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Elements of Acroyoga PDF
Elements of Acroyoga PDF
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DEDICATION :
I dedicate this book to all the teachers that have blessed and inspired
me. To my mother for supporting me to follow my dreams. To Jenny
Sauer-Kiein for co-authoring many of the sequences in this manual
and for bringing her gifts and passion to life through this practice.
To all the AcroYoga teachers for being bright lights that attract and
feed community. To all the students around the world that are living
examples of how we can support and play with each other.
Choose an outfit which fits comfortably and allows free movement but will not inhibit movement or interfere with partner grips
and connections.
Wear supportive undergarments .
Be aware of your surroundings; secure space for partner work, stable foundations, choose an environment where you will not
collide with anything, etc.
Do not apply lotions or oils to your hands or feet prior to starting partner work.
Do all stretching exercises prior to practice. Take time to stretch leg, arm, neck, ankle, wrists, and back muscles before each
session.
Participants with a medical history or current condition (to include but not limited to seizures, neuromuscular, renal, cardiac,
insulin/diabetic, pregnant, or chronic skeletal problems, disorders, or diseases must seek a Physicians approval prior to participation in the practice.
ACROYOGA TRAINING SESSION
Table of Contents
HISTORY o F AcRoYoGA
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2
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133
History of AcroYoga
WHAT ACR OYOG A HAS BEEN
Acrobatics and yoga have mixed in many ways for thousands of years.
It is impossible to cite all the masters that explored the alchemy
of acrobatics and yoga; here we will point out some of the most
prominent we know. The father of modern yoga, Krishnamacharya,
was a pioneer in the blending of these arts. There is footage from
1938 of Krishnamacharya flying children, in similar postures we do in
modern Aero Yoga. His appreciation and integration of gymnastics,
brought to India by the British, inspired this fusion of acrobatics and
yoga, which planted many seeds that have continued to bear fruits.
Since Krishnamacharya's exploration with flying yoga, multiple
practitioners have continued the fusion of these arts over the past
few decades. For example, in 1985, an acrobat named Benjamin
Marantz developed a form of therapeutic flying called Acrosage.
Ken Nateshvar Scott, another acrobat gone healer, developed
Contact Yoga, a practice with therapeutic flying and Thai massage.
Kevin & Erin, students of Ken Nateshvar Scott started Circus Yoga,
a family approach to blending circus arts and yoga. Eugene Poku
and Jessie Goldberg developed AcroYoga Montreal in 2000. Their
style is geared towards creativity and performance. At this point
Aero Yoga has grown beyond any one school or person. All of these
teachers have laid a foundation that is still supporting the positive
momentum of Aero Yoga worldwide.
(1938)
2006.
out of 7 contents.
History of AeroYoga
THE Loco
2 008
2003
2 011
Like the practice the logo has evolved through the years. Our first
logo was designed by Nick Ruben , the second Arianne Traveso
and our final by lzzy Vanhall. Our current logo of the triple infinity
the practice. When the solar and the lunar practices are combined
more we all play with each other the bigger the global party gets.
Where the practice can go is to every park in every city around the
high and
High Union . From this place, many amazing physical shapes can
be formed , and students literally and figuratively elevate each other.
Our highest aim is to bring individuals into a state of union with
themselves , with each other, and with the community. From this
place of mutual support the true self can be realized, celebrated and
shared for the benefit of all.
AcroYoga is a community based practice that encourages personal
transformation . We ignite our collective potential as we support each
other to reach new heights. AcroYoga invites you to experience the full
spectrum of your being through opportunities to: give and receive;
support and be supported; experience strength and sensitivity. It is a
systematic approach to health and healing designed to be accessible
for every practitioner. The best part is that it's fun to do and fun
to watch . It brings people together the old fashioned way, through
human connection, touch and play.
Self
There are many types of bodies; no one recipe will work for the
cultivation of the AcroYoga practice. The body will not lie. As we
learn to listen to signals from our body, we can make choices that
support our health and happiness. If students are ever unsure about
a posture or practice, refer to the golden rule. Does it feel good in
your body?
IN THE SOLAR PRACTICES: IF YOU ARE HAVING FUN, IT IS RIGHT
There are many reasons to do acrobatics, fun is the juice that will
understood and embodied the student can enjoy the scenery and build
keep the tree of acrobatics alive for many years. The deeper students
their life long practice. Reading about AcroYoga can give you a mental
go down the acrobatic path, the more challenges they will find,
stable sense of fun and joy along the path that is an ideal condition
to grow an acrobatic relationship. If students are ever unsure about
a posture of practice, refer to the golden rule. Are you having fun?
THE
POWER
OF
THE
MIND,
PH I LOSOPH I ES
SELF, OTHER , COMMUNITY
All reality starts with the perspective of the seer. This is where we will
do most of our work as yogis. Partner practices are not a substitute
for individual practice; it's quite the opposite. The deeper we go in
partnersh ip, the more important it is that we dedicate to our solo
practices to discover our patterns, our struggles and our strengths.
We create the majority of our happiness and struggles before we ever
meet our enemies or friends. One can see solo practice as a form of
weeding, pulling the thoughts , words, and movements that do not
support our positive evolution from our lives. We then have a more
fertile ground to plant thoughts words and actions that do support
our highest potential. What we learn in our own lives and our own
other in countless ways with magical grace and ease. What is their
trick? Usually they have trained hard for many years to attain that level
of ease in high level skills. There is a period of great effort that in time
get the arms straight in handstand takes considerable effort. Once the
arms are straight, the effort pays off with a new sense of ease because
the bones are stacked and the muscles are working more efficiently.
The bones are our bodies' evolutionary response to gravity. Smart
acrobats will always train techniques that cultivate the most efficient
constant that yogis, acrobats and all matter on earth exist within.
There are no special rules that allow exception to this deeply rooted,
the practice with our partners we start with what worked. From this
grounding force. Acrobats and yogis alike position their bodies in ways
place we are affirming the relationship and the exchange. This helps
us feel good and remain open. After both partners exchange, there is
Their applications and training methods often differ. Using your God
arrive at either by trial and error, or the blessings of good teachers. The
THREE TYPES OF
Other
COMMUNICATION
Verbal techniques - This is thetimeto starttheflowofcommunication
between partners . You can never check in too much. Do you need
more or less pressurefweight? How are you doing? How does this
There are many elements that contribute or detract from the fluidity
Tactile techniques - You may also want to use signals through touch,
SATYA (TRUTH)
such as when partners are being stretched and have a forearm grip:
means "you can go further".
too much but does not communicate this truth, their partner cannot
proceed with kindness . The more honest partners can be about where
they are and what they need , the stronger their connection can grow.
greatly by how two people learn to connect through grips and foot
COMMUNICATION: LISTENING
the rest of the body so this aspect of the practice is refined over
support and in therapeutics you are look ing more for muscles to
placements. There are more bones in the hands and feet than in
FEEDBACK
As we take the brave step off our yoga mat and decide to engage
Compassion with strength is an ideal that will let the flyer trust and
the more intelligent their acrobatics becomes . The stronger the base
We have many ways to listen - our ears, eyes, skin, feet, hands and
Grips
FOREARM
HAND TO HAND
CROSSED FOREARM
FOOT TO HAND
FOOT TO HAND
Foot Placements
FOLDED LEAF
FRONT BIRD
BACK LEAF
BACK BIRD
BAT/STRADDLE BAT
STAR
REVERSE STAR
PARTNERSHIP SELECTION
In choosing a partner, it is helpful to pick someone who:
You trust and respect.
Is committed to the process of giving and receiving feedback.
Is interested in working as a team .
Compliments and supplements your strengthsjweaknesses .
You can learn from.
Has similar goalsjvision for the cultivation of your AcroYoga practice.
PARTNER YoGA
Partner Yoga is one ofthe best places to cultivate win -win situations. Partners
develop communication and listening to find the space of mutual support
and release . In all of these practices , gravity and loving touch help us let
go of fear and pain. As we learn to listen deeply we can use our power in a
sustainable way.
GROUNDING
DOUBLE BOAT
Bend knees and place feet on the floor, toes touching. Connect at forearms and joining one side
sole to sole, extend leg as straight as possible. Do both sides extending arms and lifting the heart,
shoulders drawing back
STRADDLE WHIRLPOOL
TRANSITION TO STANDING
Stay in straddle with feet connected, connect forearms in a crossed grip. Close eyes, start with small
circles and gradually expand to explore range of motion. Reverse directions and spiral back to stillness
STEEPLE
DIAMOND TWIST
One partner's legs are straight, feet connected to the shins of bound angle. Connect forearms, on exhale one
partner folds forward , the other leans back. Inhale to come up, Exhale to reverse the fold . Backbending partner
keep heart lifted, shoulder blades down . SwrrcH ROLES AND REPEAT
STRADDLE BOAT
BACKBENDING FOUNTAIN
TABLE TOP
(LOSING
GROUNDING
SPINAL TWIST
SIDE BEND
MASSAGE TABLE
Giver comes to table top, receiver sets hips below giver's pelvis
and rests head between shoulder blades of giver. Giver arches and
DOUBLE CHILD
11
interlaced
Receiver extends legs straight, receiver bends knees and places feet flat.
Receiver folds over legs as giver leans back, supporting weight with bent knees ,
keeping spines connected. Backbending partner can grab toes of paschi, pas hi
partner can point toes or clasp wrists to traction giver. SWITCH RoLES
TRANSITION TO STANDING
GROUNDING
HERO VARIATION
(LOSING
12
IS THE
MAGIC
NUMBER
SMALLEST COMMUNITY
A group of 3 is the smallest community. The way we encourage
students to practice AcroYoga is in groups of 3: Base, Flyer and
Spotter. As we learn to listen, commun icate, struggle, soften, adjust,
try again, we learn everyth ing we need to work in larger and larger
commun ities. Commun ity is a natural evolution. As we feel secure in
ourselves and secure in our partnerships, we can bring our attention
ROLES OF AcROYOGA
foundation for the practice. We all take roles: base, flyer, spotter,
teacher, student, intermediate, advanced , wh ite, black, Asian ...
When we are in circle none of these labels carry the same weight,
14
In all spotting the spine is straight, the hands are soft and there is
a constant awareness of where the flyer may move and where the
spotter might be at risk.
MOST
IMPORTANT
ROLE
STANCES:
Warrion spotting stance: Good for
far from the spotter, then transitioning closer to the spotter, the front
leg bent is the power leg, back leg straight is the anchoring leg.
you are giving your full attention and energy towards the safety and
spine straight. This is good for many different angles of support, not
well being of the person attempting the skill. It is an art best learned
by doing. This book will give you ideas but you have to apply them
many, many times to gain the wisdom of how to spot well. The safest
way to start is to practice with a partner who can already do the skill
safely without a spot. Practice with them to get feedback about your
LEVELS OF SPOTTING:
The spotter is the glue between the base and flyer. The spotter's
outside eye can see things neither the base or flyer can see. They can
serve as an interpreter between the acrobats and offer suggestions
confidence.
to aid the stability of the skill. The spotter is there to increase the
Light hands on :
this allows for the flyer to feel more of what they are doing.
Spotting is a form of love, you can have too much or not enough.
Hot potato:
with love, they cannot receive it and can resist the support. On the
This is when the spotter is in places but does not touch
other side if there is not enough love/support the partner can feel
Safety spot:
scared and not trust. Ideally the perfect amount of love and freedom
No doubt that you can spot the flyer. No doubt that the person
is ready to attempt the skill.
2.
counterbalances.
High risk: Two-high acrobatics,
SPOTTER
V1 RTU ES:
SPOTTER PITFALLS:
- Not fully present
- Eyes focused in the wrong place
-Too hands on
wide stance, on the side, front, or back of your partner. You have to
be stable to support.
15
Flying:
There can be too much of a good th ing. Light spotting will give the
student enough sensation to understand how to do it on their own.
The base is the pillar on which everything rests . The more stable
the base is, the more fun can be had above. The base is ultimately
respons ible for the flyer's safety, no matter what. The buck stops with
the base, they are the primary spotter and responsible for the flyer's
safety. It takes much longer to learn to become a stable base but once it
is atta ined a base can offer the gift ofinviting flyers to trust and be free .
The flyer is the one that takes the risks and trusts their base completely.
The combination of strength and flexibility in synchronicity is the
dance of the flyer. Over time the flyer must embody a wide range of
physical states , ranging from highly passive in therapeutic flying to
highly engaged in partner acrobatics. As these elements come more
into balance for the flyer, the more poss ibilities there are for artistic
expression .
Basing:
Unified "One Piece": The ability for the whole body of the flyer to act
as one unified piece, huge muscular energy from out to in .
BASE VIRTUES:
Trust: The ability to surrender to the base and spotter to know that
Sensitivity: The ability to listen first and know what will be the most
supportive way to interact with their flyer, is the most powerful tool
of a base.
Flexibility: The more range of motion the flyer has the more
expressive they can be and the more easeful many acrobatic flying
Confidence: Flyers will feel this in the quality of touch and tone of
High strength to weight ratio (i.e. "press handstands "): Flyers don 't
have to be super strong, they are better off if they are strong in
voice.
Fluid and controlled transitions: The way flyers move will either
Trustworthy: As the flyer trusts more and more the base respects
this trust by keeping the flyers safety above all other pursuits .
Grounded: Literally and energetically receiving support from the
earth and translating that grounded quality up to the flyer.
Patient: Power is only useful to a base if it is used at the right time,
waiting fo r that time is the mark of an experienced base.
FLYER PITFALLS:
- Trying to control the balance
- Fear
Powerful: When the flyer needs support the base has the clarity,
- Not trusting
- Holding breath
- Inflexibility
here.
BASE PITFALLS:
- Lack of commun ication
- Holding breath
TRIO TREE
FOREARM GRIP
HEART OPENER
PRASARITA PADDOTANASANA
Connect left palm with partner' s in center, unhook right leg and
catch w ith right hand . Kick foot back into hand to open the chest.
REPEAT FROM H EART O PENER ON LEFT LEG
STRADDLE PILLOW
ElEVATOR UP
Sit in a comfortable straddle, raise left arm overhead , lean to the right and lay back over
17
FORWARD FOLD
SIDE BEND
HIGH FIVE!
18
Why do AcroYoga
Mission
"WE B U I L D C 0 M M U N I TY T H R0 U G H D IV I N E PLAY."
Community is the medium where the practice of AcroYoga lives. With this practice we can bring the world
t ogether th rough play. From play we create a worldwide network of friends and family we have many t hings
in common with .
By doing AcroYoga you stand to enjoy these benefits: Build strength, flexibility, confidence, coordination,
community & friendships. Become more balanced, open, kind , present, connected
& healthy.
Through practicing AcroYoga you may find yourself: Experiencing more joy; practicing compassionate
communication skills; cultivating kindness; taking more risks in your daily life; making new friends ; building
community; feeling centered; expanding the full spectrum of your being; enjoying life as play; releas ing fear;
embracing the unknown; surpassing t he limitations of the mind; communing with the divine.
O M WWW.WARI.CAT
20
Circle Ceremony
GROUNDING IN SELF
HEART SANDWICH
KNEE CONNECTION
Sit in a circle touching knee to knee. Grounded in Place left hand on front of own heart and right Rest hands on the knees of the person to either
the breath bring hands to heart center
hand on back of neighbor's heart
side
MASSAGE SHOULDERS
SliDE BEND
WARRIOR
SUPPORTED BACKBEND
Circle Ceremony
ARM EXTENSION
FORWARD FoLD
HEART OPENING
TRANSITION
TRANSITION TO STANDING
STANDING FOREST
Drop leg over to the side to rest on your partner. Connect palm to palm, place feet flat on the
Lift hips more to support your partner's .
floor, press through feet and hands to stand
22
G
lJ
HEALING
ARTS
)
)
J
J
'
26
27
CENTERING
CHI BALL
CHI GENERATION
SELF HEALING
Place hands to
anywhere that you
need healing
CRESCENT LUNGE
CHI GENERATION
PRAYER HANDS
Inhale hands to
prayer posit ion
PRASARITA PADOTANASANA
CRESCENT LUNGE
CH I GENERATION
PRAYER HANDS
WRIST STRETCH
KNEEL DIAMOND
SELF MASSAGE
BODY SCAN
WALKING MEDITATION
then draw to low back, down the backs of legs, tops of feet,
Repeat 3 times
HEART OPENING
LUNGE PULSE
Exhale bend back
knee
LUNGE PULSE
lift heart
to traction spine
HEART OPENING
DowN Doc
CAT/Cow
knee
lift heart
breaths
Pulse 3 times
MONKEY LUNGE
DowN Doc
Use hands
to transition
3 breaths
Other side.
Hands in prayer
3 breaths
28
DOWN Do c
MONKEY LUNGE
Use hands
to transition
RUNNERS LUNGE
RusSIAN DANCE
TWISTED LUNGE
WRIST CIRCLES
FOREARM STRETCH
TORSO C1 RCLES
Inhale interlace
fingers & stretch
palms up
29
Other side.
Hands in prayer
3 breaths
THAI CHOPS
BRUSHES
DOWN DOG
TWISTED LUNGE
LIZARD LUNGE
LIZARD LUNGE
RUNNERS LUNGE
SIT ON TOES
BACKBEND
TOE STRETCH
Inhale at center,
exhale arch to open
heart and shoulders
Thumb or palm up
and down lower leg
CLOSING
Draw energy to
low back/kidneys
Brush energy
down the legs
Seated meditation
30
body. As you work with your own body's alignment and posture, be
patient. It may take time for our bodies to adapt to Thai massage
stances.
BODY COMFORTABLE:
Keep a long spine. Use your legs as much as possible during any
lifting maneuver. Stack the bones, especially keeping arms straight
(when possible) to prevent over-use of the muscles . Push off the
back foot or knee to shift your body weight forward when pouring
your weight. Keep your hands soft and use your whole palm to
distribute the weight evenly. Allow your hands to mold around body
contours.
TooLs:
the base. Supporting the flyer warms the base's legs . This warmth
an equal exchange of Thai and Fly, they switch roles of flyer and
base. When the exchange is done both have given and received a
full body treatment. When both Thai and Fly are exchanged the two
strength.
Efficient alignment - "arms straight- back straight".
BO DY MECHANICS :
Using Your Weight: The beauty, grace and effectiveness of Thai
massage is based in the ability of the masseur to use their whole
body. The hands and feet apply pressure, but the energy comes from
using one's whole body weight through the strength and openness
of the core. A visualization of 'pouring one's weight' through the
bones into the recipient also makes for a smooth distribution of
energy, as well as effectiveness and ease for the practitioner.
EN JOY Y ouRSELF:
It is always important to protect one's back when giving Thai
massage. Finding comfort and ease in your positioning will translate
to your cl ient as well , and vice versa. If you are straining or working
too hard, your partner will sense it, even on a subconscious level.
Using proper stances will also help facilitate ease in giving a
32
CENTERING
FIRST CONTACT
ALTERNATE PALM I NG
GROUND THIGHS
GROUND SHOULDERS
33
BLOOD STOP
WALKING MEDITATION
PALM FEET
THUMB FEET
ALTERNATE PALMING
KNEE C1 RCLES
SACRAL FLOAT
SHOULDER SHIMMY
SPINAL ROCKS
3 BRUSHES
Brush energy from hips
off the toes
CLOSING
34
35
CENTERING
FIRST CONTACT
ALTERNATE PALMING
In lunge place one hand on outer thigh and one hand on inner thigh. Hug the muscles
onto the bone, lift and rotate the leg inwards, check that the toes sprial internally.
Ground the thigh with both hands
SACRAL FLOAT
GROUND SHOULDERS
C1 RCLES
PALM FEET
THUMB FEET
ALTERNATE PALMING
KNEE
TRANSITION: Ll FT LEGS
TRAPEZ I US TRACTION
Palm tile forearm, keep a mothering hand at the chestshoulder junction, continue to palm down to the hand.
BUTTERFLY RoCKS
Transition to seated by pressing receiver's knees in towards their chest, take a wide
butterfly with legs with giver's feet resting on pinkie edge by receiver's hips. Find perfect
fit of receiver's feet resting into giver's hip crease and hug receiver's knees together. Rock
receiver's knees side to side, work feet underneath the glutes, continue to rock side to side
36
37
TRANSITION : TO STANDING
Bus DRIVER
DEEPER VARIATION
BLOOD STOP
PEDAL BOAT
KNEE TRACTION
SPINAL ROCKS
WALKING MEDITATION
HlP CIRCLES
In lunge support receiver's heel and knee, circle their hip 3 times
in each direction using own center to generate movement
3 BRUSHES
CLOSING
38
SPOTTER ADJUSTMENT
Stand to one side of flyer's legs, loop arm around thigh and lift while using other hand to
reposition base's foot
SPOTTER:
BASE ADJUSTMENT
FLYER ADJUSTMENT
40
LIFTED BADDHAKONASANA
FOLDED LEAF
REVERSE NAMASKAR
BASE: Walk one hand at a time above flyer' s elbows, straight arms
41
SUPER YOGI
FOLDED LEAF
BASE:
F LYER:
42
43
FOLDED LEAF
HARMONICS
FOLDED LEAF
SUPER YOGI
TRANSITION : WALNUT
WALNUT
FLYER: Point toes towards the ceiling, allow arms to straighten and head relax
BASE: Place palms, thumbs or pinkie edge of hand either side of flyer's spine
and rock the legs forward and backward to shift the weight into hands
ll FTED BADDHAKONASANA
shoulders
REVERSE NAMASKAR
FOLDED LEAF
44
FOLDED LEAF
LEAF HUGGER
HALF MOON
relaxed
45
LIFTED BADDHAKONASANA
FOLDED LEAF
FLYER: Keep feet anchored towards the ground, relax head and neck
BASE: Exhale bend one knee, bend opposite arm. Inhale both legs
TWISTED LEAF
FOLDED LEAF
through leg love. Catch the heels, invite the knees to bend and
ground
33)
46
CENTERING
3 breaths to center and ground
PALM FEET
Cup receiver's foot, lift and lengthen one leg towards you, rotate
toes inwards and gently replace foot to floor. REPEAT OTHER LEG
;J
_,
CALF STRETCH
WINDSHIELD WIPER
JJr ,
j,
PALM HAMSTRINGS
fingers at heels and forearms along the soles of the feet. Exhale
sit weight down, bend elbows to flex ankle and stretch calves
FIGURE 4 PALMING
Bend receiver's legs , take one foot and tuck toes into
PALM THIGHS
TRANSITION: TO SEATED
PALM SHOULDERS
on thighs
seated
47
1111
STEP ON FEET
PALM CALVES
STEP ON HAMSTRINGS
Gently place knees in receiver's gluteal fold . With butterfly palms, inhale
place hands either side of receiver's spine, exhale to pour weight, stack
shoulders over wrists. Work this up and down the spine to the height of
the shoulder blades
NECK CLAMPING
MoTORCYCLE
THAI CHOPS
3 BRUSHES
CLOSING
Interlace thumbs,
spread fingers,
flick wrists, chop
hands up and down
receiver's back
48
BACK LEAF
Bow (DHANURASANA)
FtSH (MATSYASANA)
49
F LYER:
Lean weight into one leg, stag opposite leg. Once base repositions foot , release stag leg
BAS E: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband , heels on buttocks (Foor PosmoN 2)
DISMOUNT
FLYE R:
Hold base's ankles , use them for support to help chest lift as feet come to the ground
BAS E: Maintain support of flyer 's shoulders , bend the knees to place feet on the ground us ing toes
50
BACK LEAF
ankles
51
Lean weight into one leg, stag opposite leg. Once base repositions foot, release stag leg
Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband, heels on buttocks (FooT PoSITION 2)
F LY ER :
BASE:
BAT
PALM SHOULDERS
52
knees
hook feet
..
'
LIFTED )ALANDHARA
FLYE R: Legs in piked straddle, arms relaxed, communicate with base about depth of stretch
BASE: Bring both hands to back of flyer's head with heels of palms together. Exhale begin to raise flyer' s chin towards chest by
extend ing arms, flex feet to deepen stretch . Release slowly, catch head and neck with care
53
NECK MASSAGE
BASE: Gently
squeeze hands on
into fingertips
FLYER: Transition legs into a tuck holding around shins and tucking chin to chest
BASE: Shift grip from shoulders to tops of arms. Bend knees and begin to lower flyer towards
the ground , use arms to slow down and stay connected , allow own torso to rise off the ground
until both base and flyer land softly in a seated tuck
54
Stand either side of base's shoulders, help base place feet then lean back
Hold flyer's ankles, bring legs towards flyer, place feet either side of the
spine with toes around waistband . Press legs away until flyer's feet are weightless;
then straighten arms. Legs may be beyond go degrees
FLYER :
BASE:
BASE:
55
Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend
deep backbend
BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .
56
FLYE R:
Stand either side of base's shoulders, help base place feet then lean back
BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away
until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees
ARDHA USTRASANA
FLYER:
Press down through one foot to lift other leg, bend knee and
touch toes to opposite knee
BASE: Support flyer's bent leg with hand, bend knee to meet
F LYER:
SUPPORTED USTRASANA
FLYER:
57
flyer's foot
BASE: Sh ift one hand to flyer's ankle, straighten arms, receive second foot
FLYER:
Extend one leg, press down to lift and offer second leg
FLYE R: Press down through one foot to lift other leg, bend knee and
BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .
58
ARDHA PADMASANA
ARDHA YIRASANA
BASE: Bring legs towards head; bend elbows to place flyer' s feet on the ground . Press
59
Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend
USTRASANA
F LYER:
60
UPAVISTHA KONASANA
FLYER: Draw legs overhead and catch toes in
straddle
BASE: Keep feet flexed and knees knocked
together, take hands to flyer's thighs to deepen
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Hammock
HAMMOCK MOUNT
FLYER: Stand close to base's hips, facing away
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CHILD's PosE
BASE: Bend knees to bring flyer's feet towards the ground, hug knees together to create a
Hammock
OcCIPUT RocK
BASE: Bend knees taking heels towards and away from buttocks. Ma intain support of flyer' s head
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)
)
)
)
)
UP
The solar asana sequence teaches the alphabet of acrobatics, and the names and shapes needed for
students to communicate as they do acrobatics together. The sequence also strings together strength
and flexibility building exercises in a progressive way to warm and open the body. Acrobats build
strength by using their bodyweight and their partner's bodyweight. Push-ups, down dog push-ups,
abdominal exercises and partner condition ing drills are some of the building blocks that bring the mind
and body into powerful harmony. The inversions and spotting build confidence, communication and
support for students to move through fears. Step by step we build acrobatic techniques for headstands,
handstands and beyond . The most dynamic expression of the practice is partner acrobatics .
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CENTERING
MouNTAIN STRETCH
Exhale lean to
the right
Exhale lean to
the left
In hale to center,
arch backwards
PLANK
DowN DoG
TABLE ToP
ElBOW ARTICULATION
FLOAT
HOLLOW LUNGE
Keep hollow in
ribs and extension
in arms, jump feet
forward to hands
CHILD's PosE
T POSITION
MAHA BANDHA
HANDSTAND MUDRA
Exhale hands to
rest on thighs ,
squeeze midline
with hollow shape
DOWN Doc
ELBOW ARTICULATION
INTEGRATE SHOULDERS
HANDSTAND MUDRA
PLANK TIGHTNESS
FOREARM PLANK
SPHINX
From a narrow Down Dog bend elbows out to the side, eventually touch ing
nose in between the thumbs . Push down and up, repeat 3 times
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71
HOLLOW LUNGE
INTEGRATE SHOULDERS
HANDSTAND MUDRA
COBRA
LOCUST
FRONT BIRD
SPOTTER'S STANCE
LEG PRESSES
GODDESS POWER
LEG PRESSES
DowN Doc
TucK juMPS
PLANK TIGHTNESS
CHILD's Pose
WARRIOR
From a narrow Down Dog, bend elbows out to the side, eventually touching nose in
between the thumbs. Push down and up, repeat 3 times
GODDESS SQUATS
PRASARITA PADOTTANASANA
WARRIOR
SPOTTER'S STANCE
CHILD'S POSE
CROW
In a supported headstand, keep legs together. Tuck press legs in and up,
press 3 times
Relax, 3 breaths
CONNECTING VINYASA
SEATED PIKE
SHOULDERSTAND
TUCK UPS
UTTADOGANA
together, 3 breaths
PLANK
the ground
THIGH STRETCH
tops of wrists , 3
breaths
wrists
HEART OPENER
DowN Doc
TWISTED LUNGE
LIZARD LUNGE
Lift hips up
Exhale release
and back
forearms to the
lengthen spine,
forehead or chin to
3 breaths
ground , 3 breaths
back, 3 breaths
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LOWER
WRIST STRETCH
3 breaths
breaths
STAG
PIKE STRETCH
TUCK ROCKS
Jump legs forward to meet hands, squeeze and press legs down,
keeping extension in the arms, repeat 5 times
Bow
CHILD's PosE
DowN Doc
DOLPHIN
LEG HOPS
VERTICAL SPLIT
TWISTED LUNGE
Step top leg out towards right, hold both ankles, keep
hips low, glide side to side, repeat 3 times
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LIZARD luNGE
RUNNER'S LUNGE
Exhale release
torso, 3 breaths
SEATED STRADDLE
VERTICAL SPLIT
Exhale fold over
standing leg, lift back
leg towards sky, both
legs straight, 3 breaths
PIGEON
V-UPS
SHOULDERSTAND
UTTADOGANA
From hollow body, sit up to a V, and back to hollow body, keeping core
together, 3 breaths
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Place hands on floor under shoulders, bend knees and jump in and out 5 times. Keep legs close to chest
and press arms down
PIGEON
PIKE STRETCH
Swing left leg around to meet right, inhale raise arms up,
exhale and reach forward with hollow body and extended
arms, legs squeeze together with toes pointed
Keep core engaged, toes and shoulders off floor, rock back and forth with
small motion, repeat 5 times
KICK SWITCHES
FORWARD BEND
HANDSTAND MUDRA
(LOSING
Keeping foundation strong, lift one leg and kick up to L, switch legs
in the air. Do both sides, repeat 3 times
Feet together,
hands in prayer,
sealing the
practice
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Pyramid #1
9
ALPHABET OF AcROBATics
Straight: In this position the body is in one lin e from head to toe.
This is the most important pos ition in acrobatics due to its intrinsic
strength. Once this position is mastered all other positions are a
variation of this seed .
Arch: This is a back bend . It refers to the shape of the spine, then
FouNDATIONAL ALIGNMENT
OF HANDS, ARMS, UPPER BODY
Table, Cat, Cow: Hands shoulder width, knees hips width, feet flexed ,
arms straight, shoulders over wrists, thighs vertical, knees under hips,
head neutral. In this pose we can learn vertical bone alignment with
little weight bearing. The cat is embodying hollow and maximum
extension through the arms, the cow is embodying arch .
how that relates to the rest of the body. Arch is a common shape in
Plank: Feet together, body straight from head to toes, arms straight
many yoga asanas and also the shape of the spine for many Thai
stances .
Hollow: This is a shape of the spine from the hips to the head, it is
most acute in the thoracic spine, ribs moving towards the spine,
tailbone tucked forward. The body makes a hollow shape like inside
a spoon . This is the position that takes the most training to embody.
Arching is very natural , one can think of hollow as the medicine for
overarching in the attempt to find straight.
Tuck: This is a verb and a noun, the verb is to move the legs from
spotter lifts the flyer's legs up and holds the legs with straight arms.
The spotter drops one leg at a time as the flyer tries to keep their legs
squeezing together, 15 seconds or less.
Pike: This is a verb and a noun , the point of reference is the hips
1.
specifically the hinge is at the hips. To pike is to move the legs closer
Knee Push up: Lying on the belly, knees and feet together, legs
to the upper body. The full position is legs together and a bend at
the hips.
exhale straighten arms, bend arms until chin touches the floor,
body stays straight the whole time.
Hollow Pike: Feet together, arms parallel with the floor and reaching
towards or past toes, ribs in and actively moving towards the spine.
2.
Piked Straddle: This is the shape of a seated straddle with legs wide
apart, knees and toes facing the sky. This is the shape of folded leaf
bend arms until chin touches the floor, body stays straight the
and many other flying postures, where the legs are at go degrees to
whole time.
the chest.
Open Straddle: This is the shape of standing with the legs apart a bit
wider than hips, knees and toes are facing forward, this is the shape
Push up: Lying on the belly, feet together and flexed, legs straight,
1.
Half Down Dog Push up: Walk the down dog in a third of normal
Stag: One leg straight one leg bent, foot of the bent leg touches the
Down Dog Push up (gaze between thumbs): Walk the down dog in
Down Dog Push-up (with head neutral) : Walk the down dog
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STATIC INVERSIONS
TECHNIQUES
Tuck rocks: Roll from the hips to the shoulders , knees bent, feet
cupping the top of the head, walk feet in as close as possible, tuck
knees into chest, press up to a straight body.
Tripod Headstand: Hands shoulder width , head placed in same
the same time tuck knees in towards the chest. Once in the tuck
Crow: Place hands shoulder width , bend arms, place knees as close
to armpits as possible, straighten arms as feet lift off the floor, feet
together.
extend back to the hollow body. The faster with good form the better.
V-ups: From hollow body swing arms down towards the legs, at
the same time pike legs up towards the chest. Once in the V shape
extend back to the hollow body. The faster with good form the better.
Hollow body hops forwards: This drill is to teach you how to press
up. Hands shoulder width, arms straight, shoulders over wrists, very
narrow down dog. Bend knees and jump hips over hands , extend
through straight arms and find as much hollow as you can. Keep
shoulder beh ind tips of fingers, feet softly land further behind the
hands. As you get stronger you can jum p less and press more.
through the arms, bend knees and jump into a piked straddle
position, feet apart and knees straight while in the air, landing where
straddle position , feet land apart. Then starting with feet apart, jump
bend the other leg and jump off of it. At the same time swing the top
bringing feet together again and land in a standing pike. Land softly.
leg as high as possible, bend the other leg and jump off of it, at the
same time swing the top leg overhead and switch the legs in the air,
maintain shoulders over wrists the whole time.
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STRAIGHT
ARCH
HOLLOW
Ribs draw down and pubic bone Knees draw in to chest and
curls up, engage abdomen, arms heels to buttocks, hands
cup knees
by ears
TUCK
PIKE
HOLLOW PIKE
PIKED STRADDLE
OPEN STRADDLE
STAG
Legs squeeze
together, hinging at
the hips
SPLIT
Cow, ARcH
1
flyer on back, arms up,
hips up, feet together,
squeeze legs together
TIGHTNESS DRILL
KNEE PUSH UP
CAT, HOLLOW
TIGHTNESS DRILL
PLANK PUSH UP
DowN Doc
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TucK ROCK 1
TUCK RocK 2
TUCK ROCK
TUCK UP 1
3
return to hollow body
TucK UP
V-UP 1
V-UP
Foundational Inversions
SUPPORTED
Dynamic Inversions
TRIPOD
HEADSTAND
HEADSTAND
TucK)UMP2
DoLPHIN HoPs 1
elbows under
shoulders, forearms
paralell, eyes at
thumbs, one leg up
CROW
Handstand
STRADDLE jUMP 1
STRADDLE jUMP 2
DOLPHIN HOPS 2
KICK SWITCH 1
KICK SWITCH 2
KICK SWITCH
KICK SWITCH
4
P1KE)UMP1
PIKE)UMP2
DOLPHIN HOPS 3
jump bottom leg as top
leg swings into a split
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do ing plank at their feet facing towards their head, flyer lifts one leg.
Spotter holds flyer's ankle like a suitcase, flyer unifies the legs and
Level 2: From straight, pike legs down until legs are horizontal with
squeezes legs together, spotter lightly pushes back and forth to help
flyer find res istance in the fingers. Spotter steps to a wide stance
facing the flyer's hips , placing other hand on the hips to encourage
Level 3: From straight, pike legs down until toes touch the floor,
head with stra ight arms holding the ankles , spotter drops on foot at
a time, flye r tries to keep legs together.
hands , use fingers pushing into the floor to slow the decent as you
Tuck Press Headstand: Tripod set up, walk feet in as close to head
lower the top of the head to the floor for a tripod headstand, tuck
as possible, when feet are weightless , push hands into the floor like
knees into chest, feet towards butt, press to vertical and stra ight.
a down dog push up, keep elbows over wrists, press hips over the
shoulders , bring feet towards butt and knees towards chest, extend
legs in a vertical plane until body is straight.
Levell : From straight, knees bend until body is in a tight tuck shape,
extend back up, keep legs moving only in the vertical plane.
Headstand to Crow: Knees into chest and feet towards butt, tight
ball, feet and knees together, open knees and place as high on
triceps as possible, find the strength from your fingers to lift your
head and come back to crow.
Air Vinyasa Handsta nd Walking: Spotter holding flyers ankles, flyer
Level2: From straight, knees bend until body is in a tight tuc k shape,
extend the legs to a pike horizontal with the floo r, re-bend knees into
until their body is in an L shape, from there the flye r walks forward
and backwards . This drill can also be done with one leg vertical.
Level 3: From straight, knees bend until body is in a tight tuck shape,
extend down towards the floor until toes touch the floor, re-bend
knees into tight tuck, extend to vertical.
BALANCE
head as possible, when feet are weightless, push hands into the floor
like a down dog push up, keep elbows over wrists , press hips over
the shoulders as the legs come to the widest straddle possible, press
legs in a ve rtical plane until body is straight.
Level
1:
These are the 3 magic steps to finding ease, grace and stability in
inversions.
Alignment - Bones (hands placed shoulder width for handstand or
to unify the body around the steady and efficient structure of the
bones) .
Balance - Gaze (having a gaze point that supports steady balance,
usually the floor between the hands , without taking the head out of
alignment with the spine).
to the belly as poss ible, bring toes to touch the floor, straddle as wide
touching the wall , other leg extending up the wall . Spotter with
Pike Press Headstand : Tripod set up, walk feet in as close to head
as poss ible, when feet are weightless, push hands into the floor like
a down dog push up, keep elbows over wrists, press hips over the
shou lde rs, extend legs in a vertical plane until body is straight.
83
hands at hip bones gives a heavy spot to aid the flyer to walk their
hands close to the wall as the legs come together, heel of the palms a
few inches from the wall , flyer's toes are pointed , head neutra l. Flyer
tries to get their body as close to the wall without touch ing, spotter
supports flyer's hips as they cartwheel down to one side.
from wall by lifting one leg to hip height with foot touching the wall,
straight and ribs in towards the spine, bend knees while upper body
holds the same shape. Jump strong, bring hips over the shoulders,
extend to vertical.
the foot touching the wall is flexed so the only way to come free from
the wall is by pushing with the fingers.
TECHNIQUE
lifting one leg to hip height with foot touching the wall, the standing
foot is the approximate distance to place hands with fingers pointing
Handstand Bail Outs from the Wall: From L handstand with one foot
away from the wall. One foot pushes off the wall as the other extends
on the wall other foot vertical, jump off the wall to fall past vertical.
to vertical ; the foot touching the wall is at hip height. Very slowly flyer
With a heavy spot at the hips, take one large step with the hand
points their foot touching the wall until they can balance free from
the top leg as the flyer pushes the leg down into the spotter, flyer
floats the bottom leg up to meet the top leg, head of the flyer in
jumping, come through vertical. Once past vertical take one large
neutral. Spotter walks to the flyer's back side, steps on the hands,
step with the hand under the vertica l leg and cartwheel down.
lifts the flyer from the thighs to help them find a straight extended
position . Spotter tries to pull legs apart to encourage the body
unification. Spotter steps off the hands as the flyer looks in between
HANDSTAND
spotting.
the floor, the foot on the floor is pointed . By pressing or a small hop
Scissor Lift to Handstand ATB: From a narrow down dog one leg
then pressing the bottom leg to meet the top leg in a vertical plane.
HANDSTAND ENTRIES
Tuck Jump to Handstand: Start with shoulders over wrists , arms
straight and ribs in towards the spine, bend knees while upper body
holds the same shape. Jump strong, tuck knees to chest feet towards
butt, once hips are over the shoulders, extend to vertical.
Straddle Jump to Handstand: Start with shoulders over wrists, arms
straight and ribs in towards the spine, bend knees while upper body
holds the same shape. Jump strong, open legs to a pike straddle as
wide as possible, once hips are over the shoulders start bringing the
legs in a wide straddle to vertical.
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2
Flyer: bring feet together,
shoulders over wrists or even
slightly over the fingertips
PLANK TIGHTNESS DRILL
2
tuck knees in towards chest
1
hands shoulder width or wider, strong
fingers, knees up high into armpits
press to vertical
press legs up
press to vertical
87
2
Flyer: push down into straight arms, draw
ribs towards the spine, belly in
Spotter: stand up step in until flyer's hips
are over their shoulders
A I R VINYASA HS WALKS
AIRVINYASA HS WALKS
HANDSTAND A.T.B. l
Spotter: step to the back of the
flyer, firm grip on shins and calfs
Flyer: head neutral
HANDSTAND A .T . B . 2
FOREARMSTAND A.T.B. 3
Spotter: step gently on hands, firm grip on
flyer''s shins and calfs
3
Flyer: hands shoulder width, shoulders
over wrists , head neutral , one leg up
Spotter: warrior one stance, hand on
shin, foot by shoulder
l HANDSTAND BALANCE
set up in an L handstand slowly
point your toe to bring your
weight from the heel of your
palm to the base of your hand,
into your fingers and fingertips ,
from 95% vertical one degree at
a time until it is 100% vertical
l
hands shoulder width,
shoulders over wrists,
jump hips over hands
STRADDLE jUMP
PIKE jUMP
TucK juMP 2
HANDSTAND A .T . B.
HANDSTAND A.T.B. 4
FOREARMSTAND A.T.B. 5
Spotter: tries to pull flyers legs apart
Flyer: try to keep legs unified
HANDSTAND A.T.B. 5
Spotter: try to pull flyers legs apart
Flyer: try to keep legs unified
FOREARMSTAND A .T.B. 6
Spotter: steps off the flyers hands and
supports the minimum
Flyer: eyes to thumbs, find balance
HANDSTAND A.T. B . 6
Spotter: support the minimum
Flyer: eyes to thumbs, find balance
Handstand Entries
TucK juMP
,_ _
TucK juMP
Handstand Bailouts
BAIL OuT
BAIL OuT 2
BAIL OuT
STRADDLE jUMP 2
STRADDLE jUMP
HANDSTAND
PIKEjUMP2
PIKE jUMP 3
pike press up
KICK/PRESS TO
HANDSTAND 2
Handstand
88
path for it hap pening in the physical world. For visualization to work,
you first have to believe it is possible.
You are not using the best technique for you and your partner
2.
of your acrobatic practice. Hard work and struggle are not the same
how to channel what you already have. Strength is all about will.
beauty away from the skill. Hard work is a discipline that will help
much will you can have or how much you can let go. Once this
infinite potential is realized in the mind, the athlete is ready to train
the body.
attempting acrobatic skills, one should let go of the idea of right and
Students over time can realize the power of connecting mind and
wrong technique. The trick is to keep trying ways that make th ings
body. Confidence starts in the mind then is realized into the physical
world through the body. Huge leaps can be made in the physical
and difficulties will help you find ways to highlight your common
practice by first deciding and knowing in the mind that you are
PARTNER
Trust; The Currency of Acrobatics: Trust is earned over time and can
regularly with a partner. The more time and energy you invest in
small deposit may be a smile and hug, while a huge withdrawal may
an acrobatic partner:
89
CHoosiNG AN AcROBATIC
Size - The ty pe of acrobatics you want to' do will help you choose a
partner fit for your style. If you want to do mainly counterbalances
and intro level elements, similar size might be best. If you are
doing high-level acrobatics (hand to hand etc.) with a lot of flight, a
difference in size will work better.
Strengths & Weaknesses - Identify the strengths and weaknesses
of both you and your potential partner. You can either choose a
partner that has similar strengths, so you are both very good at some
aspects, or choose a partner that has strengths where you do not.
The clearer you are as to what type of acrobatics you want to train
will help you choose a suitable partner.
Personality - If you have a sense of what types of personal ities you
get along with and which ones drive you crazy; do a bit of research
about your potential partner to see where they fall. It is much more
enjoyable to train acrobatics with someone you get along with .
many times a week you want to train and what you want to learn, the
journey will be more smooth and enjoyable. If your expectations are
very different, problems will arise, as the training gets more intense.
Coach vs. Guru - A guru can be translated as the one who takes
away the darkness. In the Indian tradition the guru is the one that
leads disciples further down the yogic path . The guru has seen and
felt what the student is searching for. They are the well of wisdom
and guidance to make the journey more direct, and keep the yogi on
track. The yogi surrenders to the guru and takes on the words of the
teacher as truth . Once these truths are tested in the world they can
become knowledge, and through meditation they can be realized as
wisdom .
In Acrobatics it is a similar role with differing themes . To learn how
to do death-defying stunts the student must trust their coach with
their life. The coach will teach enough building blocks for the student
to understand the foundation . From that foundation the skill can
be attempted and felt with the coach's assistance. With enough
repetition and faith , the student attempts the skill by themselves,
real izing their full potential. These relationships are ancient and
sacred . They are built on respect and love. The inner coach, like the
inner guru is the true teacher. Any great teacher will lead you to this
conclusion .
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92
Foundational Acrobatics
DOUBLE PLANK
DOUBLE TABLE
body unified
BEACH
SHOULDERSTAND ON BRIDGE
BASE: Place feet directly under knees, lift hips, take arm variation that supports hips staying lifted
FLYER: Place hands on base's knees, position shoulders on base's thighs toward the knees, jump or
press into shoulderstand
93
Foundational Acrobatics
TITIBASANA ON PLANK
)EDI PLANK
PLANK ON KNEES
SCORPION ON KNEES
knees
straighten legs
SPLIT CouNTERBALANCE
STRADDLE VARIATION
BASE: Keep knees together, place them towards flyer's low back. Slowly lean
back while holding onto flyer's heel, arm extended, knees bending
FLYER: Begin in squat, tight interlaced grip above base's hips behind back.
BASE: Hold both heels of flyer, press them down and back
Present one leg to base, to counterbalance slowly lift other leg and extend
just above the floor, keep legs in a spit
94
Partner Inversions
PARTNER HANDSTAND
Set up for forearmstand with enough space between you to kick up. Connect feet,
allow an arch throught the spine. Option to take stag one leg
FRONT L I MBER
BASE:
FLYER:
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FLYER:
Partner Inversions
BAsE: Bend knees to place buttocks underneath flyer's buttocks, interlace elbows to lift flyer, begin to transition towards a forward fold
slowly, keep legs extended when placing flyer's hands on the ground
FLYER: Place buttocks above base's buttocks, allow feet to raise off the ground, take arms overhead, look towards the ground. Place hands
down and split legs to dismount through walkover
jEDI Box
BASE: Lay on ground, stack wrists over shoulders, separate feet flyer's shoulder width apart.
Simultaneously engage core and stack shoulders over hips. Option to release one arm
FLYER: Place hands on base's ankles, lift one leg at a time, place feet in base's hands, strong
body. Simultaneously engage core and stack hips over shoulders. Option to release one leg
Start in a short down dog facing away from one another. Connect toes, press actively into feet to extend to standing splits variation.
Maintain press to lift other leg and extend overhead. Keep arms straight. Option to take leg variations such as half scorpion
96
Standing Counterbalances
97
FLYER:
Standing Counterbalances
BASE:
F LYER:
arms
SuPPORT:
away
FLAG
BASE: Thighs
98
Hand Balancing
Box
Hold base's feet, offer one foot to set grip then press
into arms to stand. Point through toes and squeeze midline
with legs, gaze up
F LYER:
BAS E: Two fingers under feet, bend elbows and stack wrists
BASE: Hand to hand grip, arms straight, writst over shoulders , tight grip
FLYER:
L SiT
F LYER:
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TUCK SiT
FLYER:
Pyramids
100
Flying Vocabulary
101
FRONT BIRD
FRONT PLANK
Bow
REVERSE FRONT Bl RD
BAT
STRADDLE BAT
FLOAT! NG PASCH I
THRONE
STRADDLE THRONE
REVERSE THRONE
SIDE STAR
CANDLESTICK
Flying Vocabulary
BACK BIRD
BACK PLANK
BOAT
STAR (PIKE}
STAR (TuCK)
STAR (STRAIGHT)
SHOULDERSTAND (STRAIGHT)
SHOULDERSTAND
REVERSE SHOULDERSTAN D
(SPLIT)
REVERSE SHOULDERSTAND
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Flying Presses
FLYER: Keep arms straight, gaze up, strong body with chest and
legs lifting
feet over hips, adjust toe point to keep flyer' s chest elevated
feet, extend arms over shoulders, feet over hips. Bend knees and arms
simultaneously as much as possible whilst maintaining stability, press
103
Flying Presses
over shoulders
104
Flying Presses
BAS E: Bend knees as much as possible whilst ma intaining stability to press flyer, turn toes out to place hands on low back
and buttocks, stack wrists over shoulders, keep arms straight, press through fingers to lift flyer's chest. Bring feet back
with heels turned in, then transition foot back underneath flyer, press legs to straight
F LYE R: Maintain body position, engage core. Can be done in tuck, boat or back plank variations
lOS
Flying Presses
106
Flying Presses
BASE: Ma intain straight arms , press through fingert ips to keep flyer
connected to thighs
FLYER: Keep arms straight, tuck knees into chest with control then
extend back to straight
Flying Presses
1
BASE:
FLYER:
From candlestick maintain straight arms, press through fingertips to keep Ayer connected to thighs
From candlestick keep arms straight, straddle press legs as low to ground as possible then back up to straight
Begin in Star, maintain heels together, legs straigh and arms straight
Begin in Star, press legs through piked straddle as low as possible, keep legs straight, keep arms straight, press back of head into base's
shins, extend back up to straight
BASE:
FLYER:
108
BASE: Keep arms straight, bend knees to place flyer's feet on the
BASE: Bend knees place feet close to hips, extend arms straight
BASE: Bend knees place feet close to hips, extend arms straight
FLYER: Place shoulders in base's hands, hold base's thighs, straight arms,
step feet to outside of base's legs, press or jump through piked straddle
CANNONBALL MOUNT
109
FLYER: Pull with arms, lift hips, extend legs up and out to
THRONE MOUNT
THRONE DISMOUNT
BASE: Trans ition hands to cup behind flyer's ankles, bend knees
and place flyer's feet close to shoulders, release the feet
FLYER: Maintain body pos ition , hold base's feet for extra support
when coming to stand
jUMP TO STAR
BASE: Hand to hand grip, place feet on flyer's
shoulders with toes around collar bones
FLYER: Place shoulders on base's feet, hand to
hand grip, step close to base's shoulders
CANNONBALL DISMOUNT
BASE: From Straddle Bat, place hands on flyer's shoulders ,
keep legs straight
FLYER: Hold outside of base's feet, tuck knees into chest
110
BASE: Release feet, flex feet behind flyer's back, use toes as a back spot
to stop them rolling back if necessary, find balance, then tip flyer's feet
to the ground
FLYER: Maintain body position, straight arms and legs
.J
BACK BIRD MOUNT - WALKOVER DISMOUNT
BAS E: Feet parallel, toes at waistband, heels on buttocks, raise arms . Bend
knees until hands connect to flyer's shoulders
FLYER: Step close to base's hips facing away, reach back for base's ankles,
thumbs turned in. Lean weight back, when feet leave the ground stag one leg
112
BASE: Bend knee in to receive flyer, press through arms, extend legs,
place other foot in flyer's opposite hip crease
FLYER: Lean weight into base's foot, press through arms, pike lower
leg to create shelf, extend top leg up and over, keep body in one plane.
Place other leg onto base's foot
113
BASE: Press through arms, bend knee to allow flyer's chest to lift, place
free foot towards flyer's armpit, press legs away from each other
FLYER: Press through arms to lift chest, maintain pike through bottom
leg, extend other leg up, keep body in one plane
BASE: Press through arms to release foot, bend other leg to place flyer's feet to ground
FLYER:
Press through arms to lift chest, place feet to the ground close to base's hip
BASE: Transition to hand to hand grip, press through arms, bend leg to place flyer's feet to the ground
FLYER:
Transition to hand to hand grip, press through arms, place feet to the ground
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BASE: Hand to hand grip, extend leg to the side to meet flyer,
turn foot to line up beneath flyer's hipbone
FLYER: Step close to the side of base's hip, angle toes towards
base's hip, hand to hand grip
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BASE: Bend knee in to receive flyer, press through arms , extend leg, bend
opposite knee to place foot on flyer's shoulde r
FLYE R: Lean weight into base's foot , press through arms , pike lower leg
to create shelf, extend top leg up and over, keep body in one plane.
BASE: Press through arms and legs, transition foot from flyer's
hip to shoulder, press to star, extend arms straight and wide,
press heels together behind flyer's head
FLYER : Maintain piked straddle, press through arms, once in
star extend arms straight and wide, press head into base's
shins in Star
BASE: Bend elbows, find active resistance through arms, step one foot
to flyer's hip, press through arms to lift flyer's chest, bend knee to place
flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through leg
onto base's foot , press through arms to lift chest, step feet to the ground
BASE: Bend elbows, find active resistance through arms, step one foot out, press
through arms to lift flyer's chest, bend knee to place flyer's feet to ground
FLYER: Bend elbows, find active resistance through arms, pike through legs, press
through arms to lift chest, step feet to the ground
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BASE: Keep arms straight, wrists over shoulders , step foot out of
knee, press shoulder until Ayer reaches footjleg for Prasarita Twist.
Ayer's hip. Place foot with heel turned in to inside of other foot on
FLYER: Reach for opposite footjlower leg, allow torso to twist open. Keep
TURNTABLE
BASE: From Reverse Bat place one
BASE: Keep arms and legs straight and stacked , use legs to pull
FLYER: Hold base' s ankles, place shoulders in base ' s palms, take legs to
piked straddle
over shoulders, keep legs in piked straddle. Pull base's feet into
hip crease to land in Folded Leaf
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BASE: Catch flyer's hip crease with free foot, turn toes in slightly for Straddle Bat. Maintain arms straight
until both feet are in place with legs straight
FLYER: Release foot when base's foot has released, open into piked straddle, trace leg along horizon line
REVERSE TURNTABLE
FRONT
B1 RD TO
STRAIGHT SHOULDERSTAND
BASE: From Front Bird raise hands to receive flyer's shoulders . Keep arms
straight, wrists over shoulders
FLYER : Hold base's ankles, place shoulders in base's palms, maintain a
straight body, legs engaged
FLYER:
BASE: Turn flyer's shoulders using arms, place foot in flyer's hip crease. Keep
turning torso using arms and leg until other foot can be placed in Straddle Bat
FLYER: Turn hips , look at base's foot, place foot into hip crease. Pike down
through leg, thread arm in front of base's legs to twist torso, open top leg into
thumbs in, fingers pointing towards the ground . Root down towards
the ground with hands, squeeze elbows in
SUPPORTED HELICOPTER
BASE: From Straddle Bat place hands on flyer's shoulders as the flyer turns . Begin
BAsE: Step free foot inside the other to catch flyer's hip
to press arms to stra ight and stacked, release foot as weight transfers to arms
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BASE: Use arms to twist flyer's torso, catch hip crease with
foot toes turned out, keep arms straight
FLYER: Ma intain piked straddle, squeeze elbows in, root
down through hands
BASE: Keep arms and legs straight and stacked, use legs to pull flyer
back if needed to keep wrists over shoulders
FLYER: Stra ighten arms to press base's legs away, split legs until hips
stack over shoulders then extend to stra ight. Pull base's feet in to
return to Back Bird
BASE: Continue to turn flyer's torso, catch flyer's hip crease with
other foot in Straddle Bat
FLYER: Maintain piked straddle, release contact with hands
when base has placed both feet
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BASE: Transition to forearm grip, keep arms straight, curl up using core as flyer leans away, send knees over toes, as hips lift lean
shoulders away from flyer, keep chest lifted
FLYER: Transition to forearm grip, keep arms straight, sit hips towards heels, lean away from base, as base's hips lift, extend legs and
lean back
BASE: Keep arms straight, place feet hips width, use core to coil chest up as flyer begins to lean away, send knees over toes to lift hips,
lean shoulders away from flyer, lift chest
FLYER: Keep toes on base's knees, arms straight, sit hips towards heels and lean chest forwards , send knees over toes, pull away from
base with arms, send hips forward and extend legs
BASE: Bend knees, send hips backwards, place flyer's feet on knees. Take hands to flyer' s hips, draw head out, lean shoulders back,
extend arms, lift chest for Thighstand Counterbalance. Support flyer's hips until their feet are on the ground
FLYER: Place toes towards base's knees, lean hips into base's hands, send chest forwards, extend legs. To dismount, bring hands to
base's forearms , press through hands, hop feet to the floor
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BARREL ROLL
BASE: From Straddle Bat take reverse hand to hand grip, bend
arms to allow flyer to twist torso, press through arms to remove
one foot and lift flyer's chest
FLYER: Twist torso, take reverse hand to hand grip, press through
arms to lift chest, circle top leg around
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BASE: Press arms straight to lift flyer's chest, step foot to hip of
flyer's free leg crossing in front of other foot, toes turned out
FLYER: Press through arms to lift chest, reach top leg back, place hip
onto base's hip, lift other leg
BASE: Bend arms, squeeze elbows in , active resistance through arms . Step one foot out from
flyer's shoulder, trace along side body while bending opposite knee, place foot in flyer's hip
crease. Remove second foot and place in hip crease for Straddle Bat
FLYER: Bend arms, squeeze elbows in, active resistance through arms, maintain piked straddle
BASE: From Star bend elbows, find active resistance through arms, elbows squeeze in . Bend knees and extend legs to pop flyer up, keep
legs close to flyer's side body, press through arms to slow decent, feet ready to catch hip crease in Straddle Bat
FLYER: Bend arms, squeeze elbows in, find active resistance through arms, maintain piked straddle, press through arms to slow decent
BASE: Stabilize flyer on one leg, hug leg in to center. Bend arms to allow flyer's chest to come down , place other foot
to hip crease for Straddle Bat
FLYER: Pike through leg on base's foot, turn torso to look between arms , circle other leg up and over, place leg on
base's foot for Straddle Bat
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pike down through bottom leg to create shelf for Side Star, keep body
flyer's th igh
FLYER: Press through arms as base releases foot, draw knee towards
armpit to offer th igh, place foot on base's shin
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BASE: From H igh Flying Whale switch grip to reverse foot to hand . Bend
BASE: As flyer sits up press through leg, use toes on other leg to help
arms, remove one foot, knee and place foot to flyer's upper thigh
flyer's chest rise. Step other foot to flyer's thigh , stra ighten both legs anr'
BASE: Bring free foot to flyer's shoulders, turn toes in , extend through leg as flyer turns to support torso , turn toes down to wa istband ,
catch flyer 's top foot as it comes over. Extend arms, feet parallel either side of spine
FLYER: Keep arm straight to lift chest, maintain pike of lower leg, slowly bring top leg over once base's foot is at shoulders , lift hips.
Release arm once base transitions second foot in place
BASE: Keep arms straight, step one foot to flyer's hip at a t ime for Front Bird
FLYE R:
Keep arms stra ight, lift one leg at a time and extend back to Front Bird
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BAS E: From Front Bird take reverse hand to hand grip. Find active
resistance in arms, remove one foot, bend knee to place foot to flyer's
shoulder
FLYER: Take reverse hand to hand grip, find active resistance in arms,
pike through leg as base removes opposite foot, allow shoulders to
come towards base's foot
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BAS E: Receive flyer's weight by bending knee deeply, take hands widr
turn palms up to open flyer's shoulders . Once flyer's hips are over
shoulders press through leg to step other foot to flyer's shoulder
F LYER : Split legs to stack hips over shoulders, press through arms
BASE: Transition to reverse hand to hand grip, find active resistance in arms. Step one foot out from
flyer's shoulder, bend opposite knee to lower flyer, place free foot at flyer's hip, flex foot to receive
flyer's torso. As weight transfers bend knee and press through arms to lift flyer's chest, remove
second foot and place at flyer's hip for Front Bird
FLYER: Transition to reverse hand to hand grip, find active resistance in arms, split legs to lower one
hip to base's foot. Press through arms to lift chest, lift gaze
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CORKSCREW
BASE: From Folded Leaf take hand to hand grip as flyer turns
torso, find active resistance through arms . Turn flyer with hips,
step one foot out from hip, bend knee deeply, place foot on
flyer's shoulder
FLYER: Turn torso, take hand to hand grip, find active res istance
through arms, maintain piked straddle through l'e gs
BASE : Press through leg to release other foot. Press through arms, place
other foot to flyer's shoulder, extend both legs and arms for Star
F LYER : Press through arms, maintain piked straddle through legs
CATHERINE' S WHEEL
BASE: From Front Bird raise arms ready to receive flyer's shoulders.
Bend knees to lower flyer into Free Shoulderstand, point toes to raise
flyer's hips over shoulders
F LYER: Place hands on base's forearms, fingertips towards the ground,
squeeze elbows in , keep body straight and engaged
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BASE: Take legs outside and around flyer's torso, bend knees
and place feet towards flyer's buttocks. Press arms through
legs to direct flyer's chest towards backbend
F LYER: Switch grip to cup around outside of base's forearm,
bend knees, begin to backbend to take legs over, use arms for
resistance as legs decend and buttocks land on base's feet
BAS E: Find active res istance through arms, as flyer turns hips remove foot from opposite shoulder, bend arms and knee to lower
flyer, step foot to flyer's hip crease, use hips to turn flyer, place other foot to hip crease for Folded Leaf
F LYE R: Find active resistance in arms, begin to turn hips, mainta in piked straddle. Bend elbows as chest lowers, press through leg
as base places foot to hip crease, turn torso to face base's legs
BASE: Support flyer's hips with feet, trans ition to reverse foot to hand
grip, bend arms until elbows are on the ground directly under wrists ,
squeeze elbows in. Use toes to press flyer up to standing in Low Reverse
Foot to Hand
FLYE R: Release arms along side waist, use core to lift chest to sit on
base's feet and stand into Reverse Foot to Hand . Squeeze legs in , allow
feet to flex deep ly, lift gaze up
BASE: Bring legs through flyer 's legs, feet parallel , place on the hips
as flyer leans forward, release flyer's feet away for Front Bird
FLYER : Lean hips forward once base's legs come through , keep
gaze and chest lifted , lift legs up and back
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TUMBLEWEED
BASE: From Star bend arms, find active resistance, remove one foot and trace
down flyer 's back to sacrum for Back Bird, release and replace other foot
FLYER: Bend arms, find active resistance, stag one leg, as base places foot
allow weight to transfer back into back bend
REVERSE TUMBLEWEED
BASE: From Back Bird take hand to hand grip, find active resistance
through arms, step one foot to flyer's shoulder. Once flyer's hip are over
shoulders extend through leg, place other foot, extend both legs for Star
FLYER: Take hand to hand grip, bend arms , find act ive res istantce, split
legs to stack hips over shoulders , extend straight to Star
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BASE: Place feet to flyer's shoulders, bend knees deeply to allow flyer to stack hips over shoulders, transition hands one at a time to hand
to hand grip and press legs straight to find Star
FLYER: Pike forwards to place shoulders on base's feet, take hands to base's shins, fingertips point towards ground, squeeze elbows in ,
press legs up into piked straddle, transition one hand at a time to hand to hand grip, extend up to straight
BASE: Take foot to hand grip, bend knees to free flyer's head and
shoulders, keep legs up to aid flyer into Low Foot to Hand
FLYER: Place feet into base's hands, release grip, use core to stand up
into Low Foot to Hand , use hands on base's legsjfeet if needed
BASE: Take legs through flyer's legs, place feet at low back, bend knees
to receive flyer's hips, release feet away, extend legs for Back Bird
FLYER: Sit onto base's feet as they arrive at lower back, arch spine and
stag one leg for Back Bird
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soul has been a grounding chord for me, thank you for all the ways you
To Janet Stone, for opening your family to me and being such a consistent
friend .
To my Mom, for all your support from birth until now, your love and
teachings are the foundation of my being and I will always see you as
my first teacher of yoga, meditation, and how to be a loving human .
To )ai Uttal, for teaching me to fall in love with my voice and teach ing me
how to invite others to do the same.
To Carolyn Cohen, for being the first student of AcroYoga , without you
none of this would have happened .
To Francisco Morales-Bermudez, for your brotherhood and support.
To Tim & Tara Dale, for being the first people to say yes to AcroYoga.
To the Thai Circus Family, for being the cousins I never knew I had , for
opening your practice to ours and building a big global family of metta
monkeys .
To Dr. Scott Blossom , for your ins ight into healing arts , amazing intellect
on so many topics and for playing music for spirit and fun .
To Dr. Eric Ruben, for being one of the most skilled healers to every lay
hands on me, your ability to help the body find balance is a huge source
of inspiration .
For being my biggest supporter in all ways . You not only said yes to
To Alexandra Ruiz, for being one of my best friends , for creating a home
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To Rusty Wells, for your huge generosity, big heart and bhakti seeds .
amazing leader.
To Jennifer Yarro, for your dedication to sharing healing arts, for teaching
me how to use x-ray vis ion and for bringing your skills and passions to
the world .
To David Lurey, for bringing bhakti to so many AcroYogis, for being an
example of a man living with integrity, for being one of my best friends .
To Adam Rinder, for being there from the start, for singing, for inspiring
so many to become more bright.
To )onny Nobleza, for your amazing studentship for being my flyer and
brother. For helping me become a mus ician.
To Chris Loebsack, for the constant support that you offer to me and the
practice. For being so strong and soft.
To juan P, for building an AcroYoga army in South America . Your ability to
live AcroYoga has produced one of the strongest communities on Earth .
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