TEACHER TRAINING MANUAL 2014 - JOSS FRANK · Consider the basics of Ashtanga Yoga a continued...

TEACHER TRAINING MANUAL 2014

SHRI K PATTAHBI JOIS “Do your practice and all is coming.”

‘Yoga can be practiced by anyone, whether young, old, very old, healthy or sick. Even so, the way in

which a young person is taught will differ in manner from the way in which an old or sick

person will be taught. Therefore, each student must be considered as an individual and taught at a pace that is suitable for their situation in life.

The dharma, or duty, of the student is to practice diligently and to strive to understand

the teachings of the guru. The perfection of knowledge – and of yoga — lies beyond

simply mastering the practice; knowledge grows from the mutual love and respect between student and teacher, a relationship that can

only be cultivated over time.’

PATTAHBI JOIS

A WORD FROM OUR TEACHER

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TABLE OF CONTENTS1. HOW TO USE THIS MANUAL

2. OPENING & CLOSING MANTRA OF ASHTANGA VINYASA YOGA

3. HISTORY OF YOGA

4. CLASSICAL FORMS OF YOGA

5. ORIGIN OF ASHTANGA YOGA

6. 8 LIMBS OF ASHTANGA YOGA

7. UJJAYI BREATHING

8. PRANAYAMA

9. INTRODUCTION OF BANDHAS

10. THE IMPORTANCE OF DRISHTI

11. ENERGY ANATOMY: NADIS & CHAKRAS

12. AYURVEDA AND NAULI KRIYA

13. INTEGRATING YOUR PRACTICE TO DAILY LIFE

14. ASANAS

15. TEACHING ETIQUETTES

16. PRACTICAL GUIDANCE FOR YOGA TEACHER: CULTIVATING YOUR INNER TEACHING VOICE

17. TIPS FOR YOUR OWN PRACTICE: SURRENDERING TO FEAR

18. THE ART OF ADJUSTMENTS

19. THE FUTURE DEVELOPMENT OF TEACHING YOGA

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Consider the basics of Ashtanga Yoga a continued learning process. With this discipline of yoga, it is essential to follow the order of the material presented in this book for safe DQG�SURSHU�SURJUHVVLRQ��+RZHYHU��LI�\RX�DUH�H[SHULHQFLQJ�GLIŵFXOW\�ZLWK�DQ\�RI�WKH�

postures, go back to the start and work from the beginning. Keep in mind that the true essence of understanding is in the basic principals underlying the yoga postures. Take

your time and learn the fundamentals of the practice. Never compromise your safety for the look of the posture. Nothing is worth injury for.

If you are noticing any health problems, consult your yoga teacher or a health advisor before beginning the exercises in the manual. This manual is a reference source along

with classes and interaction with a knowledgeable teacher.

Above all, have fun! Enjoy the process of establishing your own yoga practice and the transformation that it will bring to you!

HOW TO USE THIS MANUAL

When the word Yoga is mentioned, most people immediately think of some physical practices for stretching and stress reduction. The physical Yoga, or Hatha Yoga, was

primarily designed to facilitate the real practice of Yoga-namely, the understanding and complete mastery over the mind. So the actual meaning of Yoga is the science

of the mind.

Traditionally, the word Yoga by itself refers to Raja Yoga, the mental science. The primary text of Raja Yoga is called the Yoga Sutras of Patanjali (sometimes known as Patanjali Yoga Sutras or Yoga Darsanam). Sutra means “thread”, each Sutra being the barest thread of meaning upon which a teacher might expand by adding his or her

own “beads” of experience.

HISTORY OF YOGA

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The Opening Mantra is a blessing of gratitude offered to the lineage of teachers and their students who have enabled this ancient practice to survive through thousands of years so that we can experience

LWV�EHQHŵWV�WRGD\��7KH�UHFLWDWLRQ�RI�WKLV�PDQWUD�FOHDQVHV�WKH�HQHUJ\�RI�WKH�VSDFH�ZH�KDYH�FKRVHQ�to practice yoga, as well as preparing the mind, body and emotions for the forthcoming

Ashtanga sequence.

THE OPENING MANTRA

OPENING MANTRA ]HUKL�N\YȻжȊа�JHYHжȊYH]PUKL

ZHаKHYǋP[H�Z]Ȋ[TH�Z\ROH�H]HIVKOL�cUPДǋYL`HZL�QȊдNHSP�RȊ`HTȊUL

ZHаZȊYH�OȊSȊOHSH�TVOH�ǋȊU[`HP�͐ȊIȊO\�W\Y\ђȊRȊYHа

ǋHдROH�JHRYH�HZP�KOȊYPжHT�cZHOHZYH�ǋPYHZHа�ǋ]L[HаWYHжHTȊTP�WH[H|QHSPT�͐

TRANSLATIONom

I bow to the lotus feet of the Supreme Guruwhich awaken insight into the happiness of pure Being,

which are the refuge, the jungle physician,which eliminate the delusion caused by the poisonous herb of Samsara

(conditioned existence).I prostrate before the sage Patanjali

who has thousands of radiant, white heads (as the divine serpent, Ananta)and who has, as far as his arms, assumed the form of a man

holding a conch shell (divine sound), a wheel �GLVFXV�RI�OLJKW�RU�LQŵQLWH�WLPH��DQG�D�VZRUG��GLVFULPLQDWLRQ��

om

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The Closing Mantra brings to the practice to a peaceful end; sealing in the work done and offering the efforts of practice

to improve the state of the world.

THE CLOSING MANTRA

CLOSING MANTRA Z^HZ[P�WYHQȊIO`HД�WHYPWȊSH�`HU[ȊаU`Ȋ`LUH�TȊYNLжH�THOȟа�THOȟǋȊД�c

NV�IYȊOTHжLIO`HД�ǋ\IOH�THZ[\�UP[`HаSVRȊД�ZHTHZ[ȊД�Z\ROPUV�IOH]HU[\�

Vа�ǋȊU[PД�ǋȊU[PД�ǋȊU[PД�

TRANSLATIONMay the rulers of the earth keep to the path of virtue

For protecting the welfare of all generations. May the religious, and all peoples be forever blessed,

May all beings everywhere be happy and free Om peace, peace, perfect peace

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Prayer: for teacher and student (From the Katha Upanishad)

SAHANA VAVATU SHANTI MANTRA

SAHANA VAVATU SHANTI MANTRA:6T�ZHOHUH�]H]H[\:HOHUH�IO\UHR[\

:HOH�]PY`HT�RHYH]H]HOHP�;LQHZ�]PUH]HKP[HT�HZ[\4HH�]P]PZOHH]HOHP

6T�ZOHU[PO�ZOHU[PO�ZOHU[PO�

TRANSLATIONOM, May Brahman protect us

May Brahman enjoy usMay our study be vigorous

May the light of understanding spread without limit May we never hate one another

Om, peace, peace, peace

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It is not known exactly when Sri Patanjali lived, or even if he was a single person rather than several persons using the same title. There are over 200 sutras and the estimated date of the Sutras range from 5,000BC to 300 A.D. In any case, he did not “invent” Raja Yoga, but rather systematized it and compiled the already existing ideas and practices.

Patanjali is considered the “Father of Yoga”, and his Sutras are the basis for all of the various types of meditation and Yoga which nourish today in their myriad forms.

- THE YOGA SUTRAS OF PATANJALI

Super Sutra 1.2

ORIGIN OF THE YOGA SUTRA

YOGA CITTA VRTTI NIRODHAH

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HATHA YOGAHatha means “sun” (ha) and “moon” (tha). The main component of hatha yoga is asana. Another component is pranayama, the observation of one’s breathing. The philosophy

of hatha yoga is to awaken the mind and body through physical postures.

JNANA YOGAFocuses on the intelligence and our ability to deeply inquire into the nature of things. Jnana means “knowing” or “wisdom”. In this form of yoga, one fosters the capacity to discriminate very precisely between that which is true, eternal, joyous, and that which

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ASHTANGA YOGAAshtanga means “8 limbs.” By following an eight-stage cultivation process the individual

can use Yoga to reach a dimension of “Being”, in which the subject and the object are RQH��7KHVH�ZHUH�ŵVW�FRGLŵHG�E\�3DWDQMDOL��ZKR�FRPSLOHG�KLV�<RJD�6XWUDV�EDVHG�XSRQ�

the teachings of various Yoga sects. The 8 limbs of yoga are Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and Samadhi.

CLASSICAL FORMS OF YOGA

INTRODUCTIONThere are many different styles of yoga practice: diverse methodologies, and

distinct lineages. Though there is no single yoga philosophy, no one methodology, there is an underlying web of similarity that connects all approaches to yoga, and it is this deeply over interconnectedness-the matrix within the pattern of what we call yoga.

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BHAKTI YOGA The yoga of love and devotion. Bhakti Yoga cultivates and examine the deep emotion DQG�WKH�SULPDF\�RI�UHODWLRQVKLS�WR�RWKHUV�DQG�WR�*RG��$Q\�VHOŵVKQHVV�DULVLQJ�IURP�D�mis-perception of oneself or the other gradually burns away. The practice of bhakti

often includes chanting and visualization.

TANTRA YOGAOften misled and erroneously associated only with their aspects that deal with sexuality.

Tantra actually means a thread or a weaving of threads, and in the context of yoga this refers to the idea of weaving a net of intelligence within, through and beyond the body DQG�PLQG��,W�LV�SDUWLFXODUO\�IRFXVHG�RQ�WKH�ŵQH�GHWDLOV�RI�DOO�W\SHV�RI�H[SHULHQFH�DV�D�

means of recognizing and balancing the inner understanding within the body.

KUNDALINI YOGACan be known as the “yoga of awareness”, it focuses on developing awareness, consciousness and spiritual strength. Closely related to Hatha Yoga, asanas and pranayamas are practiced to purify the body hence control the mind. Through

SXULŵFDWLRQ�DQG�DZDNHQLQJ�SURFHVVHV��WKH�GRUPDQW�NXQGDOLQL�LV�DZDNHQHG�IURP�WKH�base of the spine up towards the top sahsrara chakra. Sometimes this is referred to the

union of Siva and Shakti.

KARMA YOGA.DUPD�\RJD�EDVLFDOO\�FRQVLVWV�RI�HQWLUHO\�VHOŶHVV�VHUYLFH��LQ�ZKLFK�WKH�HJR�LV�JLYHQ�XS�WR�WKH�

desire to serve the divine in every thing, be it man, animal, plant or an inanimate object. Karma Yoga is also the path of doing the right thing, of following ones’ personal Dharma

and accepting destiny as it comes. Karma Yoga is an expression of divine love, of the unity of everything that is yoga. Karma Yoga means to help, heal, and share.

CLASSICAL FORMS OF YOGA CONT...

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“ The truth is one but the paths are many.”

- SWAMI VISHNU-DEVANADA

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THE 3 BODIES OF YOGA

1. PHYSICALThe physical body and its mind. The consciousness that operates in association with the body. Ie: Various bodily systems (nervous system, digestive system, circulatory

system, bones and muscles, blood DQG�ŵEHUV��

2. ASTRALEverything that happens in the mind such as imagination, desire and emotion. It has an impact on the physical layer. Ie: Cannot be seen or touched, but you can

sense its presence with you stand very close to someone and you are ‘connected’ or in sync with them or not.

3. CAUSALThe consciousness that is expressed mainly as intelligence, wisdom and under-

standing. Ie: The mind is said to rest in it’s intrinsic, natural state of bliss and ease. It carries the seed state of the individual from one reincarnation to the next.

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THE 5 KOSHAS

In Eastern philosophies, your body, mind and spirit are interconnected. A person is a combination of 3 things: the gross body, the suble/astral body and lastly the causal body or unconscious.

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(DFK�ERG\�KDV�D�GLPHQVLRQ�WKDW�\RX�FDQ�FDOO�D�ŵHOG��VDPH�DV�DQ�HOHFWURPDJQHWLF�ŵHOG�RU�UDGLRDFWLYH�ŵHOG�EXW�ZLWKLQ�\RXU�ERG\��,Q�9HGDQWD��WKH\�DUH�NQRZQ�DV�NRVKDV�œVKHDWKV�Ŕ�7KHUH�DUH�WRWDO�RI��

koshas and are further sub-divisions of the three bodies of yoga.

ANNAMAYA KOSHA7KH�ŵUVW�NRVKD�LV�$QQDPD\D��WKH�SK\VLFDO�ERG\��$QQDPD\D�NRVKD�FDQ�EH�VDWWZLF��EDODQFH��UDMDVLF�(dynamic, violent) or tamasic (dull, inert). It is believed that atomic energy is bouncing in and out

from this physical body like a pendulum. A sattwic body creates a longer bouncing, a tamasic body perhaps no bouncing at all, while a rajasic body has a bouncing but without limits.

PRANAYAMA KOSHAThe second kosha is pranayama, the kosha composed of prana, or life force. Pranic energy is in constant motion throughout life. Prana is both visible and invisible. Where there is no prana,

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MANOMAYA KOSHAThe third kosha is manomaya, which is composed of the mind. Mind is conscious ness. If prana is WKH�SRVLWLYH�ŵHOG�RI�HQHUJ\��PLQG�LV�WKH�QHJDWLYH�ŵHOG�RI�HQHUJ\��7KH�WKUHH�VWDJHV�PRVW�REYLRXV�to human beings are the conscious mind (awake), the subconscious mind (dream state) and the

unconscious mind (sleeping). The literal meaning of manas is ‘that by which you cognize, perceive, and understand.’ Perception, cognition and understanding are the basic and primary qualities

of the mind.

VIJNANAMAYA KOSHAThe fourth kosha is vijnanamaya. Vijnana means psyche. It deals with our knowledge or awareness, inner perception or experience. Whenever you have any experience which is

subjective in nature, it is a consequence of vijnanamaya.

:KHQ�\RX�VHH�OLJKWV�DQG�ŶRZHUV��ŵJXUHV��DQJHOV��HWF��LW�LV�WKH�FRQVHTXHQFH�RU�UHVXOW�RI�WKLV�kosha. Vijnanamaya kosha is related to a very unknown part of the universe and it is a link or sutra between the conscious mind, the individual mind and the universal mind. Universal knowledge

comes to the conscious mind through vijnanamaya kosha or the psychic mind. Vijnanamaya kosha does not depend on time, space and causation factors.

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THE 3 BODIES OF YOGA

ANANDAMAYA KOSHA7KH�ŵIWK�RUJDQLVP�LV�DQDQGDPD\D�NRVKD��,W�LV�QRW�SRVVLEOH�WR�WUDQVODWH�WKH�ZRUG

ananda. Some translate it as bliss or happiness, but ananda is when there is no happiness and no unhappiness. Your mind is constantly swinging from happiness to unhappiness. In ananda, there is no swining. Death cannot change that experience; birth cannot change it; love and hatred cannot

make your experiences swing.

:KHQ�\RXU�PLQG�KDV�EHFRPH�VWHDG\�LQ�H[SHULHQFH�DQG�GRHV�QRW�ŶXFWXDWH�XQGHU�DQ\�FRQGLWLRQ��WKDW�is ananda. So we call it homogenous experience. With that state of mind you can live with all the

conditions of life. You can live with a good partner or a bad partner, prosperity or poverty, disease or GHDWK��RQ�D�EHDFK��D�KRWHO��HYHU\��ZKHUH��EHFDXVH�QRWKLQJ�DIIHFWV�\RX��<RX�DUH�ZKHUH�\RX�DUH��ŵUPO\�URRWHG�LQ�\RXU�RZQ�VHOI��EXW�DW�WKH�VDPH�WLPH�\RX�FDQ�LQWHUDFW�ZLWK�HYHU\RQH��<RX�FDQ�HYHQ�ŵJKW��EXW�

still not be affected.

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THE ORIGIN OF ASHTANGA YOGAThe tradition of Ashtanga Yoga can be traced all the way back to an ancient sage named

Vamana Rishi (sage). Although we do not know much about him, he is the purported author of the Yoga Korunta. The next person in the lineage was Rama Mohan Brahmachari, who was the teacher of Krishnamacharya. Over seven and a half years, it was documented that

Rama taught Krishnamacharya from a copy of the Yoga Korunta.

YOGA KORUNTAThis ancient text was compiled on bundles of palm leaves and no longer available for study

because it was destroyed by time and eaten by ants. According to Krishnamachary’s biog-raphy, the Yoga Korunta contained not only the vinyasa system but also the Yoga Sutra of

Patanjali and its commentary by a Rishi named Vyasa. However nobody including Krishnam-achary had seen an actual copy of this text.

KRISHNAMACHARYA & HIS FAMOUS DISCIPLE SRI K. PATTABHI JOISProfessor Sri Trimulai Krisnamacharya is considered by many to be the grandfather of mod-ern yoga. Krishnamacharya had quite a few famous students who in their time developed

the yoga that we practice today. These students include Pattahbi Jois (Ashtanga Vinyasa Yoga), BKS Iyengar (Iyengar Yoga), TKV Desikachar (Vini Yoga), A.G Mohan (Svastha Yoga)

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DEVELOPMENT OF ASHTANGA VINYASA YOGAAshtanga Yoga in the tradition of Sri.K. Pattabhi Jois is a dynamic form of Hatha Yoga that combines ZLWK�WKH�YLQ\DVD�V\VWHP��$VKWDQJD�<RJD�LV�GLYLGHG�LQWR��JURXSLQJV�RI�SRVWXUHV��7KH�ŵUVW�VHULHV�LV�

called Primary or Yoga Chikitsa. It is a strenuous routine which focuses on detoxifying the body and EXLOG�VWUHQJWK�DQG�ŶH[LELOLW\��7KH�VHFRQG�RU�,QWHUPHGLDWH�6HULHV�LV�FDOOHG�Ő1DGL�6KRGKDQDő�RU�QHUYH�cleansing. In this set of deeper backbends, hip openers and strength poses, practitioners work on

cleaning the nervous system. The Advanced Practice is a balance of strength and grace and is divided into Advanced A (Third Series), Advanced B (Fourth Series), Advanced C (Fifth Series), and Advanced D (Sixth Series). It is by tradition that students should progress through one posture at a time starting at the Primary Series. When we repeat a series of poses over and over again, we move away from an intellectual understanding of them to a kinesthetic intelligence that connects movement to a place

deep within.

ASHTANGA AND ASHTANGA VINYASA YOGAIt is important not to confuse Ashtanga yoga with Ashtanga Vinyasa yoga. Ashtanga Yoga is a 5,000 \HDU�ROG�GLVFLSOLQH�ZKRVH�6DQVNULW�QDPH�PHDQV�WKH�(LJKW�/LPE��,W�ZDV�ŵUVW�V\VWHPDWLFDOO\�RUJDQL]HG�

by Patanjali, the ancient sage, in his now classic text-The Yoga Sutra. Whereas Ashtanga Vinyasa yoga is a form of hatha yoga taught by Pattahbi Jois which focuses on asana (posture), pranayama (breath

control) and vinyasa (linking of postures by breath and movement.)

ASHTANGA YOGA

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PRIMARY SERIES - YOGA CHIKITSA

The primary series also known as Yoga Chikitsa. It means the therapy of yoga .7KH�SRVWXUHV�RI�WKH�3ULPDU\�6HULHV�HPSKDVL]HV�RQ�WZR�FRPPRQ�DIŶLFWLRQV�

1. PHYSICAL LIMITATIONS:Short hamstrings, tight hips, spinal imbalance, poor posture and weak abdominal groups.

2. MENTAL LIMITATIONS:Weak willpower, lack of mental focus, weak body-mind connection, negative thinking.

The therapy of yoga chiktisa is that as we progress through Primary Series, practicing the asanas will allow us to strengthen our mental will power and connect the body and mind. As a result the body

will become stronger and healthier and opens our mind to limitless possibilities and joy!

- ASHTANGA WORKSHOP

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3 MAJOR COMPONENTS THAT PATTAHBI JOIS EMPHASIZED IN ASHTANGA YOGA:

1. VINYASAVinyasa means the synchronization of one breath and one movement.

When practicing the sequence, each movement has either an inhale or exhale accompanied with it. For example, in Surya Namskar (sun salutation), there are nine YLQ\DVDV��7KH�ŵUVW�YLQ\DVD�LV�LQKDOLQJ�ZKLOH�UDLVLQJ�\RXU�DUPV�XS��WKH�VHFRQG�LV�H[KDOLQJ�

while bending forward, placing your hands beside your feet...etc. All asanas are assigned to a certain number of vinyasas.

The purpose of vinyasa is for internal cleansing. The combination of breath and movement heats up the body internally and makes the blood hot. Thick blood is impure

and may cause diseases. The generated bodily heat thins the blood and therefore HQKDQFHV�EORRG�FLUFXODWLRQ��)UHH�ŶRZLQJ�EORRG�ZLWKLQ�WKH�ERG\�V\VWHP�OXEULFDWHV�MRLQWV�DQG�PRELOL]HV�PXVFOHV��7KH�KHDW�DOVR�WUDYHOV�WR�WKH�LQWHUQDO�RUJDQV��ŶXVKHV�WKH�WR[LQV�

out of the body through sweat. If the method of vinyasa is followed, the body becomes healthy and strong.

2. TRISTHANAThis means the three places of attention or action: asana (posture), breathing system and dristhi (eye focus). The three are critical in yoga practices as they cover the three OHYHOV�RI�SXULŵFDWLRQ��ERG\��QHUYRXV�V\VWHP�DQG�PLQG��7KH\�PXVW�DOZD\V�EH�SHUIRUPHG�

in conjunction with each other.

$VDQDV�SXULI\��VWUHQJWK�DQG�JLYH�ŶH[LELOLW\�WR�WKH�ERG\��%UHDWKLQJ�LV�UHFKDND�DQG�SXUDND��which means inhale or exhale. Both inhale and exhale must maintain a steady count

DQG�WKH�OHQJWK�RI�WKH�WZR�VKRXOG�EH�WKH�VDPH�DOVR��,Q�WKLV�PDQQHU��EUHDWKLQJ�SXULŵHV�WKH�nervous system. Dristhi is the place where you look while in the posture. As when the eyes wonder, so is the mind. If you steady the eye gaze, you can also steady the mind.

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3. THE SIX POISONS:$OO�LQWHUQDO�SXULŵFDWLRQV�OHDG�WR�WKH�VL[�SRLVRQV�UHIHUHQFHG�E\�3DWWDEKL�-RLV��,Q�WKH�\RJD�

shastra it is said that God dwells in our heart the form of light, but this light is covered by six poisons: kama (desire), krodha (anger), moha (delusion), lobha (greed), matsarya

(envy), and mada (sloth). When yoga practice is sustained with great diligence and dedication over a long period of time, the heat generated from within will burn away

these poisons, and the light of our inner nature will shine forth.

ASHTANGA YOGA

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THE WORD ASHTANGA MEANS 8 LIMBS, OR STEPS, AND THESE COMPRISE: Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana and Samadhi

THE 8 LIMBS OF ASHTANGA YOGA

1. YAMA - ETHICAL OBSERVATIONSAHIMSA: non-violence, loving yourself and others, gentleness, justice, no pride nor fearSATYA: truthfulness, being true to your natureASTEYA: not stealing, not keeping yourself when others lack, it is a gift to be simpleBRAHMACHARYA: moderation, in all things, of body, mind and speechAPARIGRAHA: non-possessiveness, not hoarding, I have all that I need, feeling no loss

3. ASANAS - PHYSICAL POSTURESThrough the practice of the physical stretches, opening the body, one breaks through granthis (blocks) as a means of breaking through psychological blocks, conditioned thoughts or behavior (samsara). The 3 major granthis are attachment to possessions, people and thinking that one has special psychic abilities. Constitutive of the asanas are the drishti (gaze), ujjayi breath, and engaging 3 bandhas (energy locks), thus raising one’s prana, by raising kundalini (universal energy) from the mulabandha/muladhara chakra to the sahasrara chakra. Asanas develop a strong and elastic body, soothes the nerves, and develops control over the mind.

2. NIYAMAS - SELF OBSERVATIONSSHAUCHA: inner & outward cleanliness, positive thoughts & actions, benevolenceSANTOSHA: contentment, with yourself and gratitude, feeling no lack, tranquility TAPAS:�� ŵHU\�FOHDQVLQJ��HYHU\�SDLQIXO� experience is an opportunity to let go, equanimitySVADHYAYA: study of yourself, in relation to the body of knowledge that existsISVARA PRANIDHNANA: devotion to the universal, seeing it in all things, Thy will be done

4. PRANAYAMA: REGULATION OF THE BREATHThrough the practice of breath observation, control

and extension, one frees the conditioned mind from its restless scanning and analysis, its conditioned

thinking, by focusing one’s attention on the breath. Thus pranayama is the connection between the body and the mind. Ujjayi breath is a from of pranayama.

One also raises one’s prana from the base level concerns of the lower chakras to the higher levels of

Self-Actualization of the higher chakras. Ashtanga vinayasa (breathing movement), being dynamically aerobic and meditation, emphasizes the 3rd and 4th

limbs. Pranayama practice strengthens the respiratory system, soothes the nerves, and reduces cravings.

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5. PRATYAHARA: SENSE WITHDRAWALIn practicing sense withdrawal in the Buddhist sense of detachment or self-annihilation of the individual ego, one realizes one’s true Self (Atman) is the universal (Brahman). One turns inward and notices one’s conditioning, by not merely reaction to things, but observing one’s conditioned reaction and selective attention, i.e: what is that I am conditioned to notice? One frees one’s Self from conditioned existence (samsara) and comes to see the universal in all things. Mastering pratyahara one transcends dualities, such as pleasure and pain.

7. DHYANA: MEDITATION Rather than contemplating a particular thing one focuses on nothing, the mind is still in the Zen sense of no mind. This is not nihilistic but rather is beyond words. One just is, and the rational, logical, linear mind and its conditioned thoughts are at rest. Atman is Brahman. The universal, like breath, moves in and out of you. As with dharana, there is no analysis, no measurement, no judgment, no comparison.

6. DHARANA: CONCENTRATIONThe goal of all 8 limbs (Ashtanga) is yoga (union with the universal). Through dharana (contempla-tion) one achieves that goal by focusing one’s attention on the thing contemplated by the senses or the mind to the extent that one transcends the dualistic relationship of the subject (me) observing the object (other), and becomes one with, is absorbed into, what is contemplated (without analysis) as in Yahweh (I AM). This is the basis of Tantra.

8. SAMAHDI: ABSORPTION INTO THE UNIVERSALHaving freed one’s Self from samsara (ego selective consciousness), realizing universal consciousness, understanding all perspectives, one is free to dive into the ocean of peace (shanti) and experience the fruits of grasp. For how can one describe bliss? It cannot be grasped. An opened hand to give, receives the universal kiss.

ASHTANGA YOGA CONT...

PREPARED BY JOHANNES VAN VIGET

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The vital life energy, prana, is controlled by the breath. Prana literally means “breathing forth” the universal life force. Through practicing asana and pranayama, prana is brought into and stored in the ERG\��LQFUHDVLQJ�YLWDOLW\��3UDQD�PDLQO\�ŶRZV�WKURXJK�WKH�ERG\�LQ�WKH�QDGLV��RU�QHUYH�FKDQQHOV�RI�WKH�

astral body. (SEE ENERGY ANATOMY)

Œ5HVSLUDWLRQ�EHLQJ�GLVWXUEHG��WKH�PLQG�EHFRPHV�GLVWXUEHG��%\�UHVWUDLQLQJ�

UHVSLUDWLRQ��WKH�\RJL�JHWV�VWHDGLQHVV�RI�PLQG��6R�ORQJ�DV�WKH��EUHDWKLQJ��DLU�VWD\V�LQ�WKH�ERG\��LW�LV�FDOOHG�OLIH��

'HDWK�FRQVLVWV�LQ�WKH�SDVVLQJ�RXW�RI�WKH��EUHDWKLQJ��DLUŘ8MMD\L��KDYLQJ�FORVHG�WKH�RSHQLQJ�RI�WKH�ODU\Q[��WKH�DLU�VKRXOG�EH�GUDZQ�LQ�VXFK�D�ZD\�WKDW�LW�JRHV�WRXFKLQJ�IURP�WKH�WKURDW�WR�WKH�FKHVW�DQG�PDNLQJ�

D�QRLVH�ZKLOH�SDVVLQJ�œ- THE HATHA YOGA PRADIPIKA

UJJAYI BREATH(ALSO KNOWN AS THE VICTORIOUS BREATH)

21

PURPOSE OF UJJAYI BREATHING:��*HQHUDWHV�KHDW�DQG�SXULŵHV�WKH�ERG\�WKURXJK�WKH�VZHDW

- The sound of the breath keeps the mind focused- An indicator of the quality of your practice

Ujjayi breath should be smooth and relax throughout the practice

There are three main areas where the sound of the breath resonates: the nostrils, the palate, and the throat. Only when the sound is at the back of the throat can it begin to resonate in the chest cavity,

giving the diaphragm full range of movement. Initially, the sound of the breath may be a little exaggerated and raspy by over squeezing the glottis, eventually becoming both soft and steady. $�VRIW��FRQVLVWHQW�VRXQG�DLGV�WKH�FRQVLVWHQW�ŶRZ�RI�EUHDWK�DQG�KHOSV�WR�EXLOG�KHDW�LQ�WKH�ERG\��LGHDO�

for asana practice.

It is common for the sound of the breath to be louder and longer on the exhalation and quieter and shorter on the inhalation. Try to balance the two by limiting mental distractions during practice. One way

to facilitate the inhalation and exhalation is by counting the breath. For example, inhale for a count of ŵYH�DQG�H[KDOH�IRU�D�FRXQW�RI�ŵYH��7KLV�LV�D�JRRG�PHWKRG�IRU�WKRVH�ZKR�DUH�VWDUWLQJ�RXW�IRU�WKH�ŵUVW�WLPH�

THE DEPTH OF UJJAYI BREATH IS A GOOD INDICATOR OF THE QUALITY OF THE PRACTICE. EX: IT IS AN INDICATION THAT YOU HAVE GONE TOO FAR INTO THE POSE WHEN UJJAYI IS COMPROMISED.

UJJAYI BREATH CONT...(ALSO KNOWN AS THE VICTORIOUS BREATH)

PRACTICE - UJJAYI BREATHING

1. Sit in a comfortable position or lie down in savasana. Become aware of the natural breathing process and feel the air passing down through the windpipe. Keep the mouth closed as you breath through the nose.

2. Slightly contract the region at the back of the throat as you do when you swallow.

3. Fold the tongue back so that the tip of the tongue presses the back of the soft palate on the roof of the mouth.

4. As you inhale say “sa” and as you exhale say “ha”. Inhalation and exhalation should be equal duration.

5. Practice for 3 minutes and progressively work your way up to 10 minutes.

22

Œ�:KHQ�WKH�EUHDWK�ZDQGHUV��WKH�PLQG�LV�XQVWHDG\��

EXW�ZKHQ�WKH�EUHDWK�LV�VWLOO��so is the mind still.”

- HATHA YOGA PRADIPIKA

PRANAYAMA - CAPTURING THE PRANA

Prana represents life force and ayama means “to extend or draw out.” Often refers as breath control, pranayama acts as a key to open the mind and free the nervous system of its habitual patterns. The breath, body and mind are a closed chain, one affecting the other. By developing control of the breath,

WUHPHQGRXV�EHQHŵWV�FDQ�EH�EURXJKW�XSRQ�WKH�ERG\�DQG�PLQG��

Consistent practice of pranayama and asana revitalize the body, steadies the emotions, and create clarity of mind. Prana in Sanskrit or Qi in Chinese,

is a life force that moves upward from the base of the spine. Apana is the opposing force that travels downward. When the two forces unite at the

muladara chakra, kundalini is awakened.

Maintain the bandhas during pranayama is essential in capturing the prana. Ujjyai breath is used as a tool to engage the core and focus the mind.

Like asana, pranayama is progressive and one can increase his/her lung capacity with consistent practice.

PRANAYAMA IN SANSKRIT MEANS “EXTENSION OF LIFE FORCE.”

23


PRANAYAMA PRACTICES ARE CATEGORIZED UNDER FOUR GROUPS: SENSITIZING, BALANCING, TRANQUILIZING AND VITALIZING

SOME DEFINITIONS:Rechaka= ExhalationPuraka= InhalationKumbahka= Breath retentionAntara kumbhaka= Inhalation retention Bahya Khumbaka= Exhalation retention

KAPALBHATI (SKULL SHINING BREATH) Kapa= Skull Bhati= Shining

Kapalbhati consists of alternating short, explosive exhales and slightly longer, passive inhales. Exhales are generated by powerful contractions of the lower abdomen which pushes air out of the lungs. The focus is on the exhalation; inhalation should occur naturally.

$V�WKLV�LV�D�FOHDQVLQJ�WHFKQLTXH��LW�UHOHDVHV�WR[LQV�RXW�WKXV�SXULŵHV�WKH�SK\VLFDO�ERG\�

NADI SHODANA (ALTERNATE NOSTRIL BREATHING)Right nostril is Pingala Nadi, left nostril represents Ida Nadi. In alternate nostril breathing, one exhales through right and inhales through left then through right and exhales through left nostril.

7KH�JRDO�LV�WR�SXULI\�WKH�,GD�DQG�3LQJDOD�QDGLV��7KLV�SXULŵFDWLRQ�EULQJV�EDODQFH�WR� ERG\�DQG�PLQG�6RPH�EHQHŵWV�RI�DOWHUQDWH�QRVWULO�EUHDWKLQJ�

- PROPER SUPPLY OF OXYGEN IS ENSURED AND CARBON DIOXIDE IS EFFECTIVELY REMOVED.- DETOXIFICATION- EFFECTIVE STRESS MANAGEMENT- HELP REDUCES ANXIETY, DEPRESSION AND OTHER MENTAL ILLNESS. IT ALSO CALMS THE MIND.

PRECAUTIONS:- If you feel a bit of discomfort, lower the ratio of breathing- Do not force the proportion of the breathing- Initially one should start slowly in 3 secs inhalation and exhalation.Slowly you can increase it to 4:4 sec, 3:6 sec and then 4:8 sec. The proportion is limitless as long as you do not force upon yourself.

24


BHASTRIKA (BELLOW’S BREATHE)A vitalizing type of Pranayama. Bhastrika involves fast inhalation and fast exhalation, followed by inhaling through right nostril and performing kumbhaka with bandhas and exhaling through OHIW�QRVWULO��7KLV�UK\WKPLF�LQKDODWLRQ�DQG�H[KDODWLRQ�VWLPXODWHV�WKH�FLUFXODWLRQ�RI�FHUHEUDO�ŶXLG��creating compression and decompression. It stimulates heart and lung muscles thus improving blood circulation.

BHRAMARI (HUMMING BEE BREATHE)In this Pranayama one has to make sound like humming bee while exhalation and inhalation. It increases psychic sensitivity and awareness of subtle sound vibrations. It is useful in removing stress and anxiety.

Try doing Bhramari with eyes closed and ears plugged.

SHITALI (COOLING BREATHE)Tongue is rolled and inhalation is done via mouth followed by Kumbhaka with Bandhas and then exhalation with nostrils. The air passing via tongue cools the blood and lowering blood temperature.

This type of pranayama removes excess heat in the body.

25

PRANAYAMA SEQUENCEDuring the beginning of your practice, it’s good to start with 5 seconds breath and work your way XS�IURP�WKHUH��<RX�VKRXOG�QHYHU�IHHO�OLNH�JUDVSLQJ�IRU�EUHDWK��LQVWHDG��OHW�WKH�EUHDWK�ŶRZV�QDWXUDOO\��

Find yourself in a comfortable position and gently close your eyes.

PRANAYAMA SEQUENCE~Begin with 3 ujjyai breaths~

1. Baya Kumbhaka: Exhale Retention: Take a deep breath in and then exhale completely. Hold the exhale. Activate mula bandha, uddiyana bandha and jaladara bandha. Repeat 3 times.

2. Resume to 3 ujjayi breaths with even counting of inhale and exhale.

3. Antara Kumbhaka - Inhale Retention: Take a full inhalation and hold. Lower the chin slightly and engage jaladara bandha. Slowly lift the chin up and exhale fully. Repeat 3 times.

4. Antara Kumbhaka & Baya Khumbaka: Inhale fully and hold. Slightly lower the chin and engage jaladara bandha. Slowly lift the chin and exhale fully and then hold. Repeat 3 times.

5. 5HVXPH�WR��ŵQDO�XMM\DL�EUHDWKV�

~Lay down and rest at the end to integrate the pranayama practice. Feel the effects on your body and mind~


EXHALATION RETENTION:Take a deep inhale for 3 counts, exhale for 3 counts. At the end of exhale, hold the breath for 3 counts.

INHALATION RETENTION:Take a deep inhale for 3 counts. At the end of inhale, hold the breath, slightly lower

the chin and old for 3 counts. Lift the chin up and slowly exhale for 3 counts.

* Eventually work up to 5 counts. Make sure to keep even counts of inhale and exhale.

TIPS FOR TEACHERS:- Keep your eyes open and observe the students throughout the session.

- Explain how to do ujjayi breath and the idea of Bandhas.

- Demonstrate how to tuck the chin before starting the session.

- Make sure you’re breathing as well. Notice if the students are releasing their breath too soon, it could be your counting is too slow and/or the breath is held for too long. Adjust accordingly.

- Allow students to resume to regular breaths before laying down.

26

DEFINITION: Physical locks, dams which redirect prana through blood and lymph.

PURPOSES: Physical aspect - creates alignment and support.Energy aspect-direct prana which effects the Sushumna, Ida and Pingala. (SEE ENERGY ANATOMY)

HISTORY OF BANDHAS: 7UDGLWLRQDOO\�FODVVLŵHG�DV�0XGUDV��DQFLHQW�WDQWULF�WH[WV�PDNHV�QR�GLVWLQFWLRQ�between Mudras and Bandhas. The Hatha Prapidika deals with mudras and bandhas together.

SANSKRIT DEFINITION: hold, tighten, lock.

There are three principle bandhas: mula bandha, jalandhara bandha and uddiyana bandha. Also known as “three throats” through which vital forces pass: the throat, the diaphragm and the anus.

The mula bandha locks and seals energy from the lower end of the body. The upper jaladhara bandha locks and seals energy from the upper end, minimizing mental agitation. The uddiyana bandha applies SUHVVXUH�IURP�ZLWKLQ��LQFUHDVLQJ�WKH�LQWHUQDO�ŵUH�RU�DJQL��LPSURYLQJ�ERWK�WKH�SK\VLFDO�DQG�HQHUJHWLF�GLJHV-tive system. When all three are maintained simultaneously it is known as the maha bandha or great lock.

1. MULA BANDHA “Root Lock” � /RFDWHG�DW�WKH�SHULQHXP��PHQ��RU�SHOYLF�ŶRRU��ZRPHQ��(QHUJHWLFDOO\�WKH�FRQWUDFWLRQ�RI� mula bandha assists in the containment and distribution of prana. It is also understood to be the trigger point at muladhara chakra where a source of latent energy at the base of the pelvis is waiting to be energized up the spine. The position of the mula will determine � WKH�HIŵFLHQF\�RI�DQ�DVDQD�

2. UDDIYANA BANDHA “Fly Upwards” It is activated by contracting the lower abdomen, pulling it towards and up the spine. Visualize it as a motion rather than a point. KEY PURPOSES: Straightening of spine, Protection of the lumbar, Used to invigorate, Direction of prana.

3. JALANDHARA BANDHA “Net in the Stream” It is located in the throat area. Activating it involves pressing the chin to the chest and softly contracting the larynx so that the spine is held upright and straight. It allows us to capture prana in the upper region of our body. Helps with ujjyayi breath.

OTHER BANDHAS: PADA: ankle lock / HASTA: wrist/hand lock / AMSA: armpit lock In certain poses, activating either pada or hasta bandha would help stabilizing the posture to increase

strength and balance. For example: handstands, elbow stands, navasana, supta hasta padagusthasana.

BANDHAS

3 MAIN TYPES OF BANDHAS

27

'HŵQHG�DV�ŐORRNLQJ�SODFHŔ�EXW�OLWHUDOO\�PHDQV�œSHUFHSWLRQŔ��

By keeping the gaze to the traditional dristi, pratyhara or withdrawal of the mind from external judgment is cultivated.Often in a yoga class, we have the tendency to look around at other individuals practicing nearby. By drawing your focus on a small point of the body, the mind is therefore drawn in and hence

concentration is improved.

7UDGLWLRQDOO\��WKH�GULVWL�IROORZ�D�GHŵQLWH�SDWWHUQ��OLQNHG�ZLWK�WKH�EUHDWK�DQG�WKH�YLQ\DVD��7KH�JD]H�PRYHV�XS�during Inhalations or upward movements, while the focus moves downward during exhalations or down-

ward movements. Some exceptions may applied. Depending on the physical body, the dristi can be altered in order not to compensate the structure of the spine. For example in forward bend, if foot dristi tends to RYHU�DUFK�WKH�QHFN��WKHQ�WKH�QRVH�GULVWL�LV�PRUH�VXLWDEOH��,I�ORRNLQJ�DW�WKH�QRVH�LV�GLIŵFXOW��PDLQWDLQLQJ�WKH�

gaze in the same direction is enough. Be open to where the gaze is, not all bodies are the same. The importance is to maintain a healthy spinal-body structure.

THE 9 TRADITIONAL DRISTI:

1. NOSE-NASAGRAI DRISTI

2. UPWARD-URDHVA DRISTI

3. THIRD EYE-AJNA CHAKRA DRISTI

4. HAND-HASTAGRAI DRISTI

5. THUMBS-ANGUSTHA MADYAI DRISTI

6. RIGHT SIDE-PARSVA DRISTI

7. LEFT SIDE-PRASVA DRISTI

8. NAVEL-NABI DRISTI

9. FOOT-PADAYORAGRAI DRISTI

DRISTI

28

NADISNadis are those paths through which the body receives its supply of prana (Think of them as veins).

According to ancient texts, there are 72,000 nadis throughout the body. Out of all, only 3 nadis are important to us:

SHUSHUMNA: The path of Kundalini (dormant cosmic energy)

IDA: Left / Moon, downward, feminine energy, cooling

PINGALA: Right / Sun, upward, masculine energy, heating

KUNDALINI means she who is coiled and is considered to be the mother of the universe. It is a force beyond duality. Commonly referred as the serpent, sakti, the divine power. It is believed that when the nadis are impure, breath cannot penetrate into the Sushumna. When Kundalini is awakened it starts to move up

the shushumna nadi, through the seven chakras toward higher states of consciousness.

“ The awakened kundalini that is taken up to manipuraka chakra may drop down again to muladhara. It has to be raised again with effort. One should become perfectly desireless and should be full of vairagya

(detachment) before he attempts to awaken kundalini…When it is awakened it hisses like a serpent beaten with a stick and enters the hole of susumna. When it travels from chakra to chakra, layer after layer of the

mind becomes open and the yogi acquires various siddhis (psychic powers).”

- THE SCIENCE OF PRANAYAMA, P.16

ENERGY ANATOMY: NADIS & CHAKRAS

AWAKENING THE KUNDALINI GODDESS

29

THE CHAKRA SYSTEMThe word ‘Chakra’ comes from the Sanskrit language and means wheel of light. It is an energy

system which keeps the body and mind alive and healthy. The seven Chakras are who we are and what we are, what we feel and how we think and change. The Chakra system is how we experience

life, how we perceive and how we relate to the self, others and the world.

CHARACTERISTICS OF THE CHAKRAS The Chakras are the energy centers of the body with each Chakra being a swirling vortex of energy ZLWK�WKH�XQLYHUVDO�HQHUJ\�ŵHOG��6WXGLHV�KDYH�VXJJHVWHG�WKDW�WKH�VHYHQ�PDMRU�&KDNUDV�DUH�IRUPHG�

at the points of the body where energy strands cross each other 21 times which corresponds to the major nerve plexuses of the physical body in that area of the body. Using a Chakra system, we may be able to trade some patterns that are acting as obstructions in our energy channels of all levels.

A way to enter the Chakra system is by meditation.

NUMBER NAME LOCATION COLOR ENDOCRINE GLAND

1 Muladhara Perineum (men) /Cervix (woman)

Red Adrenal

2 Svadhisthana Lower abdomen Orange Ovaries / Testicles

3 Manipura Solar Plexus Yellow Pancreas

4 Anahata Heart Green Thymus

5 Vishuddhi Throat Blue Thyroid

6 Ajna Third eye Indigo Pineal/Pituitary

7 Sahasrara Crown White/violet Pituitary

ENERGY ANATOMY: NADIS & CHAKRAS CONT...

30

MULADHARAMula means root, support. It is the chakra of survival, grounding, also it’s the root of Kundalini.

COLOR: Red / GLAND: Adrenal / BODY PARTS: Legs, feet, bones, large intestine & teeth.

ARCHETYPES:Closed-Victim, blame others, paralyzed by fear, low self-esteem, unstable, idealistic, needy.Healthy-Mother Earth, take care of his/her own needs, has lots of vital energy, patience, enough warmth, good sense of identity, VHOI�VXIŵFLHQW��ZHOO�DGMXVWHG��Open-Consumer, excessive, workaholic.

BIJI MANTRA: LamMuladhara: I Am

SVADHISTHANAMeans sweetness. Appreciation of beauty and intuitive knowledge is the chakra of desire, pleasure, sexuality & procreation.

COLOR: Orange / GLAND: Ovaries/Testicles / BODY PARTS: Womb, genitals, kidney, bladder, circulatory system.

ARCHETYPES:Closed-Martyr, forsakes their happiness for others, can’t accept pleasure, QRW�VH[XDOO\�VDWLVŵHG�+HDOWK\�(PSHURU��ORYHV�ZHOOEHLQJ�IRU�DOO��FUHDWHV�DQG� shares abundance, doesn’t generate guilt. Open-Hedonist, pleasure for SOHDVXUHőV�VDNH��VHOI�REVHVVHG��SXWV�WKHPVHOYHV�ŵUVW�

BIJI MANTRA: VamSvadhisthana: I Feel

MANIPURAMeans City of Jewels. Chakra of will, power, assertiveness.

COLOR: Yellow / GLAND: Pancreas / BODY PARTS: The digestive system,muscles.

ARCHETYPES:Closed-Servant, obedient, subservient, needs recognition, seek approval.Healthy-Warrior, non-dominating, open to change, good self-esteem, strong willed, chooses battles wisely.Open-Dictator, impatient, controlling, well organized, OCD, judgemental, appears to have lots of energy, easily angered.

BIJI MANTRA: RamManipura: I do


31


ANAHATAMeans un-struck. Chakra of compassion, love.

COLOR: Green / GLAND: Thymus / BODY PARTS: Lungs, heart, pericardium, arms, hands.

ARCHETYPES:Closed-Timid Child (fear), shy, feels they don’t deserve love, defensive.Healthy-The lover (love), self-acceptance, open, ability to commit, gives freedom, unconditional love and acceptance.Open-Actor (insecurity), lack of control of actions, dramatic emotions, shallow love affairs, possessive, controlling.

BIJI MANTRA: YamAnahata: I love

VISHUDDHI0HDQV�SXULŵFDWLRQ��,V�WKH�FKDNUD�RI�FRPPXQLFDWLRQ�DQG�FUHDWLYLW\�

COLOR: Blue / GLAND: Thyroid / BODY PARTS: Ears, throat, neck, shoulders, arms, hands.

ARCHETYPES:Closed-Quiet child (repression), emotionally repressed, incapable of expression, doesn’t cry easily.Healthy-Communicator (integrity), in touch with their emotions, honest and truthful, no guilt, thinks before speaking.Open-Addict (superlative), talks a lot, arrogant, dogmatic, deluded, prone to exaggeration.

BIJI MANTRA: HamVishuddhi: I speak

AJNAMeans to command, to perceive. It is the chakra of seeing and intuition.

COLOR: Indigo / GLAND: Pineal/Pituitary / BODY PARTS: Skull, head, eyes

ARCHETYPES:Closed-The Blind (limitation), someone who lacks discipline, fear of success, sets low goals, afraid to see. Healthy-Intuitive (intuition), manages to have spiritual, physical and mental well-being. Perceptive, connected to their inner guru and internal wisdom.Open-The intellectual (arrogance), conceptualizes their experiences, dogmatic, don’t trust his/her intuition.

BIJI MANTRA: OmAjna: I see

32

SAHASRARAMeaning thousandfold. It is the chakra of information, understanding and bliss.

COLOR: Violet/white / GLAND: Pituitary / BODY PARTS: Cerebral Cortex, central nervous system.

ARCHETYPES:&ORVHG�$WKHLVW��HPSW\��GRHVQőW�OLNH�WR�UHFHLYH�KHOS��VHOI�VXIŵFLHQW��ODFN�RI�IXOŵOOPHQW��+HDOWK\�:LVH��FRPSUHKHQVLRQ��FRQQHFWHG�WR�WKHLU�VSLULWXDOLW\��a great level of understanding, abundant.Open-Narcissist (egoist), vain, ungrateful, psychotic, enjoys everything under their control.

BIJI MANTRA: OmSahasrara- I understand


CROWN - SPIRITUAL

3RD EYE - PERCEPTION

THROAT - EXPRESSION

HEART - LOVE

SLOAR PLEXUS - POWER

SACRAL - SEX

ROOT - SURVIVAL

33

Ayurveda is a 5000-year-old system of natural healing. Originated in the Vedic culture of India, this ancient practice had given birth to other traditions such as Tibetan medicine and Traditional

Chinese Medicine.

$\XUYHGD�GHŵQHV�DV�D�VFLHQFH�RI�OLIH��$\XU �OLIH��9HGD �VFLHQFH�RU�NQRZOHGJH��,W�SURYLGHV�RXU�ERGLHV�guidelines on ideal daily and seasonal routines, diet, behavior and much more. Ayurveda reminds

us that our bodies are unique on their own and that health is the balanced and dynamic integration between the environment, body, mind and spirit.

INTRODUCTION TO AYURVEDA

3 FUNDAMENTAL ENERGY STRUCTURES (DOSHAS) OF AYURVEDA:

1. VATA (WIND) 2. PITTA (FIRE) 3. KAPHA (EARTH)

BALANCE

lively and creative warm, friendly, disciplined, good leader and good speaker sweet, supportive and stable

IMBALANCE

anxiety, insomnia, dry skin, FRQVWLSDWLRQ��GLIŵFXOW\�IRFXVLQJ compulsive, irritable, indigestion

sluggishness, weight gain and sinus congestion. The essential goal of Ayurveda is to identify a person’s ideal state of balance, to cultivate

equilibrium within the body.

CHARACTERISTICS OF THE 3 DOSHAS:

ThinLight

EnthusiasticEnergeticAdaptable

IntenseIntelligent

Goal-orientedStrong appetite for life

Vishuddhi

Easy-goingMethodical Nurturing

Strong buildExcellent stamina

a�&OHDQVLQJ�DQG�SXULŵFDWLRQ�RI�WKH�ERG\�a�

These primary forces compose the characteristics of our mind and body. Each of us constitute different portion of these 3 forces. Depending on which force is dominant, our nature would

shape in accordance to that proportion.

*For each element, there is a balanced and imbalance form

34

As we get older, the core of the body tends to lose its integrity and collapses. Unless we practice some sort of opposing technique, eventually gravity will pull the solar plexus downward and out, resulting in a sluggish and lifeless body. In addition, as the body accumulates toxins over time, poor digestion

occurs as well as other detrimental illnesses.

Nauli, in conjunction with the uddiyyana bandha, can help bring everything upward, inviting new energy back into the core of the body. Known as belly-churning, nauli kriya is a cleansing technique traditional in hatha yoga practice. It is best done early in the morning, before eating or drinking and asana practice. These techniques keep the indigestive system balanced and improve indigestion or

poor blood circulation.

CONTRAINDICATIONS OF NAULI KRIYAS:Nauli Kriyas is a very stimulating process and ignites the agni within the body.

Certain individuals should refrain to this cleansing technique:

• Pregnant women or within 6 months of giving birth• Women during menstruation• High blood pressure• Stomach ulcers• Recent gastro-intestinal surgeries• Fever or otherwise sick

If an individual is in doubt of this practice, it is wise to consult an experienced instructor beforehand. It is also important to not ingest any liquids or food before practicing.

NAULIS KRIYA

35

1.Stand with feet hip width apart. Bend the knees and rest the palms of the hands just above the

knees. On the inhalation, look up slightly, arch the back and on the exhalation push out all the air RXW�RI�WKH�OXQJV��1H[W��SHUIRUP�MDODQGKDUD�EDQGKD��UHVWULFWLQJ�DLU�ŶRZ�LQZDUG�E\�FORVLQJ�WKH�QRVWULO�

and throat) while maintaining exhale retention. Create a vacuum in the thoracic cavity by sucking in the abdomen and stomach. Hold in the position without straining or feeling dizzy.

Slowly release the uddiyana bandha, inhale through the nose and slowly come up. Repeat 3 times. *Remember to do this slowly.

2.Practice as in #1, but this time instead of drawing up the belly and hold, release the diaphragm and bell softly while maintaining the exhale retention. Bounce the belly in and out and thereby

massage the internal organs. Repeat 3 times.

3.Final technique of Nauli is rolling. Set up the body as described in #2. After pushing the abdomen

and forming a small mountain in the centre, slowly circle the hips in a clockwise direction. 5HSHDW�WKLV�LQ�FRXQWHU�FORFNZLVH�GLUHFWLRQ��/LNH�D�ZDVKLQJ�PDFKLQH��WKLV�ŵQDO�WHFKQLTXH�LV�WKH�PRVW�

LQWHQVH�RI�DOO�DQG�GHPRQVWUDWHV�WKH�EHQHŵWV�RI�QDXOL�WUHPHQGRXVO\�

PRACTICING NAULI KRIYA

SELF-REFLECTION:How do you feel after practicing naulis?

Notice any weak or tender areas in the body? Do you feel dizzy at any point of the practice? If so, do you know why?

Compare your experience after a few weeks of practicing. Note down the difference in the body. Also practice engaging the uddiyana bandha during asana practice.

It is recommended to practice this cleansing technique 3-4 times per week. Stay in tuned with your body. If this practice tends to over-stimulate the bowel movement,

it’s good to reduce practice to once or twice per week.

36

1HWL�LV�DQ�LPSRUWDQW�SDUW�RI�+LQGX�6KDNWNDUPD��<RJLF�SUDFWLFH�RI�ERG\�SXULŵFDWLRQ��,W�LV�LQWHQGHG�mainly to cleansing the air passageways in the head. Nasal cleansing can exerts profound

physiological effect on the body and mind. On the physical level, it clears the nasal mucosa hence removing the toxins out of the nostrils and sinuses. Regular practice of jala neti regulates a healthy

respiratory system.

PRACTICE8VLQJ�D�QHWL�SRW��ŵOO�LW�ZLWK�VWHULOL]HG�DQG�OXNHZDUP�VDOW�ZDWHU��7KH�VDOW�VKRXOG�EH�MXVW�HQRXJK�WR�

taste. Tilt the head slightly to the right and place the neti pot nozzle in the left nostril. It’s important to keep the mouth open and breath through the mouth only! After emptying half of the water in the right nostril, center the head and let the water run out of the nose. The procedure is then repeated on the other side with the remaining water. Throughout the practice, keep breathing

through the mouth and refrain from breathing through the nose. When blowing the nose, do not blow too hard as some of the water might push into the ears.

It is important to remove all the water after the practice to prevent any sinuses and mucus membranes irrigation.

SELF-REFLECTION:How do you feel afterwards? Notice which nostril is blocked.

Does it change from day to day?Do you feel a sense of clarity after using the neti?

If so, describe the sensation before and after.

Note down any discomfort or new sensation after each practice.

JALA NETI – NASAL IRRIGATION

37

Dedicating a regular time and place for your yoga is essential for maintaining a regular practice. :H�EHOLHYH�WKDW�\RX�VKRXOG�RQO\�WHDFK�ZKDW�\RX�SUDFWLFH��:KHQ�ŵUVW�OHDUQLQJ�WKH�SULPDU\�VHULHV�

try to practice at least three times per week. Do not overexert as you need to develop your VWDPLQD�RYHU�WLPH��3URJUHVVLYHO\�LQFUHDVH�\RXU�SUDFWLFH�WR�ŵYH�RU�VL[�WLPHV�SHU�ZHHN��7KH�standard Ashtanga Yoga weekly routine starts on Sunday and ends on Friday with both

Saturdays and moon days off.

A famous pronouncement from guruji “ 99% practice,1% theory.” It is through practice that these seemingly impossible postures are mastered with comfort and ease within a reasonable time period. It is also through practice that yoga becomes integrated in your life and not just

on the mat.

WHY DO WE REST ON MOON DAYS?Humans are composed of 70% water, like all sorts of watery nature, we are affected by the phases of the moon. The moon cycles are determined by the relative distance between the

moon and the sun. Full moons occur when they are in opposition and new moons when they are in conjunction. Both moon and sun exert a gravitational pull on the earth. The full moon energy corresponds to the end of inhalation when the force of prana is greatest. There is an

expansive, upward moving force that makes us feel energetic, emotional, but not well grounded. According to Upanishads, during the full moon we tend to be more headstrong.

The new moon energy correlates with the end of exhalation when the force of apana is greatest. This is a downward, contracting moving force that makes us feel calm and ground, but dense and disinclined towards physical exertion. Practicing Ashtanga Yoga over time makes us more

attuned to natural cycles. Observing moon days is one way to recognize and honor the rhythms of nature so we can live in greater harmony with it.

- TIM MILLER, ASHTANGA YOGA CENTER

INTEGRATING YOUR DAILY PRACTICE

SOME HELPFUL HINTSDecide ahead of time how long and what you will practice each day. Incorporating nauli kriya, SUDQD\DPD��VXQ�VDOXWDWLRQV��VWDQGLQJ�SRVWXUHV��VLWWLQJ�SRVWXUHV��ŵQLVKLQJ�VHULHV�DQG�VKDYDVDQD��

Listen to your body. Only through your own internal awareness will you come to terms on what serves your body and what doesn’t.

Take your time to build an asana. Never force yourself into a pose. No posture is worth injury.Smile and enjoy your practice. Acknowledge and receive the gift you are giving yourself.

Overtime with dedication and commitment, your daily practice will become automatic and may even seem unnatural when you don’t practice.

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“YOGA TRULY BEGINS WHEN YOU LEAVE THE CLASSROOM. YOGA IS A WAY OF LIVING.”

- LARRY SCHULTZ

39

THE ETIQUETTE OF TEACHING A YOGA CLASS

1. SET YOUR INTENTION ON YOUR WAY TO CLASS. BE PREPARED AND FOCUSED. LEAVE YOUR PERSONAL AGENDA OUTSIDE OF THE STUDIO AS MUCH AS POSSIBLE.

2. ARRIVE 10-30MINUTES EARLY BEFORE THE CLASS BEGINS. GREET YOUR STUDENTS, SMILE AND SET YOUR PRESENCE IN THE ROOM.

3. POSITION YOURSELF IN THE ROOM WHERE EVERYONE CAN SEE AND HEAR YOU. SET UP THE ROOM HOW YOU WANT THE STUDENTS TO PLACE THEIR MATS.

4. PERSONAL INTRODUCTION: - Your name - Ask if there are any new students? Anyone have injuries or particular request �� KHOS�ZLWK�LQYHUVLRQV�RU�VSHFLŵF�WHQGHU�VSRWV�LQ�WKH�ERG\�� - For beginners classes- best to introduce the foundation of sun salutations and vinyasas in the beginning of classes.

ALSO DEMONSTRATE CHILD’S POSE AND OFFER THIS POSITION THROUGHOUT THE CLASS.

- Demonstrate and explain ujjayi breathing. Center the classes energy and draw their focus to the breath. - Begin with Samasthiti.

5. OFFER MODIFICATIONS/VARIATIONS THROUGHOUT THE CLASS. PAY ATTENTION CLOSELY TO THE NEW STUDENTS OR BEGINNERS BUT AT THE SAME TIME MAINTAIN THE FLOW OF THE CLASS FOR THE MORE EXPERIENCED STUDENTS.

6. WHEN IN DOUBT OF COUNTING THE 5 BREATHS IN POSES, HOLD ONE MORE BREATH AND BRING EVERYONE BACK TO THE SAME COUNT.

7. STAY IN THE PRESENCE AND OBSERVE EVERYONE IN CLASS. NOTICE THE QUALITY OF THE STUDENTS’ BREATH AND FOCUS. BE AWARE OF ANY GRASPING OF AIR, RED FACE, SHAKING, TAKING EXCESSIVE BREAKS…ETC)

8. BE CONFIDENT AND STAY IN CHARGE. YOU’RE THE FACILITATOR.

9. REMIND EVERYONE TO TAKE CHILD’S POSE IF NEEDED.

10. GIVE PLENTY OF TIME FOR SAVASANA. MOST PEOPLE IN THE CITY WOULD DISMISS THIS POSE AND MAY EVEN SKIP THIS POSTURE AND LEAVE! REMIND THEM THAT SAVASANA IS A LYING DOWN MEDITATION AND HAS TREMENDOUS BENEFITS BOTH BODY AND MIND.

11. FINISH CLASS WITH GRATITUDE AND CLOSING CHANT. THANK YOUR STUDENTS FOR THEIR TIME AND EFFORT.

12. SMILE AND HAVE FUN!

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41

HOW TO EXPLAIN THE STRETCH SAFELY:Without proper body awareness, it is very easy for beginners to over stretch and even injure

themselves in class. Always remind them to activate the muscles and bandhas. Set up the asana slowly and always emphasize the breath while holding the pose. It is common that

new students become concerned or discouraged when they experience muscle soreness in their body. Encourage them to focus on the breath and approach the asana with calmness.

Offer them tips on herbal balms, water hydration and food sources that may ease their physical discomforts.

HOW TO EXPLAIN TRANSITIONS:Move from one pose to the next requires the teacher to give instructions simple, precise and clear. Synchronize the instructions on your exhalation, that way you’ll be more relaxed and

able to maintain a consistent count. You can also practice at home saying the transitions out ORXG��1RWLFH�LI�\RXőUH�JLYLQJ�WRR�PDQ\�FRUUHFWLRQV��'R�\RXU�ZRUGV�ŶRZ�ZLWK�WKH�PRYHPHQW"

OFFER SILENCE IN BETWEEN:As a teacher, you want to share everything you know about yoga with your students.

Remember, less is more. By offering silence in the postures, your students will have the opportunity for stillness and introspection. You also allow them to get in touch with their body

rather relying on you throughout class. The best way is to give them only the absolutely necessary points of guidance in the pose and to allow them to discover each asana on their

own. In this way, they can also foster a state of moving meditation.

HOW TO BALANCE ENDURANCE AND RELAXATION:Especially for new students, the tendency is to push too hard in the beginning of the

practice and tails off in the end. Remind the students to pace their energies right from the start! Emphasize on the quality of breath and not the appearance of the posture. If needed, adjust your counting in the more challenging asanas. Always remind your students to take a

break whenever they need it.

PRACTICAL GUIDANCE FOR YOGA TEACHERS

42

“ EACH TIME I TEACH, I REMIND PRACTITIONERS TO BUILD THEIR

POSES BREATH BY BREATH. PRACTICE THE POSES WITH PATIENCE

AND KINDNESS TOWARDS YOURSELF AND THEY WILL ALLOW YOUR BODY AND MIND TO FLOW

WITH HEALTH AND VITALITY.” - LARRY SCHULTZ

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“6R�ZKHWKHU�\RX�GR�\RXU�ŤUVW�GRZQZDUG�GRJ�DW��RU��LWŐV�QRW�\RXU�KLVWRU\�EXW�\RXU�

SUHVHQFH�RQ�\RXU�PDW�WKDW�FRXQWV�œ�- PATTAHBI JOIS

SOME TIPS:“Body is not stiff. Mind is stiff.” Most often it’s our mental blockage that prevents us moving freely in the

asana. It’s good to visualize yourself in the posture before moving into it. Some of our resistance is just a conditioned mental idea that we cannot do the posture. Change the mental idea.

Never force it. No asana is worth injured for. Stay connected with your breath, allow the breath to move you gradually deeper into the posture.

(YHQ�ZKHQ�KROGLQJ�D�SRVWXUH��WKHUH�LV�VWLOO�PRYHPHQW�FRQWLQXRXVO\�ŶRZLQJ�WKURXJK�WKH�ERG\��)RFXV�RQ�WKH�EUHDWK�WR�EULQJ�OLJKWQHVV��HDVH��DQG�ŶXLGLW\�LQWR�WKH�PRYHPHQW��

:KHQ�HQFRXQWHU�GLIŵFXOW�SRVLWLRQV��GLUHFW�\RXU�HQHUJ\�WR�\RXU�EUHDWK��%H�SDWLHQW�ZLWK�\RXUVHOI��notice that the deeper and more consistent your breath, the easier the movement.

Consider your practice a moving meditation. When thoughts show up, acknowledge them and then let them go.

Every practice is new on its own. Let go of any expectations and appreciate each practice with its own light and gratitude.

Remind yourself the fundamentals of your practice: bandhas, breath and dristi.

FEARASANA One of the greatest obstacles is fear. Go into the resistance, allow the body to open.

S U R R E N D E R.

- LARRY SCHULTZ

FOR YOUR OWN PRACTICE

44

WHY DO WE ADJUST?

1. Remove student from an unsafe position due to poor alignment, excessive forcing, or other factors that might lead to injury.

2. Give information about alignment of pose.

3. Give information about energy of pose.

4. Increase student’s awareness of her body or breath.

5. Provide alternative ways of experiencing the pose, either to add interest, variety, depth or other.

6. Provide encouragement.

7. 5HVSRQG�WR�VWXGHQW�ZKR�KDV�TXHVWLRQLQJ�ORRN�RU�LV�RWKHUZLVH�DVNLQJ�IRU�FODULŵFDWLRQ�RU�JXLGDQFH�

8. Give student a “feel good adjustment” that helps to deepen stretch and massage muscles.

THE ART OF ADJUSTMENTS

45

THE ART OF ADJUSTMENTS CONT...

4 KEY THINGS TO REMEMBER WHEN OFFERING ASSISTANCE:

1. UNDERSTAND THE POSE & GENERAL STUDENTS ISSUES- Make sure to have deep understanding of the pose. Including purposes of the pose and the target muscles involved.- Be familiar with the primary cautions with the pose. For example, in Janu Sirasana C, the main caution is the twisting of the knee. �� %H�FRPIRUWDEOH�ZLWK�YDULDWLRQV�RI�PRGLŵFDWLRQV��2IIHU�PRGLŵFDWLRQV�WR�VWXGHQWV�ZKR�KDYH� troubles with the full pose.- Remind yourself that different bodies experience the pose differently. Be mindful of the students’ injury history and other medical cautions. For example pregnancies, age, surgeries…etc.

2. CULTIVATE OUR ABILITY TO SEE- Be grounded in our bodies and connect with our breaths. Envision yourself doing the asana when adjusting. - Expand your view beyond small tweaks and alignments. It’s important to view your students in a bigger picture. - Sometimes let go on the small details of the asana and allow freedom in the posture.- Be empathetic. Envision how your students feel in the asana.

3. MAKE OBSERVATIONS- First observe areas of caution or risk in the pose.- Be alert with student’s breath and overall comfort including signs of tension, resistance or fear.- Access student’s physical capabilities & challenges. Never force someone into a posture beyond their capabilities.- Observe student’s body awareness.- Respect when a student declines adjustments.

4. CHOOSE TO ASSIST - Be clear on your intention when assisting. - Timing is key. Never extend your assistance beyond the breath count. - Make sure you come in and out of the adjustments with calmness and assurance. Never leave the student in an unstable position.- Direct the student’s attention toward proper alignment and breath instead of achieving the ‘desirable’ look of a posture.

46

TYPES OF ADJUSTMENTS: VERBAL, VISUAL & PHYSICALRemove student from an unsafe position due to poor alignment, excessive forcing, position.

VERBALSometimes it’s easier to convey the point of your teaching to the whole class.

&KDQFHV�DUH�HYHU\RQH�ZRXOG�EHQHŵW�IURP�WKH�WHDFKLQJ�

Giving one-on-one teaching. This is good when teaching a class which consists of different levels of yoga students. Going near the student and offer advice give discretions especially

for beginners.

Project your voice. Make sure everyone can hear you in the classroom.

Be clear about right & left cues. Stay in the present moment. Often mental distractions or reliance on a ‘script’ could create confusion.

VISUALBefore the class begins, it’s best to set up the way you want the students to place their mats.

This gives you the advantage when doing demonstration and be visual to everybody.

Analyze the situation. When showing a student certain pose, place yourself on the side of the mat where the student can see you without compromising their alignment.

Move around the students and observe them at every angle.

Look at the students in a bigger picture. Don’t ‘nit-pick.’ If a student is not correcting the pose after a few comments. Let it pass, the pose will come in time.

PHYSICALKnow when to adjust and when to refrain.

Not everyone is comfortable with physical adjustments.

Offer a ‘light’ touch just enough to direct the motion. Never hard grasps or otherwise be forceful.

Be aware of what could be conceiving as inappropriate.

Allow for feedback and adjust accordingly. Again, be respectful of student’s opinions. It is their practice after all.

THE ART OF ADJUSTMENTS CONT...

47

As much as we care about the safety of the students, yoga teachers must also be aware of their own safety when offering adjustments.

• Never stand in the way of moving limbs. (ie. Inversion).• Use your body weight when adjusting when necessary. • Be careful when adjusting someone that’s proportionally larger than yourself. (ie. Kick up to handstands, drop-backs..etc).• Develop an understanding of student’s body language. In certain cultures, a student may not verbally speak up when he/she feels uncomfortable with adjustments. Be mindful.• Understand your own role and power as a teacher. Let go of your own ego and expectations. Focus on the wellbeing and general experience of the students. • Always offer choices. Give your students permission to rest in child’s pose when needed.• 7HDFK�ZKDW�\RX�SUDFWLFH��1HYHU�WHDFK�D�FODVV�ZLWKRXW�SUDFWLFLQJ�RQ�\RXU�RZQ�ERG\�ŵUVW�• Respect your students’ personal goals.

A WORD ON SAFETY

A FEW EXTRA TIPS:• Don’t overwhelm your students with too much information. Give what is absolutely necessary.• Be positive and light. Your smile and warmth can make somebody’s day.• Know that you’re a role model to your students. Be aware of your body language and behavior (even when outside of class!).• Be approachable. If you can, invite students to stay after class for questions.• Teaching yoga can be very intimate. Have clean hands and body hygiene.

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As yoga teachers, your training is a never-ending path. There is always new information to learn and ways to enhance your own teaching and practice.

HERE ARE SOME SUGGESTIONS YOU MAY TAKE ON IN THE FUTURE FOR PERSONAL DEVELOPMENT:• Attend other trainings and workshops. Even in the same realm of yoga, you could obtain new knowledge from different instructors.• Join a meditation retreats. There are many here in Thailand that offer 3 days to months long meditation retreat. Wat Suan Mokkh: www.suanmokkh-idh.org / Dipabhavan Meditation Center: http://dipabhavan.weebly.com/index.html• (VWDEOLVK�D�QHWZRUN�ZLWK�WKH�ORFDO�SK\VLRWKHUDSLVW��FKLURSUDFWRUV��ŵWQHVV�FHQWHUV�DQG�VSDV��• Attend yoga conferences. It’s a perfect chance to meet other amazing yoga teachers from all over the world.• Continue to develop your script. Look up on videos or attend other people’s classes and see how you improve your class.

WHEN STARTING OUT…• Hold classes for your friends and family. Do it in a park, your home or a community center. Make it affordable or by donations. That way you can include more people and practice teaching to a larger audience.• Offer to instruct as barter or trade. • Volunteer or offer free classes at schools, community centers, local yoga studios to gain experience.• Rent a space to hold a class a few times a week (or once a week when starting).• 2IIHU�WR�VXE�IRU�IULHQGV�DQG�VWXGLRV��%H�ŶH[LEOH�ZLWK�\RXU�WLPH�LQ�WKH�EHJLQQLQJ��

The idea is to be present in the studio and VKRZ�RWKHUV�\RXU�GHGLFDWLRQ�DQG�SDVVLRQ�

THE FUTURE DEVELOPMENT OF TEACHING YOGA

49

Whether it’s a small business of one or building your own yoga studio, here are some aspects you may consider:

CREATING A BUSINESS PLAN INCLUDING:• Company description (faculty members, training background, types of yoga)• Mission statement (What is your intention of starting this business?)• Future plans (Do you intend to offer local donation based yoga classes? Would you be interested in starting yoga retreats?)• &RPSHWLWLYH�SURŵOH��*HW�WR�NQRZ�WKH�ORFDO�VWXGLRV�DQG�SULYDWH�FODVVHV�UDWH�SHU�KRXU�� Do not under or over-rate your classes)• Market Trends (This may include the popular time of classes offered. Is your area a family-oriented community or a fast-paced city lifestyle?)• Description of Services offered (group lessons, private classes, workshops)• Market plan and strategy (Facebook page, Instragram, personal website)• Create a bio (Don’t exaggerate or be overly humble. Give the history of your trainings, background and other interesting facts about yourself. Generally a good friendly bio would draw the students to you.)• Long term development and exit strategy (If things aren’t working out the way you’d like it, change it)

PUBLICITY AND MARKETING• Keep a mailing list (Have a sign up sheet after all of your classes. Names, email address and phone numbers. Keep in touch with your students by sending them monthly newsletter!)• Make business cards (Include your names, email address and phone number)• 0DNH�ŶLHUV�DGYHUWLVLQJ�GDWHV�DQG�WLPHV�\RX�WHDFK��3RVW�WKHP�LQ�WKH�ORFDO�FRIIHH�VKRSV�� yogis hang out places)• Create a webpage that links to your other social media pages. (Facebook, Twitter, Instragram..etc)• Donate a free lesson as a prize LIABILITY ISSUES• Check with your local insurance policy and the studio you teach for• *HW�FHUWLŵHG�LQ�&35• Have your students to sign a release & waiver form before joining

TAXES: WHAT YOU CAN WRITE OFF - As a self-employee, you can write off taxes on several purchases including: �EHVW�WR�FKHFN�ZLWK�\RXU�ORFDO�DFFRXQWDQW�ŵUVW�• Yoga clothes, music, yoga health/anatomy related books, yoga supplies, business � H[SHQVHV��FDUGV��ŶLHUV��LQVXUDQFH��HWF��\RXU�RQJRLQJ�HGXFDWLRQ��FODVVHV�\RX�WDNH�ZRUNVKRSV�� etc, square footage of the space in your home where you teach, keep accurate records of all expenses and income, hire an accountant.

ASPECTS OF ESTABLISHING A BUSINESS

FULL PRIMARY SERIES

51

SUN SALUTATIONS

SUN SALUTATIONS – RITUAL CONNECTS US TO THE ABSOLUTEEXCERPT FROM IT’S YOGA ASHTANGA MANUAL

By tradition, at dawn, the yogis practiced greeting the sun with a salutation. A yoga session is incomplete without it. Suryanamaskara welcomes the new day, preparing for the asanas, heating up the body, quickening and intensifying the respiration and cardiac rhythm. The sun salutation is the foundation of your practice, it establishes the connection of movement and breath, uniting body,

mind and spirit.

Not only is the sun salutations a preparation for the rest of your practice, it is also a complete exercise on its own. Suryanamaskara awakens the digestive system by alternate stretch and compression of the

abdominal region. It massages the internal organs and aids in reducing constipation. Synchronizing the breath and movement, the lungs are fully ventilated and the blood oxygenated, creating a detoxifying

effect. By stretching and bending the spinal cord, this sequence of movement vitalizes the nervous system. As the heat builds up within the body, sweating and breathing excretes toxins out of the body.

Concentration and consistency in rhythmic movement are key in sun salutations. Get in sync with your EUHDWK�DQG�UK\WKP�ZLWK�WKLV�VHTXHQFH�ŵUVW�WKLQJ�LQ�WKH�PRUQLQJ��

Œ�'RQŐW�IHDU��3DLQ�DQG�LQMXU\�FDQ�RFFXU�ZKHQ�EUHDWK�DQG�PLQG�DUH�UHVLVWLQJ�LQ�IHDU�DQG�

\RX�PRYH�LQ�DQ�DVDQD�PHFKDQLFDOO\�œ- PATTAHBI JOIS

PRACTICE - UJJAYI BREATHING

• Start by doing 3 rounds of sun salutations A. Gradually increase to 5 or 6 times.• Notice any tender spots in the body. Breath into those areas. • ,WőV�JRRG�WR�GR�WKLV�ŵUVW�WKLQJ�LQ�WKH�PRUQLQJ�DQG�EHIRUH�HDWLQJ�RU�GULQNLQJ.

52

SURYANMASKARA (SUN SALUTATION) A

1 2 3

4 5 6

7 8 9

10 11

53

SURYANMASKARA (SUN SALUTATION) B

1 2 3

4 5 6 7

8 9 10

11 12 13 14

15 16 17 18 19

54

NAME DIAGRAM GAZE BREATH NOTES

Samasthitih

Urdhva Hastasana

Uttanasana

Ardha Uttanasana

Chaturanga Dandasana

Urdhva Mukha Svanasana

Adho Mukha Svanasana Hold for 5 breaths

SURYANMASKARA A (SUN SALUTATIONS A)

55


Ardha Uttanasana

Uttanasana

Urdhva Hastasana

Samasthitih

SURYANMASKARA A (SUN SALUTATIONS A)

56


Samasthitih

Utkatasana

Uttanasana

Ardha Uttanasana


Urdhva Mukha Svanasana

Adho Mukha Svanasana

SURYANMASKARA B-SUN SALUTATIONS B

57


Virabhadrasana A (left)


Urdhva Mukha Svansana

Adho Mukha Svansana Hold for 5 breaths

Ardha Uttanasana

Uttanasana

Utkatasana

Samasthitih

SURYANMASKARA B-SUN SALUTATIONS B

58

THE PRIMARY SERIES - STANDING POSTURES

• To prepare - the whole torso is long, no arch of the lower back, lengthen the ribs away from the hips, extend forward and down from heart• Elbows point straight out to the side, shoulders away from the ears • Create space in the shoulder, neck and head region by pulling shoulders away from ears, scapula towards sacrum• Quads lift into the hips as the tailbone and pelvis tilts towards the ceiling• %DFNV�RI�WKH�WKLJKV�ŶDWWHQ• Drop head completely - gaze tip of nose or through your legs

I. PADANGUSTHASANA - BIG TOE POSTURE (PADA= FOOT OR LEG / PADANGUSTHA= BIG TOE)

Same as above • Weight forward on to the hands and balls of the feet• This is a more intense version of the previous pose. You can intensify further by shifting weight forward towards the toes.

II. PADAHASTASANA - HAND UNDER FOOT POSTURE (PADA= FOOT / HASTA= HAND)

59


• Back thigh rotates out• Press into the mount of the big toe, (send energy into ball of big toe)• (QJDJH�WKH�LQQHU�TXDGUDFHS�DERYH�WKH�NQHH��ŵUPLQJ��OLIWLQJ�WKH� kneecap, avoiding hyper-extension.• Open rib cage (heart) to the ceiling• Keep underside of body long

III. UTTHITA TRIKONASANA - TRIANGLE POSTURE (UTTHITA= EXTENDED / TRI= THREE / KONA=ANGLE)

• Scissor your thighs together• Spine extends LONG from the tailbone to the crown of head• Lengthen from the back heel - set up the pose from the back leg• Even the hips out and lengthen into the twist from here• Shoulder blades down the back• Heart center lifts - ribcage opens towards the ceiling• Throat is open

IV. PARIVRTTA TRIKONASANA - REVOLVING TRIANGLE (PARIVRTTA= REVOLVED / TRI=THREE / KONA=ANGLE)

60


• 1RW�D�GHŵQLQJ�IDFWRU�WR�KDYH�WKH�IHPXU�SDUDOOHO�WR�WKH�ŶRRU��WKLV�LV�� DFKLHYHG�ZKHQ�WKH�VWUHQJWK�LV�GHYHORSHG�DORQJ�ZLWK�ŶH[LELOLW\�• Engages the abductors of the front leg. Beginners may need to widen their stance in order to achieve this line.• Ground the outer edge of the back foot and uses it as an anchor to establish an outward rotation of the back thigh.• Keep tension between both legs to work the groins open.

V. UTTHITA PARSVAKONASANA - EXTENDED SIDE ANGLE POSE (UTTHTIA=EXTENDED / PARSVA=SIDE / KONA=ANGLE)

• Spiral into the twist from the back foot to the crown of the head• Knee above heel• Engage outside of back leg (press into the outer edge of the back foot, lift the inner arch)• Spine lengthens from the pelvis• Center your hands in prayer at your heart• 2SHQ�\RXU�ULEFDJH�WRZDUGV�\RXU�KDQGV��LI�LQ�WKH�PRGLŵHG�SRVWXUH�• Open your throat

VI. PARIVRITTA PARSVAKONASANA - REVOLVING SIDE ANGLE POSE (PARIVRITTA= REVOLVED / PARSVA= SIDE / KONA=ANGLE)

61


General A-D• Engage inner thigh into the groin and quads into the hip sockets – open the pelvis from the legs• Elongate the spine, drape from the hips rather than rounding down• Engage inner ankles, distribute weight evenly through your feet.• Use uddiyana bandha (navel to spine) to intensify the stretch

A• Elbows draw together to open between the shoulders blades• ,I�WKH�KHDG�LV�RQ�WKH�ŶRRU��DGMXVW�OHJV�VR�WKDW�\RXU�KHDG�LV�MXVW�EDUHO\�RQ�WKH�ŶRRU

VIII. PRASARITA PADOTTANASANA A-D - INTENSE WIDE LEG STRETCH(PRASARITA= SPREAD OUT / PADA=FOOT / UTTANA=INTENSE STRETCH

B• Use the strength & length of abdomen and quads to pull head to the ground• Open collar bone / Open sternum• Elbows reach back and in towards one another• Again, wake up your legs

62


C• Pull the inner arms and palms together, opening the front of the shoulders• Retract shoulder blades inward towards spine, avoid scrunching the neck• There are 2 hand positions: palms facing each other and the thumbs point down when one stands upright. Once this is mastered, one can switch to the second hand position: medially rotate the arm bones. • In the forward bend the palms will face away from you with the � WKXPEV�SRLQWLQJ�GRZQ�WR�WKH�ŶRRU�

D• Create space around head, neck and shoulders • Upper arms are parallel to the ground• The wrists and elbows draw out to the sides. The shoulder blades and the sits bones reach up to the ceiling. � 7KH�FURZQ�RI�WKH�KHDG�DQG�WKH�KHDUW�UHDFK�GRZQ�WR�WKH�ŶRRU�

63


• Scissor the thighs, use the strength of your legs to support the spine• Press the inside of the front foot and the outside of the back foot into � WKH�ŶRRU�WR�EULQJ�HYHQQHVV�WR�WKH�KLSV�• Lengthen spine forward in an extended plane in front of you before you drop your head & chest.• 3UHVV�WKH�LQGH[�ŵQJHUV�WRJHWKHU�DQG�RSHQ�WKH�KHDUW�IRUZDUG

VIII. PARSVOTTANASNA INTENSE SIDE STRETCH POSTURE (PARSVA=SIDE UTTANA=INTENSE STRETCH)

64


General A-D• Stand tall /engage standing leg• Navel is lifted, ribs pulled together• Tailbone drops• Back of neck is long, throat & heart are open• Shoulders back and down• Reach from your sit bones thru the heel of the extended leg, allowing the hip to descend• Balance is a matter of doing less, not more, relax, soften

IX. UTTHITA HASTA PADANGUSTHASANA - HAND TO BIG TOE POSTURE (UTTHITA= EXTENDED / HASTA=HAND / PADA= FOOT)

65


• When coming forward, extend the torso away from the hips• Inner thigh lifts into the groin• .HHS�VWDQGLQJ�IRRW�VSUHDG�DQG�SUHVVHG�LQWR�WKH�ŶRRU• The folded knee genetly works toward the back of the mat with a light medial rotation of the femur.• To prevent the hip of the bent leg from sagging, keep this foot and leg active. • Let your head be heavy, use its weight to open the spine

X. ARDHA BADDHA PADMOTTANASANA - HALF BOUND LOTUS FORWARD BEND (ARDHA=HALF / BADDHA= BOUND / PADMA=LOTUS / UTTANA = INTENSE STRETCH)

• Sit bones over heels• Maintain alignment of spine between head & tail• Tailbone reaches down - pelvis neither arched nor tucked• ,QQHU�DUPV�OLIW��KXJ�WKH�LQQHU�DUPV��UHDFK�WKURXJK�WKH�SDOPV�DQG�ŵQJHUWLSV• Engage Uddiyana bandha - lower belly to spine (ESSENTIAL)• Throat open, eyes soft, heart lifted• 2SSRVLQJ�OLQHV�RI�HQHUJ\�PRYLQJ�RXW�ŵQJHUWLSV�DQG�GRZQ�VLW�ERQHV

XI. UTKATASANA – FIERCE POSE (UTKA= FIERCE OR POWERFUL)

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A• Back hip draws forward, front hip draws back• Tailbone and sacrum drop, squeeze the sacrum in• Sides of the torso lengthen away from the hips• Energy of the heart, throat & eyes move up• Knee over front ankle and in line with the front foot• %DFN�OHJ�ŵUP

XII. VIRABHADRASANA A-B –WARRIOR(VIRA=HERO)

B• Center your ribs directly over your hips and bend your knee forward• %RWK�VLW�ERQHV�RQ�DQ�HYHQ�SODQH�ZLWK�WKH�ŶRRU�HTXDOO\�GRZQ• (QHUJL]H�\RXU�DUPV�IURP�WKH�FHQWHU�RI�WKH�EDFN�WKURXJK�ŵQJHUWLSV• Radiate from your center• Shoulders move down, away from your ears• Waist stays long• Back leg is alive - just because you can’t see it don’t forget about it

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THE PRIMARY SERIES - SITTING POSTURES

General A-DLift & knit rib cage - engage all three bandhas• Engage the inner quads to protect the knees.• Downward engagement of the thighs (hug muscles to the bones)• Draw scapula down, shoulders widen• 5HDFK�WKH�VLW�ERQHV�LQWR�WKH�ŶRRU• Crown of the head ascends to lengthen the spine• Femur descends (thighs down), pelvis down• Heart center lifts

XIII. DANDASANA-STAFF POSE(DANDA= STAFF, ROD)

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XIV. PASCHIMOTTANASANA A-C INTENSE WEST STRETCH OR SITTING FORWARD BEND (PASCHIMA=WEST / UTTANA= INTENSE STRETCH)

*THIS IS THE BLUEPRINT FOR ALL THE FORWARD BENDS OF PRIMARY SERIES* (Return to these guidelines for every forward bend)

• To prepare for the pose, look up & lengthen the underside of the body - hold this length as you fold forward. Udiyana Bandha! This stays loosely engaged while you execute all forward bends to support the organs and lift you past the pelvis• Move from the base (the pubis and genital region), not from the waist• KEEP THE UNDERSIDE OF THE BODY LONG IN ALL FORWARD BENDS - lengthen from head to tail• /HQJWKHQ�IURP�WKH�KHHOV�WR�WKH�VLW�ERQHV��VSUHDGLQJ�WKH�EDFNV�RI�WKH�WKLJKV�RQ�WKH�ŶRRU• Engage the inner thighs (reach through the in-seam of leg, inner-spiral)• SHOULDERS AWAY FROM THE HEAD AND EARS - release them down• 0RGLŵHG�'5,67,��VKLQV��'2�127�7(16(�7+(�1(&.�RU�VKRXOGHUV�WU\LQJ�WR�DWWDLQ�ELJ�WRH�GULVWL• :LWKLQ�DOO�WKH�HIIRUW��ŵQG�VRPH�VRIWQHVV��WRR

'R�RQH�YLQ\DVD�LQWR�WKH�QH[W�SRVH

A. HOLDING BIG TOES

B. HOLDING THE SIDE OF FEET

C. BINDING WRIST BEHIND FEET

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THE VINYASA,Q�WKH�SULPDU\�VHULHV�WKH�YLQ\DVD�OLQNV�WKH�SRVWXUHV�WRJHWKHU�LQ�D�ŶRZLQJ�VHULHV�

of movement. It helps to maintain the heat as well as realign the body between the postures.

The key to effortless performance here is to connect the breath to the bandhas. As long as we are airborne in the jump, we must continue to inhale, as the inhalation has a lifting and carrying

effect. Once the lift through is complete we initiate the exhalation to lower down.

The full vinyasa consists of one sun salutation A, coming to standing between postures. A half vinyasa consists of navasana, chaturanga, urdhva mukha svanasana, adho mukha svanasana,

jump through to seating.

Doing full vinyasa can help building strength and creating body heat. Practitioners may choose to do full or half vinyasa throughout the practice.


1.

2.

3. 4.

5.

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• Lift the pubic bone, lift the inner thighs, sense of squeezing in legs• 3UHVV�WKH�ELJ�WRHV�WRZDUGV�WKH�ŶRRU• Imagine strings pulling you up along the central line of your body

YLQ\DVD�WR�VLWWLQJ

XV. PURVOTTANASANA-INTENSE EAST STRETCH(PURVA=EAST / UTTANA= INTENSE STRETCH)

• &RPH�LQWR�KDOI�ORWXV�ZLWK�FDUH��DSSO\LQJ�DQ\�QHFHVVDU\�PRGLŵFDWLRQ• When in half lotus, keep the same foot pointed and inverted, draw the knee far out to the right to further stretch the adductors. • Tight adductors are main obstacles to lotus or half lotus postures• Once bound, work to get the shoulders even and keep the heart open


XVI. ARDHA BADDHA PADMA PASCHIMOTTANASANA HALF BOUND LOTUS FORWARD BEND (ARDHA= HALF / BADDHA=BOUND / PADMA=LOTUS)

71


• %HQG�NQHH��IROG�IRRW�EDFN��WRS�RI�IRRW�RQ�ŶRRU��QRW�WXUQHG�RXW• 7RHV�SRLQW�GLUHFWO\�EDFN��JURXQG�ERWK�VLW�ERQHV�ZRUNLQJ�WRZDUG�WKH�ŶRRU• There will be a tendency for the right hip to lift off the ground. One can use the right hand to support or ideally to contract the core and work both legs to stay upright.• Thighs working together• Lengthen both sides of the body forward, the pelvis back


XVII. TRIANGA MUKHAIKAPADA PASCHIMOTTANASANATHREE LIMB FORWARD BEND POSE(TRIANGA=REVERSE / MUKHA=FACE / EKA-PADA=ONE LEG / PASCHIMA=WEST UTTANA= INTENSE STRETCH)

A• 90 degree angle between the bent & straight leg• 3UHVV�WKH�EDFN�RI�WKH�EHQW�NQHH�LQWR�WKH�ŶRRU• Work the subtle twist of the bent leg side of the torso by pulling the hip back and down


XVIII. JANU SIRSASANA A-C - HEAD TO KNEE POSE(JANU=KNEE / SIRSA=HEAD)

72


B• 85 degree angle between the bent & straight leg• Heel beneath the perineum, toes back or forward• Eventually the big toe peeks front


C• 45 degree angle between the bent & straight leg• Give yourself time to open the foot & toes completely, use blocks or hands as necessary support

SIT ON THE TOP OF FOOT

TOES FLEX ON THE FLOOR

73


A• “The wrapper is the grabber” – (ex. right side: right hand grabs the left wrist)• Bring the kidneys forward – reach from deep within the organ body• Even once bound, work the shoulders down the back• Shine forward from the collarbones• .HHS�WKH�IURQW�IRRW�ŶH[HG��WKH�OHJ�HQJDJHG��OHQJWKHQHG• Press down into the foot of the bent leg• Work the hip down, but don’t worry if this never happens


XIX. MARICHYASANA A-D(MARICHI=A SAGE, SON OF THE CREATOR BRAHMA)

B• Rather than folding towards the left knee, fold forward along the inside of the upright right leg.• At the same time rotate the left thigh medially and extend out along the inside of that thigh.

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C• Spiral down & up at the same time, grow through your spine• Where your eyes go the spine will follow• Twist AND LENGTHEN (open hearted and long spine)• Relax and open the shoulders as much as possible


D• Draw the upright right leg towards the center using your adductor muscles. • Set up the spinal twist and bind if you can. The left femur spins inward � XQWLO�LW�KDV�UHDFKHG�LWV�QHXWUDO�SRVLWLRQ��0DLQWDLQLQJ�ŶRRU�FRQWDFW�ZLWK�WKH� knee, let the right sit bone become heavy. Sink the shoulders blade down.

75


• Extend through the lines of the pose - use the energy and shape of it to support the effort• Remember, it is a devotional pose - SMILE• Engage the legs fully-spiral the inner thighs together & lengthening• $UPV�SDUDOOHO�WR�WKH�ŶRRU�DQG�WR�HDFK�RWKHU�RU�KROGLQJ�EHKLQG�NQHHV• Lift heart center, engage uddiyana bandha• Modify with bent knees (anyone with sacrum/low back injury, should modify)• Abdominal strength is the priority, to save the back

YLQ\DVD�WR�QH[W�SRVWXUH

XX. NAVASANA-BOAT POSTURE(NAVA=BOAT)

BOAT POSE. ENGAGE CORE AND HOLD FOR 5 BREATHS

LOLASANA - INHALE LIFT THE HIPS UP & SWING THE HIPS BACK. REPEAT 5 TIMES

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• Hop forward so the feet land outside your hands. One at a time, take the heel with the hand on the respective side and work the shoulder behind the knee. The farther you get your shoulders under your knees the easier it will be. • Slowly lift the weight back into your hands until your feet come off the � ŶRRU��,QWHUORFN�WKH�DQNOHV�• The next phase is to put the chin onto the ground.

XXI. BHUJAPIDASANA - SHOULDER PRESSURE POSTURE(BUJA=SHOULDER PIDA-PRESSURE)

TRANSITION - TITTIBHASAN - FLYING INSECT POSTURE INTO BAKASANA-CRANE POSTURE

TITTIBHASANA TRANSITION TO BAKASANA (DO NOT HOLD)

9LQ\DVVD�WR�VLWWLQJ

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• Bring the knees upright onto the shoulders• The legs need to be almost parallel, without a gap between the inner thighs and the sides of the rib cage. • 6WUDLJKWHQLQJ�WKH�OHJV�DQG�ZRUN�WRZDUG�OLIWLQJ�WKH�KHHOV�IURP�WKH�ŶRRU�

XXII. KURMASANA – TORTOISE POSTURE(KURMASANA=TORTOISE)

• Exhale, bend up the legs, bring your shoulders farther under the knees, reach your arms around your back and clasp your hands.• Do not attempt full Supta Kurmasana unless you rhave gained � SURŵFLHQF\�LQ�.XUPDVDQD�


XXII. SUPTA KURMASANA-SLEEPING TORTOISE(SUPTA=SLEEPING / KURMASANA=TORTOISE)

78


• Full posture prerequisite: all postures covered so far, especially Marichryasana D.• 0HGLDOO\�URWDWH�WKH�IHPXV�XQWLO�WKH�IURQW�HGJHV�RI�WKH�WLELDV�SRLQW�GRZQ�WR�WKH�ŶRRU� and the soles and heels face upward and not toward the torso. Bring the knees closer together, to a point where the thighs are almost parallel. Insert the right hand, with the palm facing toward you, below the calf muscles where the leg is thinnest. • After both elbows are through, bend your arms, place your hands on the chi, � DQG�WRXFK�\RXU�ŵQJHU�WLSV�WR�\RXU�HDUOREHV��

* ROLL BACK AND FORTH OR IN CIRCULAR MOTION 9 TIMES

XXIV- GARBHA PINDASANA- EMBRYO POSTURE(GARBHA=WOMB / PINDA=EMBRYO)

• On the last inhale, rock yourself up and balance on your hands. This is a great hip opening and core strengthener. • $V�VRRQ�DV�KDQGV�DUH�RQ�WKH�ŶRRU��OLIW�WKH�KHDG�WR�IDGH�RXW�WKH�� movement and begin to balance.


XXV. KUKKUTASANA-ROOSTER POSTURE

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A• 8VH�WKH�LQQHU�WKLJKV��DGGXFWRUV��WR�GUDZ�WKH�NQHHV�WRZDUGV�WKH�ŶRRU• Sides of body lift up & out of pelvis before folding• Navel to spine...engage uddiyana bandha, front body comes to the back stretching the outer spine B• Inhale lengthen spine• exhale curl the spine and place head to feet• keep shoulders down


XXVI. BADDHA KONASANA A-B - BOUND ANGLE POSTURE(BADDHA=BOUND / KONA=ANGLE)

80


A• Widen the leg just enough for you to hold the outside of the feet• For beginners, start by bending the knees and make sure not to curve the back.• Draw the lower abdomen in.

XXVII. UPAVISTA KONASANA A-B - SEATED ANGLE POSTURE(UPAVISTA=SEATED / KONA=ANGLE)

B• Experienced students can try to come up with the knees straight.• Press the legs into the ground using the gluteus maximus and hamstrings.• Take the head back to fade out the momentum and balance


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A• Reach from the sit bones to the heels• Keep the toes turned straight up, leg neither rolls out nor in

XXVII. SUPTA KONASANA A-B - LYING-DOWN ANGLE POSTURE(SUPTA= RECLING / KONA=ANGLE)

B• It is the coordination of the breath and movement that gives one control and balance• Inhale all the way up until you reach a balancing point• ,I�WKHUH�LV�DQ�LQVXIŵFLHQW�ŶH[LELOLW\�LQ�WKH�KDPVWULQJV�WR�NHHS�WKH�OHJV�� straight in this posture, make sure to release the toes on the descent.

YLQ\DVD�WR�O\LQJ�GRZQ

82


A• Throat is open - lift the throat to the shin• (QJDJH�EDFN�RI�WKH�OHJ�RQ�WKH�ŶRRU• (QJDJH�WKH�ULEV�DQG�EDFN�RI�WKH�OHJ�RQ�WKH�ŶRRU�WR�NHHS�WKH�KLSV�IURP�� lifting when you open to the side

B• As you lower the right leg to the side, make sure the left hip is on the ground. • It is the right heel that leads the leg to the ground

C• Inhale and bring the leg back to center. Engage the core and legs.

YLQ\DVD�WR�O\LQJ�GRZQ�RU�FKDNUDVDQD

XXIX. SUPTA PADANGUSTASANA - RECLINING BIG TOE POSTURE(SUPTA=RECLING / PADA=FOOT / ANGUSTHA=BIG TOE)

CHAKRASANA::KHHO�SRVH��EDFNZDUG�UROO�LQWR�YLQ\DVD��)URP�O\LQJ�RQ�EDFN�SODFH�SDOPV�RQ�ŶRRU�E\�HDUV�ZLWK�ŵQJHUV�SRLQWLQJWRZDUG�VKRXOGHUV��%ULQJ�OHJV�RYHUKHDG��HQJDJLQJ�WKH�EDQGKDV��SRLQWLQJ�WRHV in the direction you are moving. Maintain jalandhara bandha (chin lock) as you bring legs all

the way overhead, rolling over so head comes througharms and you end up in a plank position. From there move right into chaturanga, upward dog, downward dog, and then through to

sitting for next posture.

* This is best learned with an instructor before practicing

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• lengthen the spine and reach the sit bones up to the ceiling• 6WUDLJKWHQ�DUPV�DQG�OHJV�DQG�ŶH[�WKH�IHHW�• Engage bandhas and connect to the breath as you roll up• Stop the movement and balance by lifting the heart and your face to the ceiling

YLQ\DVD�WR�O\LQJ�GRZQ

XXX. UBHAYA PADANGUSTHASANA - BOTH BIG TOES POSTURE(UBHAYA=BOTH / PADA=FOOT / ANGUSTHA=BIG TOE)

• Roll to the back and place the feet over the head• Hold the outside of the feet• Lengthen and straighten the spine by lifting the sit bones toward the ceiling• Draw the abdomen in and breath.• When ready to roll up to balance, push off the feet and point the toes as you roll to the sit bones.

YLQ\DVD�WR�O\LQJ�GRZQ�RU�FKDNUDVDQD

XXXI. URDHVA MUKHA PASCHIMOTTASANA UPWARD FACING FULL FORWARD BEND(URDHVA=UPWARD / MUKHA=FACE / PASCHIMA=WEST)

84

FINISHING SEQUENCE

• Make Charlie Chaplin’s feet by laterally rotate the femur until the � RXWVLGH�DUFKHV�RI�WKH�IHHW�WRXFK�WKH�ŶRRU�• As you roll onto the forehead, do not contract the muscles on the back of � WKH�QHFN��5DWKHU��NHHS�WKH�QHFN�ŶH[RUV�DFWLYH�WR�FRQWURO�WKH�H[WHQVLRQ�DQG�� thereby protect the neck.• Lift your chest up into your arms with the elbows rising. Contract the buttocks rather than the hamstrings.

FKDNUDVDQD�WR�O\LQJ�GRZQ

XXXII. SETU BANDHASANA-BRIDGE(SETU=BRIDGE)

• Draw inner arms together• Press deep into the feet• Descend inner thighs• Lift pubis & sternum• 6SUHDG�WKH�ŵQJHUV��RSHQLQJ�WKH�ZULVWV• Breathe into the front of the body• Relax the neck and weight of the head

XXXIII. URDHVA DHANURASNA-UPWARD BOW POSTURE(URDHVA=UPWARD / DHANU=BOW)

*TRADITIONALLY, PERFORM 3 BACK-BENDS AND 3 DROP-BACKS

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FINISHING SEQUENCE

*COUNTER POSE TO BACKBENDS

([KDOH��OLH�GRZQ�� Keep eyes open. 5 breaths

XXXIV. PASCHIMOTTANASANA - FULL FORWARD BEND(PASCHIMA=WEST / UTTANA=INTENSE STRETCH)

• 3ORZ�ŵUVW�• Come onto tops of shoulders, work to get the upper arm bones parallel to each other- do this by clasping the hands together and rocking from side to side• Emphasize weight in the elbows andarm bones rather than the neck• Entire body stacks on shoulder girdle, pelvis drawing forward, legs, back • Do not look side to side• Lengthen and ease the back of the neck• STUDENTS TO REFRAIN FROM INVERSIONS: menstruating women, glaucoma, high blood pressure, cervical spine (neck) issues, herniated disc, osteoporosis

XXXV. SALAMBA SARVANGASANA - SHOULDER STAND(SALAMBA=SUPPORTED / SARVA=ALL / ANGA=BODY)

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FINISHING SEQUENCE

• Do not bend the knees• Point the toes• Keep drawing up on the kneecaps• Maintain a long neck and chin to chest

XXXVI. HALASANA=PLOW(HALA=PLOW)

• %HQGV�WKH�OHJV�DQG�SODFH�WKH�NQHHV�RQ�WKH�ŶRRU• 6WURQJ�WUXQN�ŶH[LRQ��PDLQWDLQ�EUHDWKLQJ

XXXVII. KARNAPIDASANA - EAR PRESSURE POSTURE(KARMA=EAR / PIDA=PRESSURE)

87

FINISHING SEQUENCE

• 7KLV�SRVWXUH�VKRXOG�RQO\�EH�GRQH�DIWHU�SURŵFLHQF\�LQ�SDGPDVDQD�� If one cannot do lotus, keep the soles of the feet together. (like in Baddha Konasana)• 2QFH�LQ�ORWXV��EULQJ�\RXU�WKLJKV�SDUDOOHO�WR�WKH�ŶRRU�DQG�� place the hands under your knees.

XXXVIII. URDHVA PADMASANA-UPWARD LOTUS(URDHVA=UPWARD PADMASANA-LOTUS)

• Exhale and fold the lotus down into the chest. Draw the knees closer together so that the thighs become parallel. Clasp your hands, if possible, the wrists.• It’s easy to compress into the cervical spine, therefore roll slightly to the lower back to alleviate such problem

XXXIX. PINDASANA - EMBRYO POSTURE

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FINISHING SEQUENCE

• This posture opens the throat and enhances the natural curvature of the neck. • A counterpose the previous postures when the neck is compressed into a non-natural curve.

XXXX MATSAYANA - FISH POSTURE(MATSYA=FISH)

• ([WHQG�WKH�OHJV�RXW��GHJUHHV�RYHU�WKH�ŶRRU��• Contract the abdominals as they carry the weight of the legs. • Breathe into the chest and not the abdomen.

YLQ\DVD�RU�FKDNUDVDQD

XXXXI. UTTANA PADASANA-EXTENDED LEG POSTURE(UTTANA=EXTENDED / PADA=LEG)

89

FINISHING SEQUENCE

• Stability in a headstand depends on the distance between � \RXU�ŵQJHUV�DQG�WKH�FHQWHU�SRLQW�EHWZHHQ�\RXU�HOERZV��• The shorter the distance, the less stable this posture is.• Avoid balancing on the forehead as it creates compression into the cervical spine.• To balance, press the wrists down into the ground and evenly distribute your body weight between the elbows and the hands


XXXXII SIRASANA - HEADSTAND(SIRA=HEAD)

90

FINISHING SEQUENCE

• Firstly a proper padmasana (lotus) must be established. To avoid knee injuries, it’s idea to sit comfortably crossed legged instead.• Several factors will affect this posture: - Hip rotation: the more the thighs can inwardly rotate and bringing the knees closer together, the more the feet will slide up the groin.• ��6KRXOGHU�ŶH[LELOLW\��7KH�PRUH�RSHQ�WKH�VKRXOGHUV��WKH�HDVLHU�LW�LV�WR� cross the arms behind the back and grab the toes.• This is one of the most effective way to seal the energy cultivated during the practice. Hold for 10-25 breaths.

XXXXIII. YOGA MUDRA-SEALED YOGA POSTURE

• Place the hands in Jnana Mudra (seal of knowledge) by joining � WKH�WKXPE�DQG�SRLQWLQJ�ŵQJHU�DQG�H[WHQGLQJ�WKH�RWKHU�ŵQJHUV�• ��7KXPE�UHSUHVHQWV�%UDKPDQ��LQŵQLWH�FRQVFLRXVQHVV�• ��3RLQWLQJ�ŵQJHU�UHSUHVHQWV�DWPDQ��WUXH�QDWXUH�• ��0LGGOH�ŵQJHUV�UHSUHVHQWV�EXGGKL��LQWHOOHFW�• ��5LQJ�ŵQJHU�UHSUHVHQWV�PDQDV��PLQG�• ��/LWWOH�ŵQJHUV�UHSUHVHQWV�ND\D��ERG\�• Try to the pelvis to shift posteriorly by maintaining a long spine.• Drop the chin slightly. Direct the gaze slightly down toward the tip of the nose. Stay for 10-25 slow breaths

XXXXIV. PADMASANA-LOTUS

MODIFICATION FULL POSTURE

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FINISHING SEQUENCE

• ,QKDOH�DQG�OLIW�WKH�SHOYLV�RII�WKH�ŶRRU• The spine needs to curve in order to achieve this posture• Engage the abdominal muscles, engage the side of the back muscles. • Activate the bandhas• This is one of the best postures for restoring energy. It eliminates fatigue at the end of the practice

RQH�ODVW�YLQ\DVD�WR�O\LQJ�GRZQ

XXXXV. UTTPLUTHI-UPROOTING

• According to Hatha Yoga Pradipika, this posture is to remove fatigue and rest the mind.• Act as an intrinsic part of yoga practice. Skipping this posture makes the body and mind agitated. After a long and vigorous practice, the body needs a soothing and calming posture to cool off the nervous system.• It is a time to establish non-doing, just simply to-be.

XXXXVI SAVASANA-CORPSE POSTURE(SAVA=CORPSE)

DO 10-25 SLOW EXHALATIONS

“PRACTICE WHAT YOU TEACH,TEACH WHAT YOU PRACTICE.”

- LARRY SCHULTZ

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BOOKS:

The Mirror of Yoga- Awakening the intelligence of body and mind: By Richard Freeman

Yoga Mala: By Sri.K. Pattahbi Jois

Ashtanga Yoga & Practice: Gregor Maehle

Eastern Body Western Mind- Psychology and the Chakra System as a Path to the Self: By Anodea Judith

Yoga Sutra: By sage Patanjali Muktibodhananda

Krishnamacharya: His Life and Teachings: by A.G Mohan

The Power of Ashtanga Yoga: by Kino MacGregor

Ashtanga Yoga: Practice & Philosophy: by Gregor Maehle

WEBSITES:

http://kpjayi.org/: K Pattabhi Jois Ashtanga Yoga Institute

http://www.ashtangayogacenter.com/: Ashtanga Yoga Center by Tim miller

http://www.yogatemple.com/: Authorized Ashtanga Teacher Matthew Sweeney

http://yogateachercentral.com/free-teaching-tools/assists-and-adjustments/Information on teaching, assisting and adjustments

http://www.ashtangaworkshop.com/

Ashtanga workshop

www.yogapoint.com www.yogajournal.com

http://www.kathmanduyoga.com

www.yogamag.net

MANUAL:

It’s Yoga Thailand Training Manual quoting Larry Schultz’s words of wisdom.

REFERENCES

TEACHER TRAINING MANUAL 2014 - JOSS FRANK · Consider the basics of Ashtanga Yoga a continued...

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