of training focused
on the exercise and fitness aspects of asanas and wonders if this concentration truly perpetuates the art of
yoga teaching. He questioned whether the essence of yoga itself might be lost. He said that he felt some
yoga schools have lost sight of yoga’s vast lineage. He wants the legacy of yoga to be protected, and he
fears that the greatest benefits of yoga will be buried if teachers do not pay attention to its roots as they
endeavor to become leaf sprouts on the living tree of yoga.

and your realization that she or he understood
you and knew just the right way to guide you to
your own new understanding. The two of you
established a meaningful connection—a link of
understanding—that created a bond of trust. As
an instructor, your job is to create the same kind
of connection with your students so that they are
active participants in learning.
One of the simplest ways to connect with your
students is to ask and remember their names.
Knowing students’ names builds rapport and lets
them know that you care about them as people. As
you get to know how a student’s body moves, and
as she feels more comfortable around you, you
increase her sense of well-being. This connection
builds trust and understanding. Over time, the
more a student trusts you, the more he follows
your instructions to listen to his body instead of
listening to his mental chatter.
A skilled yoga teacher directs students to take
as much responsibility as possible for themselves
during class. For example, by instructing students
to avoid going into a posture or to come out of a
posture if they feel pain, you empower them and
invite them to explore their bodies and minds
on a deeper level. By asking students how they
feel in their postures—where they feel strength,
weakness, tightness, or fatigue—you help them
connect with their inner teachers. This inner
knowledge allows them to find and expand the
edge of their awareness.
Always remember that your personal yoga
practice is one of your most important resources
and assets. Regardless of how many teachers you
study under, or how many yoga texts you read,
your personal practice is how you authentically
connect with yourself time after time. With
practice, the wisdom and skill of yoga science
flow through you into your students. At times,
you may hear words coming out of your mouth
and not know consciously where they came from
or how you knew what to say. This experience
derives from your reconnecting to the vast source
of yoga knowledge.
Compassion
It is essential when teaching to express the com-
passion you have for yourself and for your stu-
dents. Compassion resides in your heart center—
the Anahata chakra [uh-nuh-HUT-uh CHUK-ruh].
It is an expression of your passion to nurture and
provide care to others. In a book that he wrote
about his father, renowned master yoga teacher
Krishnamacharya, T.K.V. Desikachar (2005)
emphasized the importance of caring:
The qualities we seek in a teacher are
a life devoted to practice; evidence
that he or she, too, is ever a student of
yoga; a nature that is always truthful;
a commitment to the student’s own
awareness and possibilities, each in
his own terms. And caring—above all,
caring. When people arrive . . . and ask
us, “Can you help me?” the only answer
we can give is “I can care.”
Show your students that you care about them
by choosing your words and actions thoughtfully.
22 Instructing Hatha Yoga
To show students that you care about their efforts to reach their individual potential, avoid emphasizing that their align-
ment is wrong when applying physical adjustments.
Be sure you really know what you are saying and
what exactly your words mean. For example,
some yoga teachers seem to go around “correct-
ing” their students with adjustments, as if the
student’s body movements are inappropriate,
thus making them feel inferior. If you use the
word correct, then you imply to some students
that they are doing something wrong. If, however,
you apply adjustments with the attitude that you
have been given the opportunity to assist students
as they experience deeper, more relaxed postures,
you provide them with an act of kindness and
coaching.
There is no such thing as perfection, and there
should be no competition anywhere in your class.
It is thoughtful to explain to your students that if
you physically adjust them, it does not mean they
are doing anything wrong; conversely, if you do
not touch them, it does not mean that they have
reached perfection. Providing adjustments and
modifications lovingly allows students to find and
© laflor/istock.com
experience the truth of their bodies and minds in
any given pose.
In addition to caring for your students, you
must also have compassion for yourself and real-
ize that you will not know all the answers to all
the questions that your students will ask. Yoga is
too vast a field to master quickly or completely.
Recognize that your teaching style will not appeal
to everyone, and do not take it personally if a stu-
dent finds another instructor or offers criticism,
whether constructive or not.
Have compassion for yourself and recognize
that though it may not always feel like it, you
and your circumstances are ideal just as they are.
Believing this will help you relate to and help stu-
dents who experience many of the same struggles
you do. Some of the best teachers have worked
through physical or emotional difficulties, and
their understanding of their own concerns gives
them deeper insight into their students’ strug-
gles. If, on the other hand, asanas come easily

to you, then it may be difficult for you to work
with others who have trouble understanding the
postures in the beginning. However, when you
can empathize with and nurture your students,
you become a source of connection, caring, and
compassion.
Confidence
It is normal to feel nervous when you are teach-
ing, especially in a new setting or style. However,
if you do not exude some semblance of confi-
dence, your students will have difficulty trusting
or believing in you or, perhaps, in the benefits
of practicing yoga. Even new teachers can seem
extraordinary if they stick to what they know and
have confidence in the ability to do so. Tap into
the well of knowledge that you have created for
yourself, and your passion will shine through.
One example of how confidence can lead you
through new situations is illustrated by Judith
Hanson Lasater,  an accomplished yoga leader
in the United States and abroad. When she first
taught yoga, she did so because the teacher she
had been studying with needed a substitute.
Although she was not sure what to do, she did not
want to let the class down, so she led the students
through some poses and kept saying, “If it hurts,
don’t do it.” Theoretically, you can lead a nice,
relaxing yoga class simply by saying, “Breathe.
If it hurts, don’t do it. Relax. Breathe.” Thus it is
possible for a humble beginning to unfold into
a calling and a new career. No matter what, it is
crucial to maintain your humility and teach what
you truly know.
Real confidence is not arrogance, nor is it
rooted in ignorance. Confidence is part of your
personal power or ego strength and might be felt
in your third chakra—the Manipura [muhn-EE-
poor-uh]  chakra, or solar plexus center. Being
confident also does not mean having a closed
mind. In fact, the more confident you are in your
teaching, the less you are threatened by others
who may criticize, teach differently, or appear to
be more commercially successful. Moreover, you
need to be confident in order to speak clearly and
compellingly in front of a group. Assert yourself
without being overly aggressive. Believing in
yourself and your abilities gives you the confi-
dence you need.
Basics of  Teaching Yoga 23
Sometimes self-doubt can creep into your
psyche. Do not worry or allow yourself to think
that students are coming to your class only
because it is inexpensive, is close to their homes,
or takes place during a convenient time. Rest
assured that people will not come to your class
if they do not think you are good, even if you live
right next door! Be the person you would like to
take a class from. For your students, be the yoga
teacher they need at any given time by being genu-
ine. Also, continually help build up your students.
Encourage them throughout class and let them
know when you see changes in them over time.
These interactions build their confidence and give
them a feeling of self-satisfaction.
Commitment
Always take time to reflect on the scope of your
knowledge and ability as an instructor. Doing so
strengthens your integrity not only as an instruc-
tor but also as a caring, compassionate human
being. Regardless of your innate teaching ability,
you must know well the information that you are
teaching. For some people, acquiring the infor-
mation is the easy part, whereas learning how to
impart it is more challenging. You can enhance
your ability to share information effectively by
exploring your own body and its physical and
mental boundaries; this experience helps you
better understand the bodies and psyches of your
students. All of this is possible if you are sincere
and honest, regardless of where you begin on
your teaching path.
If you commit yourself to being the best
teacher you can be, you will consistently look for
and find ways to improve yourself. Remain open
to learning new ways of teaching and finding
new ideas. Be the proverbial student so that you
can share your newfound knowledge with your
students. As you travel the path of a yoga instruc-
tor, keep your mind open to learning, even as
you pass knowledge along to your students. The
late Georg Feuerstein, renowned yoga scholar,
stated, “Even when, after due preparation, we
are called to teach others, we would be wise
to remain learners—or, in traditional terms, to
cultivate ‘beginner’s mind.’ . . . [W]e stop growing
when we think there is nothing more to learn”
(2002, p. 37).
24 Instructing Hatha Yoga
Becoming a Yoga Teacher
Some people begin teaching yoga because they
have practiced the discipline for some time, feel
that yoga has changed their lives in a meaningful
way, and wish to share this gift with others. They
want to serve as a link in the lineage of ancient
wisdom and dispense the knowledge to their
students. Others, including many in the fitness
industry, have discovered that yoga is kind to
the body and that teaching yoga has a far gentler
impact on the joints, muscles, voice, and feet
than teaching aerobics, Spinning, kickboxing,
or water exercise. For many, then, teaching yoga
keeps them connected to students and allows
them to give their own bodies a respite from
high-­intensity work.
Although you should not use teaching yoga as
a way to get more workouts in, you may be happy
to find your stress suspended as you focus fully on
your classes. The work of your heart, head, and
hands gets stronger through teaching. Indeed, a
well-taught yoga class can be a peak experience
not only for your students but also for you.
Long ago in India, yoga teachers never charged
a fee for their services. Indeed, doing so was
considered sacrilegious because teaching was
believed to be not a job but a calling. In contrast,
in today’s world economy, there is no escaping
the fact that yoga has become a fitness and
wellness commodity. Unless you are officially
volunteering your teaching hours, you do need to
be fairly compensated. However, if money is your
primary motivation for teaching yoga, then you
either have the unusual circumstance of serving a
wealthy and generous benefactor or you are sadly
mistaken. Fortunately, most teachers of yoga
find that the satisfaction of teaching generally
outweighs financial concerns.
By attending continually to your reasons
and motivations for teaching, you allow your-
self the space to change and grow. It cannot be
emphasized enough that your greatest assets as a
teacher are your own personal practice and your
experiences with your students. Neglecting your
personal practice creates an energetic imbalance
in you and often produces a profound disconnect
between you and your students. Keeping these
connections at the forefront of your mind brings
the meaning and purpose of yoga to life in your-
self. To guide your exploration of your personal
yoga practice and teaching, make regular use of
the self-inquiry questionnaire (appendix C) and
the yoga class evaluation form (appendix D).
Regardless of why you want to teach
yoga, the most important things
are that you teach well and help
your students relax their minds and
expand their spirits—all while pro-
tecting their bodies from physical
injury.
Education
No matter how long you have studied and prac-
ticed yoga, you can always gain deeper knowl-
edge and insight. Retain a beginner’s mind-set
and stay open to new experiences. Take classes
and workshops to open yourself up to new ways
of thinking and to keep yourself energized. It is
rejuvenating to interact with other instructors as
a peer and as a student. Use the comprehensive
yoga class evaluation form presented in appendix
D to evaluate your class or that of another teacher.
Depending on your schedule, it may seem
impossible for you to find the time to attend
other yoga classes. However, especially as a new
teacher, the more you attend classes taught by
others, the better off both you and your students
will be. Find a good teacher who motivates you
and whose classes enable you to feel comfort-
ably challenged on all levels. Try to attend these
classes for an average of 8 hours a month; this
time investment benefits you and sets a solid
example for your students of practicing what
you preach. In addition, students enjoy seeing
their own instructors in other classes that they
attend. If you have been teaching yoga for some
time, then you might try taking a 1-hour class for
every 10 to 20 hours that you teach.
If you are a novice instructor and cannot find
the time to physically attend other classes, the
next best thing is to access outside instruction via
video, whether online or in the form of a DVD.
This approach can give you a taste of classes
conducted by well-known instructors. Although it
cannot give you the tailored feedback and teach-
ing provided by a live instructor, a good recorded
class can be replayed and studied or simply
enjoyed as a mini retreat from your daily grind.

You can also benefit from the excitement and
energy of a conference or workshop, which can
both inspire you and expose you to the latest
developments in yoga. The more you remain
abreast of trends, research, and news that you
can share with your students, the better you
serve both their needs and your own. In addition,
attending a conference or workshop is a good
way to avoid falling into a rut or getting burned
out. If you go to a workshop, ask yourself how
the information and experience will contribute to
both your teaching and your personal practice.
Usually, if your personal practice is uplifted, so
is your teaching.
One last caveat on education: If you have not
yet studied how to provide hands-on adjustments
safely, it is best not to attempt them until you
have. Seek out the education and experience you
need, and in the meantime be mindful of your
students’ needs and make it your top priority to
do no harm (ahimsa [uh-HEEM-saah]).
© DuxX/istock.com
Regardless of how you teach your classes, your personal
practice should always reflect your own particular needs
and intentions.
Basics of  Teaching Yoga 25
Your Personal Practice
In addition to continuing to gain knowledge
through classes and workshops, it is important
for you to maintain a regular personal yoga prac-
tice so that you gain firsthand experience of the
benefits of yoga. You serve as an example for your
students when you practice what you preach and
can honestly share with them how yoga positively
influences your own life. For example, students
feel reassured when you tell them that you once
struggled with meditation or with a specific pos-
ture and that you discovered—as they will with
consistent practice—that it does get easier. When
students look at you as a work in progress, they
have more faith that they will advance in their
practice as well.
Nothing can replace the wisdom you gain from
the consistency of applied awareness over time.
As you teach, you may see yourself in some of
your students, which can make it easier to explain
certain aspects of an asana to them. At the same
time, as you answer their questions, you increase
your own understanding of the mechanics and
benefits of a given asana. In addition, when you
practice an asana at home, you gain insight into
how to instruct others regarding aspects of that
position. For example, if you have tight hips and
are practicing yoga sincerely, then you become an
expert on tight hips and how to work with them.
Reflect on your personal motives for practic-
ing yoga so that when you teach you can relate
honestly to your students. Learning about your-
self gives you insight into the struggles and joys
that your students experience as you guide them
through a class. Sharing deep philosophical
truths that you learn through study and reflec-
tion can help you shape your classes and give
the entire experience a more profound meaning.
You may also find yourself teaching asanas
very differently from the way in which you
practice them. This is fine. For example, it is
absolutely okay to teach a vigorous yoga class
and enjoy a much gentler practice at home. You
practice what you crave during your own time
and give your students what they need during
theirs. Similarly, no doubt, many music teachers
help their students with pop music yet prefer jazz
when they play at home.
One thing that a new instructor may not realize
is that teaching yoga often does take time away
from one’s own practice. As in teaching any subject
26 Instructing Hatha Yoga
or activity, it takes a great deal of time and energy
to gain the necessary knowledge and competence
for yoga teaching and to prepare for and facilitate
classes. For this reason, you must decide what
teaching yoga is worth to you and balance that
value with what you believe your personal time
is worth. Unless you are a famous teacher or own
a very popular yoga center, yoga instruction is
generally a part-time job that does not provide
great monetary benefits. It does, however, bestow
great karmic boons, such as the satisfaction of
watching others heal and grow through yoga.
Ethics
As with any occupation in which one deals
directly with the public, yoga instructors must
follow certain moral guidelines to protect the
rights, safety, and well-being of both the stu-
dents and the instructor. Indeed, the Yoga Sutras
list ahimsa (no harm) as the first  yama  [YUH-
muh] (social restraint) in the foundational limb
of all of yoga. As a yoga instructor, then, your
primary duty is to do no harm to any student
through action, thought, or word.
As of yet, no laws have been passed in the
U.S. regarding behavioral interactions between
yoga teachers and their students. However, many
schools of hatha yoga have established specific
standards that generally follow the basic code of
professional ethics created by the California Yoga
Teachers Association in 1995, which states, “All
forms of sexual behavior or harassment with stu-
dents are unethical, even when a student invites
or consents to such behavior and involvement”
(http://www.anandainfo.com/ethics_code.html).
In addition, in 2013, Yoga Alliance updated its
Code of Conduct, which emphasizes the impor-
tance of following the traditional tenets of yoga,
adhering to local governmental laws, practicing
within the scope of one’s knowledge, and protect-
ing the well-being and respecting the diversity
of students (www.yogaalliance.org/AboutYA/
OurPolicies/CodeofConduct).
Having tea with a student after class can be
harmless, even healthy, but dating a student
borders on being unethical. It can be tough to
know where to draw the line in extending your-
self socially or even professionally with your
students outside of class. In no case should you
jeopardize the student–teacher relationship, and
it is very risky to blindly agree to spend time with
a student alone in a non-yoga-related activity.
Even best friends have been known to part ways
after taking a trip together or lending money to
one another, and it is in no one’s best interest to
risk the student–teacher relationship. However, if
someone in your class is destined to be your best
friend, then surely it will unfold in time.
One risk in having a close personal relationship
with a student lies in the fact that if a student
is aware of your personal concerns, she might
have a hard time just being your student during
class. Indeed, she might begin to see you in a dif-
ferent light, and instead of being totally present
for herself during class she might think of her
interactions with you as a friend and guide. The
student might also disagree with your handling
of a personal concern and wonder if perhaps you
do not know what you are doing in any area of
your life, including teaching yoga. It can be a very
fine line between being a person with faults (like
everybody else) and being a perceived authority
figure who helps others. Therefore, you must
strike a balance between your private and pro-
fessional life.
If you feel sincerely drawn to become more
intimately involved with a student, then it is best
that you not continue to be that student’s teacher.
If, after some months, the personal relationship is
moving along well, then you both may feel com-
fortable with the person taking part in your class
again. Remember that yoga is not about taking a
black-and-white approach to concerns or guide-
lines, and there are exceptions to rules. Always
be mindful, however, of the very real and serious
risks that you as a yoga teacher are open to if you
see students on a basis that is more than casual.
Discovering Your Teaching Style
When you stand in front of a roomful of yoga
students, you may feel like a performer. You
may even get into a character, and your public
teaching persona may appear to be much differ-
ent from the person you are when you are not
teaching. There is nothing wrong with “acting”
as you teach; all teachers need to find the most
comfortable way to express themselves. The
most important part of teaching is to serve as a
channel through which knowledge flows as you
connect with receptive students. You may slip in
a little humor or storytelling to get and keep the
students tuned in. Just remember that teaching
is your top priority, and your purpose is not to
entertain but to guide.

If you do find that you can mix in a little
entertainment in order to facilitate enlighten-
ment, then by all means do so—but only as a
way to enhance students’ yoga education, not
to overshadow it. The lessons of practicing yoga
should be in the figurative spotlight. Even if you
have a physical stage from which to teach, with
the students on the floor below you, you yourself
should never be in the spotlight. Rather, you shine
the light on yoga, which, as much as possible, is
illuminated from within each student.
As you engage your various students and their
diverse intelligences and ways of learning, remain
aware that at any given moment a student may
get distracted and allow his or her mind to focus
elsewhere. If you pay close attention, you can
gently reel a student’s awareness back to your
instruction by facilitating what is called a state
change. When students appear not to listen or fail
to respond, it may occur because their attention
span is short, because your voice is monotone,
or because they are distracted or bored. You can
usually lure their wandering minds back to the
activity at hand if you suddenly, yet subtly, raise or
lower your voice, change the pace of your words,
or walk around the room.
Not only must you appeal to a broad range of
learning styles and abilities, but also you must
sufficiently charm your class with the qualities
Table 2.1  Students’ Likes and Dislikes About Instructor Characteristics
Likes
Is outgoing and charismatic; has a magnetic personality.
Uses good music.
Cues clearly; uses cues that motivate people to work
harder.
Is personable without sharing too much.
Has an unshakable positive attitude.
Uses a routine that flows well.
Is consistent.
Builds good rapport with students.
Is funny or witty.
Gives an intense, yet conscientious class; challenges with-
out losing people.
Genuinely seems to care about students.
Has a motivating physique.
Is prepared and organized.
Has unstoppable high energy.
Is professional.
Moves around while teaching.
Has star quality; is someone to emulate.
Takes notice of each person.
Facilitates a sense of family in the class.
Basics of  Teaching Yoga 27
that students believe you should have in order to
keep their interest. From years of experience in
teaching yoga in many different settings, I have
composed a summary of what students typically
like and dislike about their yoga instructors (see
table 2.1). Keep these tendencies in mind as you
settle into your teaching style, but always remem-
ber to be as genuine as possible.
Recognizing Your Students’
Needs
People come to yoga class for many different
reasons. If your class includes 25 students, they
probably have, at the very least, 25 different
reasons for being there. To name but a few,
these motivations may include stress reduction,
increased flexibility, relaxation, improved fitness,
and weight loss. Whatever a given student’s goal
is, it may change from one class session to the
next.
Some people even have a hidden agenda for
practicing yoga, and this is not necessarily a
bad thing; not all reasons need to be noble ones.
For example, if a person is motivated to practice
yoga simply to look better, doing so is far better
Dislikes
Uses the same music for too long.
Uses poor cues.
Shares too much about personal life.
Is too loud or has a high-pitched voice.
Teaches with the microphone too close to the face.
Uses any negative comments.
Stops too often during the session.
Is tardy too often.
Gets subs too often.
Brags, is self-absorbed, or seems distant from students.
Picks on students, even if it’s meant to be tongue in cheek.
Sticks with an advanced combination when it is clear that
people are not following.
Makes political or religious comments.
Has low or inconsistent energy.
Wears clothing that is too revealing or ill fitting.
Complains—for example, about the sound equipment or
the previous instructor.
Has an outdated appearance or style.
Seems to be uninterested in getting to know students.
28 Instructing Hatha Yoga
than not practicing yoga at all. If another person
hopes to meet like-minded people or find “the
one,” what better place to make connections than
a yoga class?
Many times, some people come to yoga class
who wouldn’t dare show up for a CrossFit, spin-
ning, or kickboxing session. Your class might
include, for example, an older woman with severe
osteoporosis, a middle-aged man with a low-back
injury, a young pregnant woman, or a stressed-
out college student. You may not be able to teach
more than a few simple postures and a breathing
technique, but if you do so with a soothing voice
or an inspiring quote, your students usually leave
feeling more serene and relaxed than when they
arrived.
It is a teacher’s job to ask students to express
their goals. Why have they come to class? For
stress reduction, to gain strength or flexibility, to
get away from the everyday aspects of life? What
do they expect to gain from their time with you?
In addition, many instructors ask their students
if they have particular areas of the body that need
attention and then structure the class to accom-
modate these requests.
People usually feel euphoric after a yoga class,
but occasionally emotions other than bliss sur-
face during a class, especially during Shavasana
(Corpse Pose)—the resting portion of a practice
session. Many people, in their attempt to escape
pain and discomfort, keep themselves busy in
order to avoid feeling distress. As a result, when
the mind gets a chance to truly relax, suppressed
emotions may surface. Your job as the yoga
teacher is to offer a safe and peaceful space for
all of your students.
You can empathize with your students without
even saying a word. Once students begin Shav-
asana, they should rarely be disturbed because
this is their personal, private time. However, if
a student needs your assistance, you need to be
there when she or he asks. You can reassure the
student that feeling emotional is not an abnormal
response when practicing yoga. The purpose of
yoga is to connect with what is real. Let the stu-
dent know that sometimes part of the mental and
emotional balancing process releases stored-up
energy, such as sadness or even pain.
In terms of physical responses, reassure stu-
dents that crying is a normal process, like passing
gas or sneezing, by which the body relieves itself.
If something needs to be released, it needs to be
released! Suppressing it is unhealthy. If a student
passes gas during class, you would not call atten-
tion to it. Recognize that tears, sighing, and even
seemingly excessive yawning are other kinds of
gentle physical releases that can be induced by
yoga practice.
The only caveat about dealing with an emo-
tional student is to be careful not to take on the
role of counselor. Your time with your students
should not extend more than 10 minutes beyond
the end of class, if that. Boundaries are important.
If students want to ask you a quick question, then,
if you are so inclined, spend a few minutes before
or after class to answer it. But if the same student
keeps asking you numerous questions about how
he should be practicing at home, which poses are
best for him and his condition, or other concerns,
tell the student what your hourly rate is for private
sessions or refer him to someone else. And if a
student asks for advice about personal concerns,
direct her elsewhere unless you are a professional
counselor.
As a yoga teacher, you are like a parent to your
students, standing up for them and supporting
their efforts. You are a sponsor, an advocate, and
a coach—maybe part friend and part drill ser-
geant—and someone who can guide others to the
next level of their personal awareness. Because
you took the journey yourself, you understand
how to guide your students along their path.
Learning Styles You Will
Encounter
Just as each student has her or his own reasons
for attending yoga class, each person also has an
individual way of learning. A given person may
use multiple learning styles in varying degrees.
Your objective is to develop your “teaching intel-
ligence” as much as possible while using your
students’ learning styles for their edification.
There are three fundamental learning styles:
visual, auditory, and kinesthetic (Barbe 1979).
Visual learners need to see what they are being
taught, auditory learners conceptualize learning
through hearing, and kinesthetic learners absorb
information best through touch and movement.
Remember, however, that few if any people
learn solely through one approach. Fortunately,
many cues you use will overlap words, images,
and touch so that your instruction can be more
universal. You can use visual and verbal cues by

explaining a pose while demonstrating for stu-
dents, in addition to directing her or his aware-
ness to where they might generally feel a given
posture in their bodies. When you engage all three
basic learning styles, you allow each student to
receive instruction in the way that he or she can
most easily understand in that moment.
Visual Learners
Students who are visual learners prefer that the
instructor demonstrate poses. They also respond
well to verbal cues that create imagery in their
minds. For example, an appropriate cue for a
visual learner might be “Imagine that there is a
wall behind you as you are standing in Triangle
Pose and that you are becoming more flush with
that wall as you press your shoulder blades back.”
Visual learners also appreciate photographs and
illustrations of poses. One disadvantage for visual
learners is that they tend not to feel their own
bodies in the asana. Instead, they have an organic
need to see how to be in the pose; therefore, these
learners sometimes experience a gap in feedback
if you do not provide them with a visual reference.
For example, when instructing them to lower
their shoulders from their ears, it is a good idea
to have them peek in a mirror, if available, to
see their raised shoulders first. Similarly, invite
them to look down at their thighs as they rotate
externally to open the hips more deeply. Other-
wise, they may have trouble grasping what you
mean. Visual learners may be able to imagine and
respond to such an instruction, but they must
usually overcome a steep learning curve if they
cannot see their own bodies. If you find yourself
teaching without the aid of mirrors, you can use
a work-around by duplicating the student’s body
position and then moving your body into the
more appropriate position. Partner work can
also help these students grasp the mechanics of
many poses.
Auditory Learners
Auditory learners pick up information by listen-
ing. For example, whereas visual learners read
musical notes in order to play a song, people who
can play a tune after simply hearing it are good
auditory learners. These students are receptive
to skillfully offered verbal cues. They learn from
your words and may be able to practice at home
by hearing your words in their heads, especially
if you have a soothing teaching voice.
Basics of  Teaching Yoga 29
Invite auditory learners to close their eyes and
figuratively listen  to what their bodies say to
them as you instruct them to move deeper into an
asana. As you direct students through class, tell
them which specific areas of the body to focus on
and what types of sensation they might expect to
feel. Throughout your cueing, use many different
descriptive words.
Kinesthetic Learners
As compared with visual and auditory learners,
kinesthetic learners can more easily feel places in
their bodies that cannot be seen from the outside.
They may be unsure, however, of what or where
they are supposed to feel in an asana. To reach these
learners, indicate which places in their bodies
they should attend to and invite them to notice
specifically what they feel there. For example,
in Adho Mukha Shvanasana (Downward-Facing
Dog), direct students to note the weight of the
head helping to stretch the necks and elongate the
spine while opening space between the vertebrae.
Kinesthetic learners benefit less from demon-
stration and verbal cues and more from experi-
encing a posture in their own bodies—that is,
from feeling the sensations of their bodies as
they move through space. Because they readily
feel changes in their bodies, they can directly
understand how to adjust an asana. Such learners
also typically enjoy hands-on adjustment because
they can more properly align themselves based
on their sensations. For example, kinesthetic
learners may initially have trouble with the verbal
instruction “Breathe into your lower back.” But if
you lightly place your hand on a student’s lower
back and say, “Breathe into my hands,” he will
usually connect to the cue. As a result, you will
feel the student’s lower back relax and gently
expand with the inhalation.
Ayurvedic Humors
Another factor in how a person learns has to do
with basic disposition, or humor, as it is called
in the ancient practice of Ayurveda [AAH-yoor-
veh-duh]. This sister science to yoga is a holis-
tic medical system that has been practiced in
India for many centuries. It posits three basic
humors, called doshas  [DOH-shuhs],  each of
which emphasizes a particular way of learning
and processing information. The three doshas
are vata [VAAH-tuh], pitta [PIT-tuh], and kapha
30 Instructing Hatha Yoga

[KUP-huh]. Everyone has all three doshas but
in various proportions, and in most people one
dosha is primary.
The doshas are made up of the five elements:
earth, water, fire, air, and ether (sometimes
referred to as space). Vata individuals relate to the
air and ether elements. These individuals tend to
have an airy or spacy (sometimes frenetic) qual-
ity about them and may be described as having
their heads in the clouds. A student with a mostly
vata constitution may be easily distracted. For
example, he or she may seem to immediately
grasp a concept, such as lifting the kneecaps, but
moments later seem to have forgotten all about
it. You can help such students by repeating your
directions numerous times.
Pitta people have the fire energy or element
in their humor. They tend to heat up faster than
individuals with a vata or kapha constitution.
Pitta students tend to stay present and focused on
their tasks; therefore, whereas vata learners tend
to ask questions just for the sake of exploring,
pitta students gather facts with a particular goal
in mind. They also appreciate direct and specific
instructions.
The kapha dosha is made up of earth and water.
Kapha students may be slower to grasp infor-
mation, but once they understand lessons they
tend to remember them well. The earth element
of the kapha dosha is practically the opposite of
the air energy of the vata dosha. Whereas vata
people can be seen fluttering around nonstop,
perhaps socializing with other students before
and after class, kapha students are content to
lie down on the mat until the teacher gives the
command to begin class. Kapha students respond
well to slow, descriptive cues that enable them to
completely absorb the meaning and intention of
an instruction.
There is more to the doshas than these basic
behaviors and learning styles, but this introduc-
tion is sufficient for the purpose of teaching yoga.
While everyone has a combination of each dosha,
most people’s primary dosha is readily apparent.
This is true of the three basic styles of learning
as well. For example, a student may learn well
both visually and by auditory means while having
plenty of pitta and kapha energy. The main point
here is that people are combinations of many
variables that affect their learning; therefore, you
need to employ teaching techniques that appeal
to multiple styles of learning and to the various
doshas. Use table 2.2 as a guide in matching
learning styles with specific teaching methods.
Class Management
When you teach yoga, you are a channel of
ancient knowledge, imparting what you know
to each of your students on a level to which they
can relate. In this process, you are an authority,
and it is important to maintain control over your
class. It is also crucial, however, to temper that
authority with humility and a realization that

Table 2.2  Learning Styles and Teaching Methods

Learning style or
Ayurvedic humor Learning tendencies How best to teach
Visual Look up often, which frequently takes them Physically demonstrate poses; provide verbal
off task and out of position imagery.
Auditory Often feel lost when no verbal instructions Give many and varied verbal cues; use non-
are given distracting background music.
Kinesthetic Need to become familiar with the movement Provide hands-on adjustments and remind
and flow of a posture in order to feel the them to breathe.
effects
Vata Fast, conceptual learners but quick to forget Provide structure to keep their attention
and easily distracted focused.
Pitta Intensely focused and perhaps intolerant of Provide detailed descriptions and answer
high temperature or of a teacher who lacks questions accurately and authoritatively.
confidence
Kapha Slow, patient learners with good retention Provide frequent motivational feedback.
but can lack drive

not every student in your class is able to connect
with you. Still, if students start talking, or if
people who are not students come in, it is up to
you to serve as a peace officer by asking them to
be quiet. Whatever rules you have should always
be applied equally.
Some teachers lock the door once class begins
so that a tardy student does not disturb a class
in progress. However, this practice is not always
acceptable or even possible to enforce in today’s
hectic world. Still, instructors cannot simply
stop the class and make everyone else wait while
attending to a new or late-arriving student. Nev-
ertheless, you may need to take action in order
to avoid a bigger concern, such as incurring
liability for injury. For instance, a new student
who arrives late may not know enough to warm
up on his or her own and may therefore jump
into whatever posture the class is practicing at
the moment, which could put that student in a
potentially injurious position. In this situation,
many teachers direct the rest of the students to
hold a pose while they attend to latecomers long
enough for them to integrate with the rest of the
group. If instances like these happen occasionally,
most of the on-time students will be accepting.
However, if situations like this occur often, stu-
dents will definitely complain.
Part of what a yoga class involves is not letting
others distract you; another part is not contrib-
uting to the distraction of others. With these
concerns in mind, when you are faced with a
perpetually tardy student, take time to explain
that coming in late is disrespectful to the class.
This explanation is best done at the end of a class.
Deliver it in a nonjudgmental but firm manner
so that the student understands the detrimental
effect of being late not only on the class as a
whole but also on the quality of her or his own
experience.
In addition, because the warm-up and resting
periods are vital to the class, explain to students
that if they come in late they need to do a phys-
ical and mental warm-up on their own. Good
warm-up options include Surya Namaskara (Sun
Salutation) and most standing poses. By the same
token, if students must leave early, they need to
spend time in Shavasana on their own before
they leave.
You may also wish to establish a policy about
being tardy and leaving early. The details of such
a policy depend on where you work and on the
population you teach. Ideally, everyone should be
Basics of  Teaching Yoga 31
present for the start and end of class; however,
life does happen, and sometimes a person cannot
avoid being late or must leave early. Therefore,
it is prudent to establish a general plan or policy
regarding how to deal with tardy and even intru-
sive people. In a studio setting, it is typically the
management's responsibility to create policies
regarding how best to operate, based on their
resources; for example, are front-desk personnel
available to monitor students’ arrivals and depar-
tures, or are teachers on their own once class
begins? In independent settings, instructors must
decide what they feel is acceptable behavior for
their students and present their policies directly
to the students.
At one time or another, you may have a stu-
dent in your class who in some way adversely
affects other members of the class. If it is a
simple matter of, for instance, a student wearing
copious amounts of perfume (or cologne), then
the solution is to ask the student to refrain from
wearing scents because some students are highly
sensitive to them. Finding a resolution may not be
so easy if a student makes inappropriate remarks,
harasses another student, or constantly talks
during class. In any case, your responsibility is to
communicate with compassion but in a way that
indicates clearly what behaviors are unacceptable
and need to change.
You cannot always prevent hurt feelings,
because you cannot control someone else’s emo-
tions. To minimize the chances of offending or
upsetting a student, speak in terms of facts, not
judgments. Just as a parent must sometimes say
no to a child, you have to enforce certain bound-
aries with students. As someone in a position of
authority, you must be consistent so that your
students know what to expect from you and from
the class as a whole. How strictly you control your
class depends both on the style of yoga you teach
and on the people you are teaching. Although
yoga has a long history steeped in tradition, it also
is a living art, which means that it is adaptable
and constantly evolving—and you are part of that
ongoing history.
Relating Information
Your students’ learning depends on how you
deliver and relate information to them. If you
are not a good conduit of yoga information,
students will have difficulty learning from you.
32 Instructing Hatha Yoga

ASANA: Methods of a Good Instructor

Ahimsa Cause no harm to your students or yourself. Take requests, get permission to touch, and inquire
(and ask) about your students’ conditions and goals.
Suggest Be direct and confident with your instructions but let students know that they should modify
poses or rest at any time as needed. Constantly direct your students’ attention back to the breath.
Align Advocate good physical and mental alignment to prevent injury and promote balance. Become
an ally who helps students overcome distractions and disharmony. Be sincere and professional.
Nurture Give specific positive reinforcement. Provide a safe and soothing space that allows students to
be comfortably challenged throughout their practice.
Assess Constantly monitor the energy of the practice session. Be aware of the overall group, as well
as each student’s learning style and needs, and progress accordingly.

To help you succeed in relating information,
the accompanying sidebar provides a checklist
of keys to remember. Specifically, it uses the
letters of the word asana as a mnemonic device
for remembering good teaching methods: a for
ahimsa (and ask), s for suggest, a for align, n for
nurture, and a for assess.
Ahimsa (and Ask)
Ahimsa is the practice of nonharming. Your first
duty as an instructor and a human being is to
avoid physical or emotional injury of others at
all times. Protect your students’ well-being by
adhering to ethical standards of honesty and good
conduct. Be trustworthy as you build rapport.
Ask permission before you touch your students;
inquire about what they need from you. In addi-
tion, show compassion to yourself. Be mindful
of your own body mechanics when you adjust a
student, and be aware of your workload in order
to prevent teacher burnout. Take care of yourself
by setting boundaries and making time to practice
yoga on your own every day.
Suggest
Encourage students to take your instructions as
suggestions. Invite students to explore how your
suggestions affect them as they also listen to their
bodies to see if they need a rest or modification.
Deliver each instruction with humble authority,
compassion, and confidence. At the same time,
when you are teaching a diverse group of people
with varying physical conditions and levels of
training, you must give relative instructions.
Even if you have only one student, or if you
are practicing yourself, be open to the possibil-
ity that at any time a modification may be in
order. Sometimes, for example, a student cannot
muster the strength or focus to be in a posture
that everyone else seems to engage in easily. In
addition, because some people do not give them-
selves permission to be noncompetitive, you need
to remind them that everything but breathing
is optional in yoga class. Remind them that the
class is all about them as individuals, and that
advancement in yoga occurs when one listens
to his or her inner teacher—even if that means
backing away from a pose.
Align
Alignment applies both to the physical adjust-
ments that you provide for your students and to
your own connection with your various teaching
qualities. One way to examine how much you are
aligned with your path as a yoga practitioner and
teacher is to practice self-inquiry. Keep coming
back to your ideals as you progress in your
personal practice and in your teaching. Doing
so helps you connect authentically with your
students and impart information in the manner
that is best suited for them.
Nurture
Nurture the evolution of your students’ practice.
If you find gaps in your compassion for your stu-
dents, start with the principle of ahimsa. Notice
any empathy you have for your students and
whenever possible cultivate a true understanding

of their needs. This idea may sound simplistic,
but there are times when it is difficult not to
take it personally if you have difficulty getting
along with a student. For instance, a student
might complain about the class in front of others,
perhaps even saying negative things about you,
challenging you, or mocking you. If something
like this occurs, remember that your job is to
nurture without hurting yourself or anyone else.
However, in an instance like this, you will need
to firmly establish boundaries that express your
authority as the teacher, while also showing
empathy toward your student’s negativity.
Conversely, if a student strokes your ego, do
your best not to give in to the temptation of
encouraging such behavior. In addition, when
you give feedback to your students, include con-
crete details—for example, “your knees are much
straighter now”—so that students develop the
ability to notice such things in themselves when
you are not around. A good yoga teacher is far
from being a cult leader. If you enable a student
to be dependent on you, you are simply nurturing
your own ego—which benefits no one. Instead, a
good teacher guides students to find new places
of connection within themselves.
Assess
As an instructor, you must continually assess and
reassess your effectiveness in transmitting the
essence of yoga to your students. Be constantly
aware of each student’s progress throughout
class. By carefully watching your students, you
become aware of changes in the receptivity of
their bodies and minds. In addition, when you
quiet your own mind, you can more easily tap
into the energy of your surroundings and channel
it to your students.
Some of your students may be
unable to do certain poses, in which
case they will need suggestions for
modification.
Adjustment Guidelines
An instructor’s words paint a picture in students’
minds, illustrating how they can best move their
bodies into any given asana. The image created
Basics of  Teaching Yoga 33
in a student’s mind may or may not match the
sensation of her or his body. Ideally, however, the
words you choose to cue a postural adjustment
should facilitate a merger of mind and body in
each student. By encouraging students to go
deeper within themselves, you help them discover
an image that moves beyond any preconceived
picture and allows them to experience the posture
from the inside out. This integration can take
place only when students tap into their innate
awareness and locate their personal edge instead
of imitating the actions of an instructor.
Imagery
As mentioned earlier, some students cannot
learn simply by watching a visual demonstra-
tion. Among these students, some may be able
to attain proper alignment if you provide clear
verbal instructions. However, do not be surprised
if a number of your students still do not under-
stand your directions unless you verbally express
a concept in a variety of ways. Even when giving
verbal directions for adjustment, it is necessary
to engage the various learning styles discussed
earlier in the chapter.
For example, if your students lack even a
vague understanding of anatomical terminology,
they simply will not know what to do if you say,
“Extend your cranium toward the ceiling.” It’s
fine to give anatomical cues as long as you also
provide a variety of other prompts for students. In
this case, you might say the following: “Feel the
top of your head lift away from your shoulders.” If
you need more detail, you might use the following
imagery: “Imagine that the top of your head is a
magnet, and the beam above your head is metal.
Notice the spaces you open in your neck as the
magnet draws up toward the beam.”
These are just a few simple examples of how
you can use different cueing methods to achieve
the same adjustment by addressing the individual
learning capabilities of your students. The most
important aspect of auditory cueing for adjust-
ment is that you observe your students and use
compassion and creativity to reach every one of
them.
Physical Adjustments
A significant portion of this text is devoted to
giving you guidelines for providing your students
with safe and appropriate verbal and physical
34 Instructing Hatha Yoga
Instructors must decide whether and when to approach students for manual adjustments. Always
ask permission.
adjustments. Always remember that a teacher’s
main responsibility in any class is to guide each
student’s attention inward, where the student can
connect with his or her ideal physical, energetic,
and emotional harmony. Because hatha yoga is
a means to self-transformation and awareness
of mind–body wholeness, the importance of
intention on the teacher’s part cannot be over-
emphasized.
Again, when trying to modify a student’s pos-
ture, it is generally best to begin by giving verbal
cues. One reason for taking this approach is that
continual physical adjustments may lead a stu-
dent to depend on them and therefore be unable
to find her or his own inner instructor—the one
who actually feels the appropriate place to be in
the posture. When verbal cues are ineffective in
realigning a student, the next possible course of
action is to adjust the student physically. When
providing hands-on adjustments, it is imperative
that you first ask for—and receive—permission
to touch the student.
Renowned yoga teacher Donna Farhi (2006)
notes that the simple act of asking a student’s
permission to touch him or her provides a slight
pause in which the student can either prepare
for the adjustment or request that the teacher
Copyright, The Patriot Ledger
pass. This pause allows the student to more fully
control her or his practice and reinforces the
fact that you, the instructor, respect the student’s
boundaries. In contrast, an adjustment made
without invitation constitutes an intrusion and
can break down the trust that students feel in
the instructor. By always asking a student’s per-
mission to touch, you show that you honor the
student’s confidence in you. When you are given
permission, always move the student’s body as
you would want another instructor to move your
own: with invitation, compassion, firm support,
nurturing, and receptivity to feedback.
There will be times when a student denies
you permission to touch him or her. Respect
this decision without judgment or negative feel-
ings. Approach the situation as an opportunity
to practice your verbal cueing skills on another
level. If the person is truly in a position where
he or she may incur an injury, invite the person
to exit the pose and then move back into it more
slowly and with added awareness. This approach
proves to your students that you value them and
encourage their right to make decisions regarding
their practice.
Any time that you do touch a student, remain
mindful that the two of you are conveying

information to each other on an energetic level.
This transfer of energies can be transformative
when you as the teacher proceed from a place
of understanding, compassion, and knowledge.
When using your hands, remember never to
tightly grab a student. Whenever possible, use
the palm of your hand as an alignment guide;
touching with the fingers often implies a deeper
intimacy, since the fingertips are exceptionally
sensitive. Using a gentle yet firm touch, you
can help the student find the best expression of
the pose with grounded sensitivity. If you apply
your adjustments with receptive hands, you will
notice it when the student discovers a personal
comfort level, because the muscles will soften,
the breathing will be steadier, and you will feel
the student’s energy relax.
Finally, before you approach a student with
the intention of providing a physical adjustment
or modification, understand your personal rea-
soning for doing so. As you decide whether to
approach a student or allow the student to con-
tinue exploring on her or his own, consider the
following questions.
Is an adjustment really necessary?
If a student remains in a position in which
he or she may experience physical harm
even after being offered repeated verbal and
visual cueing, then it is most likely appropri-
ate to offer an adjustment or modification.
Do you truly understand the pose?
If you are not completely comfortable and
confident that you understand the biome-
chanics of a pose, refrain from physically
adjusting anyone. In fact, it is best if you
refrain from teaching any pose of which you
lack intimate awareness.
Were you invited or given permission?
Students often ask to be moved deeper into
a pose. Grant this request only sparingly so
that your students do not become dependent
on you to move their bodies for them. At the
opposite end of the spectrum, if a student
denies your request to touch him or her, do
not take the refusal personally. Do, how-
ever, convey your respect to the student for
being responsible and mindful of her or his
personal space.
Basics of  Teaching Yoga 35
Are you honestly connecting with your stu-
dent?
Once you place your hands on a student,
your attention must be fully focused on
that student’s well-being. It is very easy
to become distracted by the rest of your
charges; however, it is possible to remain
completely present with a single student
simply by touch. This personal interchange
allows you to perceive any physical resis-
tance or other subtle cues that the student
may display and to alter your adjustment
accordingly.
Is it still teaching?
It is very easy to form a mental picture of
how you think a particular student should
look in any particular asana. However, it is
not your responsibility to mold a student to
a preconceived notion of a pose. Rather, a
teacher’s responsibility is to adapt the pose
to the student and guide the student into a
deeper understanding of both the pose and
herself or himself.
Summary
As you consider the information presented in this
chapter, what important qualities of an ideal yoga
instructor do you find are already strong in you?
What qualities might you wish to cultivate fur-
ther? How effective and dynamic are your voice,
your creativity, your repertoire, and your ability
to build rapport?
Beyond considering these questions, you might
compare your work habits and ethics with the
qualities that students report liking and disliking
in a yoga instructor (see table 2.1). Doing so can
provide you with a reality check in terms of how
people might perceive you professionally. You
can use self-inquiry as a regular part of your own
yoga practice to deepen your understanding and
connections to your path as both a yoga practi-
tioner and a teacher. If you recognize obstacles
and struggles in yourself, you can better recognize
them in your students and respond to them with
empathy. When you understand your students’
motivations and know how they learn best, you
can effectively direct your compassion and your
instructions.
36 Instructing Hatha Yoga
Students will judge you, both consciously and
unconsciously, on many levels. Remember that it
is more important to nurture a student’s progress
than either his or her ego or your own self-interest.
Your job is to present an entrancing and safe class
as you embody the essence of yoga as best you can.
The adjustment information provided here
should serve as a guideline in your journey as
Review Questions
1. What are the four Cs of teaching yoga?
2. What are the three basic learning styles?
3. Which dosha is associated with the fluidity
of air?
4. Which type of student often has trouble
staying motivated?
5. List two things that students typically like
in a yoga instructor and two things that
they typically dislike.
a yoga instructor. Each person is unique, and
no formula is right for everyone all the time.
Touch can be a comforting, healing modality
for one person and a psychological nightmare
for another. With time, mindful instruction, and
practice, you will discover your own teaching
techniques, as well as the intuition and skill with
which to apply them.
6. How is the word asana used as an acronym
for teaching yoga?
7. True or false: There is a very strict code of
ethics that you are legally required to abide
by as a professional yoga teacher.
8. What aspects of your personal yoga prac-
tice will make you a better teacher?
9. Define ahimsa.
 3
Creating a
Class Environment
Y oga students trust that
an instructor has the
knowledge and ability
to create a nurturing, safe,
and engaging class envi-
ronment for practice. Such
an environment enhances
students’ mental, physical,
and spiritual awareness and
well-being during the rela-
tively short time they spend
together. But how does one
go about creating such an
environment?
This chapter answers
that question by addressing
three key topics: equipment,
© RyanJLane/istock.com

safety, and class atmosphere.

It begins by discussing the
types of equipment and
attire typically used by stu-
dents in a variety of classes.
It then describes how the

37
38 Instructing Hatha Yoga
setting of a class helps create a safe and sooth-
ing practice session. It also highlights specific
environmental safety concerns that instructors
should attend to before, during, and after each
class session. The chapter then discusses how to
create an atmosphere suitable for any practice
and shares ways to manage many of the typical
distractions encountered in class.
Equipment Selection
If you walk into a sporting goods store or the
retail area of a fitness club—or peruse the cover
of many yoga periodicals—you might get the
impression that yoga requires a specific uniform,
as well as certain equipment, if one is to practice
it successfully. In reality, Western fashion sense
and marketing notwithstanding, nothing could
be further from the truth. Unlike many physical
activities and exercise programs, yoga practice
requires minimal equipment. Indeed, East Indian
citizens practiced yoga for millennia with nothing
more than thin reed pads, a simple loincloth or
sari, and bare feet.
However, though yoga instruction and practice
require little in the way of equipment, certain
elements can make your teaching—and your
students’ class experiences—both safer and more
comfortable. The specifics depend on the style of
hatha yoga you teach, the nature of your student
population, and the location of your class.
Yoga Attire
Apart from personal fashion preference, select
from lightweight fabrics to allow for maximum
movement and comfort. In general, comfortable
shorts or leggings and a snug-fitting shirt work
well for practicing yoga. Loose-fitting T-shirts,
though comfortable and easy to move in, often
end up over the head in inversion postures, thus
creating an annoying distraction. These clothing
selections apply to students and instructors alike.
Another factor to consider when suggesting
clothing options for students is the type of yoga
being practiced. Students in a fast-paced class
may be most comfortable in a single layer of
lightweight, sweat-wicking clothing that can
accommodate the heat and moisture generated by
the body. In contrast, students in a less vigorous
style of class may be most comfortable beginning
class with warm-up layers that can be peeled off
as body temperature increases and then put back
on during the cool-down at the end of class.
Yoga instructors should follow the same
general clothing guidelines as their students for
comfort and ease of movement; in addition, they
should always dress in a professional manner.
Students must be able to see how your body
moves as you demonstrate, but you should avoid
wearing clothing that might be overly revealing,
such as see-through fabrics, precariously low-cut
necklines, or wide-legged or skimpy shorts.
Practitioners of Kundalini yoga sug-
gest that you wear clothes made of
white cotton and other natural fab-
rics to foster the electromagnetic field
surrounding you during practice.
Yoga Mats
In addition to bare feet and comfortable clothing,
another indispensable piece of yoga equipment
for most people is a sticky yoga mat. Yoga mats
provide a stable, nonslip surface and, depending
on the thickness, a bit of cushion on which to
practice. Mats can be found in a variety of colors,
lengths, thicknesses, and materials—all of which
are matters of personal preference.
In some settings, yoga mats are provided on
site. If you teach at a site where mats are not
provided—and if students are reluctant or unable
to purchase their own—you might suggest that
they each bring a large towel or blanket. What-
ever is used, it should be large enough that both
the hands and the feet can be in contact with it
during postures such as Adho Mukha Shvanasana
(Downward-Facing Dog). Be mindful, however,
that towels and blankets are generally slippery
and should be used with caution, especially
during standing poses. In fact, in many instances,
one might be best served by practicing directly
on the ground.
Occasionally, you will encounter a student
who recognizes that a mat is beneficial to one’s
practice but is under the false impression that
any exercise mat will do. It is true that the mats
used in Pilates floor classes can be used for yoga
practice; however, they tend to be thicker and
made of more flexible material and provide less
traction than do yoga mats. Many fitness clubs

provide short, soft, and sometimes slick mats
that are generally used for floor-exercise work.
Unfortunately, these mats are designed to cushion
sit-ups and other exercises or stretches that do
not require the traction provided by yoga mats.
These and other soft mats may slide across the
floor unless the student pays closer attention to
the mat than to his or her yoga practice, which
both defeats the purpose of yoga and increases the
potential for injury. This type of mat also has too
much cushion to provide stability while standing.
Therefore, one would be much safer using a towel
or no mat at all.
If you teach in a facility where yoga mats are
provided for students, you will need to address
a health and safety concern that is often forgot-
ten or ignored. When multiple pairs of sweaty
bare feet use a mat, it becomes a dirty and foul-­
smelling habitat for germs. For this reason, mats
should be cleaned and disinfected on a regular
basis, and replacement mats should be purchased
as needed. The smell factor alone should encour-
age students to bring a personal mat! For many
people, an average investment of $30 for a basic
mat is a small price to pay for the practical protec-
tion provided by a mat reserved for personal use.
Props
Many hatha yoga styles use props to aid students
as they move through and deepen their postures.
Props can be especially helpful for a student who
is new to yoga because they provide additional
support as the student works to increase strength,
flexibility, and balance in any given posture. The
many ways in which props can be used to modify
and adjust students are illustrated in the chapters
covering specific asanas. For now, here is a brief
description of some typical yoga props:
• Blankets or other soft bolsters can be placed
beneath students who have marked tightness in
the hamstrings, hips, or back to mechanically lift
and support the body in seated postures. These
props are essential in providing support and
comfort in very gentle and restorative classes. If
blankets and bolsters are not readily available,
you can use folded towels or mats. People with
sensitive knees can use gardening kneepads to
settle comfortably into kneeling postures. Many
studios also provide blankets to keep students
warm as they relax in Shavasana (Corpse Pose)
during the resting portion of a practice session.
Creating a Class Environment 39
• In many postures, straps or belts can be used
to help students expand reach without straining.
Straps are particularly helpful in extending the
stretch of the hamstrings without causing discom-
fort in seated and supine postures. These props
can also be used to secure or support the limbs
in certain postures.
• When blocks are used, it is generally in
standing poses, to extend the arms’ reach toward
the ground without causing undue strain in the
hips, hamstrings, or back. They can also be used
in place of bolsters or blankets to provide more
stable elevation when needed. The blocks can
be made of wood or a polystyrene blend. Wood
blocks tend to hold up better over time, but they
are less comfortable and often slide.
• Chairs and walls can be used to assist stu-
dents who have difficulty in balance postures.
Chairs can also be used as an aid in seated asanas
for those who find it difficult to move up and
down from the ground. In addition to supporting
balance, a wall can be used to help students check
alignment for themselves in many postures. The
wall is also a great place for people to practice
assisted inversions, such as shoulderstands.
• Sandbags can be used in seated, prone, and
supine postures to provide a constant yet gentle
pressure to release tight muscles. They also help
some students feel more deeply grounded and
supported.
• Eye pillows can be used to cover the eyes
during the relaxation phase of a class. If the eye
pillows are filled with herbs or essential oils, they
add an aromatherapy component to aid in relax-
ation. An important hygiene note: If you provide
eye pillows to students during class, it is best to
ask them each to place a tissue under the eye
pillow in order to keep the pillow surface clean.
• Mirrors can be used as visual aids to help
both the teacher and the student check body
alignment. Wall mirrors are generally found in
group exercise facilities and dance rooms, but a
yoga studio may or may not have them, depend-
ing on its style and focus of practice. In fact,
many yoga schools feel that mirrors create too
much distraction for students. Still, depending
on where and what style of yoga you teach, you
may have the opportunity to use wall mirrors as
an aid in aligning your students.
• Yoga walls are specialized, wall-mounted
wooden structures equipped with straps and
harnesses to help students with balance and
40 Instructing Hatha Yoga
Props can help a student modify poses to match individual ability; they are also tools to help the instructor more easily
align a student’s posture.
alignment. The original yoga wall apparatus
was designed by B.K.S. Iyengar as a means to
enhance even the slightest anatomical alignments
in asanas. However, a studio need not teach
Iyengar yoga in order to use such a wall. In fact,
many studios offer classes that focus on accessing
deeper muscles with the aid of the wall straps,
as well as offering inverted poses without fear of
exacerbating any preexisting spinal condition.
Safety and Comfort
Concerns
Most people would agree that participating in
any physical activity carries inherent safety risks.
Because yoga practice is a relatively nonimpact
activity, injury rates tend to be much lower and
less severe than those for many other movement-­
oriented activities. Of course, this is not to say
that injuries cannot occur in a yoga class; they
can and do.
In fact, if yoga is approached without mindful-
ness and attention to detail, it involves significant
inherent risk, a fact that was highlighted in 2012
by journalist William Broad in his New York Times
article titled “How Yoga Can Wreck Your Body”
and his book The Science of Yoga: The Risks and
the Rewards. Although the scope of this text does
not allow us to describe every possible injury, this
section of the chapter addresses some of the most
commonly identified safety and comfort concerns
that you and your students may face.
Student Safety
In addition to guiding your students through a
blissful class practice, your primary concern as
an instructor is your students’ personal safety
while they are in your care. At the beginning of
each class, and as new students join your ongoing
classes, make certain to ascertain whether any
student has an injury or illness that could affect
physical ability. If so, pay particular attention
to these students and help them modify asanas

as needed. Also remember that, for a variety of
reasons, many people will not volunteer such
information; therefore, it is your responsibility
to ask questions.
Bare Feet
Regardless of which style of yoga you teach,
encourage students to practice in bare feet. Doing
so allows each student to feel the connection to
the ground more completely in standing postures.
In addition, without the rigid constraint of shoes,
the feet are strengthened and are able to move in
a more natural manner, which helps with balance.
The bottoms of the feet also generally provide the
correct amount of traction against the ground
to guard against slipping in standing postures,
thus increasing the student’s safety. And in seated
postures, bare feet resolve the concern of the sole
of a shoe pressing uncomfortably into the flesh
or getting caught along the surface of the mat.
There are times, however, when the sole–mat
connection is just not firm enough. For example,
if a student sweats profusely through the bottom
of the feet, you may find that she or he is unable
to remain stationary. In this case, you might sug-
gest that the student bring an extra towel to place
on the mat to help absorb sweat and provide a
firmer grip on the surface.
Because of the popularity of hot or vigorous
yoga, many companies now sell specialized,
highly absorbent towels with nonskid bottoms
designed specifically for eliminating slippage
and mopping up excess sweat. These towels also
help keep the hands from sliding in poses such
as Adho Mukha Shvanasana (Downward-Facing
Dog.) In addition, nonslip socks are now available
that are engineered like gloves with a sheath for
every toe. As with the nonslip towels, these socks
are made with materials that wick away sweat,
and can be very helpful for anyone who tends to
sweat profusely from the soles of the feet. These
socks also are a nice alternative for travel, as they
are easier to transport than a yoga mat.
Although it is rare, you may occasionally
encounter a student who is opposed to practic-
ing barefoot. If the room is chilly, or if a student
has foot concerns, it may be difficult to convince
him or her to take off warm, and concealing,
socks during class. You can get most students to
comply, however, by gently reiterating the safety
concerns involved in wearing socks and remind-
ing them that they are free to put their socks back
Creating a Class Environment 41
on during the seated portion of class. If that still
does not persuade them to remove their socks,
you can assure them that any classmate who is
looking at another’s feet instead of focusing on
his or her own practice will not be getting the full
benefit from the class! However, if a student is
adamant about wearing socks, suggest that they
invest in the non-skid style previously described.
Everyday-­wear socks tend to have slippery soles
and do not provide a solid foundation in standing
poses. Also, the foot tends to slid out of regular
socks, creating an unnecessary distraction.
Adjustments
When physically adjusting your students, the
most important safety measure is to respect each
student’s body with compassion as if it were your
own. Recognize that some students are physically
unable to move the body into what is generally
perceived as the picture-perfect posture. Each stu-
dent must contend with his or her own physical
and mental limitations, and it is not your decision
as the instructor to dictate where each student’s
precise position should be.
In addition to being compassionate and
respectful, ask yourself the following questions
before physically adjusting a student: Why am I
adjusting this person? Is a physical adjustment
really necessary? If the student asked you for
help to move a bit deeper into the pose, then the
answer to the second question is yes. Alterna-
tively, if the person appears to be straining in a
pose—and verbal cues are ineffective—you might
ask to realign his or her positioning for comfort
and safety.
No matter what, always ask permission before
physically touching a student, and always main-
tain awareness of just how far a person is willing
and able to deepen into the posture. Move slowly,
with compassion and awareness of each student’s
needs.
By first obtaining a student’s per-
mission and then using a gentle
touch, you decrease the possibility
of causing physical or psychological
injury when providing an adjust-
ment.
42 Instructing Hatha Yoga
Also, remind your students throughout the
class that it vitally important for them not to take
the body to the point of physical discomfort or
pain in any asana. Students need to recognize the
part that they play in their own physical safety by
respecting and accepting any immediate limita-
tions that they sense when opening into an asana.
The mantra “No pain, no pain” should be recited
by each student before practice begins! In addi-
tion, in today’s fast-paced, push-it-to-the-limit
society, most people achieve their deepest yoga
by not forcing the body all the way to its limit.
Hydration and Nutrition
Any activity that puts a physical demand on the
body requires adequate hydration and nutrition;
of course, yoga practice is no exception. For this
reason, remind students to stay well hydrated
before, during, and after class. Hydration is even
more important in classes that involve a high
room temperature or highly vigorous routines.
Most people who exercise on a regular basis
know that it’s best to exercise with a relatively
empty stomach—both for comfort and for healthy
digestion. However, many students who are new
to yoga mistakenly think that they will “just
be stretching” and therefore can come to class
having just eaten a full meal. Inform your stu-
dents that, in reality, they will have a much more
comfortable and healthful experience if they wait
two or three hours after a large meal to practice
yoga. Indeed, the internal pressure created during
certain yoga postures can cause people to feel
lightheaded or nauseated if they are overly full.
In addition, when the stomach contains food,
the body moves significant blood and energy into
digestion instead of circulating it through the
skeletal muscle system. Therefore, the emptier
the stomach (and bladder and bowels), the more
comfortable the student feels, thus allowing her
or him to relax more fully into asana practice.
If a student really feels the need for a little extra
energy before class, you might suggest a light,
easily digestible snack (for example, yogurt or a
small piece of fruit, such as half a banana or a
handful of grapes) about an hour before class.
Instructor Safety
Amidst all the concerns about keeping your stu-
dents safe and comfortable, it is just as import-
ant to attend to your personal well-being as you
teach. Constant awareness is your best defense.
For example, as you walk among students, always
be on the lookout for tripping hazards. When
adjusting a student, maintain your own good
posture and balance. As you use your body to help
a student gain or maintain balance, keep your
knees slightly bent so you can make any adjust-
ments needed in your own balance. As a student
performs an inversion, such as a handstand, stand
to the side to avoid being smacked in the head as
the student lifts or lowers the legs.
When adjusting students who are seated or
lying down, resist the temptation to remain stand-
ing. Instructors often experience overuse injuries,
and even with the best intention to maintain
sound positioning, it is easy to place your spine
and joints in a precarious position. Therefore, to
minimize your risk, stay low by squatting, kneel-
ing, or even sitting.
Environmental Safety
No matter where you teach—a cozy yoga studio,
a wide-open auditorium, or a grassy field—take
time before each class to ensure that the practice
area is clean and as free of hazards as possible,
both for your students and for yourself. For
starters, the area should be clear of debris on the
floor or ground. In addition, if your yoga session
follows any type of high-energy class in which
people may have been sweating, give the floor
a good swabbing to reduce the risk of slipping,
either on or off the mat.
Also, if possible, ask your students to store
their personal possessions away from the practice
area. Doing so reduces the risk of accidentally
tripping and falling, thus making it much safer
for you to walk among the students as you check
alignment and make any requested adjustments.
This precaution is especially important in classes
where space between students is at a premium.
In addition, if you teach strenuous inversions and
arm balances, be sure that any unused props have
been moved out of the practice area to decrease
the possibility of students falling out of a pose
onto the props and causing injury.
It is also important to make proper use of hand
washing. One of this book’s main objectives is to
teach instructors how to make effective hands-on
adjustments. When doing so, of course, you will
touch students who are perspiring. Though it is

infeasible to run out and wash your hands after
every touch (and doing so would create quite
an unacceptable break in class flow), remember
the importance of good hygiene before and after
class, both for your own health and for that of
your students.
Equipment Safety
If you use props in your class, check them regu-
larly to ensure that they are in good condition.
Straps should be unfrayed, blankets should be
clean, and blocks should be well balanced and
stable. If you provide mats for your students,
make sure the small tread on the surface is intact
and that the surface still provides traction. If any
props have defects, remove them from use and
replace them.  none at all. Some sessions are conducted one on
Often, students bring their own props with
them to class. While it is their responsibility to
maintain their own equipment, if you notice
extensive wear, be sure to mention your concerns
to the student. If you feel the student's props pres-
ent an immediate hazard, supply a safe replace-
Many students feel that practicing outdoors gives their yoga a more natural ambiance and a deeper connection to nature.
Creating a Class Environment 43
ment, if possible, and suggest he or she replace
the props before their next practice.
Class Atmosphere
In the days before yoga’s popularity soared, if
you had asked a non-yoga-practicing person
what came to mind when thinking about yoga,
he or she might have described a candlelit room
filled with patchouli incense and low droning
chants. If asked today, the person might conjure
an image of 20 to 50 people on yoga mats packed
tightly into a large room while moving in unison
to contemporary music. In reality, hatha yoga
practice today is approached in many diverse
ways. Some instructors use live music; some use
one; others can, and do fill a football field. In
addition, classes take place in a wide variety of
settings and may happen anywhere that space is
available—for example, commercial yoga studios
(large or small), gymnasiums, group exercise
rooms in fitness facilities, community recreation
Courtesy Diane Ambrosini
44 Instructing Hatha Yoga
centers, libraries, and the great outdoors. Because
of the increasing demand for yoga, the variations
are almost limitless.
Ideal Setting
Yoga classes can be, and often are, taught almost
anywhere. However, some locations are more
favorable for helping students achieve the release,
relaxation, and overall awareness that they crave.
Generally speaking, the most desirable space to
teach and practice yoga is one that was designed
with yoga in mind. Such a setting is spacious,
comfortable, free from outside distractions, well
ventilated, and warmly lit.
For many, yoga is also associated with calm-
ing music and the aromatherapy of incense, and
indeed these elements can be used to help create
a soothing atmosphere. However, incense burn-
ing is not always a welcome addition to class; in
fact, in many facilities, it is strictly forbidden. If
you teach in a facility that does allow incense,
it is a courtesy to first ask the students if they
mind. Many individuals are severely allergic to
smoke or perfume and may be adversely affected
by any scent wafting through the room. For this
reason, it is also advisable to maintain a policy
stating that no one should wear perfume or overly
scented lotions to class.
Floor Surfaces
Yoga can be practiced almost anywhere: a sandy
beach, the sidelines of a football game, your
living room, a mountain campground, or even
the water. However, while the surface may vary,
it should always be as level as possible to avoid
compromising a person’s balance and to protect
the joints when holding postures. In addition, as
in any physical activity, some surfaces are better
suited than others for practicing yoga. Because
yoga is generally practiced indoors, this discus-
sion addresses indoor floor surfaces.
Wood flooring can be found in a variety of set-
tings, including many yoga studios; most dance
studios, high school gyms, and group exercise
rooms in newer fitness facilities; and some older
recreational facilities. Wood provides a smooth,
flat surface with a small amount of flexibility
that is relatively forgiving to the body. It also
provides greater warmth than concrete and other
harder surfaces. Yoga studios that feature wood
flooring often disallow outside footwear on the
studio floor in order to maintain the integrity of
the surface.
Concrete-based surfaces are the norm in older
fitness facilities, elementary school auditoriums,
and even some newer recreation facilities. They
provide a smooth surface that is generally easy to
clean. In many cases, the concrete is covered with
ceramic tile or linoleum. Unfortunately, concrete
flooring is much cooler than wood; it is also rigid
and provides no shock absorption for the joints.
Even so, it is a viable surface for practicing yoga
because of the extremely low-impact nature of
the activity. In addition, students can obtain some
cushioning and warmth by using mats.
Some facilities have carpeted flooring. These
surfaces provide the warmest floor and are very
suitable for gentle and restorative yoga, during
which students spend considerable time on the
ground. Although carpet does provide a little
extra cushioning, pay attention to what kinds of
activity are performed on the carpet. A sweat-­
inducing activity can create a foul-smelling and
unsanitary surface if the carpet is not cleaned on
a regular basis.
Temperature Control
In general, the room temperature for a nonheated
yoga class should be between 70 and 76 degrees
Fahrenheit (about 21 and 24 degrees Celsius).
Temperatures in this range tend to create a com-
fortable environment for most student—not too
hot, not too cold. However, these general guide-
lines notwithstanding, room temperature should
be tailored appropriately for both the style of yoga
being practiced and the student population.
For instance, peri- and postmenopausal
women tend to insist on cooler room tempera-
tures and gently moving air. In contrast, some
styles of yoga use a room heated to a temperature
between 96 and 106 degrees Fahrenheit (between
36 and 41 degrees Celsius) with the intention of
helping warm the muscles for practice. In addi-
tion, in Bikram and other “hot” yoga classes, the
room is kept at a much higher temperature that
most other yoga styles, in order to help students
release more sweat.
Despite the importance of temperature, some
spaces do not provide easy access to the thermo-
stat, which can cause consternation for both the
instructor and the students. For instance, one
instructor taught in a fitness club where an aer-
obics class was scheduled to follow her morning

yoga class. She found that the automatic cool-
ing fans turned on 15 minutes before her class
ended—right during the cool-down and Shav-
asana. After much shivering and complaining by
students, the management was finally convinced
to change the thermostat. In the meantime, how-
ever, many students came to class in multiple
layers. In fact, one student came with two layers
of exercise clothing, mittens, and a parka—a
remarkable situation in eastern San Diego County
in the summer!
This anecdote may be extreme, but it illustrates
the importance of reminding students to dress
in layers so that they can accommodate variable
conditions and changing body temperature. In
addition, be sure that the management where
you teach understands the intricacies and envi-
ronmental needs of yoga practice.
Distractions
Students come to yoga class for a variety of
reasons. One of the most common is to attain
a certain level of self-awareness and focus—to
clear the mind of stress and distracting thought
processes. Yet even in the most ideal yoga setting,
outside distractions can seep into the class and
disrupt the serene mood that students crave. In
settings that are less than ideal—for example, a
fitness facility in which the yoga class is adjacent
to a basketball court—these distractions can seem
almost too much to overcome.
In such cases, help students focus on their
asanas by reminding them to notice their breath-
ing, thus buffering out  many distractions. In
addition, before class begins, instruct students
that all cell phones must be turned off. Nothing
is as distracting to the students or the instructor
as a phone ringing during class!
The following example illustrates the impor-
tance of establishing an appropriate atmosphere
for your students’ yoga experiences. Picture a
yoga class set in a wonderfully spacious dance
room situated in a quiet bungalow at an adult
education center. The longtime students were
delighted, and perhaps a bit spoiled, by the room’s
seclusion, warm wood floors, and whispers of
wind sneaking in from outside. Sadly, the use of
the bungalow was taken away, and the class was
relocated to what the center’s administration
thought was a perfect space: the cafeteria. The
instructor was given a floor plan showing the
Creating a Class Environment 45
cafeteria with a dotted line down the middle, the
word yoga on one side, and the word dance on the
other. It was explained that the line represented
a dividing wall between the two classes.
When she went to teach, however, the instruc-
tor saw that the so-called dividing wall was a mere
curtain. Moreover, the dance class was a tap class,
in which the instructor broadcast show tunes
over loudspeakers as the students stampeded on
an old, warped wooden stage just a few feet from
the yoga instructor’s voice. As a consequence,
the instructor had to shout: “Breathe!” “Relax!”
Almost all of the yoga students demanded their
money back, and the class was canceled. As this
story shows, some settings contain obstacles that
are simply impossible to overcome.
Music
Many yoga teachers like to use music in class
because it can help set the mood from the
moment a student walks in the door. In settings
where students may be distracted by other
sounds—such as clanging weights, loud voices, or
more bombastic tunes—appropriate background
music can help anchor their awareness more
fully in the yoga classroom. Music can also help
students, especially those new to yoga, drown out
mental distractions. On the other hand, students
may become dependent on music and then have
trouble focusing without it. However, after some
practice, and with your repeated cueing, they can
use their own breathing to clear the mind.
Some traditions of yoga view music itself is
a distraction. For example, Iyengar hatha yoga
views music as distracting “fluff” and disallows
it in the class environment. In such classes, the
instructor’s voice and direction are most import-
ant in guiding students’ minds inward to fend off
outside distractions.
Music Selection
For a time, most music played in yoga classes was
in the New Age genre, which is characterized by
soothing, eclectic rhythms and natural sounds.
However, many instructors and students are
uncomfortable with this style of music due to
its tendency toward nonmelodic content. Today,
many yoga practitioners consider a variety of
music styles to be acceptable as a background ele-
ment, including contemporary kirtan (devotional
chants), crystal bowl playing, classical, jazz, and
46 Instructing Hatha Yoga
even hip-hop and techno beat. Regardless of style,
the pace of the music should not clash with the
pace of your class. For example, although many
people adore chants or tribal beats, some people
find the rhythm of the music distracting when
also trying to listen to a teacher’s instructions.
Many yoga instructors have a naturally soft,
soothing voice that in itself is almost hypnotic and
can take the place of background music. If you
need to speak loudly—whether due to background
noise, large class size, or poor acoustics—use
softer music. In faster-paced classes, more ener-
getic music can help the class move along quickly.
The tempo and style of your music should reflect
both your personal style and the desired tempo
of the class you are teaching.
Inviting musicians to play live music
or crystal bowls during class can be
a real treat for both you and your
students.
Music as Mood Setter
If you choose to use music in your classes, allow
yourself to be creative. Do not feel that you need
to stick with one style. Test out different pieces
with your students. Both you and your students
may appreciate some variety! If you find yourself
less than enthusiastic about a piece of music that
you have played for the past eight class sessions,
your students are likely to feel the same way—and
they will generally let you know it. Fortunately,
as yoga’s general popularity has increased, so too
has the breadth and variety of the music available
to instructors. In addition, many musicians have
Review Questions
1. Why would yoga practitioners choose to
wear white cotton or other natural fibers?
2. Name three indispensable items used when
practicing yoga.
3. How can blocks be used?
4. What is the most important concern when
physically adjusting your students?
added contemporary stylings to ancient chants,
thus creating yet another evolutionary shift in
modern yoga practices.
Although the objective of playing music in class
is to help create a mood, it should not overwhelm
the focus of the class. However, playing nontra-
ditional music can provide a delightful change of
pace and even express a background theme. For
instance, playing Tchaikovsky’s Nutcracker suite
could be fun while teaching a classical-eclectic
yoga class in December. As an example, in one
workshop focused exclusively on complex pos-
tures, the instructor played rock songs with lyrics
such as “have mercy.” This lighthearted music
created a sense of levity in the class that was most
enjoyable and surprisingly nondistracting.
Some vivacious yoga instructors have been
known to create a purposeful party atmosphere
in their more rigorous classes simply by playing
spirited, nontraditional music. Similarly, in two
ballet classes, one featured live music by a classi-
cal pianist and the other used Smokey Robinson
tunes with the bass turned up. Students relished
both classes. Why shouldn’t yoga classes have the
same creativity?
Summary
Although yoga practice may not require much
in the way of equipment or attire, it is unique in
its atmospheric needs. It is your responsibility as
the instructor to use all of the available resources
to create a safe and comforting environment in
which students feel protected and secure enough
to allow themselves to truly open their hearts and
minds to your instruction.
5. How long should the average person wait
after a meal before practicing yoga? Why?
6. Describe an ideal setting for a yoga class.
7. What temperature range is generally con-
sidered ideal for most yoga styles?
8. What are some pros and cons of using
music while teaching yoga?
 4
Breathing
and Beyond
T he most important
thing is your breath.
These are words that
a good yoga teacher should
say many times during
class. Reminding students
to breathe is always an
important cue. Poor breath-
ing is an epidemic bad habit
in today’s society, and it
contributes to the stress
and high anxiety suffered
by many people. Breathing
deeply and slowly allows
for greater circulation with
less work; it reduces stress
on the heart and enhances
the entire cardiovascular
© PeopleImages/istock.com

system.
During asana practice,
one’s breath can make a
difference in ability, com-
fort, and awareness. Align-
ment in asanas and proper
breathing are two aspects

47
48 Instructing Hatha Yoga
of hatha yoga focused on by most Western prac-
titioners. These two elements enhance each other
in creating a more complete internal awareness
in the mind and body. This chapter focuses spe-
cifically on breath awareness and provides an
overview of the anatomical structures involved
in the breathing process. It also presents general
guidelines for helping students develop breath
control during asana practice. More specifically,
it covers the most common yogic breathing tech-
niques and how they relate to asana practice.
Pranayama
Yogis refer to the force behind life itself—which
is inherent in the breath—as prana  [PRAAH-
naah]. In turn, the term pranayama [praah-naah-
YAAH-muh] refers to breath work, which connects
the mind and body in a shared consciousness.
Focusing on the breath helps a student bypass
the chatter in the mind and ego. When a student
begins attending to and controlling the breath,
his or her circulation improves, thus delivering
more oxygenated blood, which better fuels the
muscles and enhances concentration.
The fact that people usually breathe auto-
matically—that is, without conscious effort or
thought—does not mean that the breath cannot
be controlled. In fact, for thousands of years,
yogis have developed ways to bring what were
once considered strictly involuntary systems
of the body under conscious control. The most
essential function of the body that can be regu-
lated is the breath.
One’s breath provides a relatively easy and
convenient mechanism for tuning in to one’s
inward self because it can be heard, felt, and
counted without special equipment. It is much
more difficult to notice various other aspects of
body functioning—such as blood pressure, brain
waves, immune cells, electrolytes, and digestion—
let alone consciously alter them. Happily, the
functioning of these systems generally improves
when breathing is more efficient.
Breath is also a metaphor for life. Not only can
breathing patterns affect a person’s physiological
well-being; they can also affect—and be affected
by—one’s thought processes. Emotions can be
triggered either negatively through shallow,
labored breathing or positively through smooth,
flowing breaths, which stabilize our thoughts and
allow relaxation to set in.
Process of Breathing
Most people tend to breathe too shallowly, in
the uppermost region of the chest. This habit is
inefficient because it leads one to take in more
breaths in order to feel comfortable. This type of
overbreathing is a mild form of hyperventilation,
and it is exacerbated by stress. In fact, in some
people, this chronic breathing habit can induce
the stress response.
When a person’s breaths are shallow and
frequent, his or her heart must work harder to
deliver oxygenated blood throughout the body. If
the circulation is chronically compromised, many
other body systems may function below the level
that nature intended. For example, poor circula-
tion puts the immune system at risk by hindering
the elimination of toxins, thus diminishing the
body’s overall functional capacity (Jerath 2006).
Pranayama plays a major role in keeping the
processes of the physical and energetic body
healthy and in preventing the physical decay that
occurs when cells receive inadequate oxygen over
a prolonged period. Choppy, shallow breathing
occurs when the sympathetic nervous system
activates the body’s fight-flight-freeze response
to a situation perceived as threatening. When
this system remains activated over a long time,
it causes hormonal changes, which in turn pro-
duce physiological responses that endocrinolo-
gist Hans Selye labeled as “general adaptation
syndrome.” The resulting increase in cortisol and
adrenaline stresses the body and often leads to
one of many causes of premature death, such as
heart disease or stroke.
Anatomy of Breathing
A proper full, deep breath begins from the base
of the diaphragm near the pelvic girdle. This
action alone helps relax the rest of the respira-
tory muscles, as well as some neck muscles. The
calming effect of deep breathing is brought about
by the parasympathetic nervous system, which,
when activated, allows the body to rest and con-
serve energy. At the same time, this effect deac-
tivates the sympathetic nervous system, which
regulates bodily functions involving the  energy
expenditure generally associated with the body’s
self-protection during the activation of the fight-
flight-freeze response. As a result, according to
an article published in the International Journal

of Preventive Medicine (2012), the regular yogic
practice of deep, slow, nostril breathing produces
a multitude of health benefits: reduced anxiety,
healthier blood pressure, balanced brain waves,
and improved physical endurance.
The human breathing process is centered in a
crowded part of the body—the torso, where most
of the body’s major organs are located adjacent
to one another. The heart resides almost in the
middle of the chest, and the bulk of its mass lies
toward the left side. As a consequence, this fist-
sized organ leaves the left lung room for only two
lobes, whereas the right lung has three.
The diaphragm, a parachute-shaped muscle, is
located below the heart and lungs and attaches
to the lumbar spine, the lower six ribs, and the
sternum. As this powerful muscle contracts,
the space in the chest cavity expands, giving
the lungs room to fill. Similarly, the intercostal
muscles, located between the ribs, also contract
to expand the rib cage upward and outward. As
this space opens, air is drawn in and the lungs
inflate. Exhalation occurs when the diaphragm
relaxes, moves upward in the chest, and presses
the air out of the lungs (figure 4.1).
Beneath the diaphragm are located additional
organs—the liver to the right and the stomach
and spleen to the left. The diaphragm also has
three openings to allow passage of the esophagus,
the inferior vena cava, and the aorta. As you can
Nose
Mouth
Trachea
Lung
Diaphragm
Figure 4.1  The diaphragm and lungs in the thoracic
cavity.
E6251/Ambrosini/fig04.01/518474/pulled/r1-alw
Breathing and Beyond 49
imagine, then, when the diaphragm is activated,
the many surrounding tissues and organs get
massaged and stimulated.
When a person breathes too shallowly, the
diaphragm does not contract fully, which means
that the lungs do not expand to full capacity. As
a result, air is moved only into the upper chest,
which strains the neck and shoulder muscles
and therefore causes more rapid and shortened
breaths. In this way, a person who breathes con-
sistently into the chest rather than into the belly
creates strain in the entire body, robbing cells and
tissues of needed oxygen and creating weakness
and imbalance in the diaphragm and intercostal
(rib) muscles.
Types of Pranayama
If you watch a young child sleep, you will notice
the smooth, rhythmic rise and fall of the belly
and the gentle expansion of the upper torso
and chest. This is how all human beings begin
breathing—free from worries about constantly
needing to “suck in our gut” and simply allow-
ing the fullness of prana to flow easily into and
through our body. Over time, however, we tend
to pick up stresses and carry them through our
life’s journey; therefore, we need to retrain our
breathing process. The idea is to get the breath
to expand below the rib cage toward the navel by
engaging the diaphragm more completely.
Simply observing the breath is a type of pran-
ayama that is often practiced during Shavasana
(Corpse Pose). When we breathe more efficiently,
we can take in sufficient oxygen with fewer
breaths. Animals that take fewer breaths gener-
ally live longer. For example, a tortoise breathes
four times per minute and lives up to 300 years.
The average human, in contrast, takes 16 to 20
breaths per minute and usually does not reach
his or her 100th birthday!
It is possible for the mind to be alert while the
body is quiet and calm. It is also possible to be
very active while breathing steadily and smoothly
through the nose. Not only can we practice yoga
more efficiently and easily, but also we can walk,
run, and even swim at a good pace while breath-
ing deeply and relatively slowly—and without
taking oxygen in through the mouth, which tends
to dehydrate the body.
There are many styles and techniques of
pranayama practice. The three most commonly
practiced methods are outlined in the following
50 Instructing Hatha Yoga
subsections: deep abdominal breathing, complete
yogic breath, and ujjayi [oo-JAAHY-ee] breathing.
A fourth subsection addresses the alternate-­
nostril breathing technique (nadi  shodhana
[NAAH-dee SHOH-duh-nuh]), which can be
taught either at the beginning or end of a class
session or separately from a typical class setting.
All of the methods are easily taught; however, it
is best to receive hands-on training from a qual-
ified instructor before teaching these styles in
any great depth.
Deep Abdominal Breathing
The simplest form of pranayama practice involves
breathing deeply into the abdomen. Teaching this
breath style gives students the opportunity to
become more fully aware of their current breath-
ing patterns and shows them an easy way to begin
to control their breathing. One way to teach deep
abdominal breathing is to have students place
the hands on the lower abdomen over the navel.
Instruct them to breathe slowly and deeply so
that the hands gently rise from the expansion of
the breath.
This exercise can be done while standing, sit-
ting, or (most easily) lying on the ground, either
supine (faceup) or prone (facedown). Students
should feel the belly expand while the ribs, chest,
and shoulders remain relaxed (see figure 4.2). For
additional feedback when lying supine, a small
sandbag can be placed on the abdomen, which
produces a slight feeling of resistance and can
help students draw the breath deeper into the
belly.
If students lie prone, the hands should be
placed beneath the forehead for comfort. For
feedback, students can use the feeling of the
abdomen expanding against the ground. To fur-
ther aid students, ask them to imagine being a
small boat drifting on the gentle sea of the breath.
They can think of the torso rising and falling like
small waves. Once a person becomes comfortable
with deep abdominal breathing techniques, other
a b
Figure 4.2  Deep abdominal breathing: (a) in and (b) out.
breathing styles tend to be easier to grasp and
perform.
To view a video clip which demonstrates deep
abdominal breathing, visit the web resource at
www.HumanKinetics.com/InstructingHatha
Yoga.
Complete Yogic Breathing
Some refer to full, deep breathing as durga
breathing. It is the practice of fully inflating the
lungs from bottom to top. A full, deep breath has
three parts. One begins by breathing deeply into
the abdominal area and continuing to inhale,
thus filling the entire torso with breath from the
abdomen to the collarbones. At the end of this
deep inhalation, the sternum rises (from lifting
the front ribs by using the mid-back muscles
assisted by deep breathing) and the collarbones
(clavicles) expand forward and up while the
shoulders remain relaxed.
When teaching the complete yogic
breathing technique, repeat the fol-
lowing cue: “Chest up, shoulders
down.”
The inhalation is full and deep into the
abdomen, and the exhalation is equally deep
and complete. When teaching this pranayama
technique, direct students to release the breath
from the top of the torso to the bottom—from
the chest down to the abdomen. At the end of the
exhalation, instruct students to gently squeeze the
abdomen in to expel as much old air as possible,
thus enabling an even deeper inhalation on the
next in-breath. If students have difficulty using
this technique to breath rhythmically, begin by
focusing on the exhalation, which is the most
relaxing stage of breathing.
To view a video clip which demonstrates
complete yogic breathing, visit the web resource

at www.HumanKinetics.com/InstructingHatha
Yoga.
Ujjayi Breathing
Ujjayi breathing is a more sophisticated pra-
nayama technique that is used most often in
Ashtanga yoga classes. Basic ujjayi breath tends
to expand the lungs and chest more fully than
most other pranayama practices, and with
more control, and also can help warm the body.
The breath produces a noise that resembles
something like a whispering roar as it vibrates in
the back of the throat and sinus areas, making a
sibilant “ssss” on inhalation and a “hhhh” sound
during exhalation. When students synchronize
their breathing in this manner, it sounds like a
pod of dolphins breathing together.
One easy way to introduce ujjayi breathing is
to ask students to begin breathing through an
open mouth while slightly tightening the back
of the throat. This action helps make the breath
more audible. Instruct students to whisper as
they inhale and exhale. For the more difficult
inhalation sound, you might have them practice
making an “ash” sound while slowly breathing
in. The exhalation is easier, because they can
usually get a good sound by trying to whisper a
prolonged “ha.”
Although breathing through an open mouth
makes it easier to feel the breath and hear the
sound, mouth breathing can be very dehydrating.
As students become more comfortable with the
breathing rhythm, instruct them to continue to
breathe through the nose. As they breathe slowly
and deeply through the nose, they should strive to
keep and emphasize the sound vibrations.
This breathing method is very efficient, and it
helps students focus not only on breathing but
also on the flow of asana movements. Because
ujjayi makes such a distinct sound, it automat-
ically brings students back to awareness of the
breath. When a whole class uses this pranayama
technique, the students become a community,
helping each other focus through the sound they
are emanating. For example, in one class, on a
day when a certain accomplished ujjayi breather
was absent, the other students commented on
how much they missed her audible breathing to
help them stay focused on their own breathing
during asana practice.
To view a video clip which demonstrates
ujjayi breathing, visit the web resource at www
.HumanKinetics.com/InstructingHathaYoga.
Breathing and Beyond 51
Alternate-Nostril Breathing
Known as nadi  shodhana, alternate-nostril
breathing increases and balances the prana flow
in both nostrils and throughout the whole body.
The term nadi shodhana means to clean the nadis,
or nasal passages, which are channels through
which the energy, or prana, circulates. Chapter
5 provides more information about the energy
system; meanwhile, this section acquaints you
with the basic technique and the main benefits
of alternate-nostril breathing so that you can
practice and teach it.
According to Dr. Jeannette Vos, an expert in
education and brain research and best-selling
author of The Learning Revolution, people learn
five times more information when both hemi-
spheres of the brain are active. Alternate-nostril
breathing engages both hemispheres of the brain
as it opens up both nostrils for a better breath.
The clearing and balancing effects of nadi
shodhana on both the left and right nostrils makes
it easier for students to breathe through the nose
overall. Unlike ujjayi, nadi shodhana is a quiet
breathing practice. It comes in many variations
and styles of hand positioning and fingering; the
most traditional way is to use the thumb and the
ring and little fingers of the right hand to alter-
nately close and release the nostrils. The index
and middle fingers are folded inward toward the
palm (see figure 4.3).
To begin, invite students to the ground to find
a comfortable position. Usually, students are
seated, but one nice way to teach this technique is
to have them lie supine with the legs in a comfort-
able cross-legged position either on the ground
or up against a wall. Instruct students as follows:
Begin by exhaling through your left
nostril while your right thumb closes
your right nostril. Now inhale through
your left nostril. Use the ring and little
fingers of your right hand to close your
left nostril and release your right nos-
tril. Exhale through your right nostril.
Inhale through your right nostril. Close
your right nostril with your thumb.
Open your left nostril by releasing
your ring and little fingers and exhale
through your left side.
This process completes one breath cycle. To start,
ask the students to try seven to ten cycles through
both nostrils.
52 Instructing Hatha Yoga
Figure 4.3  Hand positioning for nadi shodhana breathing.
These are simple, directed breathing tech-
niques that can be introduced to students at
all levels of yoga experience. There are many
variations, both in hand positioning and in the
duration of the breathing cycles. The key is to help
your students understand that it is important to
be aware of their breathing, not only during asana
practice but also throughout the day.
To view a video clip which demonstrates
alternate-­nostril breathing, visit the web resource at
www.HumanKinetics.com/InstructingHathaYoga.
Instructing the Breathing
Process
Some schools of yoga instruct students that pra-
nayama should be practiced only under the tute-
lage of a seasoned professional yoga instructor. In
other words, they take a “Don’t try this at home!”
approach. Others, however, preach that students
must practice these techniques every day.
One reason for caution regarding pranayama is
to deter those who would abuse or exploit shallow
knowledge of such a powerful and sacred tool.
Without a good foundation, a novice practitioner
might hyperventilate or hold the breath when
it is inappropriate to do so. However, when the
focus is constantly brought back to the breath
in an appropriate fashion, the student develops
a strong internal focus and a deeper awareness
of the body overall. Thus, the body and mind
are gradually disciplined into the habit of better
breathing and posture.
The breath, like the perception of the body in
the asanas, should be felt and visualized from the
inside out. Instruct your students to visualize the
breath as white light radiating from the center of
the body, first to expand the spaces of the body
and then to move beyond the body’s edges. The
spine lengthens with the inhalation, and the
spaces between the vertebrae and the ribs expand
in all directions. The skin across the sternum
subtly stretches, both vertically and horizontally.
When students ask you how or what they should
practice at home between classes, educate them
about the benefits of simply becoming more
aware of their breath at any time during the day
and of learning how to breathe more slowly and
deeply.
Here are some basic guidelines to apply to
pranayama practice. They may also be applied
to asana and meditation practice.
• One minute fully focused is better than
twenty minutes with no focus! What really mat-
ters is not quantity but quality. Start by commit-
ting to only 30 seconds or a few easy rounds of
breathing. Consider that a person who decides to
run a marathon would be foolish to train on the
first day by running 20 miles (32 kilometers). Why
approach pranayama practice in such a manner?
• Expand according to your joy, not your
clock. When the benefits of pranayama are felt
and experienced, the result is a natural desire to
expand the time spent in practice. This expansion
often occurs without even being noticed by the
student. To use another running analogy, a person
who truly enjoys running often looks forward to
taking a longer run rather than viewing it as a
chore.
• What is the meaning of pranayama practice?
No matter what is practiced, every action should
have meaning. Instead of simply understanding
on an intellectual level that one should practice
pranayama, the true meaning behind the action
must be exposed and addressed. The motive
need not be spiritual in nature. If a student
starts practicing pranayama because he or she
believes that it makes the face wrinkle less, that
is an appropriate motive and will lead to further
self-­exploration. In fact, many people start doing
asanas to lose weight. Once the excess weight is

© Serg Myshkovsky/istock.com
Asanas and pranayama work together to establish good posture and to open the torso for better breathing.
gone, or they simply begin to feel better, they are
past the physical concerns of appearance and
open themselves up to feeling, eating, and think-
ing better as well! Understanding the importance
of breath awareness to overall health allows
students to more fully reap the benefits of pran-
ayama practice, both as its own discipline and as
a support for overall asana practice.
As in asana practice, if a pranayama
technique makes you feel dizzy, nau-
seated, or highly uncomfortable, it’s
best to stop and perhaps resume at
another time.
Linking Pranayama
With Asanas
Many people find it difficult to sit and focus
solely on the breath. The mind constantly begs for
Breathing and Beyond 53
attention or entertainment, and the body becomes
numb and restless. It is common to feel more like
an untamed lion than a peaceful and content yogi!
With this in mind, an asana session can be used
to jump-start a pranayama practice; the calming
effects of the breath help relax the mind, and the
rhythm and focus of the asanas give the body
what it craves—movement.
Pranayama allows you to achieve a relaxed yet
focused state of being, both mentally and physi-
cally. Moreover, asanas and pranayama—the third
and fourth limbs of yoga—work together in that
the good structural posture created through con-
tinual asana practice allows for increased space
in the torso, thus enabling greater breath volume.
Asanas also loosen the tight muscles of the rib
cage and the diaphragm so that the breath can
expand more fully. The more the breath expands,
the more effectively the circulatory and muscular
systems work.
After years of shallow breathing, the dia-
phragm and intercostal muscles lose functional
capacity and flexibility. When a muscle is not
regularly stretched and strengthened, it loses both
mass and function. The asanas strengthen the
54 Instructing Hatha Yoga
torso’s deep core muscles, which in turn support
good spinal posture and enhance the range of
motion and stability of the entire body.
Here are some general pranayama instructions
for students during asanas:
• Breathe slowly and deeply through the nose.
A good duration to strive for is seven seconds for
the inhalation and seven seconds for the exha-
lation. Breathing through the nose allows for a
slightly higher oxygen uptake and filters the air
while preventing the dehydration that occurs with
mouth breathing.
• Keep the breath smooth and steady. Jerky
or labored breath is a sign that a student is strug-
gling and possibly overstraining. In that case, the
student should modify or come out of the asana.
• Expanding and opening movements of
asanas usually occur on the inhalation, gener-
ally when moving the body into extension. For
example, you might say, “Inhale as you raise your
arms overhead” or “Inhale and gently bend back
to open up the chest.”
• Releasing or relaxing movements of asanas
generally occur on the exhalation. For example:
“Exhale as you bend forward from your hips.”
Actions that move the body into flexion, espe-
cially forward folds, feel more comfortable during
exhalation.
• Visualize your breath moving into any area
of tension or resistance in order to soften and
release mental and physical blocks and bring
greater circulation and awareness to the affected
area.
Review Questions
1. Identify an epidemic habit in modern soci-
ety that contributes to the stress and high
anxiety suffered by many people.
2. How can a student bypass the chatter in
his or her mind and ego?
3. ___________ can be triggered either nega-
tively through shallow, labored breathing
or positively through smooth, flowing
breaths that stabilize thoughts and allow
relaxation to set in.
4. Choppy, shallow breathing is associated
with which nervous system?
Summary
The lessons and benefits of pranayama practice
take time. Give students a chance to feel, see, and
in some instances (such as ujjayi) even hear their
breath. Remember, students cannot be reminded
enough to focus on their breath; constant feed-
back is necessary. Start students off with good,
deep, slow abdominal breathing; then, as the class
progresses, begin teaching durga breathing with
the asanas. If you teach a physically strenuous
yoga class, such as an Ashtanga practice or rapid
vinyasa, the ujjayi breath techniques generally
take more time to teach when working with less
experienced students.
Also, because it is best to teach from expe-
rience, remember to practice these techniques
yourself. If you are just starting out as a yoga
teacher, breathing deeply and slowly will also help
you feel less nervous. If you have been teaching
for a while, then you already know the benefits of
these pranayamas and may be ready to incorpo-
rate these beneficial techniques into your classes.
Pranayama practice offers so many physical and
mental benefits, not the least of which is to clear
the mind. Prana signifies the breath and vital life
energy, and cleansing the energy channels is an
integral component of breath work because it aids
mental focus. Pranayama breathing enhances the
rejuvenating effects of the parasympathetic ner-
vous system. Deep, slow breathing provides greater
oxygenation with less effort, thus reducing stress on
the entire cardiovascular system. Focused breath-
ing also makes a positive difference in one’s ability,
comfort, and awareness during asana practice.
5. What type of breathing was mentioned in
a National Institutes of Health report as a
way to improve physical endurance?
6. How many breaths per minute does the
average human take?
7. What are the three most common pran-
ayama techniques taught in asana classes?
8. What is nadi  shodhana, and what effect
does it have on the brain hemispheres?
9. Which is generally better while entering
Uttanasana (Intense Forward Bend)—
inhaling or exhaling?
 5
Energy
and Anatomy
I n order to guide students through
an asana practice without harm,
you must understand the basic
mechanics of human movement and
be able to provide skillful cues. You
give your students more protection
when you include kinesthetic and
auditory instruction rather than using
only visual demonstration. If you teach
primarily through demonstration, stu-
dents tend to concentrate on imitating
your movements instead of focusing
inward to become aware of their per-
sonal edge or the boundaries of their
physical and mental capabilities.
In contrast, good instructors facil-
itate students’ awareness and experi-
ence of “playing the edge” in a posture
without going beyond their physical
and emotional limits. In this way,
they help students arrive at a place of
deeper personal understanding on the
physical, mental, and emotional levels.
Certainly, in this process, students
may experience some struggles, both
physical and mental. However, if they
surpass their personal edge in an asana,
the possibility of injury increases.
© RyanJLane/istock.com

Therefore, as a yoga teacher, you

need to have a firm grasp on the limits
of your students’ knowledge of biome-
chanics and their physical and mental
capacity to focus. In addition, because
of the dynamic qualities of most styles

55
56 Instructing Hatha Yoga
of hatha yoga, all instructors must have at least
a basic understanding of what is called energetic
anatomy. You must also understand how the
human musculoskeletal and physiological sys-
tems function before guiding students through
a class or providing hands-on adjustments to
postures.
This chapter begins with an explanation of how
practicing yoga postures affects the major body
systems. It then introduces energetic anatomy
and defines the terms used to describe it. Later
sections of the chapter provide an overview of
basic human kinematics, movement systems,
planes of motion, and muscle mechanics. They
also illustrate the importance of describing and
applying proper mechanics when observing and
adjusting students in asanas.
Because of internal imbalances, a
student sometimes unintentionally
moves the body in a manner that
creates a risk of injury. It is your
duty to help such a student move in
a mechanically sound manner that
helps maintain joint integrity and
decreases the chance of injury.
Yoga Postures and Major
Body Systems
The beneficial effects of yoga asanas are rela-
tive to the postures being practiced. Therefore,
a well-rounded program includes a number of
asanas from each category—standing, seated,
supine, prone, inverted, and restorative (all
covered in part II of the book)—and moves the
spine through its total range of motion to bring
about the best results. A balanced yoga practice
affects the person as a whole, helping to eliminate
stress; rejuvenate the immune system; and pro-
tect against age-related degenerative conditions
such as arthritis, osteoporosis, and cardiovas-
cular disease (Sengupta 2012). Use the detailed
information presented in the following sections
to educate students when they ask, “What can
yoga do for me?”
Skeletal System
Bones make up the frame of the body. Bone-­
tissue growth, or osteogenesis, is stimulated by
weight-bearing activity; therefore, weight-bearing
yoga practice helps keep the skeleton strong and
aligned and reduces one’s general risk of injury.
More specifically, the standing poses, especially
those that require balancing, create and main-
tain joint stability in the hips, knees, and ankles.
Asanas that work the arms build strength and
stability in the shoulder joints; examples include
Adho Mukha Shvanasana (Downward-Facing
Dog) and plank pose variations. Twists and inver-
sions, on the other hand, utilize the abdominal
and spinal muscles and keep the spine strong and
aligned. Overall, hatha yoga helps maintain the
integrity of structural balance and therefore helps
prevent and alleviate osteoporosis, arthritis, and
mechanical misalignments.
When strong, balanced muscles and tendons
hold the bones in place during movement,
mechanical alignment is maintained within a
joint. Chiropractors manipulate the joints of the
spine to realign them, but if the muscle tissues
that connect to the spine are not balanced and
strengthened, then the adjustment is temporary.
Similarly, many treatments can relieve the pain
of a ruptured disc or pinched nerve, but in the
long run the safest and least expensive approach
is usually to treat the root cause of misalignments.
Just as car tires need to be balanced and held
in place, the joints of the human body are kept
in alignment by strong, balanced muscles. When
your car tires are misaligned, unnecessary strain
is placed on the structure of your vehicle. Not only
do your tires wear out much faster, but also your
steering is impeded in proportion to the degree of
imbalance. Even after you get your tires balanced,
if the mechanic neglects to secure them properly,
then—like your joints after a chiropractic adjust-
ment—the alignment may not hold.
Muscular System
When muscles are not used, they lose mass and
functionality; normal muscle function can also be
hindered by chronic tension or scar tissue from
healing after an injury. Yoga, on the other hand,
is one of the few physical practices that increase
functional strength, flexibility, and mobility in a
balanced way. Research performed at the Uni-

These women are minimizing their risk of osteoporosis and arthritis by practicing a fun, weight-bearing pose.
versity of California, Davis, demonstrated that
after only eight weeks of practicing yoga, study
participants experienced a 31 percent increase
in muscular strength, a 57 percent increase in
muscular endurance, and a 188 percent increase
in flexibility (Bauman 2002).
Asana practice strengthens and deeply stretches
the muscles. Both stability and range of motion
are needed for optimal performance of the mus-
cles, joints, and connective tissues (such as fascia,
tendons, and ligaments). Therefore, hatha yoga
practice not only promotes basic healthy func-
tioning but also enhances fitness.
Indeed, the human body is made to move,
and regular yoga practice helps preserve, and
often enhance, daily living skills. Ultimately, if
a person does not maintain functional strength
and mobility, he or she may suffer reduced or lost
ability to perform simple tasks, such as getting
up from a chair, walking up stairs, or opening a
jar. Asana practice also helps prevent repetitive
motion strain by strengthening and balancing
the opposing muscles in a joint. In addition, a
well-balanced muscular system protects other
bodily systems; as muscles flex, extend, and
rotate, they massage and manipulate adjacent
structures, such as the spine and internal organs.
Digestive System
The gastrointestinal tract is also toned and
stretched through asana practice; sluggish diges-
tion is stimulated by the rhythmic movements
of the body. More specifically, forward bends
can stimulate digestion and hunger; in contrast,
hunger is often reduced by backbends because
they stretch the vagus nerve, which is involved
in the control of digestion. Backbends also
Energy and Anatomy 57
stretch the stomach away from the esophagus
and diaphragm, thus greatly reducing the risk of
herniation when they are practiced on a regular
basis. In addition, the rhythmic movement of
poses that affect the spinal and abdominal mus-
cles simultaneously massage the liver, pancreas,
and other organs.
Because yoga asanas encourage healthy diges-
tion and elimination, they increase nutritional
absorption and decrease constipation, gas, and
toxicity. For persons who suffer from digestive
system disorders, such as heartburn and irritable
bowel syndrome, the gentle stretching and com-
pressing of twisting yoga postures helps increase
circulation and soothes the entire system, thus
helping it heal.
Reproductive System
For women in their childbearing years, the hor-
monal fluctuations of the monthly cycle often
cause unpleasant effects, such as painful men-
strual cramps, backache, and irritability. Hap-
pily, the stress-reducing properties of restorative
asanas can help calm one’s mood. Asanas that
open the hips can be applied to both menstrual
disorders and pregnancy. For example, Malasana
(Basic Squat, or Bead Pose) is a good prepara-
tion and labor technique because it flushes the
reproductive and urinary organs with greater cir-
culation and stretches and strengthens the pelvic
supporting structures. Practitioners can also
prevent or reverse prolapse in these areas through
the practice of mula bandha (root lock; see later
section on bandhas). And for women who have
difficulty with pregnancy, the hormone-­regulating
effects of hatha yoga often help create the con-
ditions for successful conception and gestation.
58 Instructing Hatha Yoga

.
Restorative yoga asanas have also been regular yoga practitioners had VO2max measure-
shown to relieve many symptoms in perimeno- ments equivalent to athletes in moderately intense
pausal and postmenopausal women (Kaur sports (Bauman 2002). Ultimately, then, yoga
Khalsa 2007). Here again, fluctuating hormones improves the cardiovascular system.
can cause a range of uncomfortable effects: hot
flashes, irritability, insomnia, intense fatigue, and
depression. Erratic hormone fluctuations can Circulatory System
be counteracted and balanced by the restorative
Like the skeletal muscles, the heart and blood
poses, which calm the nervous system on a deep
vessels are strengthened and kept supple by yoga.
level.
For example, backbending movements strengthen
The male reproductive system also bene-
the cardiac sphincter. In addition, the anterior
fits greatly from yoga practice. Specifically,
and lateral walls (front and sides) of the heart
­pelvic-opening postures loosen and support the
are completely stretched  and strengthened as
hips and lower back. Practicing mula bandha in
the anterior body elongates from the arch, thus
certain poses helps strengthen the pelvic floor mus-
aiding healthy blood flow around the periphery
cles and increases blood flow, which, especially
of the organ. Also, all asanas enhance blood flow
in older men, may help decrease swelling in the
into the thoracic bed and improve the elasticity
prostate gland (Bonura 2013). As mentioned ear-
of the aorta.
lier, the relaxing properties of restorative yoga also
You may have heard of angina, which is referred
lower stress hormone levels, which may in turn
chest pain occurring when the heart receives insuf-
help with performance-related conditions in men.
ficient oxygen. Angina tolerance can be improved
by yoga and many other types of exercise. However,
the other types lack the arterial-­massage effect
Respiratory System created by yoga movements.
Because standing poses are more static than
The skin is the largest organ of the human body;
dynamic, they cause only minimal lactic acid
it is also part of the respiratory system. Therefore,
to form in the skeletal muscles, thus avoiding
as pranayama improves the entire respiratory
fatigue in both the muscles and the circulatory
system, it benefits the skin as well. In addition,
system. Yoga practice also aids the health of the
both pranayama and asana practice optimize lung
entire vascular system as blood vessels get relief
capacity by increasing the elasticity of the inter-
from gravity in inversions and restorative poses,
costal (inter-rib) muscles. As a result, although
in which the legs are raised or the head is placed
the rib junctions and spine typically stiffen with
below the heart. The constant massaging effect
age—thus diminishing the thoracic cage and,
of the asanas reduces the formation of varicose
in turn, one’s capacity for oxygen intake—yoga
veins. Yoga also increases circulation to the brain,
practice provides the opposite effect.
which can reduce the chance of stroke. And the
Asana practice also expands the intercostal
rhythmic nature of asanas and breath awareness
muscles, thus enabling the walls of the lungs to
allow increased efficiency in the circulatory
remain elastic. In addition, the alveoli (sacs that
system without undue strain on any body system.
contain air in the lungs) are opened more fully,
thus improving oxygen perfusion in the lungs. In
forward-bending asanas, the posterior lungs get
stretched and are well ventilated—which is not
Endocrine System
the case in most other forms of exercise. The endocrine system monitors and produces
Poses such as Adho Mukha Shvanasana hormonal secretions needed to regulate body
(Downward-Facing Dog) can improve vital functions. When operating well, this system
capacity, producing the effect of having run for creates a healthy balance (homeostasis) in the
a prolonged period without the accompanying body, thus strengthening the immune system
strain.
. This effect can be assessed by means of a and increasing one’s resistance to illness. The
VO2max test, which measures a person’s maximal pineal gland, an endocrine gland associated with
oxygen uptake and can be used to calculate how the sixth chakra [CHUK-ruh] or energy center, is
efficiently the person uses oxygen. In one study, located in the midbrain and regulates the function

of the other endocrine  glands. Also considered
the body’s “third eye,” the pineal gland secretes
the hormones known as serotonin and melatonin,
which stabilize the body’s rhythms in processes
such as sleep, mood regulation, sexual function,
memory, and appetite. Blood flow to this area of
the brain is increased by inverted poses such as
Salamba Shirshasana (Supported Headstand).
Yoga practice also aids other endocrine glands.
For example, the thymus, which plays a major role
in immune function, is located in the mid-sternal
area, which can be stretched and stimulated by
backbends and chest-opening poses. Salamba
Sarvangasana (Supported Shoulderstand), on
the other hand, increases circulation in and
around the thyroid and parathyroid glands. The
thyroid is responsible for thermoregulation, as
well as growth and repair of bodily tissues. It is
believed that regular flushing of this gland helps
guard against imbalances such as hyper- and
hypothyroidism, which cause either agitation and
irritability or slowed metabolism, respectively.
The parathyroid regulates the body’s metabolism
of calcium and phosphorus, which, when out of
balance, negatively affect bone and kidney health.
The pancreas produces insulin, which is
necessary in regulating blood sugar. It can be
stimulated by asanas that gently stretch or exert
pressure on the abdominal area, such as twists,
forward flexion, and even simple backbends.
The adrenal glands produce and discharge
adrenaline and noradrenaline during stressful sit-
uations for use in the fight-flight-freeze response.
If the adrenals are underactive, the body is not
equipped to protect itself; if they are overactive,
the stress exhausts the body and negatively affects
the immune system. To stimulate the adrenal
glands, which are located just above the kidneys,
it helps to practice supported backbends. Sup-
portive yoga poses and pranayama practices also
help calm the nervous system.
Psychoneuroimmunology is the study of
the immune system with regard to mind–body
health. More specifically, this form of study looks
at how behavior and perceptions work with the
endocrine system to influence overall well-being.
Of the seven major energy centers, or chakras,
identified in energetic anatomy, the ones that cor-
respond to the endocrine system are associated
with physical and mental balance. Both energetic
anatomy and the chakras are discussed in more
detail in the next section.
Energy and Anatomy 59
Nervous Systems
The brain and spinal cord form the central ner-
vous system (CNS), which is the body’s command
center. The CNS receives and interprets informa-
tion sent from the body’s many systems and, after
processing the signals, sends out impulses for
these systems to act on. The CNS is connected to
the muscles and glands by the peripheral nervous
system (PNS), which relays information between
the CNS and the body’s periphery. The PNS is
further divided into the somatic and autonomic
nervous systems. Somatic neurons (nerve cells)
send impulses from the CNS to the skeletal mus-
cles to produce movement, whereas autonomic
neurons connect to the two types of involuntary
muscle tissues: smooth (located in the stomach,
intestines, and blood vessels) and cardiac (located
in the heart).
The autonomic nervous system is further
divided into the sympathetic nervous system
(SNS) and the parasympathetic nervous system
(PSNS). These two branches play key roles in the
stress response. When the SNS is stimulated, it
calls the body’s systems into action. The typical
response of a person under stress includes an
increase in heart rate and respiration, a redirec-
tion of blood flow away from vital organs and into
skeletal muscles, and dilation of the pupils. These
actions are a result of a surge of adrenalin, nor-
epinephrine, cortisol, and other stress hormones
racing through the body.
The roles of the PSNS, in contrast, are to
bring the body’s systems back to normal after a
stressful event and to conserve the body’s energy.
As the PSNS shuts down the stress responses of
the sympathetic system, it also nourishes and
rebuilds the body to bring systems back into
balance and relative calm. If the PSNS is unable
to bring relief to the body—which is often the
case in modern society—eventually all systems
of the body become overtaxed. In many cases,
when the PSNS is unable to do its work, organs
and systems begin to fail and illness and disease
set in. The result is often early death.
As mentioned in chapter 4, pranayama
strengthens the PSNS by bringing relaxation
through rhythmic breathing. With this effect in
mind, students practice Shavasana (Corpse Pose)
at the end of each asana session as a method of
deep relaxation and restoration.
60 Instructing Hatha Yoga
All asanas promote homeostasis,
or internal equilibrium, in which
the body functions without strain.
Asanas that place the spine in a
horizontal position are especially
good because they quiet the sym-
pathetic neurons and regulate blood
pressure.
Energetic Anatomy
All forms of life have an essential energy flowing
throughout their physical structure. To many,
this energy is the essence of life itself, and many
world cultures understand the relative health of
their citizens on the basis of the health of the
energy systems in each individual. The term
energetic anatomy (alternately, metaphysical anat-
omy) refers to systems in the body that are not
necessarily observable. Energetic anatomy may
or may not be consciously felt, and only recently
has it been measured by modern science, yet
teachings about this subtle system have existed
since ancient times.
The body’s energy channels, or meridians, are
mapped out in traditional Chinese medicine.
These maps are used to guide practitioners in
treating patients through acupuncture. The
channels are also mapped out in Ayurveda, the
ancient medicine of India, and the Ayurvedic
term for such a channel is nadi [NAAH-dee]. The
nadis make up a vast network throughout the
body and connect from  the chakras, or power
centers, which are located vertically alongside
the spinal column.
In 2000, Dr. Hiroshi Motoyama (2001),
re­nowned author, physiological psychologist, and
founder of the California Institute for Human
Science, demonstrated that the areas in the body
believed to be chakras have a distinct electrical
presence when compared with other locations of
the body. Thus he essentially verified the physi-
cal existence of the chakras. More information
on Dr. Motoyama’s research can be found at the
institute’s website (www.cihs.edu).
The nadis provide a network for energy to flow
from the chakras. Each chakra has a correspond-
ing psychological and physical center. As the
body moves through a variety of asanas, these life
force (prana) energy centers are gently twisted,
compressed, and stretched. Special techniques in
hatha yoga are practiced as a means of moving
and conserving the energy of the metaphysical
body while protecting the physical body. Each of
these practices is referred to as a bandha [BUHN-
dhuh], which in Sanskrit means “to hold” or “to
lock.” Yogic anatomy also includes sheaths or
layers called koshas [KOH-shuhs], which are
briefly explained later in this chapter.
Chakras
The chakras are considered to be the major
energy centers of the physical and energetic body.
Energy moves through the seven main chakras,
which are spaced along the spine from its base
to the crown of the head. It is believed that each
chakra represents a level of developmental pro-
gression of consciousness in a person’s life as he
or she follows the path toward enlightenment.
The chakras shown in figure 5.1 are each asso-
ciated with a physical location in the body, as well
as an emotional or psychological manifestation.
Table 5.1 presents the chakras, their Ayurvedic
elements, and their physical and psychological
functions and associations. Chakra energies can
be affected profoundly by the movement and flow
of asana practice. Each pose’s physical orientation
Sahasrara
Ajna
Vishuddha
Anahata
Manipura
Svadhishthana
Muladhara
Figure 5.1  The physical locations associated with the
seven chakras.
 Energy and Anatomy 61

Table 5.1  Chakras

Physical Psychological
Ayurvedic function(s) and function(s) and
Chakra Location element association(s) Kosha association(s)
7th—Sahasrara Crown of head
6th—Ajna Above and between the Medulla oblongata, Wisdom, intuition,
eyebrows (the “third eye”) pineal gland meditation
5th—Vishuddha Throat Ether Thyroid Anandamaya Expression, com-
Vijnanamaya munication, will
Manomaya
Pranamaya
Annamaya
4th—Anahata Heart area Air Thymus, heart, res- Love, compassion,
piration immunity
3rd—Manipura Solar plexus; navel area Fire Digestive system Ambition, achieve-
(between the navel and ment, power, con-
sternum) trol
2nd— Sacral plexus (pelvic area) Water Reproductive Sexual energy,
Svadhisthana system self-esteem, identity
1st—Muladhara Perineum and coccyx Earth Elimination Survival, stability
(between the genitalia
and the base of the spine)

and focus can help equalize imbalances in energy
and emotion. The main chakra associated with
an asana is included in the explanation of each
pose in chapters 7 through 11.
Bandhas
In traditional yoga, the bandhas are practices
used to control the body’s internal prana. The
three main bandhas described in this section were
customarily practiced in unison while in a seated
position. This advanced practice is called Maha
Bandha (“the great lock”). The purpose of this
practice is to allow the Kundalini energy to rise
from the base chakras and be purified through
the fire  of the Manipura chakra. As the energy
continues to rise, blocks to free-flowing prana
are said to be eliminated.
In an asana practice, one or all of the bandhas
may be activated. Just as specific muscles are
activated to provide core strength or stability, the
bandhas act as metaphysical or core-energy sta-
bilizers. A bandha essentially holds energy within
the body by contracting certain muscles; there-
fore, a bandha is often applied during an asana
because it enables greater energy and stamina
to remain within a person on both a physical
and an energetic level. However, one should not
attempt to engage any or all of the bandhas on a
continual basis, or necessarily with 100 percent
effort. Because the bandhas act like a valve for
moving and retaining subtle energies, overusing
any of them is like overusing the muscles without
relaxation.
The associations and applications of energetic
anatomy are intertwined with physical, mental,
and emotional effects. For example, some yoga
styles advise women to refrain from practicing
Shirshasana (Headstand) and other inversions
during menstruation. It is believed that during
this time, as the body eliminates unused tissue,
a woman’s energy needs to flow downward.
The term for downward-moving energy is
apana  (uh-PAAH-nuh). The apana is not only
in opposition to a physically inverted asana but
also in conflict with the upward promotion of
energy of the root lock, or mula bandha. Udana
[oo-DAAH-nuh], or “upward movement,” refers
to the upward-moving energy that directs effort
in the body.
A bandha is generally thought of solely in
energetic terms, but it is also a physical technique
that has physical effects, during which muscle
contraction occurs in a particular region of the
body. The body has three main bandhas: mula
[MOO-luh], uddiyana [ood-dee-AH-nuh], and
jalandhara [JAAH-lund-uh-ruh].
62 Instructing Hatha Yoga

• Mula bandha—Located in the perineum
between the anus and the genitalia. The action
of the lock is akin to Kegel exercise when the
pubococcygeal muscles are contracted. Practicing
mula bandha helps stimulate the digestive and
reproductive systems and brings an uplifting and
refreshing feeling to the asanas.
• Uddiyana bandha—Located in the lower
abdominal area. The action of this lock firms and
lifts the respiratory diaphragm and supporting
musculature, specifically the transverse abdom-
inis, while still allowing for normal respiration.
The physical action of this bandha also helps
support and stabilize the back musculature in
inverted poses. The inward, lifting action draws
the energy in the same direction.
• Jalandhara bandha—Located at the top of
the throat. The action of this lock occurs when
the chest is lifted and the chin rests on or near
the sternal notch. This bandha is tradition-
ally practiced in seated meditation. The slight
restriction in breathing caused by flexion in the
next benefits  the respiratory system and calms
the nervous system by drawing attention to the
rhythm and flow of the breath, which generally
helps to alleviate physical and emotional stress.
By applying these physical techniques during
asana practice, students can better retain and
move energy throughout the body while increas-
ing mental and physical stability, both during and
after practice.
Koshas
In traditional yoga anatomy, a person’s physical
and energetic body are made up of five layers or
sheaths, called koshas. The layers can be thought
of as a progressive series of levels that make up
the reality of our existence and lead to Atman, our
eternal center. The koshas are as follows:
• Annamaya [AAH-nuh-MAAH-yuh]—Mate-
rial, or physical, sheath that requires food. It is
the outermost level. This category includes all
of the gross anatomy forming the physical body.
• Pranamaya  [PRAAH-naah-MAAH-yuh]—
Astral, or vital, sheath that channels prana
(breath) throughout the body. It is where sense
awareness resides, and it allows our true nature
to move in the world.
• Manomaya  [MAAH-noh-MAAH-yuh]—
Emotional mind sheath, which comprises our
affect, feelings, and emotional quotient, or degree
by which we can empathize with others. We can
become more deeply aware of this kosha level
through meditation.
• Vijnanamaya [vih-nyuh-nuh-MAAH-yuh]—
Wisdom or knowing sheath, encompassing intel-
ligence on the deepest level. This is where the
consciousness of the ego-self is manifested and
where an understanding of truth resides.
• Anandamaya  [AAH-nuhn-duh-MAAH-
yuh]—The sheath of bliss. This sheath is the link
to and awareness of the infinite spirit of true
peace and joy.
One focus of this book is to help you develop
your understanding of how to teach and adjust
yoga postures appropriately. It is equally import-
ant to your students’ well-being that you develop
a basic understanding of ancient yogic beliefs
about the interconnectedness of the physical,
emotional, and spiritual realms of human exis-
tence. Table 5.1 presents the connection between
the chakras and koshas and physical and psycho-
logical functions and associations.
A yoga class can have a positive effect on the
koshas and create more balanced functioning of

Energy Words
Bandhas [BUHN-dhuhs]—Physical techniques that lock in, move, and hold energy in the body.
Drishti [dr-EESH-tee]—Area on which your physical eyes focus while practicing asanas.
Gunas [GOOH-naahs]—Three subtle qualities of mental and spiritual nature that govern spiritual growth.
Koshas [KOH-shuhs]—Energetic layers, or sheaths, that move inward from our outermost physical boundary
to our deepest spiritual core. Koshas provide the framework for how we conceptualize our deepest Self.
Mudras [muhd-RAAHS]—Energy-locking techniques that generally consist of hand gestures, such as prayer
position, or Anjali Mudra [UHN-juh-lee muhd-RAAH].
Prana [PRAAH-naah]—Life force inherent in the breath.

the chakras. Some people strive in yoga to inte-
grate all of the faculties, as much as possible, in
order to experience spiritual ecstasy. Most people
in today’s Western world, however, simply wish
to reduce stress and pain or improve the immune
system through yoga practice. Many people are
also motivated to be in better physical shape.
Regardless of one’s aim, a certain mindfulness is
essential in all yoga practice and teaching. The
more prevalent this mindfulness is, the more pro-
found the benefits are on all levels, both physical
and energetic.
Human Movement
Systems
Movement of the human body occurs at many
levels—from the molecular level, where oxygen
passes into the bloodstream, to the coordinated
effort of the musculoskeletal system in intricate
and complex single-limbed balance postures.
The gross, or large, anatomy of the human body
includes the physical structures that can be seen
with the naked eye. Although the practice of yoga
postures affects the body at all levels, this section
focuses on the interconnectedness of the muscu-
loskeletal structures and how they are meant to
move efficiently and with minimal risk of injury.
Understanding the mechanical principles
of human movement can help you determine
how to structure your classes. Appropriately
sequenced classes afford students the maximum
physical and mental benefits possible. Applying
principles of human movement also enables you
to recognize when students place themselves at
risk of physical injury—and when, how, and why
to properly apply physical adjustments.
Musculoskeletal System
The human movement system is composed of
bones, skeletal muscles, tendons, ligaments, and
fasciae. The skeleton is the framework of bones
that defines one’s shape and general physical
movement abilities as a human being. Muscles
are attached to bones by tendons and other con-
nective tissue and provide the means to move
the bones through specific movement patterns. A
joint is formed where the ends of two bones come
together; within a joint, bones are bound together
mainly by ligaments. For movement to occur, a
muscle must be attached to two separate bones
Energy and Anatomy 63
and cross a joint. When that muscle contracts
concentrically (see the later section of this chapter
describing muscular contractions), the bone acts
as a lever to create movement.
Skeletal Muscle
In hatha yoga, a person moves from posture to
posture by means of the skeletal muscle con-
tractions that create movement throughout the
body. An overview of muscle tissue illustrates how
movement in one part of the body affects other,
seemingly remote areas of the body.
Each skeletal muscle consists of layers of
muscle tissue bundled together, surrounded, and
intertwined by a matrix of dense collagenous
tissue called the deep fascia. At the end of each
muscle, the fascia converges as tendons and
connects the muscle to bone (see figure 5.2).
Within the muscle belly, the deep fascia separate
muscle tissue into smaller and smaller bundles
of contractile tissues—the smallest of which are
myofibrils. A myofibril is a cylinder comprised of
proteins called actin and myosin. It is within the
myofibrils that muscular contraction occurs on a
microscopic level. (More information regarding
muscular contraction can be found in the section
How Muscles Create Movement.)
Fascia
The fascia is a web of connective tissue distrib-
uted throughout the body. Fascia is organic
material that not only holds the body together
but also is responsible for our basic human
shape—both inside and out (Myers 2014). The
fibers of this matrix are infused throughout the
body’s cells and surround them from the epider-
mis inward. A subcutaneous layer of tissue, called
the superficial fascia, is located throughout the
body directly beneath the dermal layer of skin.
This fascia forms the "outer shell" of the entire
Tendon
Muscle belly
Epimysium (deep fascia)
Fasciculus
Endomysium
(between fibers)
Sarcoplasm Sarcolemma
Myofibril
Myofilaments
actin (thin) Perimysium
myosin (thick)
Single muscle fiber
Nucleus
Figure 5.2  Arrangement of connective tissues in and
around a skeletalE6251/Ambrosini/fig05.02/524912/pulled/r1-alw
muscle.
64 Instructing Hatha Yoga
body. As previously mentioned, the deep fascia
surrounds the muscle tissues. It also wraps a
continuous web over the nerves and the blood
and lymphatic vessels. When movement of the
muscles occurs, it creates a massaging action,
which helps circulate lymph and interstitial fluid
throughout the body.
On one level, the fascia acts much like a stock-
ing does when it is pulled onto a leg. Imagine
pulling on a long stocking, then think about what
happens to the material at the toe when a tiny
section of the stocking is snagged at the upper
leg. The tension can be seen and felt through the
entire length of the stocking because all of the
material in it is interconnected. The effect is even
greater in the fascia because it contains more
layers than a stocking. Thus, to some degree, a
tight spot in the body—that is, a spot of tension—
affects the entire structure.
This description illustrates how interconnected
are the physical structures of the human body;
changes in one area affect another area, even
if no direct connection is apparent. As a result,
tension or strain in one area can manifest as pain
or dysfunction in other, seemingly unconnected,
areas. Practicing yoga postures helps the entire
system achieve more balance by strengthening,
stretching, and increasing mobility in the joints.
How Muscles
Create Movement
A body segment moves when a muscle applies
force through its tendon onto its bony attach-
ment. When muscle fibers generate sufficient
tension, the muscle contracts, thus moving or
stabilizing the affected area of the body. Muscles
work in concert to move the body in a coordi-
nated fashion. Due to the interconnectedness of
skeletal-system tissues—and the fact that many
muscles cross more than one joint—trying to
isolate a single muscle in a yoga posture (or any
other movement) is like trying to isolate a single
note in a musical chord.
However, even though multiple muscles influ-
ence the movement of a particular body part
or segment, a given movement is often driven
primarily by one muscle. This muscle is referred
to as the prime mover, whereas the other con-
tributing muscles are referred to as synergistic or
collaborative muscles. In addition to aiding the
prime mover, synergistic muscles stabilize and
refine certain types of movement.
Types of Muscular Contraction
Most meaningful movement is created by a
coordination of different types of muscular
contraction. There are three primary types of
muscular contraction: concentric, which shortens
the muscle fibers; eccentric, which lengthens the
muscle fibers; and isometric, which holds the
muscle fibers at the same length. Asana practice
uses a variety of contractions when moving into,
remaining in, and moving out of positions. To
illustrate how a particular asana uses all three
types of contraction at various points, the fol-
lowing description highlights the action of the
oblique (lateral or side) abdominals and the qua-
dratus lumborum muscles (located on each side
of the spine in the lower back) when performing
Utthita Trikonasana (Extended Triangle).
• An eccentric contraction occurs when
muscle fibers lengthen from a shortened state
while an external force (such as gravity) is
applied. The tension in the muscles acts as a brak-
ing force that resists the external force and often
slows the movement. In Extended Triangle, as a
person leans the torso out to the left and reaches
the left hand toward the ground, the internal and
external oblique muscles and the quadratus lum-
borum on the right side contract eccentrically in
order to lower the torso in a controlled fashion.
• An isometric contraction occurs when the
muscle fiber length remains the same. As a person
holds the extended position in Extended Triangle,
the muscles (internal and external obliques and
quadratus lumborum) remain essentially the
same length to hold the body in place and keep
the rib cage from either collapsing or rounding.
• A concentric contraction occurs when
muscle fibers draw together to shorten the
muscle’s length and bring the two ends of the
muscle toward each other. In Extended Triangle,
as a person moves back into an upright position,
the muscles (internal and external obliques and
quadratus lumborum) contract concentrically to
bring the person back to standing.
The same muscles are generally used through-
out a given posture. The type of contraction,
however, varies with changes in the direction
of movement and the influence of gravity. This
statement holds true for most yoga postures and
is explained in more detail in each asana chapter
in part II.

Three-Dimensional Movement
To facilitate proper execution of an asana with
regard to the body’s spatial orientation, we use
standardized terms. The most widely accepted
way to describe movement patterns is to begin
with the body in what is called the anatomical
position. Picture a person standing erect with the
arms at the sides of the body and the head, chest,
palms, knees, and toes facing forward (see figure
5.3). Movement can then be described in terms
of how the body deviates from the anatomical
position.
For example, an action that moves a body
section away from the midline and to the side
of the body is referred to as abduction. When a
body section is moved from the side toward the
midline, that action is referred to as adduction.
When two bones, such as upper and lower arm
bones, move closer to each other, decreasing the
angle, the joint is said to be in flexion. When the
segments move away from each other, thereby
increasing the angle, the joint is said to be
Transverse
Frontal
Sagittal
Figure 5.3  The anatomical position.
E6251/Ambtosini/fig05.03/535439/KH/R2-alw
Energy and Anatomy 65
in  extension. When a segment twists about a
fixed point within the joint, the action is referred
to as rotation.
Anatomical Planes of Motion
The body moves in the three planes of three-­
dimensional space: sagittal, frontal (or coronal),
and transverse. Each plane is perpendicular to
each of the other two. By using these directional
terms, we can describe where a body segment is
in relation to another—whether standing, seated,
prone (facedown), or supine (faceup). The planes
of motion can be described more specifically as
follows.
• The sagittal plane is a vertical plane that
passes through the body from front to back,
thereby dividing it into left and right sides (see
figure 5.4). Movements within this plane occur
forward and backward, as in the typical human
gait.
• The frontal, or coronal, plane also passes
through the body vertically but divides it into
front (anterior) and back (posterior) parts (see
figure 5.5). Movement within this plane occurs
along the side of the body, as in side bends.
• The transverse, or horizontal, plane passes
through the body horizontally, thereby dividing
it into upper and lower portions (see figure 5.6).
One example of movement within this plane is
found in rotation of the body about the spinal
axis, as in a twist or pirouette.
Figures 5.4 through 5.6 illustrate movement and
stillness in relation to the anatomical planes.
In figure 5.4, illustrating the sagittal plane,
the person is entering into Natarajasana (King
Dancer). The bent leg moves backward, and the
opposite shoulder is flexed; both actions take
place in the sagittal plane.
Figure 5.5 illustrates movement in the frontal
plane as part of Utthita Hasta Padangusthasana
(Extended Hand-to-Toe Pose). In the beginning
phase (not shown), the hip flexes and the lifted leg
is in the sagittal plane. When the leg rotates out to
the side, the movement occurs in the transverse
plane; the leg then aligns with the rest of the body
in the frontal plane.
In any given class, the spine should move in
the six directions for which it is designed, which
all occur in the three planes: moving forward
and backward in the sagittal plane, bending
laterally to the left and right in the frontal plane,
66 Instructing Hatha Yoga

Figure 5.6  The transverse plane.

E6251/Ambronsini/fig 05.06/535422/kh/r1

and twisting (rotating) both left and right in the

Figure 5.4  The sagittal plane. transverse plane.

E6251/Amgrosini/fig 05.04/535440/pulled/R1-kh
A well-crafted yoga class moves each
student’s limbs and spine through
their full range, thus engaging all
three planes of motion.

Mechanics of Asanas
When executed correctly, most asanas move the
body fully through the three anatomical planes
of motion. For all students, especially those with
limited mobility, proper muscle alignment min-
imizes strain on the stabilizing structures of the
joints, thus increasing the efficiency of movement
and decreasing the risk of injury. One of the most
important areas of the human body consists of
the spine and its surrounding structures. With-
out mechanically sound alignment that begins
in the spine, the rest of the joints and segments
in any given asana can be thrown off balance. It
is therefore imperative to guide each student to
her or his best spinal alignment at the beginning
Figure 5.5  The frontal plane. of a posture—before the student moves deeper.

E6251/Ambrosini/fig 05.06/535441/pulled/R1-kh

Spinal Positioning
The ideal in human postural alignment is a
flexible, strong spine with healthy curves; unlike
a pencil, the spine is not meant to be perfectly
straight. A normal, healthy spine contains 24
moving vertebrae and has a natural S shape when
viewed from the right (see figure 5.7). The cervical
(neck) area has a slight concave curvature. The
shape of the spine becomes convex in the thoracic
(upper middle) area of the back, then moves into
a concave curvature in the lumbar, or low back,
area. An additional convex curve is found in the
sacrum (mid-pelvis), which is the location of
an additional five fused vertebrae. The coccyx,
or tailbone, is an extension of the spine that
can move independently of the sacrum. Neutral
positioning of the spine occurs when the natural
curves are intact but not exaggerated.
The shape of the spinal curves, in addition
to the cushioning of the disks, provides shock
absorption and allows for greater range of motion
in the spine. At the same time, stability in the
range of motion, along with the spaces between
the vertebrae, allows the nerves to be free of
obstruction. One should strive to create as much
space as possible between the vertebrae when
standing in a semi-relaxed upright position, such
as Tadasana (Mountain Pose). Opening this space
helps lengthen the torso and allows for easier
movement about the spine—both in yoga and in
everyday movement patterns.
Unfortunately, not everyone has the luxury
of healthy spinal curves. Problematic curvature
Cervical (7)
Thoracic (12)
Lumbar (5)
Sacral (5)
Coccyx (4)
Figure 5.7  The curves of the spine.
E6251/Ambrosini/fig05.07/524917/pulled/r3-alw
Energy and Anatomy 67
can take a variety of forms. A spine that curves
to either side or twists about the axis of the spine
results in a condition known as scoliosis. If the
thoracic section has an overly pronounced convex
curve, it is said to be hyperkyphotic. If, on the
other hand, the lower back sways far beyond a
balanced neutral spine, it is considered hyper-
lordotic; in contrast, in a hypolordotic spine, the
lower back seems to be flat, or lacking a curve.
All of these conditions can create physical ail-
ments, such as general spinal pain, headache, and
compressed internal organs. They can also lead
the body to overactivate certain muscles in an
attempt to attain proper alignment. People with
such spinal deviations can alleviate some of the
detrimental effects by regularly practicing yoga,
which focuses on lengthening and strengthening
the spine in all directions.
Given that a joint is the meeting of two
moveable bones, the spaces between vertebrae
are considered joints. Some of these joints are
more flexible than others and are generally more
susceptible to injury. These joints are located at
points where the spinal curve changes direction;
they are as follows: C7 and T1 (cervical 7 and
thoracic 1); T12 and L1 (thoracic 12 and lumbar
1); and L5 and S1 (lumbar 5 and sacrum). Prac-
ticing a varied range of asanas helps protect
these hypermobile vertebral joints from overuse
by bringing greater mobility to the entire spine.
The size and density of vertebrae is not uni-
form. Lumbar vertebrae, which bear considerable
body weight, are thicker and wider than those in
the cervical spine. The lumbar joints are also less
mobile than the smaller cervical joints. Therefore,
deeper spinal twists, flexions, and extensions
should be focused in the upper spinal region
rather than the lower region in order to minimize
the risk of injury.
The “Perfect” Asana
Because yoga has become so popular, anyone
can find a photo or video depicting a supposedly
perfect posture. Unfortunately, many people feel
that even in the first attempt at a posture, they
should look exactly like the people presented in
magazines and videos—or, for that matter, like the
instructor. In reality, however, yoga is not solely
for the svelte, flexible, young models one often
sees in the media. Yoga is for everyone, regardless
of physical attributes, age, strength, or mobility.
Each person’s body is unique, and everyone has
some degree of imbalance in strength, flexibility,
68 Instructing Hatha Yoga
balance, or focus. Therefore, it is virtually impos-
sible to label someone as a beginner or advanced
student based simply on how he or she looks
while doing certain asanas.
Instead, advancement in hatha yoga is an
internal process for each person. Therefore, it
is crucial for students to learn to recognize, for
themselves, areas of tension and weakness in the
body. They can then work on ways to tailor an
asana to their needs rather than striving for what
they think the pose should look like.
A yoga pose should be modified to
fit a person as she or he is in the
moment—not the other way around.
If students do not work within this
principle, then they are simply per-
forming gymnastics instead of yoga
and often end up placing themselves
at risk for injury.
For example, when a gymnast enters a back-
bend, her goal is to make her body bend back-
ward and look a certain way. When a yogi enters
a backbend, he seeks to connect fully with all of
the sensations the posture may reveal to him. A
properly executed asana is one that restores or
maintains range of motion and functional pos-
tural strength while at the same time opening the
person’s internal focus and energetic expansion.
If a practitioner engages enough awareness and
control of the body and mind, she or he can not
only reduce the risk of injury but also minimize
the normal degenerative processes of aging.
Everyone’s ideal posture looks somewhat dis-
tinctive. Therefore, the most effective adjustments
are made from the inside out—from an awareness
of how the body’s energy is being used and how
comfortable the pose feels, both physically and
emotionally. As B.K.S. Iyengar has said, “The
brain is the hardest part of the body to adjust in
asanas” (Iyengar 1993).
Indeed, one’s preconceived idea of how an asana
should look or feel does not always mesh with real-
ity. In such cases, it can be difficult for an instruc-
tor to persuade a student that it is not important
to achieve what may be considered a visually ideal
posture, especially on one’s first attempt. Still, a
skillful instructor works to guide each student into
finding the excellence of a posture within herself
or himself—into feeling the grace and miraculous
beauty of her or his own body.
Holding Asanas
To decide how long students should remain in
postures, consider the physical and mental abil-
ities of the entire class. In some ways, this aspect
of asana practice can be likened to weight training
or endurance training. In weight training, the
number of repetitions and sets can be modified
slowly to increase muscular strength over a period
of time. In endurance training, the percentage of
maximum heart rate and the duration of exercise
are increased to bring about changes in both
muscular and cardiovascular endurance. In yoga,
no matter where a student is, physically, within
a posture—assuming that the student is not in a
position that risks injury—one of the instructor’s
duties is to create an appropriate sequence from
that posture to the next.
At the beginning of a class, let students know
that it is perfectly appropriate for them to exit a
pose if they feel pain or feel that the pose is just
too much. With this caveat established, you can
determine the amount of time for students to
remain in a given asana. To do so, use a 10-point
scale, in which 1 means that very little mental or
physical energy is exerted and 10 means that an
extreme amount of energy is put forth throughout
the asana. On this scale, in active classes, the body
and mind should be in the intensity range of 5 to
8, or slightly higher, and for less intensely active,
or restorative classes, a range from between 2 and
4, for the following variables:
• Physical exertion. Students should try to
keep the energy level consistent in the muscles
while maintaining the appropriate physical align-
ment. However, different body parts may need
to be considered independently. For example, in
Utthita Trikonasana (Extended Triangle), a stu-
dent’s legs may be strong even as the neck needs
to rest. If so, the student can adjust the neck and
continue—if the rest of the body remains at an
intensity level between 5 and 8. As the overall
energy in the pose diminishes, the student should
come out of the posture.
• Mental focus. Students should continually
ask themselves whether the mind is aware of the
body or is wandering elsewhere. For example,
instead of noticing how the hamstrings relax
with each exhalation, one might be wondering,
“How can the person next to me do this posture
so much better than I can?” When such thoughts
occur, the mental focus plummets to the lowest
level on the scale, and it is time to either refocus
or come out of the asana.

• Endurance. Postures should be held with
awareness and intensity as long as the breathing
is steady and the mind and body do not stray from
the 5 to 8 range for more than two breaths. As
soon as two breaths are taken outside of the ideal
range, then it is best to come out of the pose and
rest or start over. Another guideline is to work up to
maintaining the intensity level at 5 to 8 or slightly
higher for each posture for 90 to 120 seconds.
In an active class, the instructor must decide
on a baseline pose duration that comfortably
challenges the group as a whole. Many of Mr.
Iyengar’s students recall him mentioning that the
moment when one feels that one cannot hold a
pose any longer is when the posture really begins.
With this in mind, yoga teachers must constantly
observe students to assess how they are doing. A
general rule of thumb is to wait until 20 percent
of students have come out of the asana, then
bring the rest of the class out and move on. For
example, in a class of ten students, wait until two
students appear to have come out of the position
before moving on to the next posture.
Meanwhile, if you begin to observe minor
struggles—such as labored breathing, strained
faces, fidgeting, and profuse sweating—you might
quote Mr. Iyengar’s view that the pose may be just
beginning for some of them. In response, you
may see smiles. You may even hear moans—but
probably no serious threats! If you hear sighs
when you finally bring the students out of the
pose, then they were probably in the pose long
enough to have reaped the benefits of the asana
and are relieved to move on to another.
In restorative classes, the intensity of each
asana should be reduced according to the over-
all objectives of the class. The time held in each
asana also depends on the energy level of the
class and on the meditative depth into which the
instructor is hoping to guide the students.
Avoiding Injury
Students often attend yoga classes in part because
they have heard that yoga makes people flexible.
In fact, one of yoga’s big draws is the consistent
focus on relaxing and lengthening the muscles in
asanas. Unfortunately, many students either come
to yoga from competitive sport or still partake of
the old-time “no pain, no gain” mentality; as a
result, they have no idea just how much they can
or should push themselves in yoga class.
Muscles can stretch up to 150 percent of their
resting length before tearing. In contrast, most
Energy and Anatomy 69
experts agree that tendons and ligaments can
stretch by only 4 percent before injury (Alter
2004). Tendons and ligaments do have some
elasticity, but their main functions are to stabi-
lize joints and protect them from moving beyond
their natural range of motion. Moreover, stability
should not be sacrificed in pursuit of greater
range of motion. In fact, one of yoga’s basic
tenets is that asanas should be practiced with a
balance of stability and ease (sthira and sukha,
respectively, in Sanskrit).
Forcing a joint beyond the elastic capacity of
its associated ligaments can result in dislocation
or tearing. If a ligament is stretched beyond its
elastic limits, it cannot return to its original
resting shape and stability; furthermore, because
ligaments do not have a large blood supply, even
slight ligament injuries are slow to heal. You can
reduce the risk of injury by teaching students to
go into a posture with full awareness and to avoid
deepening a posture to the point of physical pain
or beyond a joint’s natural range of motion.
Hypermobile Joints
Most students who come to yoga know that
stretching and lengthening require effort, but
some students arrive with seemingly exceptional
flexibility. These students may amaze other stu-
dents (and uninformed teachers), who may strive
to emulate them. However, although these loose-
jointed or “bendy” students can move the body
to the extreme, they often do not feel any kind
of stretch or physical signal, even at the extreme
edge of an asana. They also tend to have difficulty
with proprioception—that is, knowing where
their body parts are at any given time, or even
noticing that they have moved beyond a joint’s
normal range of motion.
Joint hypermobility generally occurs when the
connective tissue—specifically, the cartilage—
within and surrounding a joint is weak and fails
to provide adequate structure and stability. This
condition occurs more often in women than in
men, and in some people it is a genetic trait.
Laxity or looseness in the joints can be a mech-
anism for injury because the bony structures of
the joint are able to move without restriction
across the joint surface, thus possibly leading to
joint dislocations as well as labrum tears in the
hips and shoulders.
Hypermobile students should be encouraged
to practice alignment-based and strengthening
styles of yoga (for example, viniyoga and Iyengar).
They should be discouraged from practicing
70 Instructing Hatha Yoga
quick-paced styles (such as Ashtanga and other
vinyasa styles) and long-holding styles (such as
yin yoga) until they develop adequate strength
and kinesthetic awareness. Teach these students
to focus on alignment and to prevent their joints
from moving beyond a natural range. Cue them
to keep a slight bend in the elbow and knee joints
when they are bearing weight and to stop slightly
short of the end of the physical range of motion.
This can be a hard sell to some students, but if
you approach them from the perspective of joint
health, most will comply.
Spinal Stability
To properly execute either a standing or seated
forward bend, the body should hinge at the hip
joint while the spine remains in a lengthened
position (figure 5.8a). However, due to limited
flexibility in the hamstrings and weakness in the
spinal muscles, many students allow the back to
relax and round while they attempt to bring the
head toward the knees (figure 5.8b). This action
puts undue stress on the weakened spinal mus-
culature, causes compression in the vertebrae,
and can exacerbate even the slightest injury or
discomfort in the area. Remind students to elon-
gate the trunk as they inhale in order to retain
postural integrity of the spine in any position.
In standing forward bends, the legs help sus-
pend the weight of the body, and because the
pelvis is not resting on the ground it can be moved
more freely in space. Whether gravity helps or
hinders a person in a forward bend depends on
his or her degree of flexibility in the hip muscles
and hamstrings. In general, even a person (with-
out injury) with extremely inflexible hamstrings
and lower back muscles can bring the torso close
to 90 degrees of forward flexion without much
spinal flexion. If a person can flex the torso more
than 90 degrees, then the pull of gravity encour-
ages the spine to lengthen.
IDEAL
a b
Figure 5.8  Forward bend: (a) ideal alignment of the spine and (b) unstable and possibly harmful alignment of the spine.
To protect the lower back in students with
extremely tight hamstrings, invite them to place
the hands on a supportive prop, such as a wall,
chair seat, or block. If no props are available, ask
students to use the shins or even the thighs to sup-
port the body weight without straining the back.
Students may also bend the knees slightly; this
action relaxes the hamstring attachment at the
knee joint and consequently allows for lengthen-
ing at the connection to the pelvis, which in turn
allows the pelvis to rotate forward more freely.
With either technique, instruct students to con-
centrate on keeping the spine lengthened and to
stop at the first point of resistance or discomfort.
Seated postures have the potential to overex-
tend the structures of the lower spine. Because
the legs and lower pelvis are fixed against the
ground in seated forward bends, students with
limited flexibility in the hamstrings or lower back
are especially affected. The gravitational force in
seated forward bends encourages the spine to curl
or hunch forward. Impress on students the need
to keep the torso as straight as possible as they
fold forward from the hips. This alignment is the
most difficult for many students to accomplish
because they are focused on reaching forward
and touching the toes at all costs!
For most students in a seated forward bend, the
body is placed in 90 degrees of hip flexion to begin
with. The ischial tuberosities, or sit bones, are
fixed against the ground, thus making it difficult
to roll the top of the pelvis forward. Because less
forward flexion is initiated at the hip joint in these
positions, they place more stress on the lower
back. Ironically, most people think that seated
poses are easier than standing postures and less
likely to lead to injury, when in fact they require
greater effort and strength in the soft tissues that
stabilize the spine. To help alleviate the possibil-
ity of straining the back, instruct students to sit
on a folded blanket or other prop in order to lift
the pelvis, which gives them a slightly forward
UNSTABLE

pelvic tilt. This position allows most students to
sit longer and more comfortably.
In light of the effects just explained, be careful
when physically adjusting someone in a seated
forward bend, such as Janu Shirshasana (Head-
to-Knee Pose) or Paschimottanasana (Seated
Forward Bend). Students should avoid pressing
the rib cage down toward the knees; instead, they
should lengthen the ribs upward, away from the
hips and toward the toes.
Lifted Kneecaps (Not Locked)
In standing asanas, the legs provide support and
stability for the entire body. Ideally, all of the
lower-extremity muscles should be contracted at a
moderate level to stabilize the joints and provide
balance (see figure 5.9a). To extend the knee joint
and keep the legs as straight as possible, the quad-
riceps (front thigh muscles) must be contracted.
This action slightly lifts the kneecaps (patellas).
However, if the quadriceps contraction is
extreme and there is no reciprocal hamstring con-
traction, the pull through the quadriceps tendon
can shift the head of the tibia (lower leg bone)
backward rather than aligning the tibia with
the femur (thighbone). If the hamstring muscles
(back of the thigh) are relaxed, or if a student has
weak or naturally loose joints, the knee joint may
move past zero degrees of extension, thus causing
the knee to hyperextend—that is, moving the joint
in the direction opposite of that in which it is
intended to move. The most common description
for this occurrence is “locking” of the knee joint
(see figure 5.9b).
You will probably find that many students
make the mistake of locking the knees, especially
in forward bends. If the hamstrings and quadri-
ceps are not activated simultaneously, the knees
are placed in a vulnerable position; moreover,
unbalanced muscular activation in the quadriceps
and hamstrings can adversely affect a person’s
IDEAL
a b
Figure 5.9  Knee joint alignment: (a) ideal positioning of the knee and (b) unstable knee alignment (locked, hyperex-
tended knee).
Energy and Anatomy 71
overall posture. Over time, hyperextension in the
knee joint can overstretch the hamstring tendons
and cause undue stress in the other structures of
the joint. To help students avoid placing the knee
joint in a potentially harmful position, remind
them to maintain a balance of activity in the front
and back of the legs.
External Rotation
The modern lifestyle is torturous to the shoul-
ders and the overall spinal posture. Long hours
spent sitting and slouching in front of computers,
cellphones, and televisions lead to a tendency to
allow the shoulders to roll forward and sink into
the chest. Yoga practice is a wonderful way to
open the chest and shoulder joints, thus helping
to erase the effects of poor posture. In almost all
asanas, external rotation of the shoulder joint is
applied to open and expand the chest.
When a student stands in the anatomical posi-
tion, which is akin to Tadasana (Mountain Pose),
the head of the humerus (upper arm bone) rests
securely in the joint socket (see figure 5.10a).
As the humerus is turned inward toward the
chest (internal rotation), the head of the bone
rolls slightly away from its secure position in
the socket. In non-weight-bearing postures, this
action generally does not pose much injury risk.
When a student is upright, with the arms by the
sides (or even with the arms extended to the sides,
parallel to the ground), it is easy to visualize
the direction in which to externally rotate the
shoulders and open the chest. When a student
is upside down, however, with the arms over the
head, the situation can be somewhat disorienting
for an instructor.
One serious mistake made by inexperienced
instructors is to internally rotate, by accident, the
shoulders of students practicing asanas in which
the arms support a significant portion of the body
weight (see figure 5.10b). Examples include Adho
UNSTABLE
72 Instructing Hatha Yoga
IDEAL
a b
Figure 5.10  (a) Ideal rotation of the shoulder and (b) unstable rotation of the shoulder.
Mukha Shvanasana (Downward-Facing Dog),
Urdhva Mukha Shvanasana (Upward-Facing
Dog), Utthita Chaturanga Dandasana (Plank
Pose), Adho Mukha Vrkshasana (Handstand),
Bakasana (Crane Pose), and Urdhva Dhanurasana
(Upward Bow Pose), which all place significant
body weight on the shoulder joint. If the shoul-
ders are rotated internally in these asanas, the
shoulder joint is placed in an unstable position,
which can stress the shoulder tendons and liga-
ments. In contrast, when the shoulder is rotated
externally, the joint is more properly aligned and
therefore more stable.
Reports have arisen about instructors seriously
injuring students when adjusting them in a full
backbend (Urdhva Dhanurasana). If you are
untrained or inexperienced in physically adjust-
ing for external rotation, stick to the verbal cues
explained in this book. In addition to studying
the information presented here, you can seek out
Review Questions
1. Define safe yoga instruction.
2. What is a nadi?
3. What is mula  bandha, and with which
chakra is it associated?
4. Is it advisable for a woman to practice yoga
while menstruating? Why or why not?
5. Which anatomical plane does Utthita
Trikonasana (Extended Triangle) move
through?
6. What are the six directions in which the
spine should move in a balanced session?
7. Identify a few asanas that stimulate osteo-
genesis and contribute to joint stability.
UNSTABLE
a registered teacher training school by contact-
ing the Yoga Alliance (www.yogaalliance.org).
Ask about programs that emphasize hands-on
adjustments.
Summary
A yoga instructor carries great responsibility. Stu-
dents place their trust in an instructor’s ability to
relate physical, emotional, and spiritual concepts;
they also trust that these concepts and ideals are
founded on a large body of knowledge. In order
to guide your students through a practice that is
both mechanically sound and personally satisfy-
ing, you must develop a basic understanding of
how the body’s major systems function, on both
the physical and metaphysical levels, and how
these systems benefit from yoga practice.
8. What does it mean to “lift the kneecaps”?
Why, when, and how would you teach this
action?
9. Which muscles in the torso are used to
move into a standing forward bend, and
what type of contraction is used? What
about when entering into a standing
backbend?
10. What type of contraction occurs during the
holding of most asanas?
11. How long should asanas be held?
12. What makes a yoga student advanced?
© Darren Green | Dreamstime.com

Part II
Asanas and
Adjustments
This page intentionally left blank.
 6
Sun Salutations

P erhaps one of the

quintessential
visions of West-
ern hatha yoga practice
involves the series of
linked asanas known as
Sun Salutation, which is
accompanied by focused
breathing. The Sanskrit
name for these move-
ments is Surya Nam-
askara [SOOHR-yuh
nuh-muhs-KAAH-ruh].
Surya is a word for sun,
and namaskara can
be translated as offer-
ing a deeply respect-
ful acknowledgment or
Ryan Lane/Getty Images

greeting; the same root

is used in the salutation
namaste.
No true agreement has
developed as to the exact
origin of these practices,

75
76 Instructing Hatha Yoga
but it is known that during the period of Indian
civilization between 1750 and 500 BCE, the
sacred texts known as the Vedas depicted worship
practices including praise chants to the sun god.
These reverent mantras and prayers were often
performed while lying prostrate in the direction of
the rising sun; for many, they may also have been
an element of religious pilgrimage. Some contend
that these devotional practices sowed the seeds
of the modern Sun Salutation. Others, including
yoga historian Mark Singleton (2010), maintain
that Surya Namaskara was likely introduced into
yoga in the early twentieth century by Tirumalai
Krishnamacharya as a means to warm the body
and focus the mind for further practice.
No matter where the practices originated, they
offer an apt representation of the Westernized
view of hatha yoga as a sometimes-intense phys-
ical activity that can be pervaded by reverence.
Three versions of Surya Namaskara are presented
in this chapter. However, it is possible to modify
and adapt any of the asanas, as well as the phys-
ical intensity of any series.
The Classical Sun Salutation comprises a flow
of postures through gentle backbends, lunges,
Utthita Chaturanga Dandasana (Plank Pose), and
Adho Mukha Shvanasana (Downward-Facing
Dog). In the West, Ashtanga hatha yoga practices
more vigorous salutations called Sun Salutation
A (Surya Namaskara  Ka in Sanskrit)  and Sun
Salutation B (Surya Namaskara Kha).
Though the more vigorous Surya Namaskaras
are usually associated with Ashtanga, variations
can be practiced in any hatha style by changing
the speed or adding alternative postures to the
basic form or set. For example, when cueing a
lunge in a Classical Surya Namaskara, you can
teach a variation by raising the arms overhead or
clasping the hands behind the back. Each basic
set includes about 12 positions and breaths. In
addition, the Sun Salutations can be practiced as
an entire class series; alternately, they are used by
many vinyasa flow classes to link other postures.
Traditionally, Surya Namaskaras are prac-
ticed facing the rising sun, and the postures are
linked in a way that brings each part of the body
in contact with the sun’s rays. Indeed, the true
value of the salutations is to warm the body. You
can practice one or two slowly and gently or do
a number of salutations quickly in a row. The
momentum involved in practicing faster salu-
tations warms the body, and the warmth allows
you to move into poses more easily. On the other
hand, going slowly builds deeper strength, even
though students may not warm their muscles as
quickly and will not be able to rely on momentum
to get into the poses.
All of the salutations provide the following
benefits:
• Warming the muscles by taking the body
through a large range of motion
• Linking the mind, body, and breath
• Increasing overall circulation
• Energizing the body and mind
When guiding students through the Sun Sal-
utations, keep in mind that, due to the flowing
nature of the sequence, each pose is typically
held for a short time. Therefore, adjustments
are generally not made unless there is a risk of
student injury; even so, it is very important that
the instructor watch for rounded backs and shoul-
ders as students move into and out of forward-­
bending poses. If desired, it is also both possible
and appropriate to move through the sequences
at a slower pace.
The individual poses that make up the Sun
Salutations can be found in chapters 7 through
11, which provide detailed descriptions, cautions,
verbal cues, adjustments, modifications, and
kinematics.
 Sun Salutations

Classical Surya Namaskara

This is the traditional Sun Salutation practiced in many styles of hatha yoga.

1  Begin in Tadasana 2  Stretch your arms 3  Exhale and press 4  Inhale and point 5  Exhale and fold
(Mountain Pose), then wide and open your your palms together your fingertips toward forward from your
inhale and reach your chest. Feel your feet overhead, then lower the ground, then hips into Uttanasana
hands over your head, and legs rooted and your hands down to sweep your arms up (Intense Forward Bend).
wide apart. pressing firmly into the your chest. over your head. Arch Bend your knees
ground. back gently, reaching slightly if you need to,
out of your lower and relax from your
back. neck to your sit bones.

6  Place your hands on 7  Exhale and place 8  On your next exha- 9  Inhale and slide your 10  Curl your toes under
the ground. Inhale and your hands flat against lation, bring your chest forward and up, and, as you exhale,
take a long step back with the ground, shoulder-­ knees to the ground. coming into Bhujan- press firmly through your
your right leg, coming width apart. Step your Hug your elbows in to gasana (Cobra Pose). hands and lift your sit
into a lunge. Raise your left foot back, coming your sides and slowly Roll your chest and bones toward the sky into
torso and roll your shoul- into a plank position. lower your chest and shoulders open. Adho Mukha Shvanasana
ders back. Lift through chin to the ground, (Downward-Facing Dog).
your spine and sink your resting in Zen Asana Press your chest back
hips lower than your front (Transitional Pose). toward your thighs. Roll
knee, placing your left your elbows down toward
knee on the ground if you each other. Breathe in
like. Open your chest Adho Mukha Shvanasana
and shoulders by pressing for five to eight breaths.
your hands toward the
ground behind you.

11  Inhale and step 12  Exhale and step 13  Stretch your arms 14  Exhale and bring
your right foot between your left foot forward out to your sides and your hands down in
your hands, coming and fold into Uttana- inhale as you lift your front of your chest.
back into a lunge with sana again. Elongate torso upright. Reach
your left leg back. Place the front and sides of your hands above your
your right knee on the your body. head and press your
ground if you like. palms together.
Open your chest and
shoulders by pressing
your hands toward the
ground behind you. 77
 Surya Namaskara A
This is the first salutation series done in Ashtanga-style hatha yoga.

1  Start in Samasthiti, 2  Inhale as you reach 3  Exhale and bring your 4  Fold into Uttanasana. 5  Inhale and, keep-
with your arms at your hands above your arms out to your sides ing your hands on the
your sides. head in Anjali Mudra and fold forward from ground or on your
(Prayer Pose). Feel your hips, leading with shins, lift your chest
your rib cage lift and your chest, as in a swan and chin, arching
elongate your body. dive. your back slightly.

6  Exhale and step or 7  Move into Utthita 8  Slowly bend your 9  Inhale and press 10  Curl your toes under
jump your feet back Chaturanga Dan- elbows and lower your your hips, ribs, and and, as you exhale, lift
into a plank position. dasana. torso toward the ground chest forward and your hips up and back
into the Chaturanga up into Urdhva into Adho Mukha Shva-
Dandasana (Four-Limbs Mukha Shvanasana nasana. Breathe deeply
Staff Pose). Keep your (Upward-Facing Dog). for three to five breaths.
elbows in toward your Press firmly through
body and your legs the tops of your feet.
straight and energized. Maintain length in your
spine.

11  Inhale and either step
or jump your feet forward
between your hands.
12  Arch your back 13  Exhale and fold for- 14  Inhale and reach 15  Press your palms
slightly in your for- ward completely into your arms out to your together overhead,
ward bend. Uttanasana, resting and sides with your palms making your body as
lengthening your spine. facing forward. Press long as possible.
through your feet and
lift your torso upright.

16  Exhale and bring

your arms back to your
sides, into Samasthiti.
78
 Sun Salutations

Surya Namaskara B
This series is also traditionally practiced in Ashtanga hatha yoga.

1  Begin in Samasthiti, 2 Simultaneously 3  Exhale and bring 4  Fold into Uttanasana. 5  Inhale and, keep-
then inhale and lift your bend your knees and your arms out to your ing your hands on
arms over your head. bring your body into sides and fold forward the ground or on
Utkatasana (Chair from your hips, leading your shins, lift your
Pose). Breathe two or with your chest, as in a chest and chin,
three breaths. Inhale swan dive. arching your back
and press through your slightly.
legs, straightening your
body.

6  Exhale and step or 7  Move into Utthita 8  Slowly bend your 9  Inhale and press your 10  Curl your toes
jump back. Chaturanga Dandasana. elbows and lower your hips, ribs, and chest under and, as you
torso toward the ground forward and up into exhale, lift your hips
into Chaturanga Dan- Urdhva Mukha Shva- back into Adho Mukha
dasana. Keep your elbows nasana. Press firmly Shvanasana. Breathe
in toward your body and through the tops of your deeply for one to three
your legs straight and feet. breaths.
energized.

11  Turn your left foot 12  Exhale and sweep 13  Move down to 14  Inhale and press 15  Curl your toes
out about 45 degrees. your hands down to Chaturanga Dandasana. your hips, ribs, and under and, as you
Inhale and step forward the ground as you step chest forward and up exhale, lift your hips
with your right foot. your right foot back, into Urdhva Mukha up and back into Adho
Bend your right knee bringing your body Shvanasana. Press firmly Mukha Shvanasana.
into a lunge position into Utthita Chaturanga through the tops of your Breathe deeply one to
and raise your arms Dandasana. feet. three breaths.
overhead, coming into
Virabhadrasana I
(Warrior I). (continued)
79
 Surya Namaskara B (continued)

16  Turn your right 17  Exhale and sweep 18  Move down to 19  Inhale and press 20  Curl your toes
foot out approxi- your hands down to Chaturanga Dandasana. your hips, ribs, and under and, as you
mately 45 degrees. the ground as you step chest forward and up exhale, lift your hips
Inhale and step for- your right foot back, into Urdhva Mukha up and back into Adho
ward with your left bringing your body Shvanasana. Press Mukha Shvanasana.
foot. Bend your left into Utthita Chaturanga firmly through the Breathe deeply three to
knee into a lunge Dandasana. tops of your feet. five breaths.
position and raise
your arms overhead,
coming into Virabha-
drasana I.

21  Inhale, then 22  With your hands 23  Exhale and com- 24  Inhale and bend 25  Inhale and
exhale and step or on the ground or on pletely fold forward your knees and hips. straighten your legs,
jump your feet for- your shins, inhale into Uttanasana, rest- Sweep your arms over- stretching as tall and
ward between your and arch your back ing and lengthening head as you lift your long as possible.
hands. slightly. your spine. torso and settle into Exhale and lower
Utkatasana. your arms to your
sides back into
Samasthiti.

80
 7
Standing Postures
T his chapter highlights 19 standing
postures. Simply speaking, stand-
ing postures are asanas practiced
either when standing either on both feet
or when balanced on one leg at a time.
The practice of standing asanas makes
one more fully aware of one’s connection
to the earth and helps one feel grounded,
stable, and rooted. The energies of the
earth draw up through the legs into the
spine, creating a lightness and expansion
throughout the entire body.
In active yoga classes, standing asanas
are generally sequenced at the beginning
of a session in order to warm the major
muscle groups and create total body and
postural awareness, which continues
throughout the rest of the session. Stand-
ing postures also help strengthen the
joints of the lower extremities and pro-
mote comprehensive joint stabilization
and integrity. In addition to developing
strength and stability in the pelvis and
legs, standing poses help students focus
on spinal alignment, improve and main-
tain sound overall posture, and increase
balance and breath awareness.
The postural awareness and strength-
ening of the core musculature also create
the control and mindfulness needed
to practice inverted asanas. In fact,
© AfricaImages/istock.com

Tadasana (Mountain Pose), and standing

postures in general, not only build a foun-
dation for all other postures but also are
considered to form the safest category of
poses for most people because they draw
on the entire body’s strength and support.
For example, it is almost impossible to

81
82 Instructing Hatha Yoga
stand on one leg for very long without focusing
the mind and strengthening the target muscles
that increase overall balance. In yoga, without
the deep awareness and good habits that arise
from practicing standing postures, a person often
experiences muscle imbalance, which, over time,
leads to injurious movement patterns.
The effort to achieve balance in any standing
posture can serve as an analog for life’s journey.
It does not matter if a person actually achieves
and maintains a state of solid balance for a long
period of time. What does matter is that the
person learns to recognize and become aware of
where her body is in space and, if she loses her
balance, to refocus her mind and body without
judgment. After all, nothing is static in life; bal-
ance consists simply of noticing the synergy (or
lack thereof) of a dynamic system and learning
how to flow with it—on or off the mat!
The standing postures are presented here in
such an order that they generally build from one
to the next. Depending on your students and class
format, some sessions may be composed mainly
of standing poses, whereas other sessions may
include only a few standing poses or none at all.
As you practice on your own with your students in
mind, you will find that certain postures naturally
flow into certain others based on body positioning.
The first standing asana presented here is
Tadasana, which is considered the quintessen-
tial standing posture. For simplicity, all standing
poses in this chapter begin and end in Tadasana
(except for Ardha Chandrasana, which often
begins from Utthita Trikonasana). Remember,
however, that the forward-bending postures
can be interspersed throughout any standing
sequence to allow the mind and body to rest and
reenergize. Although you can follow the order
of asanas presented here, you can also sequence
your class in a variety of ways depending on your
personal style and class focus. Some examples of
sequencing are presented in chapter 13.
 Standing Postures

Tadasana or Samasthiti
Mountain Pose
[taahd-AAH-suh-nuh] or [suhm-uhst-HEE-tuh-hee]

In Sanskrit, tada means “mountain”; sama means “upright,” “straight,” or “unmoved”; and sthiti
means “steadiness.” The name Tadasana is used in Iyengar and most eclectic hatha classes,
whereas Samasthiti is used mostly by Ashtanga (power) yogis. A few yoga schools call this
pose Talasana, a word for “tree,” but it should not be confused with Vrkshasana (Tree
Pose), which is the more common one-legged balance pose.

Description
Tadasana provides the foundation for all standing poses. It is generally performed at
the beginning of a practice in order to direct the student’s focus internally and to begin
warming the muscles for further practice. We begin with the feet—the base of the
body—to highlight the importance of a strong, balanced foundation.

Energetic Focus
First chakra (Muladhara) grounding energy

Foundational Focus
Root equally through the metatarsal heads and the center of the heel in both feet.

Benefits
• Builds symmetry and balance in body alignment and overall posture.
• Tones the lower extremities.
• Strengthens the arches.
• Improves strength in the spinal and abdominal musculature.
• Improves overall posture.

Verbal Cues
• As with all poses, begin by bringing your focus to your breath. Slow down and deepen your breath as you
center your mind within yourself; let your thoughts settle out of the forefront of your consciousness as you
continue to breathe deeply.
• Begin with your feet parallel, as close together as is comfortable, and your toes pointing straight ahead. Spread
your toes and feel the length of each toe against the ground; doing so prevents your toes from curling under
and cramping your feet. Imagine your toes rooting outward and down, enhancing your stability.
• Anchor through your big toes, your little toes, and the middle of your heels. Balance your body weight equally
between the feet. Imagine that you are breathing in through your arches to help them lift slightly.
• Firm your thigh muscles as you gently lift your kneecaps upward without locking your knee joints. Your legs
should remain long and strong but with slightly soft knees. Begin to rotate your upper legs inward and your
lower legs slightly outward. Your legs will not actually rotate much in either direction, but you will become
more aware of the energy of your leg muscles in the process. Imagine an upward flow of energy from your
arches along your inner legs into your pelvis.
• Continue to focus on your breath.

83
 • Keep your pelvis in a neutral position so that the top of your pelvis is parallel to the ground. Center your hips
so they align more directly over your heels and find the place where you have to work a bit to stay balanced
without forcing or straining.
• Keep your chest lifted (without arching your back), your shoulders relaxed, and your spine lengthened. With
each inhalation, feel your rib cage lift slightly away from your pelvis and imagine the energy from your feet
moving higher through your body toward the crown of your head.
• Draw your shoulder blades together slightly to allow your chest to open more fully, with your arms relaxed
alongside your body and your fingertips pointed down toward the ground. Your palms should face either slightly
forward or toward your thighs
• Continue to focus on your breath.
• Keep your chin parallel to the ground, or slightly tilted downward, and imagine someone gently lifting your
skull away from your shoulders.
• Keep your ears, shoulders, hips, knees, and ankles in a comfortable, not overly rigid alignment. Imagine a
straight line of energy running up and down the side of your body through each of these joints.
• As you continue to breathe deeply, eliminate any thoughts other than those that have to do with your alignment
and your breath, and simply notice the physical and energetic movements in your body.
• When your awareness becomes fully present in this asana, you have the key to practicing all asanas. The
extension to grow in this pose comes from deep in the mid back, and from this position the entirety of your
daily posture improves.

Adjustments
Arches—Direct the student to roll the inner (medial) ankles outward to lift the arches.
You can brush your hand in the direction in which you instruct the student to move
the ankle, or you can place your fingers between the ground and the arch of the foot
to illustrate more space beneath the arch.
Hips—Stand behind the student. Center the hips more directly over the heels by placing
your hands lightly on the student’s hips at the iliac crest (top of the pelvis) and gently
guiding the hips into alignment over the heels.
Shoulders—Stand to the side of the student and check shoulder positioning while cueing
the student to relax the shoulders. Place your hands between the lifted shoulder blades
(mid-trapezius muscles) and guide the shoulders down away from the ears. You can also
touch the mid-chest (mid-sternal) area to encourage the chest to lift slightly, making sure
that the student does not begin to arch the lower back by lifting too forcefully.
Head and neck—Place your fingertips under the student’s chin or on the forehead and
your thumbs at the base of the skull behind the ears. Lightly suggest more length in
the neck by softly lifting the head. Gently guide the head back so that the ears align
comfortably over the shoulders. Adjustment: lifted shoulders.

Modifications
Pregnancy—Instruct students to stand with the feet as wide apart as needed and in a position that is comfortable
enough to accommodate the belly and help them maintain balance. If balance is compromised, advise them to
use a wall or other sturdy prop.
Lordosis—Students with this condition (extreme forward pelvic tilt) may need tangible feedback to move into a more
fully aligned Tadasana. It helps to have them stand against a wall and move the low back toward the wall in order
to feel the action of bringing the pelvis into a more neutral position (where the anterior superior iliac spine [ASIS],
the hip “points” located at the front of the pelvis, and pubic bone align vertically).
Kyphosis—For students with this condition (extreme upper back curvature), place the back against a wall with a pillow
at the posterior bottom ribs while assisting them in pressing the shoulders back toward the wall. This modification
can also benefit people with extremely tight pectoral (chest) and anterior deltoid (front shoulder) muscles achieve
more awareness and open up more space in these areas.

84
 Standing Postures

Weakness, fatigue, or paralysis—Students can place the hands on the back of a chair for support while standing, or
sit instead of standing, and focus on lengthening the spine.
Severe balance concerns—Students can stand with the back in front of a wall and use it in the way that a child who
is learning how to ride a bicycle uses a training wheel. Specifically, they can press against the wall with the hands
for stability. Eventually, as balance improves, the rest of the body works with more synergy and the hands and arms
are used less for support.

Kinematics
To the outside observer, Tadasana may appear to be nothing more than relaxed standing in the anatomical position;
in actuality, it is slightly more active. Electromyographic studies on standing posture indicate that human beings
produce a rather minimal amount of muscular activity while standing in a relaxed, upright posture (Basmajian 1985).
In Tadasana, however, the muscular activity is focused on consciously attaining and maintaining length in the entire
body and is generally isometric in nature.
Mechanically, if the base of the body is not aligned properly, compensations must be made higher up the body
in order to achieve proper balance. For example, if you stand with your shoulders rolling forward and toward each
other, your neck tends to hyperextend to keep your head in a more upright posture. These compensatory changes
create poor overall posture, which, in the long term, may lead to many physical and emotional concerns.

Tadasana
Body segment Kinematics Muscles active
Foot and toes Toe abduction, stability Dorsal interossei, abductor digiti minimi brevis,
abductor hallucis (C, I)
Toe flexion (pressure into ground) Flexor digitorum longus and brevis, flexor hallucis
longus (C, I)
Lower leg Slight external rotation of lower leg Peroneus longus, brevis, and tertius (I)
Stability to counter body sway (muscles relaxing Gastrocnemius, anterior and posterior tibialis,
and contracting as necessary to maintain balance) flexor digitorum longus, flexor hallucis longus (C,
E, I)
Thigh Knee extension and patellar elevation Quadriceps (C, I)
Thigh extension Hamstrings, gluteus maximus (I)
Slight internal rotation of femur Adductors, gluteus medius, gluteus minimus (C, I)
Hip and pelvis Pelvic stability Rectus abdominis, quadratus lumborum, ham-
strings (I)
Hip stability Gluteus medius and minimus, deep external rota-
tors* (I)
Torso Trunk stability Internal and external obliques, rectus abdominis,
transverse abdominis, quadratus lumborum, erector
spinae (I)
Spinal extension and stability Erector spinae (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Shoulder External rotation of humerus Infraspinatus, teres minor, posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis, and digiti minimi; lum-
bricales manus; interossei dorsales (C, I)
Neck Neck extension and stability Splenius capitus and cervicis, suboccipitals,
semispinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

85
 Vrkshasana
Tree Pose
[vrick-SHAAH-suh-nuh]

Vrksha is the Sanskrit word for “tree.” In Vrkshasana, the one-legged balance is reminiscent of
the strength and energy in the trunk of a tree. The roots, represented by the standing foot, press
down into the earth for support, and the branches or hands extend up ever taller toward the sun.
Standing as a tree, you are strategically balanced so that energy comes up to your standing foot
from the earth and you use gravity to your advantage as you press downward.
Many trees have roots on top of the earth, but the roots anchor into the ground. The part
of Vrkshasana that represents roots anchoring into the ground is the force, or energy, exerted
by gravity on the standing foot. Reciprocally, energy is drawn upward through the trunk of the
body, while the arms stretching overhead are like branches reaching for the sun. This action
allows the ribs to lift and expand the diaphragm, thus enabling more expansive breaths.

Description
Vrkshasana, like all single-legged balance postures, should be practiced equally
on both legs. Vrkshasana and Utthita Trikonasana (Extended Triangle) work well
together because of the muscular engagement needed to stabilize and open the
hips. In fact, many people prefer practicing Utthita Trikonasana before Vrkshasana
to prepare the hips for deeper external rotation.

Energetic Focus
First chakra (Muladhara) grounding energy

Foundational Focus
Root through the metatarsal heads and the heel of the standing foot. Press the inner
thigh of the standing leg and the sole of the non-weight-bearing foot toward each other.

Benefits
• Builds concentration, focus, and postural balance.
• Reduces stress—it is nearly impossible to worry and remain balanced at the same time.
• Develops strength and stability in the feet and ankles.
• Stabilizes and strengthens both superficial and deep hip muscles.
• Is said to balance the pituitary gland because of the pressure on the first metatarsal for balance (pressure that
in reflexology is said to affect the structures in the neck and head).
• Increases overall body strength.

Caution
High blood pressure—Students with this condition should refrain from lifting the arms overhead.

86
 Standing Postures

Verbal Cues
• From Tadasana (Mountain Pose), find a point somewhere in front of you to focus on with your eyes turned
slightly downward. Gaze forward on a motionless drishti and allow your eyes to remain softly fixed on the
chosen point. Breathe deeply and feel your body come into alignment.
• Slowly and smoothly, shift your body weight more fully onto your right leg and begin to lift your left heel off
the ground. When you feel stable on your right leg, exhale and draw your left knee up toward your chest. Find
the balance on your right foot from front to back, redirecting the movement that naturally moves the body from
side to side when standing on one leg.
• Connect even more fully into your right leg, feeling the energy from the ground lengthen your spine and being
mindful not to let the left side of your pelvis drop lower than the right side.
• Keep your right hip pressed back; at first, it may feel almost as if you are overcompensating. Keep your pelvis
square while you externally rotate your left knee out to your left side. Feel the front of your right thigh and the
inside of your left knee reaching away from each other.
• Exhale and place the sole of your left foot on the inside of your right leg anywhere that you feel you are com-
fortably, yet challengingly, balanced. However, avoid placing the foot on the inner knee joint. Firmly press
your left foot and your right leg into each other. Doing so helps draw energy into the midline of your body and
helps you maintain balance.
• Moving slowly, place your hands in Anjali Mudra (Prayer Pose) with your palms pressed lightly together at the
level of your heart. Remaining fully rooted to the ground, imagine all the energy in your body drawing inward
toward the midline and upward toward the sky.
• Continue to focus on your breath.
• As you breathe in, slowly raise your arms overhead and feel your chest and ribs lift higher, away from your
hips. Remain here for two to three more breaths.
• Slowly release your arms to your sides and set your left foot on the ground. Rotate your right foot in both
directions and shake your leg out slightly to loosen up the joints of your right leg. Come back to Tadasana to
prepare for the other side.

Adjustments
Toes—Remind students to spread the toes for stability and to focus on keeping the balance between
the front and back of the foot without clenching the toes. For a kinesthetic reminder, point to
or lightly brush the tops of the toes. You can also press down into the first metatarsal (big toe)
to help the student work from front to back instead of wobbling from side to side.
Hip of non-weight-bearing leg—Stand behind the student and place your hands lightly on the
hips as you level them. Move slowly so that the student is not thrown off balance. If necessary,
move the hip of the standing leg back into alignment over the knee.
Spine—Encourage length in the low spine by reminding students to lift the crown of the head
toward the sky. You can lightly brush upward in the space between the shoulder blades.
Chest and ribs—Stand behind the student, placing your palms against the sides of the rib cage,
and gently draw the ribs up. Alternatively, hold the student’s upper arms so that you can
support the student while promoting extension through the spine. Encourage the student to
keep the pinky fingers touching as the arms are raised in order to maintain external rotation
at the shoulders and keep the chest open. Standing behind the student works best because
it requires little physical effort on your part and is less distracting to the student.
Shoulders—Place your hands lightly on top of the student’s shoulders and remind the stu-
dent to stay relaxed. Adjustment: hip align-
ment.

87
 Modifications
Hip replacement—To avoid creating stress in the hip joint with its limited range
of motion, instruct the student to focus solely on balancing on one leg with
little if any external rotation of the bent leg. Invite the student to keep the
toes on the ground and rotate on the ball of the foot to the first point of
resistance in the hip.
Balance difficulty—Instruct students to keep the toes of the bent leg on
the ground with the heel pressed against the straight leg or on a block
to the side of the standing leg. Have students use a prop (chair or wall)
as a sort of training wheel—that is, only as a way to regain balance if
they tend to wobble.
Severe balance difficulty—Instruct students to place the foot of the bent
leg on a block or step stool. This technique helps students work on
opening the hips without compromising balance.
Pose deepening—Instead of placing the foot of the bent knee against
the standing leg, direct the student to reach the foot across to the
opposite hip into Ardha Padmasana (Half-Lotus) and wrap the same-
side hand behind the back to hold the foot. If the student cannot
Modification: balance Modification: pose
quite reach the foot, she or he can use a strap. difficulties. deepening.

Kinematics
Students often complain that the inside of the standing thigh is “too slippery” and that they are therefore unable
to hold the other foot against it. Generally, the problem does not really involve slippery pants or skin; rather, it is
a matter either of not pressing the sole of the foot firmly into the opposite thigh or of not having adequate range of
motion for that particular placement. If a student has enough flexibility and openness in the inner thigh to place the
heel of the foot into the groin, he or she will gain significant stability in the posture.

Vrkshasana (Standing on Right Leg)

Body segment Kinematics Active muscles Muscles released
Foot and toes (R) Toe abduction, stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Foot and toes (L) Toe extension Extensor digitorum longus, hallu-
cis longus (C, I)
Lower leg (R) Stability to counter body sway Gastrocnemius, anterior and
(muscles relaxing and contract- posterior tibialis, flexor digitorum
ing as necessary to maintain longus, flexor hallucis longus (C,
balance) E, I)
Knee extension, stability Gastrocnemius (I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius,
rum longus, hallucis longus (C, I) soleus
Thigh (R) Knee extension and patellar ele- Quadriceps (C, I)
vation
Stability and adduction (adductor Adductors (C, I)
magnus helping to extend knee)

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 Standing Postures

Body segment Kinematics Active muscles Muscles released

Thigh (L) Knee flexion Hamstrings (C, I)
Hip and pelvis (R) Hip extension, stability Hamstrings (C, I)
Hip stability Gluteus maximus, medius, and
minimus; deep external rotators*
(C, I)
Pelvic stability Rectus abdominis, quadratus
lumborum, hamstrings (I)
Hip and pelvis (L) Hip flexion Iliopsoas, rectus femoris (C, I) Adductors
Hip external rotation Deep external rotators,* gluteus
maximus (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lum-
borum (I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Shoulder Adduction of scapulae Rhomboids major and minor,
mid trapezius (C, I)
Postural support in mid back and Lower trapezius (C, I)
downward pull of scapulae
External rotation of humerus Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Upper arm Abduction of humerus Deltoids (C, I)

Depression of humeral head Infraspinatus, teres minor, sub-

scapularis (C, I)
Lower arm Pronation Pronator teres, pronator quadra-
tus (C, I)
Elbow flexion Biceps brachii, brachialis, bra-
chioradialis (C, I)
Wrist hyperextension Extensor carpi radialis brevis and Flexor carpi radialis and ulnaris,
longus, extensor carpi ulnaris palmaris longus
(C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Utkata Konasana
Fire Angle Pose
[OOT-kuh-tuh kohn-AAH-suh-nuh]

In Sanskrit, utka means “fierce” or “intense” and kona means

“angle.” This wide-legged squat gets its name from the intense
energy used in the thighs to hold the position. The asana is
also often called Goddess Pose because it is reminiscent of the
commanding stance of strength depicted in many statues of feminine
deities.

Description
Utkata Konasana is a powerful squatting pose that charges up
the energy of the hips and legs. The more the legs are rotated
externally, the more the balance is affected.

Energetic Focus
First chakra (Muladhara) grounding energy, second
chakra (Svadhisthana) creative energy

Foundational Focus
Root through the heels and the fifth metatarsal heads. Anchor into the first metatarsal heads and draw energy through
an invisible line down from the base of the pelvis into the ground.

Benefits
• Opens and strengthens the hips and groin.
• Strengthens the entire thigh and the upper body.
• Stabilizes the knee joints.
• Serves as a beneficial pose during pregnancy due to the pelvic opening.
• Increases overall body strength.

Caution
Knee or hip surgery—Persons who have had knee or hip surgery should refrain from this pose until range of motion
is reestablished, then proceed with modifications if medically appropriate.

Verbal Cues
• From Tadasana (Mountain Pose), step your legs as wide apart as is comfortable. Externally rotate the front of
your thighs, knees, and feet outward. Make sure that your knees are aligned in the same direction as your toes.
Visualize your kneecaps pointing directly away from each other.
• Inhale and raise your arms out to your sides so that they are parallel to the ground with your palms facing down.
Keep your shoulders soft. Exhale and flex your hips, knees, and ankles, coming into a semi-squat.
• Establish that your kneecaps are pointing in the same direction as your toes, and on the next exhalation squat
deeper. Breathe smoothly. Feel your outer hip muscles work to help open up more space between your inner
thighs. Picture the outsides of your knees and thighs pressing into an imaginary wall behind you.

90
 Standing Postures

• Squat deeper until your upper thighs come as close to parallel with the ground as is comfortable for you. Feel
your hamstrings (the backs of your thighs) and gluteal muscles (buttocks) contracting by imagining your heels
drawing together. Visualize the strong energy holding your thighs in place. Breathe length through your back
and sides while keeping your hips centered under your shoulders.
• Continue to focus on your breath.
• Press energy from your heart center out through your hands. Spread your fingers. If your arms fatigue, press
your palms together in front of your heart or place your hands on your hips.
• Inhale and reach your arms overhead as you straighten your legs. Exhale and lower your arms back to your
sides. Prepare for the next pose.

Adjustments
Feet and knees—If a student’s knees rotate inward out of alignment with the
toes, semi-squat behind the student and slightly to one side. Place your palms
to the inside of the thighs, just above the knees, and gently press the knees away
from each other. Instruct the student to use the outer hip muscles to help draw the
thighs away from your hands.
Pelvis—If a student’s hips are thrust back so that the pelvis is considerably behind the
line of the shoulders, stand directly behind the student and turn your body slightly
sideways with your knees somewhat bent. Press the outside of your closest thigh
against the student’s pelvis. Place your hands on the front of the student’s
shoulders and encourage him or her to draw the backs of the shoulders
toward you as you support the movement. Move slowly so that you both
keep your balance. Adjustment: feet and knees.
Spine—If the student rounds the back as he or she squats, encourage length
in the spine by cueing the student to lift the crown of the head toward the sky. Stand behind the
student and place your hands lightly on the shoulder blades. Ask the student to draw the upper
back into your hands.
Shoulders—If the chest is flexed so that the arms are not in line with sides of the body, stand
behind the student and place your hands lightly on top of the shoulders. Draw the upper
arms slightly back to open the chest.

Modifications
Hip or knee replacement—This pose may be practiced only if the student has been
medically cleared to work on range of motion and if the external rotation is not
taken to the extreme. Place the student near a wall for stability.
Balance difficulty or pregnancy—Invite the student to practice with the back
against a wall while pressing the outer thighs toward the wall.
Pose deepening—If the student is comfortable practicing with the knees
flexed at 90 degrees, invite her or him to bring the arms into Garudasana Modification: deepening the pose with
(Eagle Pose). arm variation.

Kinematics
This pose is energizing and powerful, and it is a good pose for women to practice during pregnancy; in fact, the
delivery process is often aided by the attention to pelvic opening and strengthening. The pose is also grounding and
highly beneficial for students who are not pregnant. In addition to holding the pose statically, students can slowly
flex and extend the legs in a rhythmic pattern to dynamically increase lower-body strength. Practicing the pose in a
dynamic manner can gradually increase stamina and range of motion in the legs. Ensure that the patella aligns with
the foot to avoid straining the inner knee structures.

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 Utkata Konasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Lower Leg Ankle dorsiflexion, stability Gastrocnemius, soleus (E, I)

Stability Peroneals, anterior and posterior

Thigh Knee flexion, stability
Knee stability
Hip and pelvis Hip flexion, stability
Hip external rotation
Pelvic stability
Hip external rotation
Torso Spinal extension and stability
Rib and chest elevation
Trunk stability
Shoulder Humerus abduction and stability
Postural support in mid back and
downward pull of scapulae
External rotation of humerus
Upper arm Abduction of humerus
tibialis, gastrocnemius, soleus,
flexor digitorum longus, flexor
hallucis longus (C, E, I)
Quadriceps, rectus femoris (E, I)
Hamstrings, popliteus (C, I)
Hamstrings, gluteus maximus,
adductors, iliopsoas (E, I)
Gluteus medius and minimus, Adductors
deep external rotators* (C, I)
Rectus abdominis, quadratus
lumborum, hamstrings (I)
Deep external rotators,* gluteus
maximus (C, I)
Erector spinae, quadratus lum-
borum (I)
Pectoralis minor (C, I)
Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Deltoids, infraspinatus, teres
minor, supraspinatus, pectoralis
major (C, I)
Lower trapezius, subscapularis
(C, I)
Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Deltoids (C, I)

Elbow extension Triceps brachii, brachioradialis

(C, I)
Lower arm Pronation Pronator teres, pronator quadra-
tus (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Neck Neck extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Standing Postures

Utthita Trikonasana
Extended Triangle
[oot-T-HEE-tuh tree-kohn-AAH-suh-nuh]

In Sanskrit, utthita means “extended” or “stretched,” tri means “three,”

and kona means “angle.” The posture is named for the triangle formed by
the extended legs and the side bend in the body.

Description
From Tadasana (Mountain Pose), the legs are abducted (extended out) as
far apart as is comfortable, preferably between three and four feet (about
one meter), with one leg externally rotated. Arms are extended
out to the sides. The torso tilts laterally toward the externally
rotated leg so the arms are then perpendicular to the ground,
creating many triangles in the body's geometry.

Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) heart-
opening energy

Foundational Focus
Root through the heel and the first metatarsal head of the
front foot (of the externally rotated leg). Anchor into the
outer edge and heel of the back foot. Evenly balance the
grounding energy in both legs.

Benefits
• Tones the legs and strengthens the ankles.
• Loosens the hip joints, groin, and hamstrings.
• Stabilizes and opens the hip joints when the pelvis is aligned properly.
• Helps release the spinal musculature.
• Opens the chest and shoulders.
• Strengthens and aligns the neck.
• Stimulates abdominal organs and improves digestion as it tones the abdominals.
• Aids in stress relief.

Cautions
Heart conditions and high blood pressure—Instruct the student to turn the gaze downward and keep the upper
arm on the hip.
Neck pain or injury—Direct the student to continue to gaze forward without turning the neck.
Shoulder concerns—Instruct the student to keep the top hand on the hip and continue to rotate the shoulder back.

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 Verbal Cues
• From Tadasana (Mountain Pose), inhale and extend your arms out to your sides with your palms facing downward.
• Step your legs apart, trying to place your feet as far apart as your outstretched hands, or as far apart as is com-
fortable to you.
• Externally rotate your right leg out slightly more than 90 degrees, then internally rotate your left leg toward
your right heel about 45 degrees. Imagine a straight line drawn back from your right heel that passes through
the middle of your left arch.
• Keep your front thigh muscles (quadriceps) actively firm by gently drawing your kneecaps up. Bring a slight bend
into both knees to keep from hyperextending the joints. Inhale and raise your right arm overhead, stretching
your side from your hip to your shoulder.
• Slightly shift your pelvis to the left. As you exhale, extend your trunk to the right and reach out with your right
arm, bringing it parallel to the ground. Reach your fingers farther to the right, lengthening both sides of your
trunk. Let the weight of your hips shift back naturally.
• Draw your shoulder blades slightly toward each other and imagine your clavicles (collarbones) moving slightly
apart to open your chest. Work to keep your front right thigh rolling out (rotating externally). At the same time,
press firmly into the left foot, while engaging the gluteal (buttocks) and hamstring muscles as if you were pressing
your thigh backward. This action opens both hip joints to create a natural opening within the groin. Your pelvis
will continue to rotate slightly toward the right, which protects the integrity of your sacrum.
• Inhale and create more length in your torso by imagining your pelvis and right rib cage moving away from
each other as you stretch your torso further out over the right thigh. This elongates your right side and helps
keep your spine in alignment.
• Continue to focus on your breath.
• When you have reached as far to the right as you comfortably can, begin to lower your right hand toward the
ground and reach your left fingertips toward the sky, keeping your hands aligned with your shoulders. Allow
your pelvis to remain slightly turned inward to the right and externally rotate your left rib cage open toward
the sky. Imagine your breath opening more space in your right rib cage as it extends out over your right leg.
• Feel the left side of your torso stretch so that your left shoulder and left hip move farther away from each other.
Keep your rib cage as parallel to the ground as possible. Imagine that your upper body is suspended to the side
with gentle support from your legs.
• Gaze forward, keeping your ears aligned with your shoulders; alternatively, turn and look down toward your
right fingers. Keep your neck relaxed and in line with the rest of your spine.
• Focus on balancing yourself evenly in both feet as your chest and hips remain open.
• Continue to focus on your breath.
• To come out of the posture, inhale and continue to press down through your legs as you bring your upper body
into an upright standing position. If there is any tension in your front leg, slightly bend the knee to create more
ease as you exit the pose. Prepare for the other side.

Adjustments
Arches—Encourage students to roll the inner (medial) ankles upward to lift the arches. You can brush your hand in
the direction in which you instruct a student to move the ankle, or you can place your fingers between the ground
and the student’s arch to create more space beneath the arch.
Legs—Remind students to lightly draw up the front thigh muscles (quadriceps) to help keep the kneecaps lifted. You
can gently brush the mid-thigh muscles toward the hips. If the knees are hyperextending, remind students to relax
the knees slightly and engage the hamstrings by imagining that they are drawing the legs back together.
Torso—Stand behind the student, using your thigh as a brace. Place your hand on the student’s upper rib cage and
gently guide the upper ribs toward you without drawing the pelvis back.

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 Standing Postures

Rib cage—Place the palm of your hand lightly on top of the student’s upper rib cage,
halfway between the shoulder and the hip. Instruct the student to lengthen the spine
and move the rib cage away from your hand so that it does not curve toward the
ceiling. Also, you may stand facing the student’s outstretched arm and hold onto the
forearm as you move it toward you. While doing this, place your toes against the bend
in the student’s hip crease and gently press the student’s pelvis away from you.
Shoulders—Direct students to rotate both shoulders externally in order to keep
the chest open and expanded, cueing them to softly draw the shoulder blades
toward each other. If a student’s torso is extending either in front of or behind
the plane of the front hip, gently move the shoulders back into alignment. Be
sure to hold students securely while you move them and to let go slowly, making
certain that they maintain balance.
Hands—If the student’s lower hand is placed against the shin or anywhere close to
the knee joint, instruct the student to be conscientious by not pressing the body
weight into the front of the leg; pressing back on the leg increases the risk
of knee hyperextension. If the student continues to press on the top of
the leg, modify the posture by placing a block or chair under the lower
hand on the outside of the front leg wherever the student can comfortably Adjustment: rib cage.
reach it. Also encourage the student to use the abdominal and back muscles
to help support the upper body.
Head and neck—Cue the student to lengthen the neck and extend the head away from
the shoulders without strain or stiffness.

Modifications
Extreme stiffness—If a student has trouble reaching for the ground without rotating
the chest toward the ground, place a block or the seat of a chair under the
bottom hand to elevate it slightly. The student may also need to decrease the
distance between the legs.
Balance and alignment difficulty—Place the student against a wall to work
on alignment. Cue the student to press the shoulder blades and the back
of the lower hip into the wall. The student may also need to decrease
the distance between the legs.
Neck weakness—Suggest that the student turn the gaze toward the
ground, but remind him or her to maintain the line of the entire
spine. This action continues to build strength but reduces the
strain on the neck. Modification: extreme stiffness.

Kinematics
Utthita Trikonasana engages both balance and strength. Getting into position requires eccentric contractions of the top
lateral torso. Much of the movement in this asana occurs in the transverse plane, with the torso and top leg moving
slightly backward in opposition to the natural forward rotation of the pelvis. Once the position has been established,
most of the muscle activity shifts to isometric contractions to maintain body position with balance.
Many instructors have been taught that the torso and pelvis should be kept squared in the frontal plane by strongly
pressing the top hip back. However, for most people, this alignment creates an unnatural torque in the sacrum, and it
often overstretches the ligaments. This destabilizing force can create pain in the sacroiliac joint and the lower back.
Cueing students to slightly vary the internal rotation of the back foot, based on individual comfort level, allows for
a softer hip opening for those with tighter hips.

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 Utthita Trikonasana (Flexing to the Right)
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot Dorsal interossei, abductor digiti
stability minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg (R) Stability to counter body sway Peroneals, posterior tibialis,
(muscles relaxing and contract- flexor digitorum longus, gastroc-
ing as necessary to maintain nemius, soleus, flexor hallucis
balance) longus (C, E, I)

Lower leg (L) Internal rotation of foot, stability Anterior tibialis, posterior tibialis, Gastrocnemius, soleus, perone-
flexor hallucis longus (C, I) als

Thigh (R) Knee extension and patella ele- Quadriceps (C, I) Adductors, medial hamstrings
vation
Hip stability Hamstrings, gluteus maximus (I)
External rotation of femur, sta- Deep external rotators* (C, I) Gluteus medius, gluteus minimus
bility
Thigh (L) Stability Adductor longus, adductor Adductors
magnus (I)
External rotation of femur, sta- Deep external rotators* (I)
bility
Hip and pelvis (R) Abduction, stability Tensor fascia lata (I)
Hip stability Gluteus medius, gluteus minimus
(I)
Pelvic stability Hamstrings (E, I)
External rotation of femur, sta- Deep external rotators,* gluteus
bility maximus (C, I)
Hip and pelvis (L) External rotation of femur, lateral Deep external rotators,* gluteus Iliopsoas, gluteus medius, tensor
flexion, stability maximus (C, I) fascia lata
Hip extension, stability Hamstrings, gluteus maximus
(C, E, I)
Lateral flexion to right, stability Tensor fascia lata (E, I)

Pelvic stability Rectus abdominis, quadratus

lumborum, hamstrings (I)
Torso (R and L) Spinal stability Erector spinae (C, I)

Rib and chest elevation Pectoralis minor (C, I)

Trunk stability and rotation Internal and external obliques,

rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Torso (L) Lateral flexion to right, stability Internal and external obliques, Internal and external obliques,
quadratus lumborum, latissimus quadratus lumborum, latissimus
dorsi, erector spinae (E, I) dorsi, erector spinae

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Shoulder Abduction of humerus and joint Deltoids, supraspinatus, teres Pectoralis major
stability minor (C, I)
Depression and stability of Subscapularis, infraspinatus (C,
humerus I), teres minor
Scapular rotation Serratus anterior, mid and lower
trapezius (C, I)
Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Postural support in mid back and Lower trapezius (C, I)
downward pull on scapulae
External rotation of humerus Infraspinatus and teres minor
with some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis, bra-
chioradialis
Lower arm Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Wrist and finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Stability Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

97
 Parivrtta Trikonasana
Revolving Triangle Pose
[par-ee-VRT-tuh tree-kohn-AAH-suh-nuh]

In Sanskrit, Parivrtta means “the other side”; it is also often

translated as meaning “to revolve” or “revolving.” Trikonasana
means “triangle”—thus the name of this asana, in which the
anterior (front) torso rotates along the axis of the spine in the
opposite direction of Utthita Trikonasana.

Description
Parivrtta Trikonasana is similar to Utthita Trikonasana
(Extended Triangle) but shifts the front of the pelvis from
the frontal plane to a position in which it is almost parallel
to the ground, thus causing the upper body to rotate around
the spine. The twist through the mid-thoracic spine makes
the posture more challenging for most students because it
requires greater strength, flexibility, and balance than are
needed for Utthita Trikonasana.

Energetic Focus
First chakra (Muladhara) grounding energy, and third
chakra (Manipura) vitalizing energy

Foundational Focus
Root through the heel and the first metatarsal head of the front foot. Anchor into the heel and the metatarsal heads
of the back foot. Evenly balance the grounding energy in both legs.

Benefits
• Energizes the entire body.
• Massages the internal organs and stretches supporting spinal musculature.
• Enhances balance.
• Strengthens and stretches hips and legs.

Caution
Back injury—As with any twisting posture, students with an acute back injury should be cautious when practicing
this asana—or skip it entirely.

Verbal Cues
• Moving from Tadasana (Mountain Pose), step your left leg back far enough that the distance between your feet
is challenging but comfortable while also allowing you to keep your left heel firmly on the ground. Face your
right foot forward and externally rotate your left foot about 10 to 15 degrees.
• Place your hands on your hips and softly press your inner thighs toward each other to stabilize your pelvis and
bring attention to your balance. This action also draws your left hip slightly forward and keeps your right leg
and torso facing your right foot.

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 Standing Postures

• Inhale, lengthen out of your low spine, and reach your left arm overhead while keeping your right hand on
your hip.
• Exhale and fold forward from your hips like a hinge, keeping your right hip stable. Allow your right hand to
slightly encourage your right hip back as you continue to reach forward with your left hand to elongate your torso.
• Stop folding forward at the first point of resistance, whether it be in your hamstrings, hips, or lower back. Picture
your breath stabilizing your balance.
• When you are in a comfortable position, exhale and place your left hand as far down the outside of your right
leg as possible without extending past your comfort range or the edge of your balance. Imagine pressing your
right leg outward, without actually moving it, and press your left hand against your outer right leg to engage
your outer hip muscles more fully for stability.
• When you feel stable, rotate your torso slightly to the right and imagine the outside of your right shoulder
pointing toward the sky. Take a breath for stability and then straighten your right arm so that the palm points
away from you and your fingers point to the sky.
• Inhale as you reopen the space between your hips and ribs by lengthening your lower ribs away from your
pelvis. Continue to elongate your entire spine all the way through your neck. Align your chin with the center of
your chest as much as possible without strain. If this taxes your balance, continue to look toward your right foot.
• Keep your left hand reaching down toward the ground as your right hand stretches upward. Allow your breaths
to encourage more openness across your chest.
• Remember to continue grounding through your feet and feel the revolving action through your mid-spine and
arms with each exhalation.
• Continue to focus on your breath.
• To exit the posture, unwind and bring your hands to either side of your front foot or
leg. Take a breath, then slowly place your hands on your hips. As you inhale, raise
yourself upright. Prepare for your next posture.

Adjustments
Feet—If the back foot lifts off the ground, cue the student to press down more firmly
on the outside of the back heel and the outer edge of the foot. You can squat behind
the student and press lightly on the outer aspect of the back foot with your hands or
toes. If the heel still lifts, ask the student to decrease the distance between the feet.
Spine—If a student is rounding the spine, stand to the side of the back leg, near
the hips. Place your closest hand on the top of the student’s far hip
and your other hand on the far shoulder. Using your hip to support
the student’s balance, draw the student’s hip and shoulder slightly
farther apart and draw the top shoulder toward you. Use your
hand to roll the shoulder down, away from the ear. Adjustment: spine.

Modifications
Balance difficulty—Have the student slightly bend the front knee. This
action also allows for more leverage to open the hips and straighten
the spine.
Tight hips or hamstrings—Place a block or a chair under the lower hand.
The use of the prop helps establish and maintain a straight spine while
eliminating undue strain on the hamstrings.
Balance or weakness—Have the student stand with the outside
of the front leg against a wall. Instruct the student to lean into
the wall for balance and to press the hand reaching down
against the wall. A block may also be necessary for comfort.

Modification: tight hips or hamstrings.

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 Kinematics
One of the most important aspects of this posture is to keep the spine as elongated as possible while flexing from
the hip joints. For this reason, students with tightness in the hamstrings or low back should use a block or other prop
under the bottom hand to keep the upper back from rounding. Also, direct students to focus on having the twist
come predominantly from the thoracic spine in order to help maintain integrity and stability in the hips, sacrum,
and lumbar spine.

Parivrtta Trikonasana (Rotating to the Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg (R) Plantar flexion for foot and ankle Gastrocnemius, soleus (C, I)
stability
Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, flexor digitorum longus,
ing as necessary to maintain flexor hallucis longus (C, E, I)
balance)

Lower leg (L) Ankle stability Peroneals (E, I) Gastrocnemius, soleus, perone-
als
Thigh (R and L) Knee extension and patellar ele- Quadriceps (C, I)
vation
Hip stability Hamstrings, gluteus maximus,
adductors (I)
Hip and pelvis (R) Hip flexion Hamstrings (E, I) Hamstrings, tensor fascia lata,
gluteus medius and minimus,
deep external rotators*
Hip and pelvis (L) Hip extension Hamstrings (E, I) Adductors
Slight external rotation and sta- Deep external rotators* (I)
bility
Torso (R and L) Trunk stability Erector spinae, quadratus lum- Erector spinae
borum, rectus abdominis, trans-
verse abdominis (I)
Rib and chest elevation Pectoralis minor (C, I)
Torso (R) Rotation to right Internal obliques, quadratus lum- External obliques
borum (C, I)
Torso (L) Rotation to right External obliques (C, I) Quadratus lumborum, latissimus
dorsi, internal obliques
Shoulder Humerus abduction and shoul- Deltoids, infraspinatus, teres Pectoralis major
der stability minor (C, I)
Scapular adduction Rhomboids major and minor and
mid trapezius (C, I)
Postural support in mid back and Lower trapezius (C, I)
downward pull of scapulae
External rotation of humerus Infraspinatus and teres minor
with some posterior deltoid (C, I)

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Upper arm Elbow Triceps brachii (C, I) Biceps brachii,
brachialis, brachioradialis
Lower arm (R) Forearm supination Supinator (C, I)
Lower arm (R and Elbow Anconeus (C, I)
L)
Lower arm (L) Pronation Pronator teres (C, I)

Wrist hyperextension Extensor carpi radialis, longus, Flexor carpi radialis and ulnaris,
and brevis; extensor carpi ulnaris palmaris longus
(C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Stability Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Uttanasana
Intense Forward Bend
[oot-taahn-AAH-suh-nuh]

In Sanskrit, Ut means “intensity,” and tan means “to stretch or lengthen.”

Description
Uttanasana intensely stretches and lengthens the spine and hamstrings.
This basic standing forward bend should be done by folding from the hips,
like a hinge, while maintaining a straight low back. It can be practiced
with the legs at any distance apart that feels comfortable yet challenging.
Uttanasana is usually performed as a resting, rejuvenating posture between
other standing postures and as part of the Sun Salutations.

Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) expressive
energy

Foundational Focus
Root through the metatarsal heads. Anchor into the center
of each heel.

Benefits
• Strengthens and stretches the spinal muscles.
• Lengthens and stretches the hamstrings and opens the posterior of the hips.
• Relaxes and rejuvenates the whole body.
• Stimulates the liver, spleen, and kidneys.
• Helps relieve headache.
• Stimulates the digestive system.

Cautions
Back concerns—Anyone with low back concerns should be extremely mindful to bend forward from the hips
only as far as is comfortable and only with the use of props. In addition, instruct students to be mindful when
exiting from Uttanasana to avoid straining the low back. By focusing on lifting from the crown of the head to
maintain length in the spine, softening the knees slightly, and using their arms when necessary, students alleviate
pain and avoid possible damage.
Late pregnancy—Practice with modifications (wider leg position and use of props) or skip this posture.
Glaucoma—As with all postures where the head is below the heart, this pose is not recommended without
modification for students with glaucoma. If it is practiced, it should be held for a very short time.

Verbal Cues
• Start in Tadasana (Mountain Pose) with your feet at a comfortable yet challenging distance apart. Firm your thigh
muscles by pressing your legs slightly back without hyperextending your knees. Inhale and raise your arms above
your head. If your lower ribs flare forward and your spine moves into extension, imagine pressing your back
rib cage toward a wall behind you and draw your front pelvis slightly upward to reestablish an aligned posture.

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 Standing Postures

• Exhale and draw your kneecaps upward slightly as you begin to fold forward at your hip joints. Keep the length
of your spine intact. Fold as far forward as feels comfortable to your back and hamstrings, stopping to breathe
at the first point of resistance. Let your arms come into a restful position on a prop or on the ground and relax
your shoulders.
• Continue to reach out of the low back to keep length in your entire spine. Relax and picture your vertebrae
sinking toward the ground. If you feel any discomfort in your low back, place your hands on a prop to decrease
the flexion.
• Continue to focus on your breath.
• Relax your neck so that the crown of your head sinks toward the ground.
• If your hands can touch the ground comfortably, place them near your heels and move your body weight slightly
more forward so that your hips align directly over your ankle joints. This action challenges your balance slightly.
• If your hands do not touch the ground, allow them to hang down or place them against your legs or on a prop.
Be sure that there is no strain in your low back, hips, or hamstrings.
• Picture your tailbone and sit bones reaching up to the sky as the crown of your head extends toward the ground.
Press through your heels as you breathe in and let the bottom of your pelvis reach up farther. As you exhale,
allow your spine to relax even deeper, suspending your upper body forward.
• Soften your belly. Breathe into your low back and visualize your ribs expanding to the sides, thus allowing
more space for your breath. Keep your shoulders relaxed and away from
your ears.
• To come out of the posture, place your hands on your hips or reach
your arms out to the sides. Open your chest by gently squeezing your
shoulder blades toward each other. Keep the front of your rib cage
elevated, and as you inhale press through your legs. Lift through the
crown of your head and begin to raise yourself to a standing position.

Adjustments
Feet—As much as possible, be sure that the outer edges of the student’s
feet are parallel with each other and with the outer edges of the mat. This
adjustment allows for more stability and alignment in the knees and hips.
Lower body—Standing behind or to the side of the student, place your
hands lightly on the outside of the hips and gently move the hips so
that they are aligned over the ankle joints with the legs perpendic-
ular to the ground.
Neck—Gently touch the back of the student’s head, or just remind
Adjustment: lower body.
the student verbally to relax the neck.

Modifications
Tight hamstrings—Instruct the student to use a prop under the hands for support and to keep
the spine elongated.
Rounded back—Instruct the student to take a wider stance with the feet
or to use a prop.
Pregnancy or stiff back, hips, or hamstrings—Suggest that the student use
a wall or chair for support to relieve some of the physical work involved
in the posture, thus promoting an easier release in the spine and ham-
strings. Instruct students to practice Ardha Uttanasana (Half Forward
Fold) by placing the hands against a wall or on top of a chair seat
and folding forward only until the spine is parallel to the ground.
Weakness or balance difficulty—The student can be seated on a
chair (or exercise ball) with the feet placed comfortably apart. From
Modification: weakness and balance difficulties.
there, instruct the student to fold as far forward as is comfortable.

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 Kinematics
The most common mistake that students make in practicing this posture is to bend forward from the lumbar or thoracic
spine instead of from the hip joints. If the knees bend, the hips usually move out of alignment. Although bending the
knees can take pressure out of the lower back, it does not allow the hamstrings the opportunity to stretch fully, and
students generally continue to initiate the forward fold from the back rather than from the hips. To protect the lower
back in people with particularly tight hamstrings, use a prop under the hands.

Uttanasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg Stability to counter body sway Gastrocnemius, anterior and Gastrocnemius
(muscles relaxing and contract- posterior tibialis, flexor digito-
ing as necessary to maintain rum longus, and flexor hallucis
balance) longus (C, E, I)
Slight external rotation of lower Peroneus longus, brevis, and ter-
leg tius (C, I)
Thigh Knee extension Quadriceps (C, I) Hamstrings
Hip and pelvis Hip flexion, stability Hamstrings (E, I), iliopsoas (C, I) Gluteus medius and minimus,
deep external rotators*
Hip stability Adductors (I)
Torso Spine extension Thoracic erector spinae (C, I) Lumbar erector spinae, quadra-
tus lumborum
Rib and chest elevation Pectoralis minor (C, I)
Shoulder Scapular abduction (Gravity induced) Latissimus dorsi, rhomboids,
trapezius
Humeral flexion (Gravity induced) Deltoids

Upper arm Elbow extension (Gravity induced) Triceps brachii, biceps brachii,
brachialis, brachioradialis

Lower arm Wrist extension or hyperexten- (Gravity or ground induced) Extensor carpi radialis, brevis
sion and longus, extensor carpi
ulnaris
Hand and fingers Finger extension (Gravity or ground induced)
Neck Extension None Sternocleidomastoid, splenius
capitus and cervicis, cervical
erector spinae
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Standing Postures

Prasarita Padottanasana
Extended-Leg Forward Bend
[pruh-SAAH-ree-tuh paah-doht-taahn-AAH-
suh-nuh]

In Sanskrit, Prasarita means “to expand or

spread.” This asana is a variation of a forward
bend with the legs abducted.

Description
Although Prasarita Padottanasana
has a number of variations, four
are traditionally practiced in
the warm-up of the Ashtanga
yoga series. All four are pictured
here; however, the cueing is described only once because each variation begins in the same opening stance, followed
by a gentle back arch and forward fold from the hips. The only difference is in arm and hand placement. After each
forward bend, bring the hands back to the hips, stand, and move into the next posture.

Energetic Focus
First chakra (Muladhara) grounding energy, seventh chakra (Sahasrara), especially if the head touches the ground

Foundational Focus
Root through the metatarsal heads slightly more than the heels. Anchor into the outer edges of the feet.

Benefits
• Stretches the hamstrings, inner thighs, and low back.
• Builds stability in the feet and legs.
• Stretches the shoulder joints throughout the range of motion.
• Relaxes and recharges the mind and body.
• Stimulates and tones the abdominals.

Cautions
Shoulder injury—Students with shoulder concerns should proceed cautiously in variation 3.
Back concerns—Anyone with low-back concerns should be extremely mindful and bend at the hips only as far
as is comfortable. A block or wall should be used for additional support.

Verbal Cues
• From Tadasana (Mountain Pose), step your legs out as wide as is comfortable. Internally rotate your feet slightly
and press through the edges of the feet.
• Position your body so that your hips, belly, and chest point forward. Anchor into the outer edges of your feet,
drawing energy up from your arches into your pelvis.
• Bring your hands to your hips and open your chest by drawing your shoulder blades gently toward each other
and softening them down toward your hips. As you continue to press your feet firmly against the ground, feel
your spine lengthen.

105
 • Inhale and lift your chest slightly, feeling more expansion in your
chest. Imagine the breath drawing your collarbones wider.
• Exhale, drawing your lower abdomen inward as you begin to
fold forward from your hip joints. Slightly lift your knee-
caps as you continue flexing forward.
• As you continue to exhale, press through your
legs and fold further forward, maintaining the
length and openness in your upper back
and chest.
• Lower your hands to the ground or to a Variation 2: Hands remain on the hips and elbows are drawn toward
prop and place them shoulder-width apart each other behind the back.
between your feet.
• Inhale as you straighten your arms and look forward while arching
(hyperextending) your back slightly. Feel the front of your chest
broaden and the front of your torso open.
• Exhale and bend your elbows as you lower the crown
of your head toward the ground into a deeper fold.
Keep your inner elbows pulled in toward each
other and relax your neck so that your ears
drop away from your shoulders.
• Adjust your body weight so that your hip
joints align directly over your ankles. Variation 3: Hands clasp behind the back. If there is sufficient flexibility
Roll forward slightly toward your toes, and comfort, the hands can lower toward the ground behind the head.
while still keeping your heels on the
ground; this straightens your knees slightly, giving you a deeper
stretch in the hamstrings. By moving slowly, you will maintain
balance.
• If your head touches the ground, put as much weight on the
crown of your head as feels comfortable to you, being
mindful not to compress your neck. If you have so
much flexibility in the hips that when you fold for-
ward your neck crimps, bring your legs slightly
closer together.
• Continue to focus on your breath.
Variation 4: Hands reach out and grasp the big toes.
• To exit, place your hands on your hips and
press firmly through your feet. Keep your elbows pointing away from you behind your back. Inhale as you lift
yourself upright. Step or jump your feet together into Tadasana.

Adjustments
Balance—If the student has weak balance, stand behind her or him. Place the side of your hip against the back of
the student’s thigh to block him or her from placing the weight too far back on the heels. You can also stand to the
front of the student, placing your hands lightly on the outer edges of the hips, and slowly and gently bring the body
weight forward onto the toes to provide better alignment.
Hands—When the student’s hands are on the ground, they should be in line with the feet. If the hands are too far
forward in front of the line of the toes, instruct the student to move the hands back. Have the student accommodate
moving the hands back by spreading the feet wider apart if comfortable.
Neck—If a student has hyperextended the neck, gently touch the back of the head to cue relaxation.
Elbows—In variation 2, if the student’s elbows are not parallel to each other, stand behind the student and place your
hands on the upper arms and roll the elbows inward toward the midline of the body. This adjustment also helps
increase chest expansion. To further stabilize and build strength in the chest and shoulders in variation 1, place a
block between the student’s elbows and instruct the student to squeeze into it while keeping length in the spine.

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 Standing Postures

Modifications
Tight hamstrings or back—For the very inflexible, place the student’s palms against
a wall or on the seat of a chair to help avoid back strain while slowly stretching
the hamstrings. For those with more flexibility, place the palms on a yoga
block to provide support. Remind the student to focus on the length and
expansion of the spine while relaxing the back of the legs.
Tight groin—If the student is unable to abduct the legs far enough to place the
head on the ground, place a block or chair seat under the head for support.
Make certain that the prop is on a secure surface so that it will not slip.
Weakness—Place the student at the edge of a chair or on a fitness ball.
Instruct the student to bend forward from the hips and practice the variations
of the arm positions.
Modification: tight hamstrings or back.
Kinematics
As in Uttanasana, if the quadriceps contract concentrically, the hamstrings relax more readily. Like Uttanasana,
which focuses deeply on the hamstrings, Prasarita Padottanasana also stretches both the hip adductor group (inner
thigh) and the peroneal group (outer calf) at the lateral ankle joint. Note: Although four variations of the asana are
discussed, only variation 1 is described in the kinematic table.

Prasarita Padottanasana (Variation 1)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Lower leg Stability to counter body sway Gastrocnemius, anterior and Gastrocnemius, soleus, perone-
(muscles relaxing and contract- posterior tibialis, flexor digitorum als
ing as necessary to maintain longus, flexor hallucis longus (C,
balance) E, I)
Thigh Leg extension Quadriceps (C, I) Hamstrings, adductors
Hip and pelvis Hip flexion Hamstrings (E, I) Deep external rotators*
Thigh abduction, stability Tensor fascia lata (C, I)
Torso Spine extension Thoracic erector spinae (C, I) Lumbar erector spinae
Rib and chest elevation Pectoralis minor (C, I)
Shoulder Scapular abduction (Gravity induced) Latissimus dorsi, rhomboids, mid
trapezius
Overhead extension (Gravity induced)
Upper arm Humeral flexion (Gravity induced) Deltoids, triceps brachii, biceps
brachii, brachialis, brachioradi-
alis
Lower arm Elbow flexion (Gravity induced)
Wrist extension or hyperexten- (Gravity or ground induced) Extensor carpi radialis brevis and
sion longus, extensor carpi ulnaris
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (I)
Neck Extension None Sternocleidomastoid, splenius
capitus and cervicis, cervical
erector spinae
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Garudasana
Eagle Pose
[guh-rood-AAH-suh-nuh]

In Sanskrit, Garuda refers to the king of birds: the eagle. It also suggests the focus needed
to remain steady in this position.

Description
This one-legged balancing posture involves crossing the non-weight-bearing leg over the
standing leg. The thighs and hips are activated by the slight crouch. The mid back and
posterior shoulders are stretched as the arms cross in front of the chest. As with an eagle
focused and ready for action, this pose helps one develop stillness and concentration.

Energetic Focus
First chakra (Muladhara) grounding energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root through the metatarsal heads and the heel of the standing foot. Squeeze the
energy of the inner thighs together.

Benefits
• Helps develop focus, concentration, and increased balance.
• Provides a deep stretch in the outer hips, along the posterior
shoulders, and between the shoulder blades.
• Stretches and strengthens the calf and ankle of the standing leg.

Cautions
Hip replacement—For students with hip replacement, crossing the affected limb beyond the midline of the body
(adducting) is generally contraindicated (see the modifications section).
Knee injury—Students with knee concerns should use modifications.

Verbal Cues
• From Tadasana (Mountain Pose), find a gazing point (drishti) somewhere in front of you for focus. Keep your
gaze fixed on this spot throughout the posture to help eliminate visual distraction.
• Shift your weight slightly to your right leg. Root through the toes and heel of your right foot. Inhale to create
space in your spine and keep your pelvis square and aligned under the shoulders.
• Bring your hands to your hips and roll your front shoulders open as you exhale and slightly bend both knees.
Be sure that your body weight falls straight down from your spine and that your knees do not extend beyond
your feet. Flex your hips as if you were going to sit on a tall chair.
• Slowly lift your left heel off the ground. Breathe, and when you feel stable, lift your toes off the ground and
cross your left knee over your right leg above the right knee joint, keeping both knees bent. If possible, hook
the top of your left foot behind your right calf and slightly press your inner thigh muscles (adductors) toward
each other for stability.
• Keep the line of your sit bones directed toward the ground and your rib cage and chest lifted and open. With
every breath in, reach the crown of your head upward.
• Continue to focus on your breath.
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 Standing Postures

• Maintain length in your entire spine from your low back to your neck. Keep your body weight balanced with
your hips pressing back slightly and your spine as perpendicular to the ground as possible.
• Inhale and stretch your arms apart out to your sides, like wings. Exhale and cross your arms above the elbows in
front of your chest as if you were giving yourself a hug with your right arm over your left arm. Feel the shoulder
blades draw slightly apart.
• On an exhalation, externally rotate your upper arms so that the backs of your hands come closer together in
front of your face. If you comfortably can, press your palms together, essentially wrapping (binding) your arms.
Bring your hands in line with your gaze, along the midline of your body.
• Continue to focus on your breath—the smoother and steadier your breath, the steadier your balance. Imagine
drawing energy up from the ground and having it centered in your navel, where your center of mass sits.
• Breathe into the space between your shoulder blades, feeling them move slightly away from each other with
each inhalation, gently stretching the trapezius muscles. Be sure to soften your shoulders away from your ears,
keeping your neck as long as possible.
• To exit the posture, inhale and slowly unwind your arms. Uncross your left leg and place the foot on the ground.
Inhale and straighten your right leg. Prepare for the opposite side.

Adjustments
Balance—First, for better balance, instruct the student to spread the toes as wide as is
comfortable. Stand behind the student and place your hands lightly on either side of
the hips. While the student exhales, draw the hips slightly back and down. At the same
time, use the outside of one of your shoulders to press against the student’s mid back
in order to encourage the student to lift the rib cage and open the space between the
shoulder blades.
Knee of standing leg—If the knee of a student’s standing leg extends too far forward in
front of the line of the toes, stand behind and slightly to the side of the student with your
hip close to the student’s sacrum. Allow your hip to support some of the student’s body
weight. Holding onto the hips, gently move the student’s body weight back over the
heels.
Shoulders—Lightly touch the tops of the student’s shoulders to encourage the student
to relax the shoulders away from the ears.
Elbows—If the student’s arms are crossed below the elbow, on the forearm, stand to
the front of the student and grasp the upper arms and gently move each arm across
the student’s chest, toward the opposite shoulder. Do not attempt this adjustment
if the student has any shoulder injury or discomfort.
Adjustment: balance.
Modifications
Balance difficulty—Place the student with the back against a wall if one is available; if not, instruct
the student to keep the toes of the lifted foot lightly touching the ground or resting on a block.
Knee concerns—Encourage the student to keep the toes of the non-weight-bearing leg on the
ground to help maintain balance. This placement also keeps the supporting leg from taking all of
the body weight. Students with knee concerns should avoid hooking the top of the raised foot
behind the standing calf. Another option, which can also help those with balance difficulty, is to
sit at the edge of a chair or fitness ball (or lean against a wall) in order to keep the hips aligned
(and use the wall as a sort of training wheel as needed).
Hip replacement or extremely tight hip—Instruct the student to cross the legs at the ankle
joint and to avoid crossing the non-weight-bearing knee over the midline of the body.
Tight shoulders or large chest—If the student is unable to bring the elbows near each
other in front of the body, one option is to invite the student to focus on pressing the
forearms together and breathing fully into the space between the shoulder blades. The
student may also simply reach the top hand across to the opposite shoulder while
placing the bottom hand or forearm against the outside of the reaching arm, thus Adjustment: tight shoulders or
encouraging a stretch in the outside of the top arm as it crosses the chest. large chest.
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 Kinematics
To avoid placing undue stress on the weight-bearing leg, the knee joint should be aligned with or posterior to the
forefoot. Students whose upper body is heavy or tight will have difficulty wrapping the arms. In this case, instruct
them to give themselves a “hug” by reaching the hands toward the opposite shoulders. This action allows for a stretch
in the posterior shoulder musculature.

Garudasana (Standing on Right Leg)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Foot and toes (L) Toe hyperextension Extensor digitorum longus,
extensor hallucis longus (C, I)
Lower leg (R) Ankle dorsiflexion Gastrocnemius, soleus (E, I)
Ankle stability Anterior and posterior tibialis,
flexor digitorum longus, flexor
hallucis longus, peroneals (C,
E, I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis (C, I) Gastrocnemius, soleus
Ankle eversion Peroneals, extensor digitorum
longus (C, I)
Thigh (R) Knee flexion Quadriceps (E, I)
Knee stability Adductors (I)
Thigh (L) Knee flexion Hamstrings (C, I)
Hip and pelvis (R) Hip flexion, stability Hamstrings, gluteus maximus
(E, I)
Hip stability Gluteus medius and minimus,
adductors (I)
Hip and pelvis (L) Hip flexion Iliopsoas, rectus femoris (C, I) Gluteus medius and minimus;
deep external rotators*
Thigh adduction Adductors, gracilis, pectineus
(C, I)
Torso Trunk stability Rectus abdominis, internal and
external obliques, transverse
abdominis, erector spinae, qua-
dratus lumborum (I)
Postural support and downward Lower trapezius (C, I)
pull of scapulae

Shoulder Horizontal flexion of humerus
Stability and external rotation of
humerus
Scapular depression
Scapular stability
Pectoralis major, anterior deltoid, Rhomboids, upper and mid tra-
coracobrachialis (C, I) pezius, posterior deltoid
Infraspinatus, teres minor (I)
Pectoralis minor, subclavius (C, I)
Serratus anterior (C, I)

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Upper arm Elbow flexion Biceps brachii, brachialis, bra- Triceps brachii
chioradialis (C, I)
Lower arm Pronation of lower arm Pronator teres, pronator quadra-
tus (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Wrist stability Flexor carpi radialis and ulnaris,
palmaris longus (I)
Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger adduction Flexor and extensor pollicis
longus, adductor pollicis (C, I)
Neck Neck extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Utthita Parshvakonasana
Extended Side-Angle Stretch
[oot-T-HEE-tuh paarsh-vuh-kohn-AAH-suh-nuh]

In Sanskrit, Parshva means “side” or “flank,” kon means “angle,” and utthita means
“extended.” Thus Utthita Parshvakonasana is an extended side-angle (or flank-angle)
stretch.

Description
This posture is a side-stretching lunge in which one hand is placed on the
ground on the lunging side and the other arm is extended overhead. Moving
into it from Virabhadrasana II (Warrior II) is an easy transition.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy

Foundational Focus
Root into the metatarsal heads and the heel
of both feet. Anchor into the outer foot of
the back leg.

Benefits
• Stretches the side of the body.
• Helps relieve sciatica.
• Helps relieve hip, thigh, and low back pain caused by arthritis or imbalance.
• Opens the groin.
• Stabilizes the hip and knee joints.
• Opens and stabilizes the chest and shoulders.
• Increases circulation to structures around the heart and lungs.
• Tones the abdominal muscles.

Cautions
Knee concerns—Students with a knee injury should be extra careful to prevent the bent knee from either rolling
inward or extending beyond the line of the toes.
Neck pain or injury—Students with a neck concern should look forward and focus on keeping the sides of the
neck long.

Verbal Cues
• From Tadasana (Mountain Pose), extend your arms out to your sides with your palms facing down.
• Step your feet apart, abducting your legs, so that your feet are as far apart as your outstretched hands, or as far
apart as is comfortably challenging.
• Externally rotate your left leg out 90 degrees, then turn your right foot in slightly toward your left at about 45
degrees.

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 Standing Postures

• Exhale and slowly bend your left knee so that the top of your left thigh is as parallel to the ground as possible
while making sure not to extend the knee beyond the toes. If this misalignment happens, move into a slightly
wider stance.
• Inhale and open and expand from the front center of your spine. Feel your hips and shoulders opening and
your spine extending and lengthening.
• Exhale, keeping the foundation of your body strong, and reach through your left arm as your left rib cage extends
out over your left thigh. Continue to root through the outside edge of your right foot. Bend your left elbow and
place the forearm on top of your left thigh. Breathe here and allow your pelvis to naturally turn slightly toward
your left leg while your right thigh remains active and anchoring.
• If it feels comfortable to do so, on an exhalation, lower your left hand to the ground, to either the inside or the
outside of your left foot. By placing your left arm in front of the knee, you make it easier to press back with
your upper arm to keep your knee from rolling inward. Placing your hand behind your left foot makes it easier
to maintain a frontal plane orientation in your rib cage. Place your hand where you feel that it most supports
your body.
• Continue to focus on your breath.
• Take your right hand to your right rib cage and press back (externally rotating) if you feel your chest rolling
toward your left thigh. Inhale and reestablish the length in your side, expanding through the front and back of
your spine.
• On the next inhalation, sweep your right arm out in front of your body with your right palm facing the ground.
Keep your shoulders relaxed away from your ears and extend your right arm over your head so that your biceps
(upper arm) is close to your right ear. Imagine a strong line of energy drawing upward from the outside of your
right foot all the way into your right fingertips.
• Keep the space in your neck as long and extended as possible. Press your right thumb slightly back to open
your shoulder a bit more. Continue to root through your right foot while still pressing the outside of your left
knee laterally to open your groin. Visualize your thighs rolling away from each other, opening your hip joints
more with each breath.
• Remain focused on your breathing.
• To exit the position, press firmly through both feet and inhale while extending your left knee and sweeping your
right arm out to the right side of your body. Imagine that you are being pulled up by that right hand. Prepare
for the next side.

Adjustments
• Bent knee—If the student is physically able to do so, remind him
or her to maintain the bent knee at an angle where the thigh is
close to being parallel with the ground. If necessary, instruct
the student to adjust the distance between the feet in order to
modify the angle of the knee. If the knee rotates inward, semi-
squat behind the student and place your closest hand on the mid-
thigh of the bent knee and your opposite hand on the upper hip for
stability. Gently guide the bent knee into alignment.
• Hips and torso—Instruct the student to imagine rolling the front of
the straight leg externally to encourage more opening in the hip joint
without compromising the pelvis. Stand behind the student and brace
your knee against the back of the pelvis. Use your closest hand to sta-
bilize the top hip so that the student maintains balance. Use your other
hand to support the student’s upper body and maintain an open chest.
• Hand placement—Help the student decide whether to place
the lower arm in front of or behind the foot, depending on the
student’s stability, flexibility, and openness in the hips. If the
student is new to the pose or has overly tight hips, encourage
the use of a block. Adjustment: hips and torso.

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 Modifications
Stiff hips—If the student cannot comfortably reach the ground without
compromising the spinal alignment, instruct the student to bend the
elbow of the downward facing arm and place the forearm on the
bent thigh as close to the knee as possible. The student may also use
a block for leverage. Caution: Students often sink into the shoulder in this
modification. It can be difficult for them to achieve length in the side to
lift out of the low back and neck, so cue them to press the forearm down
into the thigh, or hand into the block, and lengthen the torso.
Balance concerns—A student with balance concerns can be placed
with her or his back against a wall to help maintain balance. It
is also helpful to use a block or chair to support the lower arm.
Stiff neck or shoulders—If the neck fatigues or is extremely stiff,
instruct the student to look down toward the foot of the bent Modification: stiff hips.
leg instead of forward.

Kinematics
Students new to the posture often practice it in the modified position, wherein the lower arm rests on the thigh of the
bent leg. Over time, as students increase strength and flexibility in the hips and shoulders, they develop the ability
to bring the hand closer to the ground. Generally, when you see a student’s lower shoulder pressed up near the ear,
you can suggest that the student try to bring the hand to the ground or to a prop.

Utthita Parshvakonasana (Flexing to the Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg (R) Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)

Lower leg (L) Ankle inversion, stability Anterior tibialis, flexor hallucis Gastrocnemius, soleus, perone-
longus (C, I) als
Ankle stability Peroneals (E, I)
Thigh (R) Knee flexion, stability Quadriceps (E, I)
Knee stability Hamstrings, popliteus (I)
Thigh (L) Knee extension Quadriceps (C, I)
External rotation of femur Deep external rotators* (C, I)
Hip and pelvis (R) Hip flexion, stability Hamstrings, gluteus maximus Adductors
(E, I)
Hip flexion, abduction, and sta- Tensor fascia lata (E, I)
bility
Pelvic stability Rectus abdominis (C, I)
External rotation of femur, sta- Deep external rotators* (C, I)
bility

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Hip and pelvis (L) Hip extension and stability Gluteus maximus, hamstrings Iliopsoas, adductors
(C, I)
Abduction Tensor fascia lata
Pelvic stability Rectus abdominis (C, I)
Torso Torso stability Erector spinae, rectus abdominis,
internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Rib and chest elevation Pectoralis minor (C, I)
Shoulder (R and L) External rotation Infraspinatus, teres minor (C, I)
Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Shoulder (R) Humerus abduction and shoul- Deltoids, infraspinatus, teres
der stability minor (C, I)
Shoulder (L) Humerus flexion Anterior deltoids, pectoralis Latissimus dorsi, pectoralis major
major, biceps brachii (C, I)

Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis

Lower arm Elbow Anconeus (C, I)

Forearm supination Supinator (C, I)
Hand and fingers Wrist hyperextension, stability, Extensor carpi radialis brevis and Flexor carpi radialis and ulnaris,
(R) finger extension longus; extensor carpi ulnaris; digitorum superficialis, palmaris
extensor digitorum, indicis, longus
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger abduction, stability Abductor pollicis longus, exten-
sor pollicis brevis, interossei
dorsales manus, abductor digiti
minimi, abductor pollicis brevis,
opponens pollicis (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
(L) longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Stability Splenius capitus and cervicis,
occipitals, cervical erector
spinae, scalenes, sternocleido-
mastoid (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

115
 Ardha Chandrasana
Half-Moon Pose
[AR-dhuh chuhn-DRAAH-suh-nuh]

Ardha is Sanskrit for “half,” and chandra is one of the

Sanskrit words for “moon.”

Description
This posture is named more for the pattern that
the body follows when entering the posture
than for what it looks like in the posture
itself. From Utthita Trikonasana (Extended
Triangle), the body weight is balanced on
the forward leg as the trailing leg lifts off the
ground in an arcing motion. If you visualize
the moon as a big circle, then the arc that the
non-weight-bearing leg moves through resembles the curve
of the half-moon. As an extension of Utthita Trikonasana,
Ardha Chandrasana provides similar benefits,
most notably in that it opens the chest, hips,
and pelvis.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, and fourth chakra (Anahata)
heart-opening energy

Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing leg. Root through the big toe with the
little toe acting as a counterbalance. Use the hand on the ground as a balance support.

Benefits
• Strengthens the musculature of the weight-bearing leg, as well as the hip and torso on the non-weight-bearing
side.
• Opens the chest and shoulders.
• Builds concentration and focus.
• Strengthens the hip abductors.

Cautions
Pregnancy—After the first trimester, this pose should be practiced with modifications.
Weakness or balance concerns—Those with extreme weakness or balance difficulty should use modifications.
Hip or knee replacement—Those with a replacement joint should either refrain from doing this pose or practice
it with modifications.

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 Standing Postures

Verbal Cues
• Begin in Utthita Trikonasana (Extended Triangle), with a 4 to 6 inch (10 to 15 centimeter) narrower stance.
• While extending your upper body over your right leg, bend your right knee and place your right hand down
to the ground in front of your toes. Turn your head to look at your right foot and mindfully keep your right
knee aligned with your right foot. Slightly press the knee externally to keep it from rolling inward, which can
compromise the joint.
• Breathe deeply in this position for a few breaths and focus on the balance and strength in your right leg. Keep
the space open in your hips, low back, and chest.
• Rest your left hand on your left hip. Check that your right leg continues to rotate externally and not inward—leg
alignment in this pose is very important. Imagine your breath lifting the arch of your right foot.
• Continue to focus on your breath.
• While keeping your right knee bent, extend your fingertips 4 to 8 inches (10 to 20 centimeters) further in front
of your right toes. Inhale and slowly straighten your right leg as you lift your left leg until it is parallel to the
ground. Press through the heel of your left foot, extending your toes to keep your leg strong. Focus on aligning
your hips over your right ankle and your balance in your right foot.
• Consciously maintain external rotation in your right leg, keeping your knee and toes in alignment. Rotate your
left hip back slightly; imagine that you are pressing your shoulder blades and hips against a wall behind you.
With each inhalation, expand the space from the front center of the spine. Remember: The steadier your breath
is, the steadier your balance will be.
• Turn to look forward, aligning your chin with your sternum, and keep length and space in your neck, shoulders,
and chest. Raise your left hand in the air and keep both arms reaching out from the center of your spine. Feel
the front of your shoulders externally rotate away from your chest. Use the energy in your right arm to help
maintain upper body balance and alignment without relying completely on the arm for overall balance.
• Continue to focus on keeping the action and energy moving outward through your legs.
• To exit this posture, slowly bend your right knee and lower your left leg back to the ground. Inhale as you
extend your right knee and bring yourself back into standing. Prepare
to repeat on the other side.

Adjustments
Standing leg—Make sure that the knee of the standing leg is aligned over
the ankle and rotated externally by 90 degrees. For a stable foundation,
it is usually best to have the student come out of the posture and move
back into it with any necessary modifications.
Hip—Stand behind the student, facing toward the head, and position
your closest hip against the student’s top leg, hip, or low back for
stability. Place your nearest hand on the student’s top thigh and
gently draw the pelvis toward you. Place your other hand on the
student’s nearest shoulder to help her or him maintain spinal alignment.
Extended leg—Standing behind the student, brace your nearest hip against
the student’s low back and place one hand lightly under the knee joint
to move the leg parallel to the ground.

Adjustment: hip.

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 Modifications
Balance training—Place the student with the back near a wall, which may be used to encourage
alignment as well as balance support. Instruct the student to press the top hip and shoulder toward
the wall. Also direct the student to place the fingers of the top arm against the wall and press gently
into the hand to move the body away from the wall for a breath or two.
Weakness in hip abductors—Position the student with the body perpendicular to a wall, so that the
sole of the non-weight-bearing foot is placed against the wall. The pressure helps with bal-
ance and with strengthening the lifted leg. If no wall is available,
stand facing the sole of the foot and instruct the student to
press the foot into your hand.
Difficulty reaching support hand to the ground—Place a block
under the student’s lower hand to aid in balancing and in maintaining
proper alignment. This modification should generally be used for all stu-
dents who are new to practicing this pose to help them get a feel
for balance and keep them from overstretching.
Pregnancy or extreme weakness or imbalance—Instruct the student Modification: pregnancy or extreme weakness or
to kneel and place one hand on the ground or on a block at her imbalance.
or his side and lift the opposite leg off the ground.

Kinematics
Because this version of Ardha Chandrasana is entered from Utthita Trikonasana—first flexing, then extending the
knee of the balancing leg—it greatly uses the quadriceps and gluteals. In addition, the pull of gravity challenges the
strength in the neck, hips, and spine as the student focuses on maintaining balance and alignment with the spine
and non-weight-bearing leg parallel to the ground.

Ardha Chandrasana (Standing on Right Leg)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe abduction, foot Dorsal interossei, abductor digiti
stability minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Foot and toes (L) Toe extension Extensor digitorum longus, ante-
rior tibialis, extensor hallucis
longus (C, I)
Lower leg (R) Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)

Lower leg (L) Ankle dorsiflexion Anterior tibialis, extensor digi- Gastrocnemius, soleus
torum longus, peroneus tertius
(C, I)
Thigh (R) Knee flexion and extension, Quadriceps (C, E, I) Adductors, gracilis
patellar elevation
External rotation of femur, sta- Gluteus maximus, deep external
bility rotators* (C, I)
Thigh (L) Knee extension, patellar eleva- Quadriceps (C, I)
tion

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Hip and pelvis (R) Hip flexion, stability Hamstrings, gluteus maximus
(E, I)
Hip stability Gluteus medius and minimus,
adductors (C, I)
Hip and pelvis (L) Hip extension Hamstrings, gluteus maximus
(C, I)
Hip stability (against gravity) Tensor fascia lata, gluteus medius
and maximus, deep external
rotators* (C, I)
Torso Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Rib and chest elevation Pectoralis minor (C, I)
Shoulder Humerus abduction, shoulder Deltoids, supraspinatus, (C, I) Pectoralis major
stability
Humerus depression, stability Subscapularis, infraspinatus,
teres minor (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Postural support in mid back, Lower trapezius (C, I)
downward pull on scapulae
External rotation of humerus Infraspinatus and teres minor
with some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)

Wrist hyperextension Extensor carpi radialis brevis and Flexor carpi radialis and ulnaris,
longus, extensor carpi ulnaris, digitorum superficialis, palmaris
extensor digitorum (C, I) longus
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Stability Splenius capitus and cervicis,
occipitals, cervical erector
spinae, sternocleidomastoid (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

119
 Parivrtta Parshvakonasana
Revolving Extended Side-Angle Stretch
[par-ee-VRT-tuh paarsh-vuh-kohn-AAH-suh-nuh]

In Sanskrit, Parshva means “side” or “flank,” and kon means “angle.”

Parivrtta means “the other side” and is often translated as meaning
“to revolve” or “revolving.” This posture is a twisted or revolving
flank stretch.

Description
Starting from Utthita Parshvakonasana (Extended
Side-Angle Stretch), the front torso rotates
toward the flexed thigh  and  away from the
anchoring back leg. It is a challenge to
keep the back foot rooted on the
ground, so the lower extremities
must provide anchoring that
connects the energy of the
body with the ground while
maintaining balance. The two popular variations of this posture usually involve changing the arm position. In one,
the top arm extends over the ears, as in Utthita Parshvakonasana. In the other, the hands are clasped together to
create a bind (see Modifications).

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root through the metatarsal heads and the heel of the front foot. Anchor into the outer edge of the back foot. Evenly
balance the grounding energy in both legs.

Benefits
• Combines the benefits of Utthita Parshvakonasana with a spinal twist.
• Improves digestion.
• Stimulates circulation.
• Builds balance and focus.
• Provides deep stretch in the hips and shoulders and in the upward-facing side of the body.

Cautions
Back concerns—As with other twists, a student with a back injury should be extra cautious and use modifications.
Neck concerns—A student with a neck concern should look straight ahead and focus on keeping length in the
sides of the neck.
Pregnancy—It is not advisable to practice this posture during pregnancy due to the extreme rotation in the torso.

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 Standing Postures

Verbal Cues
• Start from Utthita Parshvakonasana (Extended Side-Angle Stretch) with your right leg forward and your right
hand to the outside of your right foot. Bring your left hand from over your head to your left hip. You may need
to adjust your left leg by turning your front pelvis toward the ground and lifting your heel off the ground so that
you can square your hips and rotate your spine more comfortably.
• Once you feel balanced, press through the outside of your left heel, even if the heel does not reach the ground.
If the heel remains lifted, gently draw the energy of your inner thighs toward each other without actually moving
your thighs to help stabilize your balance.
• Rotate the center of your chest toward your right knee as you exhale. Reach your left elbow toward the outside
of your right leg. If the spinal rotation feels comfortable for you, place your left hand on the ground to the
outside of the right leg. If that degree of rotation is uncomfortable or overly challenging, place your left elbow
on top of, or slightly to the outside of the right thigh.
• On each inhalation, lengthen your spine and open your chest. On each exhalation, slowly rotate slightly fur-
ther toward the right, stopping at the first point of resistance. Stay mindful not to go past the edge of what is
comfortably challenging. The rotation should be felt in your mid-thoracic spine.
• Extend your right arm and lift your right hand over your head, bringing your upper arm near your right ear.
Gently guide your right thumb back to allow for more rotation in your right rib cage and openness in your
chest, if doing so is comfortable. Keep your gaze forward or look down toward your right foot, keeping both
sides of your neck long.
• Continue to focus on your breath.
• To exit this position, exhale and slowly lower your right hand back to the ground as you release the rotation in
your torso. Inhale and lift your left hand off the ground, and imagine being pulled up out of the lunge with that
hand as you also straighten your right knee, coming back into a standing position. Prepare for your next posture.
• Another option for exiting this position is to place both hands on the ground under the shoulders and step the
right leg back into a plank to move on to other positions.

Adjustments
Balance—Enable the student to stay in position with greater stability by offering a block on which to
place the lower hand. This option should be used with all students who are new to the pose.
Bent leg—Check that the student’s bent knee is not rotating inward. If it is, then guide the
knee into deeper external rotation by gently pressing your hand against the inside of
the student’s leg, slightly above the knee.
Shoulders—Instruct students that the shoulders should be as far away from the ears as
possible. Gently touch the tops of the shoulders as a reminder to relax in this area.
Spine—If the student is rounding the spine, gently touch the upper spine between
the shoulder blades as a reminder to elongate through this area. Cue the student
to visualize the spine as a long straight line, with the crown of the head moving
away from the back foot.
Overhead extended arm—The arm extended over the ear must be
rotated externally to open the chest and shoulders. Be sure that
the student’s palm faces down toward the ground. Stand or kneel
behind the student and hold the upper arm while gently rolling the
elbow toward the ground. Use the side of your body to stabilize
the student if necessary. Adjustment: shoulders.

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 Modifications
Difficulty in rotating and balancing—Cue the student to lower the back knee onto the
ground, square the hips, and bring the lower arm to the outside of the opposite leg, either
to the ground or to a block. The student can then rotate and open the body with more ease.
From there, the student can lift the back knee off the ground if so desired.
Back knee pain—If the back knee is uncomfortable on the ground, provide the student
with extra padding, such as a blanket or small pillow.
Tight shoulders—The hands can be in prayer position (Anjali Mudra)
so that the bottom elbow is used to press against the top or
outside of the bent thigh in order to create more leverage for
rotating the shoulders open.
Posture deepening—Binding the arms gives a deeper stretch in Modification: difficulty in rotating and balancing.
the chest and shoulders. Instruct the student as follows: “Bend
the elbow that is placed to the outside of your bent knee, then
rotate your forearm inward so that it goes under your thigh.
Lower your rib cage slightly further toward your front thigh and
reach your lower hand toward the outside of the same-side hip.
Next, bend the opposite (top) elbow and rotate the front of the
shoulder toward the sky (hyperextending the shoulder). Bring the
back of that hand against your spine, reaching toward the opposite
hand.” If the student cannot quite clasp the hands together, provide
a strap and work the hands toward each other. Make sure that the
strap remains securely on the upper hamstrings for comfort.
This positioning stretches the chest and the front of the shoul-
ders more intensely. You can move students deeper into the
position if they are stable by moving the hip of the bent knee Modification: deepening the posture.
toward the back foot, thus creating more space in the torso.

Kinematics
This posture uses a considerable amount of energy due to the stability and concentration required to maintain both
balance and alignment. Most students will be comfortable practicing any of the modified versions of the pose.

Parivrtta Parshvakonasana (Flexing and Rotating to the Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus (C, I)
Lower leg (R) Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)

Lower leg (L) Ankle inversion, stability Anterior tibialis, flexor hallucis Gastrocnemius, soleus,
longus (C, I) peroneals

Thigh (R) Knee flexion Quadriceps (E, I) Hip adductors

Thigh (L) Knee extension Quadriceps (C, I)

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 Standing Postures

Body segment Kinematics Muscles active Muscles released

Hip and pelvis (R) Hip flexion, stability Hamstrings, gluteus maximus (E, I)
Hip flexion, abduction, stability Tensor fascia lata (E, I)

External rotation of femur, sta- Deep external rotators,* gluteus

bility maximus (C, I)
Hip and pelvis (L) External rotation of femur, sta- Deep external rotators,* gluteus Iliopsoas, hip adductors
bility maximus (C, I)
Hip extension, stability Hamstrings, gluteus maximus (C,
I)
Torso (R and L) Trunk stability Erector spinae, internal and exter-
nal obliques, rectus abdominis,
transverse abdominis, quadratus
lumborum (I)
Rib and chest elevation Pectoralis minor (C, I)
Torso (R) Rotation to right Internal obliques, quadratus lum- External obliques
borum (C, I)
Torso (L) Rotation to right External obliques (C, I) Internal obliques, quadratus
lumborum

Shoulder (R and L) Scapular adduction Rhomboids, mid trapezius (C, I)

Shoulder (R) Humerus flexion Anterior deltoids, pectoralis Posterior deltoids, serratus
major, biceps brachii (C, I) anterior
External rotation Infraspinatus, teres minor (C, I)

Shoulder (L) Humerus abduction, shoulder Deltoids, infraspinatus, teres

stability minor, posterior deltoid (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Slight hyperextension of Posterior deltoid, teres major,
humerus, stability latissimus dorsi (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Elbow extension Anconeus (C, I)
Forearm supination Supinator (C, I)

Hand and fingers Finger extension Extensor digitorum, indicis, and

(R) digiti minimi; lumbricales manus;
interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor pol-
licis (C, I)
Hand and fingers Wrist hyperextension Extensor carpi radialis brevis and Flexor carpi radialis and ulnaris,
(L) longus, extensor carpi ulnaris, digitorum superficialis, palmaris
extensor digitorum (C, I) longus
Finger extension Extensor digitorum, indicis, and
digiti minimi; lumbricales manus;
interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor pol-
licis (C, I)
Neck (R) Stability Sternocleidomastoid, splenius
capitus and cervicis, occipitals,
cervical erector spinae (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right. 123
 Parivrtta Ardha Chandrasana
Revolving Half-Moon Pose
[par-ee-VRT-tuh AR-dhuh chuhn-DRAAH-suh-nuh]

In Sanskrit, Parivrtta means “the other side” and is often translated to mean “to revolve” or
“revolving.” Ardha is Sanskrit for “half,” and chandra is one of the Sanskrit words for “moon.”

Description
Parivrtta Ardha Chandrasana is basically the
half-moon posture with the upper torso
revolving to the opposite side. One can enter
this posture from either Ardha Chandrasana
(Half-Moon Pose) or Parivrtta Trikonasana (Revolving Triangle
Pose). This asana is much more challenging than Half-Moon due to the
twist, which requires greater strength for balance and greater flexibility
to rotate and remain open in the chest. Before attempting this posture,
beginning students should be able to balance for at least two or three breaths
in the other standing balance postures, and will generally require props.

Energetic Focus
First chakra (Muladhara) grounding energy,
second chakra (Svadisthana) creative energy

Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing foot. Root through the big toe, with the
little toe acting as a counterbalance.

Benefits
• Improves flexibility and strength in the hips and torso.
• Builds balance and focus.
• Increases stamina.
• Tones the abdominal muscles.

Cautions
Weakness or dizziness—Anyone feeling weak or dizzy should skip this posture.
Back or neck concerns—Anyone with acute back injury should avoid this pose. Those with neck issues should
practice with caution or modification.
Pregnancy—It is inadvisable to attempt this posture during pregnancy due to the extreme rotation in the torso.

Verbal Cues
• From Utthita Trikonasana (Extended Triangle), extending to the right side, exhale and draw the crease of your
right hip back toward your left heel. Place your hands on your hips and slowly rotate the front of your left hip
toward your inner thigh. Press firmly through your left foot for grounding and balance.
• Bend your right knee and rotate it slightly outward. Fold forward more deeply from your hips and place your
left fingertips on the ground approximately 4 to 6 inches (10 to 15 centimeters) in front of your right foot.

124
 Standing Postures

• Root through your right foot and on an inhalation begin to transfer the weight of your left leg forward over your
right foot and left hand. Breathe steadily, and when you feel balanced, slowly lift your left foot off the ground.
• Look down at the ground as you straighten your right leg. Maintain length on all sides of your spine. When you
find your balance and alignment in your hips, continue reaching out of your extended back leg. Lengthen the
front of your spine and rotate the right side of your torso toward the sky.
• Roll your right shoulder blade back and down toward your hips. Lift your right arm toward the sky and keep
length in your neck. Anchor strongly into the right leg, using your left hand to guide your balance.
• Continue to focus on your breath, pressing strongly through your non-weight-bearing leg. Spread the left toes
to keep the foot active and feel a line of energy moving from the shoulders through the entire left leg.
• To exit this position, inhale and slowly bend your right knee while setting your left foot back on the ground. Your
chest will naturally rotate forward out of the twist. Take another breath, and on the next inhalation straighten
your right leg and lift your torso. Exhale and bring your arms to your sides. Prepare for the next posture.

Adjustments
Support foot—Instruct students to spread the toes and keep the supporting knee aligned with
the foot, drawing energy up through the arch. Remind them to spread the toes and press
through the back lifted foot and leg.
Balance—To help a student maintain balance, stand on the side of the elevated leg and use
your hip or ribs to provide support. Place the hand closest to the student’s legs on the
top hip, to provide support and to slightly draw the hip away from the lower ribcage.
Use your other hand to lift or gently guide the top shoulder toward the opposite side of
the body for greater rotation.
Hips—Create alignment in the hips by encouraging the student to
point the hip of the lifted leg toward the standing leg as much as
possible. Brush your fingertips on the crease of the standing hip to
encourage length in the torso.
Exiting the posture—To come out of this posture, students need to focus on moving slowly
and being mindful of body positioning. Focusing on the breath enables them to exit
the posture as gracefully and purposefully as possible. To assist a
student physically, stand to the side of the weight-bearing leg with
your hip blocking the student’s hip. Place your closest hand on the
student’s upper shoulder and your other hand on the opposite hip Adjustment: balance.
and gently guide the person to unwind and come upright.

Modifications
Difficulty reaching ground with hand—If a student has difficulty lowering to the ground while maintaining balance,
provide a block or the seat of a chair for the lower hand. This modification should also be used by most students
who are new to this pose to help provide balance and alignment without strain.
Balance—You can help students establish and maintain balance in a number of ways. One
way is to instruct them to keep the upward rotating hand on the hip instead of extending
the hand toward the sky. Students can also place the hands against a wall for support or
place the sole of the lifted foot against a wall for stability.
Strength building, balance building, weakness, or pregnancy—Instruct students to
start with a “baby” Revolving Half-Moon to build strength, flexibility, and
balance. Starting with the hands and knees on the ground, students
place the left hand on the ground to the outside of the right knee.
Instruct them to rotate the torso to the right and rest the right hand
on the right hip or extend the right hand in the air as they lift and
extend the left leg back. Some students may require the use of a Modification: strength building, balance building,
block under the forearms and a blanket under the knees. weakness, or pregnancy.

125
 Kinematics
Because the lifted leg has nothing to press against, more effort is required to keep the spine lengthened and to open
the chest. This posture requires the deeper stabilizing musculature of the hips, pelvis, and spine to achieve and
maintain alignment and balance.
Parivrtta Ardha Chandrasana (Standing on Right Leg)
Body segment Kinematics
Foot and toes (R) Toe abduction, foot stability
Toe flexion (pressure into
ground)
Foot and toes (L) Toe extension
Lower leg (R) Stability to counter body sway
and contract and relax as needed neals, posterior tibialis, flexor
Lower leg (L) Ankle plantar flexion
Thigh (R) Knee extension, patellar eleva-
tion, stability
Thigh (L) Knee extension, patellar eleva-
tion
Hip and pelvis (R) Flexion, stability
Hip stability
External rotation of femur
Hip and pelvis (L) Hip extension
Torso (R and L) Trunk stability
Rib and chest elevation
Torso (R) Trunk rotation to right
Torso (L) Trunk rotation to right
Shoulder Humerus abduction, shoulder
stability
Scapular adduction
Supporting posture in mid back,
downward pull of scapulae
External rotation of humerus
126
Muscles active Muscles released
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Flexor digitorum longus and
brevis, flexor hallucis longus
(C, I)
Extensor digitorum longus, ante-
rior tibialis (I)
Gastrocnemius, soleus, pero-
digitorum longus, flexor hallucis
longus (C, E, I)
Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Quadriceps (C, I) Adductors, gracilis
Quadriceps (C, I)
Hamstrings, adductors (E, I) Hamstrings
Gluteus medius and minimus
(C, I)
Gluteus maximus, deep external
rotators* (C, I)
Hamstrings, gluteus maximus
(C, I)
Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Pectoralis minor (C, I)
Internal obliques, quadratus lum- Erector spinae, external obliques
borum (C, I)
External obliques (C, I) Quadratus lumborum, erector
spinae, internal obliques
Deltoids, infraspinatus, teres Pectoralis major
minor (C, I)
Rhomboids major and minor,
mid trapezius (C, I)
Lower trapezius (C, I)
Infraspinatus and teres minor
with some posterior deltoid (C, I)
 Standing Postures

Body segment Kinematics Muscles active Muscles released

Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm (R) Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
(R) and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Hand and fingers Wrist hyperextension, stability, Extensor carpi radialis longus Flexor carpi radialis and ulnaris,
(L) finger extension and brevis; extensor carpi digitorum superficialis, palmaris
ulnaris; extensor digitorum, indi- longus
cis, and digiti minimi; lumbri-
cales manus; interossei dorsales
(C, I)
Neck Stability Sternocleidomastoid, splenius
capitus and cervicis, occipitals,
cervical erector spinae (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

127
 Utkatasana
Fierce, or Chair Pose
[OOT-kuht-AAH-suh-nuh]

This pose is fierce (utkata in Sanskrit) because when practicing it, one draws energy from and builds
strength in the thighs and hips, wherefrom warriors drew much of their power and virility in Indian
mythology. Thus Utkatasana is a very symbolic pose. Many yoga styles simply call the pose "chair
pose," as it resembles someone sitting.

Description
Although the positioning appears as if one is sitting in an uncomfortable chair, it is considered
a semi-standing squat with the arms lifted overhead. The energy used in this pose helps warm
the muscles in a short time. This posture is part of Surya Namaskara B.

Energetic Focus
First chakra (Muladhara) grounding energy

Foundational Focus
Root evenly through both heels. Anchor with the metatarsal
heads. Evenly balance the grounding energy in both legs.

Benefits
• Builds strength and endurance in the hips and thighs.
• Improves balance.
• Stabilizes and balances the knee joint musculature.
• Opens and tones the chest and shoulders.

Caution
Knee injury—Those with knee pain or injury should avoid bending the knees deeply.

Verbal Cues
• Begin from Tadasana (Mountain Pose) with your feet and legs parallel and your toes and knees pointed forward.
Inhale and raise your arms forward and parallel to the ground with your palms facing each other. Feel your
shoulders soften. Press your palms together; you may keep your hands shoulder-width apart if that is more
comfortable for you.
• Softly elongate your neck so that your ears move up away from your shoulders. Keep your chest lifted and
continue to lengthen through your entire spine.
• On the next inhalation, raise your arms higher so that your hands are overhead. Soften through your shoulders.
• Exhale and bend your hips, knees, and ankles. As you lower your torso, try to keep your hips aligned slightly
behind the line of your heels and to keep your knees back behind your toes. Engage the muscles in the back
of your thighs and in your buttocks and imagine them helping to hold your thighs up; this stabilizes the knee
and hip joints.
• Continue to connect with your breath, keeping an even rhythm as the effort in your legs increases.

128
 Standing Postures

• Feel your sit bones sink downward and notice the extension in your low spine. Gaze forward as you draw your
thumbs up and back to open your shoulder joints. Take time to breathe deeply, opening your chest and relaxing
your shoulder blades down slightly from your ears.
• Be sure that your neck is comfortable so there is space in the back of your neck. If you are uncomfortable at all
in your neck or shoulders, lower your arms so that they are parallel to the ground, as at the beginning.
• Feel the energy of your inner thighs drawing together without moving your legs and keep your knees aligned
behind the line of your toes. Notice that your hips feel as if they are being pulled backward and down, as if
you were preparing to sit. At the same time, allow your rib cage to lift toward the sky.
• Find yourself in the space where you are the most comfortably challenged and continue to focus on your breath.
• To exit this posture, inhale deeply as you straighten your hips and knees. Exhale and lower your arms back to
your sides in Tadasana.
• A nice countering pose is Uttanasana (Intense Forward Bend), which will balance the intensity of this pose
with relaxation.

Adjustments
Feet and knees—Instruct the student to position the feet so that
they point directly forward. If the student’s knees are not aligned
in the same plane as the feet, gently press against the outsides of the
student’s knees. Occasionally, a student will attempt to squat too deeply,
thus causing the knees to compensate by rotating externally. To regain align-
ment, instruct the student to straighten up slightly.
Lower extremities—Students often align the hips and knees too far forward. To
adjust a student’s posture, stand in a semi-squat behind and to one side of the
student and place your hands on the sides of the student’s hips. Gently and
slowly guide the hips backward. Because the student’s balance will shift as
you move the hips, you must move slowly and with care. Remind the student
to direct the sit bones toward the ground in order to keep length
in the low spine.
Spine—If the student is standing with an accentuated forward
pelvic tilt (swayback), instruct the student to point the sit bones Adjustment: lower extremity.
toward the ground and to keep length in the low spine. You can
place your hands lightly at the low spine, above the pelvis, as a reminder to lengthen the area. If the student flexes
at the hips so much that the chest tilts significantly toward the ground, remind the student to imagine sitting in a
chair and to draw the spine toward the seat back. Sometimes straightening the knees a bit helps realign the torso.
Chest—If the student’s chest is collapsing inward, help rotate the arms externally to keep the shoulders open. Standing
in front of the student, place your hands on the upper arms, and externally rotate the elbows toward each other
and toward the midline of the body. Also, you can gently guide the student’s thumbs toward the back of the body to
open the shoulders even more.

Modifications
Weakness or knee pain—Instruct students not to squat down too far. Focus on the alignment and on lengthening the
spine. Over time, invite students to increase the flexion once they have gained muscular strength and muscular
endurance.
Balance difficulty and leg weakness—Place the student with the back against the wall for support, both for balance
and for gradually gaining strength in the thighs and hips.
Standing instability and late pregnancy—Suggest that students place the feet farther apart for better stability. Remind
them, however, to ensure that the knees do not turn inward.
Strength building—Place a towel or small ball between the student’s knees and a block between the hands to help
target the knee and shoulder alignment. By pressing against the props, the student increases strength at the point
of proper alignment.

129
 Kinematics
The body positioning of this asana is similar to that of a traditional squat but with the legs closer together. Still,
even though no additional load is placed on the body, the alignment in the sagittal plane in this asana helps build
and maintain joint stability. To provide a balanced load in the knee joint, cue students to engage the adductors and
hamstrings, as well as the quadriceps, for greater comfort and stability. Proper body alignment generally enables
synergy in the anterior and posterior musculature.

Utkatasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Lower leg Ankle dorsiflexion, stability Gastrocnemius, soleus (E, I) Gastrocnemius, soleus
Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)
Thigh Knee flexion, stability Quadriceps (E, I)
Knee stability Hamstrings, popliteus (I)
Hip and pelvis Hip flexion Hamstrings, gluteus maximus
(E, I)
Pelvic stability Rectus abdominis, quadratus
lumborum, hamstrings (I)
Hip stability Adductors, gluteus maximus (I)
Torso Spinal extension and stability Erector spinae (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Shoulder Humeral flexion (90 to 180 Anterior deltoids, pectoralis Latissimus dorsi, serratus anterior
degrees) major, biceps brachii (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)

Scapular adduction Rhomboids major and minor,

mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis;
suboccipitals, semispinalis, and
upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

130
 Standing Postures

Virabhadrasana I
Warrior I
[veer-uhb-huh-DRAAH-suh-nuh kuh]

In the Western hemisphere, this pose is known as Warrior I. In India, tradition uses
letters of the alphabet rather than numerals as descriptors, and the first consonant
letter of the Sanskrit alphabet is pronounced “kuh.” Virabhadra is the name of a
powerful mythical warrior who, according to legend, was so great that when a hair
of his dropped to the earth it caused a great army to arise.

Description
Warrior poses are not only symbolic of warrior energy but also quite physical
in that they require considerable strength in the muscles of the legs,
which represent virility and power. At the same time, all three warrior
asanas demand that the chest and heart area remain open, thus
illustrating bravery, vulnerability, and openheartedness. The
arms and legs are active, while the heart center, when open,
banishes the fear of death.
The Warrior I variation is a standing forward lunge. The
hips face forward with the legs in the sagittal plane—one leg forward and the other back—instead of having both
legs out to the sides (in the frontal plane) as in Utthita Trikonasana (Extended Triangle) and Vrkshasana (Tree Pose).
Virabhadrasana I works deeply into the hip muscles. In many active vinyasa or Ashtanga classes, it is commonly
entered from Adho Mukha Shvanasana (Downward-Facing Dog).

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the metatarsal heads and the heel of the front foot. Anchor into the outer edge and big toe of the back foot.
Evenly balance the grounding energy in both legs.

Benefits
• Strengthens the lower extremities, particularly the thighs.
• Stabilizes the hips, knees, and ankles.
• Builds strength and endurance.
• Opens the shoulders, chest, and abdomen.
• Improves flexibility and stamina in the spine.

Cautions
Knee injury—Students with knee pain or injury should be extra careful to flex the knee less than 90 degrees and
to prevent the knee from turning inward.
Shoulder concerns—Students with shoulder pain or injury should modify the pose by keeping the arms parallel
to the ground, or even with the hands on the hips.
High blood pressure—Students with high blood pressure or other heart concerns should keep the arms parallel
to the ground.

131
 Verbal Cues
• From Adho Mukha Shvanasana (Downward-Facing Dog), inhale and take a giant step forward with your right
leg so that your foot aligns between your hands, with your knee joint stacked over your ankle joint and your
toes and knee facing forward. Externally rotate your left foot about 45 degrees and press the outer heel and
pinky toe to the ground. (If entering from Tadasana [Mountain Pose], take a large step back with your left leg
and align your legs, as just described, then flex your front leg into a lunge.)
• Inhale and raise your torso so that it is perpendicular to the ground and your hips are as level as possible with
your front knee. Try to keep your right knee bent at 90 degrees so that your right thigh remains parallel to the
ground. Exhale, press your inner thighs toward each other, and feel your left hip draw forward, squaring your
hips more evenly under your shoulders.
• Inhale and raise your arms overhead with your palms either pressed together or shoulder-width apart. Soften
your shoulders and press your thumbs back slightly to open your chest and shoulder joints. Direct your gaze
forward to a distant point on the ground (drishti). Keep your chin parallel with the ground.
• Press firmly into the outside of your left foot and heel and continue to draw your inner left thigh toward your
right leg. The front of your left pelvis will align slightly behind the line of your right pelvis. Allow your right
knee to open slightly toward your right pinky toe.
• As you settle your hips into this pose, imagine sliding your right heel back slightly. This engages the hamstrings
and gluteals to help stabilize the knee joint while relieving some of the work in the quadriceps. Connect to
the power in your legs.
• Continue to focus on your breath.
• Inhale and elongate through your lower spine and feel your rib cage lifting and arching back slightly.
• With each exhalation, notice your lower body feeling more grounded. With each inhalation, lift your chest
slightly higher; notice a lightness in your upper body.
• Keep your left heel firmly connected to the ground, pressing through the outer edge of the foot, and draw
energy up from the arch into your pelvis. This action helps maintain alignment in the pelvis and increases the
balance and grounding in the pose.
• Maintain smooth, steady breaths as you feel the strength in the energy of your whole body.
• To exit this position, press through your right leg, extending your knee, and step your
left leg forward. Alternatively, you can bend forward at the hips, place your hands
on the ground, and step or jump back to flow into another posture.

Adjustments
Back foot—To help maintain grounding in the back leg, walk to the student’s side and
use your toes to lightly brush against the outer edge of the heel, thus encouraging
the student to press the foot into the ground. Do not push too hard!
Front knee—Lightly touch the medial side (inside) or top of the student’s knee and
guide the leg into a slight external rotation, which keeps the knee from rolling
inward. Instruct the student to lift the arch slightly, while continuing to maintain
balanced pressure through the toes and heel. This adjustment helps stabilize the
energy through the knee joint.
Hips—To align a student’s hips comfortably under the shoulders, place your
fingers at the outer edge of the crease in the flexed hip and gently guide
the hip back. At the same time, lightly press the back hip forward.
Spine—Remind the student to keep the top of the pelvis level. Brush
your hand upward on the low spine, encouraging length through
the lower vertebrae.

Adjustment: knee.

132
 Standing Postures

Upper torso—Stand behind the student and place your hands on the upper arms, with your thumbs to the inside
and your fingers to the outside of the arm, near the shoulders. Gently rotate the student’s arms externally, so that
the elbows rotate slightly inward and toward each other.
Shoulders—Instruct students to softly draw the shoulders down away from the ears to keep space in the sides of the
neck. Place your hands gently on top of the shoulders and press softly downward and outward.
Chest—Remind students to keep the chest lifted. To help physically, place your fingertips or the palm of your hand on
the mid spine. Ask the student to lift the back forward
and up, away from your hand.

Modifications
Weakness, fatigue, or pregnancy—Students can
place a chair, stool, or fitness ball under the hips
to take some of the body weight off of the front
leg. The prop increases stability and balance and
reduces the amount of energy needed for main-
taining proper position. It also allows students
to focus on centering energy and on body align-
ment. When using a chair, turn it sideways so that
the chair back is nearest to the forward leg,
thus enabling the student to use
the closest hand to hold onto
the chair back for support.
Weak shoulders—If a stu- Modification: weakness, fatigue, or pregnancy.
dent has an acute shoulder
condition with limited range of movement, instruct the student to raise the arms
only as high as is comfortable. For a gentle strength-building option, encourage
the student to flex the arms at the shoulders with the palms facing each other at
shoulder height. Instruct the student to keep the thumbs pointed up or exter-
nally rotate the arm so that the palms face upward. The shoulders often
fatigue quickly in beginning students and those who are recovering
from injury. Invite these students to orient the upper arms out to the
sides with the elbows bent at 90 degrees and pointed outward toward the
side walls with the fingers extended—in other words, in a shape resembling
that of an American football goalpost. For weaker individuals, encourage them to
place the hands on the hips, with the fingers pointing back to keep the shoulders in
external rotation, and the chest open. Modification: weak shoulders.

Knee concerns—The lunge in this asana is beneficial in strengthening the quadriceps and aligning the kneecaps.
Students with a compromised knee joint should move slowly into and out of this pose and should focus on align-
ment. Instruct them to flex the front knee only as far as is comfortable, while keeping the hips higher than the knee.
They should also keep the front shin perpendicular to the ground and simultaneously engage both the quadriceps
and the hamstrings. In another possible modification, “Baby Warrior,” the back knee rests on the ground instead
of being straight and lifted. This lunge is similar to that practiced in classical Sun Salutations. For comfort, students
often require a soft prop, such as a blanket or towel, under the kneecap on the ground.

Kinematics
Because students are so focused on the front knee, they are often unaware that the hips are not aligned and that the
hip of the back leg is rotated backward. The more firmly they press through the back foot, the more the hip flexors
stretch to allow the pelvis to rotate freely forward. You can help students reorient the hip of the back leg forward, as
well as increase balance, by reminding them to imagine drawing the inner thighs toward each other.

133
 Virabhadrasana I (Right Leg Forward)
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Lower leg (R) Slight ankle dorsiflexion, stability Gastrocnemius, soleus (E, I) Gastrocnemius, soleus

Ankle stability Peroneals, anterior and posterior

tibialis, flexor digitorum longus,
flexor hallucis longus (C, E, I)
Lower leg (L) Ankle inversion, stability Anterior tibialis, flexor hallucis Peroneals, gastrocnemius, soleus
longus (C, I)
Thigh (R) Knee flexion, stability Quadriceps (E, I)
Knee stability Hamstrings, popliteus (I)
Thigh (L) Knee extension Quadriceps (C, I)
Hip and pelvis (R) Pelvic stability Rectus abdominis, iliopsoas (I)
Hip flexion Hamstrings, gluteus maximus
(E, I)
External rotation Gluteus maximus, deep external
rotators* (C, I)
Hip and pelvis (L) Pelvic stability Rectus abdominis, hamstrings, Rectus femoris, iliopsoas
adductors (I)
Hip stability, hyperextension Adductors, gluteus maximus,
gluteus medius tensor fascia lata,
hamstrings (C, I)
Torso Rib and chest elevation Pectoralis minor (C, I)
Slight spinal hyperextension and Iliopsoas, rectus abdominis (E, I)
stability
Trunk stability Internal and external obliques, Rectus abdominis
transverse abdominis, quadratus
lumborum, erector spinae (I)
Shoulder Humeral flexion, stability Deltoids, pectoralis major, Latissimus dorsi, serratus anterior
biceps brachii (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoids (C, I)
Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis

Lower arm Forearm supination Supinator (C, I)

Head and fingers Elbow extension Anconeus (C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Stability Splenius capitus and cervicis,
suboccipitals (I)

*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.
134
 Standing Postures

Virabhadrasana II
Warrior II
[veer-uhb-huh-DRAAH-suh-nuh k-huh]

In the Western hemisphere this pose is

known as Warrior II; it is the second asana
named after the warrior Virabhadra. The second
consonant in Sanskrit is pronounced “k-huh”—similar to that of Warrior
I (“kuh”), but in this case the sound is aspirated. As a guide to proper
pronunciation, it takes twice as much breath to say “k-huh” as
it does to say “kuh.”

Description
This lunge posture is similar to that of Virabhadrasana I,
but instead of the chest facing forward in the sagittal
plane, the bent leg here is rotated externally,
directly out to the side, with the arms abducted
and parallel to the ground in the frontal
plane. The spine is perpendicular to the
ground with the natural curves intact.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadisthana), third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the heel of the flexed leg. Anchor into the heel and outer edge of the extended leg. Evenly balance the
grounding energy in both legs.

Benefits
• Opens and strengthens the hip musculature.
• Tones the lower extremities.
• Opens and stretches the shoulders, chest, and abdomen.
• Works on subtle alignments of the upper body.
• Opens and strengthens the shoulder joints.
• Builds muscular endurance.
• Tones the abdominal muscles.

Cautions
Knee concerns—Students with knee injury or weakness should practice with modification.
Neck concerns—Students with neck injury or pain should avoid turning the head and gaze forward instead.
Pregnancy—After the second trimester, students should proceed with caution and modification.

Verbal Cues
• From Tadasana (Mountain Pose), inhale and reach your hands over your head. Exhale and lower your arms out
to your sides until they are parallel to the ground. Step your right leg out to the side so that your feet are as far
apart as your outstretched hands, if doing so is comfortable.
135
 • Rotate your left foot slightly inward toward your right heel and rotate your right leg out at 90 degrees so that
a line drawn from the heel of your right foot would bisect your left arch. Press evenly through both feet and
breathe comfortably.
• Orient your outstretched arms and shoulders in the frontal plane. Allow your left hip to rotate slightly inward
toward the right to protect the structural integrity of your sacrum. Continue to press fully into your left outer
heel for anchoring.
• Inhale and elongate through your spine while keeping the top of your pelvis parallel to the ground. Imagine
externally rotating both thighs, opening them from the center away from each other. Feel the energy of your
legs increase.
• Exhale and turn your head to the right, gazing past your right fingertips. Align your chin with your right shoul-
der and soften through your neck. If you feel your shoulders rise, rotate your palms upward to encourage your
shoulder blades to soften away from your ears.
• Exhale and bend your right knee until your hips and right knee are bent at about 90 degrees. Draw energy
upward from your right hamstrings and gluteals by imagining that you are drawing your right heel back, toward
your left foot. This action helps to stabilize the knee.
• Continue to extend through your left leg and left arm. Feel your left rib cage press back to keep your torso from
rotating too far out of the frontal plane. Allow your front pelvis to naturally turn slightly toward the right for
comfort and to support your lower back and sacrum.
• Continue to focus on your breath.
• Keep your right thigh opening out to the right while rooting through the heel and big toe of your right foot.
Visualize a wall behind your back and imagine gently pressing the back of your left thigh, rib cage, and shoul-
ders toward it.
• With each exhalation, let your hips lower toward the ground as you bring the top of your right thigh parallel to
the ground. Make certain that your right knee does not extend beyond the line of your right foot.
• To exit the posture, inhale and straighten your right leg. Rotate your toes forward and bring your arms to your
sides. Prepare for the next side or asana.

Adjustments
Bent knee—Remind students to roll the front thigh outward by lightly brushing your hand against the outside of the
knee; alternatively, just point to the knee and remind students verbally. You can also semi-squat behind a student
and place one hand on the mid thigh of the flexed leg and the other hand on the outside of the opposite hip for
stability. Slowly externally rotate the student’s flexed thigh to more fully open the pelvis.
Hips and knees—If a student has difficulty keeping the bent knee and opposite hip apart, place the student’s back
against a wall so that less energy is expended on balancing and more can be used to consciously open the front
of the body. Instruct the student to press the extended leg back toward the wall. To
make a hands-on adjustment, stand to the student’s back, place one hand on the
student’s flexed thigh and the other hand on the outside of the opposite thigh, and
encourage the student to draw the thighs away from each other.
Hip height—Stand behind the student, place your hands lightly on
the outer hips, and guide the pelvis lower. Be sure that the stu-
dent is both strong and balanced enough to comfortably manage
this adjustment. You may need to suggest that the student take the legs farther
apart in order to avoid placing excessive stress on the bent knee while working
to engage the hips and legs more fully.
Shoulders—Instruct students to relax the shoulders down away from the
ears. Place your hands softly on the tops of the shoulders and gently
guide them downward.
Spine—If a student’s spine leans out over the bent leg such that the
spine is no longer perpendicular to the ground, stand behind
the student with your hands on the sides of his or her ribcage
and lightly guide the torso back to center by gently aligning the Adjustment: spine.

136
 Standing Postures

shoulders over the hips. Instruct the student to guide the pelvis toward the bent knee
while keeping the crown of the head pointing directly upward.

Modification
Pregnancy, weakness, or rehabilitation—Instruct the student to
bend the front knee less than 90 degrees. This modification requires
less muscular energy and endurance. The student can also use a wall, chair, or
fitness ball for support.

Kinematics
It is usually best to instruct students to place the feet slightly wider apart
than the distance of the outstretched hands, if it is comfortable
for them to do so. Otherwise, the feet tend to be too close
together when moving into the lunge, and the bent knee extends
past the foot, thus causing a loss of stability and alignment and Modification: pregnancy, weakness, or rehabilitation.
possibly straining the knee structures. A too-narrow stance also
makes it harder to open the hip and easier to roll the bent knee inward, thus offsetting the body weight and possibly
straining the medial knee. Even when the knee is aligned properly, students must engage the hamstrings to work in
synergy with the quadriceps in order to balance the muscular forces through the joint. To help students establish this
balance, cue them to root through the front heel.

Virabhadrasana II (Right Knee Bent)

Body segment Kinematics
Foot and toes Toe abduction, foot stability
Toe flexion (pressure into
ground)
Lower leg (R) Ankle dorsiflexion, stability
Stability to counter body sway
(muscles relaxing and contract-
ing as necessary to maintain
balance)
Lower leg (L) Ankle inversion, stability
Muscles active Muscles released
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Flexor digitorum longus and
brevis, flexor hallucis longus
(C, I)
Gastrocnemius, soleus (E, I) Gastrocnemius, soleus
Peroneals, anterior and posterior
tibialis, gastrocnemius, soleus,
flexor digitorum longus, flexor
hallucis longus (C, E, I)
Anterior tibialis, flexor hallucis Gastrocnemius, soleus,
longus (C, I) peroneals

Thigh (R) Knee flexion, stability Quadriceps (E, I)

Thigh (L) Knee extension Quadriceps (C, I)

Hip and pelvis (R) Hip flexion Hamstrings, gluteus maximus Adductors
(E, I)
External rotation, stability Gluteus medius and minimus
(C, I)
Abduction, stability Tensor fascia lata (E, I)

Hip flexion, abduction, stability Tensor fascia lata (E, I)

(continued)

137
 Virabhadrasana II (Right Knee Bent) (continued)
Body segment Kinematics Muscles active Muscles released
Hip and pelvis (L) Hip extension and stability Gluteus maximus, hamstrings Iliopsoas, adductors
(C, I)
External rotation, stability Gluteus maximus, deep external
rotators* (C, I)
Abduction, stability Tensor fascia lata, gluteus
medius, gluteus minimus (I)
Pelvic stability Hamstrings, rectus abdominis (I)

Torso Torso stability Erector spinae, internal and

external obliques (I)
Rib and chest elevation Pectoralis minor (C, I)
Shoulder Humerus abduction, shoulder Deltoids, infraspinatus, teres
stability minor, supraspinatus, pectoralis
major (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Scapular rotation Serratus anterior, mid and lower
trapezius (C, I)
Supporting posture in mid back, Lower trapezius, subscapularis
downward pull of scapulae (C, I)
External rotation of humerus Infraspinatus and teres minor
with some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii, brachioradialis
(C, I)
Lower arm Forearm pronation Pronator teres, pronator quadra-
tus (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck (R) Head rotation to right, stability Splenius capitus and cervicis, Sternocleidomastoid
cervical erector spinae, occipi-
tals (C, I)
Neck (L) Head rotation to right Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Standing Postures

Virabhadrasana III
Warrior III
[veer-uhb-huh-DRAAH-suh-nuh guh]

This is the third warrior position dedicated to the

ancient warrior Virabhadra. As with the other two warrior asanas, the
designation of this third variation is signified by a Sanskrit consonant sound—in this
case the third one, which is “guh.”

Description
This asana can be thought of as a variation of Tadasana
(Mountain Pose), which serves as the starting point. In this
pose, the arms are extended overhead and the body is flexed
at the hip, balanced over one leg, with the upper body and
opposite leg parallel to the ground. To create balance and
stability, the deeper core and hip muscles are required to work in unison. The pose also requires considerable strength
and endurance due to the force of gravity working against both the extended upper body and the outstretched leg.
After performing this posture, be sure to counterstretch, with any forward folding asana, to relax both the low back
and the hip stabilizers.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Balance evenly between the metatarsal heads and the heel of the standing foot. Root through the big toe, using the
little toe as a counterbalance.

Benefits
• Strengthens the muscles of the spine, posterior shoulders, and hips.
• Builds stamina, endurance, and balance.
• Opens the chest.
• Promotes awareness of proper hip alignment.
• Builds abdominal strength.

Cautions
Balance concerns or vertigo—Students with extreme balance difficulty or vertigo should practice with support.
High blood pressure—Students with high blood pressure should practice with modifications.

Verbal Cues
• Begin either from Virabhadrasana I or from Tadasana (Mountain Pose).
• From Virahabhadrasana I:
• With your right leg forward in the lunge, draw back through the crease in your right hip. Rotate your left
foot so that the toes point forward and lift the left heel off the ground. Maintain pelvic alignment. Keep your
arms overhead with your shoulders soft.
• Exhale and fold forward at your hips. Straighten your right leg as you begin to lift your left foot off the ground
behind you. Balance here for a breath or two.
139
 • Inhale as you move your body weight completely onto your front leg, bringing your torso, arms, and back
leg parallel to the ground.
• Root into the big toe and heel of your right foot, directing the energetic balance of your foot from front to
back rather than side to side. Slightly guide your left hip inward, toward your inner right thigh to bring the
back of your pelvis parallel to the ground.
• Gaze slightly forward, looking toward your hands or somewhere slightly ahead of you on the ground. Keep
softness in your neck and relax your shoulders away from your ears. Breathe steadily.
• From Tadasana:
• Inhale and raise your arms above your head. Relax the top of your shoulders away from your ears. Transfer the
weight of your body onto your right leg, then step your left foot straight behind you so that the toes are barely
touching the ground. Imagine gently pressing your inner thighs toward your midline to help stabilize your
balance. Remain poised here for a couple of breaths. Stay mindful of keeping your hips squared and level.
• Inhale and lengthen through your spine. Exhale as you slowly begin to fold forward from your right hip while
lifting your left leg and lowering your torso until both are parallel to the ground.
• With each in-breath, continue to extend and lengthen through your arms, torso, and extended back leg. On
each exhalation, imaging your left hip rotating inward toward your right thigh to keep your pelvis aligned.
• Gaze slightly forward toward your hands or somewhere slightly ahead of you on the ground. Draw your
shoulders softly away from your ears. Breathe steadily.
• To exit the pose from either version of entry, inhale and begin to slowly lower the left leg down to the ground
as you lift your chest and torso upright. Use the strength of the legs, hips, and lower abdomen to move in a
controlled fashion to avoid straining the low back as you lower the leg. Relax your hands to your sides and
prepare for the other side.

Adjustments
Standing leg bent—Students often bend the support leg significantly to compensate for
balance difficulty or tight hamstrings. Instruct them to spread the toes and straighten
the supporting knee. Also, remind students to focus on evenly distributing the
body weight on the foot and folding forward only as far as the
hamstring comfortably allows with a straight knee. Stand in
front of the student to provide balance support as indicated
in the balance adjustment description in this list.
Hips—If the hip of the student’s lifted leg is higher than the hip of the supported
leg, stand to the supporting-leg side and gently hold the student’s outer hips.
Lower the elevated side of the pelvis so that the hips are aligned in the
frontal plane with the rest of the torso. Move slowly and gently so that
the student does not lose balance. To keep the student from falling, press
your hip against the student’s hip as a prop. Adjustment: hips.
Balance—Standing in front of the student, place your outstretched
arms under the student’s forearms and let the student lean lightly
into your arms until balanced. Be sure to remove your arms slowly
and only when the student is balanced. Assume a relaxed stance
with your knees slightly bent; avoid using your own shoulder or
back to hold the student up. Many students, especially begin-
ners, are much more comfortable if they position the arms out
to the sides for balance.
Arms—To help a student straighten the arms and lift or press the
thumbs higher, stand in front of the student, hold on to the upper
arms, and gently rotate the shoulders externally. This adjustment
keeps the student from rounding the upper back and aids in
strengthening the back and shoulders. Also, you may simply
brush your hands on the outsides of the student’s arms to cue Adjustment: balance.
the student to relax the shoulders away from the ears.
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 Standing Postures

Modifications
Shoulder or neck tightness or pain—Instruct students to hold the
arms at the sides with the hands by the hips. Often, this
modification also makes it easier to balance and keep the
torso straight.
Balance difficulty and strength building—Place the stu-
dent’s hands on a ballet bar, against a wall, or even on
the back of a chair to help provide lift in the upper body
and aid in balance. The student can also place the foot of Modification: balance difficulty and strength building.
the lifted leg against a wall to build strength and balance.
Weakness—It is best not to keep anyone in this posture for too long if it is the first time that a student has practiced it
or if the student experiences significant weakness—as may be the case for someone recovering from illness or injury.

Kinematics
This asana requires a great deal of strength in the low-back and hip-extensor strength to keep the lifted leg parallel to
the ground. As an appropriate counterposture, follow this posture with a resting forward bend, such as Uttanasana
(Intense Forward Bend).

Virabhadrasana III (Standing on Right Leg)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Foot and toes (L) Toe flexion Flexor digitorum longus, flexor
hallucis longus (C, I)
Lower leg (R) Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)
Lower leg (L) Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis

Thigh (R) Knee extension, patellar eleva- Quadriceps (C, I)

tion
Stability and adduction Adductors (C, I)

Thigh (L) Knee extension Quadriceps (C, I)

Hip and pelvis (R) Hip flexion and stability
Hip stability
Hip and pelvis (L) Hip extension
Pelvic stability
Hamstrings, gluteus maximus
(E, I)
Gluteus medius and minimus,
adductors (C, I)
Hamstrings, gluteus maximus Iliopsoas
(C, I)
Rectus abdominis, quadratus
lumborum, hamstrings (I)

(continued)

141
 Virabhadrasana III (Standing on Right Leg) (continued)
Body segment Kinematics Muscles active Muscles released
Torso Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Shoulder Humeral flexion, stability Anterior deltoids, pectoralis Latissimus dorsi, serratus anterior
major, biceps brachii (C, I)
Maintenance of humeral flexion Deltoids, rhomboids, trapezius
against gravity (C, I)
External rotation, stability Infraspinatus, teres minor (C, I)
Scapular adduction, stability Rhomboids major and minor,
mid trapezius (C, I)
Stability Subscapularis (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae, sub­
occipitals, (C, I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Standing Postures

Parshvottanasana
Intense Side Stretch
[paarsh-voht-taahn-AHH-suh-nuh]

In Sanskrit, Parshva means  “side” or “flank,” and ottana

means “intense extension or stretch”; thus parshvottanasana
indicates an intense stretch in the side.

Description
Parshvottanasana is similar to Uttanasana (Intense
Forward Bend), but in this case one leg is forward
and the other is back. This placement of the legs
requires more balance and creates a deeper stretch
through the hips, hamstrings, and sides. The arms
are in Anjali Mudra, or Prayer Pose, behind the
back, if doing so is comfortable. The stretch
extends from the backs of the heels all the
way up into the neck, thus releasing tension
throughout the entire back of the body.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the metatarsal heads and the heel of the front foot. Anchor into the outer edge and big toe of the back foot.
Evenly balance the grounding energy in both legs.

Benefits
• Relieves stiffness in the neck, shoulders, elbows, and wrists.
• Opens the chest.
• Increases balance.
• Stimulates the abdominal organs.
• Provides deep stretch for the legs, hips, and side torso.
• Relieves arthritis in the neck and spine.

Cautions
Glaucoma or high blood pressure—In general, students with glaucoma or high blood pressure should not place
the head below the heart; therefore, modifications should be used.
Shoulder injury—Anyone with a shoulder injury should practice a modified version of hand placement.

Verbal Cues
• From Tadasana (Mountain Pose), step your legs apart a distance of three to four feet (about one meter). Turn
to the right so that your right leg is forward, your left leg is back, and your torso is aligned with your right leg.
Rotate your left foot and thigh slightly toward the right. Adjust the width of your feet so that you can keep your
left heel on the ground. Gently press your inner thighs toward each other to help align your hips forward.

143
 • Press the palms of your hands together behind your back with the fingertips pointed up. Draw the tips of your
fingers up your spine. Go only as far as it feels comfortably challenging to go; never force or strain! Keep the front
of your shoulders rolling open. If this positioning is not comfortable for your wrists or shoulders, modify by either
grasping opposite elbows or clasping your hands together behind your back with the knuckles pointing down.
• Continue to focus on your breath as you soften the shoulders and open the chest.
• Continue to press your inner thighs toward each other, drawing your left hip slightly forward and your right hip
backward. Lift your low back, ribs, and chest away from your hips as you breathe in deeply. Keep your gaze
focused forward as you gently arch backward from your upper back, widening your collarbones. Relax your
shoulders and maintain even length in your neck.
• Exhale, drawing your right hip back slightly. Take your time as you begin to slowly fold forward until either
your spine is parallel with the ground or you feel the first point of resistance in your muscles. Keep your pelvis
aligned and continue to root through your feet.
• With the next exhalation, relax your torso farther down over your right leg as much as you can without rounding
your back. Feel the left side of your rib cage move inward slightly toward your right thigh.
• As you inhale, feel your torso lengthen from your hips to the top of your head. Imagine lengthening your chest
out beyond your toes. Relax your neck and soften your abdomen as you breathe
deeply into your back and hips. Feel the balance in your feet from front to back
and press firmly through your back heel.
• Continue to focus on your breath.
• Continue gently moving your right hip back. You should feel your right hip
and hamstring lengthening deeply and use your left leg as an anchoring force.
• To come out of this position, press down firmly through both feet and extend
upward through the crown of your head. Relax your hands and bring them
to your sides as you prepare for the other side.

Adjustments
Front hip—Standing either behind or to the side of the student, use your
fingertips to gently guide the front hip back and square the hips forward
in the sagittal plane.
Rib cage—Stand behind the student to the side of the back leg. Place your
closest hand on the opposite side of the student’s rib cage and your
other hand on the side of the rib cage nearest you. Use your hip as a
prop to keep the student balanced. With a light touch, slightly rotate Adjustment: rib cage.
the nearest side toward you and the far side ribs toward the inner thigh
of the student’s front leg, so that the chest points more directly toward the ground.
Shoulders—Gently place your hands on top of the student’s shoulders and guide the
shoulders down away from the ears. With your fingertips lightly on the student’s
anterior (front) shoulders, draw the shoulder blades toward each other to open
the chest more fully.
Neck—Lightly touch the back of the student’s head as a reminder to release
tension held there.

Modifications
Tight shoulders—If a student cannot comfortably place the palms together behind
the back, instruct the student to place the arms behind the waist and clasp the
opposite elbows. Alternatively, instruct the student to clasp the hands behind
the body with the elbows straight. As the student folds forward, she or he can lift
the arms to help stretch the front of the shoulders and expand the chest. When the
student moves to the other side, invite him or her to place the other forearm or thumb
on top in order to maintain energetic synergy in the pose. Modification: tight shoulders.

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 Standing Postures

Increased shoulder stretch—For students who can press the palms together,
instruct them to point the elbows up toward the sky.
Tight hamstrings—If the hamstring stretch is too intense, instruct the stu-
dent to bend the front leg slightly, taking care not to let the knee turn
inward if it is bent. Also, remind all students to refrain from folding
deeper than the hamstring is comfortable going.
Rounded back—Cue the student to refrain from folding down toward
the thigh all the way. Invite the student to keep the back parallel to
the ground. Also, for some students, it is best to cue the leg posi-
tioning, but instead of reaching the arms behind the back invite
them to place the hands on the hips or against a chair or wall.
This modification is appropriate for persons with glaucoma.
Modification: rounded back; tight hamstrings.

Kinematics
As in Virabhadrasana I (Warrior I), the more firmly the student presses through the back foot, the more the hip flexors
stretch to allow the pelvis to rotate forward. This action also helps create better balance as the student folds forward
and deepens the stretch in the hip extensors. The arm kinematics shown in the chart reflect arms in reverse Anjali
Mudra (Prayer Position)—that is, with the palms together behind the back.

Parshvottanasana (Right Leg Forward)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg (R) Stability to counter body sway Peroneals, anterior and posterior Anterior tibialis
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)

Lower leg (L) Ankle dorsiflexion, stability Gastrocnemius, soleus, perone- Gastrocnemius, soleus, perone-
als (E, I) als
Thigh Knee extension, patellar eleva- Quadriceps (C, I)
tion
Hip and pelvis (R) Flexion, stability Hamstrings, gluteus maximus Hamstrings, gluteus maximus
(E, I)
Pelvic stability Rectus abdominis, quadratus
lumborum, hamstrings (I)
Hip and pelvis (L) Hip extension Hamstrings, gluteus maximus Iliopsoas
(C, I)
Slight external rotation, stability Deep external rotators,* gluteus
maximus (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Rib and chest elevation Pectoralis minor (C, I)

(continued)
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 Parshvottanasana (Right Leg Forward) (continued)
Body segment Kinematics Muscles active Muscles released
Shoulder Scapular adduction Rhomboids major and minor, Pectoralis major, anterior deltoid,
mid trapezius (C, I) coracobrachialis
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Upper arm Hyperextension of humerus Posterior deltoid, latissimus
dorsi, teres major (C, I)

Lower arm Elbow flexion Biceps brachii, brachialis, bra-

chioradialis (C, I)

Forearm pronation Pronator teres and quadratus

(C, I)

Hand and fingers Wrist hyperextension Extensor carpi radialis longus Flexor carpi radialis and ulnaris,
and brevis, extensor carpi palmaris longus
ulnaris, extensor digitorum (C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales manus
(C, I)
Neck Extension and stability Splenius capitis and cervicis,
cervical erector spinae, upper
trapezius (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Standing Postures

Utthita Hasta Padangusthasana

Extended Hand-to-Toe Pose
[oot-T-HEE-tuh HAAS-tuh paah-daahng-oost-AHH-suh-nuh]

In Sanskrit, Utthita means “extended,” hasta means “hand,” pada means either “leg” or
“foot,” and gusth means “big toe.” Though the name of this asana refers to a number
of different positions, in the standing position it usually refers to standing on one
leg with the other leg extended parallel to the ground while holding onto the
big toe of the lifted foot.

Description
This asana uses strength in the hip flexors and quadriceps of both the standing and
(especially) the flexed leg. Once you are balanced on one leg and holding onto the
big toe of the lifted leg with either your fingers or a strap, this is generally the end of
the pose. However, from this position, the lifted leg can be abducted to the side, then
brought back to the center, with the torso flexed forward before finally lowering the leg
slowly to the ground.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy

Foundational Focus
Root through the heel and the first metatarsal head of the front foot. Anchor into the
heel.

Benefits Position one.

• Increases concentration and balance.
• Builds stability and strength.
• Balances stability and symmetry in the pelvis and spine.
• Tones the abdominal muscles.

Caution
Lower back injury—Students with a lower back injury should practice
with modifications.

Verbal Cues
• Starting from Tadasana (Mountain Pose), shift your weight more fully onto your
right leg. Place your hands on your hips for stability and roll your front shoulders
and chest open. Exhale as you bend your left hip and knee, drawing your thigh
up toward your chest. Breathe here, maintaining balance.
• Keep your right hand on your right hip, and reach down with the first two fingers
of your left hand to hook your big toe. Maintain length in your spine and keep
your chest lifted. Take your time as you sustain your alignment and balance.
Slowly begin to straighten your left leg out in front of you so that it is parallel
to the ground.

Position two.
147
 • Inhale and lengthen your spine while rolling (externally rotating)
your front shoulders back to open your chest more fully. Press
firmly into your standing leg so that the top of your pelvis
remains in neutral position. Keep your shoulders aligned
over your hips.
• Focus your gaze on a drishti somewhere out in front of your
body so that nothing in your peripheral vision causes you to
lose your balance.
• Draw your left hip back and down to maintain balance in your
pelvis. Press firmly through your right leg (see position one
photo). This may be the end of the pose.
• Remain in this position or rotate your left leg out to the left side,
grounding your balance through your right heel. Turn your head
and slowly gaze over your right shoulder. Keep your hand on
your right hip or extend your right arm out to the right side,
parallel to the ground, as a counter balance.
• As you inhale, elongate your neck and continue to point your
chin out over your right shoulder to keep the openness in your Position three. Position four.
chest and shoulders (see position two photo).
• Exhale and slowly bring your left leg and head forward again. Keep your shoulders relaxed and your chest
lifted. Bend your left arm, pointing your elbow out to the left, and lift your left foot slightly higher, as far as
feels comfortable.
• On an exhalation, fold from your hips as far as possible and draw your head toward your left knee. You can
hold onto the left foot with both hands if that is more accessible (see position three photo).
• Inhale and stand fully upright, moving your chest away from your thigh. Exhale and bring your hands back to
your hips, holding your left leg in place in front of you for a couple more breaths before gently lowering the
foot to the ground (see position four photo). Prepare for the next side.

Adjustments
Standing foot—If the supporting foot is not pointed directly forward under the knee joint, students will have difficulty
maintaining balance. Remind them to keep the toes and knees pointed forward and aligned under the hips.
Legs—Stand in front of the student and provide gentle support to the lifted leg. Hold the leg lightly at the
heel. You can help the student rotate the leg slowly to the side as you help with balance.
Hips—To help the student maintain hip alignment and keep the top of the pelvis parallel to the
ground, stand behind the student and lightly place your hands on the sides of the hips as you make
the necessary adjustment. Proceed with a light touch.
Shoulders—Be sure that the student’s shoulders do not roll forward, thus closing off the chest
and rounding the upper back. Stand behind the student and place one hand lightly
between the shoulder blades. Instruct the student to draw the shoulder blades
toward your hand. This adjustment opens the front shoulders and lifts the chest.

Modifications
Hamstrings or hip tightness—Give the student a strap to wrap around the foot
as an extension of the arms. This modification allows the student to keep the spine
straight and aids significantly in balance. If no strap is available, you can instruct the
student to keep the knees bent slightly and place the hands behind the thigh
for support. Doing so helps alleviate strain in the low back.
Increase strength and flexibility—Students can rest the lifted foot against
a wall, chair back, or ballet bar as they focus on spinal alignment while
building strength and flexibility in the legs. Modification: hamstrings or hip tightness.

148

Lower back injury or weakness—Instruct the student to sit in a chair or on a fitness ball in order to focus on balance
and flexibility while flexing the hip and extending the knee.
Kinematics
An added benefit of this posture is the subtle strengthening and stretching of the posterior shoulder in the arm that
reaches for the extended foot. To give a student the feeling of elongation in the back of the body, place the back
against the wall and direct the student to press the shoulder blades toward the wall. This action helps create proper
alignment, which aids balance in the long run.
Utthita Hasta Padangusthasana (Standing on Right Leg)
Body segment Kinematics
Foot and toes (R) Toe abduction, foot stability
Toe flexion (pressure into
ground)
Foot and toes (L) Toe extension
Lower leg (R) Stability to counter body sway
(muscles relaxing and contract-
ing as necessary to maintain
balance)
Lower leg (L) Ankle dorsiflexion
Thigh (R) Knee extension, patellar eleva-
tion
Stability, adduction
Thigh (L) Knee extension
Hip and pelvis (R) Hip extension, stability
Hip stability
Hip and pelvis (L) Hip flexion
Torso Pelvic stability
Spinal extension and stability
Rib and chest elevation
Trunk stability
Shoulder (R) Humerus abduction
External humeral rotation
Scapular adduction
Standing Postures
Muscles active Muscles released
Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Flexor digitorum longus and
brevis, flexor hallucis longus
(C, I)
Extensor digitorum longus, ante-
rior tibialis (C, I)
Peroneals, anterior and posterior
tibialis, gastrocnemius, soleus,
flexor digitorum longus, flexor
hallucis longus (C, E, I)
Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Quadriceps (C, I)
Adductors (C, I)
Quadriceps, adductor magnus Hamstrings
(C, I)
Hamstrings, gluteus maximus
(C, I)
Gluteus maximus, medius, and
minimus; adductors; deep exter-
nal rotators* (I)
Iliopsoas, rectus femoris, pec- Hamstrings, gluteus maximus,
tineus, tensor fascia lata (C, I) deep external rotators*
Rectus abdominis, quadratus
lumborum, hamstrings (I)
Erector spinae, quadratus lum-
borum (I)
Pectoralis minor (C, I)
Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(C, I)
Deltoids, supraspinatus (C, I) Pectoralis major
Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Rhomboids, trapezius (C, I)
(continued)
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 Utthita Hasta Padangusthasana (Standing on Right Leg) (continued)
Body segment Kinematics Muscles active Muscles released
Shoulder (L) Shoulder flexion Anterior deltoid, pectoralis Posterior deltoid, rhomboids
major, biceps brachii (C, I)
External humeral rotation Infraspinatus, teres minor (C, I)
Stability Latissimus dorsi (C, I)
Scapular stability Serratus anterior, pectoralis
minor (I)
Upper arm (R) Elbow flexion Biceps brachii, brachioradialis,
brachialis (C, I)
Upper arm (L) Elbow extension Triceps brachii, brachialis, bra-
chioradialis (C, I)
Lower arm (R) Forearm supination Supinator (C, I)
Lower arm (L) Elbow extension Anconeus (C, I)
Forearm pronation Pronator teres, pronator quadra-
tus (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
(R) longus, extensor carpi ulnaris
(C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Hand and fingers Finger flexion Flexor digitorum, superficialis
(L) and profundus; lumbricales
manus; interossei palmaris (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Standing Postures

Natarajasana
King Dancer
[nut-tuh-raahj-AHH-suh-nuh]

In Sanskrit, Nata means “dancer,” and raja means “royal.” This posture
symbolizes one of the many forms of Shiva (a Hindu god) as Lord of the Dance.

Description
Natarajasana is a one-legged balance posture with a backbend and is indeed
rather regal looking with the “puffed-out” chest. The non-weight-bearing leg
is extended behind the back, and the arms reach either overhead or behind
the back to the foot. This posture has many variations. Most people cannot
achieve the back arch and shoulder opening of the original posture, so a
modified version is generally taught. The posture is described here in three
phases, building from the least demanding to the most.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root through the first metatarsal head and heel.

Benefits
• Stretches the chest and shoulders deeply.
• Enhances balance and concentration.
• Lengthens and strengthens the front of the torso and spine.
• Stretches the quadriceps and iliopsoas (deep hip flexors) in the non-weight-bearing leg.

Cautions
Acute back pain—Students with acute low back injury should refrain performing from the back-­
arching phase of this posture.
Pregnancy—Pregnant students should practice phase one.
Weakness—Students feeling weakness should practice phase one.

Verbal Cues
From Tadasana (Mountain Pose), bring your hands to your hips and shift your weight to your left foot
without allowing your right hip to drop. Find your drishti (gazing point) and remain focused. Breathe.
Phase One
• Bend your right knee and bring your right heel toward your buttocks. Inhale and reach back
with your right hand to grasp your right foot or ankle. Hold wherever you can do so comfort-
ably with your hand or a strap, making sure that there is no strain in your low back. Flex your
right foot so that the toes point toward the right knee.
• Inhale, lifting your ribs away from your hips, and begin to press your right thigh slightly back
while keeping your hips stable and aligned under your shoulders. Draw your inner thighs
toward the midline of your body so that your bent leg does not abduct or rotate externally.
• Continue to focus on your breath. This may be the end of the pose.
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 Phase Two
• Inhale and raise your left arm overhead while  lifting the rib cage. As you
exhale, keep your pelvis level and your chest lifted while bending forward
slightly from your left hip joint.
• Create a slight backbend as you strive to stretch your hips and rib cage away from
each other, opening up your chest and abdomen. Keep the front of your shoulders
opening away from your chest by drawing your shoulder blades softly together. Imag-
ine your collarbones moving away from the center of your chest on each inhalation.
• Gaze up toward your left fingertips. Keep your neck long. Imagine your pelvis
and the crown of your head stretching away from each other with each breath.
• Continue to focus on your breath. This may be the end of the pose.
Phase Three
• If you feel comfortably balanced and have substantial flexibility in your shoulders, spine,
and hips, stand straight instead of flexing forward at the hips. Press the center of your
chest upward toward the sky as you arch your mid back slightly. Draw your right heel
up toward your shoulder blades. Feel the deep stretch in the front of your right thigh.
• Hold your right leg in place while stretching both arms overhead. Reach back with
your hands and grasp your right foot or ankle. Use a strap to hold the foot for greater
comfort.
• Maintain the upright position of your spine and continue to lift your rib cage
out of your low back area. With every inhalation, lift higher and feel your chest
puff open. Maintain your grip on the foot, lifting it as high as you comfortably
can and imagining it to move toward the back of your head. Feel the arc of energy
through your torso as you root into the ground with your left leg.
• To exit this posture, slowly release your foot and bring your arms back to
your sides. Lower your leg to the ground and prepare to practice on the other
side. Counter this pose with Adho Mukha Shvanasana (Downward-Facing
Dog) or Balasana (Child’s Pose).

Adjustments
Balance—Stand in front of the student and hold onto the top hand with one or both of your hands.
Extend the student’s arm overhead, lifting slowly. You may need to place your hand on the hip
of the student’s supporting leg for stability. Release the student slowly so that he or she
maintains balance.
Non-weight-bearing leg—Stand behind or to the side of the student and gently tap the
front of the thigh, cueing the student to lift the thigh higher behind the body. You can
also place your hand gently under the student’s heel to aid in balance while helping
to lift the leg higher, if doing so is comfortable.
Low back—Students often arch the low back or abduct the leg to reach the foot; both
moves can aggravate the lower back. To adjust, stand to the side of the student and
place one hand on the student’s hip and the other on the shoulder. Help the student
maintain alignment and balance as she or he slowly draws the foot toward the hand.
Shoulders—Stand behind the student, place your hands on the student’s upper arms,
and rotate the shoulders externally and down away from the ears. Adjustment: low back.

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 Standing Postures

Modifications
Building flexibility—For students with very tight quadriceps, modify the position by wrapping a strap
around the lifted ankle or foot. For those with slightly more flexibility, simply instruct the student to
grasp the ankle or foot while drawing the heel toward the buttocks. This is also a good counterstretch
for Padangusthasana (Entended Hand-to-Toe Pose).
Tight shoulders—Make sure that the student’s arms are rotated externally as they reach overhead
by keeping the elbows parallel to each other. If the elbows point away from the body, then the
arms are not externally rotated and it will be difficult or impossible to reach the hands closer to
the foot. If comfortable for the student, a strap can be wrapped around the upper arms to achieve
and maintain shoulder alignment.
Pregnancy, weakness, or acute low-back concerns—Ask the student to stay in phase one of the posture.
For increased balance, instruct the student to practice near a wall or place a sturdy chair in front or
to the side of the student for extra support.

Kinematics Modification:
People with sufficient flexibility in the shoulders, hips, and spine can arch the back so that the building flexibility.
foot touches the back of the head.

Natarajasana, Phase Three (Standing on Left Leg)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe extension Extensor digitorum (C)
Foot and toes (L) Toe abduction, foot stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg (R) Ankle dorsiflexion, ankle plantar Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
flexion rum longus
Lower leg (L) Stability to counter body sway Peroneals, anterior and posterior
(muscles relaxing and contract- tibialis, gastrocnemius, soleus,
ing as necessary to maintain flexor digitorum longus, flexor
balance) hallucis longus (C, E, I)

Thigh (R) Knee flexion Hamstrings (C, I) Quadriceps

Thigh adduction, stability
Thigh (L) Knee extension, patellar eleva-
tion
Stability, adduction
Hip and pelvis (R) Hip hyperextension, stability
Hip and pelvis (L) Hip stability
Pelvic stability
Adductors (C, I)
Quadriceps, gracilis, adductor
magnus (C, I)
Adductors (C, I)
Hamstrings, gluteus maximus Iliopsoas
(C, I)
Gluteus maximus and medius,
hamstrings, adductors, deep
external rotators* (C, I)
Rectus abdominis, quadratus
lumborum, hamstrings (I)

(continued)

153
 Natarajasana, Phase Three (Standing on Left Leg) (continued)
Body segment Kinematics Muscles active Muscles released
Torso Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(C, I)
Shoulder Hyperflexion, humerus adduc- Anterior deltoid, pectoralis Posterior deltoid
tion major, biceps brachii (C, I)
Scapular adduction Rhomboids, mid trapezius, (C, I)
External rotation Infraspinatus, teres minor (C, I)
Scapular stability Serratus anterior (C, I)
Upper arm Elbow flexion, stability Triceps brachii, biceps brachii
(C, I)
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei palmaris, flexor pollicis
brevis (C, I)
Neck Neck stability Splenius capitus and cervicis,
occipitals, cervical erector
spinae (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.

C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

154
 8
Seated Postures

T he Sanskrit word asana

can be translated as “a
way of being” or “a way
of being seated.” This chapter
describes 20 asanas that are
seated or nearly seated. In the
seated postures, the hips are
placed on the ground. Seated
poses can include forward
bends, side bends, and twists,
with crossed or straight legs.
The asanas without hips on the
ground in this chapter are as
follows: Malasana (Basic Squat,
or Bead Pose), in which the hips
hover slightly above the ground;
Parighasana (Kneeling Triangle,
or Gate Pose), a kneeling side
bend; Tolasana (Scale Pose),
© Dean Mitchell/istock.com

an arm balance; and Bakasana

(Crane Pose), another strength-
ening arm balance.
The quintessential seated
yoga pose, Padmasana (Lotus
Pose), often comes to the mind
of students and would-be yogis

155
156 Instructing Hatha Yoga
when they think about asanas and meditation.
Seated poses may appear to be relatively easy
because they generally require less energy and
strength in the legs than do the standing asanas.
However, in seated asanas, the back and abdomi-
nal muscles typically must work more intensely to
maintain good sitting posture. Moreover, if a stu-
dent has not developed strong postural muscles
and is lacking in hip flexibility, then seated asanas
may feel very challenging and uncomfortable.
In fact, most people cannot tolerate sitting with
a straight spine for more than a few moments
because the back muscles are weak and gener-
ally lack endurance. In addition, in order for the
back to be free to lift and lengthen, the hips also
need to be relaxed and flexible. When a student is
able to sit comfortably with an aligned spine, the
shoulders and chest can open more completely,
thus warding off degeneration of the entire spinal
column and associated trunk joints (hips and
shoulders). Whether students seek to strengthen
and release the upper body after long hours in
front of a computer or to develop the strength to
sit comfortably for long periods of meditation,
seated poses can empower them by deepening the
opening of the hips, relaxing the shoulders and
neck, and improving the muscular endurance of
the back and abdominals.
Standing postures are often used to warm up
the body and circulate blood out to the limbs.
When a person is seated, the blood then has a
chance to go back into the internal organs, lymph
nodes, and joints more substantially. The resid-
ual warmth and more concentrated circulation
enable deeper twists and stretches.
Whereas standing poses improve hip and shoul-
der stability, seated poses improve flexibility and
spinal endurance, which allow the practitioner to
develop the ability to sit comfortably at length.
Although most people think that seated postures
are more elementary because they appear easier
to do, they are actually more demanding of the
spine and therefore can be considered, in a sense,
more “advanced.” Ultimately, however, any pose is
made either more or less advanced by one’s level
of perspective and experience.
The asanas presented in this chapter are
sequenced in an order that lends itself to smooth
flow in a class. The order is also geared for your
ease of reference and planning, since it begins
with the poses that are the easiest to teach and the
most popular. Asanas presented toward the end
of the chapter are not necessarily more difficult
for students, but they do tend to be more sophis-
ticated to teach and to arrange for easy flow into
and out of other asanas.
 Seated Postures

Malasana
Basic Squat, or Bead Pose
[maahl-AAH-suh-nuh]

In Sanskrit, mala means “bead,” and in yoga tradition a string of prayer

beads is referred to as a mala. It is thought that the squatting position of
this posture makes a person appear to resemble a bead dangling from a
string. The pose is also commonly called Garland Pose.

Description
Malasana is considered a seated posture in this text because of its
grounding nature. It is a good transitional asana when moving from a
standing pose to a seated one; it is also a good pose for vinyasa practice
when moving from one posture to the next. Because of the restorative
nature of Malasana, it can be incorporated into a practice session at
any time.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy

Foundational Focus
Root through the heels. Anchor with the metatarsal heads. Evenly balance the grounding energy between both legs.

Benefits
• Stretches the back muscles.
• Opens the pelvic area.
• Massages the internal organs.
• Strengthens the abdominals.
• Stabilizes and builds strength in the ankles and feet.

 Caution
Knee or ankle concerns—Students with a knee injury should either practice with modifications or skip this pose.

Verbal Cues
• From Tadasana (Mountain Pose), place your feet hip-width apart with your toes pointed straight ahead or slightly
out to the sides. Be sure that your feet are not pointed inward or your knees will roll together as you lower your
hips toward the ground, which can strain the inner knee structures.
• As you begin to flex your hips, knees, and ankles, shift your pelvis and knees back toward your heels as if you
were lowering your buttocks onto a chair just beyond your reach.
• Keep your rib cage floating up and your chest and front shoulders open as you inhale. Gently draw your shoulder
blades toward each other to keep your front shoulders and chest expanded.
• As you exhale, lower your hips farther. If you need to, reach your arms out in front of your body to keep your
balance. Feel your abdominal muscles activate to aid in your balance.

157
 • Move slowly and breathe deeply as you lower to a point where you are comfortable yet slightly challenged.
Adjust your position according to what feels best for your body to maintain stability.
• Continue to focus on your breath.
• Press outward through your thighs to keep your knees from rolling toward each other. Anchor your energy down
through your heels and do the best you can to sink your heels all the way to the ground.
• Stay in this position for a few breaths. Interlace your fingers and rest your forehead on your thumbs, or bring
your hands together in Anjali Mudra (Prayer Pose). Soften your abdomen and relax your shoulders as you focus
your breath into your back.
• If your knees begin to roll toward each other, gently press your elbows into your inner thighs to maintain align-
ment with your knees and feet. Keep your shoulders soft.
• To exit this position, lower your bottom onto the ground as slowly and gracefully as possible and prepare for
the next asana.

Adjustments
Heels—Many students have tight calf muscles, which causes them to lift the heels off the
ground. The ideal solution is to place a towel or blanket under the heels for support
and comfort; you can also simply roll up the back of a mat and place it under the
heels. This is the most common adjustment needed for this posture.
Knees—A student’s knees often roll in toward each other. When this hap-
pens, place the student’s arms between the knees as a wedge to hold the
knees out. Cue the student to check to ensure that the knees are pointed
in the same direction as the toes.
Balance—Squat or kneel in front of the student, whichever is most com-
fortable for you. The two of you should hold onto each other’s wrists.
Take on some of the student’s weight until she or he feels well balanced.
Adjustment: heels.
Gently draw the student toward you so that the student’s body weight
does not sink back too far behind the heels.

Modifications
Knee concerns—Use a bar, such as a ballet
bar, if available, so that the student can
hold onto it when squatting down, thus
taking the body weight off of the knees.
In addition, you can have the student
sit on blocks or on the ground with
bent knees. In this option, instruct the
student to abduct the thighs and slightly
round the torso while engaging the abdom-
inal muscles. Adjustment: balance.

Foot injury, very stiff ankles, weak knees, or hip replacement—The student can lie on the back with the knees pulled
into the chest. The knees should be held apart wider than the shoulders for a restorative posture.

Kinematics
Although this posture’s deep squat may seem completely contraindicated for those with a knee injury, it can be
beneficial to some because of the stretching in both the thighs and the calves. Some causes of knee hyperextension
may be helped by gently stretching overly tight calf muscles. This pose is a particularly beneficial posture for pregnant
students because the squat opens and gently stretches the pelvis and perineum.

158
 Seated Postures

Malasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction, stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion (pressure into Flexor digitorum longus and
ground) brevis, flexor hallucis longus
(C, I)
Lower leg Ankle dorsiflexion, stability Gastrocnemius, soleus (E, I) Gastrocnemius, soleus
Ankle stability Anterior tibialis, extensor digito-
rum longus, peroneals (I)
Thigh Knee flexion Quadriceps (E, I) Quadriceps
Hip and pelvis Hip flexion Hamstrings, gluteus maximus Gluteus maximus, deep external
(E, I) rotators*
Stability Adductors, gluteus medius and
minimus, deep external rotators*
(I)
Torso Trunk stability Internal and external obliques, Quadratus lumborum, erector
rectus abdominis, transverse spinae
abdominis, quadratus lumborum,
erector spinae (I)
Shoulder Internal rotation Latissimus dorsi, anterior deltoid, Rhomboids, trapezius
pectoralis major (C, I)
Upper arm Elbow flexion Biceps brachii, brachioradialis, Triceps brachii
brachialis (C, I)
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Thumb abduction Abductor pollicis longus and
brevis, extensor pollicis brevis
(C, I)
Neck Neck flexion Splenius capitus and cervicis, Splenius capitus and cervicis,
levator scapulae, cervical erector levator scapulae, cervical erector
spinae, upper trapezius (E, R) spinae, upper trapezius
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.

159
 Dandasana
Staff Pose
[duhn-DAAH-suh-nuh]

Danda is Sanskrit for “staff” or “walking stick.” The pose name Dandasana describes
the straightness and strength of the upper torso and back.

Description
In Dandasana, the spine and the lower body are
straight and strong with the hips bent to 90
degrees. It is an active posture with the upper
spine, lower abdominal, and thigh muscles all
working to keep length in both the upper and
lower body. This asana is generally the point from
which many other seated postures build.

Energetic Focus
First chakra (Muladhara) grounding energy

Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.

Benefits
• Massages internal organs.
• Strengthens upper back.
• Strengthens and stretches abdominal muscles, lower back, and thighs.
• Can soothe heartburn.
• Helps build postural awareness.

 Caution
Back pain—Students with acute back pain should practice with modifications.

Verbal Cues
• Sit on the ground with your legs stretched out in front of you. Keep your legs and feet as close together as is
comfortable with your sit bones (ischial tuberosities) level on the ground. Place your hands down to either side
of your hips with your fingers pointed forward toward your toes.
• Breathe in deeply as you lengthen your spine, lifting your rib cage from your pelvis. Draw your shoulder blades
together slightly, and soften your shoulders away from your ears. Gaze softly forward beyond your toes.
• Roll your upper thighs toward each other slightly while keeping your toes pointed upward. Slide your kneecaps
toward your hips by activating your quadriceps. Anchor into the back of your heels to keep them from lifting
off the ground. Imagine your pelvis rooting into the ground and draw energy upward.
• Press down through your hands and sit bones to elongate the sides of your spine. Feel your shoulders softening
away from your ears and the front of your shoulders rolling open away from your chest.

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 Seated Postures

• With each exhalation, notice your ears aligned over your shoulders, and your shoulders aligned over your hips.
With each inhalation, feel the crown of your head stretching upward toward the sky.
• Focus on your breath. Prepare for your next pose.

Adjustments
Legs—Remind students to keep the toes pointed upward. Gently brush the outsides of the feet to cue students to
press the feet closer together by activating the adductor and quadriceps muscles.
Spine and shoulders—Most students will not realize that the upper back is rounded. To adjust, kneel behind the
student (watch your mechanics), and place your hands to the sides of the ribs and gently cue to lift the rib cage
upward. You can also press your knee gently against the student’s mid back to encourage more length in the spine.
At the same time, place your hands on the fronts of the student’s shoulders and gradually roll the upper arms back
to open the chest and elongate the spine.
Head—Observe students to see if the chin is jutting forward. To adjust, place your hands lightly to the sides of the
student’s head and move the head back to align the ears directly over the shoulders. You can also place your hand
lightly on top of a student’s head and ask the student to press
against your hand to lengthen the neck and spine.

Modifications
Tight hamstrings or weak upper spine—The most common
adjustment for Dandasana is to place a folded blanket or
towel under the student’s pelvis. It is also acceptable to allow
students to keep the knees flexed slightly as they work, over
time, to stretch the hamstrings. Another modification is to place
students with the hips and back against a wall, stick, or other
sturdy linear object and instruct them to press the pelvis and
upper back against the object to align the spine.
Tight shoulders—Invite the student to externally rotate the upper
arms so that the fingers point backward instead of forward to
open the shoulders more completely. Modification: tight hamstrings or weak upper spine.

Kinematics
The common modification of placing a blanket, bolster, or folded towel under the student’s hips helps alleviate
strain in the low back by repositioning the tilt of the front pelvis slightly more forward, thus achieving a more natural
alignment in the spine. This modification also helps alleviate the rounded back that occurs in those with very tight
hamstrings. By allowing more concentrated flexion at the hip joint, the student strengthens the upper spine muscles
while also aligning the shoulders directly over the hips. This modification is appropriate and quite beneficial as it
provides a base of aligned posture with ease and stability in all of the other seated positions.

Dandasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum longus (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Thigh Knee extension Quadriceps (C, I) Hamstrings
Hip and pelvis Hip flexion, stability Iliopsoas, rectus femoris (C, I)
Pelvic stability Rectus abdominis, quadratus
lumborum, hamstrings (I)

(continued)

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 Dandasana (continued)
Body segment Kinematics Muscles active Muscles released
Torso Rib and chest elevation Pectoralis minor (C, I)
Trunk extension and stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae, latissimus dorsi (I)
Shoulder Scapular adduction, stability Rhomboids, mid trapezius (C, I) Pectoralis major
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
External rotation of humerus Infraspinatus and teres minor
with some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Elbow extension Anconeus (C, I) Flexor carpi radialis and ulnaris,
palmaris longus
Wrist hyperextension Extensor carpi ulnaris, radialis
longus and brevis, extensor digi-
torum (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae, upper
trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Seated Postures

Janu Shirshasana
Head-to-Knee Pose
[JAAH-noo sheer-SHAAH-suh-nuh]

Janu is Sanskrit for “knee,” and shirsha means

“head.”

Description
In this seated forward bend, one leg is
stretched forward in front of the body, and
the knee of the opposite leg is flexed and lowered laterally to the ground. This posture is broken down into two
parts, the first of which concentrates on lengthening both the upper and lower halves of the body. In the second, or
resting, phase of the pose, the head rests close to the knee. In some variations of Janu Shirshasana, the foot of the
bent knee is flexed and rotated with the toes pointing toward the ground. In other variations, the ankle of the bent
leg is crossed into Ardha Padmasana (Half-Lotus).

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy

Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the straight leg.

Benefits
• Stretches and strengthens the spine.
• Stretches the hamstrings and groin.
• Calms the nervous system and helps relieve mild depression.
• Improves digestion.
• May alleviate symptoms of menstrual discomfort or menopause.
• Can reduce anxiety, fatigue, and headache.
• Relieves symptoms of high blood pressure, insomnia, and sinusitis.

 Cautions
Acute knee or back pain—Practice with modifications.
Intestinal discomfort—Due to the pressure created in the abdomen, those with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.

Verbal Cues
Phase One
• From Dandasana (Staff Pose), anchor through your left leg. Bend your right knee and draw your thigh toward
your chest while pointing your sit bones slightly toward the back edge of your mat. Keep your hips as squared
as possible as you rotate your right leg out, lowering the outer leg toward the ground.
• As your right thigh lowers to the ground, picture the top of that thigh as a bottle top opening. As your right
thigh rotates out (externally), the twisting action helps free the hip joint, thus opening space and releasing ten-

163
 sion. The more the hip opens, the less stress is placed on the knee.
Dorsiflex the foot, so that the toes point toward the knee and help
stabilize the joint.
• Interlace your fingers, and, as you inhale, raise your arms overhead.
Pronate your forearms to rotate your palms away from your body.
Extend your arms as straight as is comfortable, pressing your
thumbs toward the sky and pointing your pinky fingers toward the
ground behind you to more fully engage your posterior shoulder
and upper back muscles. Relax your shoulders away from your
ears, opening space in the sides of your neck.
• Exhale and turn your torso slightly toward the left so that you
align your spine with your straight left leg.
• Inhale and lengthen your spine as you begin to feel taller through
your torso. Feel your rib cage lift out of your low back. Gaze
forward beyond your toes.
• Exhale and slowly fold forward from your hips, like a hinge.
Stop at the first sign of resistance and breathe into that space. Phase one.
Fold only as far as you can comfortably go without rounding
your spine, then place your hands on the ground to either side of your left leg.
• Maintain all of the length and extension in your spine and reach your hands
toward your left foot. Hold on wherever you can reach comfortably with
your hands or with the use of a strap.
• Continue to focus on your breath.
Phase Two
• On the next inhalation, arch your mid back slightly, lift your chest,
and imagine your navel reaching toward the sky.
• Exhale and fold your torso forward from the bottom to the
top, draping your upper body over the front of your left leg.
With each exhalation, let your neck relax as your head
lowers toward your knee. Allow your right rib cage to relax
toward your left leg.
Moving into phase two.
• Soften your abdomen. Visualize your breath moving into
your back and imagine that energy opening space between your ribs and between your vertebrae. Focus your
breath on any place where you feel tension or resistance.
• To exit the pose, bring your hands to the ground beside your hips. Inhale and press through your arms to raise
your torso. Exhale and stretch your right leg out, and prepare for the opposite side.

Adjustments
Feet—If the student’s bent-leg ankle feels uncomfortable, adjust by either increasing the angle of the knee or placing
some light padding under the ankle.
Knee—If the student’s bent knee is off the ground, you can offer support with a folded blanket or adjust for hip and
back tightness (explained next).
Hips—If the student’s hips are not square in relation to the outstretched leg, use your hands to gently draw the hips
back; alternatively, cue the student to move the hips in a manner such that the hip of the straight leg moves back
a little. You also can press the other hip (of the bent-knee leg) slightly forward at the same time. Note: The forward
bend should come from the hips; otherwise, the back tends to round, especially in the low spine.

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 Seated Postures

Torso—The back should be aligned toward the extended

foot. Kneel slightly behind the student, place your hands
on the student’s outer rib cage, and encourage the student
to lift the rib cage out of the low spine as much as pos-
sible. Additionally, when kneeling behind the student,
place one of your hands at the top of the pelvis and
your other hand on the student’s shoulder in a way
that helps relax the shoulders down and open. As
you guide the student’s torso forward and up, you
also guide the shoulders down. These two actions
together should begin to straighten the back and
open the chest.
Head—In the resting phase of this asana, the neck
and head should relax. If the student’s neck is
holding any tension, brush your fingers against
or lightly tap the neck or head to release. Adjustment: torso.

Arms—The arms and hands can be held in many ways in this pose. As long as the student’s shoulders remain relaxed
and away from the ears, various options for hand positioning can be explored without detracting from the pose’s
general benefits. If a student has enough flexibility to reach the hands to the foot, then the arms can be either active
or passive. If the student is flexible enough to reach beyond the foot, then the student may apply a grip with one
hand holding the opposite wrist.

Modifications
Raised bent knee, rounded back and shoulders—Seat the student on a bolster
or blanket to lift the hips higher than the knees. If the bent knee remains
lifted higher than the hips, place a bolster, folded blanket, or block under
the upper thigh for support. This modification helps open the hips and
takes effort off of the low back, thus allowing for more relaxation. It
also allows for a straighter upper spine.
Tight hips or hamstrings—Provide a strap to wrap around the out-
stretched foot if the student cannot reach it without rounding the
spine.
Pregnancy or otherwise large belly—To comfortably accom-
modate a larger belly in this forward fold, invite the student
to widen the straight leg slightly before folding. This modifi-
cation may also be used to open more space in the low back
of the bent-leg side. Modification: tight hips or hamstrings.

Kinematics
This posture uses the concentric contraction of the quadriceps to help release the hamstrings and hip rotators as
the torso folds over the outstretched leg. As the student continues to lengthen the torso out over the straight leg, the
adductors of the bent leg are stretched. In the torso, the scapulae (shoulder blades) are drawn slightly together and
toward the hips by the concentric contraction of the rhomboids and trapezius muscles between the scapulae, which
help keep the torso long throughout the posture.
The torso should be elongated as much as possible, especially during the first phase of the pose. If a student's
upper back is rounded, then it is important to help the student lift the front ribs and open the chest.

165
 Janu Shirshasana (Left Leg Extended)
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, tibialis anterior (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Thigh (R) Knee flexion Hamstrings, sartorius (C, I) Adductors, gracilis
Thigh (L) Knee extension Quadriceps (C, I) Hamstrings, adductors
Hip and pelvis (R) Hip flexion Iliopsoas, rectus femoris (C, I) Adductors
Initial hip external rotation Adductors (E, R)
Hip abduction and external Gluteus medius and minimus,
rotation deep external rotators*
Hip and pelvis (L) Initial hip flexion (forward bend) Hamstrings (E) Hamstrings, gluteus maximus,
deep external rotators
Hip flexion over 120 degrees Iliopsoas, rectus femoris (C, I)
Torso Spinal extension with forward Erector spinae (C, E, I) Quadratus lumborum, latissimus
flexion dorsi
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis (I)
Shoulder Humeral flexion Anterior deltoids, biceps brachii,
coracobrachialis, pectoralis
major (C, I)
Scapular adduction, stability Rhomboids major and minor,
mid trapezius (C, I)
Scapular stability Serratus anterior (I)
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
External rotation Infraspinatus and teres minor
with some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachioradialis,
brachialis
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger flexion Flexor digitorum profundus and
superficialis, flexor digiti minimi,
interossei palmaris (C, I)
Neck Neck extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis, cer-
vical erector spinae, upper trape-
zius (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in the body segment column) or relaxed
(in the muscles active column).

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 Seated Postures

Ardha Matsyendrasana
Half Lord of the Fishes Pose
[AR-dhuh muht-see-yen-DRAAH-suh-nuh]

Matsya means “fish” in Sanskrit, and endra

means “ruler.” In one of the legends
explaining the origin of the asanas, a
fish overheard Shiva (a Hindu god)
explaining the secrets of yoga and was
fascinated with the knowledge. The
fish began to twist its body in order to
hear the words more clearly. Shiva
noticed the fish and gave it the
divine form of Matsyendra, who
then spread the knowledge
of yoga throughout the
land. This twisting asana
is the foundation of all
the seated twists.

Description
Ardha Matsyendrasana is a seated twist in which one leg is straight out in front of the body and the other leg is bent and
usually crossed over the straight leg near the opposite hip. The upper torso is rotated in the direction of the bent leg.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the flexed leg and the back of the heel of the straight leg.

Benefits
• Increases energy level.
• Stimulates and massages the internal organs, specifically the kidneys and liver.
• Stimulates digestion.
• Aligns the spine.
• Builds the trunk muscles.
• Opens the shoulders and chest.

 Cautions
Migraine or cold symptoms—Students with migraine headache or severe cold symptoms should replace this
posture with a gentle, restorative supine twist.
Hip replacement—Students with a hip replacement should not cross the foot of the bent knee over the straight leg.
Acute back injury—Students suffering from a back concern should either proceed with caution or skip this pose.
Pregnancy—Pregnant students should rotate only through the upper spine if they are beyond the first trimester.

167
 Verbal Cues
• From Dandasana (Staff Pose), inhale and lengthen your spine. Exhale and pull your right thigh to your chest.
Cross your right foot to the outside of your left leg as close to your left hip as is comfortable. Press firmly into
the ball of your left foot. You will feel a slight rotation of your pelvis where your left hip moves slightly forward
of your right.
• Inhale and raise your right arm overhead to lift your rib cage. On an exhalation, slowly rotate your rib cage and
belly toward the right. Stop when you can no longer move without assistance from your arms.
• Inhale and feel your rib cage lift away from your hips. Lower your right arm and place your hand on the ground
as close to your sacrum as possible. Externally rotate your right shoulder so that your fingers point away from
your body. Breathe deeply into the open space of your right chest, and feel your chest rotate slightly more to
the right.
• Place your left arm wherever it feels most comfortably challenging—hugging your right rib cage, wrapped
around your right knee, or with the back of your elbow to the outside of your right thigh. Use this connection
for stabilizing the twist. Remain mindful to keep the line of your spine perpendicular to the ground. Soften into
the twisting action through your thoracic spine.
• Continue to focus on your breath.
• Inhale and lengthen your spine, imagining more space opening up between the vertebrae. As you exhale, turn
your head to look over your right shoulder. Rotate your rib cage as much as you comfortably can so that your
right shoulder points as far back from the front of your body as is comfortable. Tuck your chin toward your right
shoulder to encourage a deeper stretch on the left side of your neck.
• To exit this posture, inhale and slowly turn your head and chest forward. Place your hands to your sides and
extend your right leg out. Prepare for the next side.

Adjustments
Legs and hips—Make sure the student’s outstretched leg is
extended but comfortable and that the hip of the bent knee
remains on the ground. If it lifts off the ground, either
instruct the student to root through the sit bones or
place the student on a bolster or blanket.
Spine—If the spine rounds, kneel behind the student
and gently press against the middle spine with your
hands or knee. Cue the student to lift the chest
and lengthen the spine, moving it away from your
support.
Shoulders—Cue the student to relax the shoulders
away from the ears by placing your hands gently
on top of the shoulders. Also, remind the student
to reach the crown of the head upward.
Adjustment: spine; shoulders.
Rotation—For students with a limited spinal range of
motion or with shoulder concerns, instruct them to
keep the elbow of the front hand straight and to place the other hand to the side, wherever it is comfortably chal-
lenged. To adjust, kneel behind the student and place one hand on the front of the shoulder to the side where the
student is rotating. Place your other hand on the student’s rib cage on the opposite side. Gently move the student’s rib
cage forward, away from you, while rotating the shoulder around a little farther, thus creating more spinal rotation.
Hand position—Encourage the student to keep the back arm as straight and as close to the spine as possible. This
position depends on the length of the student’s arm and the width of the shoulders. In all cases, the shoulders
should remain relaxed.

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 Seated Postures

Finger position—Instruct the student to rotate the back arm exter-

nally so that the fingers point away from the spine. Kneeling
behind the student, place one hand on the student’s extended
upper arm and rotate the shoulder externally. At the same
time, place your other hand on the student’s opposite
shoulder to create length through the front of the chest.

Modifications
Low-back weakness or hip or hamstring tightness—Place
a folded blanket under the student’s hips to help align
the pelvis.
Hip replacement or larger belly—Instruct the student not
to cross the bent knee over the opposite leg but
instead to keep it aligned with the same-side hip
by placing the foot of the bent leg against the
inside of the straight leg.

Adjustment: rotation.
Kinematics
Ardha Matsyendrasana focuses on toning the abdominal and spinal muscles and creating a gentle stretch in the deep
external hip rotators and the shoulders. Having both legs grounded helps create more length in the torso, as does the
grounding of the arm that rotates behind the body. The twist is initiated in the lower thoracic region and, depending
on a person’s spinal flexibility, continues up through the spine into the cervical spine (neck). The firmness of the
abdominal muscles also helps keep the torso lifted and stable.

Ardha Matsyendrasana (Rotating to the Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Thigh (R) Knee flexion Hamstrings, sartorius (C, I)
Thigh adduction Adductors, gracilis, pectineus
(C, I)
Thigh (L) Knee extension Quadriceps (C, I)
Hip and pelvis (R) Hip flexion Iliopsoas (C, I) Tensor fascia lata, deep external
rotators,* gluteus medius
Hip and pelvis (L) Hip flexion Iliopsoas, rectus femoris (C, I)
Torso (R and L) Trunk stability Erector spinae, transverse
abdominis, rectus abdominis
(C, I)
Chest and rib elevation Pectoralis minor (C, I)
Torso (R) Rotation to right Internal obliques, latissimus dorsi Erector spinae (L), external
(C, I) obliques
Torso (L) Rotation to right External obliques (C, I) Quadratus lumborum, serratus
anterior, internal oblique

(continued)

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 Ardha Matsyendrasana (Rotating to the Right) (continued)
Body segment Kinematics Muscles active Muscles released
Shoulder (R and L) External rotation Posterior deltoid, teres minor,
infraspinatus (C, I)
Shoulder (R) Humeral hyperextension, sta- Latissimus dorsi, posterior del- Anterior deltoid, pectoralis major
bility toid, teres major (C, I)
Scapular adduction Rhomboids, trapezius (C, I)
Shoulder (L) Humeral extension, leverage Latissimus dorsi, posterior del- Latissimus dorsi, posterior del-
against right knee toid, teres major (C, I) toid, teres major, rhomboids, mid
trapezius
Upper arm (R) Forearm extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Upper arm (L) Elbow flexion Biceps brachii, brachialis, bra-
chioradialis (C, I)
Lower arm (R) Elbow extension Anconeus (C, I)
Forearm supination Supinator (C, I)
Lower arm (L) Forearm pronation Pronator teres and quadratus
(C, I)
Hand and fingers Wrist hyperextension Extensor carpi radialis longus Flexor carpi radialis, flexor carpi
(R) and brevis, extensor carpi ulnaris ulnaris, flexor digitorum superfi-
(C, I) cialis, palmaris longus
Hand and fingers Wrist extension Extensor carpi radialis longus
(L) and brevis, extensor carpi ulnaris
(C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck (R and L) Neck extension, stability Cervical erector spinae, splenius
capitis and cervicis, semispinalis
(C, I)
Neck (R) Head rotation to right Splenius capitus and cervicis, Sternocleidomastoid
occipitals (C, I)
Neck (L) Head rotation to right Sternocleidomastoid (C, I) Upper trapezius, splenius capitus
and cervicis, occipitals
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Seated Postures

Marichyasana A
Marichi’s Pose, Variation A
[mar-EE-chee-YAHH-suh-nuh kuh]

Marichi is the name of a great sage in Hindu mythology, and the

word can be translated as “the way of light.” The Marichyasana
variations are symbolically and energetically powerful, as
Marichi himself is said to be. This is the first of four Marichyasana
poses.

Description
Marichyasana and its variations are extensions of the spinal twist of
Ardha Matsyendrasana (Half Lord of the Fishes Pose). The main
difference between the two postures is that in the Marichyasana
variations the arms are bound around the body to create a deeper
stretch into the joints. Marichyasana has four commonly
practiced variations—A, B, C, and D. In variation A, the bent
leg does not cross the opposite leg, and the arms wrap behind
the back as the torso moves into a forward bend.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy

Foundational Focus
Root evenly through the sit bones. Anchor into the heel of the flexed leg and the back of the heel of the straight leg.

Benefits
• Increases energy level.
• Massages the internal organs.
• Brings the spine into alignment.
• Builds strength in the trunk muscles.
• Strengthens the hip and shoulder joints.
• Increases circulation in the joints.

 Cautions
Pregnancy—After the first trimester, pregnant students should avoid doing this posture due to the compression
of the abdomen.
Spine concerns—Those with a spine injury should practice with modifications or skip this pose.
Shoulder injury—Proceed with caution and modifications.

171
 Verbal Cues
• From Dandasana (Staff Pose), inhale to lengthen your spine. As you exhale, bend your right knee and draw
your thigh to your chest. Place your heel as close to your pelvis as possible. Imagine your left leg as an anchor,
keeping the thigh muscles activated.
• Inhale and raise your right arm overhead. Exhale and bring the outside of your right upper arm to the inside
of your right leg. Exhale and fold from the hips, imagining someone gently pulling your right hand forward so
that your right shoulder reaches beyond your right shin.
• Rotate your chest and belly slightly to the left. Bend your right elbow and press against your shin with your
upper arm. Inhale and lift your rib cage away from your hips.
• Internally rotate your right arm so that your thumb points downward. Bend your elbow and reach your hand
around the outside of your right leg toward your spine. Press your upper arm against your shin to help lift your
chest, moving it forward toward your right foot.
• Bring your left arm behind your back, with the palm facing out and reach toward your right hand. Grasp your
left wrist with your right hand. Inhale and lengthen your spine, arching back slightly to lift your chest and open
your abdominal region.
• Exhale and fold forward from your hips while you stretch your chest toward your left knee. Relax your spine
and neck. Release your muscles with each exhalation.
• Continue to focus on your breath.
• To exit this position, exhale and release your arms slowly. Bring your hands by your hips and inhale as you lift
your chest upright. Straighten your right leg and prepare for the other side.

Adjustments
Extended leg—If the student’s extended leg is rotated externally, this generally means that the leg is relaxed. Brush
the outside of the foot to cue the student to activate the leg throughout the posture, with the toes and knee pointing
up, and remind the student to anchor through that leg.
Bent leg—Sometimes a student needs to take the knee wider than hip-width apart to accommodate the rib cage
rotation. However, instruct the student to align the knee with the hip as much as possible to make it easier to wrap
the arm around the leg. Gently press the outside of your shin against the student’s outer thigh to bring the leg into
alignment.
Shoulders—Kneel behind the student and place one hand on the upper arm on the side toward which the student
is rotating. Gently guide the shoulder into greater external rotation. At the same time, place your opposite hand
on the lower back ribs, near the kidneys, and gently press forward and up. This adjustment creates length as well
as rotation in the torso.
Hands—If the student’s hands are nearly but not quite touching behind the body, ask the student to relax and breathe
deeply. Kneel behind the student and place a hand on each of the student’s upper arms. As the student exhales,
slowly press the arms closer together to draw the fingertips nearer. The student also can bend farther forward to help
shorten the space between the thigh and the rib cage. Have the student stay in this position for only a few breaths
until more strength and flexibility are gained.

Modifications
Tight hips—If the hip of the bent leg is lifted off the ground, place a rolled-up blanket or towel under the student’s
opposite hip and remind the student to root the hips into the ground.
Tight shoulders—Instruct the student to hold the ends of a strap between both hands in order to allow the student
to hold the arms in a static position and deepen the stretch.

Kinematics
Because of the deep shoulder stretch, students new to this pose may feel like the circulation is being cut off when
they bind the arms. After some practice, the muscles relax and the joints loosen and students gain more range in the
joint to allow the posture to be comfortable for a longer time.

172
 Seated Postures

Marichyasana A (Right Knee Bent)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis (I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis (C, I) Gastrocnemius, soleus
Thigh (R) Knee flexion Hamstrings (C, I)
Thigh (L) Knee extension Quadriceps (C, I)
Hip and pelvis Hip flexion Iliopsoas, sartorius, left rectus
femoris (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Chest and rib elevation Pectoralis minor (C, I)
Shoulder Hyperextension, adduction of Latissimus dorsi, posterior del- Pectoralis major and minor, ante-
humerus toid (C, I) rior deltoid
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm (R) Elbow flexion Biceps brachii, brachialis, bra-
chioradialis (C, I)
Upper arm (L) Elbow flexion Biceps brachii, brachialis, bra-
chioradialis, triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck Head extension or slight hyper- Splenius capitus and cervicis, Sternocleidomastoid
extension, stability occipitals, cervical erector
spinae, semispinalis, upper tra-
pezius (I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

173
 Marichyasana B
Marichi’s Pose, Variation B
[mar-EE-chee-YAHH-suh-nuh k-huh]

This asana is the second of the four Marichyasana variations.

Description
This variation of Marichyasana is similar to variation A, except that
instead of the leg being extended in front of the body, the knee is
flexed and the ankle is placed in Ardha Padmasana (Half-Lotus).

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, third chakra (Manipura) vitalizing
energy

Foundational Focus
Root evenly through the sit bones. Anchor into both feet
and the externally rotated knee.

Benefits
• Increases energy level.
• Massages the internal organs.
• Aligns the spine.
• Builds strength in the trunk muscles.
• Deeply strengthens the hip and shoulder joints.
• Increases circulation in the joints.
• Relieves stiffness in the hips, knees, and ankles.
• Strengthens the low spine and abdominal muscles.

 Cautions
Knee injuries—Students should be extremely mindful of the knee in Ardha Padmasana whether they have a knee
injury or not. If it is difficult to rotate the leg externally because the hips are tight, the knees take on the strain
in order to compensate.
Pregnancy—Due to the compression into the abdomen, women in the second or third trimester of pregnancy
should not practice this posture.
Shoulder injury—Those with a shoulder injury should proceed with caution and modifications.

Verbal Cues
• From Dandasana (Staff Pose), inhale to lengthen the spine. On the next inhalation, bend your left knee and
externally rotate the leg so the knee lowers toward the ground. Exhale and bring your left ankle to the crease
of your right hip, into Ardha Padmasana (Half-Lotus Pose). Please see modifications for Ardha Padmasana for
students who cannot accommodate this positioning comfortably.

174
 Seated Postures

• With your next exhalation, bend the right knee and bring the thigh toward the chest. Dorsiflex the left foot so
the top of the foot and toes press into the outside of the right thigh. This helps secure the foot in position.
• Inhale and raise your right arm overhead. Exhale and lower your right arm to the inside of your right leg. Exhale,
folding from your hips and imagine someone gently pulling your right hand forward so that your right shoulder
reaches beyond your right shin.
• Rotate your chest slightly to the left. Bend your right elbow and press against the shin with your upper arm as
you lift your rib cage away from your hips.
• Internally rotate your right arm so that your thumb points downward. Bend the elbow and reach your hand
around the outside of your right leg toward your spine.
• Bring your left arm behind your back, with the palm facing out, and reach toward the right hand. Clasp the left
wrist with the right hand. Inhale and lengthen the spine, arching back slightly to lift the chest.
• Exhale and fold forward from the hips, pressing your chest toward your left knee. Relax your spine and neck.
Release your muscles with each exhalation.
• Continue to focus on your breath.
• To exit this position, exhale and release the arms slowly. Bring the hands by your hips and inhale as you lift your
chest upright. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the opposite side.

Adjustments
Leg positioning—Use the adjustments for Ardha Padmasana to help the student into the most appropriate position-
ing, as some students are unable to sit in the full expression of the pose without lifting one side of the pelvis off the
ground. You may also simply cue the student to place the left foot under the right thigh, near the hip.
Feet—The foot in Ardha Padmasana should not be overstretched on the outside of the ankle. Remind the student to
keep the foot dorsiflexed and active.
Hips—If student’s hips are not level, kneel behind the student with your hands lightly touching the hips. Press down-
ward gently and draw back slightly on the side that is not in Ardha Padmasana.
Bent leg—Sometimes a student will need to take the knee wider than hip width to accommodate the rib cage rotation.
As in Variation A, encourage the student to align the knee with the hip as much as possible to make it easier to wrap
the arm around the leg. Gently press against the student’s outer thigh to bring the leg into alignment.
Hands—If the hands are almost touching, remind the student to relax and breathe deeply. The student can bend
farther forward to help shorten the space between the thigh and rib cage. Invite the student to stay in this position
for only a few breaths until the student gains more strength and flexibility.

Modifications
Tight hip in Ardha Padmasana—If the student is unable to sit in Ardha Padmasana, instruct the student to keep the
bent leg on the ground as in Janu Shirshasana (Head to Knee Pose). Place a blanket or bolster under the bent knee
to relax the leg in either position.
Tight shoulders—Instruct the student to hold the ends of a strap between both hands to allow for holding the arms
in a static position while deepening the stretch in the shoulders.

Kinematics
Because the foot of the leg in Ardha Padmasana is wedged against the opposite thigh and abdomen, it makes it
somewhat easier to hold the leg in position for those working on the external rotation in Padmasana (Lotus Pose).
Tight shoulder adjustments are the same as in Variation A.

175
 Marichyasana B (Right Knee Bent, Left Leg in Ardha Padmasana)
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis (I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis (R)
Thigh Knee flexion Hamstrings (R)
Hip and pelvis (R) Hip flexion Iliopsoas (C, I)
Hip and pelvis (L) Hip flexion Iliopsoas (C, I) Adductors
Hip external rotation Adductors, sartorius (E, R)
External rotation, stability Gluteus medius and minimus,
deep external rotators* (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Chest and rib elevation Pectoralis minor (C, I)
Shoulder Hyperextension, adduction of Latissimus dorsi, posterior del- Pectoralis major and minor, ante-
humerus toid (C, I) rior deltoid
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm (R) Elbow flexion Biceps brachii, brachialis, bra-
chioradialis (C, I)
Upper arm (L) Elbow flexion Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck Head extension, stability Splenius capitus and cervicis, Sternocleidomastoid
occipitals, cervical erector
spinae, semispinalis, upper tra-
pezius (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = relaxed (in body segment column) or right (in
muscles active column).

176
 Seated Postures

Marichyasana C
Marichi’s Pose, Variation C
[mar-EE-chee-YAHH-suh-nuh, guh]

This is the third of the four Marichyasana variations.

Description
This variation of Marichyasana is somewhat similar to variation A. In this variation,
the foot of the bent leg is crossed over the opposite thigh, the torso twists in the
direction of the bent leg, and the opposite arm wraps around the bent leg
binding behind the back.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana)
creative energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root evenly through the sit bones.
Anchor into the heel of the flexed
leg and the back of the heel of
the straight leg.

Benefits
• Increases energy level.
• Massages the internal organs.
• Aligns the spine.
• Builds strength in the trunk muscles.
• Deeply strengthens the hip and shoulder joints.
• Increases circulation in the joints.
• Increases focus.

 Cautions
Pregnancy—Due to the compression in the abdomen, women in the second or third trimester of pregnancy
should not practice this posture.
Shoulder injury—Those with a shoulder injury should proceed with caution and modifications.

Verbal Cues
• From Dandasana (Staff Pose), inhale to lengthen your spine. Exhale and bend your right knee, bringing your
thigh to your chest. Cross your right foot over your left thigh and place the foot on the ground wherever it feels
most comfortable.
• Inhale and rotate your rib cage to the right. Turn your head to look over your right shoulder as far as is com-
fortable. Imagine your left leg as an anchor, keeping the thigh muscles activated. Place your right hand on the
ground for support.

177
 • On your next exhalation, continue to keep your torso rotated to the right and reach your left arm across your
body to the outside of your right leg. Move your left shoulder blade toward the outside of your right knee as
you turn your torso a bit more to the right, if comfortable.
• Bend your left elbow and press your upper arm against the outside of your right knee as you lift your rib cage
away from your hips.
• Internally rotate your left arm so that your thumb points toward the ground, then wrap your arm around the front
of your right leg. Reach the hand around, toward your right hand, and bind your hands together, if comfortable.
• Inhale, lengthening your spine, and open as much space between your lower ribs and pelvis as possible. Con-
tinue to press the back of your left upper arm against your right leg for leverage.
• Continue to focus on your breath.
• To exit this position, exhale and release your arms slowly. Rotate your chest forward and bring your hands by
your hips. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the opposite side.

Adjustments
Extended leg— If the student’s extended leg is rotated externally, this generally means that the leg is relaxed. Brush
the outside of the foot to cue the student to activate the leg throughout the posture with the toes and knee pointing
up; remind the student to anchor through that leg.
Hips—If the student’s hips are not level and touching the ground, kneel behind the student with your hands lightly
touching the student’s hips and press downward to ground the pelvis.
Torso—Kneel behind the student, and place your hand on the student’s same-side shoulder. Pull back gently as you
use your opposite hand to press forward and up on the student’s rib cage, thus creating more spinal rotation.
Hands—If the student’s hands are almost touching and have enough range of motion, encourage the student to relax
and breathe deeply, drawing the hands closer together on an exhalation. You may aid in drawing the hands closer
by kneeling behind the student and grasping the upper arms. As the student exhales, press the arms toward each
other and draw the hands closer together, as far as is comfortable.

Modifications
Tight hips—If the hip of the bent leg lifts off the ground, place a rolled-up blanket or bolster under the opposite hip,
or both hips if necessary, to balance the pelvis.
Tight shoulders—Invite the student to hold the ends of a strap between the hands behind the back. This modification
allows the student to hold the arms in a static position to deepen the stretch without straining the shoulder joints.
Shoulder injury or tight chest—Instead of asking the student to bind the arms behind the back, invite the student to
place the back arm against the spine and press the back of the opposite arm into the bent knee. You can also have
the student practice Ardha Matsyendrasana (Half Lord of the Fishes Pose) instead.

Kinematics
The pressure of the bent arm against the opposite thigh aids in gaining leverage to rotate the torso more fully.

178
 Seated Postures

Marichyasana C (Right Knee Bent, Rotation to Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis (I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis (C, I)
Thigh (R) Knee flexion Hamstrings (C, I)
Thigh (L) Knee extension Quadriceps (C, I)
Hip and pelvis (R) Hip flexion Iliopsoas, sartorius (C, I) Gluteus maximus
Hip and pelvis (L) Hip flexion Iliopsoas, rectus femoris, sarto- Hamstrings
rius (C, I)
Torso (R and L) Spinal extension and stability Erector spinae (C, I)
Trunk stability Rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Torso (R) Rotation to right Internal obliques, erector spinae, External oblique
latissimus dorsi (C, I)
Torso (L) Rotation to right External oblique (C, I) Internal oblique, quadratus lum-
borum
Shoulder (R) Humerus hyperextension and Latissimus dorsi, posterior del- Pectoralis major and minor, ante-
adduction toid (C, I) rior deltoid
External rotation Posterior deltoid, infraspinatus,
teres minor (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Shoulder (L) Internal rotation Pectoralis major, anterior deltoid
(C, I)
Humerus hyperextension Latissimus dorsi, teres major (C,
I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm (R and Elbow flexion Biceps brachii, brachialis, bra-
L) chioradialis (C, I)
Lower arm (R and Forearm pronation Pronator teres and quadratus
L) (C, I)
Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck (R) Head rotation to right, stability Splenius capitus and cervicis, Sternocleidomastoid
occipitals, cervical erector
spinae (C, I)
Neck (L) Head rotation Sternocleidomastoid (C, I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

179
 Marichyasana D
Marichi’s Pose, Variation D
[mar-EE-chee-YAHH-suh-nuh g-huh]

This is the fourth of the four Marichyasana variations.

Description
This variation of Marichyasana is a combination of the Ardha Padmasana
(Half-Lotus) element of variation B and the twisting of variation C. It is
by far the most technically challenging variation; in fact, many people
describe this combination of hip opening, spinal twisting, and arm
binding as a “pretzel” pose.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana)
creative energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root evenly through the sit bones. Anchor into both feet and
the externally rotated knee.

Benefits
• Increases energy level.
• Massages the internal organs.
• Brings the spine into alignment.
• Builds strength in the trunk muscles.
• Opens the shoulder joints.
• Deeply strengthens the hip and shoulder joints.
• Increases circulation in the joints.
• Increases focus.

 Cautions
Knee injuries—Students should be extremely mindful of the knee in Ardha Padmasana, whether or not they have
a knee injury. If it is difficult to rotate the leg externally because the hips are tight, the knees take on the strain
in order to compensate. Modifications should be used.
Pregnancy—Due to compression in the abdomen, women in the second or third trimester of pregnancy should
not practice this posture.
Shoulder injury—Students with extreme shoulder tightness or injury should practice with caution and modifi-
cations.

180
 Seated Postures

Verbal Cues
• From Dandasana (Staff Pose), inhale to lengthen the spine, creating as much space between the ribs and hips
as possible. Keep the hips level and on the ground.
• On the next inhalation, bend your left knee and externally rotate the leg so that the knee lowers toward the
ground. Exhale and bring your left ankle to the crease of your right hip into Ardha Padmasana (Half-Lotus Pose).
(Please see the modifications for Ardha Padmasana for students who cannot accommodate this positioning
comfortably, or simply place the left foot under the right thigh as close to the hip as possible.)
• With your next exhalation, bend your right knee to your chest. Dorsiflex your left foot so that the tops of the
foot and toes press into the outside of your right thigh to keep the foot in position.
• Breathing in, place your right arm behind your spine for leverage. Bring the back of your left arm across to the
outside of your right knee. Reach as far as you can, using the energy of your right arm to lift your spine.
• Reach your right hand behind your back toward your left hip. Internally rotate your left arm so that your thumb
points toward the ground, then wrap your arm around the front of your right leg. Reach your left hand toward
your right hand.
• As you exhale, rotate your right shoulder and rib cage back as far as is comfortable and press your left rib cage
forward toward the outer edge of your right knee. Press the back of your left upper arm against your right thigh
for leverage. Bind your hands together, if comfortable.
• Continue to focus on your breath.
• To exit this position, exhale and release your arms slowly. Bring your hands beside your hips and inhale as
you lift your chest upright. Uncross your left leg and straighten both legs back into Dandasana. Prepare for the
opposite side.

Adjustments
Ardha Padmasana positioning—Please refer to the modification instructions for Padmasana in chapter 8 to help the
student into the most appropriate positioning. The foot in Ardha Padmasana should not be overstretched on the
outside of the ankle.
Hips—If the hips are not level, kneel behind the student with your hands lightly touching the outer pelvis. Press down
gently and pull back on the hip that is not in Ardha Padmasana.
Bent leg—Sometimes a student needs to take the knee wider than hip-width apart to accommodate the rib cage rota-
tion. However, instruct the student to align the knee with the hip in order to make it easier to wrap the arm around
the leg. Gently press against the student’s outer thigh with the outside of your calf to coax the leg into alignment.
Hands—If the student’s hands are almost touching, encourage the student to relax and breathe deeply. The student
can bend farther forward to help shorten the space between the thigh and rib cage. Have the student stay in this
position for only a few breaths until the student gains more strength and flexibility.

Modifications
Tight hip in Ardha Padmasana—If the student is unable to sit in Ardha Padmasana, suggest that the student keep the
bent leg on the ground. Place a blanket under the bent knee for support to relax the leg in either position.
Tight shoulders—Cue the student to hold the ends of a strap between the hands. This modification allows the person
to hold the arms in a static position to deepen the stretch.
Inability to bind arms—Instead of binding with the initial balancing arm, suggest that the student keep the hand on
the ground behind the spine and place the outside of the opposite arm against the outside of the bent knee. You
can also instruct the student to bind by twisting the torso in the opposite direction.
Balance concerns—If the student has extreme difficulty attaining this posture without strain, or cannot maintain
positioning and stay balanced, it is best to substitute another posture.

Kinematics
The Ardha Padmasana positioning of the leg in this posture is likely to require modification for many students. As
always, students should refrain from forcing the legs or arms into this position if they experience any discomfort.

181
 Marichyasana D (Right Knee Flexed, Left Leg in Ardha Padmasana, Torso Rotated to
Right)
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis (C)
Lower leg (L) Ankle dorsiflexion Anterior tibialis (C, I)
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis (R Pelvic stability Rectus abdominis, quadratus
and L) lumborum, hamstrings (I)
Hip and pelvis (R) Hip flexion Iliopsoas, sartorius (C, I)
Hip and pelvis (L) Hip flexion Iliopsoas (C, I) Adductors
Hip external rotation Adductors, sartorius (E)
External rotation, stability Gluteus medius, deep external
rotators* (C, I)
Torso (R and L) Spinal extension and stability Erector spinae (C, I)
Trunk stability Rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)
Torso (R) Rotation to right Internal obliques, erector spinae, External obliques
latissimus dorsi (C, I)
Torso (L) Rotation to right External obliques, internal
oblique, quadratus lumborum,
erector spinae (C, I)
Shoulder (R) Humerus hyperextension and Latissimus dorsi, posterior del- Pectoralis major, anterior deltoid
adduction toid (C, I)
External rotation Posterior deltoid, infraspinatus,
teres minor (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Shoulder (L) Internal rotation Pectoralis major, anterior deltoid
(C, I)
Humerus hyperextension Latissimus dorsi (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow flexion Biceps brachii, brachialis, bra-
chioradialis (C, I)
Forearm pronation Pronator teres and quadratus
(C, I)
Lower arm Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck (R) Head rotation to right, stability Splenius capitus and cervicis, Sternocleidomastoid
occipitals, cervical erector
spinae (C, I)
Neck (L) Head rotation Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Seated Postures

Paschimottanasana
Seated Forward Bend, or Intense West-Side Stretch
[puhsh-chee-moht-tuhn-AHH-suh-nuh]

Paschima means “west” in Sanskrit, and uttana means “intense

stretch.” Traditionally, it is considered ideal to face east
for meditation and practice; therefore,
the east side of the body is viewed
as the front, whereas the west
side is viewed as the back.
Literally translated, then,
paschimottanasana means
“intense stretch of the
west”—or, in this case, of
the back side of the body.

Description
This is a seated, full forward bend. The legs are outstretched in front of the body, and the torso is folded forward at
the hips and, to the best of the student’s ability, resting on the front of the legs.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.

Benefits
• Calms and soothes the nervous system.
• Stretches the hamstrings and the entire back, both in the passive and the active variations.
• Stimulates circulation to the liver, kidneys, and reproductive organs.
• Improves digestion.
• Can relieve some symptoms of menstrual discomfort and menopause.
• May alleviate headache, anxiety, and fatigue.
• Can help relieve high blood pressure, infertility, insomnia, and sinusitis.

 Caution
Back injury—Perform this pose with the back straight and little or no forward bend. Until the student is strong
enough to release the spine while sitting, the pose should be practiced with modification or replaced by a
different pose.
Intestinal discomfort—Due to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.

183
 Verbal Cues
Active
• From Dandasana (Staff Pose), inhale and sit tall. Roll your upper legs toward each other slightly and reach your
sit bones back so that your pelvis tilts slightly forward. Inhale and raise both arms overhead.
• Expand the space between your front hip points (anterior superior iliac spines) and your navel. Exhale and begin
to flex at your hips, like a hinge. Fold forward only as much as is comfortable without rounding your upper
back. Stop at the first sign of resistance or tightness and soften into that space.
• Place your hands on the ground beside your hips and use your arms to help lengthen your spine. Keep your
ears aligned with the top of your shoulders.
• Gently reach your hands toward your feet and hold wherever you comfortably can while maintaining an elon-
gated back.
• Inhale, lift, and open your chest, arching back slightly. Roll your upper arms out, imagining your collarbones
expanding away from each other, and continue to lengthen the front of your torso. Move your ribs forward
and up slightly, and soften your shoulders away from your ears. Maintain length in your throat and the back
of your neck.
Resting
• Exhale and slowly roll down your spine from the bottom to the top, relaxing your torso over your legs.
• Soften your abdomen and find your breath moving into the back of your body. Relax your shoulders away from
your ears and keep your neck soft. Visualize your body sinking into the earth.
• Imagine your breath moving into any place that is resistant or holding tension
and release that area completely. Soften the back of your neck to feel more
lengthening between your shoulder blades.
• To exit this position, place your hands on the ground beside your
hips. Inhale and press down through your hands as you slowly lift
your torso and head.

Adjustments
Feet—The student’s feet are generally not of much concern in this
pose; however, if the student can reach the hands beyond the feet,
then you can help the person deepen the posture. Instruct the
student to bring the feet together and draw the toes toward the
head. You can assist by gently pressing up against the bottom of
the toes.
Legs—If the student’s knees are bent, check for proper back
alignment and support. It is better to have the student back Adjustment: spine; shoulders.
off, focus on the legs, and sit more upright than to let the
student struggle with tight hamstrings. Note: If the student has
finished with the active phase of the posture and is resting, he or she may
bend the knees slightly as a modification, as long as the body remains UNSTABLE
relaxed. Instruct the student to bring the legs as close together as
is comfortable.
Hips—If tight hamstrings prevent the forward bend from starting
in the hips, modify with a strap (see the modifications section).
Spine—Students often have trouble keeping the back straight. To
help a student lengthen the spine, squat or kneel behind the
student and place the heels of your hands at the bottom edge of
her or his rib cage. Lift, ever so lightly, as the student exhales.
This action helps tilt the pelvis forward and lengthens through
the lower back. Do not press downward on a student in this Unstable and possibly harmful alignment: spine and
position; doing so may result in back injury! shoulders rounded.

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 Seated Postures

Shoulders—If a student’s back is rounded, the shoulders will usually be rounded as well. To help the student roll the
fronts of the shoulders open, kneel behind the student and place a hand on each shoulder with your fingers draped
just in front of the junction of the arm, shoulder, and chest. Use your hands to gently draw the collarbones apart
and lightly press the shoulders down. At the same time, you can softly press your knee into the student’s mid back,
thus lifting the chest and opening the shoulders.
Neck—The student’s neck should be actively aligned with the spine in the active phase of the pose and should be
relaxed in the resting phase. The key is to keep space in the neck between the
head and shoulders regardless of the phase.

Modifications
Spinal weakness—When practicing this pose, it is common to use a prop,
such as a strap, pillow, or folded blanket. A blanket or bolster propped
under the hips takes some of the pressure and work off of a weak or
rounded back.
Tight hamstrings or hips—Students benefit greatly when they sit
propped up on a blanket or bolster. This positioning helps tilt the
front pelvis forward to ease the hamstrings and lower back. If
a student cannot reach the hands to the feet, offer the student
a strap to wrap around the feet. The strap allows the student
to get an extra stretch in the shoulders and lateral torso. The
student should not grasp the strap tightly, because doing so
tightens the upper body in the pose. Modification: tight hamstrings or hips.

Kinematics
If a student is very close to bringing the chest down to the legs, you can assist in deepening the flexion. However,
when applying adjustments in this posture, be certain that your hand placement and the movement of the adjustment
are mechanically sound. Never press down on the student’s spine to deepen the forward bend! Doing so would put
excessive strain on the spinal ligaments and discs.
To begin, kneel behind the student and lightly place your palms flat against the student’s upper pelvis with your
fingers pointing toward the ground. Keep your hands in position and gently lift and lengthen the pelvis toward the
direction of the head. The pelvis will not actually lift, but the motion will elongate the lower spine and help the student
flex at the hip joint, rather than allowing the low spine to round. Also, make certain that you move according to the
student’s breath pattern; actively provide the adjustments as the student exhales to keep the energy flow.

Paschimottanasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digitorum Gastrocnemius, soleus
longus (C, I)
Thigh Knee extension Quadriceps (C, I) Hamstrings
Hip and pelvis Hip flexion Iliopsoas, sartorius, rectus femoris Deep external rotators, ham-
(C, I) strings, gluteus maximus
Hip flexion more than 120 Rectus abdominis (C, I)
degrees
Torso Spinal extension, Erector spinae (E, I) Quadratus lumborum, erector
stability spinae
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (I)

(continued)
185
 Paschimottanasana (continued)
Body segment Kinematics Muscles active Muscles released
Shoulder Scapular adduction Rhomboids and mid trapezius (C, I) Latissimus dorsi
Scapular stability Serratus anterior
Humeral flexion Deltoids, pectoralis major, biceps
brachii, coracobrachialis, supra­
spinatus (C, I)
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
External rotation of humerus Infraspinatus and teres minor with
some posterior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachioradialis,
brachialis
Lower arm Elbow extension Anconeus (C, I)
Forearm supination Supinator (C, I)
Hand and fingers Finger flexion Flexor digitorum profundus and
superficialis, flexor digiti minimi
and brevis, interossei palmaris (C, I)
Neck Head extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis, upper
trapezius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

186
 Seated Postures

Gomukhasana
Cow’s Face Pose
[go-mook-AHH-suh-nuh]

Go in Sanskrit means “cow,” and mukha is the word for “face.” At first glance, this pose
may not seem to resemble the face of the gentle and symbolically nurturing creature
after which it is named. You may see the pattern, however, if you look at your image in
the mirror while practicing this pose. The arms are like a cow’s ears, and the legs form the
shape of a cow’s mouth.

Description
In this seated asana, the legs are on the ground, stacked in front of the
hips with the knees bent. One knee is folded on top of the other, aligned
with the middle of the body. The spine is upright, and the arms are bent,
with one elbow pointed up and the other pointed down as the
hands reach toward each other and bind behind the back. Note:
Sometimes the two halves of the pose are done separately.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra
(Svadhisthana) creative energy, fourth chakra (Anahata) heart-
opening energy

Foundational Focus
Root evenly through the sit bones. Anchor into the outer thigh
of the leg resting on the ground.

Benefits
• Opens the chest and shoulders.
• Improves circulation.
• Stretches the arms and wrists.
• Relieves discomfort for headache sufferers and postnatal women.
• Relieves sciatica.

 Cautions
Hip replacements—Students with a hip replacement are advised not to cross the legs over the midline of the
body. They may practice the arm portion of the posture and sit in any other comfortable position.
Shoulder injury—Advise students with any shoulder injury to use caution. For students with rotator-cuff tears,
the anterior shoulder of the bottom arm is usually sensitive and tight in this pose, thus making it inadvisable for
them to rotate the arm externally. Students with a history of shoulder dislocation should modify the pose with
the use of a strap so that the hand does not reach as far behind the back.

Verbal Cues
• From Dandasana (Staff Pose), exhale and bend your right knee, drawing your thigh toward your chest. Cross
your right foot over your left leg, placing your foot on the ground outside your left thigh as close to the hip as
is comfortable.

187
 • Externally rotate your left leg so that your left little toe moves toward the ground. Flex your left knee and bring
your left heel to the outside of your right hip.
• Exhale and relax your right hip, allowing your knee to rotate externally and rest on the top of your left knee.
Draw your right foot as close to your left hip as is comfortable.
• Dorsiflex your feet so that the toes point toward your knees. Root through
your sit bones and settle into the stability of your pelvis. With each exha-
lation, relax your legs more.
• Inhale and reach your right arm overhead so that your upper arm aligns
with your ear. Externally rotate the arm, pointing the thumb away from
your body.
• Soften your right shoulder and bend your right elbow. Slide the palm of
your right hand down your back to the lowest vertebra you can comfort-
ably reach. Inhale and lift the elbow toward the sky, being mindful not to
push your head forward.
• Extend your left arm out to the side with your palm facing up. Keep the
front of your shoulder rolled open and place your left hand to the ground
behind you. Rotate (pronate) your lower arm so that the palm faces away
from your body. Bend your left elbow and reach the back of your left hand up
your spine toward your right hand. If your hands touch, bind them together.
If not, simply focus on pointing your elbows in opposite directions—the
right elbow to the sky, the left one to the ground.
• Continue to focus on your breath.
• Inhale and lift your chest upward to keep your spine elongated. Exhale
and let your shoulders relax. Feel the space opening between your
ears and shoulders, keeping your neck long yet soft.
• To exit this posture, inhale and release your fingers. Slowly bring
both hands down to your sides. Exhale and lift your right knee off of To prepare the shoulders for the bind,
your left. Lean back slightly and straighten your left leg, then your extend your left arm out to the side with
right leg, and prepare for the next side. your palm facing up.

Adjustments
Back—If the student’s upper back is rounded, kneel behind the student, place the palms of your hands just below
the scapulae, and slowly press the rib cage forward and up.
Arms—If the student’s elbows are abducted and aligned wider than shoulder-width apart, place
your hands against the outsides of the upper arms, near the shoulders, and gently press the
arms closer toward the student’s midline.
Hands—If the student’s hands do not touch but are very close, you may be able, with
the student’s permission, to move the hands the extra distance to enable them to
meet. Kneel behind the student and place your hands on the student’s upper arms,
just above the elbows. Carefully and slowly, press the hands closer together.

Modifications
Hips—If the hips are not level on the ground, place a blanket under the lower
hip. As an option, the student can sit on the foot of the bottom leg to raise the
hip level.
Hip replacement—Instruct the student to sit in any comfortable position where
the thighs do not cross over each other.
Tight shoulders—If a student cannot reach the hands together without assis-
tance, ask the student to hold the ends of a strap between the hands. Modification: tight shoulders.

188
 Seated Postures

Kinematics
Gomukhasana provides an excellent stretch for the triceps. If a student is unable to touch the hands together, it is
beneficial for the student to use a strap of some type between the hands. The strap allows the student to hold the arm
positioning with much more ease. Remind the student to keep a fairly relaxed grip on the strap so as not to tighten
the arms.

Gomukhasana (Right Elbow Up, Left Elbow Down)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digitorum
longus (C, I)
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis Hip flexion Iliopsoas (C, I) Adductors, tensor fascia lata, glu-
teus medius and minimus
Initial external rotation, adduc- Adductors, sartorius (E)
tion
Initial external rotation Gluteus medius, deep external rota-
tors* (C, I, R)
Pelvic stability Rectus abdominis, quadratus lumbo-
rum, hamstrings (I)
Torso Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis (C, I)
Spinal extension and stability Erector spinae, quadratus lumborum
(C, I)
Sternoclavicular stability Subclavius (I)
Shoulder (R) Horizontal flexion of humerus Pectoralis major, coracobrachialis, Latissimus dorsi, trapezius, pec-
anterior and middle deltoid (C, I) toralis major and minor
Stability and external rotation of Infraspinatus, teres minor (C, I)
humerus
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Scapular stability, lateral rotation Serratus anterior (I)
Shoulder (L) Hyperextension and adduction Latissimus dorsi, teres major (C, I) Anterior deltoid, upper trapezius,
of humerus levator scapulae, subscapularis
Stability and external rotation of Infraspinatus, teres minor, posterior
humerus deltoid (C, I)
Upper arm Elbow flexion Biceps brachii (C, I) Triceps brachii
Lower arm (R) Forearm supination Supinator (C, I)
Lower arm (L) Forearm pronation Pronator teres and quadratus (C, I)
Hand Wrist extension Extensor carpi radialis brevis and
and fingers longus, extensor carpi ulnaris (C, I)
Finger extension Extensor digitorum, extensor digiti
minimi brevis, dorsal interossei (C, I)
Finger adduction Interossei palmaris, adductor pollicis
(C, I)
Neck Neck extension Splenius capitus and cervicis, sub-
occipitals, semispinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in the body segment column) or relaxed
(in the muscles active column). 189
 Paripurna Navasana
Full Boat Pose
[par-ee-POUR-nuh naah-VAAH-suh-nuh]

Paripurna means “full” or “complete,” and nava is

Sanskrit for “ship” or “boat.” The shape of the body
in Navasana resembles a boat with the oars balanced
in the water.

Description
Navasana is a seated jackknife balancing position. The legs are
raised off the ground with straight knees, and the toes hover at
eye level. The spine is straight and reclined slightly, and the arms
are extended parallel to the ground.

Energetic Focus
First chakra (Muladhara) grounding energy, third
chakra (Manipura) vitalizing energy

Foundational Focus
Root evenly through the sit bones. For those with stronger abdominals and no low-back concerns, the root can move
back more fully onto the sacrum.

Benefits
• Strengthens the thighs, hips, abdominal muscles, and back; targets the core musculature.
• Massages the internal organs.
• Stimulates digestion.
• Builds balance and concentration.

 Caution
Pregnancy or injury—Pregnant or injured students are advised to avoid this posture.
Intestinal discomfort—Due to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.

Verbal Cues
• From Dandasana (Staff Pose), exhale and bend your knees, bringing them toward your chest. Keep the soles
of your feet flat on the ground. Place your hands on the backs of your thighs and lift your chest as you inhale.
Keep your spine long and your shoulders relaxed.
• Exhale and begin to recline your torso with your spine straight. Feel your abdominal muscles and hip flexors
engage to support your spine and notice your balance shifting toward the backs of your sit bones.
• On an exhalation, slowly lift your feet off the ground, keeping your knees flexed. Balance here between your
sit bones and your tailbone and slowly take your hands away from the backs of your thighs, bringing your arms
to your sides parallel to the ground.

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 Seated Postures

• If this position feels comfortably challenging, stay here and focus on your breath. If your back feels fatigued but
your abdominals feel strong, bring your hands again to the backs of your thighs for support.
• If you feel strong and comfortable, especially in your low back, then roll farther back onto your sacrum so that
there is more activity in your abdominal muscles. Remain relaxed in your shoulders, with a long torso.
• Continue to focus on your breath.
• To go further, into the full Navasana (Paripurna Navasana),
place your hands behind your thighs again. Use your arms
to hold onto your legs to assist or relieve your low back
and legs. Exhale and gradually straighten your knees,
bringing your toes to eye level. Look toward your toes
with a soft gaze.
• If and when you feel ready, release your hands so that
your arms are once again parallel to the ground. Breathe
length and strength from your sit bones to your hands
and feet. You are in full Navasana if you are breathing!
• To exit the position, exhale and slowly lower your feet
back to the ground and sit upright. To rest your thighs and
abdominal muscles, lower your legs into Baddha Kona-
sana (Bound Angle) and rest before the next posture.
Adjustment: spine.
Adjustments
Spine—It often takes a little practice before a student has
enough strength to keep the spine from rounding. If the torso is col-
lapsing inward, direct your student to maintain spinal alignment by
keeping the hands behind the thighs and focusing on the breath
while continuing to elongate the torso. Another option is to kneel
behind the student and lightly support the spine with your knee
or palm in order to create more length and support.
Legs—If the student’s legs are shaking and the student is having diffi-
culty keeping the legs extended, kneel beside the student and place
your closest forearm under the calves to support the legs briefly. Place
your other arm behind the student’s back to support the spine,
as well. Supporting the legs enables the student to straighten
the legs more fully and build strength.
Adjustment: legs.
Modifications
Weakness or fatigue—For a weak or tired student, the intensity of the pose can
be reduced by bending the knees. Also, to build strength, instruct the student to
keep the feet on the ground while reclining for a few breaths at a time.
Building strength—The student can use the arms for support by placing the hands
on the ground behind the hips with the elbows bent. Instruct the student to raise
one leg while maintaining the integrity of the upper body. After a few breaths,
the student can switch to the other side.
Tailbone concerns—Occasionally, a student complains of tailbone pain when
reclining in this asana. First, instruct the student to sit on a folded blanket. If
this does not alleviate the pain, skip this pose altogether, or instruct the student
to recline only somewhat and to focus on lifting the feet off the ground while Modification: weakness or fatigue.
maintaining an elongated spine.

191
 Kinematics
For students who are new or weaker, the balance point of the body falls between the ischial tuberosities (sit bones)
and the tailbone. If the body is balanced above the tailbone, higher onto the pelvis, the likelihood of flexion in the
lumbar spine increases, as does the possibility of injury. For more experienced or stronger students, balancing on
the flattened sacrum provides more concentrated strengthening of the abdominals; it is important that these students
do not have any lumbar or sacral concerns.

Paripurna Navasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I) Hamstrings
Thigh adduction Adductors, gracilis (C, I)
Hip and pelvis Hip flexion Iliopsoas, rectus femoris (C, I)
Torso Spinal extension, stability Erector spinae, quadratus lumbo-
rum (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis, latissimus dorsi (C, I)
Shoulder Humerus flexion Pectoralis major, anterior deltoid,
coracobrachialis (C, I)
Joint stability Trapezius, rhomboids, teres
minor (I)
Upper arm Elbow extension, stability Biceps brachii, brachialis, bra-
chioradialis, triceps brachii (E, I)
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum (C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Neck Neck extension against gravity Sternocleidomastoid, scalenes
(C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

192
 Seated Postures

Baddha Konasana
Bound Angle Pose
[BUD-dhuh kohn-AAH-suh-nuh]

Baddha is Sanskrit for “bound,” and kona means “angle.” This posture is
often called “Cobbler’s Pose” because it replicates the traditional seated
position for East Indian shoemakers. The shoemakers used the feet to
hold a shoe so that both hands were free. The pose is also referred
to as Butterfly Pose by teachers who do not use Sanskrit terms in
their teaching and in children’s classes.

Description
In this seated asana, the knees are bent and the legs rotated
externally with the soles of the feet either pressed together or held
together with the hands to make a seal or lock.
Variations of this posture involve making the
space between the ankles and the groin
more or less open.

Energetic Focus
First chakra (Muladhara) grounding
energy, second chakra (Svadhisthana)
creative energy

Foundational Focus
Root evenly through the sit bones. Anchor into the outer legs and the outsides of the feet. Connect with the energy
of the heels and toes of each foot pressing together.

Benefits
• Promotes wellness in the urinary and reproductive organs.
• Increases general circulation by stretching the major arteries and lymph glands in the groin, legs, and thighs.
• Stretches the adductor muscles of the thighs.
• Relieves mild depression symptoms.
• Can help alleviate pain from sciatica.
• Relieves discomfort for pregnant and menstruating women.
• Helps ease childbirth, if practiced regularly.

 Caution
Knee, hip, or groin injury—Students with such an injury should use modifications and props.

Verbal Cues
• From Dandasana (Staff Pose), exhale and bring your knees toward your chest. Inhale and let the outside of your
knees slowly lower toward the ground.

193
 • Root through your sit bones with your body weight evenly distributed to both sides. Inhale and keep your spine
lifted and strong, and reach your tailbone and sit bones slightly back toward the end of your mat by slightly
folding the front pelvis forward. Settle back firmly on the base of your pelvis.
• Bring your hands to the ground beside your hips and press the soles of your feet together. Feel your knees move
slightly closer to the ground as you exhale softly. Press lightly into your arms to open more length through the
sides without lifting your hips off the ground.
• Maintain the length in your spine and place your hands on your ankles or clasp your fingers around your feet,
keeping your shoulders relaxed.
• Continue to focus on your breath.
• Inhale deeply to elongate your torso. On your next exhalation, fold forward from your hips, feeling your pelvis
rock forward. Imagine lowering your chest toward the ground beyond your feet. Soften your shoulders and con-
tinue to keep your hands around your ankles or feet for leverage. Feel free to gently press your elbows against
your inner legs to help open your thighs slightly more. You can also place your hands on the ground—however
you are most comfortable.
• If your hips feel comfortable, use your hands to draw the soles of your feet open toward the sky. This action
gently rolls your outer legs closer to the ground, thus opening the groin more deeply. Place your hands on your
mid thighs and gently rotate your thighs externally to open them. As always, when you inhale, lengthen your
spine and extend the crown of your head beyond your feet.
• To exit this posture, place your hands to the ground beside your hips. Press firmly through your arms and inhale
as you lift slowly through your chest and the crown of your head. Exhale and stretch your legs out in front of
you as you move back into Dandasana.

Adjustments
Feet—Instruct the student to actively press the outer edges of the soles of the feet together. Gently brush the feet with
your hands as a reminder.
Knees—If the student has difficulty lowering the knees to the ground, help the student roll the soles of the feet up
by pressing the tops of the feet toward the ground. Instruct the student to open the soles of the feet as if opening a
book. This action rotates both legs externally.
Spine—To help support the student’s back, sit or kneel behind the student with your shin against the back. Place your
hands lightly on the mid thighs while gently rotating the legs externally. Press
your shoulder or knee lightly against the student’s spine and lift. This action
encourages length in the back.

Modifications
Groin or knee injury—Place blocks or blankets under the student’s outer
knees and hips for support.
Tight hips—Instruct the student to make the knee angle larger by moving
the feet farther from the body. The student may also keep the feet
slightly apart for comfort. Most students with tight hips also benefit
greatly from propping the outer legs as in the previous modification.
Weak or injured spine—Place the student on the back for spinal
support but open the angle between the legs to stretch the groin.
This positioning is called Supta Baddha Konasana (Reclining Bound
Angle). If this positioning still creates a strain on the spine, instruct
the student to lie on the ground with the legs against a wall and
place the soles of the feet together while gently pressing the knees
toward the wall.
Pregnancy—Place stacked bolsters, blankets, or a chair in front of
the student and have her rest her arms and forehead on the prop for
support. This modification works well for all seated forward bends. Modification: groin or knee injury.

194
 Seated Postures

Kinematics
In this posture, it is sometimes difficult for students to recognize why the knees do not come all the way down to the
ground. Common sense would suggest that tight adductors are the culprits, and this is true in many cases. However,
other factors are often involved as well—specifically, tight hip rotators and individual anatomical differences.
For students with tight hips, the forward-bend portion of the asana is made possible by a coordinated effort
between the hip flexors (iliopsoas and rectus femoris), the spinal extensors (erector spinae), and sometimes the arms.
The forward bend is initiated by an eccentric contraction of the spinal muscles; if initiated with an exhalation, the
contraction of the abdominal muscles also aids reciprocally in allowing the spinal muscles to soften. Then, to aid
in the flexion, the hip flexors contract concentrically to help draw the torso down farther. Because of the external
rotation of the femurs, the angle of contraction in the flexors may not allow a person to lower any farther without
using the arms to draw the torso down as well. Students should keep the shoulders relaxed when using the arms and
should not force the torso downward.

Baddha Konasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg Ankle inversion Anterior tibialis (C, I) Peroneals
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis Hip flexion Iliopsoas, quadriceps (C, I) Iliopsoas, quadriceps (after exter-
nal rotation), gracilis, sartorius
Initiates external rotation Adductors (E)
External rotation Deep external rotators,* gluteus
medius (C, I)
Flexion, external rotation Sartorius (C, I)
Torso Spine extension, stability Erector spinae, semispinalis, qua-
dratus lumborum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis (C, I)
Shoulder External rotation of humerus Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion Brachialis, biceps brachii,
brachioradialis (C, I)
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger and thumb flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae, semi­
spinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

195
 Upavishtha Konasana
Wide-Angle Seated Forward Bend
[oo-puh-VISH-tuh kohn-
AAH-suh-nuh]

Upavishtha means “seated” or

“sitting” in Sanskrit; kona means “angle.”

Description
Upavishtha Konasana is a seated straddle position. With the legs outstretched from the center, the torso folds forward
toward the ground from the hips.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy

Foundational Focus
Root evenly through the sit bones. Anchor into the backs of the heels.

Benefits
• Opens the hips.
• Stretches the groin, hamstrings, and low back.
• Stimulates digestion.
• In a complete forward bend, deeply stretches the hips and lengthens the torso.

 Cautions
Back pain or injury—Practice with modification or skip the pose.
Advanced pregnancy (where the belly gets in the way of folding forward)—Practice with the use of props to
support the abdomen and back.

Verbal Cues
• From Dandasana (Staff Pose), inhale and move your legs apart as wide as you comfortably can, making sure
that the stretch in the groin is not intense. Point your tailbone and sit bones toward the back of your mat, which
will tilt the front of your pelvis slightly forward.
• Root the fronts of your sit bones into the ground and imagine energy drawing from the top of your head down-
ward toward your hips. Point your toes and knees up. Breathe deeply and slowly and lift your rib cage away
from your hips.
• Inhale and reach your arms up and then out to your sides as you expand your chest. Gaze forward with your
chin parallel to the ground and your ears aligned over your shoulders.
• As you keep your chin and chest lifted, exhale and fold slowly forward from your hips. Maintain length in
your spine as you bring your chest closer to the ground. Stop at the first point of resistance and breathe length
through your entire spine. Keep your chest open and your upper back long.
• Lower your arms and place your hands above or below your knees or on the ground in front of your legs. Press
lightly down into your hands and use this energy to support your back and rib cage as you lift the chest higher,
slightly arching the back. Exhale and fold forward more deeply from the hip joints.

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 Seated Postures

• Continue to focus on your breath.

• When you get to the point where you feel that you want to relax your back, stay in this position and breathe
deeply, allowing your breath to loosen and soften your muscles. Imagine the breath
expanding between your vertebrae and ribs.
• On the next exhalation, allow your body to completely relax. Make certain that
your spine feels comfortable and use your hands or a prop for support.
• To exit this posture, bring your hands to your mid thighs and press down slowly
but firmly. Inhale and lift through your chest and the crown of your
head, coming once again to a seated position. Exhale and bring
your legs together again in Dandasana. Roll your thighs in and
out to loosen your hip joints and hamstrings.

Adjustments
Knees—If the student needs to bend the knees slightly for comfort,
seat the student on folded blankets or a bolster to help lift the
hips and decrease stress on the hamstrings and low back.
Spine—If the student rounds the spine in the forward fold,
cue the student to sit upright slowly and begin again. Kneel
behind the student and place your hand lightly on the mid
back and encourage length by moving the fingers up the spine
toward the head. Adjustment: spine.

Modifications
Tight back or hamstrings—Seat the student on a folded blanket or bolster to
help tilt the pelvis slightly forward. You can also invite the student to keep
the knees bent slightly or place a small rolled-up towel behind the knees.
Pregnancy—Help the student keep the abdomen open and not com-
pressed. Place a chair or stacked blankets in front of the student for
her to rest her hands on. As the student flexes forward slightly, the
support of the chair allows her to keep the torso upright. The student
may also rest her arms and head on a chair with a pillow for
relaxation. Many students also find a soft bolster or pillow
under the growing abdomen to be comfortably supportive.
Weakness or injury—Modify the seated posture to a restorative
one such as Viparita Karani (Restorative Legs-Up-the-Wall
Pose), in which the heels and backs of the legs are against a
wall and the back is on the ground. Modification: pregnancy.

Kinematics
As the upper body flexes forward, people with tight adductors often find that the legs roll into internal rotation. To
help make your students aware of this action, give them an additional verbal cue to keep the knees and toes pointing
upward or slightly externally rotated. Remind students to focus the breath softly into the groin and hamstrings if they
feel any tightness in these areas, and not to push beyond the first point of resistance.

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 Upavishtha Konasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito-
rum longus (C, I)
Thigh Knee extension Quadriceps (C, I) Hamstrings
Hip and pelvis Hip flexion over 120 degrees Iliopsoas, rectus femoris (C, I)
Thigh abduction, stability Tensor fascia lata, gluteus medius Adductors, gracilis
and minimus (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lumbo- Pectoralis major
rum (C, I)
Rib and chest elevation Pectoralis minor (C)
Trunk stability Internal and external obliques,
transverse abdominis (C, I)
Shoulder Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Humerus horizontal extension Mid and posterior deltoid, supra-
spinatus (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Joint stability Subscapularis, teres minor, infra-
spinatus
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm supination Supinator (C, I)
Hand and fingers Finger and thumb flexion Flexor digiti minimi brevis, inter-
ossei dorsales manus and pal-
maris, opponens digiti minimi,
flexor pollicis brevis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Seated Postures

Parighasana
Kneeling Triangle, or Gate Pose
[par-eegh-AAH-suh-nuh]

In Sanskrit, parigha is the word for a crossbar used to lock a gate, which is the shape
of the body in this posture. Physically, this side stretch lengthens the intercostals
(rib muscles) and enables the expansion of the breath. In a metaphysical sense, the
breath is the gateway that connects the mind, body, and spirit.

Description
This intense side stretch is generally practiced in a kneeling position with one leg abducted
and rotated externally. It can also be described as a kneeling version of Utthita Trikonasana
(Extended Triangle). The deeper variation of this posture requires considerable flexibility
in the lateral torso because the hips are lowered onto the ground.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative
energy, third chakra (Manipurna) vitalizing energy

Foundational Focus
Root into the knee and the top of the foot of the bent leg. Anchor
into the heel and possibly the toes of the straight leg.

Benefits
• Applies a deep lateral stretch to the torso and low back.
• Loosens the spine.
• Stretches the pelvis and chest.
• Strengthens the lateral abdominal muscles.
• Aids in digestion.

 Cautions
Knee concerns—Practice with modifications.
Back concerns—Those with back pain or injury should limit the lateral stretch to some degree and use props
for support.

Verbal Cues
• From a kneeling position, place your knees hip-width apart with your thighs perpendicular to the ground. Align
your spine and legs as in Tadasana (Mountain Pose). Abduct your right leg, keeping it in line with your torso.
Rotate the top of your right thigh externally so that your knee and toes points upward.
• If possible, press your right forefoot flat against the ground to help support your balance and stretch the upper
ankle. If this action strains the ankle or causes cramping, allow your toes to lift slightly off the ground. Anchor
into your left knee and right heel.
• Stretch your arms out to your sides with your palms facing downward. Inhale and lengthen your spine, reaching
the crown of your head toward the sky.

199
 • As you exhale, reach your right arm out over your right leg, maintaining length in your
low back. When you have stretched out as far as you comfortably can, slowly lower
your right hand toward the ground without placing any upper body weight on your
right leg. Be sure that your left thigh remains perpendicular to the ground and
does not shift to either side.
• Sweep your left arm forward, then reach over your head, bringing your upper arm
close to your left ear. Point your palm toward the midline of your body. Continue to
gaze forward; however, if there is tension in your neck, look down to your right foot.
• Continue to focus on your breath.
• As you breathe, notice your breath filling your entire torso, lengthening your
sides. Feel the muscles between your ribs expand as your spine continues
to lengthen. Keep your torso aligned over your right leg.
• To exit this pose, press your right foot firmly into the ground and sweep
your left hand out to the left side of your body. As you inhale, feel yourself
lifted by your left arm. Exhale and lower your arms to your sides.
Bring your right knee back under your body and prepare to move
to the left side.
Adjustment: extended thigh.
Adjustments
Foot of extended leg—If the student’s foot is not aligned with the hip, the balance will be
compromised. Invite the student to slide the foot back so that the heel is in line with the hip.
Extended thigh—Squat or kneel behind the student and place one hand on the outer mid
ribcage or the hip of the kneeling leg to provide stability, and the other hand on the
mid thigh of the straight leg. Gently draw the muscles toward you to externally rotate
the leg and open the pelvic region.
Rib cage—If the torso is sinking into the extended thigh, kneel behind the student
and lightly place your hand on the outer portion of the rib cage. Cue the student
to lengthen the spine and draw the ribs away from your hand.
Shoulders—To help open the chest and shoulders, squat or kneel behind the
student, place your nearest hand on the student’s upper arm, and slowly
rotate the arm externally. Cue the student to maintain length in the neck.

Modifications
Knee pain—If the student has difficulty placing the total body weight on the
knees, double up the mat or place other padding under the joint. Modification: tight back or sides.
Tight hamstrings or adductors—Instruct the student to keep the extended
knee slightly bent.
Tight back or sides—If the student is unable to reach the ground with the
bottom hand, place a block or other prop to the outside of the extended
leg. This modification allows the student to keep weight off of
the leg yet remain balanced.
Posture deepening—Instead of keeping the thigh of the bent
knee perpendicular to the ground, the hips can be flexed so
Modification: deepening the pose.
that the sit bones rest on the ground. If flexibility allows, the
hands can reach overhead toward the foot of the straight leg. This variation should be practiced only by students
with sufficient range of motion in the hips and knees to allow for deepening the asana comfortably.

Kinematics
The upper-body and hip mechanics of this posture are similar to those in Utthita Trikonasana (Extended Triangle),
except that this is a kneeling posture. As with Trikonasana, the emphasis here is to keep the torso mainly in the frontal
plane and to continue to encourage length in the spine.
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 Seated Postures

Parighasana (Leg Abducted to Right Side)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe flexion (pressure into Flexors digitorum and hallucis
ground) longus, flexor digitorum brevis
(C, I)
Foot and toes (L) Toe extension Extensor digitorum longus,
extensor hallucis longus, anterior
tibialis (C, I)
Lower leg (R) Ankle plantar flexion Gastrocnemius, soleus (C, I) Extensor digitorum and hallucis
longus, anterior tibialis
Lower leg (L) Ankle plantar flexion and sta- Anterior tibialis, extensor digito-
bility rum longus, peroneals (C, I)
Thigh (R) Knee extension Quadriceps (C, I)
Thigh (L) Knee flexion Hamstrings, gastrocnemius (C, I)
Hip and pelvis (R) Hip abduction and external Tensor fascia lata, deep external Hamstrings, adductors
rotation rotators,* gluteus medius and
minimus (C, I)
Hip and pelvis (L) Hip extension, stability Hamstrings, gluteus maximus Iliopsoas, quadriceps
(C, I)
Pelvic stability Rectus abdominis, hamstrings,
quadratus lumborum (I)
Torso Trunk stability Rectus abdominis, internal and
external obliques, transverse
abdominis (I)
Torso (L) Lateral flexion to right Quadratus lumborum, erector Quadratus lumborum, erector
spinae, internal and external spinae, latissimus dorsi, internal
obliques (E, I) and external obliques
Shoulder (R) External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Humerus horizontal flexion Middle and posterior deltoid,
supraspinatus (C, I)
Shoulder (L) Humerus flexion Anterior deltoids, pectoralis
major, biceps brachii (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm (R) Forearm supination Supinator (C, I)
Forearm extension Anconeus (C, I)
Hand and fingers Wrist extension Extensor carpi radialis longus
(R and L) and brevis, extensor carpi ulnaris
(C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Hand and fingers Finger adduction Interossei palmaris, adductor
(L) pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
sternocleidomastoid, scalenes (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Virasana
Hero Pose
[veer-AAH-suh-nuh]

Vira is Sanskrit for “hero” or “champion.” In Hindu mythology, the thighs are

an extremely important part of the body, signifying virility and power. This
pose focuses an intense stretch in the front thighs (quadriceps).

Description
Virasana is a deep kneeling posture in which the hips are seated on the
ground between the feet. Variations of this asana are used to sit in certain
styles of meditation.

Energetic Focus
First chakra (Muladhara) grounding energy

Foundational Focus
Root evenly through the sit bones as they rest either on the ground, on a
prop, or on the backs of the calves. Anchor into the tops of the feet and the shins.

Benefits
• Helps alleviate calcaneal (heel) spurs and strengthens the arches.
• Stretches the quadriceps and ankles.
• Helps alleviate arthritis pain in the feet and ankles.
• Provides good spinal support for meditation (better than sitting cross-legged).
• Stimulates digestion.

 Cautions
Acute knee injury—Students with undiagnosed knee pain should not practice this posture. Others with a knee
injury should proceed cautiously and with modifications.
Circulatory concerns—Students with cardiac or other circulation concerns should avoid this pose.

Verbal Cues
• Kneel on the ground with your knees approximately hip-distance apart. Rest the tops of your feet against the
ground with your toes pointed directly backward.
• Exhale as you begin to slowly lower your hips toward your heels. Place your hands on your upper calves and
rotate the bulk of your calf muscles away from the midline of your body. This action helps relax the knees as
you lower farther and opens up space in which to place your hips.
• Keep your knees aligned and your spine lengthened as you lower your hips onto the ground between your
ankles. If you notice your knees splaying, focus on drawing your inner thighs toward each other. This action
will also provide an anchoring sensation in your pelvis.
• Inhale and lift your chest and the crown of your head upward. Roll your shoulders back and relax them to keep
your chest expanding with your breath. Gaze softly forward, keeping length in the sides of your neck.

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 Seated Postures

• Rest your hands at your sides or on top of your thighs. Breathe deeply and continue to relax your shoulders.
• Continue to focus on your breath, and feel your hips soften with each exhalation.
• To exit the position, place your hands on the ground beside your legs. Slowly shift your pelvis to one side and
rest on the side of your hip. Extend your knees as you sweep your feet for-
ward, bringing you into Dandasana. Roll your ankles in both directions
in order to loosen your knees and hips. Prepare for your next pose.

Adjustments
Feet—Ensure that the student’s toes are not pointing out to the sides.
If they are, instruct the student to come back into a kneeling position
with the tops of the feet on the ground and the inner ankles against the
side of the hips.
Knees—Take care that the student’s knees are as close together as possi-
ble. Kneel in front of the student and place your hand lightly between
the knee joints. Instruct the student to press against your hand with both
knees. Remove your hand and instruct the student to keep the
pressure constant.
Shoulders—Remind the student to keep length in the spine
with the front shoulders rolled back. To help establish
length in the upper spine, kneel or semi-squat behind
the student, press your knee or palm lightly against the Adjustment: shoulders.
student’s spine, and lift gently. Place your opposite hand on the student’s nearest shoulder
to help encourage openness in the chest.

Modifications
Foot pain or tight ankles—If the student has a foot or ankle injury or complains of
feeling uncomfortable with the top of the feet against the ground, place a folded
blanket under the front of the ankle joint. It may also help to place
the hips on a folded blanket or block.
Knee pain—Place a folded blanket or a block under the stu-
dent’s hips to open the angle under the knees. This action
decreases pressure on the knee joints. Another possible modi-
fication is to bend only one knee at a time, especially if the
student has pain or injury in one leg. From the low lunging
position, instruct the student to extend one leg forward and
lower the hips to the ground behind. Depending on the
student’s flexibility, she or he may wish to place a block Modification: knee pain.
or blanket under the hip of the straight leg.
Posture deepening—Instruct the student to interlace
the fingers and press the palms out. Then have the
student inhale and reach the hands over the head.
On an exhalation, cue the student to bring the hands
behind the hips and slightly recline the spine to
achieve a deeper stretch in the quadriceps.
Modification: knee pain.

Kinematics
Sometimes a student rotates the lower legs externally in order to rest the pelvis on the ground between the heels.
This action creates a risk of injury in the medial knee structures. Always check that the front of the shins is resting
flat on the ground and that the calves and feet do not rotate externally.

203
 Virasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum longus (I)
Lower leg Ankle plantar flexion Gastrocnemius, soleus (I, R) Anterior tibialis, peroneals
Internal rotation Posterior tibialis (I)
Thigh Knee flexion Quadriceps (E, R) Quadriceps
Hip and pelvis Hip flexion Hamstrings, gluteus maximus Hamstrings, gluteus maximus
(E, R)
Torso Spine extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis (C, I)
Shoulder External rotation of humerus Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Humerus adduction Latissimus dorsi, pectoralis major
(C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus Flexor carpi radialis and ulnaris
(C, I)
Wrist hyperextension Extensor carpi ulnaris, radialis
longus and brevis (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (I)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae (I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.

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 Seated Postures

Bharadvajasana
Bharadvaja’s Pose
[bhuh-RUHD-vaah-JAAH-suh-nuh]

In Hindu mythology, Bharadvaja was one of the legendary Seven Seers. He was
also the father of Drona, a great military leader who fought the war chronicled
in the Mahabharata.

Description
Bharadvajasana is a gentle, seated twist that can be practiced with the legs
in a sideways, leaning Virasana (Hero Pose) or with one leg in Virasana
and the other in Ardha Padmasana (Half-Lotus Pose).

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root evenly through the sit bones. In the basic position, anchor into
the outside of the leg resting on the ground. In the deeper expression
of the pose, anchor into the outside of the leg resting on the ground
and press the top of the foot into the opposite hip.

Benefits
• Stretches and strengthens the low spine.
• Stretches the neck, shoulders, hips, knees, and ankles.
• Massages the internal organs.
• Helps relieve sciatica pain.
• Improves digestion.
• Helps relieve anxiety.

 Cautions
Acute knee concerns—Students with acute knee concerns should practice only the basic variation or use mod-
ifications.
Acute spinal concerns—Students with spinal concerns should limit rotation in the spine.
Intestinal discomfort—Due to the pressure created in the abdomen, students with intestinal discomfort should
refrain from practicing this pose until the discomfort passes.

Verbal Cues
• From Virasana (Hero’s Pose), shift your body weight to your right hip and lower the hip to the ground. Keep
your legs together and allow your left ankle to rest on top of the arch of your right foot.
• Inhale and lengthen your spine as you settle your hips more comfortably onto the ground. Exhale and bring your
right hand to the ground behind your hip. Reach your left hand across your body to the outside of your right leg.

205
 • As you exhale, focus on keeping the top of your pelvis level with the ground and continue to ground through
your sit bones.
• With each inhalation, lengthen your spine, allowing your right arm to aid in keeping your spine perpendicular
to the ground. With each exhalation, lightly press your right shoulder farther back, and rotate the front of the
shoulder away from your chest in order to open more space in this area.
• Keep your right shoulder open, and slowly turn your head and look over your left shoulder. Align your chin
with your shoulder without straining your neck. For a deeper stretch in the right side of your neck, slightly lower
your chin toward your left shoulder.
• Continue to focus on your breath.
• To exit this posture, exhale and slowly turn your head forward. Then inhale and slowly bring your chest for-
ward. Lift your hips back over your heels into Virasana and prepare to practice the pose on the opposite side.

Adjustments
Feet—Be sure that the bottom foot is resting on the ground. Cue the student to relax both feet.
Hips—If the top of the student’s pelvis is not level with the ground, place a blanket under the lower hip. Kneel behind
the student, place your hands softly at the top of the pelvis, and apply light pressure downward. Be aware of the
student’s comfort level.
Spine—Remind the student to lift out of the low spine. Kneel behind the student, gently place your hand on the
rounded spine, and encourage lengthening up.
Rotation—If the student has difficulty rotating the shoulder, squat or kneel behind the student and place one hand
on the front of the shoulder joint nearest to you. Place your opposite hand on the student’s outer rib cage and
gently rotate the shoulder toward you as you gently press the rib cage away. Lightly lift the student’s spine as you
move the torso.

Modifications
Tight spine or shoulders in the Ardha Padmasana
variation—If the student has difficulty grasping
the toe, wrap a strap around the foot and cue
the student to hold onto the other end with
the hand behind the back.
Pose deepening—The following variation
is for students who can sit comfortably in
Ardha Padmasana (Half-Lotus Pose). Instruct
students to cross the bottom leg over the
top so that the foot rests in the crease of
the opposite thigh in Ardha Padmasana.
Next, instruct them to reach the hand
farthest from the feet behind the back
and toward the top foot. If possible, stu-
dents can grab the big toe and use the Modification: tight spine or shoulders Modification: deepening the pos-
connection for leverage while rotating. in the Ardha Padmasana variation. ture.

Kinematics
In Bharadvajasana, the spine should remain perpendicular to the ground with all of the natural curves intact. However,
because of tight hip extensors and rotators, some students find that they cannot keep both halves of the pelvis on
the ground. To compensate, the low back curves laterally toward the legs; another compensation is to exaggerate
the forward curve in the low spine (lordosis). For comfort and proper alignment, place a bolster or blanket under the
hip farthest from the legs.

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 Seated Postures

Bharadvajasana (Rotating Torso to Right)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg Ankle stability Gastrocnemius, soleus, perone-
als (I)
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis (R) Hip flexion Iliopsoas (C, I)
External rotation, stability Adductors (E, I)
Hip and pelvis (L) Hip flexion Iliopsoas (C, I)
Internal rotation Deep external rotators* (E, I) Deep external rotators,* gluteus
medius
Torso (R and L) Spinal stability Rectus abdominis, transverse
abdominis, quadratus lumborum
(I)
Chest and rib elevation Pectoralis minor (C, I)
Torso (R) Spinal rotation to right Internal oblique, erector spinae, External oblique
latissimus dorsi (C, I)
Torso (L) Spinal rotation to right External obliques (C, I) Quadratus lumborum, internal
oblique, erector spinae
Shoulder (R) Humeral extension Posterior deltoid, latissimus dorsi Pectoralis major
(C, I)
External rotation Posterior deltoid, teres minor,
infraspinatus (C, I)
Shoulder (L) Internal rotation and humeral Latissimus, posterior deltoid (C, I) Quadratus lumborum
extension (aids in spinal rotation)
Upper arm (R) Elbow extension Triceps brachii (C, I)
Upper arm (L) Elbow extension against resis- Triceps brachii (C, I)
tance (also aids in spinal rota-
tion)
Lower arm (R) Supination Supinator (C, I)
Lower arm (L) Forearm pronation Pronator teres and quadratus
(C, I)
Hand and fingers Wrist hyperextension Extensor carpi radialis longus Wrist flexors
(R) and brevis, extensor carpi ulnaris
(C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Hand and fingers Wrist flexion Flexor carpi radialis and ulnaris,
(L) palmaris longus (C, I)
Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Neck (R) Head rotation to right, stability Splenius capitus and cervicis, Sternocleidomastoid
occipitals, cervical erector
spinae (C, I)
Neck (L) Head rotation to right Sternocleidomastoid (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Padmasana
Lotus Pose
[puhd-MAAH-suh-nuh]

Padma is Sanskrit for “lotus flower,” which is associated with beauty, spirituality,
and eternity. When meditating in Padmasana, the energy of prana is said to flow
through the chakra centers, which are generally represented as lotus flowers.

Description
Padmasana is an upright, seated position in which the legs are crossed
in front with each ankle resting comfortably on the opposite thigh near
the crease of the hip. This is the quintessential seated asana in hatha
yoga and East Indian meditation. Padmasana is said to connect the
energies of the root chakra and the crown chakra while in meditation.
To sit comfortably in this position, one needs flexible, open hips.
This takes time and practice. Many people, especially in the West,
have inflexible hip joints and cannot easily sit in this position
without much preparatory work. Four variations of Padmasana
are provided here so that students at every level of flexibility can
sit in this restful position.

Energetic Focus
First chakra (Muladhara) grounding energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root evenly through the sit bones. Anchor into the outer edges of the thighs while resting the outside of each foot
against the opposite thigh.

Benefits
• Relieves stiffness in the hips, knees, and ankles.
• Strengthens the low spine and abdominal muscles.
• Promotes a relaxed, balanced posture.
• Increases circulation of interstitial fluids (lymph fluids).
• Boosts energy.

 Cautions
Acute knee injury—Students with acute knee concerns should either practice only the basic variation or use
modifications.
Artificial joints—Students with a hip or knee replacement should either skip this pose or practice only with
modifications.

Verbal Cues
For all variations, emphasize to students that they should each respect the limits of their own body! Even if a student
can normally come into Padmasana quite easily, there may be days when, because of body temperature or fatigue,
the student has difficulty. Remind students to move slowly and to come into the posture only to the point where the
body is most comfortably challenged. In this way, they can sit restfully.

208
 Seated Postures

First Variation: Baby Lotus

• From Dandasana (Staff Pose), bend your knees, then cross one ankle over the other
and draw your feet in as close to your body as is comfortable. It is fine if your knees
are lifted off the ground. However, if your knees are higher than your hips, it
is best to sit on a folded blanket or bolster.
• Elongate your spine and allow your shoulders to relax. Rest your hands on
your lap or down by your hips.
• Focus on your breath. Practice this pose on both sides to maintain
balance in your hips.
Second Variation: Sukhasana [soo-KHAAH-suh-nuh] (Easy Pose)
• From Dandasana, bend your left knee and draw your heel close to
your right hip. Next, bend your right knee and place your lower leg
in front of your left shin. Your ankles do not cross in this position.
• Allow your knees to rotate easily toward the ground. This is gener-
ally a precursor to sitting comfortably in Padmasana. First variation: Baby Lotus.
• Elongate your spine and allow your shoulders to relax.
Rest your hands on your lap or down by your hips.
• Focus on your breath. Practice this pose on both sides
to maintain balance in your hips.
Third Variation: Ardha Padmasana (Half-Lotus,
or Tailor’s Seat)
This variation gets to the root of sitting in a deep,
comfortable Padmasana.
• From Sukhasana, place your right foot on
top of your left ankle and calf. If you feel
comfortable doing so, wedge your right
foot between your left calf and thigh
to help keep your legs in this position.
• Focus on your breath.
• If there is no strain in your knee or hip,
lift your light leg up slightly and bring
Second variation: Sukhasana.
your right knee inward toward the
midline of your body. Breathe.
• Place your right ankle above your left knee so that your right foot and knee hang
comfortably toward the ground. Move your left foot away from your body by extend-
ing your knee slightly.
• As comfortably as possible, move your legs so that the knees are at a 90-degree
angle. Lower your top (right) knee toward your left ankle as much as you can
in a relaxed manner. This position is called Agnistambhasana [ugh-NEE-
stumb-AAH-suh-nuh] (Fire Log Pose). Relax and breathe here for a few
breaths, elongating your spine as you inhale and softening your shoulders
as you exhale.
• Turn the sole of your top (right) foot upward; if you can, bring your right
heel slowly toward your navel. Move your right knee even more toward
center. Be sure that the knee feels comfortable.
• Rest the top of your right ankle as close to the crease of your left thigh
as is comfortable for you. Relax your right ankle so that the foot hangs
over the outside of the thigh. Your right hip is stretched and open, thus
allowing the ankle to soften. Third variation: Ardha Padmasana.

209
 • As you relax your lower body into this posture, be sure to keep your spine straight, lengthened, and relaxed.
• Continue to Padmasana or, to exit this variation, extend your bottom leg and then your top leg. Loosen your
hips, knees, and ankles by rolling your legs from side to side. Switch sides.
Fourth Variation: Padmasana (Full Lotus)
• From Ardha Padmasana, move your left (lower) leg away from your body
so that the outside of your top thigh rests completely on the ground.
Exhale and, as much as you comfortably can, bring your left foot up
from the ground and draw your left heel in toward your navel. This
action brings your left knee farther forward. Breathe.
• If your knees and hips still feel comfortable, inhale and bring your
left ankle into the crease of your right thigh.
• Root into your sit bones as you relax your lower body more
deeply into this position. Breathe length through your spine
and relax your shoulders. Place your hands on your mid
thighs with your palms facing upward and keep your arms
relaxed, or bring your hands to your chest into Anjali Mudra.
• To exit this posture, slowly straighten your left leg. Roll the
leg from side to side and rotate the ankle around. With the
next breath, extend your right leg and loosen its joints.
Although many people are more comfortable practicing
on one side, it is always a good idea to practice this
posture with the opposite leg positioning in order to
keep both sides of the legs and hips loosened. Fourth variation: Padmasana.

Adjustments
Ankles—Students often complain of ankle pain when sitting in Ardha Padmasana or variations
in which the ankle is on the ground. To cushion the bones, place a small folded towel under
the foot. Also, if the feet are crossed over the opposite thigh, make sure that the ankles are
not inverted (rolling inward); this positioning places undue stress on the lateral ankle struc-
tures. Instruct students to bring the knees more in line with the center or to move out of
the position.
Knees—If much stress is placed on the knees as the adductors relax, place folded blankets,
bolsters, or blocks under the outside of the thighs as a wedge.
Spine—If a student is rounding the back, place a blanket under the hips to lift the pelvis
and lengthen the spine. Place your hand lightly on the spine to cue the student to
sit taller through the spine and chest.

Modifications
Low-back or hip tightness; weakness in all variations—Place a folded
blanket under the student’s hips. You can also place the student with his
or her back against a wall for support.
Hip tightness—Depending on the degree of tightness, instruct the student Modification: low back or hip tightness;
to keep the legs in the most comfortable and least stressful position. weakness.

Kinematics
Many students are so determined to come into either Ardha Padmasana or Padmasana that they place excessive
stress on all of the leg joints, especially the knees. A common error many students make is placing the ankle only
partially across the opposite thigh. If the ankle is not draped over the thigh, the lateral ligaments and tendons become
overstretched. Impress on your students the importance of sitting comfortably and without strain. Also, for students
new to sitting in the full expression of this pose, it is essential to do a thorough warm-up of the hip and thigh muscles.

210
 Seated Postures

Padmasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (I)
Lower leg Ankle dorsiflexion Anterior tibialis (C, I)
Thigh Knee flexion Hamstrings (C, I) Adductors
Hip and pelvis Hip flexion Iliopsoas (C, I)
External rotation Adductors (E, R) Deep external rotators,* adduc-
tors
Flexion and rotation Sartorius (C, I)
Torso Spine extension, stability Erector spinae, semispinalis, qua-
dratus lumborum, (C, I)
Trunk stability Internal and external obliques,
rectus abdominis, transverse
abdominis (C, I)
Shoulder External rotation of humerus Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids major and minor,
mid trapezius (C, I)
Postural support in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion Biceps brachii, brachioradialis
(R)
Lower arm Forearm supination Supinator (R)
Hand and fingers Finger flexion Flexor digiti minimi brevis, inter-
ossei palmaris, flexor pollicis
brevis (R)
Neck Neck extension and stability Splenius capitus and cervicis,
cervical erector spinae, semi­
spinalis (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.

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 Tolasana
Scale Pose
[tohl-AHH-suh-nuh]

Tola is the Sanskrit term for a measurement of mass. Because this pose
resembles the balancing platform of a measuring scale, it is named Tolasana.
In Ashtanga practice, this posture is called Utpluti (oot-PLUHT-tee).

Description
This arm-balance pose is generally used as a transition from one asana
to another. Ideally, it is practiced with the legs in Padmasana (Full Lotus)
and the body lifted off the ground and balanced between the hands. This
asana requires strength, balance, and concentration.

Energetic Focus
First chakra (Muladhara) grounding energy, third chakra
(Manipura) vitalizing energy

Foundational Focus
Root into the metacarpal heads and fingertips in both hands.
Evenly balance the grounding energy in both hands.

Benefits
• Strengthens the abdominal muscles, arms, wrists, and hands.
• Increases balance and mental focus.
• Increases energy.
• Stretches the hips if the legs are in Padmasana.

 Cautions
Pregnancy—Due to the concentrated effort of the lower abdominals, this posture is not recommended beyond
the second trimester.
Extreme weakness—Students with this condition should practice with modifications to increase strength.
Shoulder or wrist concerns—Students with shoulder or wrist injury should avoid this pose or practice with
modifications.

Verbal Cues
• From the variation of Padmasana (Lotus Pose) that best coordinates with your ability, place your hands on the
ground beside your hips. Hug your elbows in toward your rib cage and lightly squeeze your shoulder blades
toward each other to open your chest.
• Inhale and lengthen your spine. Widen your fingers and press your hands onto the ground as you focus on
anchoring into your fingertips and the heels of your hands.
• Exhale and straighten your elbows while you lift your hips off the ground. Draw your legs inward toward your
lower abdominal area. Distribute your body weight evenly between your hands and feel the strength in your
abdomen aiding your balance.

212
 Seated Postures

• Encourage a slight bend to your elbows to keep from hyperextending the joints. Relax the tops of your shoul-
ders away from your ears and lift the crown of your head toward the sky. As you inhale, feel your chest lift as
you open the fronts of your shoulders. Continue to be aware of the even balance between your hands, and the
power in your abdominal area.
• Keep your breathing smooth and controlled.
• To exit the posture, exhale and bend your elbows to slowly lower your hips and legs back to the ground. Flex
and loosen your wrists. Uncross your legs, then recross them the opposite way and come back into the position.
• Another option for exiting this posture is to extend the legs either forward or backward in order to move directly
into another asana.

Adjustments
Arms—If the student’s hands are placed too far away from the hips, balancing will be difficult and the shoulder joints
will be unstable. Instruct the student to place the hands as close to the hips as possible before lifting. Also, students
often collapse into the chest and hunch the shoulders into the ears. Remind them to keep the elbows straight and
near the rib cage. To adjust, kneel behind the student and place your hands on the upper arms. Lightly rotate the
upper arms externally and encourage the student to lengthen the spine.
Neck—Place your hands lightly on top of the student’s shoulders to encourage length in the neck. Also remind the
student to gaze forward, not down, while lifting the hips off the ground.

Modifications
Arm strength—To help a student build strength in the arms and shoulders, cue to press
through the arms and lift the hips while the legs remain on the ground. Place a folded
blanket under the hips to shorten the distance to lift.
Abdominal strength—To help a student build
abdominal strength, instruct the student to
keep the palms and hips on the ground
and then lift the legs toward the abdomen.
Long torso—If a student’s torso is longer
than the arms, the student will tend
to lift from the fingers instead of
the palms, thus placing undue
stress on the finger joints. Place
blocks under the student’s
hands to “lengthen” the arms.
Wrist weakness—If a student
complains of wrist pain,
props are available that Modification: building abdominal strength.
allow the student to grip
an elevated bar in order
to lift, rather than
bending the joint.
Also, make certain to
counter the hyperex-
tension of the wrists
with some gentle,
easy wrist flexion. Modification: long torso.

Kinematics
Tolasana is not a pure seated posture; it is generally considered an arm-balancing asana. However, it is a good
transitional posture in the seated category. It can also build strength in the arms, abdominals, and legs—even if the legs
are not lifted off the ground. It is a pose that requires coordinated strength and attention throughout the entire body.

213
 Tolasana
Body segment Kinematics Muscles active
Foot and toes Toe extension Extensor digitorum and hallucis longus (I)
Lower leg Ankle dorsiflexion Anterior tibialis (C, I)
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis Hip flexion, stability Iliopsoas (C, I)
External rotation, stability Adductors (E, I)
Flexion, external rotation Sartorius (C, I)
Hip stability Deep external rotators,* gluteus medius (I)
Pelvic stability Rectus abdominis, quadratus lumborum (I)
Torso Flexion Rectus abdominis (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Trunk stability Internal and external obliques, rectus abdominis,
transverse abdominis (C, I)
Shoulder External rotation of humerus Infraspinatus, teres minor, posterior deltoid (C, I)
Scapular adduction Rhomboids and mid trapezius (C, I)
Scapular depression, stability Serratus anterior (C, I)
Postural support in mid back, downward pull of Lower trapezius (C, I)
scapulae
Humerus hyperextension, stability Latissimus dorsi, posterior deltoids (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Elbow stability Biceps brachii, brachialis, brachioradialis (I)
Lower arm Forearm pronation, stability Pronator teres and quadratus (C, I)
Wrist hyperextension, stability, and balance Wrist flexors and extensors (C, I)
Hand and fingers Finger abduction Abductor digiti minimi, interossei (C, I)
Finger stability, balance Flexor digitorum profundus and superficialis, flexor
digiti minimi brevis, interossei palmaris (C, I)
Neck Neck extension and stability Splenius capitus and cervicis, cervical erector
spinae, semispinalis, upper trapezius (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

214
 Seated Postures

Hanumanasana
Forward-Split Pose
[huh-noo-maahn-AAH-suh-nuh]

In Hindu mythology, Hanuman was a powerful god of service and

the son of Vayu, the god of wind or breath. He is a magical monkey
characterized by both mental and physical strength. The epitome of
service, he helped rescue Sita, the wife of Lord Rama by making great
flying leaps across the seas to fulfill his duty.

Description
This asana is a tribute to Hanuman’s giant leap—a forward split.
Hanumanasana is another posture that many students may find
quite challenging when they first try it.
With practice, however, it provides very
beneficial flexibility in the hamstrings
and hip flexors. When one is able to
practice Hanumanasana comfortably,
the pose can be deepened by a slight
backbend.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, fourth chakra (Anahata)
heart-opening energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root into the sit bone of the forward leg and the top of the thigh of the back leg. Anchor into the back of the heel of
the forward leg and the top of the foot and thigh of the back leg. Evenly balance the grounding energy in both legs.

Benefits
• Stretches the hamstrings and hip flexors.
• Stabilizes and balances the deep hip muscles.
• Helps relieve sciatica pain.
• Strengthens the spinal and abdominal muscles.

 Caution
Hamstring or groin injury—Proceed with modifications.

Verbal Cues
• Begin in a kneeling lunge (a position in the classical Sun Salutation) with
your right leg forward. Slide your left leg back and lower your front thigh
toward the ground. Your hands remain on the ground.
• Square your shoulders so that they align directly
over your pelvis. Inhale and move your
pelvis toward your right heel and lift your rib
cage so that your spine is as long as possible. Preparation for Hanumanasana.

215
 • Breathe deeply into any area in which you feel resistance and relax, or back away slightly. Gaze softly forward.
• Secure your hands on the ground as you slowly slide your right heel forward. Exhale and straighten your right
leg as much as is comfortable. Go to the first point of resistance and breathe here. Your pelvis should remain
in a fairly neutral position.
• Find the place where you feel balanced between your legs and remain there as you breathe deeply. Allow
your muscles to relax with each exhalation. Lift your rib cage away from your hips
as you inhale.
• If you can do so comfortably and without strain, lower your hips all the way to
the ground. Inhale and raise your arms overhead if you feel grounded in the hips.
Stay here and soften your breath.
• If you cannot bring your hips to the ground comfortably, focus on keeping
your hips and shoulders in alignment.
• To exit this posture, use your arms and abdominal muscles to eliminate the
possibility of straining your low back or groin. Move slowly and press your
hands into the ground while lifting your hips. Bend your right knee and move
your body back into the lunge. Switch legs and prepare to practice on the
opposite side.

Adjustments
Hips—If a student’s hips are out of alignment where the front hip
rotates forward, squat or kneel to the side of the forward leg
and place your hands on the sides of the pelvis. Very gently
draw the front of the flexed hip back and press the back of
the extended hip forward. Adjustment: balance.
Balance—If a student has difficulty balancing in the posture
with the arms overhead, stand to the student’s side and lightly
hold onto the arms as a means of support.

Modifications
Tight hamstrings or hip flexors—If either of these muscle groups is tight, the stu-
dent will be unable to comfortably lower the hips to the ground, and may require
blankets under the hips or back knee for more support. Another modification is to
place blocks under the student’s hands to keep the upper body weight from overly
stretching the hamstrings and hip flexors. Cue the student to
keep the shoulders relaxed.
Knee discomfort—For some students, the pressure of the back
knee against the ground creates discomfort; to alleviate it,
place padding under the knee. Modification: tight hamstrings or hip flexors.

Kinematics
As with Padmasana (Lotus Pose), some people can come into this posture naturally and with ease, but most need
to practice modified versions as they increase the range of motion in the joints and flexibility in the hamstrings and
hip flexors.

216
 Seated Postures

Hanumanasana (Right Leg Forward)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus (C, I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Lower leg (L) Ankle plantar flexion Gastrocnemius, soleus (I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps
Hip and pelvis (R) Hip flexion Iliopsoas, rectus femoris (C, I, R) Hamstrings
Hip and pelvis (L) Hip hyperextension Hamstrings, gluteus maximus Iliopsoas, rectus femoris
(C, I)
Torso Slight lumbar hyperextension Rectus abdominis (E, I) Rectus abdominis
Slight lumbar hyperextension, Erector spinae, quadratus lumbo-
spinal stability rum (C, I)
Trunk stability Transverse abdominis, internal
and external obliques (I)
Shoulder Humeral flexion Anterior deltoids, pectoralis Latissimus dorsi, serratus anterior
major, biceps brachii (C, I)
External rotation Infraspinatus, teres minor, poste-
rior tibialis (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachioradialis
Lower arm Forearm supination Supinator (C, I)
Forearm extension Anconeus (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
suboccipitals, upper trapezius (I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in body segment column) or relaxed (in
muscles active column).

217
 Bakasana
Crane Pose
[buhk-AAH-suh-nuh]

Baka is Sanskrit for “crane” (the tall wading bird). Like a tall
and poised crane, Bakasana is a graceful, balancing asana. In
some yoga traditions, this pose is often mistakenly referred to as
Crow Pose. However, despite some physical similarities, Crow Pose,
or Kakasana (KAH-KAH-suh-nuh), is generally
practiced with the elbows completely straight.

Description
Like Tolasana (Scale Pose), Bakasana is
most often categorized as an arm balance
but is frequently used as a transitional
seated pose. In this squatting arm balance,
the arms support the weight of the body as the bent knees rest on the backs
of the upper arms. Once the person is balanced on the hands, the feet are
lifted off the ground. Many students are
naturally somewhat fearful of falling
forward onto the face when they first
practice this asana.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy

Foundational Focus
Root into the metacarpal heads and fingertips in both hands. Anchor the front of the knees (or shins) into the backs
of the upper arms. Evenly balance the grounding energy in both hands.

Benefits
• Strengthens the arms and wrists.
• Improves focus and balance.
• Strengthens the abdominal muscles.
• Stretches the low back.

 Cautions
Wrist injury or acute carpal tunnel syndrome—Students with wrist concerns should refrain from practicing this
posture.
Pregnancy—This posture is not recommended after the second trimester.

218
 Seated Postures

Verbal Cues
• From Malasana (Basic Squat, or Bead Pose), place your hands shoulder-width apart on the ground in front of you.
• Fix your gaze on a drishti (focal point) slightly forward of your hands. Spread your fingers apart to create a wider
base of support and anchor into your fingertips.
• Lean forward slightly and feel your body weight shift toward your fingers. Engage your inner thigh muscles
(adductors) to draw attention to your lower abdominal region. On an exhalation, firm the abdominal muscles.
• Bend your elbows and slowly lift your heels off the ground as you shift your body weight more toward your
hands. Continue to gaze forward toward your drishti. Feel your hips lift upward.
• Press your knees or shins against the backs of your upper arms with your knees as close to your underarms
(axillas) as possible. Notice your balance center and imagine your breath moving into and out of this mid-­
abdominal space.
• Continue to focus on your breath.
• As you lean forward, exhale and slowly lift one foot off the ground. If you do not feel comfortably balanced,
slowly lower that foot and lift the other. If you feel balanced, lift both feet slowly off the ground.
Spread the toes to keep the entire body energized. Hover here and breathe slowly and smoothly.
• Continue to focus your gaze past your hands. Apply abdominal lock (uddiyana bandha) and
continue to balance for five or six breaths.
• To exit the posture, exhale, slowly lower your feet back to the ground, and rest in Malasana or
transition into another pose.

Adjustments
Aiding balance—Squat or stand in a slight lunge behind the student with
your hands on the outsides of the hips; alternately, place a strap into
the creases of the student’s hips. Lightly aid the student’s balance
without holding the student up with your strength.
Hands—Remind the student to place the hands no more
than shoulder-width apart and to press the hands
firmly into the ground. If the student’s fingers are not
spread, lightly touch the top of the hand to encourage
expansion.
Elbows—Kneel beside the student and place your hands
on the outsides of the upper arms to guide the elbows in
toward the body. Adjustment: aiding balance.

Modifications
Confidence building—Some students feel much more confident and less fearful with folded blankets or a pillow
positioned nearby so as to cushion any fall. Also, continue to remind them to keep the gaze forward of the hands.
If a student does fall forward, remind her or him that continuing on after falling builds strength and character in
all aspects of life!
Strength building—For students who have difficulty lifting both feet off the ground, place blocks or folded blankets
under the feet so that they begin the pose with the hips in a slightly elevated position. Also, for those recovering
from wrist injury, instruct them to practice putting body weight on the hands while keeping the feet on the ground.

Kinematics
Individuals with tight hips may lift the hips significantly higher than the head as they get into position and often lose
balance more quickly. The more compact a student can make the body in this position, the easier it is to remain
controlled and balanced. This is a very active posture, in which, once the person is in position, most of the muscles
remain in isometric contraction to maintain balance.

219
 Bakasana
Body segment Kinematics Muscles active
Foot and toes Toe extension Extensor digitorum and hallucis longus (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digitorum longus (C, I)
Thigh Knee flexion, stability Hamstrings, sartorius (C, I)
Hip and pelvis Hip flexion, stability Iliopsoas, sartorius, rectus femoris (C, I)
Hip abduction, stability Gluteus medius and minimus (C, I)
Torso Spinal extension and stability Erector spinae, quadratus lumborum (C, I)
Sternoclavicular stability Subclavius (I)
Torso stability Rectus abdominis, internal and external obliques,
transverse abdominis (I)
Shoulder Flexion of humerus, stability Pectoralis major, coracobrachialis, anterior deltoid
(C, I)
Adduction of humerus, stability Latissimus dorsi, teres major (C, I)
Stability and external rotation of humerus Infraspinatus, teres minor, posterior deltoid (C, I)
Shoulder and scapular stability Subscapularis, serratus anterior (C, I)
Scapular stability Rhomboids and mid trapezius (C, I)
Supporting posture in mid back, downward pull of Lower trapezius (C, I)
scapulae
Upper arm Elbow flexion, stability Triceps brachii (E, I), biceps brachii, brachialis,
brachioradialis (I)
Lower arm Forearm pronation, stability Pronator teres and quadratus (C, I)
Wrist hyperextension, balance, and stability Extensor carpi radialis brevis and longus, extensor
carpi ulnaris (C, I), flexor carpi radialis and ulnaris,
palmaris longus (E, I)
Hand and fingers Finger abduction Abductor digiti minimi, interossei (C, I)
Finger extension, stability, balance Flexor digitorum profundus and superficialis, flexor
digiti minimi brevis, interossei palmaris (C, I)
Neck Neck hyperextension and stability Splenius capitus and cervicis, cervical erector
spinae, semispinalis, upper trapezius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

220
 9
Supine and
Prone Postures
T his chapter com-
prises 17 poses that
render the body
either faceup (supine) or
facedown (prone) with
the bottom of the pelvis
(the ischial tuberosities)
generally off the ground.
In addition, Eka Pada
Rajakapotasana (One-
Legged Royal Pigeon
Pose)  is included in this
chapter because it can be
practiced with the body
in both supine and prone
positions. More generally,
© Alexander Novikov/istock.com

the positions presented

here include backbends,
plank variations, positions
on the hands and knees,
and asanas in which the
body is lying faceup or
facedown (for example,
Supta Padangusthasana
[Reclining Hand-to-Toe

221
222 Instructing Hatha Yoga
Pose], which borders on being a restorative pose).
Also included here is Vasishthasana (Side Plank
Pose), which, though neither supine nor prone,
is related to regular plank poses and does not fit
well into the other categories outlined in this book.
Generally, the supine and prone asanas stretch
and strengthen the core musculature. Plank
poses build stability and strength in the arms
and shoulders, and backbends open the chest and
strengthen the mid and upper back. Some of the
postures included in this chapter also help warm
up the body. Others are often practiced to energize
the body and mind—for example, Urdhva Dhanu-
rasana (Upward Bow Pose). Backbends typically
serve as counterposes to forward-folding asanas
(and vice versa) and complete the balancing of
the spinal range of motion during asana sessions.
Although prone poses are not generally advised
after the first trimester of pregnancy due to the
pressure on the abdomen, many postures can be
practiced with modifications so that the belly
does not rest on the ground.
 Supine and Prone Postures

Durga-Go
Cat and Cow Pose
[DUR-guh-go]

Cat and Cow pose has no official Sanskrit translation. Some schools of
yoga use the Sanskrit term Marjaryasana because marjara means “cat.” The
name Durga-Go was chosen because in Hindu belief, Durga
is a warrior goddess who rode the back of a ferocious
tiger; go is Sanskrit for “cow.”

Description
Neutral position.
Durga-Go is a flowing pose practiced on the
hands and knees. It moves the spine through a gentle range of flexion and
hyperextension in the sagittal plane. The rounded, flexed position of the
spine resembles a cat with its back arched, and the hyperextension in the
spine is reminiscent of the sway in a cow’s back.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra
(Anahata) heart-opening energy

Foundational Focus
Root into the metatarsal heads and fingertips in Durga (cat) position.
both hands. Anchor into the knees and the tops of
both feet.

Benefits
• Warms and stretches the spinal musculature.
• Provides a safe substitute for other poses, such as Adho Mukha Shva-
nasana (Downward-Facing Dog), when one is pregnant or unable to
support the body weight with the arms.
• Loosens and relaxes the neck, upper back, and
shoulders.
• Moves the energy with the breath.
Go (cow) position.

 Cautions
Wrist concerns—Students with a wrist concern should practice with modifications.
Neck pain or injury—Students with neck pain or injury should keep the head aligned with the torso.
Lower back concerns—Students with acute lower back pain or injury should practice with modifications or
move through a smaller range of motion.

Verbal Cues
• Begin on your hands and knees. Place your hands under your shoulders and your knees under your hips. Main-
tain length in your neck and openness in your shoulders. Spread your fingers and soften your elbows slightly.

223
 • Inhale and lengthen your spine. Stretch so that the crown of your head and your tailbone are as far away from
each other as possible. Feel your breath expand through your entire torso. Imagine your back as a tabletop
while keeping a strong torso.
• Exhale and tuck your lower pelvis downward as you draw your chin toward your chest. Draw your abdomen
slightly in toward your spine and lift your mid spine toward the sky. Relax the space between your shoulder
blades and feel your lower back stretch. This is the durga position.
• Inhale and move your spine back into the tabletop position. Feel your spine lengthen once again. With your
next inhalation, press your hips back slightly as you point your tailbone toward the sky. At the same time, press
your chest forward and up, with your chin slightly lifted. Arch your back as far as feels comfortable to you.
Imagine your collar bones drawing apart as you open your chest and inhale deeply. Feel your abdomen lengthen
and stretch. This is the go position. If your lower back feels uncomfortable, decrease your back arch slightly.
• Exhale and release your spine back to the tabletop (neutral) position.
• Repeat this cycle two or three times, or more, moving with the breath. Return to the tabletop position. Prepare
for the next posture.

Adjustments
Hands and knees—If the hands and knees are either too close together or too far apart, the student will have trouble
flattening the back. Cue the student to adjust the distance accordingly.
Elbows—If the elbows are locked, the student will often internally rotate the upper arms and sink the head into the
shoulders. To adjust, kneel or squat at the student’s side, lightly grasp the upper arms near the shoulders, and rotate
the elbows toward the rib cage.
Shoulders—Remind the student to maintain distance between the ears and shoulders. Gently tap the tops of the
shoulders to cue the student to relax them.
Spine—To help a student achieve flexion in the spine, kneel or squat at the student’s side and place your hand
lightly on the middle of the back. Encourage the student to press the spine against your hand to lift it. To help the
student hyperextend the spine, place your hand at the mid spine and instruct the student to move the spine away
from your hand.
Breath awareness—When in the durga (rounded back) position, place your hand lightly on the mid spine and cue
the student to direct the breath to that area, as if breathing the shoulder blades apart.

Modifications
Feet and ankles—If the student has trouble balancing with the tops of the feet on the ground, instruct the student to
curl the toes under for stability. You may also place a small rolled towel under the student’s front ankles for comfort.
Wrist pain—Instead of cueing a student to place the hands on the ground, instruct the student to bend the elbows
and place the forearms on the ground or on top of blocks. Another option is to place a chair in front of the student
and invite her or him to place the forearms on the seat. Ideally, the
chair should be at the student’s shoulder height.
Variation for lateral movements of the spine—Cue students
to remain in the same hands-and-knees position with the
spine parallel to the ground, exhale, and squeeze the same-
side hip and shoulder together. Instruct students to look over
the shoulder on the side being flexed. Cue students to inhale
and move back to straight spine, then exhale and move to
the other side. Invite them to move rhythmically, with the
breath, just as in the original pose.
Modification: wrist pain.

Kinematics
Hands-and-knees positioning is a transitional position for many other postures. The hands should remain directly
beneath the shoulders and the knees directly under the hips to avoid putting undue shearing stress on the joints. The
elbow joints should remain straight but not hyperextended.

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 Supine and Prone Postures

Durga-Go
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum longus, extensor
hallucis longus (C, I)
Lower leg Ankle plantar flexion, stability Anterior tibialis, extensor digitorum
longus, peroneals (C, I)
Thigh Knee flexion Hamstrings (C, I)
Hip and pelvis Hip flexion Iliopsoas (C, I)
Hip stability Gluteus maximus, hamstrings, deep
hip rotators (C, I)
Pelvic stability Rectus abdominis, quadratus lum-
borum, hamstrings (I)
Torso (durga Torso stability Rectus abdominis, internal and Erector spinae, quadratus lum-
phase) external obliques, transverse borum
abdominis (C, I)
Spinal flexion Rectus abdominis (C, I)
Sternoclavicular stability Subclavius (I)
Torso (go phase) Spinal hyperextension, stability Erector spinae, quadratus lumbo- Rectus abdominis, internal and
rum (C, I) external obliques, transverse
abdominis
Shoulder (both Flexion of humerus Pectoralis major, anterior deltoids,
phases) coracobrachialis, biceps brachii
(C, I)
Stability and external rotation of Infraspinatus, teres minor, posterior
humerus deltoid (C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Shoulder (durga Scapular abduction and stability Subscapularis, serratus anterior Trapezius, rhomboids, latissi-
phase) (C, I) mus dorsi
Humerus adduction Pectoralis major, anterior deltoid
(C, I)
Shoulder (go Adduction of scapulae Rhomboids, mid trapezius (C, I)
phase)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus (C, I)
Forearm extension Anconeus (C, I)
Wrist hyperextension, stability Extensor carpi radialis brevis and
longus, extensor carpi ulnaris (C, I)
Hand and fingers Wrist stability Flexor carpi radialis and ulnaris,
palmaris longus (C, I)
Finger extension, stability Extensor digitorum, extensor digiti
minimi brevis (C, I)
Finger abduction Abductor pollicis longus, opponens
pollicis (C, I)
Neck (durga Initial neck flexion Splenius capitus and cervicis, Splenius capitus and cervicis,
phase) suboccipitals, semispinalis, upper suboccipitals, semispinalis,
trapezius (E) upper trapezius
Neck flexion Sternocleidomastoid, scalenes (C, I)
Neck (go phase) Neck hyperextension Splenius capitus and cervicis, Sternocleidomastoid, scalenes
suboccipitals, semispinalis, upper
trapezius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction. 225
 Utthita Chaturanga Dandasana
Plank Pose
[oot-T-HEE-tuh chuh-tour-RUHN-guh duhn-DAAH-suh-
nuh]

Utthita is the Sanskrit word for “extended,” chatur

means “four,” anga means “limbs,” and danda
means “staff” or “rod.” This pose is sometimes called
Kumbhakasana [koom-BAHK-AAH-suh-nuh], or Breath
Retention Pose, due to the short moment of breath holding before the torso is lowered toward the ground. The pose
is also sometimes called Phalakasana [fuh-LUK-AAH-suh-nuh]. In Sanskrit, phalak translates as “guardian.” Some
schools of hatha yoga refer to Phalakasana as a forearm plank.

Description
This posture essentially uses the extended-arm positioning of a push-up; it is a transitional movement in the Sun
Salutations (Surya Namaskaras).

Energetic Focus
Third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the metatarsal heads and fingertips in both hands. Anchor the metatarsal heads of both feet. Balance the
grounding energy evenly between the hands and feet.

Benefits
• Prepares the body for variations of extended body postures—for example, Chaturanga Dandasana (Four-Limbs
Staff Pose) and Urdhva Mukha Shvanasana (Upward-Facing Dog).
• Builds strength in the shoulders, arms, back, legs, and abdominal muscles.
• Builds stability in the shoulders and core musculature.

 Cautions
Wrist concerns—Students with wrist injury or pain or carpal tunnel syndrome should use modifications.
Lower-back weakness—Students who have difficulty holding this pose should practice with modifications.
Pregnancy—After the first trimester, this pose should be practiced with modifications, and generally avoided in
the third trimester.

Verbal Cues
• From a low lunge, place your palms on the ground directly under your shoulders. Spread your fingers and press
into your fingertips to lighten the pressure on the heels of your hands.
• Inhale and lengthen your spine as you open your shoulders and chest. Hug your upper arms in toward your rib
cage. Soften your elbows slightly to keep them from hyperextending.
• Exhale and step your front leg back as you lift your back knee off the ground. Curl your toes under and straighten
your legs. Press back through your heels and imagine touching the back wall.

226
 Supine and Prone Postures

• Slightly rotate your inner thighs toward each other to energize your legs. In your mind’s eye, notice that your
ears, shoulders, hips, knees, and ankles are aligned. Gaze down at the ground between your hands, lengthening
the sides of your neck.
• Breathe deeply and slowly and apply uddiyana bandha (see chapter 5). On an energetic level, this action helps
maintain energy; on a physical level, it helps support your abdomen and low back.
• Imagine pressing the ground away from your chest. This action helps keep your upper back elongated and your
shoulder blades pressed against your spine.
• In the Sun Salutations, the body is next lowered toward the ground to continue the vinyasa (flow); the body is
also in position to transition into many other postures.

Adjustments
Heels—Make sure that the heels press back to keep the legs active. Lightly touch the backs of the heels to remind
the student to press backward.
Hips—If a student’s hips are lifted higher than the shoulders and knees, place your hand lightly, with no pressure,
on the upper pelvis and instruct the student to move the hips away from your hand.
Shoulders—If the shoulders are not aligned over the hands, kneel to one side or in front of the student’s head. With
your hands on the student’s upper shoulders, gently realign the student’s body weight over the hands.
Shoulder blades—If the student’s shoulder blades “wing” out (lift away from the back due to weakness), remind the
student to press more firmly against the ground through the arms. Kneel beside the student, place your hand lightly
between the shoulder blades, and instruct the student to press the body up
against your hand.
Neck—Cue the student to look down toward the ground without dropping
the head. The ears, shoulders, hips, knees, and ankles should be aligned. If
any of the joints are sinking, gently touch the side of the joint and instruct
the student to lift slightly.

Modifications
Difficulty in finding alignment—Straddle the student’s
back and bend your knees as you lightly hold the sides
of the student’s hips and lift slightly to take some of the
body weight.
Weakness—If the student is unable to maintain a straight
spine in the position, instruct the student to keep the
knees bent and on the ground and to focus on keep-
ing the spine straight from the shoulders to the hips.
Adjustment: shoulders.
Wrist concerns—If the student cannot flex the wrists
or put weight on them, instruct the student to flex the elbows and place the forearms on
the ground or on blocks. Students can also use specialized props to keep the wrist joints
aligned.

Kinematics
This particular asana works best as a preparatory posture to build
the necessary strength in the arms, legs, and abdominal
muscles for performing arm balances. It also helps
develop the necessary range of motion in the shoulders
and chest for performing many other poses. And,
as with any plank, it is a core strengthener
and balancer.
Modification: wrist concerns.

227
 Utthita Chaturanga Dandasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti minimi brevis, abduc-
tor hallucis (C, I)
Toe hyperextension Extensor digitorum and hallucis longus, anterior tibialis
(C, I)
Forefoot stability Anterior tibialis, flexor digitorum longus (C, I)
Lower leg Ankle stability Gastrocnemius, soleus, posterior tibialis, flexor digito- Gastrocnemius,
rum and hallucis longus (I) soleus
Ankle dorsiflexion, sta- Anterior tibialis, extensor digitorum longus (C, I)
bility
Thigh Knee extension Quadriceps (C, I)
Femur adduction, stability Adductors (C, I)
Hip and pelvis Hip extension, stability Hamstrings, gluteus maximus (C, I)
Hip stabilization Gluteus medius, deep external rotators* (I)
Torso Torso stability Rectus abdominis, internal and external obliques, trans-
verse abdominis (I)
Spinal extension and sta- Erector spinae, quadratus lumborum (I)
bility
Shoulder Sternoclavicular stability Subclavius (I)
Flexion of humerus Pectoralis major, anterior deltoid, coracobrachialis, Rhomboids, mid
biceps brachii (C, I) trapezius
Stability and external rota- Infraspinatus, teres minor, posterior deltoid (C, I)
tion of humerus
Scapular stability Rhomboids, mid trapezius
Scapular abduction, sta- Serratus anterior, subscapularis (C, I)
bility
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus (C, I)
Forearm extension Anconeus (C, I)
Wrist hyperextension Extensor carpi radialis brevis and longus, extensor carpi
ulnaris (C, I)
Wrist stability Flexor carpi radialis and ulnaris, palmaris longus (C, I)
Hand Finger extension Extensor digitorum, extensor digiti minimi brevis (C, I)
and fingers Finger abduction Abductor pollicis longus, opponens pollicis (C, I)
Neck Neck extension, stability Splenius capitus and cervicis, suboccipitals, semi­
spinalis, upper trapezius (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

228
 Supine and Prone Postures

Chaturanga Dandasana
Four-Limbs Staff Pose
[chuh-tour-RUHN-guh duhn-DAAH-
suh-nuh]

Chatur means “four” in Sanskrit, anga means

“limb” and danda means “staff.” In this pose, the four limbs support the straight staff of the spine.

Description
This posture is more challenging than Utthita Chaturanga Dandasana (Plank Pose). Whereas that pose has straight
elbows and is similar to the up phase of a push-up, this pose has bent elbows and is similar to the down phase of
a push-up, with the body hovering slightly above the ground. It is practiced in the Ashtanga Sun Salutations (Surya
Namaskara A and B).

Energetic Focus
Third chakra (Manipura chakra) vitalizing energy

Foundational Focus
Root into the metatarsal heads and fingertips in both hands. Anchor the metatarsal heads of both feet. Balance the
grounding energy evenly between the hands and feet.

Benefits
• Strengthens the shoulders, arms, and wrists.
• Strengthens the abdominal muscles and massages the organs.

 Cautions
Wrist concerns—Students with wrist injury or pain or carpal tunnel syndrome should use modifications.
Lower-back weakness—Students who have difficulty holding this pose should practice with modifications.
Pregnancy—This pose should be practiced with modification past the first trimester.

Verbal Cues
• From Utthita Chaturanga Dandasana, with your palms pressed against the ground and aligned with your shoul-
ders, press back through your heels and prepare to slowly bend your elbows.
• Exhale and slowly lower your body toward the ground. Keep your upper arms close to your rib cage and your
shoulders away from your ears. Lower your chest toward the ground and hover a few inches (centimeters)
above it; the exact distance will vary from person to person. Go to where you feel you are most comfortably
challenged and can still breathe smoothly.
• Squeeze your upper arms in toward your ribs and lengthen your neck so that your ears are farther away from
your shoulders. Continue to gaze at a spot between your hands.
• To exit the pose, lower to the ground and prepare to transition into another posture.

229
 Adjustments
Elbows—If the student’s elbows point away from the body, kneel to one side and place your hands on the person’s
upper arms near the shoulders. Gently move the arms in toward the rib cage.
Hips—Align the student’s body so that the hips are neither too high nor too low in relation to the shoulders and knees.
If the hips are too low, straddle the student’s back and bend your knees as you hold the sides of the hips and lift
slightly. If the student’s hips are lifted too high, place your hand lightly on the upper pelvis and instruct the student
to move the hips away from your hand.

Modifications
Strength building—Instead of allowing the student to struggle to hold the pose, instruct the student to bring the knees
to the ground and focus on lowering the chest to the ground slowly and in proper alignment.
Wrist concerns—If the student cannot flex the wrists or put weight on them, instruct the student to flex the elbows
and place the forearms on the ground or on blocks.

Kinematics
To maintain stability in the shoulders in this pose, the elbows should be placed close to the body. This placement
maintains the proper alignment of the humerus (upper arm bone) in the shoulder socket while the joint bears body
weight.

Chaturanga Dandasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe hyperextension Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Forefoot stability Anterior tibialis, flexor digitorum
longus (C, I)
Lower leg Ankle stability Gastrocnemius, soleus, posterior Gastrocnemius, soleus
tibialis, flexor digitorum and hal-
lucis longus (I)
Ankle dorsiflexion Anterior tibialis, extensor digito-
rum longus (C, I)
Thigh Knee extension Quadriceps (C, I)
Leg adduction and stability Adductors (C, I)
Hip and pelvis Hip extension Hamstrings, gluteus maximus
(C, I)
Hip stabilization Gluteus medius, deep hip rota-
tors (I)
Torso Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis (I)
Spinal extension and stability Erector spinae, quadratus lum-
borum (I)

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 Supine and Prone Postures

Body segment Kinematics Muscles active Muscles released

Shoulder Sternoclavicular stability Subclavius (I)
Humerus extension, stability Pectoralis major, biceps brachii, Pectoralis major
anterior deltoid (E, I)
Humerus extension, adduction, Latissimus dorsi (C, I)
and stability
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid (C, I)
Scapular abduction, stability Subscapularis, serratus anterior
(C, I)
Scapular stability Rhomboids, mid trapezius (C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion and stability Triceps brachii, posterior deltoid,
biceps brachii, brachialis, brachi-
oradialis (E, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist hyperextension, stability Flexor carpi radialis and ulnaris,
palmaris longus (E, I)
Hand and fingers Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck extension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis,
upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

231
 Zen Asana
Transitional Pose
[zehn AAH-suh-nuh]

The name Zen was chosen for this pose

because it is not really a pose; instead, it
is usually practiced either as part of, or
as a transitional movement during, the
Classical Sun Salutation. In a sense, then,
it does and yet does not exist; therefore, although a name in Sanskrit might not be found, it is appropriately named
Zen Asana. This transitional positioning is both valuable and important, because it places weight on the sternum
(breastbone) and helps develop flexibility and coordination in the joints.

Description
Zen Asana is a prone pose in which the toes, knees, hands, chest, and chin touch the ground. The hips and low back
are lifted and reach away from the waist, whereas the elbows are flexed and aligned close to the ribs.

Energetic Focus
Fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root into the knees and the tops of the feet. Anchor through the chest and evenly in both hands.

Benefits
Although seldom practiced outside of the Classical Sun Salutation, this position provides the following benefits:
• Strengthens the sternum.
• Promotes alignment, stability, and flexibility in the spine and shoulders.
• Prepares the body for backbends and other weight-bearing arm poses.
• Creates expansion in the neck and low back.
• Provides a good substitute pose for modifications, as well as a bedrock pose for healthy spinal extension in
Urdhva Mukha Shvanasana (Upward-Facing Dog) and Bhujangasana (Cobra Pose), which it often precedes in
practice.

 Cautions
Lower-back concerns—Students with lower-back injury or pain should modify or skip this pose.
Wrist or shoulder concerns—Modification should be used by students with shoulder or wrist injury or pain or
carpal tunnel syndrome.
Lower-back weakness—Students who have difficulty holding this pose should practice with modifications.
Pregnancy—This pose should be avoided after the first trimester, and with modifications in the second and third
trimesters.

Verbal Cues
• From Utthita Chaturanga Dandasana (Plank Pose), exhale as you bend your knees and bring them to the ground.
As your knees near the ground, slowly begin to bend your elbows and bring your chest and chin to the ground
as well.

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 Supine and Prone Postures

• Keep your elbows drawn in and close to your ribs. Your hips will be lifted, and your sit bones will face the sky.
• Allow your chest to sink into the earth as you roll your collarbones apart. Breathe deeply into your chest. Relax
your shoulders away from your ears.
• Press your sit bones up and back as far as you comfortably can, encouraging space in your low back.
• Let the inhalation open space throughout your body, especially in your spine and chest. Allow a deeper release
into your body with each exhalation.
• Transition into Bhujangasana (Cobra) or Balasana (Child’s Pose).

Adjustments
Hips and knees—Some students struggle with the torso positioning in this posture and find themselves basically
flat on the ground. The main reason for this discomfort is that they move the chest forward and often lack the arm
strength to lower the chest straight down. To adjust, if the knees are not bent and the hips are not raised, straddle or
semi-squat above or beside the student, placing your hands to the sides of the pelvis. Instruct the student to bend
the knees as you slowly guide the hips to move up and back.
Low back—To support and create space in the student’s low back, kneel next to the student and place your hand on
the base of the spine. Use your palm—with your fingers pointing toward, yet not touching, the student’s tailbone—to
gently press the pelvis up and away from the waist.
Chest—Encourage students to rest the sternum on the ground. If a student seems tense in the upper spine, kneel
beside the student and place your hand on the mid back. Remind the student to breathe and let the spine sink away
from your hand. Take care not to press down on the student’s back. With each breath, simply let your hand get a
little heavier while the student further relaxes the spine.
Arms and shoulders—If a student’s elbows splay and the shoulders are drawn up by the ears, kneel or squat to the
side and lightly grasp the upper arms. Gently move the student’s arms closer to the ribs. To relax the shoulders from
the ears, place your hands on top of the fronts of the student’s shoulders and gently draw the shoulders back and
away from the ears.
Neck—The adjustment described for arms and shoulders can also create more space in the back of the neck because
moving the student’s shoulders down, away from the ears, creates an opening across the front of the chest. If the
student’s arms are in a good position but the neck is cramped or tense, kneel beside the student and use your hands
to encourage the shoulders away from the ears. To help the student elongate the neck a little more actively, gently
touch the crown of the student’s head and instruct the student to push your finger farther up with each inhalation.

Modifications
Pregnancy—During the first half of pregnancy, many women feel comfortable lowering themselves into this pose,
especially if they have been practicing yoga consistently throughout the pregnancy. If not, it is best to replace Zen
Asana with Durga-Go (Cat and Cow Pose). For a woman in her first trimester who feels comfortable, place a pillow
or blankets under her abdomen for support. This pose may be a little difficult for postpartum women, especially
if they are breastfeeding. If the student does not wish to replace the pose, instruct her to keep a folded blanket or
pillow under her chest.
Low-back concerns—If a student is uncomfortable in this posture because the low back feels compromised, replace
it with Balasana (Child’s Pose) and cue the student to spread the knees wider apart so that the chest and chin sink
toward the ground as the student releases the spine.

Kinematics
The key is to get into this posture with awareness and control. If students can lower slowly while eccentrically
contracting the triceps and actively working the posterior shoulder muscles, then they will settle appropriately into
the posture. Cue students to bring the knees to the ground before the body is halfway down in order to avoid having to
use the back muscles for support; instruct them to focus on using proper upper-body mechanics. Generally, a student
who has good low-back and core structure support in this positioning can more easily perform other variations of
plank (such as Chaturanga Dandasana, or Four-Limbs Staff Pose) and backbends (such as Urdhva Mukha Shvanasana,
or Upward-Facing Dog).

233
 Zen Asana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe spreading Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe hyperextension Extensor digitorum and hallucis
longus, tibialis anterior (C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum longus (C, I)
Thigh Knee flexion Hamstrings (E, I)
Leg adduction and stability Adductors (C, I)
Hip and pelvis Hip flexion Hamstrings, gluteus maximus Gluteus maximus
(E, I)
Torso Torso stability Rectus abdominis, internal and Rectus abdominis
external obliques, transverse
abdominis (I)
Spinal extension and stability Erector spinae, quadratus lum-
borum (I)
Sternoclavicular stability Subclavius (I)
Shoulder Humerus extension, stability Pectoralis major and minor, Pectoralis major, anterior deltoid
biceps brachii, anterior deltoid,
serratus anterior (E, I)
Humerus extension, adduction, Latissimus dorsi, posterior del-
and stability toid (C, I)
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid (C, I)
Adduction of scapulae Rhomboids and mid trapezius
(C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion Triceps brachii, posterior deltoid
(E, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow forearm Anconeus (C, I)
Wrist hyperextension Flexor carpi radialis and ulnaris,
palmaris longus (E, I)
Hand and fingers Wrist stability Flexor carpi radialis and ulnaris,
palmaris longus (C, I)
Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck hyperextension, stability Splenius capitus and cervicis,
suboccipitals, semispinalis,
upper trapezius (C, R)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.

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Vasishthasana
Side Plank Pose
[vuhs-eesht-AAH-suh-nuh]

Vasishtha is Sanskrit for “most excellent.”

It is also the name of a well-known
sage associated with good fortune,
strength, and dignity. Holding this posture
requires strength and increases poise and
confidence.

Description
Vasishthasana is a side plank pose most often
practiced with the body balanced on the side of one
foot and the palm of the hand on the same side. In
another variation, the top leg is lifted above the
leg on the ground, rather than being stacked on
top of it, and the big toe of the lifted leg is grasped
by the non-weight-bearing hand.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root into the metacarpal heads and fingertips of the weight-bearing hand. Anchor through the outer edge of the
lower foot.

Benefits
• Strengthens the arms, abdomen, and legs.
• Stabilizes the shoulders.
• Stretches and strengthens the wrists.
• Opens the chest.
• Opens the hips if the top leg is lifted.
• Improves concentration and balance.

 Cautions
Wrist concerns—Students with wrist concerns should practice with modifications.
Weakness—This asana should not be practiced by students recovering from serious illness or injury.
Pregnancy—After the first trimester, practice with modifications.

Verbal Cues
• From Utthita Chaturanga Dandasana (Plank Pose), shift your body weight onto your right hand. Make sure that
your shoulder aligns over your wrist and that your fingers point away from your body. Press into your fingertips.
• Rotate the front of your body away from the ground so that your left hip and shoulder are stacked over your
right hip and shoulder. Place your left hand on your left hip. Your body weight is supported on your right hand
and the outside of your right foot. Feel the energy in your legs.
235
 • Breathe deeply and smoothly.
• Exhale and lift your left arm with your fingers pointing toward the sky. Gaze
forward, keeping your ears aligned with your shoulders and your neck long but
relaxed. Slightly soften your right elbow to keep it from hyperextending and to
stabilize the joint.
• Lengthen your body as much as possible, with the crown of your head moving
away from your feet. The more you stretch your feet away from your head, the
easier it will be to keep your hips aligned with your knees and shoulders.
• Continue to focus on your breath.
• To exit the pose, exhale and rotate your body back into plank;
prepare to practice on the opposite side.

Adjustments
Legs and hips—The legs should be straight and active in this
posture, with the hips lifted and aligned with the knees and Adjustment: shoulders.
shoulders. If the hips sink, then squat or kneel behind the student
and press your hand against the outside of the bottom hip to cue
lifting of the hips.
Low spine—If a student’s low back is significantly arched (that is,
constituting swayback), kneel behind the student and gently press
your hand or knee into the upper pelvis to encourage length
in the low back.
Shoulders—Cue students to align the shoulders comfortably.
If the hand is aligned too far forward of the shoulder, the
joint will be unstable. If the hand is placed too close to the
hips, the wrist joint may be strained. To adjust, kneel behind
the student while you place one hand on the lower shoulder and
the other hand on the outside of the top hip.

Modifications Modification: weakness or wrist concerns; deepening

Weakness or wrist concerns—The asana may be practiced pose (hips).
with the lower elbow and forearm on the ground. This
modification allows the student to gradually build strength
in the shoulder and torso without putting strain on the wrist.
Low-back weakness or pregnancy—Instruct the student to bend
the lower knee and place the lower leg on the ground for support.
Balance difficulty—If a student cannot balance with the top foot
stacked on the lower, suggest that the student place the top foot
on the ground in front of the opposite foot.
Pose deepening—If students are comfortable in the standard
side plank, cue them to lift the top leg while keeping the
non-weight-bearing arm perpendicular to the ground. To
deepen the hip stretch, cue students to bend the top knee, Modification: deepening the posture.
grasp the big toe with the first two fingers of the upper hand,
exhale, and slowly extend the top foot toward the sky. In another modification for a deeper pose, instruct students to
anchor through the top foot, stretch the lower leg out in front of the body, and grasp the lifted foot with the top hand.

Kinematics
This pose requires a coordinated effort between the strength of the torso and the strength and stability of the weight-
bearing shoulder and hip. Students need to build strength in both areas so that they do not drop the hips toward the
ground or allow the bottom shoulder to “collapse” into the side of the head.

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 Supine and Prone Postures

Vasishthasana (Weight on Right Side)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, tibialis anterior (C, I)
Lower leg (R) Lateral ankle stability Peroneus longus, brevis, and ter-
tius (C, I)
Lower leg (L) Ankle dorsiflexion Anterior tibialis, extensor digito-
rum and hallucis longus (C, I)
Thigh Knee extension Quadriceps (C, I)
Adduction and stability Adductors (C, I)
Hip and pelvis Hip extension, stability Hamstrings, gluteus maximus
(R and L) (C, I)
Hip and pelvis (R) Hip stability Gluteus medius, deep external
rotators,* tensor fascia lata, qua-
dratus lumborum (C, I)
Torso Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis, right latissimus dorsi
(I)
Spinal extension and stability Erector spinae, quadratus lum-
borum (I)
Sternoclavicular stability Subclavius (I)
Shoulder Horizontal humerus extension, Deltoids, infraspinatus, teres
external rotation, and stability minor (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm (R) Forearm pronation Pronator teres and quadratus
(C, I)
Forearm extension Anconeus (C, I)
Wrist hyperextension, stability Extensor carpi radialis brevis and
longus, extensor carpi ulnaris,
extensor digitorum, flexor carpi
radialis and ulnaris, palmaris
longus (C, I)
Lower arm (L) Forearm supination Supinator (C, I)
Hand and fingers Finger extension Extensor digitorum, extensor
(R) digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
(L) and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck (R) Head rotation to left Sternocleidomastoid (C, I)
Neck (L) Head rotation, neck stability Splenius capitus and cervicis, Sternocleidomastoid
occipitals, cervical erector
spinae, upper trapezius (C, I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

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 Purvottanasana
Reverse Plank, or Intense East-Side Stretch
[poohr-VOHT-taahn-AAH-suh-nuh]

Purva means “east” and relates to the front of the body. Uttana
means “intense.” This posture stretches the front of the body
intensely.

Description
Purvottanasana is a supine or reversed
plank pose in which the hands
press into the ground behind
the back as the front of the
body is lifted. This asana
is practiced as one of the
five major exercises in
Tibetan yoga.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the backs of the heels. Balance the grounding
energy evenly between the hands and feet.

Benefits
• Deeply stretches the chest and shoulders.
• Strengthens the wrists and ankles.
• Builds endurance.
• Provides a counterstretch to Paschimottanasana (Seated Forward Bend, or Intense West-Side Stretch), or seated
forward fold.
• Strengthens the posterior muscles in the legs and spine.

 Cautions
Extreme neck weakness—Do not allow students with a neck concern to hyperextend the neck so that the head
drops below the shoulders. Instruct them to practice modifications if they experience discomfort.
Shoulder or wrist concerns—Students who have acute pain or injury in the shoulder or wrist should practice
with modifications or avoid the pose.

Verbal Cues
• Begin in Dandasana (Staff Pose) with your palms on the ground beside your hips. Move your hands 6 to 8 inches
(15 to 20 centimeters) behind your hips and shoulder-width apart. Point your fingers either toward or away from
your body, depending on which feels most comfortable to your shoulders and wrists.
• Spread your fingers and press through your arms to expand your chest. Imagine your collarbones moving apart
with each inhalation. Breathe deeply, lengthening your spine.

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 Supine and Prone Postures

• Exhale and lift your hips and legs off the ground, bringing your body weight onto your arms. Press the soles of
your feet into the ground. Feel the length of your body increase with each breath.
• Keep your arms perpendicular to the ground, with a little softness in your elbows to deter hyperextension. If
your shoulders and chest are open and the level of your chest is above your shoulders, exhale and slowly relax
your neck so that the top of your head points toward the ground behind you. Focus on keeping length in the
back of your neck. Allow your throat to stretch gently; however, if you feel discomfort, slowly draw your chin
back in toward your chest.
• Continue to focus on your breath.
• To exit the posture, exhale and bend your elbows to slowly lower your hips to the ground. Keep your neck
relaxed. As your hips touch the ground, slowly roll up your spine from the bottom to the top, moving back into
an upright position. Inhale and slowly lift your head upright. Prepare for the next pose.

Adjustments
Feet—If the student’s toes are almost touching the ground, gently place your fingers on the top of the foot to help the
student ground. Do not press forcefully. However, if the student is susceptible to cramping in the feet
or calves, invite her or him to keep the ankles flexed.
Hips—Assist the student in lifting the hips by kneeling to the side and placing your hands on either side
of the student’s hips. You may also straddle the student’s knees and squat slightly as you place your
hands on the outside of the student’s hips and lift. Another method is to use the same body position,
wrap a strap behind the student’s pelvis, and lean back to help the student raise the pelvis until it is
aligned between the shoulders and knees. With either method, be mindful of your body position.
Shoulders and chest—Remind the student to keep the chest lifted. You can lightly tap the chest
while instructing the student to push through the arms and move
the chest toward the sky. You may also kneel or squat behind
the student, place your hand between the student’s shoulder
blades, and cue the student to move away from your hand.
Neck—Make certain that the student places the neck in a com-
fortable position. If the student feels strain caused by the hyper-
extension, instruct the student to keep the ears aligned with the
shoulders and to look straight ahead, or to press the chin into
the chest. If the student has difficulty lifting the head, kneel
to his or her side with your hand on the back of the head and
gently guide the head back into alignment. Adjustment: hips.

Modifications
Weakness or discomfort—Instruct the student to bend the knees, keeping the feet flat on the ground. As the student
lifts the hips, the body will be in a tabletop position, which reduces the workload by redistributing the center of mass.
Tight ankles or cramping—Instruct the student to dorsiflex the ankles (draw the toes toward the knees). Doing so
helps keep the calves and arches from cramping.
Weak or tight shoulders—Instruct the student to rotate the shoulders externally so that the fingers point away from
the body rather than pointing toward the feet. If the student is unable to lift the chest higher than the shoulders,
then instruct the student to lower the chin toward the chest. Encourage the student to focus on lifting the chest to
eventually touch the chin. See the Kinematics section for the reasons that this modification is important.

Kinematics
Students who sag in the shoulders and chest tend to overcompensate for the weakness by hyperextending the neck to
such a degree that they “pinch” the neck rather than maintaining length throughout the spine. This overcompensation
tends to decrease circulation and expansion in the region, which in turn leads to tension and can injure the vertebrae
and supporting structures, rather than increasing the circulation and creating more length and strength.

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 Purvottanasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe flexion (pressure into Flexors digitorum and hallucis
ground) longus, flexor digitorum brevis
(C, I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Hip and pelvis Hip extension or hyperextension Hamstrings, gluteus maximus, Iliopsoas, rectus femoris
gluteus medius (C, I)
Torso Trunk stability Internal and external obliques, Rectus abdominis
transverse abdominis (I)
Hyperextension Erector spinae, semispinalis (C, I)
Shoulder Scapular adduction, stability Rhomboids, mid trapezius (C, I) Anterior deltoid, pectoralis major
and minor
Humerus hyperextension Latissimus dorsi, teres major
(C, I)
Hyperextension, stability Posterior deltoid (I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist hyperextension Extensor carpi radialis brevis and
longus, ulnaris (I)
Hand and fingers Finger extension Extensor digitorum, indicis, Flexor digitorum profundus and
and digiti minimi; lumbricales superficialis, flexor digiti minimi,
manus; interossei dorsales (I) interossei
Finger abduction Abductor digiti minimi, abductor
pollicis brevis, opponens pollicis
(C, I)
Neck Neck hyperextension Sternocleidomastoid, scalenes Sternocleidomastoid
(E, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Supine and Prone Postures

Bhujangasana
Cobra Pose
[bhoo-juhn-GAAH-suh-nuh]

Bhujanga is Sanskrit for “serpent” or “snake.” This pose is often translated

in the West as Cobra because the chest is lifted
in the same way that a cobra raises its head.

Description
Bhujangasana is a prone backbending
posture with numerous variations. In
the posture’s simplest form, the chest is lifted off the ground and the arms are at the sides. This posture is part of the
Classical Sun Salutation. A deeper variation brings the head and feet together.

Energetic Focus
Fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the front pelvis and upper thighs.

Benefits
• Increases range of motion in the spine.
• Strengthens and stretches the spine.
• Opens the chest and shoulders.
• Increases circulation through the lungs and abdomen.
• Energizes the legs.
• Can be used to relieve pain from herniated disks and sciatica.

 Cautions
Pregnancy—Women past the first trimester should use a substitute posture.
Acute back pain or injury—Students with back discomfort or injury should avoid this pose.
Wrist pain or carpal tunnel syndrome—Students with wrist concerns should practice with modification.

Verbal Cues
• Begin from a prone position, resting your chin or forehead on the ground. Inhale and bring your hands under
your shoulders. Relax the tops of your feet and your front thighs against the ground. Point your fingers forward
and hug your upper arms into your sides as you exhale. Breathe softly, feeling the connection of your belly
with the ground.
• Spread your fingers and as you exhale lightly press into your fingertips as you continue to draw your upper
arms towards your rib cage. Inhale, opening space between your shoulder blades and softening your shoulders.
Imagine your spine lengthening with each breath.
• Press the front of your pelvis into the ground and activate the muscles in your legs slightly by rolling your front
thighs slightly toward each other. Exhale and begin to press the tops of your toes lightly against the ground.
Keep the back of the hips (gluteus maximus) relatively relaxed so that the lift in the torso comes primarily from
the back muscles.

241
 • Keep your hands rooted into the ground, inhale, and press down and back into your palms to extend your
chest forward. Visualize sliding your chest and rib cage forward. Feel your chest lift naturally away from the
ground. Keep your neck long and lift through the crown of your head. Anchor your front thighs into the ground
and straighten your elbows only to a point where your low back feels comfortable. Keep your hips and thighs
on the ground.
• As you inhale, feel your spine and abdomen lengthen; as you exhale, feel your shoulders relax down away
from your ears. Be aware of your mid-back muscles helping to lift your chest.
• Continue to focus on your breath.
• If it feels best to keep your abdomen on the ground to ease your low back, notice your torso slowly rise as you
inhale deeply and lower as you exhale. If you can comfortably lift your abdomen off the ground with no strain
in your low back, expand your front torso and chest with each inhalation.
• To exit the position, exhale and slowly lower your abdomen and chest back to the ground from the bottom
of your torso to the top. Counter Bhujangasana with Balasana (Child’s Pose) or Adho Mukha Shvanasana
(Downward-­Facing Dog).

Adjustments
Feet—The top of the feet should be flat against the ground. If the student’s toes are curled
under, lightly brush the backs of the heels and instruct the student to relax the tops of the
feet on the ground.
Legs—The legs should remain active in this position, stretching down away from the
hips. To cue the student to activate the muscles, gently tap the backs of the legs.
Hips—If the student’s hips are off the ground, lightly touch the low back and
remind the student to press the hips toward the ground.
Low back—If a student has trouble lengthening through the back, kneel to
the side and place your hand lightly on the upper sacrum. Encourage
the student to press the pelvis away from the head.
Elbows—If the student’s elbows point away from the body,
you can kneel to the side, grasp the upper arms just
above the elbows, and gently press the outsides of the
arms toward the body. Adjustment: elbows.
Shoulders—Make sure that the student’s shoulders do not lift toward the ears. Kneel to the student’s side and lightly
place your hands on top of the shoulders. Press down gently to cue the student to create more space between the
ears and shoulders and to position the head so that the ears remain aligned with the shoulders.

Modifications
Tight back—Ask the student to slide the elbows wider
apart than the shoulders and to rest on the forearms for
support. Instruct the student to use the arms for support
instead of the back muscles and to focus on pressing the
chest forward rather than lifting.
Pregnancy—From the second trimester on, pressure
on the abdomen is generally uncomfortable and
contraindicated. Therefore, instead of Bhujangasana, Modification: tight back.
pregnant women should substitute Durga-Go (Cat
and Cow Pose).

Kinematics
The McKenzie press-up used in physical therapy is a variation of Bhujangasana. The McKenzie version is a passive
spinal arch in which the arms press the spine into a gentle backbend to increase the range of motion. Bhujangasana
is a much more active pose, in which the erector spinae muscles help lift the chest and arch the back, thus building
strength and increasing the range of motion in the spine.
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 Supine and Prone Postures

Bhujangasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe hyperextension Extensor digitorum longus,
extensor hallucis longus, tibialis
anterior (C, I)
Lower leg Ankle plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Leg adduction Adductors (C, I)
Hip and pelvis Hip hyperextension Hamstrings (C, I) Iliopsoas, gluteus maximus
Torso Spinal hyperextension Erector spinae, quadratus lumbo- Rectus abdominis
rum (C, I)
Torso stability Internal and external obliques,
transverse abdominis (I)
Sternoclavicular stability Subclavius (I)
Shoulder Extension and adduction of Latissimus dorsi, teres major Pectoralis major
humerus (C, I)
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid (C, I)
Scapular stability Subscapularis, serratus anterior
(C, I)
Adduction of scapulae Rhomboids and mid trapezius
(C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion Triceps brachii, posterior deltoid
(E, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist hyperextension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Hand and fingers Wrist stability Flexor carpi radialis and ulnaris,
palmaris longus (C, I)
Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck extension Splenius capitus and cervicis,
suboccipitals, semispinalis,
upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

243
 Urdhva Mukha Shvanasana
Upward-Facing Dog
[oohr-dhuh-vuh moo-KUHSH-vuhn-AAH-suh-nuh]

In Sanskrit, urdhva means “upward,” mukha means “face,” and shvana means “dog.” The stretch in
this pose resembles the way that a dog stretches its chest and belly.

Description
This posture resembles Bhujangasana (Cobra Pose) but differs in that the entire body
is lifted off the ground and supported on the palms and
the top of the feet. As a result, the spinal extension
is deeper in this pose, and more strength is
needed to maintain the openness in the chest
and shoulders.

Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy, fourth chakra (Anahata)
heart-opening energy

Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the tops of the feet. Balance the grounding energy
evenly between the hands and feet.

Benefits
• Strengthens the spine, arms, wrists, legs, and hips.
• Opens the chest.
• Increases circulation to the lungs and abdomen.
• Increases spinal range of motion.
• Improves posture.
• Stretches the abdomen and hip flexors.
• Stimulates the abdominal area.

 Cautions
Pregnancy—Women past the first trimester should use a substitute posture, such as Durga-Go (Cat and Cow Pose).
Low-back pain or injury—Students with this type of condition should use Bhujangasana as a substitute pose.
Wrists—If a student has a history of wrist concerns or complains of wrist pain, use a prop or modify the pose.

Verbal Cues
• From a prone position, with your chin or forehead resting on the ground—or from Chaturanga Dandasana
(Four-Limbs Staff Pose)—stretch your legs away from your hips and chest. Press back through your hands so
that they align closer to your waist, spread your fingers, and press into your fingertips.
• Inhale and press the tops of your feet down as you begin to raise your chest and shoulders off the ground. Feel
the energy of your arms shift your chest forward.
• Straighten your arms and direct the crown of your head toward the sky. As you continue to extend your elbows,
press your pelvis forward, raising your hips and legs off the ground. Feel the strength and energy in your legs
moving up through your chest.
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 Supine and Prone Postures

• Soften your elbows slightly and keep your upper arms drawn into your sides. With each inhalation, lift your heart
toward the sky. Elongate your neck and tilt your chin slightly upward, keeping length in the back of your neck.
• Continue to focus on your breath.
• Roll the front of your shoulders open by drawing your shoulder blades slightly closer together. Preserve as much
length as possible through your low back and imagine that space expanding in all directions with each breath.
• To exit this position, bend your elbows and slowly lower your body back to the ground; alternatively, move
into Adho Mukha Shvanasana (Downward-Facing Dog).

Adjustments
Feet—Remind the student not to curl the toes under but to flatten the tops of the feet on the ground. Lightly press
the bottoms of the heels forward.
Legs—The legs should remain close together, active, and lifted off the ground. If the student’s hips, knees, and shins
are touching the ground, straddle the student’s legs and squat or kneel above the calves.
Place your hands or a strap under the thighs just above the knees and lift. Instruct the
student to contract the leg muscles to help support the weight. Be mindful of your
own mechanics!
Pelvis—If the belly sags, instruct the student to contract the abdominal muscles
while you squat behind and place your hands on the sides of the rib cage or on
the outer hips. Guide the torso gently upward and slightly back toward you to
help create more space in the low back.
Hands—Remind students to align the hands under the shoulders and to spread
the fingers. To encourage students to widen the fingers, lightly touch the tops of
the hands.
Chest—The chest should be positioned in front of the arms. To adjust, squat or kneel
to one side of the student and place one hand between the
shoulder blades. Encourage the student to press forward
and up through the chest, away from your hand.
Neck—If the student’s shoulders are hunched up
toward the ears, cue the student to lower the Adjustment: chest.
shoulders and then lengthen the neck and tilt the
chin slightly toward the sky. To encourage more length through the back of the neck, stand to the side and place
one palm against the base of the student’s skull with your fingers pointed toward the spine.

Modifications
Extreme weakness—To build strength, instruct students to practice Bhujangasana before attempting
this pose.
Strength building—Allow the student to keep the lower legs on the ground and work on lengthening
the spine. Cue the student to engage the leg muscles.
Tight ankles—Some students have difficulty plantar-flexing the ankles (that is, pointing the toes and
stretching the top ankle). For these students, place a small, rolled-up towel under the fronts
of the ankles to provide some relief when anchoring into the feet.
Tight hip flexors or low back—Place blankets or a bolster under
the student’s thighs. Encourage the student to anchor through
the feet by pressing the hips and upper thighs down while
lengthening the spine upward.
Modifications: tight ankles.
Kinematics
Many students who are new to yoga confuse this posture with Bhujangasana. As a result, they extend the arms fully
but keep the legs and hips on the ground—a position that generally creates too much hyperextension in the lumbar
spine. Suggest that these students come down to Bhujangasana and work on gradually lengthening the spine.

245
 Urdhva Mukha Shvanasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toes in extension against ground Extensor digitorum longus and
hallucis, anterior tibialis, flexor
digitorum and hallucis longus,
posterior tibialis (C, I)
Lower leg Ankle in plantar flexion but Anterior tibialis, extensor digito-
actively dorsiflexing rum longus, peroneals (C, I)
Thigh Knee extension Quadriceps (C, I)
Hip and pelvis Hip extension and hyperexten- Hamstrings, gluteus maximus, Iliopsoas (I)
sion rectus femoris (C, I)
Hip stability Deep external rotators,* adduc-
tors (C, I)
Torso Torso stability Rectus abdominis, internal and Rectus abdominis, obliques
external obliques, transverse
abdominis (I)
Spinal hyperextension Erector spinae, quadratus lumbo-
rum (C, I)
Shoulder Flexion of humerus, stability Pectoralis major, coracobrachia-
lis, biceps brachii (C, I)
Arm stability Latissimus dorsi, teres major
(C, I)
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid (C, I)
Adduction of scapulae Rhomboids and mid trapezius
(C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow extension Anconeus (C, I)
Wrist hyperextension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Wrist stability Flexor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Hand and fingers Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Slight neck hyperextension and Splenius capitus and cervicis, Sternocleidomastoid, scalenes
stability suboccipitals, semispinalis,
upper trapezius (I)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Supine and Prone Postures

Shalabhasana
Locust Pose
[shuh-luhb-HAAH-
suh-nuh]

Shalabha is Sanskrit for

“locust” or “grasshopper.”
This posture is said to resemble a locust as it rests on the ground with the legs higher than the front of the body.

Description
In Shalabhasana, the body is prone and the legs are lifted off the ground. The posture has two main variations, both
of which strengthen the back of the body.

Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the front of the pelvis. Anchor into the upper abdomen.

Benefits
• Strengthens the low spine and the posterior hip and thigh muscles.
• Stretches the abdominal cavity.
• Stimulates the kidneys.
• Opens the shoulders and chest.
• Stimulates circulation in the abdomen and chest.

 Cautions
Pregnancy—Because the belly is on the ground, this posture should not be practiced after the first trimester of
pregnancy.
Low-back pain or injury—Students with this type of condition should either practice this pose one leg at a time
or avoid the pose.

Verbal Cues
• From a prone position with your chin or forehead resting on the ground, reach your feet toward the wall behind
you. Rest your arms at your sides with your palms facing down.
• Inhale and imagine the crown of your head and your toes moving farther away from each other as you lengthen
your sides. Reach your hands back toward your feet and feel a lengthening in the sides of your neck and your
upper shoulders.
• Inhale and raise your head, chest, knees, and feet slightly off the ground. Imagine the length of your body
increasing as you inhale: feet and head moving even farther apart. Your abdomen and front pelvis remain
rooted on the ground.
• As you continue to breathe, press your chest forward and stretch your feet away from your body. Spread your
toes to more fully energize your legs. Feel your front body lift and lengthen slowly as you breathe in deeply. If
it is comfortable to do so, lift your legs slightly higher while keeping length in your low spine.
• Continue to focus on your breathing.
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 • As you breathe, feel the muscles throughout the back half of your body working to maintain the lift in your legs
and torso. Keep your ears aligned with your shoulders and expand through your chest.
• To exit the position, exhale and slowly lower your chest, head, and legs back to the ground. Bend your knees
and slightly rock your feet from side to side to relax your low back. Counter with Balasana (Child’s Pose) or
Adho Mukha Shvanasana (Downward-Facing Dog).

Adjustments
Feet—If the student does not actively engage the feet, tap the balls of the feet to cue the student to stretch out and
spread through the ends of the toes.
Legs—The knees should be extended and the hips slightly hyperextended. Remind the student to contract the muscles
of the hips and legs and stretch the feet away from the hips. Kneel behind the student’s feet, placing your hands
under the ankles, and slightly lift the legs as you draw the toes toward you.
Shoulders—Kneel beside the student, and place your hands on the upper arms near the shoulders. Rotate the student’s
shoulders externally (toward the spine), and remind the student to lengthen the spine.

Modifications
Strength building—Instruct students to practice Ardha Shal-
abhasana (Half-Locust). The chin remains on the ground,
and the legs are lifted one at a time.
Deeper variation—Cue students to start in a prone position while
keeping the chin on the ground. Instruct them to place the hands
and forearms under the fronts of the hips and thighs for support. As they
inhale, instruct them to lift one or both legs into the air as
high as is comfortably challenging.
Modification: deeper variation.
Kinematics
The degree of hyperextension in the hips and spine is dependent on the strength of the student’s spinal and hip
extensor muscles, as well as the flexibility of the oppositional abdominal and hip flexor muscles. It is important to
cue students to maintain length in the lower back.

Shalabhasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe flexion Flexor digitorum longus and
brevis, flexor hallucis longus
(C, I)
Lower leg Ankle plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Slight thigh adduction Tensor fascia lata (C, I)
Hip and pelvis Hip hyperextension Hamstrings, gluteus maximus Iliopsoas, rectus femoris
(C, I)
Torso Spinal hyperextension Erector spinae, quadratus lumbo- Rectus abdominis, obliques
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Torso stability Internal and external obliques,
transverse abdominis (I)

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 Supine and Prone Postures

Body segment Kinematics Muscles active Muscles released

Shoulder Arm hyperextension Latissimus dorsi, posterior del- Pectoralis major, anterior deltoid
toid, triceps brachii
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids and mid trapezius
(C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm supination Supinator (C, I)
Arm extension Anconeus (C, I)
Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Hand and fingers Finger extension Extensor digitorum, indicis,
and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
suboccipitals, semispinalis,
upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Dhanurasana
Bow Pose
[dhuh-noor-AAH-suh-nuh]

In Sanskrit, dhanu means “bow,” as in a

bow and arrow. In this pose, the torso
represents the bow, and the arms signify
the action of the bowstring by pulling the
head and feet closer together.

Description
Dhanurasana is a moderate to deep
backbend. The knees are bent, and the
arms reach back toward the lifted feet.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root into the front of the pelvis and abdomen. Anchor through the fronts of the shins, where the hands grasp the ankles.

Benefits
• Stretches the entire front of the body.
• Strengthens the spine.
• Opens the shoulders, chest, and throat.
• Stimulates circulation in the abdomen and anterior of the pelvis.
• Strengthens the lungs.

 Cautions
Pregnancy—This pose is not recommended for women after the first trimester.
Acute low-back injury, high blood pressure, or heart concerns—Students with any of these health concerns are
not advised to practice this pose.
Shoulder concerns—Students with shoulder injury or pain should practice with modifications.

Verbal Cues
• From a prone position, with the chin or forehead resting on the ground, position your legs so that your knees
are slightly wider apart than your hips. Exhale and bend your knees so that your lower legs are perpendicular
to the ground.
• Inhale and reach your hands back toward your feet while slowly lifting your chest off the ground. Dorsiflex
your ankles (point your toes toward your knees) and wrap your hands around the outsides of your ankles or
the tops of your feet. Anchor the front of your pelvis into the ground and lift your chest forward and upward
to lengthen your abdomen. By pressing your chest slightly forward, you open space in your low back as well.
• Inhale and draw your shoulder blades toward each other to open the front of your shoulders and chest.
• Spread your toes to energize your feet and legs. As you exhale, press your feet away from your body. As you
do this, you will feel your chest lift and open more fully.

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 Supine and Prone Postures

• Continue to focus on breathing smoothly.

• On your next exhalation, if it feels comfortable to you, lift the fronts of your thighs off the ground as you reach
the soles of your feet toward the sky. Maintain the lift and openness in your chest and shoulders.
• With each inhalation, lift the crown of your head, pressing your chest forward and lengthening your low back.
• Feel your breath as your abdomen expands and contracts against the ground.
• To exit the position, exhale, release your hands gently from your feet, and lower your knees and chest back to
the ground. Slightly rock your legs from side to side to relax your low back. Balasana (Child’s Pose) is a good
counterstretch.

Adjustments
Feet—If the student’s toes are not pointed down toward the knees, lightly tap the feet to cue the student to activate
them more.
Knees—The knees should be slightly farther than hip-width apart. If the student’s knees are too close together, kneel
or squat to the side and lightly place your hands on the insides of the knees. Apply enough pressure to cue the
student to widen the legs. Also, the knees should not be flexed more than 90 degrees. If they are, generally the
elbows are flexed as well. Lightly touch the backs of the student’s heels and cue the
student to extend the knees slightly so that the arms straighten. This adjustment keeps
the chest open.
Shoulders—If a student has difficulty lifting through the
front of the chest, kneel to the side with your hands on
the fronts of the shoulders and rotate the shoulders exter-
nally (toward the spine) as you gently lift the student’s
upper torso.

Modifications
Strength and flexibility building—Instruct stu-
dents to first practice Ardha Dhanurasana
(Half-Bow Pose) by lifting one leg at a time Modification: strength building.
while keeping the torso on the ground. This
modification helps build strength and flexibility
gradually in the legs and low spine. As students build strength over
time, they can begin lifting both legs at the same time, then move
on to lifting the torso as well.
Tight shoulders—If the student cannot reach back to the feet comfort-
ably, place one end of a strap in each hand and wrap it around the
fronts of the ankles.
Deepening of the shoulder stretch—Instruct students that instead of
placing the palms around the outside of the ankles or feet, they
can place the palms against the arches of the feet and align the
thumbs with the big toes. This position actively increases the
external rotation of the shoulders. Modification: deepening the shoulder stretch.

Kinematics
Because the full body weight is borne by the abdominal cavity in Dhanurasana, individuals who are new to practicing
the posture may find that the heart rate increases due to the pressure exerted on deep blood vessels such as the vena
cava. If this effect causes discomfort, suggest that the affected student exit the pose and practice lying on her or his side.
Students who can easily grasp the ankles can lift the thighs off the ground more effectively by contracting the
quadriceps concentrically, as if straightening the legs, than by using a solely concentric contraction of the hip exten-
sors. The two sets of opposing muscles work together to create the bow position that gives the posture its name. In
addition, the wider positioning of the feet in relation to the hips helps the student avoid placing undue stress and
strain on the sacrum.

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 Dhanurasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum longus,
extensor hallucis longus, tibialis
anterior (C, I)
Lower leg Ankle plantar flexion Gastrocnemius, soleus Anterior tibialis, extensor digito-
rum longus (C, I)
Thigh Knee flexion Hamstrings (C, I) Quadriceps
Hip and pelvis Initial hip hyperextension Hamstrings, gluteus maximus Iliopsoas, rectus femoris
(C, I)
Active hip hyperextension Quadriceps, hamstrings, gluteus
maximus (C, I)
Torso Spinal hyperextension Erector spinae, quadratus lumbo- Rectus abdominis
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Torso stability Internal and external obliques,
transverse abdominis (I)
Shoulder Humerus hyperextension Latissimus dorsi, posterior del- Pectoralis major, anterior deltoid
toid, triceps brachii (C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids and mid trapezius
(C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris (I)
Finger flexion Flexor digitorum, extensor digiti
minimi brevis, dorsal interossei
(I)
Finger adduction Interossei palmaris, adductor
pollicis (I)
Neck Neck hyperextension Splenius capitus and cervicis,
suboccipitals, semispinalis,
upper trapezius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Supine and Prone Postures

Setu Bandhasana
Bridge Pose
[sey-TOO buhn-DHAAH-suh-nuh]

Setu is a Sanskrit term for “bridge” or “dam,” and

bandha means “lock.” The shape of the body in
this pose resembles a bridge.

Description
Setu Bandhasana is a relatively
easy backbending asana in
which the head, the neck, and the top edge of the shoulders remain on the ground, while the knees are flexed and
the feet are flat on the ground. The resulting body shape resembles a bridge, and because the neck and chin press
together (jalandhara bandha), energy is held in, much like water controlled by a dam.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy

Foundational Focus
Root evenly into both heels. Anchor into the shoulder blades and the backs of the arms.

Benefits
• Opens and expands the chest.
• Strengthens the mid and upper spine.
• Helps alleviate symptoms of mild depression.
• Stretches the entire torso.
• Increases circulation to the thyroid gland.
• Energizes the legs.
• Relieves low-back tightness.
• Helps alleviate menstrual and menopausal discomfort.

 Caution
Neck pillows—The use of neck pillows should be avoided in this posture, as they do not allow for the proper
range of motion in the back of the neck.
Neck concerns—Students with acute neck pain or injury should avoid this pose.
Pregnancy—This pose should not be practiced after the second trimester.

Verbal Cues
• From a supine position, bend your knees and bring your heels toward your hips. Place your feet hip-width apart
and parallel with each other. Bring your arms to your sides and slightly reach your hands toward your heels.
Rest your shoulder blades comfortably against the ground.
• Slightly tilt your lower pelvis so that your sit bones point toward the backs of your knees. Lengthen your low
back slightly. Anchor your shoulder blades into the ground, and lengthen the back of your neck. Without moving
your legs, feel your inner thigh muscles activate as if they were pressing together.
253
 • Inhale to energize your body. Exhale and slowly peel your pelvis and lower spine off the ground. Feel your
vertebrae lift, one by one, off the ground as the lifting action moves up toward your neck.
• Press the fronts of your hips and your abdomen toward the sky. Imagine your tailbone reaching to touch the
back of your knees. Feel your chest draw in toward your chin.
• As you exhale, press your kneecaps forward, away from your body, and notice a lengthening in your front thighs.
As your chest moves closer to your chin, breathe into the stretch in your abdomen and in the back of your neck.
• If possible, interlace your fingers under your back. Squeeze your elbows and shoulder blades together, lifting
your chest even higher.
• Continue to focus on your breath.
• With each inhalation, feel your chest and ribs open more fully. On each exhalation, press your feet more firmly
against the ground.
• To exit the position, unclasp your fingers and bring your arms back to your sides. Exhale and slowly lower
your spine back to the ground, one vertebra at a time, from the top to the bottom. Rest your spine against the
ground and allow all of your muscles to relax. Lift your knees into your chest and rock gently from side to side.

Adjustments
Feet—The feet should be hip-width apart and parallel to each other. If the toes turn in or out, gently tap the outsides
of the student’s feet to cue the student to realign the feet.
Knees—If the student rolls the legs out laterally from the body, kneel in front of the knees and place your hands on
the outsides of the student’s lower thighs. Lightly move the knees closer to parallel.
Hips and low back—If the hips are not lifted higher than the chest and knees, place a strap around the student’s
pelvis at the sacral level. Stand in a slight lunge facing
the student’s knees and place your front foot
between the student’s feet. As you hold onto
the ends of the strap, lean back slightly while
straightening your front leg and gently lift the stu-
dent’s hips toward you. Move slowly and check
in with the student regarding comfort.
Chest—If the chest sinks between the shoulders,
place a strap around the student’s upper torso
under the scapulae. Hold the ends of the strap
in your hands and sit or semi-squat a few inches
(centimeters) away from the student’s head. Lean
back and lift the student’s chest and rib cage
toward you. Adjustment: chest.

Modifications
Early pregnancy or weakness—Place folded blankets under the student’s low back and hips. You also can place a
block under the sacrum for the student to rest on. These modifications allow the abdomen and chest to stretch
without the effort.
Low-back discomfort—If the student has slight tightness in the lumbar area, instruct the student to lift the heels off
the ground in order to relieve some of the muscular activity in the back. Also, remind students to press the inner
thighs toward each other so that the legs do not splay outward.
Pose deepening—Instruct the student to draw the heels closer to the hips and grasp the ankles. This modification
increases the stretch through the thighs and allows for a greater arch
throughout the length of the spine.
Deeper supported positioning—In this variation,
place a block under the student’s upper pelvis
(the block must not rest on the lumbar spine)
as in the pregnancy modification. Instruct the
student to extend one leg, keeping the heel on Modification: deeper supported positioning.

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 Supine and Prone Postures

the ground. Invite the student to relax the leg and, if the student is comfortable in the lower back, to extend the other
leg. If discomfort is felt, ask the student to slowly bend the knees again and rest. If the student feels comfortable
with the legs extended, the student may stretch the arms overhead and relax in this position. The low back should
remain comfortable.

Kinematics
Because the neck remains on the ground in this posture, it can be used as a preliminary step in building the necessary
range of motion in the neck and shoulders for Salamba Sarvangasana (Supported Shoulderstand). In the deeper
supported variation of Setu Bandhasana, the lifting of the pelvis allows for a deeper passive psoas stretch. Remind
students not to turn the head once the pelvis is lifted so as not to place strain on the neck.

Setu Bandhasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(I)
Toe flexion (pressure into Flexor digitorum and hallucis
ground) longus, flexor digitorum brevis
(C, I)
Lower leg Ankle dorsiflexion, stability Anterior tibialis, extensor digito-
rum and hallucis longus (I)
Thigh Knee flexion Hamstrings (C, I) Quadriceps
Slight adduction Adductors (I)
Hip and pelvis Hip hyperextension Gluteus maximus, hamstrings Iliopsoas, rectus femoris
(C, I)
Torso Spinal hyperextension Erector spinae, quadratus lumbo- Rectus abdominis
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Torso stability Internal and external obliques,
transverse abdominis (I)
Shoulder Humerus hyperextension Latissimus dorsi, teres major, Pectoralis major and minor, ante-
posterior deltoid, triceps brachii rior deltoid, serratus anterior
(C, I)
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction and depres- Rhomboids, mid and lower tra-
sion pezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger adduction Adductor pollicis, flexor pollicis
longus and brevis, interossei
(C, I)
Finger flexion Flexor digitorum, extensor digiti
minimi brevis, dorsal interossei
(C, I)
Neck Neck flexion, jalandhara bandha Sternocleidomastoid, scalenes, Cervical erector spinae, splenius
hyoids (C, I) capitus and cervicis, upper tra-
pezius
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Urdhva Dhanurasana
Upward Bow Pose
[oohr-dhuh-vuh dhuh-noor-AAH-suh-nuh]

In Sanskrit, urdhva means “upward” or “backward,”

and dhanu means “bow” (like a bow and arrow).
Thus the name signifies an upward bow, and
the posture is sometimes called Urdhva Mukha
Dhanurasana (Upward-Facing Bow). Another
much-used name for this position is Chakrasana
[chuk-RAAH-suh-nuh]. Chakra means “wheel”
and, as discussed in chapter 5, is the name for
the body’s energy centers. The shape of the
body in Urdhva Dhanurasana can be said
to resemble the drawn string of a
bow or the roundness of a wheel;
generally, however, Chakrasana
indicates a backward somersault,
which is used in some vinyasa flow
practices.

Description
Urdhva Dhanurasana is a full backbend in which the hands and feet support the body and the abdomen faces toward
the sky. The pose may also be classified as an inversion.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy

Foundational Focus
Root into the heels and metatarsal heads of both feet. Anchor into the metacarpal heads and fingertips of both hands.
Balance the grounding energy evenly between the hands and feet.

Benefits
• Increases flexibility and range of motion in the spine.
• Strengthens the shoulders, arms, wrists, legs, and spine.
• Opens the chest and shoulder girdle.
• Relieves asthma symptoms by expanding the lungs.
• Increases energy.
• Stimulates the thyroid gland.

 Cautions
Shoulder or wrist concerns—Students with any of these concerns should practice with modifications or avoid
this pose.
Glaucoma or high blood pressure—Students with either of these conditions are advised against practicing this pose.
Low-back injury—Students with this condition should avoid this pose.

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 Supine and Prone Postures

Verbal Cues
• From a supine position, bend your knees and bring your heels as close to your hips as is comfortable. Bend
your elbows and lift your upper arms off the ground. Place your palms flat on the ground near the top of your
shoulders with your fingers pointing toward your body. Exhale and gently hug your elbows toward each other
so that your arms are parallel to each other.
• Spread your fingers and press into your fingertips. Slightly rotate your thighs internally and feel the strength
and grounding in your legs.
• Exhale and begin to press your feet and hands firmly against the ground.
• As in Setu Bandhasana (Bridge Pose), press firmly into the heels and lift the hips and back off the ground. Con-
tinue to hug the inner thighs toward each other and the elbows toward each other.
• Inhale to open your chest and lengthen your low back. As you exhale again, slowly straighten your arms while
lifting your head and upper torso off the ground. Maintain the alignment in your elbows, drawing them in closer
toward the midline of your body.
• Continue to press strongly, yet without strain, through your arms and heels. Lift your lower abdomen toward the
sky. Feel as if your spinal and posterior hip muscles are gently lifting your spine upward away from the ground.
• Continue to focus on your breath.
• Feel your spine lengthen and maintain equal balance between your feet and hands.
• To exit the posture, exhale and slowly bend your knees and elbows, lowering your shoulders and hips back
to the ground. Inhale and exhale deeply to relax your spine. Let your knees rock gently from side to
side, massaging your lower back.

Adjustments
Feet—Make certain that the student’s feet are hip-width apart and parallel to each other. If the
toes point out, squat in front of the student and gently nudge the feet into alignment so that
the toes point forward. Remind the student to keep the feet active and press
through the heels.
Knees—The knees should remain somewhat flexed. If the student’s knees
point laterally from the body, lightly place your hands on the outer
thighs and move the student’s legs closer to parallel. Continue to cue
the student to press inward with the inner thighs.
Hips and low back—If the hips are not lifted, place a strap around the
student’s hips at the sacral level. Stand facing the student’s knees in a
slight lunge with your front foot between the student’s feet. As you hold
onto the ends of the strap, lean back, straightening your front leg, and
Adjustment: hips and low back.
gently lift the student’s hips toward you.
Mid and upper spine and chest—The chest should be lifted and positioned opposite the lower
legs. If the chest sinks down between the shoulders, place a strap around the student’s scapulae
(shoulder blades). Stand facing the student’s head and begin in a lunge position,
holding the ends of the strap in your hands. Lean back slightly and lift the
student’s chest and rib cage forward. Use caution with this adjustment
so as not to take the student off balance.
Shoulders—Use extreme caution when adjusting a student’s
shoulders in Urdhva Dhanurasana! The shoulders should be
rotated externally. However, because the student’s body is
upside down and facing away from you, confusion can arise
about the direction in which you should attempt to roll
the upper arms. Face the student’s head and place your
hands on the upper arms, near the shoulders, with your
thumbs closest to the head. Rotate the student’s arms Adjustment: shoulders. Slowly rotate the arms in the direc-
so that your thumbs move toward you and the student’s tion of the arrow.

257
 elbows move toward the student’s body. Moving the arms in the opposite direction can injure the student’s shoul-
ders. If you have any doubts about making this adjustment, do not do it!
Neck—Do not touch the student’s neck in this posture. Verbally cue the student to relax the neck and to keep length
between the ears and shoulders.

Modifications
Arm weakness or tightness—Position the student in Setu Bandhasana (Bridge Pose) with the pelvis on a block. Instruct
the student to place the hands in position for Urdhva Dhanurasana and press into the hands while maintaining
elbow alignment. To focus more energy into pressing through the arms, a strap can be placed around the upper
arms, just above the elbows, to keep the arms together.
Weak or tight wrists—Place two blocks diagonally against a wall; be sure to place the blocks on a mat so that they
do not slide. Instruct the student to start in Setu Bandhasana, with the head facing the blocks and the hands on
the front of the blocks with the fingers facing down. On an inhalation, the student straightens the arms as much
as is comfortable. With this modification, the angle of the wrist is much more forgiving for those who have with
weakness and tightness in the joint. If the elbows rotate outward, a strap can be wrapped around the upper arms
above the elbows.
Limited spinal range of motion and significant weakness—Have the student lie with the back over an exercise ball
or a blanketed chair with the feet and hands touching the ground. This prop supports the spine and lengthens the
torso. (See chapter 11 Restorative Postures.)
Posture deepening—A student can deepen the posture by entering the asana from a standing position. To build con-
fidence, position the student with his or her back to a wall that is about as far away as the student’s hands and feet
are from each other in the full expression of this pose. Instruct the student to reach the hands overhead and behind
and “walk” the hands down the wall toward the ground. Make certain that the toes point directly forward and the
thighs rotate inward slightly as they lower the upper body down toward the ground. Moving into the pose from a
standing position also builds strength in the abdominal muscles.

Kinematics
The closer the hands are to the feet, the more challenging the posture is. To remain comfortable in this pose, the
student needs a certain range of motion through the torso. One also needs external rotation in the shoulder joint in
order to retain joint stability. As in all backbending poses, if the thighs rotate slightly internally then the lower spine
and sacrum are not compressed.

Urdhva Dhanurasana (Lifting Up From a Supine Position)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(I)
Toe flexion (pressure into Flexor digitorum and hallucis
ground) longus, flexor digitorum brevis
(C, I)
Lower leg Ankle plantar flexion, stability Gastrocnemius, soleus, anterior
tibialis, extensor digitorum and
hallucis longus (I)
Thigh Knee flexion Hamstrings, stability (C, I) Quadriceps
Thigh adduction, stability Adductors (C, I)
Hip and pelvis Hip hyperextension Gluteus maximus, hamstrings Iliopsoas, rectus femoris
(C, I)

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Body segment Kinematics Muscles active Muscles released

Torso Spinal hyperextension Erector spinae, quadratus lumbo-
rum, rectus abdominis (C, I)
Torso stability Internal and external obliques, Rectus abdominis
transverse abdominis (I)
Sternoclavicular stability Subclavius (I)
Shoulder Humerus hyperflexion, stability Pectoralis major, anterior deltoid Latissimus dorsi, pectoralis major
(I) and minor
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular stability Serratus anterior, subscapularis
(C, I)
Scapular adduction Rhomboids and mid trapezius
(C, I)
Upper arm Elbow extension, stability Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Forearm extension Anconeus (C, I)
Wrist hyperextension Extensor carpi radialis brevis and
longus, extensor carpi ulnaris
(C, I)
Hand and fingers Finger extension, stability Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck hyperextension Sternocleidomastoid, scalenes (E) Sternocleidomastoid, scalenes
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Eka Pada Rajakapotasana
One-Legged Royal Pigeon Pose
[eka-PAAH-duh-RAAH-juh kuh-poht-AAH-suh-nuh]

In Sanskrit, eka pada means “one leg,” raja means “royal,” and kapota
means “pigeon” or “dove.” This pose name reflects the fact that the
practitioner’s chest puffs out like that of a roosting pigeon.

Description
Eka Pada Rajakapotasana is addressed here in the form of two
variations and one modified alternative. The version practiced
most commonly is referred to as Baby Pigeon, which is more
of a prone posture that comes after a deep lunge.
The outside of the front leg is placed with the knee
flexed and resting against the ground, and the trailing
leg is extended straight back with the front of the leg
on the ground. The torso is folded forward over the
bent knee.
The second variation begins in the same position as Baby Pigeon; however, instead of folding forward over the
front leg, the practitioner keeps the torso upright and arches back slightly while the head and hands reach toward
the back foot. This variation is generally called Eka Pada Rajakapotasana (One-Legged Royal Pigeon).

Energetic Focus
Second chakra (Svadhisthana) creative energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root through the sit bone and the outer edge of the flexed leg. Anchor into the front thigh of the back leg. Balance
the grounding energy evenly in both legs.

Benefits
• Opens the hips and chest.
• Lengthens the hip flexors and external rotators.
• Stabilizes the hips.
• Stimulates and stretches the abdominal organs.

 Cautions
Knee or hip injury—Students with an acute knee or hip concern should avoid this posture.
Sacroiliac concerns—Students with sacroiliac injury or instability should proceed with modifications or avoid
this pose.

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Verbal Cues
Variation 1: Baby Pigeon
• Starting with your weight on your hands and knees, inhale and lengthen your spine. Imagine moving the crown
of your head and your sit bones as far from each other as possible.
• Exhale and step your right foot forward, coming into a low lunge with your hands on the ground. Slide your right
foot across to the outside of your left hand, then slowly lower your right knee to the outside of your right hand.
If you feel discomfort in your hip or knee as you lower your leg, practice the rest of the pose with modifications.
• Slide your left leg behind you and lower your pelvis toward the ground. Feel the front of your left thigh elongate.
Breathe softly into that space. Press into your hands and lift your lower rib cage away from
your hips as you open space in your low back.
• Inhale and stretch your chest and head toward the sky. Roll the fronts of your shoulders
open to expand your chest. As you breathe, imagine your collar bones drawing apart
with each inhalation.
• Exhale and begin to slowly walk your hands forward away from your body, lowering
your torso toward the ground. Your hands should be shoulder-width apart, and if it is
comfortable to do so your right knee should be positioned to the outside of your right
shoulder. This positioning helps release your hips without straining your knee joint.
Again, if this positioning is not comfortable, practice with modifications.
• Continue stretching your upper body forward, breathing deeply to relax your hip and
spinal muscles.
• Take another five or six breaths as you continue to soften your upper body and hips.
• To exit this position, press your hands into the ground and slowly walk your hands
back toward your body as you raise your torso. When your hands are under
your shoulders, press down and lift your hips off the ground and move back
onto your hands and knees; alternatively, stretch out your legs in Adho Mukha
Shvanasana (Downward-Facing Dog) before preparing for the opposite side.
Variation 2: Eka Pada Rajakapotasana (One-Legged Royal Pigeon Pose)
• From Baby Pigeon, with your torso perpendicular to the ground, focus on lengthening your spine and lifting
your rib cage away from your hips.
• Exhale and bend your left knee, bringing your left foot toward the back of your pelvis. Your pelvis will likely
rise off the ground. Breathe and picture your hips rooting into the ground.
• Exhale and reach your arms overhead and grasp your left foot or ankle with both hands. Breathe slowly and
smoothly.
• Inhale deeply and “puff” your chest up and out like that of a pigeon to lift your rib cage even more. Rotate
the fronts of your shoulders out from your chest. Slightly tilt your chin upward
and arch back from your mid spine as much as you feel comfortable doing.
Exhale and draw your elbows closer together.
• Continue to focus on your breath.
• Maintain the length in your low back as you continue to lift your
chest. Imagine setting the back of your head into the arches of your
feet. Feel the smooth arc of your spine.
• To exit this position, slowly release your left foot. Maintain control
of your left leg so that the foot does not drop quickly to the ground.
Bring your hands back to the ground under your shoulders and
press down to lift your hips off the ground and move back onto
your hands and knees; alternatively, stretch out your legs in
Adho Mukha Shvanasana (Downward-­Facing Dog) before
preparing for the opposite side.

261
 Adjustments
Feet—The top of the foot on the extended leg should be relaxed and resting on the ground. The leg should be aligned
with the hip. If the leg is abducted, squat or kneel to the side of the student and guide the leg inward by gently
pressing the outer hip inward. Lightly tap the foot to encourage relaxation.
Knees and hips—The extended knee should be square to the ground and not rotating outward. Generally, if the knee
rotates externally, it does so because the opposite hip is tight (see the modifications section for this pose) and the
body leans to that side. To guide the student into alignment, place your hands on the outsides of the hips while
kneeling behind the student. This adjustment usually also realigns the
extended knee. If the student is able to keep the hips grounded but
feels discomfort in the kneecap of that leg, place a folded towel
or cushion under the knee for comfort.
Lumbar spine—If the student slumps into the lower back, cue the
student to lift the rib cage. Kneel beside the student, place your
hands on the outsides of the rib cage, and lift gently to encour-
age length in the back.
Shoulders—Remind the student to maintain soft shoulders and
keep space in the neck below the ears. Place your hands
gently on the fronts of the shoulders to cue relaxation and
expansion in the chest and neck.

Modifications
Modification: tight hips.
Tight hips—Place a rolled blanket or a block under the
hip of the bent leg to bring the top of the pelvis level.
Strength and flexibility building—Place blocks under the hands and to the sides
of the student’s hips to help support the upper body as the student strengthens
the torso and stretches the hips.
Intermediate variation—Some students are flexible enough in the hip flexors
but unable to reach the arms over the head to clasp the back foot. Offer these
students the following variation. Bring them to the point where they bend the
back leg. Instruct them to exhale and reach both hands back to grasp the
ankle as they open the chest. If students feel comfortable, instruct them
to exhale and rotate the torso slightly to the extended-leg side as they
reach the same-side arm back to clasp the foot. If they have enough
balance and strength, invite them to raise the opposite arm overhead
and slightly raise the chest, breathing deeply and smoothly. Modification: intermediate variation.
Deepening of the pose (Twisted Pigeon)—Cue students as follows: “From
Baby Pigeon, with your right leg flexed, cross your left elbow toward the outside of your
right thigh. Bend your elbows, press your palms together in front of your chest,
and rotate your torso to the right. Your hips should maintain contact with the
ground during the twist.” This pose can be called Parivrtta
Eka Pada Rajakapotasana. To adjust, kneel behind the
student with one hand on the closest shoulder and
your other hand on the back of the student’s rib
cage. Gently guide the shoulder toward you and Modification: deepening into Parivrtta Eka Pada Rajakapotasana.
press the rib cage away.

Kinematics
Many people have overly tight external hip rotators and therefore find it difficult to sit comfortably in Eka Pada
Rajakapotasana. The asana can be modified with a bolster or folded blankets placed under the flexed hip; otherwise,
the student risks injuring the knee. The risk is even greater if the student places the weight of the upper body on the
flexed thigh.

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The following table illustrates the kinematics of the full expression of the pose. Due to the extreme hyperextension
in the spine in the deepest expression of the pose, it should be modified for students whose hips are even moderately
tight. If the outer hip on the bent leg and the front thigh of the back leg do not rest comfortably on the ground, then
the tightness in the hips and extreme hyperextension in the spine may lead to instability or injury over time.

Eka Pada Rajakapotasana (Right Knee Bent)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Lower leg (R) Ankle dorsiflexion, inversion Anterior tibialis, extensor digito-
rum longus (C, I)
Lower leg (L) Ankle plantar flexion, stability Anterior tibialis, extensor digito-
rum longus, peroneals (C, I)
Thigh (R) Knee flexion Hamstrings, sartorius (C, I)
Thigh (L) Knee flexion Hamstrings (C, I)
Hip and pelvis (R) Hip flexion Iliopsoas (C, I) Adductors, gracilis
Femoral abduction Gluteus medius and minimus
(C, I)
Initial femoral external rotation Adductors, sartorius (E, R)
Femur external rotation Deep external rotators* (I, R)
Hip and pelvis (L) Hip hyperextension Hamstrings, gluteus maximus Iliopsoas, quadriceps
(C, I)
Torso Spinal hyperextension Erector spinae, quadratus lumbo- Rectus abdominis
rum (C, I)
Rib and chest elevation Pectoralis minor (C, I)
Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis (E, I)
Shoulder Humerus flexion Pectoralis major, anterior del-
toids (C, I)
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid (C, I)
Scapular stability Subscapularis, serratus anterior
(C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Elbow flexion Biceps brachii, brachialis, Triceps brachii
brachioradialis (C, I)
Lower arm Wrist flexion Flexor carpi radialis and ulnaris,
palmaris longus (C, I)
Hand and fingers Finger flexion Flexor digitorum profundus
and superficialis, flexor pollicis
longus (C, I)
Neck Neck hyperextension Sternocleidomastoid, scalenes (E)
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right (in body segment column) or relaxed (in
muscles active column).

263
 Ushtrasana
Camel Pose
[oosh-TRAAH-suh-nuh]

Ushtra is Sanskrit for “camel.” In this pose, the arch of the body represents
the hump of a camel’s back, and the bend in the legs resembles those of a
camel’s rising from the ground.

Description
Ushtrasana is a kneeling backbend. The openness in the hips and shoulders is
a good precursor to more demanding backbends.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata)
heart-opening energy

Foundational Focus
Root into the tops of the feet and the shins. Anchor the hands onto the backs of the heels or onto a prop.

Benefits
• Opens the shoulders and chest.
• Strengthens the mid-back and posterior shoulder muscles.
• Stretches the abdominal cavity.
• Increases circulation to the throat area.
• Lengthens the hip flexors.
• Stretches the fronts of the ankles.
• Increases awareness of alignment.

 Cautions
Back or neck concerns—Students with back or neck difficulty should practice with modification.
High blood pressure—Students with this condition are advised to use modification.

Verbal Cues
• Starting in a kneeling position, align your knees hip-width apart. Curl your toes under so that your heels are
lifted. Slightly rotate your thighs inward to stabilize your hips.
• Reach behind you and place the heel of your hands on the top of your pelvis. Exhale and draw your elbows
and shoulder blades closer together. Feel your chest expand. Press your hands against the top of your pelvis to
move your hips slightly forward. Your thighs should remain mostly perpendicular to the ground.
• Inhale and lift your ribs and chest as you press your pelvis forward a little more. Imagine that a hand placed
between your shoulder blades is gently pressing in and up to lift your chest.
• Reach your right hand down toward your right heel and rest your palm there. Take a breath, then slowly reach
your left hand to your left heel. Your thumbs should point away from your body. Breathe in deeply and rotate
the fronts of your shoulders away from your chest.

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• Continue to focus on your breath.

• Press your hands into your heels as you draw your elbows slightly closer together. With your next inhalation,
relax your neck, allowing your head to tilt back slightly into a comfortable position. Continue to maintain
length in the sides and back of your neck. If your neck feels compromised or uncomfortable, softly draw your
chin in toward your chest.
• If you are comfortable in this position, lower the tops of your feet against the ground. Continue to open your
heart toward the sky. Feel the front of your chest expand, opening up your heart energy.
• On each inhalation, feel your chest and lower back rise. On each exhalation, feel your thighs rotate inward
for stability.
• To exit this position, inhale deeply and imagine being lifted by your chest. Move slowly and lift your right hand
off your foot and bring it to the front of your body, as if some-
one were pulling you upright. Bring your left arm forward
and lift your torso upright. Lower your hips to your heels
and your upper body to the ground into Balasana (Child’s
Pose). Gently rock your pelvis from side to side to soften
your back.

Adjustments
Feet—Remind students to begin with the toes curled under and
the heels lifted. If, when a student brings the tops of the feet to
the ground, the toes point outward, gently brush the outsides of
the feet to encourage the student to realign the toes.
Knees and thighs—If the student begins with the knees wider
than hip-width apart, cue the student to move the knees
closer together before moving into the posture. In addition,
remind students to rotate the thighs internally in order to
keep the back of the pelvis open. As a reminder, gently
brush the outsides of the thighs.
Hips—The hips should remain aligned directly over the Adjustment: hips.
knees; however, as students reach for the feet, they often neglect to press the pelvis forward. To
adjust, stand or kneel beside the student and place your closest palm on the student’s
upper pelvis. Move the torso slightly forward and upward while moving the pelvis
into alignment over the knees. Another option is to stand in front of the student in
a semi-lunge, place a strap around the pelvis, and use the strap to gently draw
the student toward you.
Spine—If the student’s low spine is collapsing, kneel to the side, place your
hand on the low back, and instruct the student to move the body away from
your hand.
Shoulders—The shoulders should be rotated externally and be relaxed away
from the ears. To adjust, instruct the student to press firmly through the arms
for length. To aid in external rotation, stand or kneel behind the student and
place your hands on the shoulders with your thumbs closest to you. Rotate
the student’s arms so that the shoulder blades come closer together.
Chest—The chest should be higher than the level of the shoulders.
To adjust, stand beside the student and place your hand between
the shoulder blades, then instruct the student to lift away from
your hand. Adjustment: shoulders.

Modifications
Neck discomfort—If a student is not comfortable with lowering the head back, instruct the student to tuck the chin
into the chest. This modification should be used for those with high blood pressure.

265
 Tight hip flexors—If the student has difficulty bringing the hands to the feet without dropping the hips
back, cue the student to place the hands on the back of the pelvis and squeeze the elbows and
shoulder blades inward while moving the pelvis forward. For additional support and leverage,
place blocks under the student’s hands and cue the student to press firmly into the blocks.
These modifications help the student build flexibility in the quadriceps and psoas.
Upper spine weakness and tight chest—A student may need assistance to lift the upper
spine and rib cage. Sit behind the student as he or she kneels and place the ball of
one foot lightly between the student’s shoulder blades. Clasp the wrists in your hands
and instruct the student to grasp your wrists. While the student inhales, gently press
your foot forward against the back while holding the arms. As the student exhales,
instruct her or him to move the pelvis forward and relax the shoulders and neck. This
action is a Thai yoga therapy technique used to expand the student’s chest and
shoulders while the instructor supports the weight.
Abdominal weakness—Assist the student in exiting the posture. Standing behind
the student in a semi-squat, place your hands between the shoulder blades Modification: tight hip flexors.
with your fingers pointing down. As the student inhales, gently press upward on
the back to help the student lift upright. Another variation is to stand in a slight lunge in front of the student. Cue
the student to reach the right arm forward and clasp your right arm, above the elbow, while you clasp the student’s
arm. Straighten your legs and lean back slightly to lift the student upright.

Kinematics
With the toes hyperextended, the arch of the foot is stretched as the body weight is moved over the heels. Some
students find such positioning fairly uncomfortable at first; encourage them to practice this positioning in order to
benefit the structures of the feet.

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 Supine and Prone Postures

Ushtrasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe hyperextension Extensor digitorum longus and hallucis, Plantar fascia, flexor digito-
anterior tibialis, flexor digitorum and hallu- rum and hallucis longus, pos-
cis longus, posterior tibialis (C, E, I) terior tibialis
Foot stability Extensor digitorum longus and hallucis,
anterior tibialis, flexor digitorum and hallu-
cis longus, posterior tibialis (I)
Lower leg Ankle in dorsiflexion, stability Anterior tibialis, extensor digitorum longus, Gastrocnemius and soleus
peroneals (C, I)
Thigh Knee flexion, stability Hamstrings (C, I) Quadriceps
Hip and Hip hyperextension, stability Iliopsoas, rectus femoris (E, I) Iliopsoas, rectus femoris
pelvis Hip stability Hamstrings, gluteus maximus (C, I)
Stability Deep external rotators,* gluteus medius (I)
Torso Torso stability Rectus abdominis, internal and external Rectus abdominis, obliques
obliques, transverse abdominis (E, I)
Spinal stability Erector spinae, quadratus lumborum (I)
Shoulder Adduction of scapulae Rhomboids, mid trapezius (C, I) Pectoralis major and minor,
anterior deltoid, subscapu-
laris, serratus anterior
External rotation and stability Infraspinatus, teres minor, posterior deltoid
(C, I)
Hyperextension and adduc- Latissimus dorsi, teres major (C, I)
tion of humerus
Upper arm Elbow extension (also aids in Triceps brachii (C, I) Biceps brachii, brachialis,
hyperextending humerus) brachioradialis
Lower arm Forearm supination Supinator (C, I)
Wrist hyperextension Extensor carpi radialis brevis and longus,
extensor carpi ulnaris (C, I)
Hand and Finger flexion Flexor digiti minimi brevis, interossei pal-
fingers maris, flexor pollicis brevis (C, I)
Neck Neck hyperextension Sternocleidomastoid, scalenes (E, I) Sternocleidomastoid, scalenes
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

267
 Supta Virasana
Reclining Hero Pose
[SOOP-tuh veer-AAH-suh-nuh]

In Sanskrit, supta means “reclining” or

“lying down” and vira means “hero,”
“chief,” “warrior,” or “champion.” In
Latin, virilis means “man.” In both the
Mahabharata (a Hindu epic) and the
legend of King Arthur, a man’s secret
strength, power, and virility reside
symbolically in the thighs.

Description
Supta Virasana is a supine posture in which the knees are bent and the lower legs tucked under or to the outside of
the thighs. This pose provides an excellent stretch for the quadriceps.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy, third chakra (Manipura)
vitalizing energy, fourth chakra (Anahata) heart-opening energy

Foundational Focus
Root into the back of the pelvis and the inner thighs. Anchor into the shoulder blades and upper arms.

Benefits
• Lengthens the quadriceps and iliopsoas.
• Increases circulation in the legs.
• May help alleviate symptoms of sciatica.
• Gently stretches the abdomen and aids digestion.
• Opens the chest.
• Increases flexibility in the ankles and feet.
• Helps relieve menstrual discomfort.

 Cautions
This pose should be introduced only if students are able to sit comfortably with the buttocks on the ground in
the seated version (Virasana). If a student is uncomfortable in the pose, it may be practiced with modifications.
Serious knee or back concerns—Students with knee replacement should avoid this asana. Those with back
concerns should practice with modifications.
Pregnancy—Due to hormone-induced laxity in the tendons and ligaments during pregnancy, the reclining version
of Virasana should not be practiced past the first trimester.

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 Supine and Prone Postures

Verbal Cues
• From a kneeling position, with the shins and the fronts of the ankles against the ground, slowly lower your
hips toward your heels. As you lower, fold forward slightly from your hips and reach behind to grasp your
inner calves. Gently roll your calf muscles away from the midline of your body to provide a more open space
between your legs. Lower your hips slowly to the ground.
• Make certain that your toes point straight back or slightly inward. As your hips settle, align your shoulders over
your hips. Breathe smoothly, making sure that the position is comfortable for your knee joints.
• Inhale, lifting your chest, and extend your arms behind you. Place your hands on the ground in front of your
toes. Inhale and press down firmly through your arms to lengthen your torso and low back.
• Exhale and slowly bend one elbow at a time to bring your forearms to the ground. As you breathe, continue
to lengthen your rib cage away from your hips. Lower your chin to your chest if doing so feels comfortable.
Soften your buttocks and thighs.
• On the next inhalation, slowly extend your arms, one at a time, to the sides of your legs, lowering your back a
little closer to the ground. Your breath should be smooth and steady. All the while, ensure that your knee joints
and lower back do not feel compromised.
• If you are comfortable, lower your shoulders and head to the ground. Listen to your body and be sure to avoid
any strain in your knees or back. Breathe relaxation through the fronts of your thighs and softness and length
into your lower back.
• Continue to focus on your breath.
• If you are comfortable with your entire back and head resting on the ground, reach your arms overhead and
interlace your fingers. Press your palms away from your head and feel the elongation of your entire torso.
• To exit this posture, bring your elbows in to the sides of your waist. Exhale and engage your abdominal muscles
while you press your elbows down to lift your shoulders off the ground. Draw your chin into your chest. Press
your hands into the ground and slowly straighten one arm at a time. Leading from your chest, slowly lift your
torso upright, from the bottom to the top, and raise your head last. Stretch and shake out your legs.

Adjustments
Ankles—If the student cannot comfortably rest the tops of the feet on the ground, place a small cushion or rolled-up
towel under the ankles. Kneel behind the student and gently rotate the feet so that the toes point straight back or
slightly inward.
Knees—Before the student lowers the hips to the ground, be sure that the knees are no farther than hip-width apart.
If the knees splay, wrap a strap around the lower thighs to keep the knees together
or place a rolled towel between the knees and instruct the student
to press into the towel. Another adjustment is to kneel facing the
student, place your hands on the mid thighs, and rotate the
muscles internally to help keep the knees aligned and relaxed.
If the student’s knees lift slightly from the ground, and the person
would like more stretch in the thighs, place a weighted sandbag
or other weighted prop on the lower thighs to increase stretch Adjustment: knees.
in the quadriceps and iliopsoas.
Low back—If the student’s back is considerably arched while reclining, first cue the student to exit and then reenter
the pose with focus on elongating the spine. If this action does not help, kneel in front of the student’s knees and
lightly secure the legs. As the spine lowers to the ground again, cue the student to reach the shoulder blades away
from the hips in order to encourage more length in the torso.
Chest—The chest should remain lifted, not collapsed. Lightly touch the student’s upper sternum with one finger and
instruct the student to push upward into your finger.

269
 Modifications
Building flexibility and awareness—Instruct the student
to practice what is called Ardha Supta Virasana (Half-­
Reclining Hero Pose). In this variation, only one knee is
flexed; the opposite leg stays extended forward. Practice
on each side, unless one knee is compromised.
Modification: building flexibility and awareness; tight hip
Tightness in the feet, ankles, or knees—Place blankets or a
flexors.
block under the student’s hips to support the body weight
while taking pressure off the feet, ankles, and knees. Some students may require additional propping to elevate the
entire torso; in this instance, the support should extend from the hips to the back of the head.
Overly arched lumbar spine—Place blankets under the student’s hips and shoulders to encourage the low back to relax.
Tight hip flexors—If the student is unable to rest the torso on the ground without the knees lifting off the ground,
place blankets under the shoulders to raise the student’s chest and encourage the legs to relax.

Kinematics
The focus of this asana is to increase stability and flexibility in the knee joint. And while it may appear to be
contraindicated for people with knee pain, when practiced with modifications and props, it can provide a therapeutic
lengthening of the quadriceps. However, those with acute knee pain or diagnosed joint injury should refrain from
practicing this pose.

Supta Virasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum longus (I)
Lower leg Ankle plantar flexion Gastrocnemius, soleus (I, R) Anterior tibialis, peroneals
Ankle inversion Posterior tibialis (C, I)
Thigh Knee flexion Quadriceps (E, R) Quadriceps
Hip and pelvis Hip and pelvis extension Iliopsoas, rectus abdominis (E, R) Iliopsoas, rectus femoris
Torso Trunk stability Internal and external obliques, Rectus abdominis
transverse abdominis (E, I)
Shoulder External rotation Infraspinatus, teres minor, poste- Pectoralis major
rior deltoid (C, I)
Humerus flexion (initial) Anterior deltoid, pectoralis major
(C, I)
Humerus flexion (final) Posterior deltoid, triceps brachii
(E)
Upper arm Elbow extension Triceps brachii (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger adduction Adductor pollicis, flexor pollicis
longus and brevis, interossei
(C, I)
Finger flexion Flexor digitorum, extensor digiti
minimi brevis, dorsal interossei
(C, I)
Neck Neck flexion, jalandhara bandha Sternocleidomastoid, scalenes, Cervical erector spinae, splenius
hyoids (C, I) capitus and cervicis, upper tra-
pezius
C = concentric contraction, E = eccentric contraction, I = isometric contraction, and R = relaxed.

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 Supine and Prone Postures

Matsyasana
Fish Pose
[muht-see-YAHH-suh-nuh]

Matsya is a Sanskrit term meaning “fish.”

This asana is dedicated to Matsya, the fish
incarnation of Vishnu, who saved the first
man (Manu) and the seven sages from
a great flood.

Description
Matsyasana is a supine backbending posture in which the legs, hips, and crown of the head remain on the ground
while the chest and ribs are lifted. Traditionally, Matsyasana is practiced with the legs in Padmasana (Lotus Pose). In
another, more challenging variation, the arms and legs are extended and lifted off the ground.

Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy, sixth chakra (Ajna) perceptive
energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root into the back of the pelvis. Anchor onto the top of the head.

Benefits
• Opens the rib cage, chest, and abdomen.
• Helps with respiratory ailments.
• Gently strengthens the neck.
• Increases circulation in the throat.
• Stimulates the thyroid gland.
• Strengthens the back.
• Improves digestion.

 Cautions
High blood pressure or migraine—Students with high blood pressure or migraine should refrain from practicing
this pose.
Insomnia—Students who suffer from insomnia should not practice this posture immediately before trying to sleep.
Neck issues—Students with neck injury should refrain from practicing this pose.
Low back pain—Students with pain the lower back musculature should practice with modifications. Those with
acute low back pain or disc injury should refrain from practicing this pose.

Verbal Cues
If the student is comfortable practicing Padmasana, begin with the legs in that position, reclining with the spine and
head resting on the ground. If not, follow the instructions from a straight-leg or bent-knee position.
• Lie supine, with your legs extended and your arms at your sides. Exhale and internally rotate your thighs. As
you inhale, bend your elbows and press the backs of your upper arms down into the ground.

271
 • On the next inhalation, lift your back and shoulders off the ground, supported by your arms. Lengthen your neck,
then arch your head back to rest the crown of your head on the ground. Continue to elongate your neck on all
sides as you breathe deeply. Notice the bridge that your torso forms from your pelvis to the crown of your head.
• If your spine and neck are comfortable in this position, place your palms together over the center of your chest
in Anjali Mudra (Prayer Pose). Feel your energy from your heart expand from this space. Continue to elongate
through your neck.
• Continue to focus on your breath.
• Feel your chest continue to lift and lengthen with each breath. Focus on using your spinal muscles to support
your upper body; imagine them lifting your entire torso up from the ground. The weight on your head and
through your neck should feel comfortable.
• To exit the position, bring your arms back to your sides. Exhale, and uncross or straighten your legs. Once again,
press into the backs of your arms and lift your head from the ground. Draw your chin slowly in toward your
chest as you exhale and gently bring the back of your head to the ground. Lower the rest of your torso to the
ground slowly. This pose is often used as a counterpose for Salamba Sarvangasana (Supported Shoulderstand).

Adjustments
Hips—The hips should remain on the ground throughout the pose. If the student presses against the ground and lifts
the hips (which happens often when the pose is practiced
with the knees bent), instruct the student to anchor
into the back of the pelvis in order to keep the
hips rooted. To assist, kneel beside the student
and lightly place your hands on the lower
thighs or, if the legs are bent, on the knees.
This subtle reminder helps the student
focus on securing the hips to the ground.
Chest—If the chest or rib cage collapses,
kneel above the student’s head, place
your hands behind the shoulder
blades, and cue the student to lift the
back away from your hands. Adjustment: chest.
Head—The student’s head should touch the ground with the crown—not with the back of the head. Instruct the
student to press down strongly with the arms in order to create more lift in the chest and to hyperextend the neck
until the crown rests on the ground. The chest adjustment is also appropriate for realigning the head, as well.

Modifications
Discomfort—If a student is uncomfortable in Padmasana, cue the student to bring the legs into Baddha Konasana
(Bound Angle Pose), which helps open the hips. Some students may also find it more comfortable to simply bend
the knees with the feet flat on the ground.
Straining—If a student’s face is strained or red, or if the breath is labored, place the student in a less demanding asana,
such as Setu Bandhasana (Bridge Pose).
Neck or low-back pain—Place folded blankets or
bolsters under the student’s shoulders to relieve
the back muscles.
Posture deepening—If students are comfortable, cue
them to deepen the pose by lifting the legs and arms
off the ground while maintaining the rest of the pose. You
may need to help a student hold the limbs in this position.
To do so, kneel or squat by the student’s feet and place
your hands under the heels for light support. Modification: deepening the posture.

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 Supine and Prone Postures

Kinematics
In order to eliminate the possibility of straining the neck muscles, the crown of the head, not the back of the head,
should rest on the ground.

Matsyasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe flexion Flexor digitorum and hallucis
longus, flexor digitorum brevis
(C, I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Hip and pelvis Hip flexion Iliopsoas, rectus femoris (C, I)
Torso Trunk stability Internal and external obliques, Rectus abdominis
transverse abdominis, quadratus
lumborum (I)
Spinal hyperextension Erector spinae, semispinalis, qua-
dratus lumborum (C, I)
Shoulder Scapular adduction Rhomboids, mid trapezius (C) Anterior deltoid, pectoralis major
and minor
Humerus hyperextension Latissimus dorsi, posterior del-
toid (C, I)
Upper arm Elbow flexion Biceps brachii, brachialis,
brachioradialis (C, I)
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Wrist extension, stability Flexor digitorum profundus and
superficialis (I)
Hand and fingers Finger extension and stability Flexor digitorum profundus and
superficialis, flexor digiti minimi,
interossei (C, I)
Neck Neck hyperextension, stability Sternocleidomastoid, scalenes
(E, I)
Neck stability Cervical erector spinae, splenius
capitus and cervicis, upper trape-
zius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Supta Padangusthasana
Reclining Hand-to-Toe Pose
[SOOP-tuh paah-daahng-
oost-AHH-suh-nuh]

In Sanskrit, supta means “reclining,”

pada means “foot,” and angustha means
“big toe.”

Description
Supta Padangusthasana is a supine
position in which one leg is flexed
at the hip and the big toe of the
same-side foot is typically grasped
by the same-side hand. This
is often used as a transitional
asana to move from the more
active phase of a session into more relaxing and restorative poses near the end.

Energetic Focus
First chakra (Muladhara) grounding energy, second chakra (Svadhisthana) creative energy

Foundational Focus
Root into the back of the pelvis and the back of the heel of the grounded leg. Anchor the hand or a strap around the
lifted leg.

Benefits
• Lengthens the hamstrings and hips without any strain on the back.
• Stretches the calves and arches.
• Stimulates the reproductive organs.
• Relaxes the spine.
• Aids digestion.

 Caution
Pregnancy—Instruct pregnant women to lie on the side instead of on the back and to flex the top leg toward the
chest.

Verbal Cues
• From a supine position, with your arms at your sides and your legs straight, press firmly into your left leg and,
as you exhale, draw your right knee into your chest. Hug the leg in to stretch your low back but keep your
shoulders relaxed.
• Inhale and slowly straighten your knee, lifting your right foot toward the sky. The knee should remain as straight
as possible without locking. Be mindful of any discomfort in your low back or hamstrings. If your back feels com-
promised, bend your left knee and bring your left heel to the ground as close to your sit bones as is comfortable.

274
 Supine and Prone Postures

• Reach up with your right hand and grab as

close to your right toes as possible—wher-
ever you can reach comfortably. Your shoulders
and hips should remain on the ground. Feel your
back sink into the support of the ground.
• Inhale deeply and anchor your left leg more
firmly into the ground. As you exhale, press
your navel toward the ground while lifting
your chest and head toward your right
foot. Send energy through your right heel Lenthening the hamstrings.
and point your toes toward your head. This helps to lengthen the hamstrings and keep the abdominal muscles
engaged. Imagine your breath lengthening your leg.
• As you breathe, allow your abdomen to soften and relax your shoulders. Exhale, maintaining length in your leg,
and slowly lower your head and shoulders back to the ground. Continue to breathe length through your leg.
• Continue to focus on your breath.
• To exit the position, release your right hand to your side and slowly lower your leg back to the ground. If your
low back feels uncomfortable, slightly bend your knee. As your leg rests on the ground, notice that your right
leg feels longer and more relaxed than your left. Rest for a few breaths, then prepare to practice on the left side.

Adjustments
Feet—If the heel of the lifted leg is not higher than the toes, instruct the student to point the toes down toward the
head more fully. To guide the toes lower, you can gently press down on the ball of the foot.
Knee—If the student bends the knee in an effort to grasp the toes, adjust the hands to a position where the student can
hold on comfortably or offer a strap to wrap around the foot while maintaining as much knee extension as possible.
Hips—If the leg extended on the ground is comfortable but lifts off the ground, kneel beside the student and press
gently on the top of the thigh, near the hip. Do not press near the knee joint. A weighted sandbag can also be
placed at the top of the thigh.
Shoulders—The shoulders should remain relaxed. Especially when the torso is lifted, students have a tendency to
round the shoulders and lift them toward the ears. To adjust, kneel beside the student and gently place your hands
on the tops of the shoulders as a guide to relax and keep space between the ears and shoulders. Cue the student
to elongate the sides of the neck.
Neck—Remind the student to keep the ears aligned with the shoulders and not to drop the head back or bring the
chin to the chest while lifting the torso. Kneel beside the student and place your hand lightly on the back of the
head. If the head drops back, instruct the student to move the back of the head away from your hand. If the neck
is flexed, cue the student to press lightly into the back of your hand until the ears are aligned with
the shoulders.

Modifications
Tight hamstrings—If the student is unable to reach the hand to the foot without
bending the knee, wrap a strap around the ball of the foot and place the
loose ends in the student’s hand. Instruct the student to find the place
where she or he feels comfortably challenged while still extending the
knee as much as possible.
Overly tight spine—Instruct the student to bend the knee of the anchor-
ing leg, placing the foot flat on the ground. This modification helps eliminate
strain in the low back.
Spinal weakness—Place the student in a position where the back
is on the ground and the legs are up against a wall with the hips
and the backs of the legs touching the wall. Instruct the student
to flex one hip more deeply so that the leg moves closer to the
chest while keeping the knee extended. This modification reduces
strain on the back while still allowing the hamstring to stretch. Modification: spinal weakness.
275
 Kinematics
Resting the torso on the ground in the beginning and ending phases of this asana allows the student to focus on
stretching the hamstrings and hips while the spine remains in alignment. With the posterior shoulder muscles pressed
into the ground, one can take a true measure of flexibility in the hamstrings and posterior hips; in contrast, in seated
and standing forward bends, the range of motion is often distorted by flexion in the torso.

Supta Padangusthasana (Right Hip Flexed)

Body segment Kinematics Muscles active Muscles released
Foot and toes (R) Toe abduction Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Toe dorsiflexion Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Foot and toes (L) Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Lower leg (R) Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum and hallucis longus (C)
Lower leg (L) Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum and hallucis longus (C, I)
Thigh (R) Knee extension Quadriceps, gracilis (C, I)
Thigh (L) Knee extension Quadriceps (C, I)
Hip and pelvis (R) Hip flexion Iliopsoas, rectus femoris, pec- Hamstrings, gluteus maximus
tineus (C, I)
Hip and pelvis (L) Hip extension, stability Hamstrings, gluteus maximus
(C, I)
Torso Trunk stability Rectus abdominis, internal and
external obliques, transverse
abdominis, quadratus lumborum
(C, I)
Shoulder (R) Shoulder flexion Anterior deltoid, pectoralis major
(C, I)
External humerus rotation Infraspinatus, teres minor (C, I)
Scapular adduction Rhomboids, trapezius (C, I)
Shoulder (L) Shoulder abduction Deltoids (C, I)
Upper arm (R) Elbow extension Triceps brachii (C, I)
Upper arm (L) Elbow flexion Biceps brachii, brachioradialis
(C, I)
Lower arm (R) Forearm supination Supinator (C, I)
Elbow extension Anconeus (C, I)
Lower arm (L) Forearm pronation Pronator teres (C, I)
Hand and fingers Wrist extension Extensor carpi radialis brevis and
(R) longus, extensor carpi ulnaris (I)
Finger flexion Flexor digitorum, extensor digiti
minimi brevis, dorsal interossei
(C, I)
Hand and fingers Finger adduction Interossei palmaris, adductor
(L) pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis (I)
C = concentric contraction, E = eccentric contraction, I = isometric contraction, L = left, and R = right.

276
 10
Inverted Postures

I nversions are asanas

in which the head
is placed below the
heart and part or all of
the body weight is sup-
ported by the shoulders,
arms, or head. As a result,
Uttanasana (Intense
Forward Bend) is con-
sidered a standing pose
rather than an inversion
because the legs sup-
port the body as a whole.
Bear in mind, however,
the fact that many poses
have characteristics of
more than one category.
© AleksandarNakic/istock.com

For instance, consider

Urdhva Dhanurasana
(Upward Bow  Pose, or
backbend), which is
illustrated in chapter 9.
Because the head is below
the heart in that pose,
it is often considered

277
278 Instructing Hatha Yoga
an inversion. (However, in this book, it was placed
in Supine and Prone Postures in order to illustrate
a progression in backbending poses).
Many inversions are physically demanding and
require not only considerable strength but also
openness and flexibility in the upper body. It is
advisable, therefore, to teach modified versions of
the poses to students who are not already familiar
with inversions. Once students feel stable and
confident in a variation, begin cueing them into
the full expression of the pose. It is also best for
students who are new to practicing inversions to
hold a posture for only brief periods and gradu-
ally increase the duration as they build strength
and confidence.
Being upside down provides both physical and
emotional benefits. In physical terms, it strength-
ens the veins by increasing demand on the heart,
while also increasing stability in the neck, arms,
and torso because the body weight is supported
by the upper body. It also improves balance and
relieves, at least for a time, the effects of gravity,
such as varicose veins and sagging. In emotional
terms, perhaps one of the most profound reasons
for practicing inversions beyond simply doing
Adho Mukha Shvanasana (Downward-Facing
Dog) is for the metaphor of being comfortable
when turned upside down! Indeed, the biggest
obstacle to learning Salamba Shirshasana (Head-
stand) is often fear, exacerbated by the disori-
entation that many students feel when they are
first upended.
The following list presents cautions about
inverted postures and certain medical conditions.
Additional cautions specific to any given asana
are listed in the description of that asana.
• Glaucoma and detached retina—Most inver-
sions present some risk for students with either of
these conditions. If a student is not accustomed
to being upside down, the pressure of the cir-
culation suddenly flooding into the head could
put pressure on the blood vessels surrounding
the eyes. Certain inversions, such as Salamba
Sarvangasana (Supported Shoulderstand) and
Halasana (Plow Pose), call for the head and neck
to be in a neutral position, thus concentrating
the blood in the throat area rather than creating
pressure in the head and therefore the eyes. Even
these two poses, however, should be approached
with caution.
• High or low blood pressure—The fol-
lowing inverted asanas raise blood pressure
and are therefore contraindicated for students
with hypertension: Salamba Shirshasana,
Adho Mukha Vrkshasana (Handstand), Pincha
Mayurasana (Scorpion), and to some extent Adho
Mukha Shvanasana. Asanas contraindicated for
people with low blood pressure include Salamba
Sarvangasana and Halasana.
• Menstruation—As mentioned in chapter 5,
inversions are often modified during menstru-
ation because energy should flow downward
during this time in a woman’s cycle. In many
cases, personal preference dictates whether a
woman practices inversions during menses.
• Neck or shoulder injury or extreme spinal
weakness—Depending on the severity of injury
to the neck and shoulders, some students may
not have the muscular strength needed to safely
support an inversion. If a student cannot muster
the strength to use the ideal (primary) muscles,
other muscles are engaged in order to compensate
and injuries are often exacerbated. This danger
exists in all poses but is especially acute in inver-
sions, in which the possible injuries tend to be
relatively serious and dramatic. For example, if
a student falls, it is of course more injurious to
twist the neck than to twist the ankle. Students
who suffer from spondylitis (inflammation of the
vertebral joints) or another arthritic condition of
the spinal column should refrain from practicing
weight-bearing inversions.
 Inverted Postures

Adho Mukha Shvanasana

Downward-Facing Dog
[uhd-HOE moo-KUHSH-vuhn-AAH-suh-nuh]

In Sanskrit, adho means “downward,” mukha means “face,” and

shvana means “dog.” This asana is named Downward-Facing
Dog because it resembles the pose that a dog strikes when
stretching or, sometimes, when feeling playful.

Description
Adho Mukha Shvanasana is practiced with the feet and hands pushing against the ground and the hips piked with
the sit bones lifted high in the air. This posture is technically considered a resting asana, but for many who are just
starting out in yoga it can be quite challenging because it requires considerable strength and flexibility in both the
upper and lower body. The restful, rejuvenating effects of the pose become apparent after continuous practice. This
pose is part of the Sun Salutations (Surya Namaskaras) series. Practicing this asana builds strength and flexibility in
the arms and shoulders, which makes it a foundational pose for arm balances.

Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy, sixth chakra (Ajna) perceptive
energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root evenly into the metacarpal heads and fingertips. Anchor into the backs of the heels—even if the heels do not
reach the ground. Balance the grounding energy evenly between the hands and feet.

Benefits
• Builds strength and stability in the shoulders.
• Stretches the hamstrings and deeper calf muscles that other stretches usually cannot affect.
• Stretches, strengthens, and improves circulation in the legs, making this posture especially beneficial for runners.
• Stretches the hands and feet.
• Rejuvenates the whole body.
• Builds a foundation for other inversion postures.
• Relaxes the heart.
• Increases blood flow to the head.
• Can relieve menstrual and menopausal discomfort.

 Cautions
Shoulder dislocation—If a student has a tendency toward shoulder dislocation, do not emphasize the external
rotation of the shoulders. Instruct the student to focus on keeping the arms as straight and as comfortable as
possible, perhaps slightly drawing the shoulders nearer to the ears. Also, see the modifications discussion for
ways to build shoulder stability and strength.
Wrist injury or carpal tunnel syndrome—Students with wrist injury or weakness should practice this pose with
modifications.
Pregnancy—Women who are new to the pose or past the first trimester of pregnancy should practice with mod-
ifications.

279
 Verbal Cues
• From Bhujangasana (Cobra Pose), align your hands so that they are slightly farther than shoulder-width apart.
Spread your fingers. Inhale to elongate your spine, then curl your toes under. Exhale and straighten your arms
to lift your upper body off the ground. As you raise your hips toward the sky, press them back as far as is com-
fortable. Reach your heels toward the ground.
• Relax your neck. Inhale and imagine your shoulders moving away from your hands.
• Press firmly into your fingertips, taking weight out of the heels of your hands. Visualize pushing the earth away
from your body. Feel the strength in your arms.
• Gently draw your upper arms in toward your ears. Inhale and rotate the backs of your upper arms slightly
toward the ground. To minimize the possibility of hyperextending your elbows, soften them slightly while still
contracting your upper arm muscles. Feel your shoulders and chest open and your spine lengthen with greater
traction. Imagine more space between your vertebrae with each breath.
• Press your thighbones (femurs) back and continue to ground through your heels. It is okay if your heels do not
touch the ground; simply focus on lengthening your legs and lifting your sit bones.
• Continue to focus on your breath.
• As you breathe in, feel the energy in your hands and arms, as well as the weight of your head providing traction
to your spine. Envision opening more space between your vertebrae.
• To exit this position from the Classical Sun Salutation, step one foot forward between your hands, coming into
a lunge.
• To exit this position from an Ashtanga Sun Salutation, walk or jump both feet forward between your hands into
Uttanasana (Intense Forward Bend).
• Otherwise, flow into another pose. If you need to rest, bend your knees, place them on the ground, and relax
in Balasana (Child’s Pose).

Adjustments
Hips—Stand behind the student in a semi-lunge, with your front foot between
the student’s legs. Place one hand on the outside of each hip joint. Cue the
student to ground through the hands and inhale while leaning back slightly
and lifting the hips back. The student’s whole torso should elongate. The
arms will be relieved of some workload and will feel more relaxed. Make
certain that your own body mechanics are sound: bend your knees and
use your body weight, rather than your back strength, to draw the
student back.
Spine—If the student’s upper spine is rounded, perform the adjustment
described for the hips. You may also stand to the student’s side and
place a palm lightly between the student’s shoulder blades with
your fingers pointed toward the hips. Gently press your hand
upward in the direction of the pelvis, thus encouraging the
student to lengthen the spine; however, do not actually slide
your hand, but simply simulate the direction the pelvis should
move to give the student a kinesthetic feel for the motion you Adjustment: hips; spine.
are indicating.
Neck—Make sure that the student’s neck is relaxed. Cue the student to lower the crown of the head toward the
ground. To encourage the student to lower the head, place a hand gently on the back of the neck.
Shoulders—Encourage the student to rotate the shoulders externally. Because the student is upside down, it may
be challenging for you to recognize the correct direction in which to adjust. It is crucial that you rotate the arms

280
 Inverted Postures

in the correct direction. Stand or squat facing the student’s head.

Place your hands on the student’s upper arms, just below the
shoulders, with your thumbs closest to the head. Very slowly
rotate the student’s arms so that your thumbs move away from
each other and the student’s elbows draw in closer. Make
certain that the student keeps pressing the palms firmly
and securely into the ground.
Hands and fingers—Students often rotate the hands
inward or outward to adjust for shoulder or wrist
tightness. Cue students to point the middle finger
directly forward, away from the body. If this posi-
tioning is difficult, instruct students to use modifi-
cations. Some students place most of the pressure
on the hands to the outside, on the pinky, with very Adjustment: shoulders.
little weight on the rest of the hand. To adjust, kneel
or squat beside the student and lightly press on the tops of the index finger and thumb in order to encourage the
student to anchor into those joints.

Modifications
Arm, wrist, or shoulder weakness—Instruct the student to bend the
elbows and place the forearms on the ground. This positioning
is more challenging for the shoulder joint but serves as a good
modification for anyone who cannot support the body weight fully
on the hands. This position is often considered a pose in and of
itself—namely, Dolphin Pose, sometimes translated as Makarasana
(muh-kuh-RAH-suh-nuh). It is a good preparatory pose for Salamba
Sarvangasana (Supported Headstand).
Hip, hamstring, or back tightness—Cue the student to bend the knees
slightly while continuing to lift the hips. Suggest that the student
move the feet farther apart, since doing so often helps with balance
and can change the angle of pull in the hamstrings.
Pregnancy, extreme weakness, or tightness in the upper extremities—
Place the student facing a wall with the hands at shoulder height.
Instruct the student to position the body at arm’s-length from the
wall while keeping the hands in place. Next, cue the student to bend
forward from the hip joint and step back so that the feet are under
the hips. Direct the student to push into the wall so that the hips
shift back as far as is comfortable. The spine is now free to suspend, Modification: pregnancy, extreme weakness, or
opening the shoulders and chest, and the head can relax between tightness in upper extremities.
the upper arms. An alternative pose is Durga-Go (Cat and Cow Pose).
Fatigue—Because this asana is physically demanding, many students are unable to stay in the position for very long.
Encourage such students to rest in Balasana (Child’s Pose).

Kinematics
The arms and legs gain considerable strength from practicing this asana. Weakness in the posterior shoulder muscles
and upper back can combine with tightness in the anterior shoulder muscles and chest to constrict the nerve and
blood vessel plexus that supplies the arms and wrists. Therefore, imbalance in the upper body can be a contributing
factor if a student complains of numbness or pain in the wrists during day-to-day activities. Adho Mukha Shvanasana
is an excellent pose for balancing the shoulders and back and for opening the chest.

281
 Adho Mukha Shvanasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension, stability Extensor digitorum and hallucis
longus, flexor digitorum longus,
and flexor hallucis longus (C, I)
Toe abduction, stability Dorsal interossei, abductor digiti
minimi brevis, abductor hallucis
(C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum, and hallucis longus (C, I)
Thigh Knee extension Quadriceps (C, I) Hamstrings
Hip and pelvis Hip flexion Iliopsoas, rectus femoris (C, I) Gluteus maximus, deep external
rotators*
Hip internal rotation and stability Adductors, gluteus medius, glu-
teus minimus (C, I)
Pelvic stability Rectus abdominis, quadratus
lumborum, hamstrings (I)
Torso Trunk stability Internal and external obliques, Erector spinae, quadratus lum-
rectus abdominis, transverse borum
abdominis, quadratus lumborum,
erector spinae (I)
Shoulder Humerus flexion and hyperflex- Pectoralis major, coracobrachia- Pectoralis major, latissimus dorsi,
ion, stability lis, deltoids, biceps brachii (C, I) levator scapulae

Scapular stability, external rota- Infraspinatus, teres minor, poste-

tion of humerus rior deltoid (C, I)
Joint stability Subscapularis, supraspinatus
(C, I)
Scapular stability Rhomboids, mid trapezius (I)
Scapular stability, downward pull Lower trapezius (C, I)
of scapulae
Scapular stability and abduction Serratus anterior, teres major
(C, I)
Sternoclavicular stability Subclavius (I)
Upper arm Elbow extension, stability Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Forearm pronation, Pronator teres, quadratus (C, I) Flexor carpi radialis and ulnaris,
stability palmaris longus
Wrist hyperextension, stability Flexor carpi radialis and ulnaris,
palmaris longus (E, I)
Hand and fingers Finger extension, stability Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck relaxed None Cervical erector spinae, splenius
capitus and cervicis
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Inverted Postures

Salamba Sarvangasana
Supported Shoulderstand
[saah-LUM-buh sahr-vaahng-AAH-suh-nuh]

In Sanskrit,  sa  means “with,” alamba means "support,” sarva means “all,” and anga
means “limb.” In this pose, almost all of the body weight is supported by the upper body,
specifically the upper spine, upper arms, shoulders, and back of the head. The pose is also
practiced in unsupported variations, such as Niralamba [neer-aah-LUM-buh] Sarvangasana.
Shoulderstand is often considered the queen or mother of all asanas because it is both
active and restorative.

Description
In Salamba Sarvangasana, the shoulders rest directly on the ground, or on a prop. The
upper arms are behind the back in a supportive position, and the hands are positioned
on the back to provide greater lift. The neck is flexed so that the chin and chest are
close together.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fifth chakra (Vishuddha)
purifying energy

Foundational Focus
Root evenly into the backs of the upper arms and the upper shoulders. Anchor
into the back of the head.

Benefits
• Soothes the nervous system and the mind, thus relieving stress and mild depression.
• Stimulates the thyroid gland.
• Aids digestion.
• Stretches the shoulders and neck.
• May relieve menopausal symptoms.
• Reduces fatigue and may help alleviate insomnia in some people.
• Beneficial for relieving symptoms of asthma, infertility, and sinusitis.

 Cautions
Acute neck or shoulder injury—Practice with modification or substitute another asana.
Pregnancy—Women who are new to yoga should not practice this pose after becoming pregnant. Those who
are experienced with the pose may practice it through the second trimester.

Verbal Cues
• Lie supine with your torso and shoulders on a folded blanket. Position your neck and head to rest off of the
blanket, on the ground. Bring your arms to your sides and, as you exhale, draw your knees in toward your chest.
Press into your hands, roll your body weight toward your shoulders, and, if you can, lift your hips slightly off
the ground. Keep your hips aligned with your shoulders.
• Inhale and anchor into your shoulder blades. As you exhale, press into your arms more energetically and lift
your hips higher while raising more of your spine off the ground.
283
 • If you feel stable in this position, bring your palms, with your fingers pointed up toward your feet, to your
back as close to your shoulder blades as is comfortable. Inhale and draw your elbows slightly closer together.
Breathe smoothly.
• On your next inhalation, straighten your legs and reach your feet toward the sky. Spread your toes and engage
your leg muscles as if you were standing in Tadasana (Mountain Pose). As you elongate your legs, bring your
hips into alignment over your shoulders as much as possible. As your hips and legs align, you will feel your
chest move in closer to your chin.
• With each inhalation, open your chest and shoulders more so that your spine continues to lift. Anchor through
your upper arms and reach through your toes.
• Continue to focus on your breath.
• To exit this pose, slowly bend your knees toward your chest. Round your back and gently roll your spine down
onto the ground, one vertebra at a time, keeping your abdominal muscles active to support the movement. Use
your hands and arms as support against the ground so that you do not tense or lift your neck.
• Another option is to bend from your hips, then slowly lower your feet to the ground into Halasana (Plow Pose).
Matsyasana (Fish Pose) is often used as a counter pose.

Adjustments
Chest—Many students can lift the legs but cannot easily straighten the spine
or align the hips. As they build flexibility and strength, they should practice
a variation of the pose (see the modifications discussion). If a student’s chest
is collapsing (that is, if the upper back is rounding), stand to the side and hold
onto the ankles with your hands. If the student is stable, you may also stand
in front of the heels. You may also place your lower leg against the student’s
spine to offer more support. Once the student feels stable, slowly release
your grasp and step away.
Elbows—To help straighten the spine, the elbows should be as close together
as possible. You can assist by holding onto the legs as described for the
chest adjustment and cueing the student to squeeze the elbows
closer together. You can also kneel to the side of the student and,
as the student lifts the legs, gently guide the elbows together by
pressing lightly on the outsides of the upper arms.
Adjustment: chest.
Modifications
Difficulty with lifting the torso—Place a slightly higher stack of folded blankets under the stu-
dent’s shoulders so that the back of the head still touches the ground and the shoulders rest on
the blankets. This modification positions the shoulders higher and helps stretch the neck more
effectively. Some styles of hatha yoga teach this variation only.
Drifting elbows—If the student’s elbows splay, the foundation is compromised. To help the student
maintain alignment, wrap a strap around the upper arms just above the elbows.
Balance concerns—If the student has difficulty balancing the body while lengthening the spine,
place folded blankets on the ground near a wall so that the student’s torso rests on the blankets
and the backs of the legs are against the wall. The back of the head should rest on the
ground. Instruct the student to place the feet flat against the wall and “walk” up it
so that the body weight is placed at the top of the shoulders. When comfortable,
the student can move the legs away from the wall and practice balancing, either
on one leg at a time or on both at the same time. Modification: drifting elbows.

284
 Inverted Postures

Assistance with props—If a student has difficulty lifting the legs directly from the
ground, cue the student to come into an assisted Setu Bandhasana (Bridge Pose)
and raise the legs off the ground while resting the pelvis on the block. Once com-
fortable, the student can lift the pelvis off the block and move more fully into the
pose. Make certain to remove the block before the student exits the pose.

Kinematics
Salamba Sarvangasana is an excellent pose to gently loosen the neck and shoulder
joints. In addition, because of the gentle pressure on the thyroid gland, this asana
helps enhance the function of the gland and may help lower blood pressure.

Modification: assistance with props.

Salamba Sarvangasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Femur adduction Adductors (C, I)
Hip and pelvis Hip extension Hamstrings, gluteus maximus
(C, I)
Hip stability Iliopsoas (I)
Torso Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis (I)
Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Shoulder Humerus hyperextension, sta- Posterior deltoid, triceps brachii, Pectoralis major and minor, ante-
bility latissimus dorsi, teres major (C, I) rior deltoid, serratus anterior
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction, depression, Rhomboids, mid and lower tra-
and stability pezius (C, I)
Upper arm Elbow flexion Biceps brachii, brachioradialis,
brachialis, (C, I)
Arm stability Triceps brachii (I)
Lower arm Forearm supination, stability Supinator (I)
Wrist hyperextension Extensor carpi radialis brevis and Flexor carpi radialis and ulnaris,
longus, extensor carpi ulnaris (I) palmaris longus
Hand and fingers Finger extension Extensor digitorum, extensor
digiti minimi brevis (C, I)
Finger abduction Abductor pollicis longus, oppon-
ens pollicis (C, I)
Neck Neck flexion, stability, jaland- Sternocleidomastoid, scalenes, Cervical erector spinae, splenius
hara bandha hyoids (C, I) capitus and cervicis, upper tra-
pezius
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.
285
 Pincha Mayurasana
Peacock Feather Pose
[PIN-chuh may-oohr-AAH-suh-nuh]

In Sanskrit, pincha means “feather,” and mayura means “peacock.” The asana resembles a peacock
with its tail feathers lifted and spread before its mating dance.

Description
This arm balance strongly uses the same shoulder-stabilizing muscles used in Salamba Shirshasana
(Supported Headstand); here, however, the head and neck do not support any body weight. Students
often progress from Pincha Mayurasana into the more physically demanding Vrschikasana [vr-
ISHICK-AAH-suh-nuh] (Scorpion Pose). In that pose, the arm balance remains the same, but the
hips hyperextend, the knees flex, and the feet sink closer to the back of the head.

Energetic Focus
Third chakra (Manipura) vitalizing energy, Fourth chakra (Anahata) heart-opening energy, fifth chakra
(Vishuddha) purifying energy, sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine
energy

Foundational Focus
Root into the elbows and forearms. Anchor into the hands.

Benefits
• Strengthens and stabilizes the shoulders and the mid and upper back.
• Maintains shoulder flexibility.
• Strengthens the low spine.
• Stretches and tones the abdominal muscles.
• Energizes the body and mind.
• Increases circulation, concentration, and balance.

 Caution
Neck, shoulder, or back injury—Students with acute injury in any of these areas should refrain from practicing
this pose.

Verbal Cues
• From Adho Mukha Shvanasana (Downward-Facing Dog), bring your forearms to the ground. Place your palms
flat against the ground and align them with your shoulders. Spread your fingers to widen your base of support.
Maintain the alignment of your elbows with your shoulders. Feel your hands and arms root into the support
of the ground.
• Inhale and press firmly down through your elbows. Shift your body weight back slightly more toward your
shoulders while also pressing the center of your chest back toward your legs. This action lifts and expands your
chest and activates the muscles needed to help you balance.
• Slightly hyperextend your neck so that you focus your gaze on a drishti (gazing point) in front of your hands.
Keep your breath smooth and steady.
• Remain focused on your drishti point as you begin to walk your feet forward slightly. As your torso moves for-
ward, keep your shoulders in line with your elbows. To help with this alignment, press your chest toward your
286
 Inverted Postures

legs. Continue to press firmly into your forearms and keep your upper arms perpendicular
to the ground. Maintain length in the front and back of your neck.
• Exhale and slowly raise one leg and then the other, pressing into your arms for leverage. Try not
to “kick” your legs up; raise them in a controlled manner to maintain your balance. When both
legs are raised, reach your toes toward the sky and feel your torso stretch from your shoulders
to your hips. Spread your toes to help maintain energy in your legs.
• Continue to focus on your breath.
• If you feel comfortable in Pincha Mayurasana and would like
to move into Vrschikasana, continue to breathe smoothly
and press firmly through your forearms. On an exhalation,
slowly bend your knees and press your chest toward the
line of your gaze, as if you were going to reach your heart
out beyond your hands. Maintain length in your neck.
• Exhale and arch your back slightly so that your feet
move closer to your head. Feel your abdomen and front
thighs elongate and open while continuing to support your
Entering Pincha Mayurasana.
balance. Maintain length in your low back and keep your
throat open as you continue to focus on your drishti.
• To exit this position, exhale and flex your hips. Lower
your feet slowly back to the ground. Fold your body
into Balasana (Child’s Pose) and relax. Vrschikasana.

Adjustments
Elbows—Make sure the student’s elbows are shoulder-width apart and not splayed. Before the
student begins to balance, kneel to the side and gently guide the elbows toward each other
with your hands; alternatively, wrap a strap around the upper arms just above the elbows. If a
student struggles with arm placement, place a block against the wall and instruct the student to
place the hands to the outside of the block and align the elbows at the same distance (see the
modifications discussion).
Head and neck—Remind the student to maintain head position in order to preserve balance and
stability in the shoulders. Kneel beside the student, place one hand behind the
back of the head, and cue the student to move the head toward your hand.
Spotting—Stand to the student’s side. As the legs lift, use your forearms to act
as a block in front of and behind the lower thighs, so that the legs do not
drop to the other side of the body. Ideally, you act not as a crutch but as a
training wheel. It is best not to hold the legs up; instead of supporting the
pose for a student, help the student find and then independently maintain
her or his own balance. To help a student attain more length in the torso,
stand to one side and lightly wrap your hands around the ankle, lifting slightly.
Again, try not to provide too much of the student’s balance. Always stand to
the side of a student! Otherwise, there is a large possibility that the student Adjustment: spotting.
will come crashing down onto your body.

Modifications
Balance concerns—In contrast to Salamba Shirshasana, it is most appropriate
to practice Pincha Mayurasana using the wall as a supportive prop.
Difficulty in maintaining arm position—Place a block against the
wall, or, if the student has adequate balance, away from the wall,
and instruct the student to kneel facing the wall with the thumbs Modification: balance
pressed against the near surface of the block and the index fingers concerns; difficulty main-
on the sides. Cue the student to press firmly into the block and hug taining arm positioning.
the elbows toward each other while practicing the leg lifting.
287
 Kinematics
If the student positions the elbows farther than shoulder-width apart, the foundation of the asana is compromised.
Consider that if a structure is balanced on stilts positioned farther apart than the width of the building’s base, the
building collapses through the middle; a body on an unstable base does the same. This alignment is also important
for protecting the shoulder joints from possible injury.

Pincha Mayurasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I)
Thigh Knee flexion Quadriceps (E, I) Quadriceps
Hip and pelvis Hip extension Hamstrings, gluteus maximus Iliopsoas
(C, I)
Hip stability Iliopsoas (E, I)
Torso Torso stability, spinal hyperex- Rectus abdominis, internal and Rectus abdominis, internal and
tension external obliques, transverse external obliques
abdominis (E, I)
Spinal stability Erector spinae, quadratus
lumborum (C, I)
Shoulder Humerus flexion, shoulder sta- Pectoralis major, coracobrachia- Latissimus dorsi
bility lis, deltoids, biceps brachii (C, I)
Stability Latissimus dorsi (I)

Stability and external rotation of Infraspinatus, teres minor, poste-

humerus rior deltoid (I)
Joint stability Subscapularis (I)
Scapular depression Subclavius (I)
Scapular stability Rhomboids, mid trapezius, serra-
tus anterior (I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae

Upper arm Elbow flexion Biceps brachii, brachialis,

brachioradialis (C, I)
Elbow stability and balance Biceps and triceps brachii (I)

Lower arm Forearm pronation Pronator quadratus and teres

(C, I)
Elbow stability Triceps brachii (I)
Hand and fingers Finger extension, stability Extensor digitorum, extensor
digiti minimi brevis (I)
Finger abduction Abductor pollicis longus,
opponens pollicis (I)
Hand and wrist stability and Flexor carpi radialis and ulnaris,
balance palmaris longus (I)
Neck Neck hyperextension Splenius capitus and cervicis, Sternocleidomastoid
suboccipitals, semispinalis,
upper trapezius (C, I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

288
 Inverted Postures

Adho Mukha Vrkshasana

Downward-Facing Tree, or Handstand
[uhd-HOE moo-KUH vrick-SHAAH-suh-nuh]

In Sanskrit, adho means “downward,” mukha means “face,” and vrksha means “tree.” In this pose,
the length and strength in the body resemble that of a tree, and the hands serve as the roots.

Description
Adho Mukha Vrkshasana is a basic handstand—that is, an arm balance—in which the hands are
placed on the ground and the rest of the body straight up in the air. This asana can be practiced
against a wall by students who are new to the pose or feel fearful of it. Once a student succeeds in
that version of the pose, she or he should practice without the aid of a wall.

Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root into the metacarpal heads and fingertips. Anchor into the balancing energy within your
abdomen.

Benefits
• Strengthens the shoulders, arms, and wrists.
• Opens the chest and rib cage.
• Strengthens the abdominal and spinal muscles.
• Increases confidence, focus, and balance.
• Invigorates the nervous system.

 Caution
Pregnancy—Women who are new to yoga should not practice this pose after
becoming pregnant. Those who are experienced with the pose may practice it
through the second trimester.

Verbal Cues
Note: The cues for this asana are designed for students who are new to the pose
and possess adequate shoulder strength and flexibility but may worry about trying
the pose without the reassurance of a wall for support. Some students may wish
to practice without the aid of a wall, which is totally acceptable.
• Stand facing a wall at a distance of two to four feet (roughly one-half
to one meter). Exhale and fold forward from your hips, placing your
hands flat on the ground one to three feet (no more than a meter)
from the wall. Make certain that your hands are shoulder-width
apart. Spread your fingers wide and press into your fingertips.

Entering Adho Mukha Vrkshasana.

289
 • Keep your arms straight as you look toward the ground in front of your hands, focusing your gaze on a spot
between your hands and the wall. Take a deep breath in and imagine energy from the ground moving up from
your hands into your entire body.
• Exhale and slowly lift your legs one at a time. If your feet land on the wall, feel free to connect into your heels
and use the wall as a prop. Take a couple of breaths and anchor into your hands.
• If you feel comfortable in this position, experiment by slowly bringing one heel away from
the wall. Press up through your toes, energizing your legs by squeezing the inner thighs
together. If you feel balanced, slowly take your other heel off the wall. Find the edge of
your balance by using the wall as a sort of training wheel.
• Use your hands to help direct the movement of your body. Bring your ankles in line with
your hips as your balance moves more fully onto your hands. Continue to press your
thighs together and press the front of your ribcage back toward your spine. This action
will keep the abdominals engaged and help maintain alignment and balance.
• Continue to focus on your breath
• Continue to focus your gaze toward the wall and spread your toes. Imagine reaching
your feet into the sky.
• Your breath should be as smooth and deep as possible. If you feel you are straining
to maintain the position, slowly take your feet back to the ground.
• To exit, slowly lower your legs back to the ground one at a time. Come to the
ground into Balasana (Child’s Pose) to rest.

Adjustments
Hand alignment—Make certain that the student’s hands are shoulder-width apart.
As in Pincha Mayurasana (Peacock Feather Pose), the arms in Adho Mukha Vrk-
shasana act like stilts under a house. The hands and shoulders must remain aligned
to support the weight of the body and prevent injury in the supporting joints.
Assistance or spotting—Stand to the side of the student and use your hands or
Adjustment: assistance or spotting.
the inside of your forearm as a “leg-stop” so that the student does not fall over
backward. Do not hold the student’s legs up; if you do, the student will not sense
when the body is properly aligned and balanced.
Low back—If the low back arches significantly, stand beside the student, place your hand
between the knees or calves, and direct the student to squeeze your hand. As in Pincha
Mayurasana (Peacock Feather Pose), always stand to the side of the student for your own
protection. Tell the student to imagine that the hands are pushing the ground away and that
the energy from the ground is moving through the body toward the toes.

Modifications
Difficulty with maintaining balance—Instruct the student to keep the heels resting against
the wall and to focus on gaining the strength and stability needed in the shoulders and
spine to maintain balance. As the student feels more comfortable, cue to take one leg, then
the other, away from the wall.
Variations of exit—If the student is steady in the pose and no longer relies on a wall for
support, then instead of bending the hips and lowering the legs to the ground in front of
the body, the student can slowly arch the back and lower the legs behind into a backbend.
This variation applies only if the student practices away from the wall and has the strength
and flexibility to move in such a manner.

Kinematics
Maintaining the elongated hyperextension in the neck helps preserve the openness in the
upper chest and also helps keep the legs from dropping forward. Modification: difficulty
with maintaining balance.

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 Inverted Postures

Adho Mukha Vrkshasana

Body segment Kinematics Muscles active
Foot and toes Toe extension Extensor digitorum and hallucis longus, anterior
tibialis (I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I)
Thigh Knee extension Quadriceps (C, I)
Hip and pelvis Hip extension Hamstrings (C, I)
Hip stability Iliopsoas (C, I)
Hip adduction Adductors (C, I)

Torso Torso stability Rectus abdominis, internal and external obliques,

transverse abdominis (I)
Spinal extension and stability Erector spinae, quadratus lumborum (C, I)
Shoulder Humerus flexion, stability Pectoralis major, coracobrachialis, deltoids (C, I)

Stability and external rotation of humerus Infraspinatus, teres minor, posterior deltoid, latissi-
mus dorsi (C, I)
Joint stability Subscapularis (I)

Scapular depression, stability Subclavius (I)

Scapular stability Rhomboids, mid trapezius, serratus anterior (C, I)
Supporting posture in mid back, downward pull of Lower trapezius (C, I)
scapulae
Upper arm Elbow extension, stability Triceps brachii (I)
Arm stability Biceps brachii, brachialis, brachioradialis (I)
Lower arm Forearm pronation Pronator teres and quadratus (C, I)
Forearm extension Anconeus (C, I)
Hand and fingers Wrist hyperextension, stability Extensor carpi radialis brevis and longus, extensor
carpi ulnaris
Wrist stability Flexor carpi radialis and ulnaris, palmaris longus
(E, I)
Finger extension, stability Extensor digitorum, extensor digiti minimi brevis
(C, I)
Finger abduction, stability Abductor pollicis longus, opponens pollicis (C, I)
Neck Neck extension Splenius capitus and cervicis, suboccipitals,
semispinalis, upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

291
 Salamba Shirshasana
Supported Headstand
[saah-LUM-buh sheer-SHAAH-suh-nuh]

Salamba means “with support,” and shirsha means “head” in Sanskrit. This pose is a headstand supported
by the strength of the arms.

Description
Shirshasana is considered the king of asanas and therefore is one of the most important poses in many
styles of hatha yoga. This supported version puts the least stress on the head and neck because the
majority of the body weight is supported by the forearms and shoulders. The crown of the head is
cradled between the hands, and the back of the head rests against the interlaced fingers. Numerous
headstand variations exist, and this is the best version for building the strength and stamina needed
to accomplish all of the others.

Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara) divine energy

Foundational Focus
Root into the elbows and forearms. Anchor onto the crown of the head and the supporting hands.

Benefits
• Increases stamina and strength in the shoulders, neck, abdominals, and upper spine
and helps prevent bone degeneration in these areas.
• Creates good posture.
• Improves circulation.
• Massages the lungs and builds resistance to illness.
• Stimulates the pineal gland.
• Increases energy and body heat.
• Increases concentration and balance as it stimulates the pressure points at the Sahasrara chakra (crown of the
head).

 Caution
Pregnancy—Women who are new to yoga should not practice this pose after becoming pregnant. Those who are
experienced with the pose may practice it through the second trimester.

Verbal Cues
Explain to students that they may lose balance when practicing Salamba Shirshasana and that the fall is not nearly
as painful or frightening as they might imagine, especially if they simply allow the body to relax on the way down.
If a student does begin to fall, cue him or her to immediately tuck the chin to the chest. The most important—albeit
most difficult—thing to do is relax! Before beginning, ask students to make sufficient space between one another
and to clear the area completely of props and other gear.

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 Inverted Postures

• From a hands-and-knees position, bring your forearms to the ground in front of your knees. Align your elbows
with your shoulders and loosely interlace your fingers. Place the backs of your little finger and ring finger
against the ground. Release your thumbs so that they do not touch each other but instead rest on your index
fingers. Inhale deeply.
• Exhale and draw your chin closer to your chest and lean your torso slightly forward to place the crown of
your head in your palms. Press into your forearms to lengthen your neck so that your shoulders do not hunch
toward your ears.
• Inhale and lift your knees off the ground, bringing your hips into the air. Your body positioning now resembles
Adho Mukha Shvanasana (Downward-Facing Dog), with your forearms on the ground. This is a position called
Dolphin Pose, or Makarasana. Pause here for a few breaths and create length in your spine, moving your chest
and rib cage away from your arms. See preparatory position 1, Makarasana.
• Lift your heels off the ground and begin to slowly walk your feet toward your face. Maintain
space in your spine, feeling your hips move toward alignment over your shoulders.
• Continue to focus on your breath.
• When your hips are stacked over your shoulders, bend one knee and draw it
to your chest. Continue to breathe deeply, pressing firmly into your forearms.
As you do so, you may feel your opposite foot naturally begin to hover off the
ground. Gradually, as you are comfortable doing so, bring your other knee
toward your chest. Keep both knees bent and balance here, hugging your
knees into your chest and pressing the inner thighs closer together.
See preparatory position 2.
• If you can remain comfortably balanced with your knees into your
chest for five or six breaths, you are ready to extend your legs. (For
most students, this progress will come after a number of consistent Prepatory position 1, Makarasana.
practice sessions. Once a student has sufficient strength, she or he
may enter the position by slowly raising and straightening both legs simultaneously.)
• Exhale and very slowly straighten your legs one at a time. Move slowly and refrain
from kicking your legs up; doing so will throw off your balance. Stretch your
toes up toward the sky. Be sure to move slowly and purposefully to maintain
your balance.
• As you breathe in this position, focus on aligning your body in an upside-down
Tadasana. Roll your thighs in toward each other slightly. Straighten your spine
with each inhalation. Press firmly through your elbows to bring strength and
stability to your shoulders.
• Continue to focus on your breath.
• To exit this posture, exhale and slowly bring your legs down to the ground
with as much control as possible. Fold yourself into Balasana (Child’s
Pose) and rest. Preparatory position 2.

Adjustments
Again, emphasize the importance of moving slowly. Control comes from building strength and coordination in the
muscles and using them to lift the legs rather than using momentum, which generally takes the student out of alignment.
Elbows—Make sure that the student’s elbows are shoulder-width apart and not splayed. If necessary, before the student
begins to balance, kneel to the side and gently press the elbows toward each other. Some students may welcome
a strap wrapped around the upper arms just above the elbows to help maintain alignment. Other students will find
the strap distracting.
Spine—If the back starts to round as the student brings the feet toward the face while raising the legs, instruct the
student to stop in that position. Stand in a semi-squat or kneel beside the student, place your hand on the rounded
spine, and instruct the student to move the spine away from your hand. Cue the student to lengthen the entire torso
with each breath.

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 Chest and ribs—If the student’s chest and ribs flair out and the lower back hyperextends, stand beside
the student and place your closest forearm in front of the thighs for support. Place your other hand
around the backs of the ankles and instruct the student to press more firmly into the arms while
reaching the toes to the sky. Gently guide the feet upward while encouraging the thighs to move
into alignment. Move subtly so as not to disturb the student’s balance. Cue the student to press the
ribcage toward the spine, and to engage the abdominal muscles to aid in alignment.
Initial balance assistance—Stand to the side of the student in a semi-squat position for your own
comfort and safety. As the student brings one or both of the knees into the chest, use your forearm
to stop the student from rolling over. When you feel that the student is balanced on her or his
arms, slowly remove your arm.
Straight-leg balance assistance—Stand to the student’s side and use the inside of your arm as a “leg-
stop” so that the student does not lose balance and roll onto the back. Do not hold the legs; if you
do, the student cannot get a feel for proper alignment and balance. This assistance is simply to help
the student recognize when the legs are perpendicular to the ground.
Strength building—To aid the student’s alignment and strength, stand to the side, place your
hand between the knees, and cue the student to squeeze your hand while lifting it toward
the sky. This adjustment teaches the student to lengthen and lift more actively in the posture.
Adjustment: chest
Modifications and ribs.

Students who are determined yet slightly fearful—If a student is truly building the strength for the balance but
feels disappointed in not yet being able to balance in the posture, place the student’s back against a wall. Use
this modification sparingly, so that students do not become dependent on the wall for the balance. As the student
gains confidence, move him or her away from the wall and place one or two folded blankets to the back side for
cushioning in case of a fall.
Tight shoulders—If the student has difficulty keeping the elbows aligned, a strap can be wrapped around the upper
arms to keep the elbows from moving apart. This should be done in the preliminary stages of building the strength
and flexibility for this posture.
Upper-body strength building—As the student builds strength in the upper body, balance may be achieved by bring-
ing the knees into the chest and focusing on the balance in the arms. If the student loses balance, the forward roll
comes naturally.
Extreme weakness—Instruct the student to practice Adho Mukha Shvanasana (Downward-Facing Dog) to build the
needed arm and core strength.

Kinematics
It is common for people new to Salamba Shirshasana to practice with the back against a wall. Unfortunately, it is
highly possible to become dependent on the support provided by the wall and therefore never build the muscular
coordination and balance needed to practice without the wall. With patience and practice, however, the student
can learn to enter and exit this asana way from the wall, which not only builds muscle strength and endurance but
also helps eliminate the fear felt by many students when they first attempt the asana. In addition, proper alignment
reduces the intensity of isometric contraction in the torso and legs, thus making the pose more relaxing.
This is an excellent asana for building and maintaining vertebral strength in the neck. Some may argue that the
neck is not designed to carry the load of the body; however, in many cultures throughout the world, people carry
heavy loads balanced on the head. Proper postural alignment keeps the load balanced and strengthens the vertebrae
and surrounding musculature. Moreover, because the majority of the body weight is borne by the arms in this pose,
only a small percentage of weight is supported by the neck. If a student indicates soreness in the neck rather than in
the arms, it is best for that student to practice modified versions of the pose in order to build strength in these joints
and reduce pressure in the neck.

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 Inverted Postures

Salamba Shirshasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (I)
Lower leg Plantar flexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum longus
Thigh Knee extension Quadriceps (C, I)
Femur adduction Adductors (C, I)
Hip and pelvis Hip extension Hamstrings, gluteus maximus
(C, I)
Hip stability Iliopsoas (I)
Torso Torso stability Rectus abdominis, internal and
external obliques, transverse
abdominis (I)
Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Shoulder Humerus flexion, stability Pectoralis major, coracobrachia-
lis, deltoids (C, I)
Stability and external rotation of Infraspinatus, teres minor, poste-
humerus rior deltoid, latissimus dorsi (C, I)
Scapular abduction and stability Subscapularis, serratus anterior
(I)
Scapular depression, stability Subclavius (I)
Scapular stability Rhomboids, mid trapezius, serra-
tus anterior (C, I)
Supporting posture in mid back, Lower trapezius (C, I)
downward pull of scapulae
Upper arm Humerus flexion, shoulder sta- Biceps brachii, brachioradialis,
bility brachialis (I)
Stability and balance Triceps brachii (I)
Lower arm Forearm pronation Pronator quadratus and pronator
teres (I)
Hand and fingers Wrist stability Flexor carpi radialis and ulnaris,
palmaris longus (E, I)
Finger flexion Flexor digitorum superficialis
and profundus, lumbricales
manus, interossei palmaris (C, I)
Finger adduction Interossei palmaris, adductor
pollicis (C, I)
Neck Neck extension and stability Splenius capitus and cervicis,
suboccipitals, semispinalis, ster-
nocleidomastoid, scalenes, leva-
tor scapulae, upper trapezius (I)
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Halasana
Plow Pose
[huhl-AAH-suh-nuh]

Hala is the Sanskrit word for plow. In Halasana, the shape of the body
resembles that of a traditional plow utilized to till the earth; the
legs represent the handles and the rest of the
body the blade.

Description
In this asana, as in Salamba Sarvangasana
(Supported Shoulderstand), the top of the
shoulders and the back of the head are the roots. For the greatest benefit, the spine should be held as straight as
possible, but it can be rounded in some variations. The hips are flexed, and the legs are outstretched as the feet rest
on the ground behind the head.

Energetic Focus
Fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha) purifying energy

Foundational Focus
Root into the upper shoulders and the backs of the arms. Anchor into the tops of the feet.

Benefits
• Stretches the neck, back, and shoulders.
• Can relieve indigestion.
• Promotes sound sleep.
• Stimulates the thyroid gland, abdominal organs, and digestion.
• Helps relieve menopausal symptoms.

 Cautions
Asthma and high blood pressure—Practice Halasana with the legs supported by a prop, such as a chair.
Pregnancy—Students who are experienced with this pose may continue to practice it late into pregnancy by
using props for support. However, it is contraindicated to begin initial practice of the pose when pregnant.
Back pain or other concern—Students with a history of back pain or discomfort should practice this pose with
modifications.

Verbal Cues
• From Salamba Sarvangasana, exhale and slowly lower one foot toward the ground beyond your head. On your
next exhalation, lower your other leg in the same manner. Maintain length in both legs. If you are experienced
in the pose and feel completely comfortable and strong, lower both legs at the same time.
• Keep your torso perpendicular to the ground and press strongly through your legs, as if you were standing in
Tadasana (Mountain Pose). Feel your inner thighs roll toward each other to keep your legs energized.
• With your toes resting on the ground, press into your upper arms and lift the bottom of your pelvis toward the
ceiling. Continue to support the length of your back with your hands. Breathe slowly and smoothly.

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 Inverted Postures

• If you feel comfortable in your low back, release your hands from your back and straighten your arms behind
you. To deepen the stretch in the chest and front shoulders, clasp your hands and draw your elbows closer
together. Feel this action roll the fronts of your shoulders open, expanding your chest.
• Draw your chest toward your chin into jalandhara bandha (throat lock). Feel your energy relax in the neck and
throat.
• Continue to focus on your breath.
• To exit this pose, unclasp your hands, if clasped, and press your palms into the ground. Keep your shoulders
and neck completely relaxed as the back of your head remains on the ground. Move and breathe slowly.
• Bend your knees and bring them closer to your chest. Gently begin to roll your spine back to the ground while
you use the leverage in your arms to help keep your shoulders and head resting against the ground.
• Pause when your hips first contact the ground and take a couple of breaths. Imagine your whole body sinking
softly into the ground underneath you.
• Bring your feet the rest of the way to the ground and stretch your legs out. Take a breath or two and prepare for
a counterpose or for Shavasana (Corpse Pose).

Adjustments
Neck and shoulders—Make sure that the student’s chest does not collapse into the chin, which is common when
the upper back is weak or the shoulders and neck are tight. Allow the student to use props (see the modifications
discussion). However, do not allow the student place a pillow or other prop under the head; doing so compromises
the neck by allowing it to overstretch or strain. To help the student maintain a long torso, kneel to the side and place
your farthest foot near the shoulder blades. Align your inner thigh and calf along the length of the spine and cue
the student to stretch the spine away from your leg.
Hips and spine—If the low back is rounded and the hips are positioned too far forward or too far back (rather than
aligned with the shoulders), kneel beside the student as in the neck-and-shoulder adjustment, and guide the student
to move the hips more into alignment. You can also use a pole, or even a broomstick, to illustrate length in the spine.

Modifications
Tight hips or back—If the student has difficulty
lowering the feet to the ground, place a block, a
stack of blankets, or a chair near a wall. Instruct
the student to lie on the ground with the top of the
head facing the wall and the prop and move into
the pose according to the regular cues. Once the
legs are lowered, they will rest on the prop rather
than on the ground. The exact distance between the
prop and the wall depends on the student’s height
(taller students are farther away).
Weak or tight shoulders and back—To aid the stu-
dent and increase comfort, provide extra support
Modification: tight hips or back.
by placing a folded blanket under the shoulders,
as in Salamba Sarvangasana. You can also wrap a strap around the upper arms, above the elbows, to help keep the
arms shoulder-width apart and stretch the chest and shoulders.

Kinematics
Students often allow the back to round in order to stretch the entire spine. For many people, this feels great! However,
do not allow the student to remain in this position for more than a breath or two; the misalignment—having the hips
placed posterior to the shoulders and head—puts undue strain on the neck and upper-back vertebrae over time.
Some students will feel comfortable dorsiflexing the ankles and extending the toes so that the sole-side of the toes
are on the ground. Others will prefer to plantarflex the ankles and flex the toes, as if they were "on pointe." This is
an individual preference. The kinematics table below illustrates muscular activity in both positions.

297
 Halasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Toe hyperextension Extensor digitorum and hallucis Flexor digitorum longus and
longus, anterior tibialis (C, I) brevis, flexor hallucis longus
Foot and toes Toe flexion Flexor digitorum longus and Extensor digitorum and hallucis
brevis, flexor hallucis longus longus, anterior tibialis
(C, I)
Lower leg Ankle dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum and hallucis longus (C, I)
Ankle plantarflexion Gastrocnemius, soleus (C, I) Anterior tibialis, extensor digito-
rum and hallucis longus
Thigh Knee extension Quadriceps (C, I)
Femur adduction Adductors (C, I)
Hip and pelvis Hip flexion Hamstrings, gluteus maximus (E) Hamstrings, gluteus maximus

Pelvic stability Rectus abdominis, quadratus

lumborum, hamstrings (C, I)

Torso Trunk stability Internal and external obliques,

rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae (C, I)
Spinal extension and stability Erector spinae, quadratus lumbo-
rum (C, I)
Shoulder Arm hyperextension Posterior deltoid, triceps brachii, Pectoralis major and minor, ante-
latissimus dorsi (C, I) rior deltoid
External rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Scapular adduction Rhomboids, mid trapezius (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachioradialis,
brachialis
Lower arm Forearm pronation Pronator teres and quadratus
(C, I)
Elbow extension Anconeus (C, I)
Hand and fingers Finger adduction Adductor pollicis, flexor pollicis
longus and brevis, interossei (C,
I)
Finger flexion Flexor digitorum, extensor digiti
minimi brevis, dorsal interossei
(C, I)
Neck Neck flexion, jalandhara bandha Sternocleidomastoid, scalenes, Cervical erector spinae, splenius
hyoids (C, I) capitus and cervicis, upper tra-
pezius
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 11
Restorative
Postures
I deally, all asanas are
practiced with comfort
and a sense of ease. It
may be difficult to relax
while trying to balance on
one foot or on your head, but
it can be done. Birds often
sleep standing on one foot,
and bats hang upside down,
which for most humans
would be considered a form
of physical torture or insan-
ity. Any pose falls into the
restorative realm if it is done
in a way that allows for the
complete release of tension
rather an increase in physi-
© Dean Mitchell/istock.com

cal or mental exertion. These

postures are considered
restorative because little
physical energy is needed to
enter and maintain them. As
a result, the soothing effects
of these asanas permeate the

299
300 Instructing Hatha Yoga
body more fully on all levels. Restorative asanas
are practiced specifically to engage the parasym-
pathetic nervous system and allow the mind and
body to heal and deeply relax.
In some styles of hatha yoga, Adho Mukha
Shvanasana (Downward-Facing Dog) is clas-
sified as a resting pose for students who have
practiced it consistently enough to feel relaxed
and recharged rather than challenged by tight
shoulders or legs, or simply by the effort exerted
to hold the body in position. In contrast, Balasana
(Child’s Pose) is an asana in which students can
generally escape the labor of Downward-Facing
Dog and other strenuous postures. Indeed, Bal-
asana is a wonderful resting asana because it
requires virtually no muscular activity. All true
restorative poses require extremely little or no
muscular activity; in fact, other than the act of
getting into and out of them, they are usually
totally passive. Some are uniquely restorative,
such as Balasana and Shavasana (Corpse Pose),
and many are passive variations of other poses.
For example, using a fitness ball or a chair seat
to do a backbend transforms a rather challenging
asana into a restorative one.
In addition to making yoga accessible to stu-
dents who are physically challenged, tired, or
weak, restorative poses offer a way to release
deep habitual tensions. For instance, people often
hold tension unconsciously in the spine, hips,
and shoulders. However, when the supporting
muscles have absolutely no work to do in a pose,
a person generally begins to relax the body after
a few breaths. Restorative poses are often prac-
ticed with pillows, blankets, or other supportive
props that help students feel safe and nurtured.
Encourage your students to relax into these poses
as fully and deeply as possible.
Although restorative poses do not build bones
or enhance muscular strength, they enable the
release of the imbalanced holding patterns that
the body has carried, often for years. Many stu-
dents report that they feel the hips relax back into
alignment just as much as if they had experienced
a chiropractic adjustment or acupuncture treat-
ment. To help guide students into a deeper state of
restive relaxation, you can use a relaxation script,
such as those found in appendix A.
For many students, especially those who find
it difficult to slow down and truly relax, a restor-
ative practice may be extremely difficult on both
the mental and the emotional level. When one
truly relaxes and taps into the parasympathetic
nervous system, repressed emotions and concerns
sometimes surface. Although this is a healthy
response, students may be overcome by their real-
izations. As discussed in chapter 2, it is important
for you, their instructor, to reassure them that
such feelings are natural and that they are in a
safe, comfortable place to experience them.
 Restorative Postures

Balasana
Child’s Pose
[buhl-AAH-suh-nuh]

Bala is the Sanskrit word for “child.” Balasana

resembles the fetal position in the womb. This
asana is very restorative and
calming and evokes a feeling of
safety and security.

Description
Balasana is a kneeling, prone position where the shins rest on the ground and the belly and chest lie on the thighs.
The arms may be extended over the head and resting on the ground (often called Ancient Prayer Pose), or wrapped
around the outside of the body with the hands resting beside the ankles. This pose calms the body and replaces energy
after vigorous, challenging postures. It should be practiced as a counterpose after intense backbends and inversions.

Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy, sixth chakra (Ajna) perceptive
energy

Foundational Focus
Root into the shins and the tops of the feet. Anchor lightly onto the forehead or the palms.

Benefits
• Restores energy.
• Stretches and releases the low back.
• Relaxes the neck and shoulders.
• Stimulates digestion.

 Cautions
Knee pain—Practice with modifications or practice in a supine position with the knees drawn in toward the chest.
Intestinal discomfort—The pressure placed on the abdomen in this pose can exacerbate intestinal distress, so
students should avoid this pose until the discomfort passes.

Verbal Cues
• From a kneeling position, sink your hips down toward your heels. Feel the front of your thighs elongate as you
soften your hips.
• Exhale and slowly fold forward from your hips. Relax your upper body downward so that your torso rests on,
or between, your thighs and your head rests on the ground or on a soft prop under your forehead.
• Exhale and bring your hands back by your feet; alternatively, if it is more comfortable for your neck and shoul-
ders, extend your arms over your head in Ancient Prayer Pose. In either position, feel your shoulders sink toward
the ground as you relax your neck.
• If your arms are stretched overhead, breathe deeply and feel your side ribs expand. If your hands are beside by
your feet, allow the backs of your shoulders to soften so that your chest melts toward the ground. Take deep,
slow breaths.

301
 • With each inhalation, feel your shoulder blades move apart. As you exhale, allow your front body to sink
completely toward the ground. Draw your tailbone gently down toward your heels to lengthen and stretch
your lower back.
• Continue to focus on your breath.
• As you relax more deeply, adjust your hips and legs so that you are as comfortable as possible. You may want
to widen the space between your knees for comfort. Imagine the entire front of your body descending into the
support of the ground.
• Slow down and deepen your breath, feeling its softness. Imagine each breath opening your rib cage and length-
ening your spine. Relax your neck and shoulders more and more.
• To exit this position, place your palms on the ground under your shoulders. As you inhale, slowly press through
your arms and lift your torso upright.

Adjustments
Feet—The feet should be relaxed; however, if a student experiences discomfort in
the feet or ankles, instruct the student to curl the toes under. If this is not com-
fortable, place a small rolled towel or blanket under the fronts of the ankle
joints. If the student’s toes are pointed outward, kneel behind the student and
gently rotate the feet so that the toes are aligned straight back or slightly inward.
Knees—To help the student relax more deeply, cue the student to move the
knees a little farther than hip-width apart. This positioning opens the hip
joints and often makes the student more comfortable, especially if he or
she has a larger belly.
Spine—If the student’s lower back is not convex (rounded), kneel to the side
and place your hand (the one closest to the student’s hips) flat against
the pelvis with your fingers pointing away from the student’s head.
Place your other hand between the shoulder blades with your fingers
pointing toward the student’s head. Press down only enough Adjustment: spine; breath.
to feel some traction in your hands. Keep your hands in the
same spot but move them in a motion away from each other
as the student exhales. This action lengthens the spine and is
generally comforting to the student. Never push straight down
on the spine! Another option is to stand behind the student’s
hips, facing away, and sit very lightly on the student’s pelvis. Make
certain that you connect at the pelvis—not higher, which
would be on the low spine. Use this adjustment only if
the student is free of knee concerns. In addition, this
adjustment is best practiced in small-group or private
sessions because it takes time and attention away from
the rest of the class. When using either of these adjustments, ask
if the student is comfortable with the amount of pressure
you are providing.
Shoulders—If the student’s shoulders press up into the
Adjustment: spine.
ears, kneel at the student’s side and place your hands
lightly on top of the shoulders. As the student exhales, gently press the shoulders away from the ears and cue the
student to elongate the neck. The student may need to lift the head slightly in order to reposition.
Breath—To help the student’s breathing, kneel to the side and place one hand on the mid pelvis and the other between
the shoulder blades, as in the spine adjustment. Instruct the student to breathe deeply into the hand at the pelvis
and then move the breath up the spine into the hand at the shoulders. Ask the student to exhale in the opposite
direction, from the shoulders down to the pelvis.

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 Restorative Postures

Modifications
Tight hips and knees—If the student is not comfortable with the knees fully flexed, place a rolled towel, blanket, or
small bolster between the hamstrings and calves. It is fine if the student simply lifts the hips up away from the heels,
but this generally does not allow the student to fully relax into the pose.
Tight low back—If the student’s lower back does not round into a relaxing curve, place a folded towel between the
upper thighs and belly. For some students, this modification allows the back to curve gently. If it does not bring a
curve to the back, roll a blanket and place it under the knees. This modification lifts the front body
slightly as it raises the fronts of the knees, which allows the pelvis to drop toward the
ground.
Ancient Prayer Pose—Some students are more comfortable with the arms
outstretched overhead rather than by the sides.
Tight shoulders—If a student has difficulty relaxing the
shoulders, instruct the student to stretch the hands
overhead in Ancient Prayer Pose and externally rotate
the upper arms so that the backs of the hands rest on Modification: Ancient Prayer Pose with shoulder external
the ground. rotation.

Kinematics
Balasana is essentially a resting and restorative posture that stretches the fronts of the shins and ankles, the front
thighs, the hips, and the spinal musculature. With the arms resting alongside the body, the shoulder blades gently
relax away from each other as the student focuses on deepening the breath. Because this is a passive pose, all the
muscles should be relaxed. The muscles indicated in the following chart are those that are additionally stretched
when practicing this pose.

Balasana
Body segment Kinematics Muscles released
Foot and toes Plantar flexion Anterior tibialis, gastrocnemius, soleus, peroneals
Lower leg Knee flexion Quadriceps
Thigh Hip flexion Hamstrings
Hip and pelvis Legs slightly abducted Gluteals, deep external rotators*
Torso Slightly flexed Erector spinae
Shoulders Slightly internally rotated if arms are at the sides Rhomboids, trapezius, posterior deltoid, pectoralis
Overhead extension Latissimus dorsi, serratus anterior, trapezius, rhom-
boids
Upper arm Relaxed in either position Biceps brachii, brachioradialis, triceps brachii
Lower arm Extended
Hand and fingers Relaxed
Neck Forward flexion Splenius capitus and cervicis, suboccipitals,
semispinalis, sternocleidomastoid
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
When properly positioned in this asana, the entire body is relaxed; therefore, no muscle contractions are listed.

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 Pavanamuktasana
Purifying, or Wind Relieving Pose
[puh-VAH-nuh-mookt-AAH-suh-nuh]

In Sanskrit, pavana means “purifying,” and mukta

means “liberating” or “freeing.” Pavana is also
the name of the god of wind (and the father of
the monkey god Hanuman). This pose, true to its
name, does indeed help stimulate the digestive
system while gently stretching the low back.

Description
Pavanamuktasana is a supine asana that, when
practiced with both legs drawn into the chest
simultaneously, resembles a flipped-over version of Balasana. This pose gently stretches the low back as it calms.

Energetic Focus
Second chakra (Svadhisthana) creative energy, third chakra (Manipura) vitalizing energy

Foundational Focus
Root into the upper pelvis and spine. Anchor lightly onto the shins or the backs of the thighs with the hands.

Benefits
• Stimulates the digestive organs.
• Stretches and releases the low back.
• Massages the reproductive organs.
• Tones the arms and legs.

 Cautions
Neck concerns—Students with neck concerns should practice with modification.
Extreme intestinal discomfort—The pressure placed on the abdomen in this pose can exacerbate intestinal
distress, so students with this condition should avoid this pose until the discomfort passes.
Abdominal surgery or herniation—Students who have a hernia or are healing from abdominal surgery should
refrain from practicing this pose.
Pregnancy—After the second trimester, this pose should be practiced with modification.

Verbal Cues
• From a supine position, with your knees bent and your feet flat on the ground, breathe deeply and, as you
exhale, bend your right knee and draw it in toward your right shoulder.
• Bring your right hand to the front of your right shin and, using your arm, gently pull your leg as close to your
shoulder as is comfortable. Move with gentle ease. Inhale and settle in a relaxed manner onto your back.
• As you exhale, draw your left knee in toward your left shoulder. Place your left hand onto your shin to help
move your leg in closer to your body.

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 Restorative Postures

• Inhale deeply and feel the back of your pelvis root into the ground. Tuck your chin toward your chest and keep
your chest open.
• On your next exhalation, feel your navel rooting down toward your spine. Allow your breath and the flexion of
your abdomen to lift the back of your head and your shoulders off the ground. As you breathe, feel your belly
and thighs pressing gently together.
• Use the strength of your biceps (upper arm) to hold your legs in place. Keep your shoulders relaxed and away
from your ears. If you notice tension in your chest or shoulders as you try to hug your legs closer, wrap a strap
around your shins for more ease.
• Continue to focus on your breath.
• If it is comfortable to do so, allow your body to rock gently from side to side. Feel the massaging action in your
pelvis and low back. After a few breaths, bring your body into stillness and continue to breathe deeply.
• To exit this pose, slowly lower your head and shoulders back to the ground and release your shins. Bring your
arms to your sides and, as you exhale, lower your right foot back to the ground. On your next exhalation, bring
your left foot down. Relax in this position for a few more breaths.

Adjustments
Knees—If the student’s knees splay, kneel to one side and place your hands lightly on the outsides of the mid thighs.
As the student exhales, gently cue her or him to press the knees closer together and take the thighs away from your
hands. Ask the student to keep the legs parallel to each other.
Arms and knees—If a student is unable to reach the front of the shins, or if the
pressure on the knees is uncomfortable as the student presses on the shins,
invite the student to hold behind the thighs rather than
on the shins. Some students may wish for an addi-
tional stretch in the hips. If they feel comfortable
doing so, they can reach up for the soles of the feet
and draw the bent knees toward the shoulders into
a position called Balasana Ananda (Happy Baby Pose).
Neck—If the student does not tuck the chin toward
the chest, or if the neck is in hyperextension, kneel
behind the student’s head and place your hand
lightly on the back of the head. Ask the student to Adjustment: neck.
move the head away from your hand.
Shoulders—If the student’s shoulders are squeezed up tightly toward the ears,
kneel behind the student’s head and place your hands lightly on the fronts of
the shoulders. As the student inhales, gently guide the shoul-
ders away from the ears and open the front of the chest.

Modifications
Tightness or weak low back—If the student has weakness
or discomfort in the low back, cue the pose as Ardha
Pavanamuktasana (Half Wind-Relieving Pose), in which Modification: Half Wind-Relieving Pose.
the student draws in only one leg at a time. Depending
on the student’s comfort level, the opposite leg may remain anchored flat
against the ground or with the knee bent and the foot close to the pelvis.
Difficulty in reaching the legs—If the student has difficulty reaching the shins
or the back of the thighs, place a strap behind the thighs to help draw the legs
in without strain.
Neck weakness or discomfort—If the student has difficulty
lifting the head, instruct the student to keep the back of the
head on the ground. Modification: difficulty in reaching the legs.

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 Kinematics
Pavanamuktasana is a comforting, restorative pose. The gentle stretching of the low back while the spine is supported
benefits students who have weakness or are rehabilitating after injury. It also strengthens the abdominals, as well as
the upper arms and chest. Students should use the biceps in conjunction with the pectorals to draw the legs in. If
students use only the chest muscles to hold the legs, they typically engage the upper trapezius in order to help hold
the position, which creates tension in the neck and shoulders and defeats the purpose of the pose.

Pavanamuktasana
Body segment Kinematics Muscles active Muscles released
Foot and toes Plantarflexion
Lower legs Knee flexion Gastrocnemius (C) Anterior tibialis, extensor digito-
rum and hallucis longus
Thigh Knee flexion, thigh stability Hamstrings (C, I), adductors (C, I)
Hip and pelvis Hip flexion Iliopsoas, rectus femoris (C, I) Gluteus maximus and medius
Torso Spinal flexion and stability Rectus abdominis, transverse Erector spinae, quadratus lum-
abdominis (C, I) borum
Shoulders Flexion Anterior deltoid, pectoralis major Rhomboids, upper trapezius
and minor, biceps brachii (C, I)
Upper arm Elbow flexion Biceps brachii, brachialis, Triceps brachii
brachioradialis (C, I)
Lower arm, hand, Finger flexion Flexor digitorum, extensor digiti
and fingers minimi brevis, dorsal interossei
(C, I)
Neck Flexion Sternocleidomastoid (C, I) Splenius capitus and cervicis,
occipitals, upper trapezius
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Restorative Postures

Supta Urdhva Dhanurasana

Restorative Backbend
[SOOP-tuh oohr-dhuh-vuh dhuh-noor-
AAH-suh-nuh]

Supta is Sanskrit for “sleeping” or “reclining,” and

urdhva dhanurasana means “upward-facing bow.”
This pose is a restorative, supported backbend.

Description
This posture is a modified backbend in
which spinal support is provided by a supportive prop, such as
a fitness ball, chair, or set of folded blankets. As a
result, no further modifications are provided
in the following description.

Energetic Focus
Third chakra (Manipura) vitalizing energy,
fourth chakra (Anahata) heart-opening energy,
fifth chakra (Vishuddha) purifying energy

Foundational Focus
Root through the bottoms of the feet.
Anchor into the support of the prop under the pelvis and back.

Benefits
• Is relatively accessible to students with weakness or other physical challenges.
• Opens the chest.
• Increases flexibility in the spine.

 Caution
Back pain or injury—Although this is a supported version of a backbend, caution should still be practiced by
students with back or neck injury. Extra time should be allotted in moving into and out of the pose.

Verbal Cues
Cues for a Fitness Ball
• Sitting on a fitness ball with your feet flat on the ground and hip-width apart, place your hands on your hips or
against the side of the ball—wherever you feel comfortable and balanced.
• Walk your feet forward and feel your hips roll slowly forward on the ball. Continue walking forward until your
lower back rests on the ball. On an exhalation, tuck your chin toward your chest and slowly lower your mid
spine onto the ball. Evenly balance between both feet.
• Inhale and continue to lower your upper back and head onto the ball. Feel the openness in your throat as the
back of your neck rests in the support provided by the ball. Breathe slowly and smoothly.
• If you feel comfortable and balanced, stretch your arms out to your sides or overhead.

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 • Breathe and feel your shoulders and chest expand and relax.
• To exit the position, draw your chin toward your chest and slowly walk your legs backward as the ball rolls
away from your spine and your torso returns to an upright position. Slowly bring your head up last.
Cues for a Chair
• Place at least two folded blankets or a thick, firm pillow on the seat of a folding chair. Sit sideways at the very
edge of the chair with your feet flat on the ground. Hold onto the sides of the chair for support.
• Exhale and fully engage your abdominal muscles. Move your hips forward so that your buttocks slide down the
side of the chair. Tuck your chin to your chest and slowly lower your torso backward, one vertebra at a time.
Breathe slowly and smoothly.
• As your shoulder blades reach the blanket, adjust your body slightly to allow the top of your shoulders and
your head to drape comfortably over the side of the chair.
• If you are comfortable, stretch your arms overhead and allow your hands to float toward the ground. Breathe
deeply and relax your chest and shoulders.
• To exit the position, bring your hands back to the sides of the chair. Draw your chin in toward your chest. Exhale
and slowly roll your spine upright and slide your hips back so that you are once again in a seated position.
Cues for Blankets
• Place a number of stacked, folded blankets on the ground. Make the stack 6 to 12 inches (15 to 30 centimeters)
high.
• Sit on the ground with the backs of your hips against the pile of blankets. Exhale and slowly lower your back
onto the blankets. Once your shoulder blades are supported by the blankets, lower your head slowly over the
back of the stack. The blankets should be pressed comfortably into the curve of your spine. Allow yourself to
relax into the support of the blankets.
• Place your arms where they feel most comfortable—beside your hips, stretched out to the sides, or overhead.
If your back feels comfortable, stretch out your legs. Breathe and relax your entire body.
• To exit this position, bend your knees and press your hands to the ground. Exhale and tuck your chin toward
your chest. Slowly lift your body upright. Soften your shoulders and take a few more breaths while seated.

Adjustments
Spine—The apex of the support (ball, chair, or blan-
kets) should rest comfortably against the student’s
back. To help the student roll back against the
support, kneel or squat behind the student’s
back. If using a ball, place your hands to the
side of the ball and guide the movement as
Adjustment: spine and back.
the student lowers back. Remain here until
the student feels balanced and comfortable. If using a chair or the blankets, simply guide the student backward,
providing as much support as the student needs. If the student is on the ground, place a small bolster under the
lower thigh to further support the lumbar spine.
Neck—Some students require support as they lower the head back. To adjust, kneel to the side and place your hand
on the back of the student’s head. As the student relaxes the neck, provide support until the student feel comfortable.
Some students may also require the use of your hand as a prop when lifting the head as they sit up; if so, place your
hand behind the back of the head and softly support it.
Shoulders—Make certain that the student’s shoulders are relaxed away from the ears and that the chest is open. Kneel
above the student’s head and softly place your hands on the fronts of the shoulders. Lightly press outward with your
hands to encourage the student to expand the chest and soften the shoulders.

Kinematics
The relative softness of the ball or blankets provides support along the contours of the spine, thus allowing for
relaxation throughout the entire body.

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 Restorative Postures

Supta Urdhva Dhanurasana

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension
Lower leg Ankle plantar flexion (and stabil- Gastrocnemius, soleus (I) Anterior tibialis
ity if on ball)
Thigh Relaxed knee flexion Quadriceps
Hip and pelvis Hip hyperextension (and stability Hamstrings (I) Iliopsoas
if on ball)
Torso Spinal hyperextension Internal and external obliques,
rectus abdominis, transverse
abdominis, quadratus lumborum,
erector spinae
Shoulder Humeral external rotation Pectoralis major and minor, del-
(humerus) toids
Horizontal hyperextension
Upper arm Elbow extension Biceps brachii, brachioradialis,
triceps brachii
Forearm supination Pronator teres, supinator
Lower arm Wrist hyperextension All
Hand and fingers Finger extension All
Neck Neck hyperextension Splenius capitus and cervicis,
suboccipitals, semispinalis,
sternocleidomastoid
C = concentric contraction, E = eccentric contraction, and I = isometric contraction.

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 Jathara Parivartanasana
Belly Twist
[juht-HAR-uh par-ee-VAR-tuhn-AAH-suh-nuh]

Jathara is the Sanskrit word for “stomach” or “belly,”

parivartana means “to roll or turn around.”

Description
In this supine pose, the hips are
flexed and the legs are rotated
to one side. The shoulder blades remain as flat on the
ground as possible and act as an anchor. This asana is
generally used in a finishing sequence at the end of class.
For a restful and restorative posture, as in this example, the knees are bent with one leg crossing over the other. For
a more active yet still restorative pose, the legs remain straight.

Energetic Focus
Third chakra (Manipura) vitalizing energy, fourth chakra (Anahata) heart-opening energy, fifth chakra (Vishuddha)
purifying energy

Foundational Focus
Root through the shoulder blades and the outer arms. Anchor into the hip and the outer leg on the twisting side.

Benefits
• Cools and relaxes the body.
• Stretches the entire spine gently.
• Requires little strength in the back.
• Opens the chest.
• Relaxes the neck.
• Aids digestion.

 Cautions
Hip replacement—Students with a hip replacement should not cross the thighs over the midline of the body;
therefore, they should practice with modification.
Acute spinal concerns—Students with disk injury or spinal pain should practice with modification.
Pregnancy—Students past the first trimester should avoid deep supine twists, including this pose, and instead
should practice seated upper back and neck twists.

Verbal Cues
• From a supine position, bend your knees and bring your heels as close to your hips as is comfortable, with the
soles of your feet on the ground. Align your hips with your shoulders and settle your shoulder blades comfort-
ably against your rib cage and the ground. Inhale deeply and elongate your spine.
• Exhale and cross your right leg over your left leg above the knee. If it feels comfortable, hook the top of your
right foot behind your left calf.

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 Restorative Postures

• Inhale and reach your arms out to your sides at shoulder height with your palms facing up. Turn your head and
look toward your right hand. Slightly anchor the backs of your hands into the ground.
• Inhale deeply and feel your spine lengthen and your chest expand.
• Press into your left foot and lift your hips just enough to take some body weight off of your pelvis. As you
exhale, shift your hips so that your pelvis moves slightly to the right. Settle your pelvis back to the ground and
slowly lower your knees to the left side of your body. Rotate as far as is comfortable for you, imagining your
right hip stacking over your left hip. Be mindful of any discomfort in the spine, and back away from the pose
if necessary. If your back feels comfortable, uncross the legs and reach your toes up toward your left hand. If
your right shoulder lifts from the floor, back away from the pose slightly.
• Continue to focus on your breath.
• With each breath, feel your legs and shoulders anchor softly, yet deeper, into the ground. If your right shoul-
der blade lifts off the ground, draw your legs back toward the right until both shoulder blades are once again
grounded.
• To exit the posture, inhale and slowly bring your knees and head back to center
and rest flat on your back. Uncross your legs and prepare for the other side.

Adjustments
Spine—The spine should not round while rotating. Assist the student in length-
ening the spine by kneeling behind the student’s back and placing one hand
on the front of the closest shoulder. Place your opposite hand on the outside
of the student’s hip. As the student inhales, gently press your hands away
from each other to lengthen the spine. To help the student deepen the twist,
as the student exhales, slowly and gently press the outside of the top hip
away from you so that the top knee moves closer to the ground.
Shoulders—If the shoulder farthest from the twisted knees is lifting slightly
off the ground, kneel behind the student’s back and place your closest
hand at the junction of the chest and shoulder and your opposite hand
on the outside of the student’s hip. Gently press the shoulder blade toward
the ground while anchoring the top hip with your other hand. If the student gives
you permission, use light pressure to press down and away on the hips slightly more
with each exhalation.
Neck—If the student’s neck is not lengthened, cue for length by lightly
sweeping your fingers against the back of the neck from the base of the
Adjustment: spine; shoulders.
shoulders to the back of the skull.

Modifications
Tight spine or hips—Support the student’s knees by placing folded blankets or
a block between the legs and the ground. Another modification
is to instruct the student to begin with the legs up the wall and
then bend the knees so that the soles of the feet are flat against
the wall. With the arms stretched wide, as in the traditional pose,
the student can then slowly “walk” the feet in an arcing motion
down toward the ground to one side. Cue the student to stop at
the first point of resistance and to rest in that position. If the legs
are not on the ground, place a prop under the leg for support.
Hip pain or hip replacement—If crossing the legs stresses the
top hip, then instruct the student to keep the legs parallel and
press the insides of the legs together while lowering the knees
to the side. Also instruct the student not to lower the knees
completely to the ground. Place blocks or blankets under the
legs for support. Modification: hip pain or hip replacement.

311
 Posture deepening—If the student can comfortably rest the lower
leg and opposite shoulder on the ground, then he or she can
draw the legs closer to the opposite arm. In this variation of the
pose, cue the student safely out of the pose. Students with a
strong, healthy back may simply anchor into the arms and lift
the legs as they inhale. For many, however, this exit is extreme
and can strain the back muscles. For these students, cue them
to bend the knees and bring the legs up one at a time.

Kinematics
The closer the knees are to the shoulders, the deeper the stretch Modification: deepening the posture.
is in the hips, low back, and shoulders. However, the closer they
are together, the harder it usually is to keep the opposite shoulder relaxed on the ground. This is a good
asana to use for measuring increased flexibility in the spine and chest.

Jathara Parivartanasana (Legs Rotated Left)

Body segment Kinematics Muscles active Muscles released
Foot and toes Toe extension Extensor digitorum and hallucis
longus, anterior tibialis (C, I)
Lower leg Foot dorsiflexion Anterior tibialis, extensor digito- Gastrocnemius, soleus
rum and hallucis longus (C, I)
Thigh (R and L) Knee flexion Hamstrings (C, I, R)
Thigh (R) Thigh adduction Adductors (C, I, R)
Hip and pelvis Hip flexion Iliopsoas (C, I) Gluteus maximus
(R and L)
Hip and pelvis (R) Internal rotation Gluteus medius and minimus, Gluteus medius and maximus,
adductors (C, R) tensor fascia lata, deep external
rotators*
Torso (R) Pelvis rotation External oblique, quadratus lum- Quadratus lumborum, external
borum, latissimus dorsi (E, R) oblique, erector spinae, latissi-
mus dorsi
Torso (L) Stability Rectus abdominis, transverse Erector spinae, quadratus lum-
abdominis, erector spinae (I, R) borum
Shoulder Adduction of scapulae Rhomboids, mid trapezius (C, I) Anterior deltoid, pectoralis major
and minor, biceps brachii
External humerus rotation Infraspinatus, teres minor, poste-
rior deltoid (C, I)
Upper arm Elbow extension Triceps brachii (C, I) Biceps brachii, brachialis,
brachioradialis
Lower arm Elbow extension Anconeus (E, I)

Elbow supination Supinator (C, I)

Hand and fingers Finger extension Extensor digitorum, indicis,

and digiti minimi; lumbricales
manus; interossei dorsales (C, I)
Neck (R) Head rotation to right Splenius capitus and cervicis, Sternocleidomastoid
occipitals, upper trapezius (C, I)
Neck (L) Head rotation to right Sternocleidomastoid (C, I, R) Splenius capitus and cervicis,
occipitals, upper trapezius
*Obturator externus and internus, gemellus superior and inferior, quadratus femoris, and piriformis.
C = concentric contraction, E = eccentric contraction, I = isometric contraction, left = left, and R = right (in body segment column) or relaxed
(in muscles active column).
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 Restorative Postures

Viparita Karani
Restorative Legs-Up-the-Wall
Pose
[veep-uh-REE-tuh kuh-ruh-nee]

In Sanskrit, Viparita Karani means “in the inverted

or reversed position.” Many yoga instructors,
however, simply refer to this asana as “the legs-
up-the-wall” pose when using English terms.

Description
In this restful asana, the student’s torso is supine
on the ground and the legs are stretched up a
wall. Often, a bolster or set of blankets is placed
under the hips to lift the student’s pelvis higher
than the heart as a modified inversion. This
variation makes the pose more restorative and, for
many, also helps loosen and relax the low back.
If props are not used, then the sacrum is placed
flat against the ground and the ischial tuberosities
(sit bones) are pressed into or near the wall. This
pose is often used as a modified inversion for
menstruating women, in which case the hips are
positioned farther away from the wall.

Energetic Focus
Second chakra (Svadhisthana) creative energy

Foundational Focus
Root through the back of the pelvis. Anchor softly into the shoulder blades and the back of the head.

Benefits
• Helps relax the low back.
• Calms the nervous system.
• Helps increase comfort and range for other forward bends.
• Relieves menstrual discomfort.

Verbal Cues
• If using a mat, place it flat on the ground with the short
edge against a wall.
• Lie on the outermost right edge of the mat on your right
side in a fetal position with the soles of your feet pressed
into the wall. Move your hips flat against the wall.
• Inhale and slowly roll your body onto your back, walking
your feet off the ground in an arc. You should be lying in
the middle of your mat. Starting position.

313
 • Exhale as you straighten your legs. Let the backs of your legs and your heels rest against the wall. If the stretch
in the hamstrings feels too intense, move your hips away from the wall slightly. Settle into your shoulder blades
and bring your arms to your sides with your palms facing up.
• Completely relax your legs. Allow your toes to soften. With every exhalation, feel your back and hips sink
deeper into the support of the ground.
• Breathe here, close your eyes, and relax.
• To exit the pose, slowly bend your knees and walk your feet to the ground so that you are resting on your right
side. Take a few slow breaths here. Press your left hand into the ground and gently lift your torso. Take your
time and come completely into a seated position away from the wall.

Adjustments
Hips—If the student’s hips are slightly lifted off the ground or blanket, and if the student has sufficient flexibility in
the hips, stand to the side of the legs and place your hands or a weighted sandbag on the soles of the student’s feet.
Press down slowly and gently. This action provides a nice stretch in the hips
and legs and feels very comforting to many students. If a student does not
have sufficient flexibility in the hips, cue the student to move the hips farther
from the wall. You can also increase the height of any prop under the hips.
Shoulders—If the student’s shoulders are up near the ears and rotated inter-
nally, kneel above the student’s head. Lightly place your hands on the fronts
of the student’s shoulders and gently press the shoulders away from the ears
and against the ground.

Modifications
Tight hamstrings—If the student has difficulty with fully straightening the
knees, instruct the student to bend the knees slightly or to move the hips
slightly farther from the wall.
Overly tight neck—If a student is so tight in the neck that he or she is unable
to rest the back of the head on the ground, place a small pillow under the
neck and back of the head for support and to allow for deeper relaxation.
Modification: hips.
Kinematics
Bolsters or blankets placed under the hips create more length in the low spine while providing support. In addition,
the increase in the angle between the legs and torso allows students with tight hamstrings to find a comfortable
position while keeping the knees straight.

Viparita Karani
Body segment Kinematics Muscles released
Foot and toes Neutral
Lower leg Neutral
Thigh Knee extension Hamstrings, adductors
Hip and pelvis Hip flexion Gluteals
Torso Spinal extension
Shoulder External rotation
Upper arm Elbow extension
Lower arm Wrist extension
Hand and fingers Neutral
Neck Extension
When properly positioned in this asana, the entire body is relaxed; therefore, no muscle contractions are listed.

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 Restorative Postures

Shavasana
Corpse Pose
[shuh-VAAH-suh-nuh]

Shava is the Sanskrit word for “corpse.” In this asana, the body resembles
the stillness and detachment of an unmoving corpse.

Description
This supine pose is the quintessential finishing, resting, and
restorative asana in which the student reclines on the ground with
the arms stretched beside the body. Because the nervous system
is constantly bombarded with stimuli throughout the day and most
people are distracted by unconscious, nonessential, self-limiting
thoughts (known as vritti), the purpose of practicing Shavasana is to
completely release tension from the mind and body and to engage the
parasympathetic nervous system. This shift frees the mind, allowing it
to move into a more meditative state. From the outside, this important
asana may appear extremely simple because it involves no effort
or movement in the body. However, it can be one of the most
challenging asanas because many people find it difficult to quiet
the mind when the body is still.

Energetic Focus
Sixth chakra (Ajna) perceptive energy, seventh chakra (Sahasrara)
divine energy

Foundational Focus
Root softly into the solid support of the ground.

Benefits
• Relaxes both the mind and the body after a physically intense asana practice.
• Allows for deep healing and relaxation, thus leading to successful meditation.
• Removes fatigue.
• Helps increase the body’s psychoneuroimmunological abilities (see chapter 5).

 Cautions
Pregnancy—After the first trimester, pregnant women should practice this pose either by lying on the left side or
with the head and chest raised so that they are not flat on their backs.
Back injury—Students with back pain or injury should practice with modification.

Verbal Cues
See appendix A for sample relaxation scripts to help your students become completely relaxed into Shavasana.

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 Getting Into the Posture
• From a supine position, exhale, bring your knees to your chest, and rock your body gently from side to side.
• Inhale and bring your body into stillness on the ground.
• Exhale and stretch your legs down onto the ground. Allow space between your thighs. Rest your arms by your
sides.
• Open your chest by rotating your palms up. Wiggle your shoulders slightly and feel the upper corners of your
shoulder blades settle gently into the ground. Take a big breath as you exhale and imagine your entire upper
back melting into the support of the ground.
• Relax your legs and hips, allowing your feet to roll to the outside. Feel your back sinking into the support of
the ground.
• Close your eyes and relax the muscles of your face.
• Allow your breath to flow in its natural pattern so that you are no longer controlling it in any manner. Feel and
visualize your breath as it flows over and through your body. With each breath, allow your body and mind to
sink deeper into relaxation. Let peace wash over you. (It is ideal to allow students at least 10, and preferably
20, minutes of silent meditation time.)
Bringing Students Out of the Posture
• In the next few breaths, continue to focus on your breath and begin to notice your relaxed, recharged body.
• Start to gently move your fingers, toes, wrists, and ankles as you become more and more aware of your body.
Open your mouth and move your jaw from side to side; this simple movement may cause you to yawn. Con-
tinue to remain relaxed as your awareness and mindful presence builds. After a few more breaths, start to bring
a little more movement into all of your limbs.
• Notice whether your body and mind feel any different than they did when you began your practice today. If so,
be aware of the differences. If there are none, be aware of that without any judgment. It is simply an observation.
• When you feel comfortable and completely aware of your surroundings, begin to slowly roll yourself to one
side and continue to rest. Use as little energy as you find sufficient and, when you feel ready, gradually and
gently bring yourself back upright as we prepare to close our class.
• Namaste, Om Shanti.

Adjustments
Because adjustments can distracting to some people, it is best to make any necessary modifications to a student’s
positioning in Shavasana as soon as possible, unless a student specifically asks for assistance.
Feet—Kneeling down, place your hands lightly around the student’s ankles and gently roll the student’s feet externally.
Arms—Kneeling above the student’s head, place your hands lightly on the front of the shoulders and rotate the arms
externally so that the student’s palms face upward.
Shoulders—Kneeling above the student’s head, place your hands on the shoulders and lightly press down and out
to help the student relax more deeply. Move with the student’s breath.
Neck—To lengthen the neck, cradle the base of the student’s skull in your palm
and lightly draw the head away from the shoulders. Some students require
a pillow under the head for support.

Modifications
Spinal discomfort—If the student has discomfort in the
low back, instruct the student to bend the knees and
place a bolster or a number of folded towels under the
knees. If no props are available, instruct the student to
bend the knees and move the feet as wide apart as is
comfortable and to let the knees roll inward so they
touch. This modification allows the student to rest the
legs without using any muscles. Modification: spinal discomfort.

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 Restorative Postures

Pregnancy—For pregnant women who feel uncomfortable lying on the back, or

are past the first trimester, cue them to roll to the left side in a restful
fetal position. For added comfort, place pillows or
bolsters between the thighs and under the head.
Respiratory discomfort—If the student has diffi-
culty lying on the back and breathing comfort-
ably, place a bolster under the upper shoulders
and head, lifting the head slightly higher than
the chest. Modification: pregnancy.

Kinematics
Because all of the muscles are in a relaxed state, the kinematic chart illustrates only the body’s positioning in the pose.

Shavasana
Body segment Kinematics
Foot and toes Toe extension
Lower leg Slight ankle plantar flexion
Thigh Knee extension
Hip and pelvis Femoral external rotation
Hip extension
Torso Spinal extension
Shoulder Humerus external rotation, abduction
Upper arm Elbow extension
Lower arm Forearm supination
Wrist extension
Hand and fingers Finger extension
Neck Neck extension
Because the entire body is relaxed when properly positioned in this asana, no muscle contractions are listed.

Because many people need a bit of guidance to bring their body and mind into full relaxation, appendix A
offers some sample relaxation scripts. You may also view the Belly-to-Universe relaxation video by visiting
the web resource at www.HumanKinetics.com/InstructingHathaYoga.

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 Part III
Structuring
a Class
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 12
Class Framework

L ike any organized

physical activity, a
comprehensive yoga
class follows a certain struc-
ture, which allows the class
to flow smoothly and logi-
cally. In the case of yoga, the
class must be balanced and
provide a variety of poses
in a manner that facilitates
harmony in students’ phys-
ical, mental, and spiritual
well-being. It must also be
as free from distraction as
is possible.
© Dean Mitchell/istock.com

In general, asana
sequencing should be char-
acterized by continuity and
balance in both effort and
purpose. For instance, in
the warming phase at the
beginning of a session, it is
best to start with poses that

321
322 Instructing Hatha Yoga
emphasize the larger muscles. As body systems
begin to move more fluidly, you can then offer
more refined movements involving the smaller
muscle groups. Such a progression enables stu-
dents to feel energetic and physically comfortable
with movement; it also helps students avoid inju-
ries that might occur if the muscles and joints
were not adequately prepared for strenuous or
intricate poses.
With these same principles in mind, some
hatha yoga styles, such as Bikram and Ashtanga,
practice the same postures in the exact same
sequence in each class session. In addition to
the physically logical progression of these series,
students become familiar with the flow of poses,
which allows many of them to feel a kind of
comfort as they flow from known pose to known
pose. This is not to say, however, that more eclec-
tic hatha styles cannot be just as comforting to
students. It is simply to illustrate the importance
of being thoughtful when arranging the asanas
in your classes.
Just as hatha yoga has many styles, many per-
sonality types make for effective yoga teachers.
Some instructors plan a class with great detail
and organization, down to such minute details
as what song will play during a particular asana.
Other instructors seem to simply wing it, modi-
fying and adapting the class structure based on
the changing energy of the students in attendance.
Either way, you must have a good repertoire and
the ability to address both the immediate and the
long-term needs of your class.
Using the tools presented in chapter 2 for
understanding your students’ needs, you can
apply the outlines provided in this chapter to
create a sequencing formula and chart the prog-
Table 12.1  “Flight Plan” for Yoga Session
Centering Warm-up
(preflight check (engine start-up
with control tower) and idling)
Tadasana or easy seated Tadasana, Sun Saluta-
poses tions, or basic poses that seated poses (supine and
move all joints
Asanas
Durga breath (three-part, Durga breath (three-
Breathing “full,” or ujjayi) part, “full,” or ujjayi)
ress of each session for yourself or your students.
Examples presented here range from basic lesson
plan frameworks for generic or classical-eclectic
hatha yoga classes to more sophisticated and
detailed class charts. The examples are given as
guidance for you to study and then use either
exactly as presented or as a seed for your own
inspiration and creativity.
A basic class framework consists of a vital yet
often superficial outline of a class session. No
matter if you plan a session with generalized
goals, or with every detail outlined, this essential
framework should remain at the forefront of your
mind. Just as the foundation and frame of a house
enable the rest of the house to be fabricated and
completed with different materials, so a basic out-
line and lesson plan give form to a yoga session’s
strategy and allow it to unfold over time based on
students’ needs and the instructor’s inclinations.
In another way of conceiving this work, David
Swenson (1999), a well-known Ashtanga instruc-
tor, has said that each series of Ashtanga hatha
is structured like a sandwich. The warm-up
and finishing poses are like the bread, and the
main asanas are the sandwich filling. Moreover,
the warm-up and finishing poses in Ashtanga
hatha are always the same for every series; only
the physical movements in between differ from
series to series. This is an illustration of using
the basic framework of sequencing, specific to
Ashtanga classes, yet it may be adopted for any
classical-eclectic class if the teacher finds the
outline has value for his or her students.
A class framework can also be likened to a
flight plan (see table 12.1). A flight entails check-
ing in with the control tower, which is similar
to getting centered. Then, before taking off, the
Workout (flight) Cool-down (landing)
Standing poses; some Finishing poses, twists
and slower movements,
prone), including inver- then a seated meditation
sions; overall sequence or Shavasana
incorporating spinal move-
ment in all six directions
Durga breath (three-part, Nadi shodhana or
“full,” or ujjayi) simple passive and nat-
ural belly breathing

plane’s engine needs to warm up; similarly, the
body needs to be warmed before it can go through
more strenuous poses. The main poses then cor-
respond to the flight itself, and the cool-down
period corresponds to the plane’s landing, which
is gradual and, like Shavasana (Corpse Pose),
often requires the most skill.
Class Outline
In a yoga class, the basic framework consists of
the following elements: centering of mind and
body, warm-up of body and loosening of physical
tensions, main asanas, cool-down period, and
class closure. With this basic framework, you
can choose your class goals and the activities,
rationales, and objectives through which to meet
them. To put it another way, the asanas and the
pranayama you instruct are activities that you
offer your students in order to meet the chosen
goals. The following bare-bones, class-structure
outline can be applied to almost any style of
hatha yoga.
Centering
Centering is the part of class in which students
begin to prepare mentally for practice—a time to
clear the mind of extraneous thoughts and begin
drawing the focus inward. To help your students
move into this mind-set, remind them to turn off
cell phones and other devices, move belongings
away from the practice space, and slowly begin
letting the outside world dissolve. During this
portion of class, atmosphere plays a big role in
directing students to their practice. If you choose
to use music, you can play it softly in the back-
ground as students enter the room to help set a
peaceful, calming mood before a word is spoken.
In many hatha traditions, Tadasana (Mountain
Pose) is used to bring the focus of the mind into
the body. By inviting students to focus on breath,
balance, and alignment, you help them begin to
ignore outside distractions and eliminate mental
stresses. Some hatha styles, especially restor-
ative classes, generally begin with students in
a seated position. Others start in Shavasana to
create restfulness and help push away ordinary
distractions. Many instructors also facilitate cen-
tering by means of intention setting, chanting, or
motivational readings.
Class Framework 323
In addition, breath work, or pranayama, is
used in many forms of hatha yoga to help keep
the mind focused within the body. In general,
either durga or ujjayi breathing (see chapter 4)
is practiced to slow the mind and create a feeling
of relaxation. These breathing techniques also
help warm the body as preparation for the rest
of the class. Focused breathing alone can bring
the energetic channels (the ida and the pingala)
into balance.
Physical Warm-Up
To prepare the muscles and joints for movement
in any asana practice, the tissues need to be
moved and warmed to a certain degree in order
to avoid injury. The same rationale applies to any
type of physical activity: warmed muscles are
less apt to strain or tear. In addition, when joints
can move more fully and smoothly through their
designed range of motion, students are generally
more able and willing to open themselves and
tune into their energy throughout the class.
Warm-up involves the Sun Salutations. Prac-
ticed slowly or rapidly, this series of asanas
increases circulation to the muscles and joints
and allows practitioners to link each movement
with the rhythm of the breath. As presented in
chapter 6, the sequencing of the classical Sun
Salutations, linked to the breath, allows students
to form a deep mental and physical connection
with the truth of how they feel on a physical and
emotional level.
In some styles of hatha yoga, however, teachers
choose either to not implement the Sun Saluta-
tions at all or to introduce them later in the class.
This decision is based on a teacher’s preference
and the style of yoga they instruct. In classes that
do not practice Sun Salutations as a means to
warm the body, the beginning of class generally
focuses on using the breath as a means to warm
the body and on practicing simple, rhythmic joint
movements. In Iyengar hatha yoga, the practice
begins with standing postures, and some teachers
might utilize poses that require strong isometric
energy, such as Utthita Chaturanga Dandasana
(Plank Pose).
Main Practice
The bulk of a class session consists of the main
practice, which is generally the most physically
324 Instructing Hatha Yoga
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Beginning your class with warming poses, such as the Sun Salutations, helps prepare the muscles and joints for the
movements to follow.
challenging portion. This is the part where a
variety of asanas are presented, now that the
muscles have been warmed, the mind is focused,
and the breath flows comfortably and naturally.
Thus students are prepared to deepen their prac-
tice—ready to expand their energies and open
themselves more fully to their innate strengths
on all levels: physical, emotional, and spiritual.
Regardless of whether you teach a fast-paced
vinyasa class or a gentle restorative class, a well-­
balanced practice presents a range of asanas that
move the spine in the six directions in which the
spine can move: forward, backward, laterally left,
laterally right, rotated left, and rotated right. Gen-
erally speaking, postures that move the body in one
direction should be followed by an oppositional
pose or counterposture. To put it more specifically,
a forward-bending posture should be followed by
a backward-bending posture and vice versa. After
practicing a headstand or backbend, for instance,
it is advisable to relax and stretch the spine in a
restful Balasana (Child’s Pose), which counters the
preceding intensity and demanding effort.
Cool-Down
Asanas that are not physically demanding are
quite effective when sequenced near the end
of class as part of the cool-down period. Many
restorative supine poses, as well as pranayama
and eye exercises, are suitable for practice
during this phase because the mind is calm yet
actively attentive and the body is ready to relax
comfortably.
Finishing asanas are either very passive—for
example, Viparita Karani (Restorative Legs-Up-
the-Wall Pose), which naturally facilitates the
cooling-off period—or, as in Salamba Shirshasana
(Supported Headstand), require so much energy
and stamina that only a few passive poses are
practiced immediately afterward as a cool-down.
Many seated asanas are soothing when practiced
slowly—lowering the heart rate and respiration
while moving the mind into a restful state.
Shavasana (Corpse Pose) is the heart of hatha
yoga. The deep meditative relaxation provided
by this pose opens a space where the body and

mind meld into a restful state and are restored
and recharged. Consciously withdrawing the
senses from the material world and from exces-
sive stimuli gives the nervous system a chance to
recuperate and brings the entirety of the bodily
systems back into balance. On a physical and
energetic levels, this deep relaxation improves
immune system function and allows for increased
fitness. On the mental and emotional levels, will-
power increases, as does the tolerance of many of
life’s stressors. In fact, for some people, conscious
relaxation and meditation are often more healing
and fortifying than sleep.
Sometimes students become so relaxed in
Shavasana that they fall asleep. (You may even
hear snoring!) At other times, students fall asleep
in Shavasana because they are so physically and
mentally exhausted. For these students, it may be
appropriate to allow them this snippet of sleep,
as long as they do not distract others.
The purpose of Shavasana, however, is to
remain aware yet detached. When a student
remains attentive but calm in body and mind,
she or he experiences a true, deep, conscious
relaxation. As you hold the peaceful space for
your class while they are in Shavasana, observe
the slow rise and fall of abdomens. In addition,
observe the calmness and tranquility in hands,
feet, and faces, which appear to hold much less
tension than they did when the class began. Often,
students also have a smile or a few words to share
in appreciation of experiencing the journey of
your yoga class.
Class Closure
To finish the class, slowly revive the students,
guide them back to awareness of the body, and
bring them back to a seated position. To draw
students back from the relaxed state, many
instructors use guided imagery. Some also pro-
vide an inspirational reading or thought as a way
of closing the class session. In the classic closing
gesture, students are invited to press the palms
together in front of the heart in Anjali Mudra.
Some instructors chant “Om” and then offer the
salutation “Namaste.”
By establishing conscious closure for the
class, you enable each student to experience a
smoother transition from the mat to her or his
next destination. Although the important time
spent on the mat has ended, students generally
Class Framework 325
carry the awareness and any other benefits they
gained during the class with them as they leave.
These benefits are not abruptly rolled up with the
mat; instead, over time, students become able to
integrate relaxation more easily into their daily
lives. A slow shift from class to “reality” also
brings students back to the room if they ended
up feeling spacey—which is a frequent occur-
rence. In addition, even a very brief closing is a
way of saying, “Thank you and good-bye,” thus
showing your students that you honor and value
the time and energy they have shared with you
and with the rest of the class.
Lesson Plans
and Class Descriptions
A lesson plan not only provides your class with
structure and definition but also can be quite
useful for educating  your students. Depending
upon the overall objectives you set for your class,
you may choose to share additional philosophical
or anatomical information about the asanas, or
about yoga in general. This is also a great way for
your students to get to know you better, and for
you to help build a closer-knit "community" within
the group. In addition, the information included
in a lesson plan helps you stay organized, explain
your class to prospective and current employ-
ers, and promote yourself and yoga in general.
Eventually, teaching a class becomes second
nature, but going through the process of writing a
lesson plan at any point during your professional
progress is edifying because it deepens your
understanding of yoga, enhances your teaching
skills, and allows you to promote yourself and the
discipline on a professional level.
One marketing technique used in many yoga
brochures and course listings is that of stating
class goals instead of describing the class itself.
The fact is, however, that all yoga classes share
some wonderful goals. For example, a brochure
might say, “Feel renewed and balanced in your
body, mind, and spirit with the nurturing work-
out of our yoga journey.” It sounds great, but it
could refer to the goal of almost any yoga class.
The statement indicates promised benefits rather
than describing the class itself, and it gives the
reader no way of knowing whether the class style
is gentle and passive or active and heated.
326 Instructing Hatha Yoga
Some key words, however, do, and should
be used to, indicate the style of a class and how
it is taught. Examples include the following:
alignment, mindfulness, breath awareness (or
attention), slow, fast, sustained, flowing, playful,
serious, spontaneous, consistent, regimented, hot
(or heated), hands-on adjustment, meditative,
strengthening, quiet, and athletic. In contrast,
words such as relaxing, rejuvenating, and thera-
peutic are nondescript and fail to indicate the style
or methods that will be practiced. Hold these con-
cerns in mind when composing a course outline,
especially for potential students or employers.
It is not always easy to set measurable objec-
tives for an ongoing yoga class because students
may vary greatly in both goals and ability. Objec-
tives can be stated, however, in relative terms.
For example: “After 10 classes, the student will
be able to breathe at least two seconds longer
on the inhalation and exhalation.” Objectives
can also be open ended: “After three weeks, with
regular attendance at two classes per week, the
student can expect to move farther into and hold
position more comfortably for a longer time in at
least three postures.”
A course outline or lesson plan should also
include rationales that justify and remind the
instructor, students, and any potential employers
of the reasons for using a particular technique.
For example, if the outline includes forward
bends, the rationale could be that they serve
as counterposes for backbending postures. In
another example, a lesson plan might list a cer-
tain modification, such as practicing Uttanasana
(Intense Forward Bend) with the use of props.
The rationale behind this modification could be
that practicing postures with props is one way to
alleviate tension in the low back.
As part of your lesson plans, you can
integrate students’ requests for help
in certain areas, such as overall body
strengthening.
Themes
Starting with a basic lesson plan and specific
guidelines, you can apply various themes and
intensity levels in any given class. One way to do
so is to ask students for their feedback regarding
any area of the body that may require additional
attention. The most common requests are for
postures that focus on the low back, hips, neck,
and shoulders—all of which are locations where
tension tends to gravitate. To address these con-
cerns, integrate a number of poses focused on
these body areas when following a basic class
plan. At the same time, recognize the possibili-
ties and importance of focusing on often-ignored
parts of the body, such as the toes, abdomen, and
elbows. Often, what was meant as a clever remark
by an unsuspecting student (for example, “I’d
like to focus on my big toe”) ends up leading to
a challenging and beneficial session.
The templates and outlines presented next are
rudimentary and intended to be used for refer-
ence and as a starting point. Remember that every
asana uses many muscles, and overlap is therefore
unavoidable. Indeed, trying to isolate a muscle
or body part in an asana is like trying to isolate
a note in a musical chord; your muscles (that is,
your instruments) work together in concert as
they express the poses. As a yoga teacher, you can
orchestrate a class routine to meet the needs and
wishes of your students by being familiar with the
proper biomechanics of poses and by establishing
rapport with your students. An attentive teacher
also assesses the energy level of a class in order
to appropriately pace the practice.
Areas of the Body
After determining what your class will benefit
from the most, use the examples described next to
help you organize your class based on body area.
Realize that this is just a quick reference guide
to asana categories, and more asanas (and their
variations) can fit into each of these categories.
The following list includes poses that are gener-
ally practiced. For more complete information,
see chapters 7 through 11, in which individual
asanas are described in detail.
Neck and Shoulders
• Utthita Trikonasana (Extended Triangle)
• Virabhadrasana I (Warrior I)
• Any asana with the arms overhead, both
during the warm-up and again later in the
class
• Gomukhasana (Cow’s Face Pose) and pas-
sive neck positions, such as rolling the head
from shoulder to shoulder
• Garudasana (Eagle Pose)

Low Back
• Surya Namaskaras (Sun Salutations)
• Any standing posture
• Side bends, twists, and forward- and back-
bending postures so that the spine is moved
in six directions
• Utthita Trikonasana (Extended Triangle)
• Ardha Matsyendrasana (Half Lord of the
Fishes Pose)
• Uttanasana (Intense Forward Bend)
• Ushtrasana (Camel Pose)
• Balasana (Child’s Pose)
Abdominals (Core)
• Focus on deep abdominal breathing
• Drawing the legs forward and backward
during Sun Salutations instead of pushing
off with the feet
• Navasana (Boat Pose)
• Utthita Chaturanga Dandasana (Plank Pose)
• Chaturanga Dandasana (Four-Limbs Staff
Pose)
• Vasishthasana (Side Plank Pose)
• Purvottanasana (Reverse Plank, or Intense
East-Side Stretch)
Hips
• Utthita Trikonasana (Extended Triangle)
• Virabhadrasana II (Warrior II) with focus
on frontal plane
• Natarajasana (King Dancer)
• Dhanurasana (Bow Pose)
• Parivrtta Trikonasana (Revolving Triangle
Pose)
• Variations of Raja Kapotasana (Royal
Pigeon Pose)
• Ushtrasana (Camel Pose)
• Baddha Konasana (Bound Angle Pose)
Hamstrings
• Utthita Trikonasana (Extended Triangle)
• Parshvottanasana (Intense Side Stretch)
• All forward bends
• Hanumanasana (Forward-Split Pose)
• Supta Padangusthasana (Reclining Hand-
to-Toe Pose)
Class Framework 327
Calves
• Vrkshasana (Tree Pose) and other single-leg
standing poses
• Virabhadrasana I (Warrior I)
• Adho Mukha Shvanasana (Downward-­
Facing Dog) with emphasis on pressing the
heels down to the ground or on placing the
toes of one foot on the heel of the opposite
foot
• Parshvottanasana (Intense Side Stretch)
Chest Openers
• Bhujangasana (Cobra Pose)
• Urdhva Mukha Shvanasana (Upward-­
Facing Dog)
• Ushtrasana (Camel Pose)
• Urdhva Dhanurasana (Upward Bow Pose,
or Full Backbend)
• Setu Bandhasana (Bridge Pose)
Postures for Various Energy
Levels
Use the following general guide to help you choose
poses according to the energy levels, moods, and
requests of your students. Remember also that,
at any time, all students can choose (consciously
or unconsciously) to push themselves further or
ease off on the energy that they put into a posture.
The following asanas are listed in order from
more passive to more vigorous. Again, this is
just a quick reference guide to asana categories.
For more complete information, see chapters 7
through 11, in which postures are described in
detail.
Stamina and Endurance
• Tadasana (Mountain Pose)
• Utthita Trikonasana (Extended Triangle)
• Virabhadrasanas (Warrior variations)
• Balancing poses: Utthita Hasta Padan-
gusthasana (Extended Hand-to-Toe Pose),
single-leg poses, Bakasana (Crane Pose),
arm balances
• Backbends: Urdhva Dhanurasana (Upward
Bow Pose)
• Inversions: Salamba Shirshasana (Sup-
ported Headstand)
328 Instructing Hatha Yoga
Twists
• Easy supine twists: Jathara Parivartanasana
(Belly Twist) with knees bent
• Supported and seated twists: Ardha Matsy-
endrasana (Half Lord of the Fishes Pose)
• Standing twists: Parivrtta Trikonasana
(Revolving Triangle Pose)
• Partner and assisted twists
Balancing
• Malasana (Basic Squat, or Bead Pose)
• Inversions: Adho Mukha Vrkshasana (Hand-
stand), unsupported
• One-legged standing poses: Vrkshasana
(Tree Pose) or Garudasana (Eagle Pose)
• Pincha Mayurasana (Peacock Feather Pose)
Inversions
• Forward bends: Uttanasana (Intense For-
ward Bend), Prasarita Padottanasana
(Extended-Leg Forward Bend)
• Adho Mukha Shvanasana (Downward-­
Facing Dog)
• Salamba Sarvangasana (Supported Shoul-
derstand)
• Salamba Shirshasana (Supported Head-
stand)
• Pincha Mayurasana (Peacock Feather Pose) 
Forward Bends
• Any pose supported by a chair, blocks, exer-
cise ball, or wall
• Uttanasana (Intense Forward Bend)
• Paschimottanasana (Seated Forward Bend)
• Parshvottanasana (Intense Side Stretch)
Backbends
• Supta Urdhva Dhanurasana (Restorative
Backbend)
• Bhujangasana (Cobra Pose)
• Setu Bandhasana (Bridge Pose)
• Virabhadrasana I (Warrior I)
• Ushtrasana (Camel Pose)
• Urdhva Dhanurasana (Upward Bow Pose)
Summary
A well-sequenced hatha yoga class is designed
to benefit each of your students on many levels.
Remain mindful of the need for physical and
energetic balance in the sequencing of  poses.
Whether you are highly detail oriented or tend to
be spontaneous in your approach to the frame-
work of your classes, you can use the information
presented in this chapter as a guide to help you
map out smooth, logical asana transitions based
on your desired outcomes and those of your stu-
dents. By clearly outlining the objectives of your
classes in expressive, well-defined language, you
provide prospective students and employers with
a realistic description of what to expect from you
and your classes.
 13
Sample Classes
G iven the many variables discussed thus far
in this text, how do you determine which
asanas to include in a class? Teaching
yoga involves so many layers. One person may
need to be reminded to breathe more, another
may need help in selecting an appropriate prop,
and yet another may be best served by the softest
touch on the head to cue the neck to relax away
unconscious tension. As you multitask—giving
verbal cues, physical adjustments, and demon-
strations—you must also observe the level of
comfort and ability in each of your students.
As discussed in chapter 12, your lesson plan
serves as a map, or a flight plan, and as the
instructor you navigate the course and guide stu-
dents through the journey. In doing so, you have
a plan, but you must remain ready and able to
adapt your teaching based on your observations.
A lesson plan that includes a solid foundation of
postures gives you strong bearings to guide your
movement through the plan. This base also allows
you the freedom either to make liberal use of the
examples presented here or to make alterations if
and when you are required or inspired to do so.
The following sample outlines are geared
toward classes lasting 30, 60, or 90 minutes. The
duration noted beside each asana includes the
time that it takes to bring students into and out
of the posture in a flowing manner, with few or
no pauses. These durations can be manipulated
to address the specific objectives that you set for
© AfricaImages/istock.com

your class. In addition, outlines are provided for

a basic children’s yoga class and a prenatal yoga
class in order to illustrate some of the modifica-
tions necessary to meet the needs of these special-
ized populations. If you intend to teach children
or expectant women, additional training is highly
recommended—and in some settings required.

329
 Sample 30-Minute Class
A 30-minute class is most likely the shortest class you will teach. Although short, a 30-minute class can nicely
introduce students to the basics of asana practice—the names of postures, the flow of a class, and the initial work
on body awareness and alignment. This duration is used in many school-based physical education programs. The
following outline includes foundational postures and an easy progression through which to introduce students to yoga.

See
chapter 6,
pages 77-80

1  Tadasana, 1.5 minutes 2  Surya Namaskara 3  Utthita Trikonasana, right 4  Uttanasana, 1 minute
series, two times for 1 side for 1.5 minutes
minute each

5  Utthita Trikonasana, left 6  Uttanasana, 1 minute 7  Virabhadrasana II, right side 8  Uttanasana, 1 minute
side for 1.5 minutes for 1 minute

9  Virabhadrasana II, left side 10  Uttanasana, 1 minute 11  Malasana, 1 minute 12  Janu Shirshasana, right
for 1 minute side for 1.5 minutes

330
 Sample Classes

13  Janu Shirshasana, left side 14  Matsyasana, 1 minute 15  Durga-Go, 1.5 minutes 16  Supta Padangusthasana,
for 1.5 minutes right side for 1 minute

17  Supta Padangusthasana, 18  Jathara Parivartanasana, 19  Jathara Parivartanasana, 20 Pavanamuktasana,
left side for 1 minute legs to left side for 1 minute legs to right side for 1 minute 30 seconds

21  Shavasana, 6.5 minutes

331
 Sample 60-Minute Class
Most fitness and recreational facilities allot 60 minutes per class. To expand a 30-minute basic class into a 60-minute
class, you can simply double the holding times in each pose and use more time to focus on alignment and breathing.
Alternatively, you can use the additional 30 minutes to add postures for increased variety. The additional time also
gives you a chance to walk through the class and provide any necessary adjustments for students, especially in larger
classes. As students become more comfortable with the asanas—and as their awareness, flexibility, and endurance
increase—you can begin to add variety to the class by substituting different postures.

See
chapter 6,
pages 77-80

1  Tadasana, 3 minutes 2  Surya Namaskara series, 3  Utthita Trikonasana, right side 4  Uttanasana, 1 minute
two times for 3 minutes for 1.5 minutes
each

5  Vrkshasana, standing on 6  Utthita Trikonasana, 7  Uttanasana, 1 minute 8  Vrkshasana, standing

right leg for 2 minutes left side for 1.5 minutes on left leg for 2 minutes

332
 Sample Classes

9  Virabhadrasana I, right side 10  Parshvottanasana, right 11  Uttanasana, 1 minute 12  Virabhadrasana I, left
for 1 minute side for 1 minute side for 1 minute

13  Parshvottanasana, left side 14  Uttanasana, 1 minute 15  Malasana, 1 minute 16  Janu Shirshasana, right
for 1 minute side for 1 minute

17  Janu Shirshasana, left side 18  Matsyasana, 1 minute 19  Gomukhasana, right 20  Gomukhasana, left side
for 1 minute side for 1 minute for 1 minute

(continued)

333
 Sample 60-Minute Class (continued)

21  Dandasana, 1 minute 22  Paschimottanasana, 2 23  Purvottanasana, 1 minute 24  Navasana, 1.5 minutes
minutes

25  Baddha Konasana, 1 26  Upavishtha Konasana, 27  Supta Padangusthasana, right 28  Supta Padangusthasana,
minute 1.5 minutes side for 2 minutes left side for 2 minutes

29  Jathara Parivartanasana, 30  Jathara Parivartanasana, 31  Shavasana, 14 minutes

legs to left side for 2 minutes legs to right side for 2
minutes

334
 Sample Classes

Sample 90-Minute Class

Many yoga studios and some fitness facilities allot 90 minutes per class. This amount of time may seem daunting at
first; however, the additional time allows for more creativity and more opportunity to practice asanas that often require
more hands-on help from the instructor, such as Salamba Shirshasana and Salamba Sarvangasana. Many instructors
also use the additional time to teach in a more workshop-oriented style, opening up more time for discussion and
individualized practice.

See
Chapter 6,
pages 77-80

1  Tadasana, 3 minutes 2  Surya Namaskara series, four 3  Utthita Trikonasana, left 4  Ardha Chandrasana, left
times for 3 minutes each side for 2 minutes side for 1.5 minutes

5  Uttanasana, 1 minute 6  Vrkshasana, standing on right 7  Utthita Trikonasana, right 8  Ardha Chandrasana, right
leg for 2 minutes side for 2 minutes side for 1.5 minutes

9  Uttanasana, 1 minute 10  Vrkshasana, standing on left 11  Virabhadrasana I, right 12  Parshvottanasana, right
leg for 2 minutes side for 1 minute side for 1 minute
(continued)
335
 Sample 90-Minute Class (continued)

13  Uttanasana, 1 minute 14  Virabhadrasana I, left 15  Parshvottanasana, left side 16  Uttanasana, 1 minute
side for 1 minute for 1 minute

17  Virabhadrasana II, right side 18  Utthita Parshvakona- 19  Uttanasana, 1 minute 20  Virabhadrasana II, left
for 1.5 minutes sana, left side for 1 minute side for 1.5 minutes

21  Utthita Parshvakonasana, 22  Uttanasana, 1 minute 23  Malasana, 1 minute 24  Janu Shirshasana, right
right side for 1 minute side for 1 minute

25  Janu Shirshasana, left side 26  Gomukhasana, right 27  Gomukhasana, left side for 28  Dandasana, 1 minute
for 1 minute side for 1 minute 1 minute

336
 Sample Classes

29  Paschimottanasana, 2 30  Purvottanasana, 1 minute 31  Navasana, 1.5 minutes 32  Baddha Konasana, 1
minutes minute

33  Upavishtha Konasana, 1.5 34  Salamba Shirshasana, 5 35  Salamba Sarvangasana, 5 36  Matsyasana, 1 minute
minutes minutes minutes

37  Supta Padangusthasana, 38  Supta Padangusthasana, left 39  Jathara Parivartanasana, 40  Jathara Parivartanasana,
right side for 2 minutes side for 2 minutes legs to left side for 2 minutes legs to right side for 2 minutes

41  Shavasana, 17 minutes

337
 Sample Prenatal Yoga Class
This example presents a basic sequence of poses appropriate for a prenatal yoga class. The sequence includes
modified traditional asanas, as well as those designed to ease or strengthen specific areas related to the special needs
of pregnant women. This is a generic outline appropriate for all stages of pregnancy. The durations indicated include
slow transition times for a 60-minute class. If you are interested in teaching prenatal classes, please pursue training
with a certified prenatal yoga training school.

1 Seated meditation; using props to bring 2 Garudasana (Eagle Pose) arm and
physical ease in this centering period (5 shoulder rolls; gently loosening
minutes) tensions in the upper body (1 to 2
minutes for each side)

3  Durga-Go (Cat and Cow Pose); possible gentle warm-up and benefi- 4 Low lunge; for loosening and
cial for spinal strength (1 to 2 minutes) opening the pelvis and hips (1
to 3 minutes for each side)

5 Balasana (Child’s Pose); draw- 6 Kneeling Gomukhasana (Cow’s Face 7 Tadasana (Mountain Pose); legs
ing the legs wider as the preg- Pose), arms only; strength building for the only as wide as feels stable (1 to
nancy advances (1 to 2 minutes) lower body and loosening for the upper 1.5 minutes)
body (1 to 3 minutes for each side)

338

8 Modified Uttanasana (Intense
Forward Bend); using props such as
blocks, or a chair seat or wall (1 to
1.5 minutes)
11 Malasana (Basic Squat, or Bead
Pose); important pelvic opening pose,
beneficial for elongating the low
back, using props for balance as preg-
nancy advances (0.5 to 1.5 minutes)
14 Modified Ardha Matseyendrasana
(Half Lord of the Fishes Pose); rotating
only from upper thoracic region as
pregnancy advances (0.5 to 1 minute
for each side)
16  Shavasana (Corpse Pose); practicing in
side-lying position after the first trimester
and modifying for specific needs of each
student. This pose should be practiced
lying on the left side to avoid putting pres-
sure on the vena cava (10 to 20 minutes)
Sample Classes
9 Utkata Konasana (Fire Angle Pose); 10 Vrkshasana (Tree Pose); best
strengthening and expansion for the practiced near a wall or chair as
hips and pelvis (0.5 to 1 minute) pregnancy advances and students’
balance begins to shift (0.5 to 1.5
minutes for each side)
12 Baddha Konasana (Bound Angle 13 Janu Shirshasana (Head-to-Knee
Pose); another important pelvis Pose); as pregnancy advances,
opener (1 to 3 minutes) straight leg abducted more and props
used for abdomen and upper body (1
to 2 minutes for each side)
15 Modified Supta Padangusthasana (Reclining Hand-to-Toe Pose);
practicing on the side to avoid pressure on the inferior vena cava
(the main vein returning blood to the heart). An additional seated
variation allows the student to remain upright if it feels more com-
fortable for her (1 to 3 minutes for each side)
339
 Sample Children’s Yoga Class
Reprinted, by permission, from Kristin Akerele, MPH, RYT 200.
The following example is geared toward a children’s yoga class for ages 6 to 12 years. It is included to give you
an idea of the differences in format and function of a children’s class as compared with an adult hatha class. Due
to the more fluid nature of a children’s class, no time indicators are given for the asanas. This sample is designed
to take about 30 minutes, which is appropriate for younger children. For older kids, class may be extended by 15
to 25 minutes, depending on the students’ attention spans. If you are interested in teaching classes to children,
please pursue training with a certified children’s yoga training school.
Children may begin practicing yoga at any age because their bodies tend to be flexible and their minds are open
to learning new things. It is valuable to teach children basic breathing and meditation techniques at a young age
because they can then use the techniques to deal with stress and difficult situations as they arise. The key to teaching
yoga to kids is to make it a fun, creative experience for them! For example, because many yoga poses have animal
names, it is easy to incorporate animal sounds into the practice to further engage kids. Children’s yoga classes are
often loud and lively, but everyone loves the quiet shavasana at the end.

1 Peace begins with me
breathing—Sit in criss-
cross-apple-sauce posi-
tion. Breathe in through
your nose and count to
four, then count to four
again when you breathe
out. Feel your body relax
as you breathe slowly
and steadily. Now say,
“Peace begins with me,”
counting each word out
on your fingers, starting
with your pinky touching
your thumb (and moving
to the third, second, and
first finger, respectively,
touching the thumb).
2 Cat and Cow—Make your
body into a table so that your
back is the flat tabletop and
your arms and legs are the
table’s legs. Inhale and let
your belly drop toward the
ground. Breathe in through
your nose as you look up to
the sky and then say “moo”
like a smiling cow. Now
breathe out through your
nose and make your back
round like a cat and look
at your belly button. Meow
like a happy cat. Repeat
“mooing” and “meowing”
movements a few times.
3 Child’s Pose—Come
back to the table posi-
tion and sit back on your
heels. Move your knees
wider apart and walk your
hands forward. Bring your
forehead down to the
ground and let your body
rest. Take a few breaths.
Now breathe in and come
back to the table position.
4 Downward-Facing
Dog—Lift your tail up
high toward the sky.
Stretch your arms and
legs and bark a few times!
Now wag your tail back
and forth and maybe pre-
tend you are walking in
place.

5 Forward Fold—Look 6 Mountain—Bend your 7 Hello Sun—Reach your 8 Forward Fold—Reach

between your hands and
walk or jump your feet
up to your hands. Hang
forward and let your arms
relax. Bend your knees a
little if you like.
knees a little and slowly roll
up so that you stand tall,
still, and strong like a moun-
tain. Pretend that your feet
are part of the earth and that
nothing can move you. Keep
breathing in and out through
your nose.
arms up high and look
up, saying, “Hello Sun!”
Stretch your fingers up
high and imagine reach-
ing the sky.
your arms out to your
sides like wings and let
your hands float down
toward your feet. Hang
forward and let your arms
relax. Bend your knees a
little if you like.

340
 Sample Classes

9 Monkey—Breathe in 10 Surfboard—Keep your 11 Cobra—Bring your knees 12 Downward-Facing Dog—Bring

and bring your hands to hands on the ground and step down to the ground and your chest back to the ground. Lift
your knees. Look forward your feet back one at a time put your hands under your your tail up high toward the sky.
with your back long and into Surfboard (or Plank Pose.) shoulders. Hug your legs Stretch your arms and legs and bark
straight. Make monkey Make your body one long line together so they look like a few times! Now wag your tail back
sounds, then bring your and squeeze your belly button a snake tail. Inhale and lift and forth and maybe pretend you
hands to the ground again. in! Pretend you are riding your chest up like a cobra. are walking in place.
You may bend your knees. strong and straight on a wave. Hiss like a snake!

13 Forward Fold—Look 14 Mountain—Bend your
at your hands and walk knees a little and slowly roll
or jump your feet to your up so that you stand tall, still,
hands. Hang forward and and strong like a mountain.
let your arms relax. Bend Pretend that your feet are
your knees a little if you part of the earth and that
like. nothing can move you. Keep
breathing in and out through
your nose.
15 Rock and Star (partner
pose)—Find a partner, and
pick one of you to become
a rock by bringing your
body into Child’s Pose. The
other partner, the star, first
sits softly on the rock, then
lies back gently. The star
reaches his or her arms out
wide and shines! Breathe
softly for five to ten breaths,
then switch positions.
16 Tree (partner pose)—Stand in
front of your partner in Mountain
Pose. Touch palms with your part-
ner. Each of you lifts one foot off the
ground (you can do the same leg as
your partner or the opposite leg). Put
your foot on the inside of your other
leg. Lift your hands together and
use each other to balance. Imagine
strong roots growing out of your feet
and helping you stand strong. Now
pretend that a strong wind comes up
and blows you around while you try
to keep your balance!

17 Froggy—Start in Moun- 18 Bridge—Lie down on the 19 Happy Baby—Lying 20 Final Relaxation and Cloud Pose—
tain Pose with wide legs ground and bend your knees. down on your back, bend Lie on your back and stretch your arms
and point your feet away Bring your feet back toward your knees. Bring your and legs long on the ground. Inhale,
from each other a little. your seat. Rest your arms on knees toward your chin and scrunch up your face, and squeeze
Bring your hands together the ground by your sides. hold onto your ankles or your fingers and toes. Squeeze all your
in front of your heart and Breathe out and lift your seat feet. Rock back and forth. muscles like you are cold and shivery.
breathe out. Bend your up high. Slowly bring your Start to giggle and pretend Squeeze, squeeze, squeeze! Now
knees so that your seat seat back to the ground and to be a happy baby. exhale and relax your whole body.
comes close to the ground. relax. Wiggle your jaw from side to side and
Keep your elbows inside take a big yawn! Now imagine floating
your knees and jump away on a soft, fluffy cloud and going
around like a frog as you to your favorite place. It could be the
say “Ribbit!” Take five beach, the mountains, a park, a lake—
hops, then sit down on the anywhere you like! Breathe and relax!
ground. (When teaching younger children, it is
best to read or to tell a relaxing story,
such as the preceding, during this part
of the class.)
341
342 Instructing Hatha Yoga
Sample Six-Week Course
Many students may wish to expe-
rience the relaxation and peace of
mind that come with meditating.
Let your students know whether
you will be able to guide them in this
area and whether you will provide
informational materials about it.
To give you an idea of how a series of classes
might progress within a limited time frame, the
next section provides a detailed class outline for a
six-week introductory course in classical-eclectic
hatha yoga. This sample course meets twice a
week for 75 minutes per session; it is intended
for you to use as part of your own lesson plans,
if you so desire.
1. Introduce yourself by name; if appropriate,
hand out your contact information. Break the ice
just enough to establish that you are both nurtur-
ing and organized. Be humble but also express
authority in order to gain students’ trust. Here is
an example of an opening statement:
Namaste, or Salutations. My name is
________, and I will facilitate your class for
the next six weeks. I am here to guide and
support your practice and, more important,
your discovery of how yoga practice may
benefit you. Please know and take comfort
in the fact that I cannot do all of the postures
“perfectly.” I may briefly demonstrate poses
as part of the learning process; however, the
idea is not to do them exactly as I do them
but rather to experiment and see how much
your own body and mind can engage in
the asanas while you are comfortably chal-
lenged. Please remember to move only as
far as your body feels comfortable moving.
You should feel no pain. I will continually
remind you to breathe as you practice.
2. Offer a brief explanation of what pace and
style the class will follow during the next six
weeks. If you are teaching a specific style of hatha,
such as Ashtanga or Iyengar, make this fact clear
to students. The following sample introduction is
appropriate for a classical-eclectic hatha class:
This class is a mind–body wellness class;
therefore, I do not have time to cover much
yoga philosophy or meditation. However,
in your handout (or on the white board, or
overhead screen) I have included a small
list of resources for further study if you are
interested. Also, I invite you to take to heart
the words of the great yoga master Pattabhi
Jois: “Yoga is 95 percent practice and only
5 percent theory.”
We will practice a great foundational
routine, and each week we will add a few
variations and build on the strength, flexi-
bility, and endurance that you gained from
previous sessions. The pace will be such that
everyone can follow along. As I see the need,
or as you tell me of it, I will assist you in
modifying the postures to make them easier
or more challenging as you wish.”
3. In a handout or other appropriate form,
include the following information:
• Your name and contact information, if
you are willing to provide it
• Class syllabus (A sample syllabus appears
in appendix E in an easy-to-copy form.)
• The word Namaste and its general mean-
ing (loosely translated): “The Divine light
within me salutes the Divine light within
you.”
Although many studios and athletic clubs
offer yoga classes in different styles and levels of
intensity, the distinction between a “beginner”
class and an “advanced” class is relative, because
most classes include students of various ability
levels. The ideal plan is to teach a foundational
class and build on the foundation by adding
variations and gradually introducing new asanas.
The sample syllabus provided in appendix E is a
guideline only; it is your responsibility to deter-
mine how to adjust the time spent on particular
poses based on your students’ abilities, comfort
levels, and requests.
4. If appropriate, at the end of the course, have
students fill out a brief class evaluation. A sample
evaluation form is included in appendix D.
 Sample Classes 343

Week One: Foundation • Padmasana (or sitting in any comfort-

able cross-legged position with easy neck
Introduce simple breathing techniques, teach stretches)
names, and practice basic asanas. • Durga-Go with alternating arm and leg
extended
• Introduce the complete yogic breath—
• Supta Padangusthasana
breathing in and out through the nose from
the abdomen. Invite students to practice • Five breaths resting supine with knees bent
breathing in for four seconds and out for while focusing on belly breaths and hands
four seconds. resting on the abdomen
• Postures for week one include: • Jathara Parivartanasana
• Tadasana • 10 minutes of Shavasana with a mini guided
progressive relaxation
• Basic Surya Namaskara (two rounds)
• Utthita Trikonasana
• Uttanasana Week Three: Adding More
• Virabhadrasana II
• Malasana
Endurance to the Core
• Janu Shirshasana Foundation
• Marichyasana A
All asanas are held longer than in the previous
• Durga-Go
classes.
• Utthita Hasta Padangusthasana
• Jathara Parivartanasana • Tadasana (with focus on breathing—work-
ing to increase complete yogic breath from
• 15 minutes of Shavasana with a mini
four-second inhalation and exhalation
guided progressive relaxation
toward seven-seconds)
• Two Surya Namaskaras (the first with the
Week Two: Expanding the hands lifted off the ground while in Bhu-
jangasana, the second with the arms lifted
Foundation of Balance overhead while kneeling in the lunge)
• Utthita Trikonasana (held longer by a few
Work on increasing strength and focus. breaths)
• Review breathing while students are in • Uttanasana
Tadasana • Virabhadrasana I
• Tadasana • Malasana (held longer, focusing on balance)
• Surya Namaskara with variations of clasp- • Janu Shirshasana (held longer)
ing the hands behind the back while lunging
• Marichyasana A (held longer)
in the second round
• Padmasana or variations (adding easy neck
• Vrkshasana
stretches)
• Uttanasana
• Gomukhasana
• Utthita Trikonasana
• Supta Padangusthasana (held longer)
• Malasana
• Jathara Parivartanasana (working to extend
• Janu Shirshasana legs)
• Marichyasana A • Shavasana (focused mainly on watching
• Paschimottanasana the breath)
344 Instructing Hatha Yoga

Week Four: Adding More • Baddha Konasana

• Supta Padangusthasana
Variation to Poses • Setu Bandhasana
• Shavasana
• Tadasana (with focus on breathing—con-
tinuing to lengthen the time of inhalation
and exhalation toward seven seconds each)
• Two Surya Namaskaras (the first with
Week Six: Reviewing
Urdhva Mukha Shvanasana instead of Bhu-
jangasana; the second with Adho Mukha
and Renewing Postures
Shvanasana while one leg is lifted off the • Tadasana
ground for 30 seconds, then with legs • Surya Namaskaras
switched for the same amount of time) • Vrkshasana
• Parivrtta Trikonasana • Utthita Trikonasana
• Uttanasana (focused on finding the edge of • Uttanasana (with arm variations)
the balance on the feet)
• Prasarita Padottanasana
• Virabhadrasana II (with arm binding)
• Virabhadrasana II (side-lunge version)
• Malasana (held longer, focused on balance)
• Utthita Parshvakonasana
• Janu Shirshasana (held longer)
• Malasana
• Deeper version of Marichyasana (B or C)
• Janu Shirshasana
• Padmasana or variations (with easy neck
stretches) • Marichyasana A
• Gomukhasana (bending forward and back- • Paschimottanasana
ward from the hips for variation) • Durga-Go
• Supta Padangusthasana (after basic posture, • Dhanurasana
extending the legs out to the side to open • Supta Padangusthasana
the hips farther) • Jathara Parivartanasana
• Jathara Parivartanasana (working to extend • Shavasana (reviewing abdominal breath-
legs) ing with hands on abdomen, mini guided
• Shavasana (focused mainly on being aware relaxation)
of the breath)

Week Five: Expanding Putting It All Together

the Practice Part I of this book outlines the philosophical
tenets and ancient lineage of hatha yoga. It also
• Tadasana (centering longer) answers questions typically asked by students
• Two or three Surya Namaskaras (first one who are new to yoga practice—questions that you
easy, second two with variations in postures) as an instructor should be able to answer, whether
• Utthita Trikonasana on the spot or after doing some follow-up. In
addition, it provides extensive information to help
• Parivrtta Trikonasana
you discover your individual style of yoga practice
• Malasana and teaching as you connect with and guide your
• Janu Shirshasana (with a twist) students inward so that each experiences his or
• Paschimottanasana her innermost Self through yoga practice. Part
I also provides an overview of basic breathing
• Gomukhasana
techniques and selected information about how
• Garudasana the human body functions so that you can create
• Upavishtha Konasana (with variations of specialized classes that reach most, if not all, of
twisting or side bending) your students on multiple levels. The chapters in

part II provide detailed information about how to
present 68 fundamental asanas, including varia-
tions, modifications, and a kinematic breakdown
of each.
Part III synthesizes the information presented
throughout the book into a usable, practical
format. For example, the foundational postures
that make up many basic class sessions are pre-
sented in examples of appropriate sequencing.
This part of the book also shows you how to teach
your students to go beyond the beginning phases
of awareness in yoga practice and move on to
more evolved and creative levels of practice. It
provides sample goals, activities, rationales, and
objectives. It also provides examples to show you
how to structure a 30-, 60-, or 90-minute class
that includes variations of poses and routines
to challenge and build on the foundational class
structure. In addition, examples of rudimentary
children’s and prenatal yoga classes are included
to give you an idea of the differences in these
specialized styles. And a sample six-week sylla-
bus is provided as a reference and inspiration for
planning your own classes.
Incorporating this information into your teach-
ing repertoire will provide you with the tools to
adapt your lesson plans and class routines to most
yoga teaching assignments, whether in an adult
education facility, a physical education class,
a gym, a yoga studio, or a one-on-one private
session. Table 13.1 brings together the elements
outlined throughout this book as a whole and
illustrates a sample class with sample asanas
presented in sequence. The table lists the physical
and energetic effects of each asana, as well as
considerations for students’ Ayurvedic constitu-
Sample Classes 345
tions—the doshas of vata, pitta, and kapha—as
explained in chapter 2. The table also provides
cues that can be used as teaching tips, along
with modifications and variations for each asana.
By using appropriate verbal cues, adjustments,
props, and other modifications and variations,
you can help every student in your class reap
comprehensive, personal  benefits in any struc-
tured yoga sequence that you design.
Always hold in mind the fact that although
yoga is a discipline documented to be well over
5,000 years old, it continues to evolve due to the
blending of ancient methods and ideals with
modern sensibilities and discoveries. Know that
we are all part of this continual growth as you
share your best with your students. Moreover,
steer clear of thinking that because you have
read this book, you have learned all that you can
about teaching and practicing yoga! Please refer
to this text often for guidance as you refine and
enhance your teaching skills; in addition, peruse
the resources list presented in appendix B to find
other ways to continually edify yourself.
Define yourself as a perpetual student of life—a
student with an open heart and an open mind.
Habitually make time for your personal yoga
practice, enroll in workshops and conferences,
and openly share ideas with fellow yoga instruc-
tors. Take time to read both ancient and modern
texts that address yoga styles, philosophies, and
techniques. Listen to and observe your students;
you will learn much from them. The more well-
rounded and expansive your knowledge base and
experiences are, the more you and your students
will benefit from the wisdom and awareness of
this most wonderful discipline.
346
Table 13.1  Asanas in a Sample Class
Body area Body area Variations and
strengthened stretched Chakra Reminder Suggestion Motivation Adjustments modification Plane and
and stabilized and opened emphasis for vata for pitta for kapha and instructions options spinal direction
Whole body Chest, Muladhara Use legs. Focus on Lift chest. Lift arches and Feet width (dis- Neutral
trapezius breath work. knees, align tance apart),
hips, and drop hand position
1 Tadasana shoulders. (active or
relaxed; over-
head or by the
sides)
Feet, fronts of Hamstrings, Muladhara, Breathe into Relax the Stay at edge. Relax head and Bent knees, feet Forward bend
legs back Svadisthana, back area. belly; lift knees. width (distance
2 Uttanasana
Manipura release the apart)
spine.
Legs, abdomen Hips, chest Muladhara, Release Press back Press arms Square hips, Kneeling, chair, Backward bend
Svadisthana, knee out. heel. more. lower shoul- wall, progress
3 Lunge Manipura, ders, and lift to Eka Pada
Anahata, chest. Rajakapotasana
Visuddha
Back (if active) Chest Svadisthana, Tuck tail- Open shoul- Keep legs Drop shoul- More or less Backward bend
4 Bhujangasana Manipura, bone. ders. active. ders and keep active, no arms,
Anahata elbows in. legs lifted
Arms, shoul- Shoulders, Anahata, Release Move Push hands Roll shoulders Bent knees, one Neutral and
ders, back upper and Visuddha, head; rest if hips up into ground. open. leg lifted forward bend
Adho Mukha
5 lower legs Ajna needed. and back;
Shvanasana
lengthen the
spine.
Neck, back, Hamstrings, Svadisthana, Really use Go over Find edge of Keep hips in Block, wall (flat Side bends
hips hips, flanks Visuddha feet. details. balance. frontal plane, and/or hands
Utthita bottom shoul- touching),
6
Trikonasana der relaxed, kneeling, doing
ribcage straight, one side more
feet working.
 Hips, feet Ribs Muladhara, Reach tail- Try closing Lift arms Keep hips in Block, wall (flat Neutral
Manipura bone down- eyes. with inten- frontal plane, and/or hands
ward. sity. bottom shoul- touching),
7 Vrkshasana
der relaxed, kneeling, doing
ribcage straight, one side more
feet working.
Hips, low back, Hips, knees Muladhara, Drop shoul- Press Keep arms Make sure knee Wall, seated, Neutral
legs, shoulders Svadisthana, ders. through active and is turned out progress to
Virabha- Manipura, outer feet to chest open. and align torso. Utthita Parshva-
8
drasana II Anahata, open hips konasana with
Visuddha more. or without arm
support
Ankles and Hips, low Muladhara, Relax neck Keep knees Try active Keep heels Props, twist, Neutral and
9 Malasana thighs if lower- back Svadisthana and shoul- apart and variations. down. wall forward bend
ing actively ders. feet parallel.
Back (when Legs, spine Muladhara, Relax shoul- Align hips Lift front ribs Keep the ribs Active or pas- Forward bend,
active) Svadisthana, ders down; and navel forward and level, lower the sive foot or slight twist
Janu
10 Manipura, breathe into toward shoulders shoulders, and hand position,
Shirshasana
Anahata it. straight leg. back. roll out bent bandhas
knees.
Shoulders Triceps, Anahata, Lift chest. Keep arms Lift head. Focus on exter- Strap, forward Neutral
shoulders Visuddha in. nal shoulder bend
11 Gomukhasana
rotation; drop
the shoulders.
Upper back, Chest Manipura, Take it slow. Take it easy. Take it seri- Keep elbows in, 10 to 15+ Neutral
shoulders, neck, Anahata, ously. open the chest, minutes, twist,
Salamba
12 veins Visuddha, and tuck the Lotus Pose
Shirshasana
Ajna, Sahas- pelvis.
rara
All skeletal Relaxing for Ajna Let body Visualize Guide Roll the palms Pillows, bolsters Neutral
muscles should everything dissolve or breath as through pro- up and press
13 Shavasana be in a relaxed, melt into white heal- gressive the shoulders
non-active posi- breath. ing light. relaxation. down.
tion.
Poses 1 through 5 are incorporated in Classical Surya Namaskara Sun Salutations.

347
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Appendix A
Sample Relaxation Scripts
Even when students are completely ready to relax
the body after a rigorous asana practice, many
have difficulty allowing the mind to come into
the same state of relaxation. Left to their own
devices, many students find themselves focusing
on what comes next in the day. The following
scripts provide examples of ways in which you
can guide your students into a deeper state of
relaxation as they settle into Shavasana.
Progressive Relaxation
• Breathe deeply into your left foot. Hold your
breath and visualize it filling your entire left
leg. Tense your left leg. Lift it off the ground
slightly. Tense it still more. Exhale and
completely relax your left leg and imagine
it dissolving into your breath as you lower
it softly back to the ground.
• [Repeat the preceding instructions for the
right leg.]
• Breathe into your left hand. Spread your
palm and fingers open wide. Now make a
fist. Hold your breath in and visualize your
arm filled with your breath. Lift your left
arm and tense it a little more. Exhale and
completely release your left arm and let it
dissolve and become the healing white light
of your breath.
• [Repeat the preceding instructions for the
right arm.]
• Inhale as fully as you can into your belly
and fill it like a balloon at its fullest capac-
ity. Hold your breath. Exhale through your
mouth and deeply and completely relax.
• Now breathe into your rib cage, deeply fill-
ing your lungs in all directions. Expand your
lungs and rib cage to their fullest capacity.
Hold the breath. Exhale deeply and com-
pletely relax your back and chest.
• [Move down through the rest of the body in
similar fashion.]
Star Relaxation
• Visualize the rays of a blue (or gold or white)
star flowing in through the crown of your
head. Allow every skin cell, every muscle
cell, and every bone and blood cell in this
area to relax completely.
• [Wait a couple of breaths.]
• With your next breath flowing in, visualize
the starlight penetrating deeper into the
space behind your eyes and between your
eyebrows.
• [Wait a couple of breaths.]
• As you breathe in again, continue to visu-
alize the soft starlight moving down and
spreading its light and energy throughout
your whole body.
• [If you have sufficient time, talk students
through every joint in the body.]
Belly-to-Universe
Relaxation
• Feel your breath rise and fall gently in your
belly. Visualize the breath as a sphere of
white light about the size of a softball. Let
this sphere of white light expand gradually
with each breath.
• With your next inhalation, let the sphere
expand to the size of your entire torso.
Expand the healing white light of this sphere
in all directions so that it moves not only
through your body but beyond the bound-
aries of your body.
349
350 Appendix A
• Let your body and breath become one as
you continue to expand this sphere of light
with each breath. Allow the next breath in to
expand the sphere into a bubble surround-
ing you yet letting your body be completely
one with the breath as you deeply relax.
• With every inhalation, feel expansion; with
every exhalation, feel even more deeply
relaxed.
• In the next breath, expand the sphere and
your body to the size of the room . . . then
the size of the building . . . then the city . . .
the planet . . . the universe. Feel your whole
body as one with the power and wisdom of
the universe.
• [After 5 to 10 minutes, guide students back
by saying something such as:] In the next
few breaths, retaining that sense of expan-
sion and limitlessness, gradually breathe
yourself back into the perfect form of your
rested and recharged body on the ground. In
the next few breaths, begin to gently roll to
one side and come up to a sitting position.
Tibetan Healing-Breath
Relaxation
• As your breath comes into your body, visu-
alize and feel it as pure, healing white light.
As the breath exits your body, see it as smoky
grey. Let the breath remove any last bits of
tension, toxins, imbalance, or resistance,
thus allowing you to deeply relax.
• As the breath is clearing and purifying your
body, visualize and feel each breath as it
exits your body turning from a smoky gray
to a lighter grey, until finally the exhaled
breath is as clear and pure as the healing
breath you inhale.
Chakra Relaxation
Imagine that you are comfortably sitting or lying
in a comfortable spot on a warm spring or crisp
autumn day. Feel the soft caress of the sun’s rays
warming your skin. As you bask in the clean,
healing energy, picture yourself breathing in the
rays of the sun, allowing the rays to fill your entire
body—from the tip of your nose down to the ends
of your fingers and toes. As the warmth of the
breath enters your body, imagine your every fiber
softening and melting away any tensions you’ve
been holding.
Continue visualizing the warmth of the (spring
or autumn) sun filling your entire body with each
breath. Now, imagine the sun’s rays turning a
lovely, vibrant red. Invite the power of the red
energy to concentrate around the area of your
tailbone. Allow yourself to visualize your tail-
bone nestling into the earth; feel rooted into the
support of the ground beneath your body. After a
few more breaths, invite the feeling of grounding,
and of connection to everything that is, to spread
throughout your whole body. Send gratitude into
your Muladhara chakra.
As you continue breathing consciously, envi-
sion the color of the sun’s rays changing from
red to a deep, vivid orange. Direct that warm,
dynamic energy into your pelvis, just below your
navel. Invite this nourishing, creative energy to
swirl with ease throughout your pelvic bowl. Feel
empowered and alive as the orange rays expand
throughout your body and beyond. Send gratitude
into your Svadisthana chakra.
When you feel ready, draw your awareness
toward your solar plexus, above your navel and
below your breastbone. Imagine the sun’s energy
now transforming into the yellow of the warm
sunshine you are breathing in. Sense the power
and strength of the sun’s rays and travel with it
as it extends in all directions from your abdomen
outward. Send gratitude into your Manipura
chakra.
Reflect upon and extend gratitude into the
calm yet creative power that melds the energy of
your lower chakras.
Bring your breath awareness up to the center
of your chest behind your breastbone. Visualize a
precious green or pink gem residing in this space.
As you continue to inhale the rays of the sun, see
and feel the brilliance of the divine energy of love
reflecting off the treasure in your heart center.
Draw in compassion for yourself from the uni-
verse and, as you exhale, allow the echo of that
benevolent power to refract in all directions to all
souls. Send gratitude into your Anahata chakra.
Feel your breath move through the back of
your throat as it enters and exits your body. Draw
the expansive nature of the bluest sky into your
neck and throat. As the sun’s brilliance contin-
ues to fill you, notice yourself opening up to the

realization that your truest nature is as vast and
profound as the expansive universe. Continue to
revel in the sapphire awareness. Send gratitude
to your Vishuddha chakra.
Now envision the waves of the sun shifting
from blue to an indigo-violet hue. Invite these
solar impulses to enter your body through a
space just above and between your eyebrows. As
that energy comes into the space of your mind,
open up to a deep, insightful awareness. Meditate
on the intuitive nature of this realization. Allow
Appendix A 351
yourself to connect on a more profound level with
the nature and knowledge of the universe. Send
gratitude to your Ajna chakra.
Finally, move awareness to the crown of your
head. Visualize brilliant, white sunlight entering
your body from this point. Feel yourself connect-
ing more fully with the divine nature of all and
recognize that you are an important part of that
divinity. Send gratitude to your Sahasrara chakra
and invite the luminous nature of each chakra to
envelop you in peace.
 Appendix B
Yoga Resources

Yoga Periodicals YogaFinder

Integral Yoga Magazine www.yogafinder.com
www.integralyogamagazine.org Yoga Rascals
Yoga International www.yogarascals.com
www.yogainternational.com Yoga Associations and Societies
Yoga Journal Black Yoga Teachers Alliance
www.yogajournal.com www.blackyogateachersalliance.com
Yogi Times magazine British Wheel of Yoga (BWY)
www.yogitimes.com www.bwy.org.uk

Information on Sanskrit, Ayurveda, Ashrams, Canadian Yoga Alliance

and Other In-Depth Yoga Programs www.canadianyogicalliance.com
American Institute of Vedic Studies Healthy, Happy, Holy Organization (Kundalini)
David Frawley www.3ho.org
www.vedanet.com
Himalayan International Institute of Yoga
American Sanskrit Institute Science and Philosophy of the USA
www.americansanskrit.com www.himalayaninstitute.org
Asana Names and the Language of Yoga Hong Kong Yoga Association
Sanskrit Sounds http://hkyogaassn.com
www.SanskritSounds.com Integral Yoga Teachers Association (Australia
and other countries)
The Ayurvedic Institute
www.iyta.org.au
www.ayurveda.com
International Association of Yoga Therapists
International Sivananda Yoga Vedanta Cen-
tres www.iayt.org
www.sivananda.org Irish Yoga Association
Silver Age Yoga www.iya.ie
www.silverageyoga.org Iyengar Yoga Association of the United King-
dom
Association of Himalayan Yoga Meditation
Societies International (AHYMSIN) https://www.iyengaryoga.org.uk
www.ahymsin.org K Pattabhi Jois Ashtanga Yoga Institute
www.kpjayi.org
Traditional Yoga and Meditation of the
Himalayan Masters Kripalu Yoga and Ayurveda Association
www.swamij.com www.kripalu.org

352
 Appendix B 353

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Division through modality strengths: Concepts and practices.
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Basmajian, J.V., and C.J. De Luca. 1985. Muscles alive:
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Bauman, A. 2002. Is yoga enough to keep you fit? Yoga
Yoga Scotland
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Bender Birch, B. 1995. Power yoga: The total strength
Fitness Industry Trends and flexibility workout. New York: Simon & Schuster.
Aerobics and Fitness Association of America Bonura, K.B. 2013. Pelvic yoga: An integrated program
of pelvic floor exercise to overcome incontinence
American College of Sports Medicine and support overall pelvic floor health. CreateSpace
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American Council on Exercise Broad, W. 2012. How yoga can wreck your body. New
York Times, January 5.
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CANFITPRO (Canadian Fitness Professional rewards. New York: Simon & Schuster.
Organization) Christensen, A. 1998. Yoga of the heart: Ten ethical
www.canfitpro.com principles for gaining limitless growth, confidence,
and achievement. New York: Daybreak Books.
IDEA Health & Fitness Association
Coulter, H.D. 2001. Anatomy of hatha yoga: A manual
www.ideafit.com
for students, teachers, and practitioners. Honesdale,
Yoga Products and Distributors PA: Body and Breath.
Barefoot Yoga Company Desikachar, T.K.V., and R.H. Cravens. 2005. Health,
healing, & beyond: Yoga and the living tradition of
www.barefootyoga.com Krishnamacharya. New York: North Point Press.
Blue Lotus Yoga Essentials Devi, N.J. 2007. The secret power of yoga: A woman’s
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Crescent Moon Yoga
DiTuro, D., and I. Yang. 2012. Hatha yoga asanas.
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www.gaiam.com To change the way the world learns. UK: Network
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Hugger Mugger Yoga Products Farhi, D. 2006. Teaching yoga: Exploring the teacher–
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Manduka Feuerstein, G. 2002. Yoga gems: A treasury of practi-
cal and spiritual wisdom from ancient and modern
www.manduka.com
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Aldous, S.H. 2004. Anatomy and asana: Preventing Galantino, M.L., R. Galbavy, and L. Quinn. 2008. Thera-
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of literature. Pediatric Physical Therapy. Spring; 20(1):
66–80.
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the Beatles to yoga and meditation—how Indian spiri-
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Schockten.
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Appendix C
Self-Inquiry Questionnaire

Ask yourself the following questions. Write your answers in a notebook or journal so that in the future you
can look back on your responses to see how you may have evolved in your knowledge and applications.
Be honest; no one but you will see your answers. The purpose of asking these questions is to increase
your awareness—not to be “right.” Note: Reading chapter 2 will give you a good idea of the relevance
of your answers.
1. Why do you want to teach yoga?
a. money
b. easier on my body than teaching other fitness classes
c. boss told me to
d. to get more yoga workouts
e. other
2. How often do you practice yoga?
a. occasional conference or workshop
b. average of 30 minutes per day or more at home
c. group class at least twice a week
d. video workout every once in a while
e. other
3. What is your motivation for practicing yoga?
a. to meditate better
b. to improve flexibility or strength
c. to look good while I teach
d. to deepen my understanding of the asanas and overall philosophy.
e. other
4. How often do you meditate?
a. have never tried it
b. tried it but could not get into it
c. every once in awhile
d. at least two minutes a day
e. other
5. What would you do if a student cried during or at the end of class?
___________________________________________________________________________________
___________________________________________________________________________________

355
356 Appendix C

6. What would be your response if a student asked to see you socially outside of class?
___________________________________________________________________________________
___________________________________________________________________________________
7. What would you do if a new student whom you had never met rushed into the class 10 or 20
minutes late?
___________________________________________________________________________________
___________________________________________________________________________________
8. True or False:
a. I feel somewhat embarrassed to teach yoga because I do not feel that my body looks good
enough in the poses. _____
b. I feel somewhat guilty because I teach yoga, yet I drink alcohol and/or eat meat. _____
c. If I needed to tell one of my yoga students to refrain from wearing a strong perfume because
it disturbed other students, I would be afraid of creating hurt feelings. _____
d. I do not care what my students think of me. _____
e. It is extremely important to maintain strict order in my classes. _____
f. It is important to me that my students like me. _____
g. I should know every student’s medical history in order to teach him or her in a safe manner.
_____
h. All students automatically give consent to be physically adjusted by the fact that they are in
my class. _____
9. What are the top qualities that a yoga teacher should have?
___________________________________________________________________________________
___________________________________________________________________________________

From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics).
Appendix D
Yoga Class Evaluation Form

Rate the various elements of class on a scale of 1 to 4.

1 = unacceptable
2 = below average
3 = above average
4 = awesome
1. Punctuality (Did class start and end on time?) 1 2 3 4
2. Teaching voice:
a. Volume 1 2 3 4
b. Tone 1 2 3 4
c. Pace 1 2 3 4
d. Clarity of words and direction 1 2 3 4
e. Ability to soothe 1 2 3 4
3. Trust (Did I feel that the instructor knew what she or he was doing and saying,
so that I felt safe during the class?) 1 2 3 4
4. Attention to alignment 1 2 3 4
5. Focus (Was the instructor present and attentive?) 1 2 3 4
6. Inspiration (Did the instructor motivate me?) 1 2 3 4
7. Creativity (Did the instructor present the postures in a creative manner and
use expressive words to describe, modify, or move students into the poses?) 1 2 3 4
8. Sense of flow 1 2 3 4
9. Use or mention of breath 1 2 3 4
10. Balance in the overall sequence of asanas (Did the sequence include postures
that moved the body in all directions?) 1 2 3 4
11. Class structure (Did the class have a warm-up, peak[s], and a cool-down,
and were counterposes presented?) 1 2 3 4
12. Approachability (Did I feel comfortable asking the instructor questions?) 1 2 3 4
13. Environment (Were there distractions, such as noise, lighting,
or uncomfortable temperature?) 1 2 3 4
14. Comments (What were the best parts of the class? The less-than-ideal parts? Write down any
suggestions or comments.)
___________________________________________________________________________________
___________________________________________________________________________________

From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics). 357
 Appendix E
Sample Classical-Eclectic Hatha
Course Syllabus

Overview of Class
Yoga is 6,000 years old! Yoga means “to yoke” or “to join,” and the practice of yoga works to develop
every human faculty—physical, emotional, mental, and spiritual—to bring them together harmoniously.
Yoga stretches, strengthens, tones, aligns, and improves the health of the body. It enhances the awareness
of the body and breath and can help a person develop a state of mental calm and emotional stability.
Yoga is not a religion; it is a discipline without dogma.
Hatha yoga is the type that most people are familiar with in the West. It is understood to include pos-
tures and breath. Types of hatha yoga include Ashtanga (aerobic flow series), Iyengar, Kundalini, Bikram,
and others. This class uses classical-eclectic hatha and involves moving slowly and sinking deeper into
the postures. The deeper you allow yourself to go into the postures, the more advanced or deep your
yoga practice will be.
Kindness and acceptance: Yoga is not competitive. It is about quieting the mind and accepting the
process. Students are taught to listen to and observe the body, rather than trying to force it toward reaching
a goal. Yoga is about being kind to your body and accepting of where you are today.
Remember, your body is your vehicle, so honor it. You are also responsible for being kind to and
accepting of others in order to help create a positive and relaxing class environment.

General Policies
1. You may purchase a locker from the equipment room. The cost is $8 per semester.
2. You may store your personal items in the exercise room with the understanding that the instruc-
tor and the university cannot be responsible for any stolen or lost property.
3. Wear clothes that are nonrestrictive. Street clothes, such as cargo pants or jeans, will restrict
your ability to participate fully.
4. You may bring or borrow a mat and a blanket each day.

Attendance and Participation Policies

1. For safety reasons, students are not permitted to work out until the instructor is present.
2. Please pick up your name card and place it by your yoga mat at the beginning of class! I will
use the cards to take attendance and to remember names. Remaining cards are used to record
absences.
3. Meditation, breath work, and relaxation will begin at 9 a.m., and movement instruction will
begin two or three minutes after the hour. If you arrive late, please come in quietly from the
back of the class and set up in the back of the room.
4. Students will be released at 45 minutes after the hour. If you must leave before that time, please
get permission from the instructor before exercise begins. I will simply remind you to set up
your mat near the back door so that leaving early will not be disruptive.
5. Please remember that leaving class without permission is a form of academic dishonesty.

358
 Appendix E 359

Grading Policies (Subject to Change) How Your Grade Is

1. Ninety percent of your grade will be determined through atten- Affected by Absences
dance. The remaining part of your grade will be earned through
Absences Percent Grade
completion of assignments or quizzes.
0 100 A+
2. If you miss eight classes before the last week of class, you will 1 97.5 A
be automatically dropped.
2 95 A
3. No make-ups are permitted in this class. Excused absences are 3 92.5 A
reserved for extreme cases and require documentation. Whether
4 90 A–
an absence is excused or not falls under the discretion of the
instructor. Excused absences do not affect one’s grade. The 5 87.5 B+
following table demonstrates only how your grade is affected 6 85 B
by unexcused absences. Remember, 10 percent of your grade 7 82.5 B–
depends on assignments. 8 80 C+
Safety Warning 9 77.5 C
Participating in yoga involves inherent risks of injury. Students assume
these risks when they are involved in this class.
Basic Safety Procedures
1. Students with preexisting conditions MUST clear their enrollment in yoga class with their pri-
mary health care provider before class begins.
2. If in ANY stretch you feel discomfort, you should release immediately and with care. In addi-
tion, if at any time you choose to rest during class, you can sit out for a pose and go into Bala-
sana (Child’s Pose) or Shavasana (Corpse Pose) or simply lie down until you are ready to resume.
Never attempt to do anything with which you are uncomfortable. Listen to your body and speak
with the instructor about possible modifications or substitutions.
3. Please listen carefully to instructions regarding technique. Correct technique works to ensure
safety.
4. Notify the instructor immediately if you or a classmate becomes injured or ill during class.
5. If you become overly tired, dizzy, or faint, take a break from the exercise and sit or lie down. Let
the instructor or a friend know that you don’t feel well so that he or she can keep an eye on you.
Please do not leave the room alone if you don’t feel well. Take a buddy and always report back.
Safety Modifications
Students with preexisting conditions must share in the responsibility of modifying exercise to prevent
injury. Conditions such as high blood pressure, glaucoma or detached retina, disk concerns in the neck
or back, and pregnancy must be reported to the instructor because certain poses are contraindicated or
can simply be modified.

• High blood pressure may demand that you keep your head above the level of your heart.
• Heart concerns may decrease the duration for which you should maintain a static pose.
• Glaucoma or detached retina may make inversions (going upside down) dangerous.
• Disk concerns in the neck or back may require that you keep your head in a neutral position rather
than releasing it back.
• Pregnancy may require that you avoid inversions (going upside down). You may also need to part
your legs during squats and forward bends. Do not place any pressure on your belly!

Special Needs
If you have any special needs or considerations, please see the instructor prior to beginning exercise in
this class. If special needs or considerations arise during the course, notify the instructor immediately.
Adaptations can be made.

From D. Ambrosini, 2016, Instructing hatha yoga, 2nd ed. (Champaign, IL: Human Kinetics. Sample syllabus is reprinted, by permission, from C. Robinson.
 Appendix F
Chapter Review Answers
Chapter 1
1. Q: Approximately how old is yoga?
A:  Five thousand years or older
2. Q: Define yoga in a few sentences.
A: Yoga is a discipline without dogma. It
is any path that unites or connects you
to your spiritual realizations. There are
infinite types of yoga, but it is most often
discovered or known in modern Western
society as a mind–body exercise (in the
form of asanas and pranayama).
3. Q: What four types of yoga are typically
practiced, and of which type is hatha yoga?
A: Karma, bhakti, jnana, and raja. Hatha
yoga is included in the category of raja,
which is often considered to be the true
Ashtanga.
4. Q: What is Ashtanga yoga?
A: Ashtanga means “eight limbs” and refers
to the eight limbs of yoga as outlined in
the Yoga Sutras. There is also a style of
hatha yoga, as taught by Pattabhi Jois,
that is referred to as Ashtanga or as the
Ashtanga series.
5. Q: How did Patanjali codify yoga practice?
A:    He compiled the Yoga Sutras.
6. Q:  What well-known type of hatha yoga
focuses on alignment, form, and the use
of props?
A:    Iyengar
7. Q: Identify some popular styles of hatha
yoga practiced today.
A:   C lassical-eclectic hatha (including
vinyasa flows), Iyengar, Ashtanga series,
Bikram, restorative, Kundalini, and pre-
natal, to name a few.
360
8. Q: Describe some concerns facing modern
yoga practitioners and some of the ways in
which the needs of today’s yoga students
and teachers are being met.
A:    Hatha yoga alone is so vast and relative
that it is challenging to create standards for
teachers that allow the uninformed public,
as well as instructors, to find a consistent
level of education. Hot topics in the field
today include safety concerns, ethics, career
options, and the history and future of yoga.
9. Q:   What are the five categories of yoga
teacher training  outlined by the Yoga
Alliance?
A:  (1) Techniques, training, and practice;
(2) teaching methodology; (3) anatomy and
physiology; (4) yoga philosophy, lifestyle,
and ethics; and (5) practicum.
10. Explain the meanings of the words yamas
and niyamas.
A:    Yamas are guidelines for ethical stan-
dards and moral conduct: ahimsa (non-
violence, doing no harm), satya (truthful-
ness), asteya (not stealing), brahmacharya
(moderation), aparigraha (not coveting and
nonattachment).
A:    Niyamas are observances and disci-
plines: saucha (cleanliness), santosha
(contentment or equanimity), tapas (aus-
terities), svadhyaya (study of spiritual
scriptures), ishvara pranidhana (practice
of awareness and surrender).
Chapter 2
1. Q: What are the four Cs of teaching yoga?
A: Connection, compassion, confidence,
and commitment

2. Q: What are the three basic learning styles?
A:      Visual, auditory, and kinesthetic
3. Q: Which dosha is associated with the
fluidity of air?
A:      Vata
4. Q: Which type of student often has trouble
staying motivated?
A:    Kapha
5. Q: List two things that students typically
like in a yoga instructor and two things
that they typically dislike.
A:     Students like teachers who can motivate
and connect with them. Students dislike
instructors who are focused on them-
selves or express any negative comments
at all. For more examples, see table 2.1 in
chapter 2.
6. Q: How is the word asana used as an acro-
nym for teaching yoga?
A:     A = ahimsa (and ask), S = suggest, A =
align, N = nurture, and A = assess.
7. Q:   True or False: There is a very strict code
of ethics that you are legally required to
abide by as a professional yoga teacher.
A:   False
8. Q: What aspects of your personal yoga
practice will make you a better teacher?
A: It is all relative. The key is that you are
engaged in a personal yoga practice. For
more information or to gain perspective
about your answer, review the self-inquiry
questionnaire presented in appendix C.
9. Q: Define ahimsa.
A: First and foremost, it is an aspect of the
eight limbs of yoga; it also means “causing
no harm.”
Chapter 3
1. Q:   Why would yoga practitioners choose to
wear white cotton or other natural fibers?
A:    To foster the electromagnetic field sur-
rounding them during practice.
2. Q: Name three indispensable items used
when practicing yoga.
A:      Bare feet, comfortable clothing, and a
proper yoga mat.
Appendix F 361
3. Q:  How can blocks be used?
A: Blocks are generally used during stand-
ing postures to extend the reach of the
arms toward the ground without causing
undue strain in the hamstrings or back.
They may also be used in place of bolsters
or blankets to provide more stable eleva-
tion when needed.
4. Q:  What is the most important concern
when physically adjusting your students?
A: Respect each student’s body as if it were
your own.
5. Q:  How long should the average person
wait after a meal before practicing yoga?
Why?
A: Two or three hours should pass before
starting a yoga practice after a large meal,
because the circulation and energy used
for digestion are needed for the practice; in
addition, a full stomach is uncomfortable
when practicing.
6. Q:  Describe an ideal setting for a yoga
class.
A: A spacious, comfortable area that is free
from outside distractions and provides
good ventilation and adequate lighting
7. Q: What temperature range is generally
considered ideal for most yoga styles?
A:    Between 70 and 76 degrees Fahrenheit
(about 21 and 24 degrees Celsius)
8. Q:   What are some pros and cons of using
music while teaching yoga?
A: Pros include drowning out audible
distractions and setting a helpful mood.
Cons include the fact that music can be
distracting in itself; in addition, students
may become dependent on it.
Chapter 4
1. Q: Identify an epidemic habit in modern
society that contributes to the stress and
high anxiety suffered by many people.
A:   Poor breathing
2. Q:  How can a student bypass the chatter
in his or her mind and ego?
A: By focusing on the breath
362 Appendix F
3. Q: ___________ can be triggered either neg-
atively through shallow, labored breathing
or positively through smooth, flowing
breaths that stabilize thoughts and allow
relaxation to set in.
A:   Emotions
4. Q:  Choppy, shallow breathing is associated
with which nervous system?
A:     The sympathetic nervous system, which
activates the body for the fight-flight-freeze
response
5. Q: What type of breathing was mentioned
in a National Institutes of Health report
as a way to improve physical endurance?
A:   Deep, slow breathing through the nose
6. Q: How many breaths per minute does the
average human take?
A: 16 to 20
7. Q:    What are the three most common pran-
ayama techniques taught in asana classes?
A: Deep abdominal, complete yogic, and
ujjayi
8. Q: What is nadi shodhana, and what effect
does it have on the brain hemispheres?
A:      Alternate-nostril breathing can activate
and balance both hemispheres of the brain
and therefore increase learning as much
as fivefold.
9. Q: Which is generally better while entering
Uttanasana (Intense Forward Bend)—
inhaling or exhaling?
A:    Exhaling
Chapter 5
1. Q:    Define safe yoga instruction.
A:   Safe instruction occurs when any touch
or word from the teacher encourages the
most accurate awareness in students’
minds to move energy, muscles, or bones
in ways that do not result in injury.
2. Q:  What is a nadi?
A: Nadi is an Ayurvedic term for an energy
channel of the human body. Ayurveda is
a sister science of yoga. The body is full
of these energy channels, which are con-
nected to the chakras. Like the physical
body, nadis are affected during yoga.
3. Q: What is mula bandha, and with which
chakra is it associated?
A:   Mula bandha, which is associated with
the Muladhara chakra, is the root lock and
resembles a Kegel exercise. It strengthens
the pelvic floor and the supporting struc-
tures of the urinary and genital systems.
It also prevents energy leakage and imbal-
ance, thus enabling the practitioner to have
greater endurance.
4. Q: Is it advisable for a woman to practice
yoga while menstruating?
A:   In some styles of hatha yoga, the inver-
sions are contraindicated during menstru-
ation, for physical and energetic reasons.
On the other hand, some asanas can help
alleviate monthly discomfort.
5. Q: Which anatomical plane does Utthita
Trikonasana (Extended Triangle) move the
majority of the body through?
A:    The frontal plane
6. Q:   What are the six directions in which the
spine should move in a balanced session?
A: Forward, backward, twisting to right,
twisting to left, side bend to right, and side
bend to left
7. Q: Identify a few asanas that stimulate
osteogenesis and contribute to joint sta-
bility.
A:   Any weight-bearing posture promotes
bone strength. The standing poses, and
especially the balancing poses, create and
maintain joint stability in the hips, knees,
and ankles. Asanas that demand work by
the arms, such as Adho Mukha Shvanasana
(Downward-Facing Dog) and variations
of plank poses, can build stability in the
shoulder joints. Twists and inversions keep
the spine strong and in alignment.
8. Q:    What does it mean to “lift the knee-
caps”? Why, when, and how would you
teach this action?
A:   Contraction of the quadriceps raises
the patella. This contraction is performed
to engage the leg muscles and energy
more effectively for standing ability. The
best way to teach this technique verbally
is to say, “Lightly lift your kneecaps” or
“Flex your quads (your front upper legs)
without hyperextending your knees.” For

a great hands-on adjustment, very gently
hold the sides of the student’s kneecap and
wiggle it (which can be done only if it is
loose and therefore not lifted), then tap the
student’s quads.
9. Q:   Which muscles in the torso are used to
move into a standing forward bend, and
what type of contraction is used? What
about when entering into a standing
backbend?
A:       The spinal muscles, along with the hip
extensors, use an eccentric contraction to
move into a standing forward bend. The
abdominal muscles contract eccentrically
to move into a standing backbend.
10. Q:   What type of contraction occurs during
the holding of most asanas?
A:      When holding an asana, the muscles
are often actively engaged in an isometric
contraction.
Appendix F 363
11. Q: How long should asanas be held?
A:  In general, wait until 20 percent of your
students have come out of the asana, then
begin to bring the class out of the posture
and move on. When working one on one
with a student, you can use a scale of 1 to
10 and encourage the student to work in
the 5 to 8 range of endurance with focus
on good alignment, strength, and steady
breathing.
12. Q:  What makes a yoga student advanced?
A:    When students find that they are happy
in a posture that they initially did not like,
this is a far more profound achievement
than improved flexibility. Rather than striv-
ing for what they think a pose should look
like, it is far more important for students
to be able to recognize areas of tension
and weakness in the body so that they can
tailor an asana to meet their own needs.
 Appendix G
Anatomical Illustrations

Clavicle
Scapula

Sternum
Humerus
Ribs

Vertebral column
Pelvis
Radius
Ulna

Femur

Patella

Tibia
Fibula

Skeletal system, anterior and posterior.

E6251/Ambrosini/figG.01/527224/pulled/r1-alw

364
 Appendix G 365

Trapezius
Deltoid
Pectoralis Rhomboids
Biceps
Abdominis Triceps
Latissimus dorsi
Wrist extensors
Finger flexors Finger extensors

Gluteus maximus

Quadriceps Hamstrings

Tibialis anterior Gastrocnemius

Soleus

Achilles tendon

Muscular system, anterior and posterior.

E6251/Ambrosini/figG.02/527225/pulled/r2-alw
External occipital protuberance

Rectus capitis posterior minor Semispinalis capitis

Obliquus capitis superior Sternocleidomastoid

Rectus capitis posterior major

Splenius capitis
Longissimus capitis
Iliocostalis cervicis
Obliquus capitis inferior

Longissimus cervicis Splenius cervicis

Semispinalis cervicis Iliocostalis dorsi

External intercostals
Longissimus dorsi
Levatores costarum
Spinalis dorsi
Semispinalis dorsi

Quadratus lumborum Iliocostalis lumborum

Multifidus Sacrospinalis

Posterior spine.
366 Appendix G

Psoas minor
Quadratus lumborum
Intervertebral disc
Gluteus medius (cut)
Iliacus Psoas major
Gluteus minimus
Tensor fascia
Piriformis
lata
Gemellus superior
Gemellus inferior

Obturator externus Pectineus

Sartorius

Adductor longus
Obturator
internus Gracilis

Quadratus femoris Rectus femoris

Sciatic nerve
Adductor magnus

Vastus medialis
Vastus lateralis
Patella tendon

External rotators of the hip.

Anterior flexors of the hip.

E6251/Ambrosini/figG.05/527228/pulled/r1-alw

E6251/Ambrosini/figG.04/527227/pulled/r1-alw
Glossary
Anjali Mudra [UHN-juh-lee muhd-RAAH]—Hand
position in which the palms are held flat together,
the wrists are hyperextended, and the thumbs press
against the chest. Also known as Prayer Pose, this
positioning is used in many asanas, for greeting, and
for centering.
apana [uh-PAAH-nuh]—Energy that moves down and
out of the body.
asana [AAH-suh-nuh]—Any of the physical postures
of yoga; a way to become seated in your higher con-
sciousness; literally, to stay, to be, to sit.
ashram [AAHSH-rum]—A hermitage, yogic monas-
tery, or nunnery.
Ayurveda [AAH-yoor-veh-duh]—The ancient, tradi-
tional healing system of India; a sister science of yoga.
bandha [BUHN-dhuh]—A lock, restraint, or block;
a physical technique to hold energy within the body
and prevent its leakage.
bija [BEE-jhuh]—Buddhist and Hindu term for any
of various sacred sounds called “seed syllables” that
are contained in mantras and believed to carry spir-
itually charged vibrational energy. The best-known
bija sound is om.
Bikram [BEEK-rum]—Style of hatha yoga named
after founder Bikram Choudhury and sometimes
referred to as “hot yoga” because it is practiced in a
contained room at high temperature.
Buddha—Means the “enlightened one.” Siddartha
Gautama, an iconic sage, is believed to be the first
awakened spirtiual being in our current era. Gautama
was born and taught in and around Lumbini, Nepal
between 600 and 400BCE. His teachings are the basis
of Buddhism.
chakra [CHUK-ruhs]—Wheel or disk of energy. The
seven major chakras in the body are located along
the spine.
chitta [chit-TUH]—Focused consciousness; field of
thought.
classical-eclectic hatha—Style of yoga, usually with
ties to a Himalayan lineage, that incorporates classi-
cal ways of practicing asanas (such as the alignment
of Iyengar or the flow of Ashtanga) while allowing
for interpretation and creativity.
concentric contraction—Muscular contraction in
which the muscle fibers shorten or move toward the
midline, thus bringing the ends of the muscles closer
together and closing the angle of the joint crossed by
the muscle.
coronal plane—Vertical plane that passes through
the body from side to side, thus splitting the body
into anterior (front) and posterior (back) parts; also
referred to as the frontal plane.
deep abdominal breathing—Method of breathing
that emphasizes the expansion of breath using the
diaphragm instead of the chest muscles.
deep external rotators—Six small muscles (piri-
formis, obturator internus and externus, superior and
inferior gemellus, and quadratus femoris) located in
the posterior hip whose primary function is to exter-
nally rotate the femur and to stabilize the femur into
the acetabulum (hip socket).
dogma—Axiom or authoritative opinion.
dosha [DOH-shuh]—Any of the energies, elements,
or constitutional types used in Ayurvedic medicine.
drishti [dr-EESH-tee]—Derivation from the Ashtanga
term darsha (“to see”) that describes where to direct
the gaze during asana practice.
eccentric contraction—Muscular contraction in
which the muscle fibers lengthen from a shortened
state. In practice, the muscle fibers generally do not
physically lengthen but rather act to resist gravity or
another external force.
energetic anatomy—Subtle energetic fields found
within and surrounding the body. The existence of this
type of energy is somewhat measurable by patterns
of electrical potential in cells.
external rotation—Rotation in which the ante-
rior (front) aspect of a body segment (such as the
humerus, or upper arm bone) turns away laterally
from the midline.
fascia—Web of fibrous connective tissue that binds and
envelops the organs, muscles, and other soft tissues;
currently under examination by many biologists.
frontal plane—See coronal plane.
guru—Title for a spiritual teacher or mentor; translated
from Sanskrit literally as “dispeller of darkness.”
367
368 Glossary
horizontal plane—Plane passing horizontally through
the body, thus dividing it into upper and lower parts;
also referred to as the transverse plane.
ida [EEE-d-aah]—Energy channel, or nadi, that begins
at the left nostril and is considered the channel of
lunar, feminine, cooling energy.
isometric contraction—Muscular contraction in
which the muscle fibers remain the same length,
thus creating muscular tension without movement.
Iyengar—Style of hatha yoga named after B.K.S.
Iyengar (1918-2014) that emphasizes strict body
alignment and uses props and adjustments for that
purpose.
Jois K., Pattabhi [JOY-ss, puht-TAAH-bee]—
Renowned master considered the father of Ashtanga
hatha yoga.
kapha [KUP-huh]—Ayurvedic constitutional dosha
of earth and water.
karma [KAR-muh]—Action; cause and effect. Karma
yoga is selfless action for the good of others.
kinematics—The branch of physics describing motion
of a body or segments without reference to mass or
force. In this text, the movement patterns of each
body segment are illustrated in tables presented with
the various asanas.
kinesiology—Study of (human) movement.
kinesthetics—Study involving sensory understanding
derived from movement.
kosha [KOH-shuh]—One of five energetic layers or
sheaths surrounding the body: annamaya, prana-
maya, manomaya, vijnanamaya, and anandamaya.
Krishnamacharya, T. [krish-NUH-maahch-AAR-
yuh]—(1888-1989); renowned mentor and guru of
both B.K.S. Iyengar and Pattabhi Jois.
kriya [kr-EE-yuh]—Practices or techniques utilized
in yoga to achieve specific results.
Kundalini [KOOHN-duh-lee-nee]—Latent human
potential energy coiled at the base of the spine; also,
a yoga style stemming from Sikhism that involves
dynamic movement, special pranayamas, and mantra
chanting.
kyphosis [kai-FOH-sis]—Convex curve of the thoracic
spine.
lordosis [lor-DOH-sis]—Concave curve of the lumbar
spine.
meditation—Art of bringing the mind to a state beyond
thought.
mudra [muhd-RAAH]—Seal; sacred gesture of the
hands or other body positioning that has a special
effect on the body’s energy.
nadi [NAAH-dee]—Any of various energy channels
in the body.
nadi shodhana [NAAH-dee SHOH-duh-nuh]—San-
skrit term, translated as “scraping of the nadis,” for
the practice of alternate-nostril breathing to open and
balance the nasal nadis (ida and pingala).
namaskara [nuh-muhs-KAAH-ruh]—Salutation or
greeting often translated as follows: “The light within
me recognizes and bows to the light within you;
together we are one in this light.”
namaste [nuh-muh-STAY]—See namaskara.
neti pot [neh-TEE]—Small cup with a spout for
pouring water into the nostrils in order to cleanse
the sinuses.
neutral spine—Relaxed, natural curvature of the
spine.
nirodha [NEER-owd-ha]—Ending or ceasing.
niyama [nee-YUH-muh]—Set of observances.
om—Ancient sound of the universe; mantra-word
associated with infinite energy and blessings from
the universe and beyond.
Patanjali [pa-TAHN-jah-lee]—Ancient sage credited
with compiling the Yoga Sutras.
perineum [per-ee-NEE-um]—Area between the anus
and genitals.
pingala [peen-GUH-laah]—Energy channel, or nadi,
that begins at the right nostril and is considered the
channel of solar, male, warming energy.
pitta [PIT-tuh]—Ayurvedic constitutional dosha asso-
ciated with fire.
power yoga—Generic term for an offshoot of Ashtanga
hatha yoga.
prana [PRAAH-naah]—The life force or energy inher-
ent in the breath.
pronation—Inward (medial) rotation. When it involves
a forearm, the thumb points toward the body; when
it involves a foot (while standing), the arch presses
down toward the ground.
prone—Positioned with the body facedown.
psychoneuroimmunology—Study of how the rela-
tionship between mind and body affects overall
health, most specifically as it relates to the endocrine
system.
raja [RAAH-juh]—Royal or supreme.
sagittal plane—Vertical plane bisecting the body from
front to back, thus dividing it into left and right parts.
samadhi [suh-MAAHD-hee]—Superconscious state
of enlightenment; goal of the eight limbs of yoga
outlined in the Yoga Sutras.
Sanskrit—Earliest known Indo-European language;
ancient language in which yoga was originally taught.
scoliosis—Abnormal curvature(s) of the spine.
Self—The aspects of one’s being that are not connected
with the ego; often referred to as the “higher self,”
soul, or spirit.
shanti [SHAAHN-teeh]—Divine peace; also spelled
shantih.

squared—Term often used to indicate even alignment.
For example, the phrase “square the hips under the
shoulders” indicates that the torso should have no
rotation and the upper and lower joints should be in
the same vertical plane.
supination—Outward (external) rotation. When it
involves a forearm, the thumb points away from the
midline; when it involves a foot (while standing)
the lateral (little-toe) side of the foot presses into
the ground.
supine—Positioned with the body faceup.
sutra [SOOT-raah]—Thread; verse of scripture.
traction—Means for creating, or condition of,
expanded space in the skeletal structure, usually as
the result of a pulling force (e.g., a pulley in medical
traction).
transverse plane—See horizontal plane.
Glossary 369
udana [oo-DAAH-nuh]—Upward moving force.
Universal—When capitalized in this text, pertains to
the idea that nothing is separate; the divine oneness
of everything.
ujjayi [oo-JAAHY-ee]—Victory or surrender; type of
pranayama breathing in which air vibrates against
the glottis and makes a sound.
vata [VAAH-tuh]—Ayurvedic constitutional dosha
associated with air and ether.
vinyasa [vin-YAAH-suh]—Flow of asanas linked in
a series.
vritti [VRIT-tee]—Disturbance or distraction.
yama [YUH-muh]—Guideline for ethical standards
and moral conduct.
Yoga Korunta [koh-ROON-tuh]—Ancient text discov-
ered by Krishnamacharya that serves as the basis for
Ashtanga hatha yoga.
 About the Author

Diane Ambrosini, MA, is a master yoga teacher and move-

ment science specialist who began a serious study and prac-
tice of yoga in 1997. She has participated in numerous yoga
teacher training programs and taught hatha yoga workshops
in the United States and Canada. Diane has also written
numerous articles on yoga and fitness-related topics. She
strives to improve the art and science of teaching yoga and
help others enjoy the benefits of yoga as a lifestyle.

370