WEEKS 16 & 17 PART 2, or THE BEST WAY TO GET UP MAY BE TO LIE DOWN

There is no one right way to learn a pose, or to get into a pose once you've learned it. For example, LoY instructs most of the classic level 1 lateral-angle standing poses (such as Triangle and Side Angle) from the starting point of Mountain pose. But at least one reputable lineage of practice often builds their standing poses from starting in a basic runner's lunge position. Is one better than the other? No, not unless one happens to be better than the other for you. And all sorts of contingencies are going to influence that; at the very least, which parts of your body are stiffer and/or stronger than some other parts. The point is simply that there is more than one good way to learn any given pose.

Lying on the floor happens to be one very good way to learn (or refine) poses. Nearly any pose or individual components of poses can be evaluated and clarified from a reclined position. One benefit to lying on your back is that the floor is doing a large part of the hardest work for you; that is, supporting the spinal column. Of course, without some appropriate use of toning and overall awareness, the lumbar or cervical curves could flatten. But the amount of effort required to maintain good spinal form is distinctly less when lying down than in any other position. And you have eliminated other challenging aspects such as balancing. Because you exert less effort on keeping the torso well-formed, you can distribute that energy and attention out into the limbs and their joints. In other words, a body-shape which is challenging to perform while standing or sitting or inverting may be more accessible while lying down. A few example: Reclined Hand-to-big-toe pose (Supta Padangusthasana, 244) first stage can teach you a lot about Intense Side Stretch (Parsvottanasana, 78), which is a basic standing pose, as well as inversions such as One-legged Headstand or Shoulderstand (Ekapada Sirsasana, 199 or Ekapada Sarvangasana, 223). The second stage of Supta P. is a great resource for understanding something as elementary as Triangle pose (Trikonasana, 63) as well as something more advanced such as Side Plank pose (Vasisthasana, 311). And Happy Baby (Ananda Balasana, not in LoY) is fantastic preparatory work for Crow pose (Bakasana, 315) and other arm-balances.

Of course they are not perfect replications. And there are limitations and exceptions to floor work. Anything that requires arm or leg extension into the back plane will be difficult or even impossible. Supta P., for instance, while it does give you an opportunity to improve the leg and hip mobility required for Parsvottanasana, it can't do much to help with that pose's traditional Reversed Prayer hands. And Reclined Hero (Supta Virasana, 123) is a wonderful way to prepare for a back bending sequence IF you can get into the pose. If you cannot comfortably get into Supta Virasana, then getting to the floor may be your peak rather than your prep.

What I hope to highlight here is that much can be gained from finding relationships between poses, and one such relationship which tends to be particularly helpful is recreating a pose or part of a pose with the support of the floor. Don't reinvent yoga every time you introduce yourself to a new pose. The body is complicated and intricate, but the ways in which it moves is in fact finite. Many of the poses are simply variations of each other with various relationships to gravity. So look for relationships and similarities, and use poses to learn other poses.

The following is the sequence we practiced in class on 12/7. We used reclining leg and hip poses as preparation for Shoulderstand variations. You can modify, decrease, or embellish this sequence in any way that works for you. You may want to add some rounds of Sun Salutation to the beginning, some poses to open your shoulders and upper-back, or, rather than spending the second half of the practice in Shoulderstand, you could use the reclined work as preparation for the standing sequence.

     ~~~~~

Opening meditation and any warm-up you desire

(Hold the following 5 poses for 1 minute each on the right side first, and then repeat each of them on the left side.)
1. Reclined Hand-to-big-toe pose (Supta Padangusthasana) variation with hands clasped behind thigh

2. Supta Padangusthasana first stage (either holding the big toe, the foot or ankle, or a strap around the foot)

3. Supta Padangusthasana second stage (with leg extended out to the side)

4. One-legged Happy Baby (Ekapada Ananda Balasana, not in LoY)

5. Eye-of-the-needle pose (Succirandhrasana, not in LoY)

Repeat poses 1-5 a second time on each side

Upward Extended Foot pose (Urdhva Prasarita Padasana, 240-242) 3-10 times

Revolved Abdomen pose (Jathara Parivartanasana, 237-240) 2-3 times per side

Happy Baby (Ananda Balasana)

Supported Shoulderstand first variation (Salamba Sarvangasana, 205-213) for at least 5 minutes

Plow pose (Halasana, 216) for 1-5 minutes (if your toes do not comfortably rest on the floor overhead, you should continue practicing first variation Shoulderstand and Plow before moving on)

(each pose in the Shoulderstand cycle can be held for 10-30 seconds)
Ear-pressing pose (Karnapidasana, 220)

Reclined Wide-angle pose (Supta Konasana, 221)

Side Plow pose (Parsva Halasana, 222)

One-legged Shoulderstand (Ekapada Sarvangasana, 223)

Side One-legged Shoulderstand (Parsvaikapada Sarvangasana, 225)

Finish your practice with any seated or reclined forward folds or twists that leave you feeling balanced, whole, and ready for several minutes of relaxation

Corpse pose (Savasana, 422) for 5-20 minutes

Closing meditation

     ~~~~~

As you move from pose to pose, think carefully about what you're doing while you're doing it for the sake of the present moment, and at the same time consider how what you're doing now may be related to upcoming actions. Where are the repetitions and similarities? Which poses most clearly inform others? Which poses most effectively teach or prepare you for others? Be receptive and curious. And questions and comments are always welcome.

WEEKS SIXTEEN & SEVENTEEN PART 1

We have begun working on a new sequence ("16th and 17th week") which adds ten new poses, half of which are back bends (or they include back bending components). If that spurs in you any feelings of trepidation or intimidation about moving forward, it shouldn't. That is because in some ways back bends are the peak of it all. They teach us to confront all kinds of destructive patterns which plague us on and off the mat including physical and psychological inhibitions. They literally and figuratively open the space wherein our heart lives. That is exactly what yoga is about! And we study and practice them just like any other category of asana: carefully but with a healthy dose of confidence and curiosity. There is nothing to be afraid of.

We will learn this new sequence of poses incrementally similar to the previous sequence, and we will take lots of time to do so. Last week we introduced Camel pose (Ustrasana, 87) and Fierce pose (Utkatasana, 89) via a review of the back bending stages of several of the standing poses. Go back and look carefully at those pictures -- many of the standing poses we have already learned include very distinct back bending stages (three examples: Intense Side Stretch pose [Parsvottanasana, 78], Wide-legged Forward fold [Prasarita Padottanasana, 81], and Big Toe pose [Padangusthasana, 89]). Sometimes we are so wrapped up in getting to the "final form" that we forget about what happens along the way, but of course those details of good postural alignment influence future poses and shouldn't be neglected.

Notice that this sequence includes the primary components of Sun Salutations: Downward-facing Dog pose (Adho Mukha Svanasana, 110), Four-limb Staff pose (Chaturanga Dandasana, 104), and Upward-facing Dog pose (Urdhva Mukha Svanasana, 108). But if you closely read their instructions, you may notice that they are slightly different than what your vinyasa flow classes have likely taught you. It's not that LoY is right or better by any means; just different. Even though you are probably familiar with each of these poses from other classes, you may feel like you're learning them all over again when we look at them during DK.

There is also a new version of Shoulderstand -- Parsvaikapada Sarvangasana, 225 -- which expands upon the one-legged variation we already know. We will take the time to refine the entire Shoulderstand cycle when we incorporate this new variation. In fact, we will continue to refine everything that we have already learned while continuing to progress, because it is important that we continually balance our efforts between old poses and new ones. Repetition imprints positive patterns and meaningful change comes out of embracing new challenges. So we will spend as much time reviewing as we do moving on.

Take a look at the sequence (its order changes!) and each of the poses before practice, particularly the new ones. Make note of their Sanskrit and English names, their rating (printed just next to the name), the instructions (including how long he recommends holding each one), and their effects. What stands out? What is interesting? or unclear? or surprising? Come to class with questions and comments.

DEFINING MOMENT

I have almost quit yoga a bunch of times. Not seriously, of course. I get about as far as a pouty seven year old threatening to run away from home. As soon as I start to pack up all my favorites I realize two things: (1) I have nowhere else to go, and (2) I actually really love where I am. I just get frustrated some times.

A few nights ago, my girlfriend Amanda and I were talking at the end of the day, and exchanging the ubiquitous "How was your day?" Q&A. There was a lull in the conversation, and I hesitantly shared a thought I'd had stuck in my head all evening: Sometimes I wonder if I should just stop teaching and do something else. It was short and clear, but piercing and seemed to linger like a bad odor. It felt like a confession; like I needed to brace myself for an ensuing value judgment. That single thread of words had been revolving on a pretty continuous mental-loop for several hours (maybe longer; days), and I hadn't yet thought much at all beyond the one sentence. I didn't even have any real intentions of saying it right then; it was spontaneous. I just waited, almost frozen, because I didn't know what else to say. And I didn't know what she was going to say. I took a very deep breath to soothe the thumps in my chest.
::inhale fully...exhale completely...::
She had a question, two of them in fact. She said first Have you ever, since you started yoga, stopped completely? And I quietly but matter-of-factly said No.
::another deep breath...::
And then she said Do you think that might be because it's a necessary part of your existence, like eating and sleeping, without which you would cease to be You?
::and another...::

I don't remember the details of the rest of the conversation, but I do remember that internally I felt like a knot had been untied. My whole body slumped a little as muscles which I didn't even know were tense softened. And the broken record playing in my head stopped immediately. I knew she was right; I just needed to be reminded.

The reason why that thought had occurred to me that night is because I am frustrated with my yoga right now. It's in a different state from what it used to be, and that is difficult to accept. I was very lucky for a very long time to have yoga as my full-time job. I owned the studio, and there are definite teaching and practicing perks to that role. I taught many times a week, often even many times a day, to students I had gotten to know after years of bonding. I knew some of their practices as well as I knew my own. Whenever I wasn't teaching, I could have my own practice (and it would often last 2, 3, 4 hours) or write for multiple blogs or study/prepare for upcoming classes or seek out new trainings for myself or be a student in someone else's class. It was a fulfilling privilege.

Don't hear me wrong; I am definitely not saying that I'm currently unfulfilled or unprivileged. I have been welcomed into a new community of wonderful teachers and students, and am very much enjoying the opportunities to grow within all new circumstances. However, for the first time in a long time, I have to have one of those "real jobs." I spend 40 hours a week clocked in doing what other people tell me to do. I know I know most of you do, too. And lots of people who want that don't have it. I promise I am not complaining about having a job; I am grateful for my paycheck and for all that it provides me. I am simply acknowledging that my reality has shifted, and it doesn't always feel good.

The truth is that yoga defines me. It is necessary. Not in the sense that a single pose or lack-thereof makes or breaks my sadhana. Or that it is a rigid or static thing for me. The individual everyday activities of yoga are not defining. They change, ebb and flow, strengthen and weaken, transform and evolve. But the presence of Yoga is critical to My Big Picture. Preferably more often than not.

Right now it's less often; hence my recent feelings of frustration. Right now yoga is competing with my j.o.b. And the job is winning. Rather than other activities fitting in with whatever time is left over after yoga has claimed all that it wants, I find myself squeezing in bits and pieces of yoga here and there. And sometimes not at all. I find myself wanting to nap on my days off rather than practice or write. I am inclined toward the television in the evening rather than a copy of the newest Sutra translation. And my laundry basket is suddenly full of work shirts and no leggings. It's a little disorienting; even sometimes disappointing. And I would be lying if I pretended that it wasn't.

What I realized is that I have been having a little internal pity-party for a couple of weeks -- wishing for something that isn't rather than appreciating the things that are. My yoga has changed, but it hasn't stopped. It probably never will. I know that partly because this isn't the first time my yoga-life has shifted. And, so far at least, I have always come back stronger than ever. I love the practices that I do get to have. I love the classes that I do get to teach, and the students who are there. I love writing and reading and researching and planning no matter how much or little time I get to do those things on any given day.

Yoga is hard! It's hard even when we are lucky enough to have everything happening just right, when there are no obstacles or conflicts, when we feel energized and focused and capable. And it is really f---ing hard when that's not the case. And it is OK, even necessary, to admit that, and to choose taking a nap over Down-dog once in the while. Maybe someday the balance will shift back for me to a whole lot of yoga and just a little bit of everything else. Maybe it won't. But I am a Yogi; a student and a teacher. It is the home I get to take with me everywhere I go. It is as essential to me as my humanity. And that will be true even if I never unroll another sticky mat. Or wriggle into another pair of leggings.

"The [path of yoga]...can be summed up individually as "Getting more of what I genuinely desire and less of what I don't." The trick is to recognize which is which and then act on it. The paradox arises in that to train ourselves to achieve this, we have to start by doing a fair bit of what we don't want to do, and rather less of what we think we do. Yoga calls this tapas, which I've translated as sustained courageous practice. The French philosopher Descartes said happiness does not consist in acquiring the things we think will make us happy, but in learning to like doing the things we have to do anyway. Try this when you're waiting for a late train or doing the washing up" (Iyengar, Light on Life, 112).

WATCH, LISTEN, AND LEARN

In exchange for the lack of my own insights to share with you this week, I offer a little B.K.S. Iyengar himself. His physical demonstrations are, of course, breathtaking. But his wisdom and pure humanity are what is truly inspiring. Enjoy!

teaching in Pune, India in late 1970s

a 2007(ish) interview

WEEKS FOURTEEN & FIFTEEN SEQUENCE

We are finally ready to practice the Weeks Fourteen and Fifteen Sequence in its entirety! It will take place on Sundays, November 9 and 16.

     Sanskrit names are in bold.
     (English names are in parentheses.)
     [Numbers in brackets correspond with illustrations.]
     Poses with an * are new to the sequence.

*Salamba Sirsasana I (Supported Headstand first variation) [184]

Utthita Trikonasana (Extended Triangle pose) [4 and 5]

Parivrtta Trikonasana (Revolved Triangle pose) [6 and 7]

Utthita Parsvakonasna (Extended Side-angle pose) [8 and 9]

Parivrtta Parsvakonasana (Revolved Side-angle pose) [10 and 11]

Virabhadrasana I (Warrior pose first variation) [14]

Virabhadrasana II (Warrior pose second variation) [15]

Virabhadrasana III (Warrior pose third variation) [17]

Ardha Chandrasana (Half Moon pose) [19]

Parsvottanasana (Intense Side-stretch pose) [26]

Prasarita Padottanasana I and II (Standing Wide-angle forward bend first and second variations) [33 and 34, 35 and 36]

Padangusthasana (Standing Big-toe pose) [44]

Padahastasana (Hand-under-foot pose) [46]

Uttanasana (Standing forward bend) [48]

Parighasana (Gate pose) [39]

*Salabhasana (Locust pose) or *Makarasana (Crocodile pose) [60 or 62]

*Dhanurasana (Bow pose) [63]

*Bhujangasana I (Cobra pose first variation) [73)

Urdhva Prasarita Padasana (Upward Extended Legs pose, aka UPP) [276 to 279]

Paripurna Navasana (Full Boat pose) [78]

Ardha Navasana (Half Boat pose) [79]

Salamba Sarvangasana I (Supported Shoulderstand first variation) [223]

Halasana (Plow pose) [244]

Karnapidasana (Ear-pressing pose) [246]

*Supta Konasana (Reclined Angle pose) [247]

*Parsva Halasana (Side Plow pose) [249]

Ekapada Sarvangasana (One-legged Shoulderstand) [250]

Jathara Parivartanasana (Revolved Abdomen pose) [274 and 275]

**Mahamudra (Great Seal pose) [125) [250]

*Janu Sirsasana (Head-toward-Knee pose) [127]

*Dandasana (Staff pose) [77]

*Paschimottanasana (Seated forward fold) [160]

Ujjayi Pranayama with inhalation retention (Section 203) in Savasana [592]

Take a look at each of these poses before practice, particularly the new ones. Make note of their Sanskrit and English names, their rating (printed just next to the name), the instructions (including how long he recommends holding each one), and their effects. What stands out? What is interesting? or unclear? or surprising? Come to class with questions and comments.

**We are leaving Mahamudra [125] out for now as it requires the use of some techniques we have not yet focused on; namely, bandhas (energy seals) and kumbhakas (breath retentions). You are welcome to read the information provided for the pose on your own, and ask questions if you have any. But it will not be a part of our sequence until further notice.

ANATOMICALLY SPEAKING

How much do you know about how your body works? Do you know, for instance, what happens to food after you've put it in your mouth? Do you know how your heart circulates oxygenated and deoxygenated blood? Do you know what gives joints their articulations, or that there are three different types of muscle contractions? If not, why not? It's your body; your life's vehicle, and the only one you get. Your entire physical existence takes place within the parameters of your flesh and bones; aren't you a little curious about how it works? Perhaps the nitty gritty details don't interest you, and that's fine. But if you want your body to work well, wouldn't an understanding of its basic mechanics, functions, and structures seem useful? How do you propose to take good care of something without knowing how it operates?

The human body is complex, sometimes mysterious, endlessly fascinating, and admittedly not an easy subject to study. I have no delusions about all of us being anatomists or kinesiologists; some of us are just naturally more or less scientifically minded than others. But yoga very clearly affects us both anatomically and physiologically, so it's probably worth perusing at even the most elementary level. And that's my way of pep-talking you into indulging me while I share just a little bit about how muscles work!

Muscles exist in order to move joints. Which muscle contracts is what determines which joint moves and how. They, of course, come in different shapes and sizes with some resting very near the surface of the body and others much deeper. Some act as free-movers while others are better at stabilizing. And it's shape, location, and attachments are what dictate how a muscle behaves.

Each muscle attaches to bone in (at least) two places: the more stable, unmoving end of the muscle is called the origin, and the end which is more likely to affect joint movement is called the insertion. For example, the hamstring muscle (which is technically three separate muscles joined by a single tendon and commonly referred to as a single unit) originates on the ischial tuberosities (the sitting bones at the base of your pelvis) and inserts on the tibia/fibula (your lower leg bones). Therefore, the hamstrings are primarily responsible for two movements: (1) posteriorly tilting your pelvis (we often call it "tuck your tail") and (2) flexing (bending) your knee. Stretching a muscle requires the origin and the insertion to move away from each other, while firming and strengthening require the origin and insertion to move toward one another. So in order to stretch the hamstrings, you want to either tilt your pelvis forward or extend (straighten) your knees or both of those things simultaneously. And to stabilize and/or strengthen the hamstrings, you want to tuck your tail or bend our knees or both.

When you bend your knee via hamstring contraction, the hamstrings are acting as the agonist which means they caused the action of that joint. On the other hand, any time a muscle contracts (tones, firms, shortens), some other muscle is relaxing or stretching in opposition, and that muscle is called the antagonist: i.e. when your hamstrings contract and your knee bends, the quadriceps act as the antagonist. If they didn't, their resistance would prevent the hamstrings from doing their job. Furthermore, because muscles do not act in isolation, the movement caused by the agonist muscle is supported by synergists which move in a similar, though typically less efficient, way as the agonist: i.e. the gastrocnemius (the bulky calf muscle) assists the hamstrings in flexing your knee although that is not its primary job.

What does all this mean to your yoga poses? It's simple really: mastery of any given asana comes from successfully utilizing the agonist(s), synergist(s), and antagonist(s) affected by the posture. Of course, you don't have to explicitly understand this in order to have success in your practice. But knowing how the muscles work, even just a little bit, can help you use them much, much more effectively.

Let's stick with the hamstrings as our focal point, but instead of them acting as the agonist for knee flexion, let's look at how we get them to stretch in a pose such as uttanasana (LoY 92). After all, stretching the hamstrings can sometimes seem like all we ever do on the mat, so it's probably advantageous to our practice to know how to do it well!

It's important to remember that muscles are designed to contract; that is, to pull their two opposing ends closer together. Asking a muscle to lengthen instead is counterintuitive which is why it's such a challenging task. And also why it is so important to understand the function of antagonists and synergists.

When you stand in tadasana, the hamstrings are contracting just enough to keep your pelvis in an upright position and thus prevent you from toppling forward. When you start to bend forward toward uttanasana, your pelvis must tilt so that you hinge at your hip joint rather than round in your waist/lower back. But remember the hamstrings are programmed to prevent your pelvis from tilting forward -- it is their job to keep the very action which you are trying to induce from happening! If you want to convince your hamstrings to release into a stretch, a couple of preliminary actions are necessary.

First, the bones need stability. Part of that comes from moving your thigh bones back and apart in order to widen your pelvic floor. When your thigh bones are sitting deeply and widely within the hip socket, the pelvis itself literally has freedom to tilt. Otherwise your thigh bones will act as a kind of clamp compressing the pelvic floor, and, if the pelvis is stuck, then you cannot hinge from your hips. So start by rolling the fronts of your thigh bones in toward one another, then press them straight back, and widen them apart. This action allows the whole pelvic bowl to anteriorly tilt -- your butt sticks out, your pubic bone moves back between your legs, and, if you think about the pelvic bowl as just that, a bowl, then anything contained within it would be spilling out over the top rim as it is now angling forward.

During the first moments of folding into uttanasana, your hamstrings are actually still contracting rather than stretching. Again, remember their primary objective: to tuck the pelvis posteriorly in order to prevent your torso from toppling over (think of the bowl image again, and in tasasana, nothing would be spilling out of the bowl because its top rim is parallel to the floor). As you attempt to fold your torso forward over your legs, your hamstrings intuitively turn on and work hard to control your descent. They don't know that you are folding forward on purpose; they only know very primitively that their job is to keep you from plummeting to the floor. You need to convince them that your hinging forward is deliberate and that it is safe for them to release.

Therefore, the next step is to stabilize the upper body. This part is fairly simple: press your hands on to something solid. If you cannot reach the floor, then use blocks or a low stool or a chair seat or a counter top. But do not do not do not allow your arms to dangle. As long as your torso is unsupported, your hamstrings will contract which will tuck your tailbone which means you are rounding at the waist/lower back. So put your hands or fingertips on the floor or blocks or whatever else you can reach. But don't just touch down with your weight still leaning back into your heels/legs; you have to actually bear a moderate amount of weight into your arms. Once your body is supported, your hamstrings no longer need to contract and they will slowly relax. Relaxation becomes stretching, and to do more of that you need to employ the antagonists.

In order to actually improve flexibility, you need to coax the hamstrings to lengthen beyond their original capacity. So far all we've really done is maximized their current state by moving their origin and insertion as far away from each other as possible but without much (or any) intentional stretch. The quadriceps on the fronts of the thighs will play a big role here.

Muscle tissue is very elastic. It is made up of teeny tiny strings of cells all braided together. Like a rubber band, it stretches out easily, and as soon as you release that tension, it retracts. When a muscle is in a resting or contracting state, all the cells are knitted tightly like when you interlace your fingers and press your palms together. If you were to then open your palms apart but keep your fingers tightly interlaced, it would be like what we just created in our first stage of uttanasana: length but not necessarily stretch in the strong sense. However, if you slowly pull your fingers apart, you'll start to create open space between them, and that's actual stretching. Muscle tissue works similarly: as you pull on it, the braids separate slightly which creates space in between them. And the good news is that the body pretty immediately (within just a few hours) responds to these open spaces by generating new tissue. So, whereas when you release the tension of a rubber band, it retracts back to its original length, a muscle only retracts a little bit because your body fills in the open spaces. Little by little this creates flexibility.

Back to the quadriceps. Like all muscles, the quads act to pull their origin (basically the anterior inferior pelvis and anterior femur) toward their insertion (on and just beneath the knee cap). When your quads contract, your pelvis will flex (anteriorly tilt) or your knees will extend (straighten) or both. This is of course the opposite (or antagonistic) action of the hamstrings. And it also happens to be exactly what we need in order to maximally stretch the hamstrings -- straight legged forward folding action, right? By contracting your quads, you will (1) send a signal through your nervous system to your hamstrings telling them to release, and (2) intentionally increase the distance between your hamstring's origin and insertion. Think about the hands interlaced again. Without the contraction of the quads, all you can do is create the stage at which your palms are opened wide but your fingers are still tightly interlaced. When you engage your quads, you create the leverage necessary to pull the fingers apart and keep them apart long enough for the body to start the process of filling in those empty spaces with new tissue. You must challenge the muscle into a new state of length as well as allow the nervous system time to understand that that action is deliberate and safe; otherwise nothing new will happen.

How do you know if you're engaging your quads? One really easy way of finding out is by trying to wiggle your knee cap. Sit on the floor with your legs straight out in front of you (dandasana), and gently pinch your knee cap between your thumb and fingers. If you can wiggle it slightly side to side, then your quads are relaxed. Now tone the fronts of your thighs and try again -- your knee cap is locked in place. If you want to stretch your hamstrings, your quads need to be contracted.

And don't forget about the synergists. Remember synergists are muscles which assist the agonists but in a less direct way. The gastrocnemius helps the hamstrings by bending the knee even though its primary job is to bend the ankle. If your calf muscle is tight, you will struggle to straighten your knee, and, if you cannot straighten your knee, you cannot effectively stretch the hamstrings. Flexible calf muscles mean more stable lower legs, and in turn greater likelihood of affecting positive change upon the hamstrings. For uttanasana, utilizing the synergists means keeping the hips stacked directly over the ankles rather than allowing the hips to lean back over the heels. It is really the combination of the antagonists (quadriceps) contracting and the synergists (gastrocnemius) lengthening which induces the most stretch upon the agonist (hamstrings).

So to recap, stretching your hamstrings requires that your thigh bones are set back and wide in order to hinge the pelvis forward, your torso is supported in order to relax the hamstrings, and your quadriceps are contracted in order to create actual stretch. Or to apply this more generally to the body as a whole, the primary joint being affected needs range of motion, the secondary joints need stability, and the synergists and the antagonists need to cooperate to cue the agonist into relaxation. All of this can be refined with even more intelligent alignment (for instance, we can focus on one side at a time by working asymmetrical poses which are often more accessible, and we can also fine-tune the actions of the upper body in order to minimize eccentric contractions), but this is a good foundation. The take away is: contract the opposing muscle(s) to induce the greatest amount of change upon the target muscle(s). Another (although very simplistic) way to think about it is that forward bends stretch the back body while contracting the front body, and back bends stretch the front body while contracting the back body. It is not enough to simply fold forward or bend back; it is necessary to utilize the body's structures and mechanics.

Our sequence now includes a few simple seated forward folds as well as a few belly-down back bends. These poses are not "easy", but they are fundamental, and are a great way to introduce the basic, gross workings of our flesh and bones. As you practice the new poses, think about what needs to stretch (open, loosen), and how you can utilize the contraction (firming, shortening) of its opposites to enhance the form of the posture.

"Lock your attention within the body. You can hold your concentration on breathing, on tissues that are being stretched, on joints that are being stressed, on the speed of your movements, or on the relationships between breathing and stretching. You can also concentrate on your options as you move in and out of postures. Practicing with total attention within the body is advanced yoga, no matter how easy the posture; practicing with your attention scattered is the practice of a beginner, no matter how difficult the posture...[Y]oga trains the mind as well as the body, so focus your attention without lapse."
(H. David Coulter, Anatomy of Hatha Yoga, 17)

YOGA'S EIGHT STAGES, or PATANJALI'S CUSTOMARY WAYS OF SITTING

I want to revisit a (quasi rhetorical) question I posed a couple weeks ago which considered how much of yoga is really about the asana. A good answer to that is complicated and probably more than I can discuss adequately here, but the short version is "it depends." A more concise question may be to say how much of YOUR yoga is about the asana. Although, the answer to that also depends. It depends on various factors, but very much on your ultimate intentions as a practitioner (i.e. are you seeking a means to physical health, mental health, spirituality, relaxation, stress-relief, socializing, scholarly studies, etc?).

Let's, for the sake of this discussion, assume your practice closely follows the tenets of Patanjali's Classical Yoga as expounded in his Yoga Sutra. After all, we are attempting to understand the wisdom of Mr. Iyengar's Light on Yoga, and Mr. Iyengar certainly considered himself to be a student of Patanjali. And if we want to better understand our own teachers, it is to our benefit to try to understand theirs. In that case, the answer to the question (how much of yoga is really about the asana?) is "not much." In order to really understand why that is, we have to become familiar with the premises of Classical Yoga.

Classical Yoga is composed of eight stages of practice (asana being one of them) which culminate in the mind's liberation from its incessant turmoil. That is a tall order, and a murky one to boot. Basically, Patanjali sees the "human problem" -- the seemingly innate suffering that unifies all of human existence -- as being one of uncontrolled mental agitations, and, if said mental agitations could be reigned in, then the result would be a transcendent joy and wisdom. But, because the mind if complicated, illusive, and purely conceptual, affecting it is extremely difficult. Therefore, Patanjali says, rather than diving immediately into the (dys)functioning of the mind, start with something a little more accessible -- your body, for instance.

In regards to the stages of practice, mastery of the poses is neither the ultimate objective, nor the groundwork. In fact, technically speaking, "mastery of the poses" in the sense of its presentation in something like Light on Yoga (or nearly every modern public yoga class) doesn't have anything at all to do with Patanjali's idea of asana. The word asanam literally means "seat" or "customary ways of sitting." Patanjali could not care less if you have mastered the Triangle pose or the Shoulderstand or the Half Bound Cross Footed Balancing Cockatoo; his only concern is that you are capable of sitting in a stable and comfortable position for extended periods of time. So then why all the poses?

We're getting there. But first, if asana isn't the most preliminary stage, then what is? Asana is actually the third stage in Patanjali's system. The first is yama and the second is niyama. If a practitioner wishes to obtain the mental harmony that yoga provides, then she must begin by redirecting her worldly inclinations; that is, shifting her perspective away from those tendencies which tether her to the phenomenal world. The word yama means "restraint," so Patanjali's first and second stages are restraints or limitations related to human behavior. In other words, they're ethics because, in order to be a successful yogi, one must be well-behaved, both internally and externally. There are five yama and also five niyama. The yama focus on optimal ways of interacting with others and our external environments, while the niyama are more personal in nature and reflect a healthy relationship with our more internal states. Tomes of commentary have been written about each of them, and this is not the place for additional elaboration (if you want help finding good resources for this material, just ask).

In brief, the five yama are: (1) never injure or hinder another living being (ahimsa); (2) always be truthful in thought, word, and action (satya); (3) don't take what doesn't belong to you (asteya); (4) uphold moderation in all actions, engagements, and consumptions (brahmacharya); and (5) only use/amass those things which are absolutely necessary to your well-being (aparigraha).

And the five niyama are: (1) maintain good physical health, nutrition, and cleanliness (saucha); (2) cultivate contentment, graciousness, and gratitude toward all that you have and are (santosha); (3) cultivate passion, courage, and dedication toward that which is most important to you (tapas); (4) study with the intention of garnering universal truth and wisdom (svadhyaya); and (5) be devout toward that part of yourself that you know is "more-than-just-a-body" (Ishvara pranidhana).

The role of the yama and niyama is to help establish one's character which is important because it shows a willingness and ability to overcome strong (likely destructive) temptations. Everyday life -- its challenges, misfortunes, and inequalities -- can easily lead one into patterns of moral gray-zones, and calming the mind's turbulence is dependent upon a steadfast intention to honor and respect all living beings (yourself included). However, yoga is not about conscience-building; it's about Liberation and Authenticity in the strongest sense. So, while demonstrating that you are capable of playing well with others while taking good care of yourself is necessary, it's only the very beginning.

From here on out, the practice becomes increasingly more internally focused with each subsequent stage. Whereas practicing the yama and niyama lead to freedom from worldly distractions -- envy, greed, discontent, dishonor, etc. -- practicing asana leads to freedom from your own physical distractions -- fatigue, disease, fragility, immobilization, and injury. Over hundreds or even thousands of years, the asana have evolved into elaborate (and sometimes conflicting) methods of positioning the body which undoubtedly develop strength, flexibility, stamina, vitality, resilience, and grace. All of which are good things. But remember what the word asanam means: "seat," "customary ways of sitting." The point is to condition the body to sit. Literally. If the back is weak, the hips are stiff, the knees ache, the shoulders slouch, or the head hangs, sitting still for more than a few brief (and probably unsettled) moments is nearly impossible. So the yogi uses her asana practice as a means of achieving physical firmness (sthira) and steadiness (sukha). We'll see why soon.

The poses target the outer-most body first and most obviously; namely, muscles, tissues, and bones. But in the meantime, they are also having an equally profound effect on the more subtle layers of our physiology; that is, our cells, nerves, and glands. The fact that yoga targets our bodies wholly -- outside and in -- leads directly into the fourth stage of practice: pranayama.

Prana means breath, life-force, energy. Ayama still means restraint and also extension. So, pranayama is the practice of literally controlling one's breath, and, more figuratively, one's spirit. The various pranayama exercises comprise an entire system of practice in addition to asana (Iyengar's manual covering this material is called Light on Pranayama). Most practitioners will never venture beyond the very basics -- Ujjayi, possibly some short retentions, and maybe Kapalabhati. Anything more advanced than that tends to exceed the average student's interests and commitments as it is a quite challenging stage of practice which really demands dedicated focus as well as very close supervision from an experienced instructor. It also requires that you be able to sit for extended periods of time, hence the previous stage (asanam = "ways of sitting"). In fact, stages four through seven (pranayama, pratyahara, dharana, and dhyana) all require a body which is willing and able to endure prolonged periods of quiet and still sitting, so it's really no wonder that one entire stage of practice, not to mention the one most well-known and widely practiced, is nearly exclusively focused on training the body to do just that. Without the physical capacities which come from asana, one would almost certainly not be able to withstand the difficulties of the proceeding stages.

Asana and pranayama work together to tame the body, physically and physiologically, in order to suppress what is otherwise a perpetual slew of distractions and demands. If your most-physical self is in any way unhealthy, imbalanced, or disturbed, your mind cannot rest, and yoga's promise of ultimate liberation will forever elude you. However, please don't hear that and think to yourself Well, I'll never practice advanced poses or breath-control, so maybe I shouldn't do this at all or Oh no, now I've got to find a real Guru to teach me how to sit, breathe, and think or I'll never experience personal contentment. That's not the case. Even if advanced asana or pranayama seem beyond your yogic scope, your practice is absolutely still important and valuable. Yoga is beneficial in its most elementary forms, and you do not have to be a contortionist or a shaman or a vegan or a Hindu or a philosopher or an astrologer to be a good Yogi. You only have to be willing to conform your practice to fit your needs, and not the other way around. All eight stages have elements which are more suited for beginners as well as those which are better saved until one has gained more experience. Even a modest practice can include some aspect of each stage, or even just a few of the stages, so that your practice provides you with exactly what you most need. And that is infinitely better than no practice at all.

Once the body has been brought under control through asana and pranayama, the mind is actually more distracted than ever! Because it no longer has physical forms and functions to worry about, the sensory world kicks into overdrive. The fifth stage of practice is called pratyahara, and it teaches the yogi how to control her senses; namely, sight, taste, touch, hearing, and smell. The purpose is to continue the disconnection that is developing between the Self and the surrounding world. Our senses -- as valuable and inherent as they are to the human experience -- are the embodiment of external awareness and mental disturbance. In order to entirely free the mind, sensory perceptions must be challenged. Pratyahara is the practice of dissociating from the senses. It is not about turning them off or lacking them completely; instead, it is about learning how to control them rather than allowing them to be controlling.

At this point, the mind becomes the primary focal point more than ever before, and stages six and seven are practices of mental concentration (dharana) and meditation (dhyana). The words "concentration" and "meditation" are often used interchangeably, but for the yogi they are two distinctly different levels of experience and achievement. Explaining just what each one is and how they differ is worth saving for another discussion. It's enough at this point to understand that one's consciousness is slowly brought more and more inward until neither the external world, nor the very body we inhabit, are distracted or agitated; only pure, unadulterated thought is left. And not for long, because that too will be mastered. The eighth stage (Samadhi) is the experience of an entirely liberated state of existence wherein your body thrives, your heart is content, your mind is quiet, and your consciousness is dissolved. YOU in the grandest sense -- the part-of-you-that-is-more-than-your-body -- are incomparably alive. And that is what yoga is really about.

When you put this all together, you have what Patanjali calls "Ashtanga Yoga" because it consists of eight (ashta) limbs or stages (anga). The type of yoga practice founded by Patabbhi Jois which features vigorous vinyasa flow and is called "Ashtanga Yoga" shares its name with the Classical Yoga system because Jois, like Iyengar, was a student of the Yoga Sutra. Despite the many differences between Iyengar and Ashtanga yoga practice, their most basic premises are the same; namely, that yoga is a science and a philosophy capable of promoting incredible physical and psychological transformations if one is willing to be sincerely disciplined and humble.

So again how much of yoga is really about the asana? It still depends. For Patanjali and his eight-stage system (Ashtanga Yoga), it is necessary only as a means to a much, much bigger end. The asana play a very prominent role because our bodies are very tangible and manipulable. We can touch them and change them concretely, which makes them (relatively) easy to understand. We can, through our physical exercises, get a glimpse of all the other aspects of practice: the respect and compassion that comes from following the yama and niyama, the vitality that comes from pranayama, the autonomy of pratyahara, and the clarity of dharana and dhyana. We can even, in brief moments of genuine respite, during an especially pleasant Savasana, for instance, feel what Samadhi must be like. In short, we practice the poses in order to enliven our human experience and to illuminate those parts of ourselves which are superhuman.

Image: Yoga Sutra II.29 as translated by Chip Hartranft, 2003

UNSTICKY BACKBENDS, or WEEKS 14 & 15 PART 3

"Backbends give stability to the body and bring maturity in the intelligence in order to develop ripeness in the brain and ripeness in the emotions."

To the best of my knowledge, all modern forms of yogasana practice include some amount of backbending. Certainly some traditions emphasize it more than others, but you can find it essentially universally regardless of the lineage, philosophy, and degree of vigor (or lack thereof; i.e. even in Yin and Restorative Yogas). And backbends are nothing new: the Hatha Yoga Pradipika and the Gheranda Samhita -- two of the oldest surviving texts expounding on yogasana -- describe positions of the body that we would today recognize as Dhanurasana, Salabhasana, and Ustrasana. Backbends have historically been, as well as continue to be, known for their contributions to physical, psychological, and philosophical wellbeing. Very simplistically, and physically speaking, they strengthen the posterior body and stretch the anterior body. They stimulate, energize, and create heat. And they challenge our sense of self-awareness by forcing us to become familiar with parts of ourselves which we can neither see nor touch.

"...you create tremendous depth and vastness in the chest through the backbends that the emotional center accommodates [absorbs and withstands] all types of pressures and strains. There is no chance for a person who does backbends to get emotionally depressed or distressed."

"That's the beauty of backbends. Emotionally we can never be disturbed, for the emotional center becomes an extrovert. When you do Viparita Dandasana [LoY 375], your head looks backwards, but your conscious mind stretches everywhere. Study by observing how the mind gets regulated. You not only know the freedom in the spine, but also the freedom in the spirit."

"Backbends are not poses meant for expressionism. Backbends are meant to understand the back parts of our bodies. The front body can be seen with the eyes, but the back body can only be felt. That's why I say these are the most advanced postures, where the mind begins to look at the back. Otherwise it is felt on the peripheral level."

The message here is (at least) twofold: (a) backbends are vital, and (b) backbends are difficult.

But, as in all things vital and difficult (i.e. all things Yogic!), the best place to begin is a fundamental understanding of what you're doing, why you're doing it, and how. We already know that that means breaking down the necessary components of form and function while on the mat. Backbends require (at the most basic level) a great range of motion (i.e. flexibility) in (1) the shoulders, (2) the upper-back, and (3) the hip-flexors. It is important that your practice include both poses which provide the necessary flexibility as well as poses which help you to measure your flexibility. And I have a tool bag full of both which I am happy and anxious to share with you. However, I am afraid that descriptions reliant only upon text will fall short of adequate clarity, and would need the visual assistance of photos and/or videos to be truly beneficial. And since I am not currently equipped to provide either of those, I feel limited in my ability to be effectively informative here. What I will do, though, is name and/or briefly describe a few key poses/actions, and encourage you to seek out more explicit explanations by perusing resources such as Light on Yoga and YogaJournal.com (a general internet search will produce an abundance of resources), and, most importantly, coming to class.

Shoulders. The anatomy of the humerus and its adjoining socket means that the shoulder joint is capable of a pretty impressive range of motion. When optimally functional, the shoulder join can flex (i.e. arms positioned overhead, alongside the ears) as much as, or more than, 180^o, and can extend (i.e. arms positioned behind the vertical axis of the spine when viewed from the side) as much as, or, in rare cases, more than, 45^o.

One of the most effective means of increasing both flexion and extension is with the aid of a simple yoga strap. While standing, hold the strap in both hands a little wider than shoulder-width apart. Keep your arms straight, the strap taut, and your chin up as you lift your arms first overhead, and then back and down so that you end up holding the strap behind you rather than in front. Then reverse the movement to return to the starting position. If it's too difficult, widen your hold on the strap. If it's too easy, narrow your hold. Challenge yourself to cinch in on the strap every couple of rotations. Keep good form, and repeat many, many times.

The ability to position the arms directly in line with (or slightly behind) the ears without bending the elbows and while maintaining strong external rotation of the upper-arms indicates the necessary mobility for poses such as Utkatasana (a backbend only in a very loose sense, but crucial nonetheless), Virabhadrasana I (ditto), and Urdhva Dhanurasana (the "Mountain Pose" of backbends!).

If you can reach the arms backward without bending the elbows and while (relatively easily) clasping the hands firmly together, then you likely have the mobility necessary for poses such as Salabhasana, Dhanurasana, and Ustrasana.

Upper-back. The part of the spinal column situated between and slightly below the shoulder-blades (i.e. the vertebrae upon which ribs are attached) is the least flexible part of the spine. Whenever we try to create movement in the spine, be it via backbending, forwardbending, or twisting, those places with the most flexibility will move much more readily than those with less, and, for the health and safety of our bodies, it is imperative that we learn how to stabilize the more mobile areas while opening/loosening the stiffer ones. In regards to backbends, creating stability in the more mobile areas comes from creating good form in the hips and core in regards to the lower body, and good form in the neck, head, and shoulders in regards to the upper. With that premise established, one can focus on increasing the range of motion in the thoracic area.

Loosening the thoracic spine is like unsticking a rusty bike chain. If individual links in a chain are rusted closed, and you are attempting to free them by yanking, banging, or otherwise cajoling the chain whilst holding on to its far ends, then you will have little success -- the places which are loose will stay loose while the places which are stuck will stay stuck. To be effective, you must place firm and intentional pressure explicitly upon the congested spot(s). You can, say, lay the rusted joint right over the edge of a tabletop so that the corner of the table creates a kind of fulcrum which juts into and helps release the stickiness as you press down firmly very near the affected spot. The thoracic spine works in a similar fashion -- creating flexibility here requires targeted attention, and, in my experience, one of the best ways to achieve this is through long-ish-held, passive, supported backbends.

The simplest variation of this is lying over a rolled blanket. Roll a firm blanket into a long log shape, and position yourself over it so that the blanket rests against the bottom tips of your shoulder-blades. The back of your head, lower-back/hips, and legs/feet should all rest fairly comfortably along the ground. Your arms can extend out horizontally or can reach overhead alongside the ears. The idea being that the blanket will act like a milder version of the tabletop edge as the fulcrum against the sticky parts: placing gentle, but target pressure right where it's most needed. Two blankets rolled together will create a slightly stronger experience. Stay here (mostly) passively for 1-5 minutes. This is essentially a passive and supported variation of Matsyasana (Fish pose, LoY 138-40).

A more challenging (but I think even more effective) variation uses a block in essentially the same manner as the blanket. Because the block is stiffer and sharper, the pressure is more intense, but then arguably so are the results (to a reasonable degree, of course). Place a yoga block (preferably a 4" one, although 3" will work) on its tallest surface, and lie over it so that its long edges are positioned right between the shoulder-blades. Be careful not to place the block under the bony C7 vertebra near the base of the neck, nor under the floating ribs beneath the kidneys. If your neck is strong and pain-free, you can tilt your head back and extend the crown toward or even on to the floor. If your neck feels weak or sensitive, place a second block (or some other firm support) under the back of your head to prevent over-extension. You can keep your knees bent and feet on the floor, or you can straighten (and tone) your legs (ala Staff pose). Keep your hips/buttocks pressed firmly against the ground. You can stretch your arms out horizontally, or extend them overhead alongside the ears while keeping them straight/strong, or you can hold on to opposite elbows while the arms are lifted overhead. Stay here (moderately) passively for 1-3 minutes. When done this way, it is another variation of supported Matsyasana (*note that the traditional full form of Fish pose utilizes Lotus legs, but here your legs are either straight or knees-bent as Lotus would be unnecessarily complicated).

Yet another more challenging variation is to place the legs in Virasana (Hero pose) before lying back against the block. The positions of the head, arms, and hips/buttocks are the same; the increased challenge comes from the deep fold of the legs which intensely stretches the hip-flexors and lower abdomen. Again, stay (moderately) passively for 1-3 minutes. This is a supported variation of Paryankasana (Couch pose, LoY 125-26).

The ability to (fairly easily) press the top of your head into the floor with the block between your shoulder-blades, with the arms lifted overhead, and without lifting your hips/buttocks from the ground is one indication that the thoracic spine is developing mobility. Another good measurement reference comes from Puppy pose. If you can place your sternum against the floor while maintaining good form in the pose overall, you likely have sufficient range of motion in both the upper-back and the shoulders. It is even better if you can maintain good overall form, place your sternum against the ground, and then lift your chin away from the floor to look forward/upward.

Hip-flexors. The hip-flexors are a grouping of muscles positioned basically along the front of the thighs, but they have connecting spots a little lower on the legs, along the lower abdomen, on the lower spine, and within the pelvic bowl. Their primary objective is to flex (aka forward fold) the hip joint; hence they are aptly named. Because they are good at their job, and because we, as a culture, are seemingly perpetually in a hip-flexed position (i.e. sitting to eat, drive, relax, socialize, work, play, compute, etc.), this group of muscles tends to be short, tight, and stubborn. Backbends require that they be strong yet consentingly pliable; the deeper the backbend, the more the hip-flexors must release. Therein lies the challenge.

Working asymmetrically is probably the most effective means early on. By that I mean, working with poses and preparatory variations of poses in which only one set of hip-flexors is targeted at a time; namely, variations of Virabhadrasana I, Anjaneyasana (kneeling lunge), Ekapada Bhekasana (One-legged Frog pose), and Ekapada Supta Virasana (One-legged Reclined Hero pose). There are many, many ways to work with variations of each of these poses which incorporate props and others means of support; far too many to provide here. For clarification, go to your books, the internet, and class.

Adequate range of motion in this area of the body is best measured via Virasana (LoY 120-23) and Supta Virasana (LoY 123-25). The ability to sit without any support in Virasana is a necessary pre-requisite for Supta Virasana. And the ability to recline fully without any support in Supta Virasana is a necessary achievement while pursuing backbends. For even more challenge, work toward the ability to recline fully into Supta Virasana, and then elevate your hips by placing a block under the sacrum which requires a greater amount of length in the hip-flexors.

For some, the limitation of movement is in only one of these areas, or two, and for others, all three. It is important to assess your current capabilities (where are you strong and not, where are you flexible and not), compare that with your standing (and reasonable!) goals, and then work diligently in a way that balances what you want with what you're willing to do to get it so that you do in fact get what you want. Backbends are difficult, but they are absolutely worth the effort!

This is a lot of information, and a lot more should be said. Use these ideas as an outline whose details it is your responsibility to fill in. Below is the sequence of poses we will follow in class on Sunday, 10/19. It is yet another version of Week 14. It includes each pose which we have previously learned AND which is included in the list of "Most Important Asanas" found near the back of LoY. It omits poses not on the list and/or those we have not yet learned. The poses with an * are poses we will include even though they are not on the "Most Important" list because they are currently a part of the sequence and they are important to us right now.

The "Sort've Week Fourteen Sequence" Part 3:

Salamba Sirsasana I for at least 3 minutes

Trikonasana and Parivrtta Trikonasana

Parsvakonasana and Parivrtta Parsvakonasana

Virabhadrasana I and Virabhadrasana III

Ardha Chandrasana

Parsvottanasana

Prasarita Padottanasana I

Uttanasana

Salabhasana

*Dhanurasana

*Bhujangasana

Paripurna Navasana and Ardha Navasana

Salamba Sarvangasana I for at least 5 minutes

Halasana

*Karnapidasana

*Supta Konasana

*Parsva Halasana

*Ekapada Sarvangasana

Savasana

As always, take a look at each of these poses before practice, particularly the new ones. Make note of their Sanskrit and English names, their rating (printed just next to their name), their instructions (including how long he recommends holding each one), and their effects. What stands out? What is interesting? or unclear? or surprising? Come to class with questions and comments.

"In backbends, one touches the body physically, mentally, intellectually, consciously and spiritually everywhere."

(all quotes above are attributed to B.K.S. Iyengar; specific sources are unknown)

PLACE SAVER POST

This is just a short place-saver post, a kind of IOU in exchange for the promise of more to come. I apologize for the lack of communication of late. As much as I try to keep it otherwise, unfortunately my yoga practice (which very enthusiastically includes teaching, writing, researching, etc. along with my own time on the mat) sometimes falls away from the top of the priority list as life's other inevitable responsibilities demand fuller attention.

I intend to share some thoughts in follow-up to the recent back-bends workshop, and provide some ideas which will help the process of incorporating those poses continue for those who are interested. Although the focus of the workshop went beyond anything we'll cover in DK, the premises are certainly still useful even for the "baby backbends" we will begin to learn this week. The very short version of that information is that backbends of all types require a great range of motion in the hip-flexors, shoulders, and upper back. We will experience some of that in our next class (10/12), and I'll write in more depth soon.

I also have more I want to say about the sthira/sukham conversation we began recently, and I am again going to strongly encourage you to invest in a copy (or two) of both the Yoga Sutra and the Bhagavad Gita if you haven't already. They are crucial in deepening one's commitment to and understanding of yoga.

We are continuing our work with Week 14, and will focus on Salabhasana, Makarasana, Dhanurasana, and Bhujangasana I this week. Sneak a peek ahead of time if you get a chance. I am looking forward to class, and I am anxious to say more very soon.

STHIRA & SUKHAM, or STILL WEEKS FOURTEEN & FIFTEEN

How much of YOGA is actually about the poses? It seems like most (or even all of it) if your knowledge of the practice is limited to a contemporary Western perspective. Many a sticky mat is unrolled with the intention of bending and stretching, twisting and folding the body into more and more elaborate displays of physical prowess with a mere toleration of a few snippets of philosophical pep-talk at the beginning and/or end of practice. No doubt, the asana are attractive, even seductive. They evoke a kind of yoga-lust because they feel so good, and that keeps us coming back for more and more. They teach us about perseverance and humility. They give us confidence as well as fitness. They highlight the extraordinary capabilities of the human body (how lucky we are to have one!). And they're fun!

Clearly the asana are valuable. But let's return to the question at hand -- how much of yoga is actually about the poses? -- and the honest answer is not much. Even a brief glimpse into yogic material beyond a typical studio class makes this apparent. The most obvious indicator of that is found in yoga expositions (first oral, then written) which are widely accepted to be at least (and some likely more than) 5,000 years old. However, the first texts to thoroughly discuss asana are merely 500 years old (i.e. Hatha Yoga Pradipika, Siva Samhita, and Gheranda Samhita), and they are limited to only a couple dozen postures, very few of which we would recognize today. Most of what we do practice today -- the Sun Salutes and the Warriors and the Half-Bound-This and the One-Legged-That have existed for less than a century (and we can primarily thank Sri Krishnamacharya, K. Pattabhi Jois, and Guruji Iyengar for them). In fact, the text that many practitioners consider to be the most revered and foundational for the study and practice of yoga, Patanjali's Yoga Sutra (circa +/- 500C.E.), includes just a single (though powerful!) comment regarding yoga-postures:

II.46 STHIRA SUKHAM ASANAM
A pose should be steady and comfortable.

In its entirety, the Sutra contains 196 aphorisms which define and outline a complete practice meant to culminate in absolute liberation from the gross sufferings of the human condition, and everything you need to know about what to do with your body is conveyed through simply stating that any position is suitable if it is sthira (firm and stable) and sukha (easy and comfortable).

Why, then, is so much emphasis placed on the poses? And, if not the poses, then what is it all about? To answer that, we need a deeper understanding of the Yoga Sutra in general (hint: read the previous paragraph again), and more specifically Sutra II.29 (which first introduces the idea of "asanam" but doesn't explain it) and II.46 (which defines it, as we've just seen). And I am going to save the discussion of both of them for another post. In the meantime, I am going to strongly encourage you to invest in a copy (or, even better, two different copies for comparison's sake) of Patanjali's Yoga Sutra as well as the Bhagavad Gita. A serious practice is dependent upon a knowledge of and respect toward both.

And, because the asana are in fact important and are a legitimate focus in which we are currently invested, below is another modified version of the sequence we will follow when we meet for class on October 5. It includes all of the poses we have learned to this point, and omits several which are still to come.

The "Sort've Week Fourteen" Sequence Part 2:

     Opening meditation and Warm-up. Consider giving yourself time for a brief (5 minutes) warm-up which can include Cat/Cow variations, Surya Namaskar variations, and/or poses which specifically target the areas which you know are inhibiting your Sirsasana. Or start immediately with Sirsasana.

     Salamba Sirsasana I, 3-5 minutes

     Trikonasana, 30-60 seconds

     Parivrtta Trikonasana, 30-60 seconds

     Parsvakonasana, 30-60 seconds

     Parivrtta Parsvakonasana, 30-60 seconds

     Virabhadrasana I, II, & III, 30-60 seconds each

     Ardha Chandrasana, 30-60 seconds

     Parsvottanasana, 30-60 seconds

     Prasarita Padottanasana I & II, 30-60 seconds

     Padangusthasana, 30-60 seconds

     Padahastasana, 30-60 seconds

     Uttanasana, 30-60 seconds

     Parighasana, 30-60 seconds

     Urdhva Prasarita Padasana (UPPs), 3-5 breaths per stage, 3-5 reps.

     Paripurna Navasana, 30-60 seconds

     Ardha Navasana, 15-30 seconds

     Salamba Sarvangasana I, 5-7 minutes

     Halasana, 1-5 minutes

     Karnapidasana, 30-60 seconds

     *Supta Konasana, 30-60 seconds

     *Parsva Halasana, 30-60 seconds

     Ekapada Sarvangasana, 30-60 seconds

     Jathara Parivartanasana, 30-60 seconds

     Ujjayi Pranayama with inhalation retention in Savasana, 5-15 minutes

Take a look at each of these poses before practice, *particularly the new ones*. Make note of their Sanskrit and English names, their rating (printed just next to the name), the instructions (including how long he recommends holding each one), and their effects. What stands out? What is interesting? or unclear? or surprising? Come to class with questions and comments.

"[W]hatever asana is performed, it should be done with a feeling of firmness, steadiness, and endurance in the body; goodwill in the intelligence of the head, and awareness and delight in the intelligence of the heart. This is how each asana should be understood, practiced and experienced. Performance of the asana should be nourishing and illuminative" (Light on the Yoga Sutras of Patanjali, Iyengar, 149)

SORT'VE WEEK FOURTEEN & FIFTEEN

As a group of students committed to sharing the experience of learning yoga, we have spent a lot of time discussing the importance of time in regards to our practices -- how often to practice and for how long, how many seconds or minutes or breaths any particular pose should be held, how long it may take to "master" some pose(s), how many weeks is it appropriate to devote to some sequence, etc. Right timing is an ongoing part of Yoga. And this post will present even more ideas on timings.

We are currently in the process of learning the new poses which constitute Weeks 14 & 15. We are not yet ready to experience that sequence in its entirety, and that's OK. We stepped away from the sequence completely for two weeks in order to introduce the components of Salamba Sirsasana I (Supported Headstand First Variation), and I have been very pleased overall. I am witnessing good choices being made, and the integrity in the room is palpable!

There are several new asanas left to learn, and I am going to insist that we learn them well before moving on. It will absolutely be worth the time and effort. In the meantime, however, I do not want us to lose our familiarity with the sequence as we've gotten to know it thus far. I want to focus on continuing to master what we already know while also incorporating all that is new. With that in mind, we practiced a "Sort've Week Fourteen" sequence today (09/21): we followed its order as prescribed, but omitted the poses we have not yet learned. From my perspective, it went rather well.

The "Sort've Week Fourteen" Sequence Part 1:

     Opening meditation and Warm-up. Consider giving yourself time for a brief (5 minutes) warm-up which can include Cat/Cow variations, Surya Namaskar variations, and/or poses which specifically target the areas which you know are inhibiting your Sirsasana. Or start immediately with Sirsasana.

     Salamba Sirsasana I

     Trikonasana

     Parivrtta Trikonasana

     Parsvakonasana

     Parivrtta Parsvakonasana

     Virabhadrasana I, II, & III

     Ardha Chandrasana

     Parsvottanasana

     Prasarita Padottanasana I & II

     Padangusthasana

     Padahastasana

     Uttanasana

     Parighasana

     Urdhva Prasarita Padasana (UPPs)

     Paripurna Navasana

     Ardha Navasana

     Salamba Sarvangasana I

     Halasana

     Karnapidasana

     Ekapada Sarvangasana

     Jathara Parivartanasana

     Ujjayi Pranayama with inhalation retention in Savasana

If the form of any of these poses still needs attention, then continue to focus on that. If the form has been well-established, then shift your focus to something more subtle, such as the steadiness of the breath, smooth transitions in and out, the interrelationships between poses, and/or extending your stay.

In regards to how long poses should be held: the standing poses each range from 20-60 seconds. Sixty seconds is longer than you think, and if you have never experimented with holding each of the standing poses for that long, I recommend it. It is deceptively challenging, but informative and valuable. If Full Boat pose is accessible to you, try adding some time to it -- 30 seconds is good in the beginning, but build up toward a full minute or a little more. Similarly, Half Boat should eventually grow from its initial 15 seconds to 30-60. However, remember that increasing the amount of time you spend in these poses (in any pose for that matter) should be done in response to your having improved its form. By that I mean, if you are still in a preparatory, or less-than-full-form variation of the pose, then your attention should be more on its physical components and less on its longevity. The suggestion of adding more time to the poses is only applicable if the form is well-established.

We added some time to Shoulderstand today. Everyone maintained good posture for at least five minutes, and a few for as long as seven. We will be comfortable with ten minutes before you know it! If your Plow Pose has good form and is comfortable in its current state, it can also be held longer; as much as five minutes. But like anything else, build up to that gradually in, say, 30 second increments. The other variations of Shoulderstand (Karnapidasana and Ekapada, for now) are typically not held very long -- 15 seconds at first, and up to a minute with proper experience. Also, keep in mind that along with proper form, another prerequisite to adding time to a pose is proper breath. An ability to maintain consistent Ujjayi is imperative. Focus on form, focus on breath, and your practice will grow organically.

Om Kala Vide Namaha

(Om Kah-lah Vee-deh Nah-mah-hah)

Om and salutations to the knower of the right (or proper) time.

ASTEYA, or HOW TO ACQUIRE WEALTH

The thirty-seventh verse of the second book (II.37) of Patanjali's Yoga Sutra says ASTEYA-PRATISTHAYAM SARVA-RATNOPASTHANAM. A few of my preferred translations of this Sutra are:

When abstention from stealing is firmly established, precious jewels come. (B.K.S. Iyengar)

For those who have no inclination to steal, the truly precious is at hand. (Chip Hartranft)

To one established in non-stealing, all wealth comes. (Swami Satchidananda)

And my favorite:

If you keep up the practice of never stealing from anyone, then there will come a time when people just come to you and offer you all that you need. (Michael Roach)

In Sanskrit, the word asteya literally means "to not steal." And discussion of this Sutra often regards not taking material things which do not belong to you -- don't shoplift, don't burgle. That is clearly only a very superficial rendering of its meaning. It also reminds us to not steal other people's time by being late to appointments. Or to not steal by way of delaying the return of something which you have merely been loaned. Also, don't prevent others from having what they need by hoarding more than your fair share. If you can be a person who avoids stealing in all senses of the word, then you will be rewarded with everything you need. If we can master non-stealing, then we get to have wealth.

This, to me, sounds an awful lot like what Mr. Iyengar is teaching us about our bodies when he says:

"If the standing poses described earlier (Plates 1 to 36) and the various movements of Sarvangasana and Halasana (Plates 234 to 271) are mastered first, Sirsasana will come without much effort. If these elementary asanas have not been mastered, the period taken to learn Sirsasana will be longer" (LoY 189).

This is yet another reminder that yoga is systematic: it is structered and progressive. It is designed around a logical series of building-blocks wherein each layer is dependent upon the one below as well as the one above. When you ignore the building-blocks and dive into a pose for which you are not prepared, you are stealing from yourself. You are stealing time from yourself by impeding, halting, or even reversing the progression of your practice. You are stealing healthy boundaries from yourself by pressing beyond reasonable limits. You are stealing intelligence from yourself by ignoring validated authoritative advice. And you are stealing your own physiological well-being by placing undue stress upon your nervous system, as well as physical well-being by holding your muscles and joints accountable for a level of stability and mobility they do not have. You are taking something which does not belong to you; namely, a pose which you have not earned.

In this passage, Mr. Iyengar reminds us that Standing Poses and Shoulderstand First Variation are the focus of the first thirteen weeks of practice because (among other things) they are directly preliminary to Sirsasana. In that way, Sirsasana is like a kind of reward for a job well done, a gift received in recognition of proper preparation. If you master the standing poses and the basic Shoulderstand, then you get to practice Headstand. If you can be honest, disciplined, and patient enough to truly learn how to stand on your own two feet, then you will be given the capacity to view your world from upside down.

However, if you try to take what doesn't belong to you -- if you pretend to be more physically, physiologically, or psychologically adept than you actually are, and attempt poses for which you are not prepared -- then your efforts to progress will be much more difficult.

This isn't limited to Sirsasana, of course. Every pose has necessary preparatory components. So please do not read this and think "Oh no, she's telling ME that I'M not ready for Headstand!" What I'm saying is pay close attention: when he says things such as "x & y are necessary prerequisites for z," or "continue to practice a, b, & c until they are mastered," that is probably advice being given rather sincerely. Remember that practicing any given asana means truly understanding what it is, how to do it, and why. That is what it means to have mastered the pose.

Moreover, having mastered the standing poses and Shoulderstand isn't a guarantee that you will practice Sirsasana. He says that it "will come without much effort," but that is not the same as "no effort." Sirsasana definitely requires effort -- from the outer body, from the inner body, and from the "more-than-your-body" -- regardless of which other poses have been mastered. But here is an explicitly stated list of things which will make the effort as smooth and pleasant as possible. Yoga is a never-ending practice of challenges and discipline and obstacles, and part of what we are learning to do is to face those inevitable moments of upheaval with grace and equanimity. So whether you are working to attain Sirsasana or any other asana, don't make it any harder on yourself than it already is.

And don't take what doesn't belong to you. If that is a tenet by which you live and practice, then you will be justly rewarded. Through the cultivation of asteya, you get all that you need. If you keep up the practice of never stealing from YOURSELF, then there will come a time when your practice offers you all that you need.

Image: Yoga Sutra II.37 as translated by Chip Hartranft, 2003

"Upon the man who does not take what does not belong to him, all riches are showered. Being without desire, he effortlessly attracts what is precious, both materially and figuratively, including the gem of all jewels, virtue." (Iyengar, Light on the Yoga Sutras, 1993, 142)

YOGA'S ROYAL COUPLE

The Shoulderstand is the queen of postures and the headstand is the king, the yogis say--the former nurtures the body and the latter celebrates power and consciousness. These concepts will resonate with anyone who has had a lot of experience with both postures. Together they make a team. The headstand needs balance, and the shoulderstand, with its variations and sequelae, makes the best complete practice for providing that balance." (Coulter 499)

"[Headstand is] one of the most important Yogic asanas. It is the basic posture...The ancient books have called Sirsasana [Headstand] the king of all asanas and the reasons are not hard to find...A country cannot prosper without a proper king...to guide it; so also the human body cannot prosper without a healthy brain...Regular and precise practice of Sirsasana develops the body, desciplines the mind and widens the horizons of the spirit. One becomes balanced and self-reliant in pain and pleasure, loss and gain, shame and fame and defeat and victory.

The importance of Sarvangasana [Shoulderstand] cannot be over-emphasized. It is one of the greatest boons conferred on humanity by our ancient sages. Sarvangasana is the Mother of asanas. As a mother strives for harmony and happiness in the home, so this asana strives for the harmony and happiness of the human system...It is no over-statement to say that if a person regularly practices Sarvangasana he will feel new vigour and strength, and will be happy and confident. New life will flow into him, his mind will be at peace and he will feel the joy of life." (LoY 179, 189, 212-13)

Nearly all major lineages of yoga recognize some variations of inverted postures, although they place emphasis on them differently. For Iyengar, there is nothing more profoundly superior to one's practice than the coupling of Sirsasana and Sarvangasana. Individually, they are essential and beneficial. But when paired together, their majestic forces have the power to regulate, influence, and affect change in a way unrivaled by any other aspect of practice.

I strongly encourage you to read the sections related to these poses within LoY if you haven't already. If you have, do it again. Sirsasana and its variations are on pages 179-206, and Sarvangasana and its variations are on pages 205-237. While we won't experience all the different variations of either pose within the parameters of DK, there are useful and interesting bits of information, hints, tips, etc. interspersed throughout both sections making it worthwhile to familiarize yourself with the entirety of each one.

Beyond what is explicitly stated in the book (and, by the way, there are tons of other readily available sources of information regarding how and why to practice these asana--books, magazines, videos, blogs, etc. Don't feel limited to only what's presented in LoY.), there are a few things worth mentioning and understanding in order to incorporate these poses into your practice as effectively as possible.

Lots of people are surprised to learn that Iyengar encourages students to practice the inversion cycles at the beginning of practice. It's pretty typical in other traditions to save inversions for the second half, or even the last third or quarter, of practice, and they have their own reasons and explanations for doing so. For Iyengar, including inversions in one's practice is crucial, and if they are practiced first (or at least early) you are much more likely to have both sufficient energy and time to practice them well. Sometimes (often times), whatever we save for the end of practice suffers in quality because we're feeling tired and/or hurried. Rushing, lessening, or excluding inversions because you waited too long to practice them is, according to Iyengar, a devastating disservice to you and your practice.

Practice them first and practice them well!

Even better: if you are in fact feeling weary, unfocused, or short-on-time, then this pair may be exactly what you need. There are so many different reasons for feeling like a full-length, full-spectrum practice isn't appropriate on any given day, but that shouldn't keep you from practicing. (By "full-length" I mean 60-90 minutes, or more. And by "full-spectrum" I mean a practice that includes a few poses from all/most of the major categories of asana: standing, seated, reclining, arm-balancing, hip-opening, forwardbending, backbending, twisting, etc.) Something is better than nothing, a short practice is better than no practice.

And, while other lineages may provide a different answer to this question--What should I practice when I'm feeling limited by time and/or energy?--Iyengar's answer is going to be, "Sirsasana and Sarvangasana". Why that is can be answered in a number of ways, but one reason is that, when both cycles are practiced in their entirety (or nearly so), the poses provide almost all of the most important physical and physiological benefits that one would otherwise gain in a full-spectrum practice: they provide both strength-building and mobility-enhancing qualities; they tone and open the shoulders, chest, and upper-back; they condition the core; they open the hips and stretch the legs; they include forwardbending, backbending, and twisting components; and they're balancing poses. That is to say, they are a self-contained full-spectrum practice. And one need not exert a tremendous amount of energy nor spend a great amount of time to experience that.

Something else worth mentioning is the fact that these two asana really are a team, and should be practiced as a pair as they balance each other very well. Sirsasana generally has uplifting, stimulating qualities, while Sarvangasana generally has calming, soothing qualities. And practicing one without the other can confuse the nervous system. Upward moving (Sirsasana) and downward moving (Sarvangasana) energies each need their opposites in order to find equilibrium. Mr. Iyengar makes note of this in LoY. He says, "Sirsasana and its cycle should always be followed by Sarvangasana and its cycle. It has been observed that people who devote themselves to Sirsasana alone without doing the Sarvangasana poses are apt to lose their temper over trifling things and become irritated quickly. The practice of Sarvangasana coupled with Sirsasana checks this trait" (189).

Again, different lineages and different practitioners may have different experiences of this. And that's fine. This isn't the only way to practice these poses, and this isn't the only source of valuable information regarding their forms and functions. This is just one (albeit one which is highly esteemed and trustworthy) philosophy, and there are certainly others which are "equally right". So much more could (and should) be said about this couple of asana. For instance, we haven't talked at all yet about how to practice them, only why, nor have we mentioned yet their respective cautions and contraindications. The message for now is that they are powerful and important. They are (generally) appropriate for (many/most) beginners, but they are challenging to master. They should be respected, but not feared. To turn your world upside down, both literally and figuratively, is to embrace, as well as to play with, reality in a way that is life-giving, confidence-building, and enriching.

Let feet-off-the-floor be just as normal as feet-firmly-grounded!

"If Sarvangasana is the Mother, then Sirsasana may be regarded as the Father of all asanas. And just as both parents are necessary for peace and harmony in a home, so the practice of both these asanas is essential to keep the body healthy and the mind tranquil and peaceful." (LoY 189)

Coulter, H. David. Anatomy of Hatha Yoga: A Manual for Students, Teachers, and Practitioners. Honesdale: Body and Breath, Inc. 2001. Print.

PRE-WEEKS FOURTEEN & FIFTEEN

Today, September 6, marks my ninth year of teaching yoga. I remember my very first class quite clearly. It was a Tuesday morning following the Labor Day weekend. I remember the names and faces of students in the room, a few of whom remained dedicated students of mine for several years and followed me to four different practice-spaces before I finally left the area permanently earlier this year. At times I can remember parts of that first teacher training program and some of the first teaching experiences following it so vividly that it's hard to believe so much time has passed. I also remember that in the months and weeks leading up to attending my first training program I thoroughly contemplated the appropriateness of doing so -- just one of the many questions I was pondering was Is teaching yoga the best decision to make for myself right now? And looking back, I can honestly say that I cannot imagine anything being more fitting, more pleasurable, or more fulfilling. So, cheers to me and my nine years at the front of the room, cheers to all of the teachers at the front of the room when I am the one in the audience, and cheers to each and every one of the students who share space with me and allow me to share with them this incredibly rich and dynamic trove of goodness we call YOGA.

Let's talk asana. We are moving into a new sequence which includes ten new poses -- new inversions, backbends, and forwardbends. Some of them, like Bhujangasana (Cobra, 107-8) and Paschimottanasana (Seated Forwardbend, 167-70) are likely to be at least vaguely familiar to most practitioners as they are common poses in lots of different types of classes. A few of the others are less-commonly practiced, and may need more attention as a result. We are, of course in no hurry, and will take at least four, possibly five, weeks (as opposed to the two which are scheduled) to focus on the forms of each of these new asana before moving on.

In an interview which took place roughly thirty years after the original publication of LoY, Mr. Iyengar was asked to talk about how he would advise a student to regularly practice yoga, and in particular the set of sequences in which we are currently engaged (what we are calling Dirgha Kala). Here is part of his response:

"In the sixties, when I wrote my book Light on Yoga, I outlined a course of 300 weeks (more than five years). I had in my mind my own practice and measured, according to my dedication, the possible time it would take to learn, but I never thought of practitioners at large. I didn't think that people who follow my method could dedicate ten hours a day that took me to come to that level. Now, as a mature man, I realize I should have divided the course into 900 weeks. At least that much is required to this measured control of asana." (Yoga Wisdom and Practice, 76)

Did you catch what he said there? His practice consisted of upwards of ten hours a day, typically six (or more) days a week. And with that in mind, he designed the three courses presented in the back of LoY. Do you practice for ten hours a day, six days a week? Probably not; very few people do. But should your intentions, expectations, and reflections be adjusted accordingly? Absolutely! He says it's more likely to take the average modern yoga student three times as long (900, rather than 300, weeks) to master the entirety of his system of practice. So who cares if we spend two weeks, or five weeks, or more weeks, working on any particular sequence of asana? We'll keep doing it, and happily, until we do it well. In regards to those students who practice less often than was his privilege, Mr. Iyengar says:

"Something is better than nothing. Today people cannot find sufficient time to practice. Under the guidance of a teacher, if they work once a week, the right thought will be imprinted on their minds and it will have a good effect. And this effect will last for about two or three days on the entire human system. Then it starts deteriorating. If people go to a teacher once a week and learn correct presentations and practice at home twice or thrice a week, retardation will not take place. The functioning of the human system, and the clarity in the brain and maintenance of equilibrium in body and mind will increase if one practices daily." (77)

Yoga is worth doing well without any attachment to time. Practice a little. Or practice a lot. What matters is the quality, the intention, the awareness, the passion. Whether you can count your time on the mat by minutes or months or decades, if you walk away from your practice feeling better than before it, then you did it right.

Our set of asana for the next several weeks will be based on the following:

     Sanskrit names are in bold.
     (English names are in parentheses.)
     [Numbers in brackets correspond with illustrations.]
     Poses with an * are new to the sequence.

*Salamba Sirsasana I (Supported Headstand first variation) [184]

Utthita Trikonasana (Extended Triangle pose) [4 and 5]

Parivrtta Trikonasana (Revolved Triangle pose) [6 and 7]

Utthita Parsvakonasana (Extended Side-angle pose) [8 and 9]

Parivrtta Parsvakonasana (Revolved Side-angle pose) [9, 10 and 11]

Virabhadrasana I (Warrior pose first variation) [14]

Virabhadrasana II (Warrior pose second variation) [15]

Virabhadrasana III (Warrior pose third variation) [17]

Ardha Chandrasana (Half Moon pose) [19]

Parsvottanasana (Intense side-stretch pose) [26]

Prasasarita Padottanasana I and II (Wide-angle forward-bends first and second variations) [33, 34, 35 and 36]

Padangusthasana (Big-toe pose) [44]

Padahastasana (Hands-under-feet pose) [46]

Uttanasana (Standing forward-bend) [48]

Parighasana (Gate pose) [39]

*Salabhasana or *Makarasana (Locust pose or Crocodile pose) [60 or 62]

*Dhanurasana (Bow pose) [63]

*Bhujangasana I (Cobra pose first variation) [73]

Urdhva Prasarita Padasana (UPP) (Extended Upward Legs pose) [276 to 279]

Paripurna Navasana (Full Boat pose) [78]

Ardhva Navasana (Half Boat pose) [79]

Salamba Sarvangasana I (Supported Shoulderstand first variation) [223]

Halasana (Plow pose) [244]

Karnapidasana (Ear-pressing pose) [246]

*Supta Konasana (Reclined Wide-angle pose) [247]

*Parsva Halasana (Side Plow pose) [249]

Ekapada Sarvangasana (One-legged Shoulderstand pose) [250]

Jathara Parivartanasana (Revolved Abdomen pose) [274 and 275]

*Mahamudra (Great Seal pose) [125]

*Janu Sirsasana (Head-to-knee pose) [127]

*Dandasana (Staff pose) [77]

*Paschimottanasana (Seated forwardbend) [160]

Ujjayi Pranayama with inhalation retention (Section 203) in Savasana [592]

We will spend this upcoming Sunday (9/7) focused on preparing for Sirsasana (the first variation of Headstand). You will, by no means, be required to enter the full inversion (meaning your feet do not have to leave the floor), but you will be provided with the opportunity to do so if it is appropriate for you. We will spend time working on preparatory as well as alternative variations so that you are fully equipped to make good choices in regards to what, when, and how you practice the pose. The following week (9/14) will likely be spent focused on the new backbending postures. And the week following that (9/21), on the new forwardbending postures. Along the way, we will incorporate the new Shoulderstand variations, and continue working on the poses which are already a part of the sequence.

As always, I encourage you to take a look at each of the poses before practice, particularly the new ones. Make note of their Sanskrit and English names, their rating (printed just next to the name), the instructions (including how long he recommends holding each one), and their effects. What stands out? What is interesting? or unclear? or surprising? Come to class with questions and comments.