Yoga Blue Fitness

Yoga Blue Fitness
Asana Guide
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Notes On The Asana Section
Each pose description includes:
• Photo of the pose (including common variations, if relevant)

• Pose name, translation and pronunciation (if relevant)
• Purpose
• Key points
• Prop options
• Cautions
• Pose variations
• Cueing: position
• Cueing: action
Yoga’s growing popularity has led to a wild proliferation of yoga styles as well as yoga poses.
While this growth has led a wonderful diversity in practice, it has also led to some confusion in
terms of the names of asana. Different styles favor practicing different poses, may practice them
differently, and might call them by different names.
For this reason, this section is not meant to be a definitive encyclopedia of asana; it is intended to
provide you with a sensible platform for understanding the more commonly practiced yoga shapes
and act as a starting place for your own continuing exploration of asana. There are an infinite
number of variations, modifications, prop options, cautions, benefits, and cues that are not
included here - and many more “expressions” of poses that undoubtedly be created as yoga
evolves.
“Classical” Expressions
Any reference to a “classical” expression of a pose indicates that the shape is based on how the
pose is practiced in the Iyengar or Ashtanga lineage. These forms are not better or more authentic
than expressions from another lineage; they are simply shapes with which I am familiar and that
tend to be widely recognized.
Cueing
The suggestions for cueing are intended to be generally sensible, but are in no way a complete
explanation for how to instruct the poses. The cues are meant to provide helpful context as well
as inspire your own imagination and creativity. Ultimately, the actual teaching of the pose will be
informed by many factors, such as the level of your students, your class intention, the class style,
and your personal teaching style.
Organization
The organization of the asana section is designed to illuminate commonalities between postures in
order to support your teaching and sequencing work.
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The poses are grouped into pose “families,” which share similar characteristics. Within each family,
the poses are generally ordered from most accessible to most complex. Accessible poses can be
practiced by the majority of students, while complex poses are more challenging. However, just
because a pose is “accessible” does not mean that it is easy. Consider chair pose; while this pose is
accessible for most practitioners, it’s also very challenging to hold for any length of time.
Generally speaking, poses are either symmetrical (in which both sides of the body are doing the
same thing) or asymmetrical (in which each side of the body is doing something different).
Symmetrical poses are generally more accessible than asymmetrical poses.
Sanskrit
Yoga pose are often translated very literally. Understanding a few key words will help you to
memorize the names of the poses.
Note: there are sounds in Sanskrit that do not exist in the English language and there may be
some variation in how a pose is transcribed into English. The poses in this manual are written
without diacritical markings.
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Sanskrit English Sanskrit English
adho downward kapota pigeon
anga limb kona angle
angusta big toe mala garland
ardha half mayura peacock
asana seat, posture mukha face
ashta eight mula root
baddha bound nava boat
baka crow pada foot
bhujanga serpent, cobra padma lotus
chandra moon parivrtta revolved
chat/chatur four parsva side
danda staff paschima west
dhanu bow pincha tailfeather
dwi two prasarita spread out
eka one pursvo east
garuda eagle raja king
go cow salabha locust
hala plow sarvanga all limbs
hasta hand sava corpse
indra/endra lord siddhi adept
janu knee sirsa head
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Sanskrit English
sukha sweet
supta reclining, supine
surya sun
svana dog
tada mountain
tri three
urdhva upward
ustra camel
utkata fierce
utt intense
uttan stretch
utthita extended
viparita inverted
vira hero
virabhadra warrior
vrksa tree
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Meditation Poses
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Meditation Poses: Overview
Meditation poses are often practiced at the beginning and end of class to help students transition
into their practice and transition from savasana back to their lives. These poses literally bring
students close to the earth and are generally grounding.
With the exception of balasana (child’s pose), these postures are often used for seated pranayama
or meditation as they help to keep the spine tall and aligned. Although balasana is included here, it
is not generally used for meditation, but is rather utilized as a resting position during the practice.
Benefits:
Risks:
Sequencing Tips:
 These poses are often used at the very beginning or the end of practice.
 They facilitate inward focus and self-awareness.
Teaching Tips:
While these poses may seem simple, they can be quite challenging for the average practitioner
who may have tighter hips. Use props liberally to help the student find a position where the sitting
bones can be well-rooted and the spine can find effortless height.
Poses where the knees are fully flexed (such as siddhasana, virasana or padmasana) can be
challenging for students with knee issues. Modify accordingly. For an all levels practice,
padmasana is generally inaccessible.
Poses sitting on the tops of the feet (balasana, virasana, vajrasana) can be uncomfortable for
students who have stiff ankles. Consider propping under the ankle with a small rolled up towel or
a blanket to ease the tension across the joint.
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Balasana
Bah-LAH-sana
“Child’s Pose”
• Releases the back body

Purpose
• Calming, relaxing, grounding
• Thighs neutral (not rotated)
• Knees usually as wide as the ribs
Key Points • Pelvis is heavy on heels
• The weight of the body is passive, unless you are using the
pose as an active shoulder opener
• Block or blanket between shins and hips
Prop Options • Blanket between thighs and belly
• Block under forehead
• Tight lower back, which would keep the pelvis lifted far
from the heels (recommend prop between shins and thighs)
Cautions • Compression of front of hip

• Unsupported head (recommend support with block)
• Anterior ankle tension (support ankle with rolled up towel)
Pose Variations • Knees wide (inner thigh stretch)
• Knees together (encourages spinal flexion)
• Arms forward or back, active or relaxed
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• Head turned to side
• Twisted child’s pose
“Set your hips back on your heels and lay your torso on your
thighs.
Cueing: Position
Rest your head on the floor or a block.
Relax your shoulders and your arms.”
“Breathe deeply.”
“Release your belly.”
Cueing: Action “Soften your shoulders/face jaw.”
“Let your pelvis get heavy.”
“Release your body weight to the floor.”
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Sukhasana
Soo-KAH-sana
“Easy Seat”
With block Without block
• Provides a steady seated platform for a tall spine

• Generally, a more accessible seated pose for practitioners
Purpose
• Often used for seated meditation or pranayama or for class
opening
• Spine is effortlessly tall

• External rotation of the hip
• Head, shoulders, hips stacked
Key Points
• Knees are lower than hips
• Ankles are under the knees (not crossed in front of pubic
bone) and shins are crossed in the middle
• Block or chip foam block under sitting bones

Prop Options • Sit upon a tall enough seat so that the knees can relax down
and the spine does not round
• Knees lifted too high

Cautions
• Spine rounded/collapsed
• Siddhasana, virasana, vajrasana, savasana

Pose Variations
• Hand positions can vary
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“Come into a comfortable, cross-legged seat.”
Cueing: Position
“Cross your legs at mid-shin.”
“Root into your sitting bones to lift up through your spine.”
Cueing: Action “Soften your front ribs in as you widen your collarbones.”
“Lift tall through the crown of the head.”
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Vajrasana
Vaj-RAH-sana
“Vajra’s Seat”

Purpose • Often used for seated meditation or pranayama or for class
opening
• Feet and ankles together

• Neutral hip
• Sitting on heels
Key Points • Spine is effortlessly tall
• Head stacked over hips
• Thighs parallel and in line with hip points
• Sitting bones well rooted to feet
• Bolster/ blanket/ chip foam block: can place between shins

Prop Options and seat
• Small blanket roll for under front of ankles
• Knee issues/ pain (need to sit higher or choose alternate

pose)
• Ankles over stretched (place rolled wash cloth or blanket
Cautions under ankle hollow to support)
• Ankles sickled out (gather outer ankles in)
• Spine rounded/ collapsed, or overarched
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• Sukhasana, virasana, savasana
Pose Variations
“Bring your feet and ankles together and come to sit on your
Cueing: Position
heels. Lift tall through your spine.”
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Virasana
Vee-RAH-sana
“Hero’s Seat”
With block Without block

Purpose • Often used for seated meditation, pranayama or for class
opening

• Neutral hips
Key Points • Head stacked over hips

• Thighs parallel and in line with hip points
• Sitting bones well rooted to prop or floor
• Block(s) or chip foam block under sitting bones. Most
practitioners will prefer to sit on at least one block.
• Place the block wide horizontally (rather than long) to create a
wide platform for seat
Prop Options • Sit upon enough props so that the spine can be effortlessly
tall
• Bolster: can place between shins and seat
• Strap between calf and thigh at knee joint (to create space in
joint)
Cautions • Knee issues/pain (need to sit higher)
• Ankles over stretched (place rolled wash cloth or blanket
under ankle hollow to support)
• Ankles sickled out (gather outer ankles in)
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• Spine rounded/ collapsed, or overarched
• Vajrasana
Pose Variations
“Place a block between your ankles on its widest setting. Sit on the
block with your thighs parallel and hip width apart. Hug your ankles
Cueing: Position
into the block so that your feet and toes are pointed straight behind
you. Lift tall through your spine.”
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Siddhasana
Sih-DAH-sana
“Adept’s Pose”

opening
• External rotation of hips
Key Points • Head, shoulders, hips stacked
• Ankles are lined up at the pubic bone
• Sit upon a tall enough seat so that the knees can relax down
Prop Options and the spine does not round
joint)
• Knee pain (need more external rotation at hip. Sit on a block, or
Cautions change the pose)
• Spine rounded/ collapsed
• Sukhasana, virasana, vajrasana, savasana

Pose Variations
Cueing: Position “Align your heels at your pubic bone.”

Cueing: Action “Root into your sitting bones to lift up through your spine.”
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“Soften your front ribs in as you widen your collarbones.”
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Padmasana
Pad-MAH-sana
“Lotus Pose”

opening
• Lotus is not a pose for the average practitioner as it requires a
high degree of external rotation at the hip. It is included here for
informational purposes. However, it is not an appropriate pose
for a general all levels class.
• Both thighs are externally rotated
Key Points
• Head, shoulders, hips stacked
• Ankles are lined up at the pubic bone
• Block or blanket under ungrounded knee
Prop Options
joint)
• Knee pain (need more external rotation at hip, sit on a block, or
change the pose)
Cautions • Ankle flexion
• Spine rounded/ collapsed
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• Sukhasana, siddhasana
Pose Variations
Cueing: Position To be taught by teacher.
Cueing: Action “Root into your sitting bones to lift up through your spine.”
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Surya Namaskar/Vinyasa
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Surya Namaskar: Overview
• Surya = sun
• Namaskar = honoring
Surya namaskar (sun salutations) are a series of postures linked together with the breath to form a
seamless circular flow of movement that starts and ends in tadasana. Surya Namaskar A and B
from the ashtanga tradition are two common forms of this practice, but there are other variations
of the flow from different styles of yoga that may incorporate different poses. Regardless of the
exact poses, the intention of sun salutations is generally the same.
Benefits:
Risks:
A portion of the sequence (downward dog - plank - chaturanga - backbend - downward facing
dog) is often referred to simply as “taking a vinyasa” and is often used during flow style classes to
heat in the body and maintain movement.
Sequencing Tips:
• Sun salutations are generally practiced at the beginning of a class in order to help warm up
the major muscles and joints of the body.
• Surya namaskar B is more challenging than surya namaskar A and incorporates chair and
warrior one.
• These series are often adapted to serve the sequencing needs and level of the class.
• In flow and power style classes, sun salutations are often used as a “backbone” upon which
various poses are incorporated.
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Teaching Tips:
• For an all levels class, it is helpful to teach the sun salutation slowly the first time in order
to make sure all students are familiar with the appropriate adaptations and modifications
that they can use.
• When teaching surya namaskar as a flow (that is, one breath per movement), keep a
rhythmic cadence to the breath and maintain the pace of the series.
• Observe your students to ensure that your pacing is generally matching the needs of your
class.
• When teaching in the vinyasa style, there is often less time to cue alignment. Choose
simple stabilizing cues to help students avoid risks in their transitions.
As a simple starting place, we use the Ashtanga surya namaskar A as a reference series. While
knowing the classical version of the series is helpful, you may choose to adapt the series to adhere
to a different lineage or class intention.
Starter Script for Surya Namaskar A

(Ashtanga):
Stand in Tadasana
Inhale - Lift your arms up (urdhva hastasana)
Exhale - Forward fold (uttanasana)
Inhale - Halfway lift (ardha uttanasana)
Exhale - Chaturanga (or exhale to plank and lower halfway down, knees optional)
Inhale - Backbend (baby cobra or upward dog)
Exhale to downward dog
 Stay for 5 breaths (this is an excellent time to cue to Universal Actions)
 At the end of the fifth exhale, jump or step forward and...
Inhale - Reach the arms up (urdhva hastasana)
Exhale – Tadasana
Starter Script for Surya Namaskar B (Ashtanga):

Stand in Tadasana
Inhale - Bend your knees and lift your arms up (utkatasana)
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Inhale - Right foot forward to virabhadrasana one
Inhale - Left foot forward to virabhadrasana one
Stay for 5 breaths (this is an excellent time to cue to Universal Actions)
At the end of the fifth exhale, jump or step forward and...
Inhale - Bend knees and reach the arms up (utkatasana)
Exhale – Tadasana
Surya Namaskar C (more accessible)

Stand in Tadasana
Inhale - Step your left foot back (low lunge)
Inhale to plank
Exhale - Chaturanga (or knees, chest, chin)
Inhale - Backbend
Exhale to downward dog (5 breaths)
Inhale - Step the left foot forward low lunge
Exhale – Tadasana
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Common modifications of the sequence:
• Feet together or hip distance apart
• Directionality of arm lift (to sides or forward)
• Bringing hands to the heart or to sides
• Adding backbend in urdhva hastasana
• Type of backbend used (cobra or upward facing dog)
• Knees - chest - chin rather than chaturanga
• Swapping virabhadrasana one (surya namaskar B) with a low lunge, high lunge or
alternative
• Stepping back into a lunge position from ardha uttanasana rather than stepping forward
from downward dog (more accessible and removes the jumping forward and back options)
Jumpings
Jumpings in a sun salutation occur when the practitioner takes both feet off the floor from the
transition from ardha uttanasana to chaturanga, or from downward facing dog to ardha
uttanasana. In a jumping, the full weight of the body is briefly born by the hands and upper body.
An effective jump eventually looks more like a “float.”
Jumping effectively and safely requires a great deal of body awareness, upper body strength, and
core connection. A common risk with jumping back to chaturanga is landing with too much impact
to the shoulders or the low back. As a general guideline, practitioners should not try jumping back
until they have the strength and awareness to hold chaturanga for at least five breaths.
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Surya Namaskar A
SUR-ya Na-mah-SCAR(ah)
“Sun Salutation A”
Tadasana Urdhva Hastasana Uttanasana Ardha Uttanasana
Chaturanga Dandasana Urdhva Mukha Svanasana Adho Mukha Svanasana (5)
Ardha Uttanasana Uttanasana Urdhva Hastasana Tadasana

Purpose • Warms up the major muscles of the body
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• Links breath with movement
• Mobilizes the major joints
• Warms up the hamstrings
• Stretches the spine
• See individual asana notes
• Used with flow and vinyasa styles
Key Points
• May be used to heat the body and warm up major muscles
• Practice with ujjayi
• Usually none as it is practice in a flow

Prop Options
• Can include props for specific alignment intention.
• Chaturanga: dropping shoulders or collapsing lower back

• Urdhva mukha svanasana: hyperextension of lower back
• Moving too fast or too quickly
Cautions
• Not breathing
• Jumping when not ready
• Jumping and “jarring” the body
• Surya namaskar A as described here is from the Ashtanga
vinyasa tradition. There are many other variations and
modifications of this series.
• This series is often used in flow styles to anchor the practice.
Pose Variations • The series from plank through downward dog is sometimes
called “taking a vinyasa.”
• Incorporate plank into series
• Knees down for plank/chaturanga
• Baby cobra instead of upward dog
Cueing: Position “Inhale, lift your arms overhead.
Exhale, forward fold.
Inhale, halfway lift.
Exhale, chaturanga (or step back to plank and lower, chaturanga).
Inhale, upward facing dog (or baby cobra).
Exhale, downward facing dog.
Take five breaths.
Exhale completely and walk (step, jump) to the front of
the mat.
Inhale, halfway lift.
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Exhale, forward fold.
Inhale, rise to stand arms up.
Exhale, tadasana”.
It is recommended to incorporate a simple stabilizing cue when
transitioning between poses to support risk factors.
For example, cueing “Keep the chest wide as you lower to chaturanga”
Cueing: Action will help the student avoid dropping the shoulders forward during this
transition.
In general, cueing surya namaskar should be at an even tempo, as the

intention is to maintain a flowing movement and warm up the body.
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Cat/Cow
FYI: Sanskrit names (rarely used) are
Marjaryasana (cat) and Bitalasana (cow).
Cat Cow
Dancing Cat Dancing Cow
• Moves the spine in flexion and extension

• Often used to warm up at the beginning of class
• Begins to link breath with movement
Purpose
• Warms up shoulders and hips
• Often a preparation for sun salutations or vinyasa style
movements
• Hands outer shoulder distance apart

Key Points • Knees under hips
• Option to add extended arm and leg (“dancing cat”)
• Blanket under knees to prevent pressure on the knee joint

Prop Options
• Wedges under wrist if weight-bearing on wrists is challenging
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• Bent elbows
• Wrist injury
• Back injury
Cautions
• Shoulders hunched around ears (elevating)
• Hands unrooted (especially inner hands)
• Too much pressure on knees (use a blanket or chip foam block)
• Add reaching arm and leg (“dancing”)
Pose Variations
• Hold static to work core strength
“Come onto all fours with your hands outer shoulder distance apart and
your knees under your hips. As you inhale, draw your chest forward
through
Cueing: Position
your arms and lift your tailbone up. As you exhale, round your back to
the
sky and release your neck.”
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Ardha Uttanasana
AHR-dah Oo-tah-NAH-san
“Prepare Pose/ Halfway Lift”
With blocks Without blocks
• Often used in surya namaskar before chaturanga

• Lengthens spine
• Opens chest
Purpose • Backbend in upper back
• Prepares upper body for step or jump back
• Stretches hamstrings
• Lengthens the side waists
• Feet hip distance apart or together
• Feet parallel
• Hips over ankles
Key Points
• Chest reaches forward into spinal extension
• Ankles and hips stacked
• Palms flat if possible
Prop Options • Hands on blocks

• Lack of spinal extension
Cautions • Hyperextension of neck
• Hyperextension of knees
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• Feet hip distance or together
Pose Variations
• Bent knees
Cueing: Position “Inhale reach your chest forward.”
“Lift your inner arches as you hug your shins towards each other.”
“Press firmly through all four corners of your feet.”
“Reach your sternum forward.”
Cueing: Action Lift strongly through your quads/ front thighs as you lengthen your
sitting bones down.”
“Root down through your feet as you stretch forward through your
chest.”
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Adho Mukha Svanasana
AH-doh MOO-kah Shvah-NAH-sana
“Downward Facing Dog”
Classical Puppy Dog: Less weight bearing

through hands & wrists
• Lengthens spine
• Opens hamstrings, opens calves
• Mild inversion
Purpose
• Strengthens upper body, trains shoulders to externally rotate,
preparation for hand balances
• Advanced: resting pose
• Hands rooted evenly and firmly
• Shoulders externally rotated; forearms pronated
• Feet parallel and hip distance apart
Key Points
• Spine is long and neutral
• Hips reaching strongly up and back
• Thighs lifting firmly
• Heels reaching towards the floor (do not necessarily touch)
Prop Options • Heels at wall
• Feet on blocks
• Hands on blocks
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• Block between upper thighs
• Strap around upper arms
• Spine rounding or overarching (should be neutral)
• Shoulders internally rotating, “hunching”
• Elbows bent
• Elbows hyperextended
Cautions
• Inner hands unrooted
• Heels turning in or out
• Wrist and shoulder injury: consider puppy dog or other non-
weight bearing option
• Puppy dog
• Length of stance may vary; shorten stance to find more rooting
Pose Variations through feet; lengthen stance to find more space.
• Warrior three with hands at the wall, “L-shape
“From all fours, walk your hands forward one hand’s length. Ensure your
Cueing: Position hands are outer shoulder distance apart. Root firmly through your hands
as you lift your hips up and back into Downward Facing Dog.”
Diagonal dual action: “Root into the inner edges of your hands as
you wrap your outer arms in.”
Cueing: Action “Press firmly into your hands as you stretch your hips up and back.”
“Bend your knees to lift your hips higher.”
“Press your upper thighs back and up as you sink your heels down.”
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Plank
Sanskrit name (rarely used) is phalakasana.
Modified with knees down
• Strengthens the legs

Purpose • Strengthens the shoulders
• Strengthens the core
• Spine is neutral
• Core engaged
Key Points • Legs are strongly engaged
• Root through hands to lift chest (don’t collapse)
• Find tadasana alignment in the plank
• Wedge for wrists
Prop Options • Block between upper thighs
• Strap between upper thighs
• Collapsing upper back (lack of serratus anterior engagement)
Cautions • Collapsing lower back (lack of core engagement)
• Wrist injury (modify on forearms)
• On forearms
Pose Variations
• Knees down
“From all fours, bring your hands or forearms to the earth, outer
Cueing: Position
shoulder distance apart. Step each foot back to come into plank.”
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“Lift your hips slightly as you lengthen your sitting bones to your
heels.”
“Draw your bottom ribs in as you draw your shoulders onto your
back.”
Cueing: Action “Reach your chest forward as you stretch back through your heels.”
“Lift your quads strongly.”
“Press strongly through your hands as you widen your chest.”
“Engage your legs.”
“Relax your face.”
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Chaturanga Dandasana
Chat-ur-AHNG-gah Dahn-DAH-sana
“Four Limbed Staff Pose”
Modified with knees down

Purpose • Strengthens the legs
• Strengthens the shoulders
• Spine is neutral
• Find tadasana in chaturanga
Key Points • Core strongly engaged
• Legs are strongly engaged
• Scapulae are well stabilized on the back
Prop Options • Blocks under pelvis

• Collapsing shoulders
• Lower back collapse (lack of core engagement)
Cautions
• Shoulder injury (do navasana or alternate non-weight bearing)
• Wrist injury (do on forearms)
• Plank
Pose Variations • Lower knees
• Navasana
“From plank, root your hands and keep your collarbones wide as you
Cueing: Position
lower half way down to chaturanga.”
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“Widen your collarbones to keep your shoulders on your back.”
“Root your inner hands into the floor.”
“Reach your chest forward as you stretch back through your heels.”
Cueing: Action “Lift your quads strongly.”
“Lengthen your tailbone to your heels.”
“Keep your chest and pelvis in one line as you lower down.”
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Neutral Standing Poses: Symmetrical
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Standing Poses Overview
Standing poses (that is, poses that involve standing on the feet) are foundational to the yoga
practice. Generally accessible to a wide variety of practitioners, standing poses strengthen and
open the body as well as prepare the body for more complex poses such as inversions, backbends,
and arm balances.
Standing poses can be divided into two basic categories based on the action of the hip joint in the
transverse plane.
• Neutral standing poses: the hip is neutral or working towards neutral
• Externally rotated standing poses: at least one hip is externally rotated
Symmetrical and Neutral

As a general rule, poses that look like tadasana (that are symmetrical and neutral) are the most
accessible for the body to do. These include:
• Tadasana
• Uttanasana (forward fold)
• Utkatasana (chair)
Externally Rotated Standing Poses

Externally rotated standing poses are also fairly accessible. These are poses in which at least one
thigh is working strongly in external rotation. These include:
• Virabhadrasana two (warrior two)
• Parsvakonasana (side angle)
• Vrksasana (tree)
• Trikonasana (triangle)
• Ardha chandrasana (half moon)
• Utthita hasta padangusthasana B (standing hand to foot pose with the leg to the side)
Asymmetrical Neutral Standing Poses

The largest category of standing poses is the asymmetrical neutral poses. Although some of these
poses are quite accessible (for example, low lunge, high lunge, twisted chair), this category also
contains some of the most challenging standing poses (revolved triangle, warrior three).
We will break the standing poses down into four families to look at them more closely. They are
ordered (generally) from most accessible to most complex:
• Neutral Symmetrical Standing Poses
• Externally Rotated Standing Poses
• Asymmetrical Neutral Standing Poses
• Asymmetrical Neutral Standing Poses – Twists
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Symmetrical Standing Poses Overview
Symmetrical standing poses are the most accessible standing poses and closely resemble tadasana.
However, “accessible” does not always mean that they are easy! Consider chair pose; although this
pose is available for most practitioners, it can be very challenging to practice.
Like tadasana, the foundation of these poses is hip distance apart or feet together with the feet
parallel. Place the feet hip distance for a more stable position; place the feet together to
encourage more muscular activation and connection to the midline.
Benefits:
Risks:
Sequencing Tips:
• Because they are so accessible, symmetrical neutral standing poses can be placed
anywhere within a sequence easily.
• Common component parts:
 Neutral hips
 Midline (engagement of adductors)
 Outer hips hugging in (engagement of abductors)
Teaching Tips:
• Because these poses resemble tadasana, they can be useful poses in which to assess your
student’s alignment and his or her common compensations. For example, a student that
likes to jut her ribs forward in tadasana will often repeat this movement pattern in all her
other poses.
• These poses are often brought to life by internal actions. Although the external shape of
the pose may be simple, incorporating your Universal Actions will enliven the internal
experience.
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Tadasana
Ta-DAH-sana
“Mountain Pose”
Establishes the principles of action needed for all poses
• Sets a clear alignment foundation

• Reveals common misalignments
• Calms the mind
Purpose
• Grounding, stabilizing
• Sets a home base for reconnecting to breath and body
• Resting pose
• Feet hip distance apart or together
• Feet parallel
• Balanced action in pelvis and shoulder girdle
Key Points
• Opens chest
• Ankles, hips, and head aligned
• Eyes and face soft
• May do with back against wall
Prop Options
• May use blocks between thigh to create “hugging to center”
Cautions • None for an average practitioner

Pose Variations • Hands facing side or forwards
• Eyes open or closed
Cueing: Position “Stand with your feet hip distance apart (or together) and parallel. Lift
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through the crown of your head as you stretch your fingertips by your
sides to the floor.”
Cueing: Action Universal Actions:

“Press firmly through all four corners of your feet.”
“Lift strongly through your quads.”
“Press the top of your thighs back as you lengthen your sitting bones
down.”
“Lengthen through all four sides of the waist.”
“Soften your front ribs in as you draw your shoulders back.”
“Lift the chin slightly as you lengthen the back of your neck.”
“Lengthen through all four sides of your neck.”
“Soften your eyes.”
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Urdhva Hastasana
URD-vah Hah-STAH-sana
“Upward Hand Pose”
Hands apart Palms pressing together
Purpose • Often the second pose in a vinyasa flow after Tadasana

• Opens shoulders in flexion
• Lengthens the side waists
• Grounding, stabilizing
• Creates root rebound between earth and sky
Key Points • Feet hip distance apart or together
• Feet parallel
• Shoulder stacked over pelvis
• Hands reaching to sky
• Upper arms in external rotation
• Lifts side waists
• Ankles, hips, and head aligned
• Eyes and face soft
Prop Options • Back against wall
• Blocks between thigh to create “hugging to center”
• Strap for wrists (looped or holding)
• Block between hands
Cautions • Hunching shoulders
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• Loss of external rotation of upper arms
• Elbows bent
• Splaying ribs
• Loss of tadasana alignment through compensation
Pose Variations • Feet hip distance or together
• Palms together (less accessible) or apart
Cueing: Position “Stand with your feet hip distance apart (or together) and
parallel.
Reach your arms up to the sky.”
Cueing: Action “Press firmly through all four corners of your feet.”
“Lift strongly through your quads/ front thighs as you lengthen your
sitting bones down.”
“Soften your front ribs in as you draw your upper arm bones back by
your ears.”
“Bring your chin level with the floor.”
“Lengthen through all four sides of your neck.”
“Root down through your feet as you stretch up through your
fingertips.”
“Soften your eyes.”
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Utkatasana
Oot-kah-TAH-sana
“Fierce Pose” aka “Chair”
Purpose • Heats the body

• Opens the shoulders
• Feet parallel
• Weight in heels
• Spine neutral (unless you are practicing a backbend variation)
Prop Options • Holding strap
• Strap around wrists
• Block between thighs
Cautions • Inner arches collapsing
• Tucked tailbone
• Over arched lumbar spine
• Shoulder injury (use cactus arms or an arm variation)
• Weight in toes (may be hard on knees)
• Arm variations: palms together, mudra, hands interlaced behind
back
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• Adding backbend
• Adding props
• Balancing: lift one foot
Cueing: Position “Bend your knees, put your weight into your heels, sit your hips back
and down and reach your arms forward and up.”
Cueing: Action “Lift your inner arches as you hug your outer ankles in.”
“Press your upper inner thighs back as you lengthen your sitting bones
down.”
“Lengthen through the sides of the waist.”
“Draw the ribs in as you bring your shoulders onto your back.”
“Straighten your arms. Reach through your fingertips.”
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Uttanasana, Padangusthasana, Padahastasana
Oo-tan-AH-sana, Pah-dan-goo-STAH-sana, Pah-dah-hah-STAH-sana
Forward Fold, Big Toe Lock, Hands Under Feet
Elbows clasped Uttanasana Padangusthasana Padahastasana
Purpose • Opens hamstrings

• Opens back line of body
• Releases neck
Key Points • Feet hip distance apart or together (more advanced)
• Feet parallel
• Four corners of feet firmly rooted
• Lifting evenly through quads and hamstrings
• Hips over ankles
• Thighs pressing out as shins hug in
Prop Options • May hold strap behind back and lift strap to sky (adding shoulder
stretch)
• Hands on blocks
• Block between thighs
Cautions • Over rounding lower back
• Weight only in heels
Pose Variations • Bent knees
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• Hand/arm variations
• Holding toes (padangusthasana)
• Hands under feet (padahastasana)
• Elbows clasped
• Elbows clasped behind shins
Cueing: Position “Bring your hands to your hips. Inhale to lift your chest, exhale to
forward fold. [Cue appropriate hand variation.] Root through your feet
and lift through your hips to straighten your legs.”
“To come out, inhale halfway lift. Bring your hands to your hips.
Engage your core and inhale to lift up to a standing position.”
Cueing: Action “Hug your legs to the midline.”
“Release your head and neck.”
“Lift your shoulders away from your ears.”
“Lift strongly through your quadriceps and hamstrings.”
“Hug your shins in as you press your upper thighs apart.”
“Draw your shoulder blades up and into your back.”
“Widen the backs of your thighs and lift your hips.”
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Prasarita Padottanasana
Pra-sah-REE-tah Pah-doh-tah-NAH-sana
“Wide Legged Forward Fold”
A B
C D
Purpose • Stretches hamstrings

• Stretches adductors
• Mild inversion
• Releases neck
Key Points • Feet wide
• Feet parallel
• Four corners of feet firmly rooted
• Lift evenly through quads and hamstrings
• Lift inner arches as shins hug in
• Backs of thighs lift
• Sitting bones wide (if need more space)
• Sitting bones together (if need more stability)
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Prop Options • May hold strap behind back and lift strap to sky (adding shoulder
stretch) - version C
• Hands on blocks
Cautions • Over rounding lower back
• Feet not parallel
• Shoulders dropped toward floor
• Twist
• Hands hold backs of heels
• Elbows clasped
Cueing: Position “Bring your hands to your hips. Inhale to lift your chest, exhale to
forward fold. (Cue appropriate hands.) Root through your feet and lift
your hips up.”
“To come out, inhale halfway lift. Soften your knees and bring your
hands to your hips. Engage your core and inhale to lift up to a standing
position.”
“Release your head and neck.”
“Lift your shoulders away from your ears.”
“Hug your shins in as you press your upper thighs apart.”
“Widen the backs of your thighs and lift your hips.”
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Externally Rotated Standing Poses
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Externally Rotated Standing Poses: Overview
Externally rotated standing poses are accessible for most practitioners.
The foundation for externally rotated standing poses is heel-arch alignment, in which the front
foot bisects the arch of the back foot. The back leg is neutral in the transverse plane. Because
most students need to have their pelvis turned slightly towards the front foot (think of warrior
two, in which the pelvis is likely turned slightly forward to the front of the mat to keep the front
knee over the ankle), the back foot should mimic the angle of the pelvis and also be slightly turned
forward. This will help to keep the foot, shin, knee, thigh and pelvis all facing the same direction.
The position of the back foot (nearly parallel to the back of the mat) makes these poses more
stable and less wobbly than their neutral asymmetrical counterparts.
Externally rotated standing poses bring the hip joint into a deep expression of external rotation.
Given our fairly sagittal plane lifestyles (we don’t often do activities that encourage external
rotation), these poses are a wonderful opportunity to explore the hip’s range of motion and
encourage functional mobility.
All the poses in this family have a very similar flavor and the external rotation of the hip is
essential. However, all practitioners have differently shaped hip sockets and therefore will have a
different amount of available external rotation available at the hip. It is very important to instruct
each practitioner to embody their own personal optimal alignment rather than trying to mimic an
idealized look of a pose. Otherwise, in an attempt to “get” the pose, students may hit the end
range of their joint and try to “make up” for it by compromising the knee or ankle. For example,
most students do not have the external rotation in the hips to fully square their pelvis toward the
side of the mat in warrior two. If they attempt to truly “square” their hips, the knee will fall inward.
By teaching to the muscular action of the pose rather the pose’s aesthetic, you will help your
students to realize their own optimal alignment.
Benefits:
Risks:
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Sequencing Tips:
• Externally rotated standing poses can be used to warm up the hip joint, heat the body, and
prepare for more complex poses.
• External rotation of the thigh at the hip
Teaching Tips:
• To fully realize the potential of these poses, clearly teach the action of the externally
rotating hip.
• Use diagonal paired actions to stabilize the pose.
• To avoid confusing your students, it is recommended to link externally rotated poses with
other externally rotated poses. In other words, link warrior two to parsvakonasana, rather
than to warrior one. Otherwise, you must change the foundation for the pose and teach
your students to change the action of the hip.
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Virabhadrasana two
Vee-rah-bah-DRAH-sana
“Warrior Two Pose”
Purpose • External rotation of the front thigh

• Heating
• Strengthening
Key Points • Heel to arch alignment
• Back toes pointed slightly in
• Knee over ankle
• Front knee bent 90 degrees
• Arms outstretched at shoulders
• Shoulders stacked over pelvis
• Pelvis neutral in all plans except transverse
Prop Options • Press back heel into wall
Cautions • Knee falling in
• Over arched spine
• Knee not at 90 degrees
• Ribs popping out
• Foot/ankle injury
• Groin injury
Pose Variations • Heel to heel alignment
• Arm variations
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• Exalted or humble warrior
Cueing: Position “Turn to the side of your mat and step your feet wide. Turn your front
thigh and foot forward 90 degrees. Align your front heel with your back
arch and turn your back toes in slightly. Bend your front knee to a
square. Take your arms wide at shoulder height. Turn your gaze over
your front hand.”
Cueing: Action “Press your back thigh back as you wrap your front sitting bone under.”
“Keep your front knee over your ankle as you turn your pelvis toward
the side of your mat.”
“Root into the inner edge of your foot as you press your thigh
outwards.” (Diagonal dual action)
“Soften the ribs in as you draw your shoulders onto your back.”
“Lengthen through the crown of your head.”
“Reach through your fingertips.”
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Utthita Parsvakonasana
Oo-TEE-tah Par-shvah-koh-NAH-sana
“Extended Side Angle Pose”
Modified forearm to thigh “Hot triangle” variation
Modification with block and “Classical” expression of pose

hand inside With assist
Purpose • External rotation of the front thigh

• Heating
• Strengthening
• Lengthening of side waists and body
• Front knee bent 90 degrees and over ankle
• Weight in front heel
• Pelvis tilted; tailbone lengthens to back ankle
• Top arm over ear, upper arm externally rotated (classical)
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• Bottom hand outside front ankle (classical)
Prop Options • Block under hand
Cautions • Knee falling inwards (lack of hip external rotation)
• Front hip swinging out (lack of hip external rotation)
• Foot / ankle injury
• Groin injury
• Neck injury (look down or straight ahead)
Pose Variations • Heel to heel alignment
• Forearm to front thigh
• Arms wide
• Binding
• Hovering forearm/arm
Cueing: Position Classical: “From Warrior two, shift your hips to the back of your mat.
Bring your right hand do the outside of your right ankle on a block.
Press your knee into your arm as pull your outer right hip back. Draw
your front ribs in and turn your chest to the side of your mat. Take your
top arm over your head towards the front of your mat. Lengthen
through all four sides of your waist evenly. Gaze to your fingertips.”
Cueing: Action “Keep your front knee over your ankle as you turn your pelvis toward
the side of your mat.”
“Wrap your front sitting bone under you as you press your back thigh
back.”
Diagonal dual action: “Root into the inner edge of your foot as you pull
your outer hip back and under.”
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Utthita Trikonasana
Oo-TEE-tah Tree-koh-NAH-sana
“Extended Triangle Pose”
Modified forearm to thigh Hand to calf variation
Purpose • External rotation of front high

• Opens hamstrings and adductors
• Lengthens side body and lower back
• Strengthens obliques
• Front thigh in external rotation
• Weight in front toe mound (prevents hyperextension)
• Pelvis tilted; tailbone lengthens to back ankle
• Sides of waist evenly long
• Spine neutral
• Ribs in and shoulders on back
Prop Options • Block under hand to inside or outside of front foot
Cautions • Front knee turning inwards
• Hyperextension of knee
• Hyperextension of lumbar spine
• Ribs popping forward
• Groin injury
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• Hamstring injury
Pose Variations • Shorten stance, lengthen stance
• Hand inside foot
• Hand outside foot (classical)
Cueing: Position “From Parsvakonasana, press into your front big toe mound and
straighten your front leg.”
Cueing: Action Diagonal dual action: “Press into your front big toe mound as you pull
your front hip crease deeply back.”
“Pull up strongly through your front thigh and hamstring.”
“Wrap your front sitting bone to your back heel.”
“Pull your pubic bone towards your navel.”
“Lengthen through all four sides of your waist.”
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Vrksasana
Vrik-SHAH-sana
“Tree Pose”
Purpose • Externally rotates lifted leg

• Balancing
• Lengthens side waist
• Strengthens outer hips, stabilizes pelvis
Key Points • Foot to ankle, shin or inner thigh
• Pelvis facing forward
• Standing leg straight
• Hips level
• Side waists lifting
• Lifted leg externally rotating
• Spine neutral
Prop Options • Strap for hands
• Stand on block (to test balance)
Cautions • Falling
• Hips hiked
• Standing knee turning inwardly
• Pelvis not facing forward
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• Standing knee bent
Pose Variations • Arm variations
• Add backbend
Cueing: Position “Keeping pelvis square, place your left foot to your ankle, shin or upper
thigh. Press heel and leg together firmly. Inhale and lift your arms
overhead. “
Cueing: Action “Straighten your standing leg as you wrap your lifted leg’s sitting bone
under you.”
“Keep your pelvis square as you press your lifted thigh open.”
“Hug your outer hips in.”
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Ardha Chandrasana
AHR-dah Chan-DRAH-sana
“Half Moon Pose”
Purpose • External rotation of standing leg

• Trains balance
• Lengthens side body and lower back
• Opens hamstrings
• Opens the groin
Key Points • Back leg lifted and straight
• Standing leg externally rotated
• Standing shin, knee, and thigh aligned
• Pelvis turning towards side of mat
• Weight in front toe mound (prevents hyperextension)
• Sides of waist evenly long
• Tadasana torso
Prop Options • Block under hand
• Wall
Cautions • Lack of external rotation in standing hip
• Hyperextension of standing leg
• Front knee turning inwards
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• Hamstring or groin injury
Pose Variations • Ardha chandra chapasana (sugar cane in the moonlight)
• Hand hovering
• Hands at heart
Cueing: Position “From Parsvakonasana, press into your front big toe mound. Slide your
bottom hand forward about a foot in front of your pinkie toe. Keep your
knee aligned over your ankle and your standing thigh strongly externally
rotating as you lift your back leg up and straighten your standing leg.”
Cueing: Action “Press into your front big toe mound as you pull your front hip crease
deeply back.”
“Pull up strongly through your front thigh and hamstring.”
“Soften the back of your standing knee.”
“Wrap your front sitting bone to your back heel.”
“Pull your pubic bone towards your navel.”
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Utthita Hasta Padangusthasana B
Oo-TEE-tah HAH-sta Pah-dan-goo-SHTAH-sana
“Extended Hand To Big Toe Pose.”
“B” with knee bent “B”
Purpose • External rotation of lifted leg

• Trains balance
• Opens the adductors and hamstrings
• Strengthens the back
Key Points • External rotation of lifted thigh at hip
• Pelvis steady and neutral (facing forward)
• Chest lifted and wide
Prop Options • Strap around ball of lifted foot
• Wall
Cautions • Standing leg bent (thigh popping forward)
• Leaning backwards or forwards
• Unsteady pelvis
• Hip hiking up
• Groin or hamstring injury
Pose Variations • Knee bent
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• Both arms wide
• Gaze over opposite hand
Cueing: Position “Stand on your left leg and draw your right knee into your chest.
Root through your standing foot and stand tall. Keeping your chest lifted
and your pelvis square forward, draw your knee to the right.
Straighten your right leg as you wrap your right sitting bone down.
(Option: look over left shoulder). Inhale to bend the knee and bring the
leg back to center. Exhale, lower the leg.”
Cueing: Action “Root strongly through the standing foot.”
“Straighten your standing leg as you wrap your lifted leg sitting bone
under.”
Lifted leg diagonal dual action: “Press out through your big toe mound
as you wrap your sitting bone down.”
“Draw the ribs in as you widen your collarbones.”
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Svarga Dvijasana
SVAR-gah Dwi-YAH-sana
“Bird of Paradise”
Purpose • Trains balance

• External rotation of lifted leg
• Opens adductors and hamstrings
• Engages the external hip rotators
Key Points • External rotation of lifted thigh at hip
• Open and lifted chest
• Pelvis steady and neutral (facing forward)
Prop Options • Strap for hands for bind
Cautions • Dropping weight of leg onto arm (rather than using leg
• strength)
• Hunching forward, rounding chest
• Standing leg bent (thigh popping forward)
• Hip hiking up
• Hamstring/groin injury
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• Shoulder injury: with all binding, care should be taken to not
impact/press the shoulder, but to keep the chest open. The
shoulder should press back into the leg; the leg should not cause
the chest to collapse forward. If the chest cannot stay open,
then a strap should be used between the hands.
Pose Variations • Bent lifted knee
• Use a strap between hands
Cueing: Position “From bound parsvakonasana with you right foot forward, walk your
back foot in until you are making a small “t” between your feet.
Transfer your weight into your back foot and come onto the ball of your
right foot. Rooting strongly into your left foot, lift your right knee up to
the sky (imagine that your knee is being lifted with a string).
Stand up tall, wrap your right sitting bone to the floor and lift your chest.
Press your right arm back into your leg and straighten your right leg. To
come out, bend your right knee and slowly lower the foot back down to
the ground.”
“Straighten your standing leg as you wrap your lifted leg sitting bone
under.”
“Lift your chest.”
“Stretch through your legs.”
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Neutral Standing Poses: Asymmetrical
393
Asymmetrical Neutral Standing Poses:
Overview
Asymmetrical neutral standing poses include a wide range of postures. While some of them are
accessible (like low lunge), this family also includes challenging poses such as warrior three. (Note:
all standing twists are asymmetrical neutral standing poses. However, in order to more easily
examine the commonalities in twisting postures, these poses are included in their own “family” of
standing
twists.)
All poses in this family are trying to work the hips “square,” that is, the thighs are working towards
neutral in the transverse plane. To this end, all of these poses activate what we call “midline,” that
is, squeezing the inner thighs together and engaging the adductors.
The foundation of many of these poses is hip distance apart and parallel. However, some poses
(warrior one and pyramid, for example) place the back heel to the floor. The lowered heel helps to
make the pose less wobbly. The heels are either hip distance apart or aligned heel-heel. Like
tadasana, placing the feet hip distance apart is more accessible, while placing the feet heel to heel
is more challenging. Classically, the poses are done in a heel-heel position.
Placing the back heel down into a slightly turned out position of the back foot mandates that the
back foot, shin, knee and thigh are in a position of slight external rotation relative to the pelvis.
Aligning the back foot, shin, knee, and thigh in one line is important for keeping the knee from
torqueing. Although the position of the leg is slightly externally rotated, the action of the pose is
still to square the pelvis forward.
Benefits:
Risks:
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Sequencing Tips:
• Although some of these poses are accessible (low lunge), many of them are challenging
and should come later in the sequence after the body has had the opportunity to warm up.
• These poses include the most powerful standing hip flexor openers (high lunge, low lunge).
Use these poses to prepare the body for backbends.
 Neutral hips
Teaching Tips:
• To help square the hips, clearly teach to midline, that is, hug the inner thighs towards each
other.
• If the back heel is down, protect the back knee by instructing the back foot, shin, knee and
thigh to remain in one line.
• Use diagonal paired actions to stabilize the pose.
• To avoid confusing your students, it is recommended to only link neutral standing poses
with other neutral standing poses. In other words, link warrior one to pyramid - not to
warrior two. Otherwise, you must change the foundation and teach your students to
change the action of the hip. Although warrior one - warrior two is a common transition, to
fully realize the potential of each of these poses would require that you change the
student’s foundation and re-teach the new action of the hips.
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Parsva Chandrasana
PAHR-shva Chan-DRAH-sana
“Side Moon Pose”
Feet hip distance Feet together, shiva mudra Balancing
Purpose • Stretches the side waist

• Opens the ribs/ lungs
• Trains balance
• Feet parallel
• Draw front ribs in and tailbone down
• Chest and pelvis squared forward (no twisting)
Prop Options • Holding strap
Cautions • Shoulder injury
• Twisting torso
• Collapsing side body
• Low back hyperextension
• Knee hyperextension
• Wrist clasp, mudra
• Balancing: lift foot
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Cueing: Position “Reach your arms up, turn palms up and hold your right wrist with left
hand. Inhale lengthen and exhale lean your hips to the right as you arch
up and over the left.”
Cueing: Action “Draw the ribs in and lengthen the sitting bones down.”
“Draw your left ribs forward and right hip back.” (To counteract twisting
action of torso.)
“Scoop the left side waist up and into the body.”
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Garudasana
Gah-roo-DAH-sana
“Garuda’s Pose, aka Eagle Pose”
Modified
Purpose • Opens shoulders

• Works balance
• Engages adductors/ midline
• Internal rotation of thighs
Key Points • Thighs internally rotated
• Shoulders over hips (ideally upright rather than hinging forward)
• Squeezing legs to midline
Prop Options • Block under outside toe for balance
Cautions • Torqueing knee
• Torqueing ankle
• Ankle/ foot injury
• Wide chest/ tight shoulders (modify by holding shoulders)
• Wrists bent
• Straight bottom leg (bend it to find the leg wrap)
Pose Variations • Toes touch down to earth
• Thighs crossed but no ankle wrap
• Crouching eagle (forward folding in the pose and bringing
elbows to knee)
• Protract or retract shoulder blades
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• Arm variations: hold shoulders, press back of hands, hook
thumbs
Cueing: Position “Sit into chair pose. Lift your left leg, internally rotate at the thigh, cross
the thigh over the right and squeeze the legs. Option to touch the toes
down, squeeze the shins or wrap the ankle. Sweep your left arm under
your right and hold opposite shoulders or wrap the forearms and press
the palms together.”
Cueing: Action “Press into your standing foot as you lift the chest.”
“Draw your inner thighs back as you root your tailbone down.”
“Draw your front ribs in and your shoulder back to bring your torso over
your hips.”
“Hug your shoulders onto your back as you lift your chest.”
“Lift your elbows and soften your shoulders.”
“Press your palms and reach through your fingertips.”
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Low Lunge and High Lunge
Low lunge High lunge
Purpose • Opens hip flexors

• Trains neutral hips
• Engages adductors (midline)
• Trains balance
• Foundation pose for parivrtta parsvakonasana
Key Points • Hips neutral and square to front of mat
• Feet pulling towards each other
• Thighs hugging in (midline)
• Weight in front heel
• Lifted side waists
• Back leg inner thigh to sky as tailbone down
• Engage core to avoid hyperextension of the low back
• Front ribs in as shoulders back
• Wrap outer arms forward (external rotation)
• Root through feet as reach up
Prop Options • Strap around wrists
• Holding strap
• Hold block
Cautions • Feet too close together “tightrope”
• Pelvis not square
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• Overarching lower back
• Hunched shoulders (internal rotation and elevation of shoulder)
Pose Variations • Low or high lunge
• Low lunge: back toes pointed or curled under
• Added backbend
• Back knee hover
• Arm variations
Cueing: Position “From Tadasana, bring your hands to the floor and take a long step back
with your left leg. Place your feet hip distance apart. Hug your legs
together and place your hands on your front thigh. Inhale and lift your
chest to vertical. Reach your arms to the sky.”
Cueing: Action “Pull your feet towards each other.”
“Lift high onto the ball of your back foot.”
“Hug your legs to the midline.”
“Roll your back thigh up as you draw your front sitting bone down.”
“Square your hips forward.”
Diagonal dual action: “Press down through the inner edge of your front
foot as you pull that hip back.”
“Soften your front ribs in as you draw your shoulders onto you back.”
“Root through your feet as you stretch up through your arms.”
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Virabhadrasana one
“Warrior One Pose”
Short stance Long stance

• Stretches calf
• Trains neutral hips, engages adductors
• Trains balance
• Similar to high lunge, except for position of back foot/leg
Key Points • Foundation: feet lined up heel to heel (or hip distance apart);
back toes point forward to front corner of mat (about 60
degrees forward)
• Back leg in a slight position of external rotation to align angle of
foot, shin, knee and thigh
• Front knee over heel
• Pelvis neutral and squared forward
• Lift out of side waists
• Spine neutral (tadasana)
Prop Options • Back heel on small block or at wall
• Strap options for arms
Cautions • Back outer foot ungrounded
• Misalignment of back shin-knee-thigh
• Front knee forward of ankle
• Hyperextension of lower back
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• Shoulder hunching
Pose Variations • High lunge
• Palms together and gaze up to thumbs (classical)
• Feet aligned heel to heel or hip distance apart
• Stance short (pictured) or long
• Arm and hand variations
Cueing: Position “From downward facing dog, step your right foot to your right wrist and
position your knee over your ankle. Step your left foot slightly forward
and turn your back toes to the front left corner of your mat.
Hug your inner thighs in as you rise up to vertical and reach your arms
to the sky.”
“Press into your back heel as you lengthen your tailbone down.”
“Press into your front heel as you lift the front of your pelvis up.”
“Keep your back thigh slightly turned out as you rotate your pelvis
towards the front of your mat.”
“Turn your back inner thigh up to the sky as you root your front sitting
bone down.”
“Lengthen through the sides of your waist.”
“Soften your front ribs in as you draw your arms back by your ears.”
“Wrap your outer arms forward.”
“Root through your feet as you reach up through your arms.”
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Parsvottanasana
Pars-voh-tah-NAH-sana
“Pyramid Pose”
With blocks Classical Option sometimes used in

a hot yoga sequence
Purpose • Opens hamstrings

• Trains neutral hips, engages adductors
• Trains balance
• Can open shoulders in extension and internal rotation (classical)
• Foundation pose for parivrtta trikonasana
Key Points • Foundation: feet lined up heel to heel (or hip distance); back toes
point forward to front corner of mat (about 60 degrees forward)
• Back leg in a slight position of external rotation to align angle of
foot, shin, knee and thigh
• Pelvis neutral and square to front of mat
• Squeeze legs together
• Spine neutral, or in flexion (once past 90 degrees)
• Holding strap
• Heel at wall
Cautions • Hyperextension of knee
• Flexion of spine without sufficient flexion at hip
• Hips unsquare; weight uneven in feet
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• Spine not lengthening
• Shoulders hunched
Pose Variations • Hands together palms pressing together behind back (classical)
• Backs of hands to lower back (more accessible than classical
hand position)
• Rounded spine, forehead to knee; often used in a hot sequence.
• Hands on blocks
• Short or long stance
• Arm and hand variations
• Gaze over opposite hand
Cueing: Position “From tadasana, step your left foot back about 3-4 feet and line your
feet up heel to heel or hip distance apart. Turn your back toes to the
front left corner of your mat. Hug your inner thighs together and square
your hips forward. Reach your arms wide, turn your thumbs down, and
bring your palms together behind your back. Inhale to lengthen, exhale
to hinge forward from your hips and forward fold over your front leg.”
“Soften the front knee.”
Diagonal dual action: “Press your right big toe down as you draw your
outer right hip back.”
“Lengthen through the sides of your waist.”
“Stretch your chest forward/toward your toes.”
“Press your palms together to widen your chest.”
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Virabhadrasana three
“Warrior Three Pose”
With blocks
Purpose • Opens the hamstrings (standing leg)

• Strengthens the back line of body
• Trains balance
• Works glutes and hamstrings (lifted leg)
• Preparation for inversions
• Foundation pose for parivrtta ardha chandrasana
Key Points • Legs straight (bend standing leg if needed)
• Hips neutral and square
• Chest parallel to floor
• Core engaged
• Spine neutral (tadasana)
• Back leg inner thigh to sky to roll that outer hip down
• Opposition: reach arms forward as you kick the heel back
• Hands at wall
• Lifted foot at wall
• Strap/arm variations
Cautions • External rotation of top hip (rather than neutral)
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• Hyperextension of standing knee
• Lifted leg not engaged
• Over rounding lower back
• Chest dropped
• Flexion of spine without sufficient flexion at hip
• Hips unsquare; weight uneven in feet
• Spine not lengthening
Pose Variations • Hand mudras
• Arm positions
• Standing splits
Cueing: Position “From Tadasana, bring your palms together in front of your chest.
Transfer your weight onto your right leg and - keeping your hips square
- reach your left leg back. Keeping your spine long, hinge forward from
your hips as you lift your back leg up. Bring your chest parallel to the
floor. Lower your left outer hip down as you draw your right hip back.
Reach your arms forward.”
“Roll your back thigh up as you draw your front hip back.”
Diagonal dual action: “Press into the big toe mound of your standing leg
as you pull that hip back.”
“Reach your chest forward as you reach your heel back.”
“Root strongly into your standing foot as you lift the standing thigh.”
“Reach through your legs.”
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Utthita Hasta Padangusthasana A
Oo-TEE-tah HAH-stah Pah-dan-goo-SHTAH-sana
“Extended Hand To Big Toe Pose.”
Bent knee Leg straight with strap

• Engages outer hips to stabilize
• Opens the hamstrings
Key Points • Standing leg straight
• Full expression: both legs straight
• Pelvis steady and neutral
Prop Options • Strap around ball of lifted foot
Cautions • Standing leg bent (thigh popping forward)
• Leaning backwards or forwards
• Unsteady
• Hip hiking up
Pose Variations • Add twist
• Holding lifted foot: big toe lock, holding outer arch
Cueing: Position “Place a strap around the ball of your right foot. Stand on your left leg
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and draw your right knee into your chest. Cinch up your grip on the
strap. Root through your standing foot and stand tall. Exhale and extend
the leg forward. Strongly reach through both legs as you lift your chest.
Exhale, bend the knee, and lower the leg.”
“Press your standing thigh back as you draw your lifted sitting bone
down.“
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Neutral Standing Twists
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Neutral Standing Twists: Overview
The purpose of this family of poses is to rotate the spine, which can also help warm up the body
for backbends. While some of these twists are fairly accessible (like twisted chair), this family of
poses also includes the most challenging standing poses, such as revolved triangle and revolved
ardha chandrasana.
All standing twists are asymmetrical neutral standing poses. Don’t be fooled by the Sanskrit names:
trikonasana is very different than parivrtta trikonasana.
All of these poses are trying to work the hips “square,” that is, the thighs are working towards
neutrality. To this end, all of these poses activate what we call “midline:” hugging the inner thighs
together to square the hips.
The foundation of these poses is hip distance apart and parallel, or heel to heel alignment (like
other neutral asymmetrical poses) with the back leg only slightly turned out. Twisted chair is
usually practiced with the feet together, as having the feet together makes the rotation of the
spine more accessible.
Benefits:
Risks:
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Sequencing Tips:
• Twists are excellent for mobilizing the spine and opening the chest. Use them to prepare
the body for backbends.
 Neutral hips
 Spinal rotation
Teaching Tips:
• All twists require the pelvis to be stable and square. Use the strength of the adductors
(“hug your legs together”) and the abductors (“hug the outer hips in”) to create this stability
before twisting.
• All twists require lengthening through the side body.
• Use the breath to assist the pose: “inhale, lengthen, and exhale to twist.”
• Students will commonly laterally flex (crunch the side body) or flex/ extend (round or do a
backbend) the spine when getting into these twists. Encourage “pure twists” that only
move the spine in rotation.
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Parivrtta Utkatasana
Pah-ree-VREE-tah Oot-kah-TAH-sana
“Revolved Chair Pose”
Mild Moderate Deep
Purpose • Rotates spine

• Strengthens back and obliques
• Strengthens midline/adductors
• Cultivates heat and strength
Key Points • Feet together (easier on spine for twist)
• Feet parallel
• Squeeze legs together to keep pelvis square
• Spinal rotation
• Hips reaching back
• Sides of waist long and even (no curving or backbending)
Prop Options • Hips at wall (to feel if square)
Cautions • Knees not aligned (hips not square)
• Over rounding lower back (tailbone tucking)
• Overarching of back
• Over flexion of back
• Lateral spinal flexion (C-curve)
• Weight in toes rather than heels
Pose Variations • Arm variations. Arms should only be opened if chest is parallel to
side wall and the chest does not round
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• Hand variations
• Gaze down, straight ahead or up to ceiling
Cueing: Position “From chair pose, bring your hands together in front of your chest.
Hugs your thighs firmly to keep your knees and hips even. Inhale to
lengthen, exhale to bring your left elbow to outer right knee. Press your
palms firmly to open your chest toward the side of your mat.”
“To come out, inhale to untwist.”

“Continue to reach your hips back and the crown of your head forward.”
“Lengthen the sides of your waist.”
“Draw your front ribs in as you draw your top shoulder back.”
“Press your elbow in your knee to rotate your spine.”
“Inhale to lengthen; exhale to twist.”
“Press your palms to widen your chest.”
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Parivrtta Parsvakonasana/Revolved High Lunge
Pah-ree-VREE-tah Par-shvah-koh-NAH-sana
“Revolved Side Angle/ Revolved Lunge”
Lunge foundation Virabhadrasana one

foundation- classical

Key Points • High lunge foundation - more accessible and appropriate for
general classes
• Virabhadrasana one foundation – advanced
• Spinal rotation
Prop Options • Block under lower hand
• Back heel at wall
• Cushion under knee if lowered
Cautions • Knee not over ankle
• Hips not square
• Over flexion of back
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Pose Variations • Open twist (hand under shoulder rather than across knee)
• Arm variations. Arms should only be opened if chest is parallel to
side wall and the chest does not round
• “Classical” position takes top arm over the ear (external rotation
of upper arm) and turns back heel down as in
• warrior one
• Gaze down, straight ahead or up to hand.
Cueing: Position High lunge twist:
“From high lunge with your right leg forward, bring your hands together
in front of your chest. Hugs your thighs firmly to keep your hips square.
Inhale to lengthen, exhale to bring your left elbow to outer right knee.
Press your palms firmly to open your chest toward the side of your mat.”
“To come out, press into your feet and inhale to untwist.”
“Roll your back inner thigh up to the sky as you wrap your front sitting
bone to your front heel.”
Diagonal dual action: “Press into the inner edge of your front foot as
you draw that hip back.”
“Continue to reach your hips back and the crown of your head forward.”
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Parivrtta Ardha Chandrasana
Pah-ree-VREE-tah AHR-dah Chan-DRAH-sana
“Revolved Half Moon”
Hand to hip Hand to sky

• Stretches IT band
• Trains balance
Key Points • Virabhadrasana three foundation
• Straighten legs
• Lengthen side waists
• Spinal rotation
Prop Options • Block under hand under shoulder
• Back heel at wall
Cautions • Hips not square
• Hyperextension of standing knee
• Dropping of lifted leg hip
• Lifted leg disengaged
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• Rounding of spine
Pose Variations • Position and height of blocks
• Hand to hip or sacrum. Arms should only be opened if chest is
parallel to side wall and the chest does not round
• Gaze down, straight ahead or up to ceiling.
Cueing: Position “From virabhadrasana three with your hands on blocks and your right
leg as your standing leg, bring your right hand to your hip. Hug your
thighs firmly to keep your hips square. Inhale to lengthen, exhale to
rotate your spine to the right. Lift and reach through your back leg
strongly. Keep hugging your hips in as you twist your chest open toward
the side of your mat. If your chest is parallel to the side of your mat, lift
your right arm up.”
“To come out, press into your foot and inhale to untwist. Soften your
front knee, lower your back foot down, bring your hands to your hips,
and rise to stand.”
“Reach strongly through your lifted leg as you stretch your chest
forward.”
“Continue to reach your heel back and the crown of your head forward.”
“Lengthen the sides of your waist.”
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Active Hip Openers
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Active Hip Openers: Overview
Active hip openers use gravity to assist a deep opening of the hips. The student must actually
resist the pull of gravity and “lift up” out of the pose to remain safe. While active hip openers can
facilitate a very juicy stretch, care must be taken to not sink into the joints or collapse into the
pose. These poses are not the same as seated hip openers; they are active, energizing, and require
effort.
This family of poses needs to be practiced after the body has been appropriately warmed up.
These poses help prepare the body more complex poses that require deep hip opening, such as
complex arm balances or backbends. They can also be peak poses in their own right.
Benefits:
Risks:
Sequencing Tips:
• These poses should be practiced after the body has been sufficiently warmed up to
accommodate opening.
• These poses help create the deep openings required for complex backbends and arm
balances.
 Outer hips hugging in (engagement of abductors
Teaching Tips:
• To protect students from “falling into” gravity and overstretching, teach the activation of
the midline: the engagement of the adductors and the hugging of the inner thighs into
each other. Engaging midline will prevent students from collapsing into the pose and
potentially injuring themselves.
• These poses often involve deep mobility of the hip. Ensure that the knee is safe by treating
the knee as a pure hinge joint: always align the shin and thigh and make sure that any
opening is coming from the hip and not from the knee.
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Malasana
Mah-LAH-sana
“Garland Pose,” Squat
With bound twist
Purpose • Stretches and strengthens inner groin

• Opens chest
• Stretches calves
• Grounding
Key Points • Shins aligned over ankles
• All four corners of both feet press down
• Chest lifting
• Spine neutral
Prop Options • Rolled up mat or chip foam block under heels (for tight calves)
• Sitting on block
Cautions • Knees falling in
• Knee pain or injury
• Ankle pain or injury
• Spine rounded
• Outer feet unweighted
Pose Variations • Half squat (come halfway down; can be better for sensitive
knees)
• Added twist
• Happy baby (supine version)
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Cueing: Position “From tadasana, take your feet wider than your hips and turn your feet
out slightly. Keeping your knees tracking over your ankles, lower your
hips down to come to a squat and bring your elbows between your
knees. Press your knees into your arms, your arms into your knees to lift
and widen your chest.”
Cueing: Action “Press your inner thighs back as you lengthen your sitting bones down.”
“Root into the outer edges of your feet as you hug your thighs in.”
“Draw your shoulders onto your back.”
“Reach through the crown of your head.”
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Ardha Hanumanasana/Hanumanasana
AHR-dah Han-oo-mah-NAH-sana
“Half Splits, Hanuman’s Pose”
Ardha hanumanasana with blocks Full hanumanasana
Purpose • Opens the hamstrings (front leg)

• Hanumanasana (full splits): also stretches the hip flexors and
adds a backbend
• Stretches IT band
Key Points • Use midline to lift out of pose
• Ardha: pelvis over back knee and chest reaching towards front
toes
• Feet active
• Quadriceps engaged
• Spine working to neutral
• Full: sitting bone on block (careful to not sink into support)
Cautions • Hyperextension of knee
• Sinking into pose
• Over rounding or hyperextension of lower back
• Feet disengaged
• Lax quadriceps
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• Ardha: back knee compression (place a blanket or chip block
under knee)
Pose Variations • With or without blocks under hands
• Full Hanumanasana
• Placement of block; can walk them forward for more flexible
students.
Cueing: Position Ardha: “From low lunge, place your hands on blocks and shift your hips
back so that your pelvis is over your back knee. Hug your outer hips in,
and reach your chest towards the front of your mat.”
Cueing: Action “Hug your legs to the midline to square your hips.”
“Roll your back inner thigh towards the back of your mat as you root
your front sitting bone down.”
Diagonal dual action: “Press the ball of your front foot slightly forward
as you pull your outer right hip back.”
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Anjaneyasana Variations
Ahn-jah-neh-YAH-sana
Low lunge active hip stretch variations
“Lizard” - stretches hip flexor and groin “Awkward pigeon” – stretches outer front hip
(foot strongly flexed)
Stretches hip flexors, added twist “Awkward pigeon with thigh stretch” -
Stretches hip flexors, quads, outer hip
Theses variations of low lunge intentionally target stretching the muscles of the hip. They are all
more complex than low lunge.
Purpose • Opens hip flexors and other muscles of hip depending on pose
• Optional backbend
• Engages adductors
• Prepares for arm balances by opening hips
• Prepares for backbends by opening hip flexors
Key Points • Feet active and pressing into the earth
• Pelvis square to front of mat
• Adductors strongly engaged to defy and “lift out of” gravity
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• Lengthening through side waists
• Engage core and lengthen tailbone to avoid hyperextension of
the low back
Prop Options • Strap for back foot (if bending back knee)
• Blocks under forearms or hands for support
Cautions • Knee injury or issues (front leg)
• Awkward pigeon: over-compression of front inner knee from not
enough external rotation in front hip
• Feet disengaged
Pose Variations • Low or high lunge (to stretch hip flexors)
• Back knee up or down
• With a straight back leg: back toes pointed or curled under
• Added thigh stretch
• Deeper backbend
• Arm variations
Cueing: Position Lizard: “From downward dog, step your right foot outside of your right
hand and lower your back knee down. Keeping your hips above your
back knee, walk your hands forward. Option to lower your elbows to a
block or the earth.”
“Roll your back thigh up as you draw your front hip back and draw
your front hip back and slightly under.”
“Lift your back knee up.”
“Anchor your hips back as you reach your chest forward.”
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Eka Pada (Raja)Kapotasana – Active
EH-kah PAH-dah (RAH-jah) Kah-poh-TAH-sana
“Active Pigeon Pose” literally, “One Foot (King) Pigeon”
• Photo on left: with added optional thigh stretch and shoulder opener (“mermaid” variation)
• Photo on right: eka pada raja kapotasana (full king pigeon)
• Back leg may also stay straight (not pictured).
Note: pigeon has two forms: active and cooling. This is the active, upright version.

• Backbend/heart opener
• Engages external rotators (front leg)
• Engages adductors
Key Points • Hips neutral and square to front of mat
• Adductors strongly engaged to defy and “lift out of” gravity
• Front leg in active external rotation
• Lifting through side waists
• Back leg inner thigh to sky
• Feet active and pressing into the earth
• Engage core and lengthen tailbone to avoid hyperextension of
the low back
• Backbend in upper back
Prop Options • Strap for back foot (if bending back knee)
• Blocks under hands for support
• Block under sitting bone for support (careful to not collapse
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down)
Cautions • Knee injury or issues (front leg)
• Over-compression of front inner knee from not enough external
rotation in front hip
• Hyperextension of lower back (core disengaged)
• Feet disengaged
Pose Variations • Low or high lunge (to stretch hip flexors)
• With a straight back leg: back toes pointed or curled under
• Added thigh stretch
• Deeper backbend
• Arm variations
Cueing: Position Active pigeon with back leg straight: “From all fours with your hands
on blocks, slide your right knee to your right wrist and swivel your shin
so that it is at about a 45 degree angle and your right foot is under
your left hip. Press the shin and top of your foot firmly into the floor.
Slide your left foot back slightly. Hug in through your inner thighs to
lift up out of the pose and pull your right hip back to square the hips
forward. Walk your blocks back under your shoulders, lengthen your
tailbone down to engage your core, lift up out of the sides of your
waist and draw the heads of your arm bones back.”
“To come out, squeeze your inner legs together, bring your hands back
to the floor and step back into downward dog.”
“Roll your back thigh up as you draw your front sitting bone down.”
“Soften your front ribs in as you draw your shoulders back and open
your chest.”
“Reach your heart forward and up.”
“Root through your feet as you stretch up through your arms.” (If arms
are lifted.)
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Saddle/Supta Virasana
SOOP-tah Vee-RAH-sana
“Reclined Hero’s Pose”
Saddle (knees wide) Supta Virasana modified, sitting Supta Virasana - flexible
on block
Purpose • Opens the hip flexors

• Opens the quadriceps
• Opens the front body
Key Points • Saddle: knees wider than hips, toes touching
• Supta virasana: knees hip distance apart, feet outside of hips
• Lengthen tailbone towards knees to create stretch
• Lengthen side waists
• Resist backbend and draw sides of navel towards spine
Prop Options • Sit on block(s)
• Elbows on block(s) or bolster
Cautions • Overarching lower back
• Knee pain/knee twisting
• Knee or ankle injury
• Ankle pain
• Hunched shoulders
• Dropping head back without support
Pose Variations • Side lying quad stretch
• Low lunge
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• Semi-reclined, fully reclined
Cueing: Position Saddle: “Sit with your toes together and knees apart. Bring your hands
behind you, lift your hips and lengthen sitting bones to heels. Walk your
hands back, with the option to come onto elbows. Stretch through tops
of thighs and lengthen tailbone to front of mat.”
Supta Virasana. “From Virasana, bring hands behind you. Lift hips and
lengthen sitting bones towards knees. Walk your hands back, option to
come onto elbow, or to lay flat. Stretch through tops of thighs and
lengthen tailbone to front of mat.”
“Draw the navel and low ribs in.”
“Engage the core and lift the pubic bone to the navel.”
“Reach through the tops of your thighs as you lengthen the sides of the
waists out of the hips.”
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Hand Balancings
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Hand Balancings: Overview
Hand balancings are fun poses that can help students feel empowered and playful. They require
core strength and shoulder stability; some poses also require deep hip opening in order to be
practiced effectively.
Bodily proportion is often a factor in hand balancings. A student with long arms and a shorter
torso will often have an easier time than a student with shorter arms and longer legs. More
muscular, stiffer, or bulky students will have a harder time than flexible, lanky students with the
deep flexion and binding that is sometimes required. When teaching hand balancings, plan
variations of your poses in advance so that all students can feel empowered to participate in a
version of the pose.
Benefits:
Risks:
Sequencing Tips:
• While more accessible hand balancings such as side plank (vasisthasana) and crow
(bakasana) may be practiced earlier in the sequence, more complex arm balances that
require hip opening should be practiced once the body has been sufficiently opened.
 Hands/wrists awareness
 Core engagement
 Often, hip flexion
Teaching Tips:
• To fully realize the potential of these poses, clearly teach the inner thighs to hug towards
each other (aka “midline”). The engagement of the adductors helps to lift the pelvic floor
and activate the deep abdominals. Leg engagement also prevents the lower body from
becoming dead weight.
• Leverage is often a factor in arm balances; teach students to understand how they can play
with their position of their body weight to find the buoyancy of the pose.
• Teach students to activate their hands effectively in simpler poses before you have them
balance on their hands.
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• In hand balancings, the shoulder girdle becomes the weight bearing girdle and must be
stabilized. We are generally not accustomed to bearing weight through the upper body;
educate the shoulder girdle to work safely and prevent a collapse through the shoulders.
• Use root-rebound cues to create buoyancy in the pose and prevent students from
“dumping” into gravity.
• For students with wrist issues, offer an alternative, non-weight bearing position that is still
challenging. For example, offer navasana (boat) with the knees squeezing the upper arms
as an alternative to bakasana (crow). Make sure everyone has something to work on.
• If you are doing a hand balance as a peak, consider limiting the upper body exertion earlier
in the sequence so that students aren’t too tired.
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Navasana
Nah-VAH-sana
“Boat Pose”
With support of hands Full navasana
Purpose • Engages core

• Widens back body
• Strengthens quadriceps
Key Points • Hug inner legs and feet together
• Lift chest
• Toes roughly at eyeline (classical)
• Shoulder blades stabilized on back
Prop Options • Block between shins or thighs
• Strap around feet
Cautions • Rolling
• Low back rounded or hyperextended
• Legs not engaged
• Lower back injury
• Ardha navasana
Cueing: Position From sitting in dandasana: “Bend your knees and place your feet on the
floor. Hug your feet and legs together. Lift your chest and hold onto the
backs of your legs with your hands. Roll slightly back on your pelvis until
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you are balanced between your sitting bones and tailbone.
Engage your core and lift your shins parallel with the floor. Inhale and
reach your hands forward in line with your knees. Exhale and squeeze
your legs together as you straighten your legs and reach your heels
towards the sky.”
Cueing: Action “Squeeze your legs together.”
“Stretch through your heels.”
“Plug your shoulders on your back and reach through your fingertips.”
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Vasisthasana and Variations
Vah-see-SHTAH-sana
“Sage Vasistha” aka Side Plank”
Side plank on forearm Modified with supporting leg
With tree With toe hold

• Strengthens the shoulder
• Engages obliques
• Playful
• Variations may offer additional benefits such as hamstring
opening, etc.
Key Points • Root hand and connect hand to shoulder stabilization
• Supporting shoulder is well stabilized on the back
• Lift out of shoulders (don’t collapse)
• Legs are strongly engaged
• Spine is neutral (tadasana)
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• Core engaged
• Root through earth to lift body up
Prop Options • Strap for toe hold option
Cautions • Collapsed supported shoulder
• Lower back collapse (lack of core engagement)
• Shoulder injury (do navasana or non-weight bearing alternative)
• Wrist injury (do navasana or non-weight bearing alternative)
Pose Variations • On forearms
• Modify legs to support (knee down, etc.)
• Foot lifts
• Hand lifts
• Tree, toe hold, wild thing
Cueing: Position “From downward dog, inhale forward into plank and roll onto the outer
edge of your right foot. Root through your right hand to lift your hips,
and turn your chest to the left side of your mat. Flex your feet strongly.
Lift your side waist up. If you are stable, reach your left arm up into the
air.”
“To come down, root through your hand to lift your hips as you bring
your top hand down.”
Cueing: Action “Root into your hand to lift your hips.”
“Lift your hips as you lengthen your sitting bones to your heels.”
“Roll your inner thighs back as you lengthen your sitting bones to your
heels.”
“Draw your bottom ribs in as you hug your shoulders onto your back.”
“Reach your chest forward as you stretch back through your heels.”
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Bakasana
Bah-KAH-sana
“Crow Pose”
“Crow”: knees outside arms, hips low, “Crane”: knees balanced on back of arms,
classical hips high

• Strengthens shoulders
• Increases focus
• Playful
• Preparation for more complex arm balance
Key Points • Hands rooted, outer shoulder distance apart
• Hug through inner legs (midline)
• Engage and lift abdominals to support body weight
• Squeeze in to lift up
• Arms working towards straight
Prop Options • Block under toes
• Pillow or bolster for crash pad
• Dropping head, looking down
• Adductors not engaged
• Knees slipping off upper arms
• Shoulder injury
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• Wrist injury
Pose Variations • Malasana
• Navasana with knees bent and hugging outer arm
Cueing: Position Crow: “From malasana, place your hands on the floor outer shoulders
distance apart, bring your toes together and take your knees outside of
your upper arms. Squeeze your knees against your upper arms strongly.
Anchor your gaze forward of your hands, lift your hips slightly, shift your
weight forward, and lift your feet off of the floor. Squeeze your legs, lift
your core, root into your hands and straighten your arms.”
Cueing: Action “Squeeze your legs in.”
“Root through your hands to lift your core.”
“Root through your hands and straighten your arms.”
“Look forward.”
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Parsva Bakasana/Eka Pada Koundinyasana A
PAHR-shvah Bah-KAH-sana/EH-kah PAH-dah Koon-din-YAH-
sana
“Side Crow Pose/One Foot Sage Pose”
Parsva bakasana Eka pada koundinyasana A (variation

with legs straight)

• Rotates spine
• Playful
• Increase focus
Key Points • Hug in through inner legs
• Engage and lift abdominals to support body weight
• Hands rooted, outer shoulder distance apart
Prop Options • N/A
• Hands on properly engaged
• Dropping shoulders - particularly shoulder without the
• legs on it
• Dropping head, looking down
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• Legs not engaged
• Knees slipping off upper arms
• Shoulder injury
• Wrist injury
Pose Variations • Parivrtta parsvakonasana (to rotate spine)
• Navasana (to work core)
• Eka pada koundinyasana A: straighten legs
Cueing: Position Parsva Bakasana: “Come into a squat facing the left side of your mat
with your feet and knees together. Inhale, lift your left arm up, exhale
and bring your left elbow outside your mid right thigh and your hand to
the earth. Lift onto the balls of your feet and place your right hand
down shoulder distance apart from your left. Lift your hips up slightly
and squeeze your legs together. Bend your elbows back, reach your
chest forward to place your right thigh on your left upper arm. Keep
reaching your chest forward to lift your feet off the floor.”
Cueing: Action “Root through your hands and widen your chest.”
“Reach your chest forward.”
“Squeeze your legs.”
“Look forward.”
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Eka Hasta Bhujasana
EH-Kah HAH-stah Boo-JAH-sana
“Leg Over Shoulder Pose, literally: One Hand Arm Pose”

• Engages quads
• Increases focus
• Playful
• Preparation for astavakrasana
• Squeeze leg onto upper arm
• Engage and lift abdominals strongly
• Slide hips back behind shoulders to up through core
• Hands pressing down and arms straight
• Extended leg very active and pulled into hip
Prop Options • Block under hands (helps with lift)
Cautions • Adductors not engaged
• Knees slipping off upper arms (not hugging in enough)
• Shoulder injury
• Wrist injury
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• Navasana
Cueing: Position “From dandasana, hold onto your right outer foot with your left hand.
Hike your right hip off the floor and bring your right hand under your
right thigh and place it outside your hip. Clamp your right thigh down
onto your upper arm. Root through your hands, lean forward slightly.
Press through palms, straight your arms, slide your hips back and lift
your pelvis off the floor. Engage your left leg, plug back into your left hip
and lift your left leg off the floor.”
“Root through your hands to lift your pelvis.”
“Lift up.”
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Eka Pada Koundinyasana B
EH-kah PAH-dah Koon-din-YAH-sana
“One Foot Sage (Koundinya) Pose”
Preparatory pose (lizard variation)

• Increases focus
• Playful
• Elbows bent
• Squeeze front leg onto upper arm
• Front leg reaching forward towards front right corner of mat
• Fulcrum: reach chest forward to lift back leg
Prop Options • Can use both elbows under body to support torso (modified)
• Elbows not bent
• Chest collapsing
• Shoulder collapsing
• Back hip dropping
• Shoulder injury
• Wrist injury
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Pose Variations • Lizard variations
Cueing: Position “From lizard with the right foot forward, lift your back knee up and lift
your back hip strongly. Tuck your right shoulder under your right thigh
and place your hand firmly on the floor. Squeeze your thigh to your
upper arm and rise high onto the balls of both feet. Keep your hips
buoyant as you shift your chest forward, bend your elbows, lift your
right foot off the floor and reach your right foot forward. Reach your
chest forward as you bend your elbows like chaturanga and lift your
back foot up.”
“Root through your hands to lift your shoulders.”
“Reach your chest forward.”
“Reach through your legs.”
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Tolasana|Lolasana
Toh-LAH-sana | Loh-LAH-sana
“Scale Pose, Pendant Pose”
Tolasana (modified from full lotus) Lolasana

• Strengthens shoulders and arms
• Engages midline
• Prepares for jump backs
• Playful
• Slide hips back behind shoulders to lift up through core
Cautions • Hands too far back
• Adductors, pelvic floor not engaged
• Shoulder injury
• Wrist injury
Pose Variations • Tolasana: legs in lotus pose is classical
• Malasana
• Navasana
Cueing: Position Tolasana: “From a seated position, cross your shins and squeeze your
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knees into your chest. Place your hands, palms flat, slightly in front of
your hips with fingers pointing forward. Press your palms down, lift
through your core. Lean forward slightly, push down strongly with your
hands, straighten your arms, and pull your hips up and back to lift your
legs.”
Lolasana: “Sit on your shins and cross your ankles. Place your hands,
palms flat, midway at your thighs with fingers pointing forward. Press
your palms down, lift through your core. Lean forward slightly, push
down strongly with your hands, straighten your arms, and pull your
thighs up to your torso as you straighten your arms.”
“Lift up.”
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Bhujapidasana
BOO-jah Pee-DAH-sana
“Arm Pressure Pose”

• Engages midline
• Increases focus
• Playful
• Squeeze legs onto upper arm
• Slide hips back behind shoulders to lift up through core
Cautions • Falling back on bum (need more lift through pelvis)
• Adductors not engaged
• Shoulder injury
• Wrist injury
• Navasana
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Cueing: Position “From uttanasana, walk your feet a bit wider. Bend your knees and place
your hands, palms flat, behind your feet with fingers pointing forward.
Squat lower, and hug your knees onto your outer upper arms. Staying
buoyant through your pelvis, press through your hands and sit lightly
onto the backs of your arms. Lift your feet off the floor and wrap the
ankles. Squeeze in to lift the core up.”
“Lift up.”
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Titthibhasana
Tit-hee-BAH-sana
“Insect Pose”

• Stretches adductors
• Engages midline
• Increases focus
• Playful
• Squeeze legs onto upper arm
• Legs working toward straight
• Shoulder injury
• Wrist injury
• Bhujapidasana
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• Navasana (option arms inside legs to mimic pose)
Cueing: Position “From bhujapidasana, squeeze your inner thighs together and reach your
legs towards straight.”
“Stretch through your feet.”
“Squeeze your legs as you straighten your arms.”
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Eka Pada Galavasana
EH-kah PAH-dah Gah-lah-VAH-sana
“One Foot Sage Galava’s Pose”

• Stretches outer hip
• Engages midline
• Increases focus
• Playful
• Elbow bent
• Thigh pressing down into upper arms to create buoyancy
• in core and pelvis
• Back leg reaching straight
• Gaze and chest reaching forward
Prop Options • Standing Figure Four: hands on blocks (don’t lift leg)
Cautions • Knees slipping off upper arm (not wrapping toes or
• bending elbows enough)
• Pelvis dropping (need to lift hips/engage core more)
• Shoulder injury
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• Wrist injury
Pose Variations • Standing figure four (outer hip stretch)
• Bakasana (core/hand balance)
• Navasana (option arms inside legs to mimic pose)
Cueing: Position “Sit down in chair pose cross your right ankle across your left knee and
bring your elbows to your shins (standing figure four). Bring your palms
flat to the floor outer shoulder distance apart. Press your shin into the
backs of your upper arms and wrap your toes strongly around your
upper arm. Pull up through your core and hug your shoulders on your
back. Bend your elbows and hug them towards each other as you learn
forward and lift your foot. Lift strongly from underneath the armpits and
the ribs. Look forward and reach your chest forward to stretch your leg
back.”
Cueing: Action “Root down through your hands to lift your core.”
“Reach your chest forward and stretch back through your foot.”
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Inversions
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Inversions: Overview
The primary purpose of inversions is to bring the head below the heart. While many poses are
technically inversions (like adho mukha svanasana or uttanasana), most of the following inversions
are hand balances that also bring the lower body and legs fully above the head.
Inversions may be roughly categorized as either heating or cooling. Heating inversions are
energizing poses that require upper body strength as well as shoulder flexibility to be fully realized.
Heating inversions include handstand (adho mukha vrksasana) and forearm stand (pincha
mayurasana).
Cooling inversions, although they still require muscular engagement and skill, are generally less
effortful to hold; these positions give the practitioner the opportunity to hold the inversions for a
longer period of time. Cooling inversions include headstand (sirsasana), shoulderstand (salamba
sarvangasana), plow (halasana) and legs up the wall (viparita karani).
Benefits:
Risks:
Sequencing Tips:
• Heating inversions are generally taught earlier in the class. For an average practitioner, an
inversion may be a peak pose. For an advanced practitioner, inversions may be used to
warm up the body.
• Cooling inversions are generally taught towards the end of the class and help to facilitate
relaxation.
 Neutral hips
 Hands/wrists awareness
 Core engagement
 Shoulders in flexion and external rotation (except shoulderstand)
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Teaching Tips:
• Going upside down can often be disconcerting for students and it can be difficult to
process complex information. Help students by:
• Doing a demonstration to illustrate key points prior to doing the pose
• Teach key stabilizing actions (for example, the paired actions of the shoulder girdle) before
the students become fully weight-bearing in their shoulders.
• Use simple language and cues when students are upside down (for example, “straighten
your arms,” rather than, “externally rotate your upper arms.”)
• Offer clear stages for the pose so everyone has something to work on.
• Offer clear benchmarks for continuing to the next stage so students practice appropriately.
• Show students how to exit the pose safely.
• Kicking up in the middle of the room in poses like handstand and forearm stand can be
dangerous for students who are not accustomed to inverting. Use a wall.
• Use root rebound cues to activate the whole body and to help students to resist the pull of
gravity.
• Use stabilizing cues before cueing students to exit the pose to prevent them from
collapsing.
• For poses that are weight bearing through the head and neck (headstand and
shoulderstand), take care to have students properly align their cervical spine. Prop students
appropriately as needed and teach students to use their engagement of their shoulder
girdle - rather than their head or neck - to bear the weight of the pose.
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Adho Mukha Vrksasana
AH-doh MOO-kah Vrik-SHAH-sana
“Downward Facing Tree” aka Handstand”
With teacher assist
Purpose • Full body activation

• Helps move through fear
• Energizing
• Changing perspective
• Trains balance and proprioception
• Strengthens upper body
• Warming/heating
Key Points • Tadasana upside down
• Arms straight
• Legs straight and squeezing together
• Hips neutral
• Hands firmly rooted
• Opposition: root through hands and stretch up through
• feet
Prop Options • Wall
Cautions • Falling, loss of balance
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• Ribs popping
• Fear, chaos
• Wrist injury
• Arms bent
• Legs bent or disengaged
Pose Variations • Handstand prep (L-shape at wall)
• Virabhadrasana three
• Adho Mukha Svanasana
• Feet flexed (lengthens back body) or flointed (“barbie” feet with
balls of feet pressing to sky)
Cueing: Position “From downward facing dog at the wall, shift your shoulders forward
over your wrists. Root strongly through your hands and take your gaze
slightly forward. Walk in slightly to shorten your stand and draw your
shoulder blades firmly onto your back. Keeping your hips square, lift one
leg up. Bend your standing leg. If you can keep your arms and lifted leg
straight, press through your standing leg and swing your lifted leg up
into handstand. Bring both feet to the wall and squeeze your legs
together. To come out, press through your hands and bring one leg
slowly down at a time. Rest in child’s pose.”
“Roll your inner thighs toward the wall and reach your sitting bones up
to your heels.”
“Press down to reach up.”
“Draw your front ribs in and stretch your tailbone to your heels.”
“Root strongly into your hands and reach up through your feet.”
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Pincha Mayurasana
PIN-chah Ma-yur-RAH-sana
“Feathered Peacock Pose” aka Forearm Stand”
Purpose • Backbend in upper back

• Shoulder opener
• Full body activation
• Helps move through fear
• Heating
Key Points • Foundation: forearms parallel and rooting down, elbows under
shoulders
• Backbend in upper back; actively move shoulder blades into the
upper back
• Pelvis over shoulders
• Hips neutral
• Forearms firmly rooted
• Opposition: root through hands and stretch up through feet
Cautions • Falling, loss of balance
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• Shoulder injury
• Fear, chaos
• Elbows splayed (loss of external rotation)
Pose Variations • Dolphin (forearm downward facing dog)
balls of feet pressing to sky.)
Cueing: Position “From dolphin at the wall with forearms parallel, root strongly through
your forearms and take your gaze slightly forward. Keeping your
shoulders over your elbows and your shoulder blades drawing up your
back, walk in as far as possible. Draw your shoulder blades firmly onto
your back and melt your heart towards the floor to create a backbend in
your upper back. Keeping your hips square, lift one leg up. Bend your
standing leg. If you can keep your lifted leg straight and square, press
through your standing leg and swing your lifted leg up to the wall. Bring
both feet to the wall and squeeze your legs together, and stretch up
through your legs. To come out, press through your forearms and bring
one leg slowly down at a time. Rest in child’s pose.”
“Root your forearms down and lift your shoulders into your back.”
to your heels.”
“Root down to stretch up.”
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Sirsasana
Shear-SHAH-sana
“Headstand”
Full Half (ardha sirsasana)
Purpose • Cooling inversion, calming, grounding

• Full body engagement
• Lymphatic drainage
Key Points • Foundation: forearms rooting down, elbows under shoulders,
hands interlaced up to webbing, wrists stacked (hand positions
may vary). Head is lightly on floor. Weight should be carried
mostly by forearms unless practitioner is very experienced.
• Actively move shoulder blades into the upper back to stabilize
the position
• Pelvis over shoulders
• Hips neutral
• Hands, wrists and forearms firmly rooted
• Opposition: root through forearms and stretch up through feet
• Blanket under forearms if there is too much weight on head due
to a long neck
Cautions • Falling, loss of balance, “kicking up”
• Neck injury
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• Fear, chaos
• Elbows splayed (loss of external rotation in upper arm)
Pose Variations • Dolphin (Forearm downward facing dog)
balls of feet pressing to sky)
Cueing: Position “Come onto all fours, interlace your hands and place your forearms on
your mat with your knuckles about a foot from the wall. Ensure your
inner and outer wrists are evenly stacked and your elbows are directly
under your shoulders. Draw your shoulders away from your ears and
place your head lightly on the mat. Root through your forearms and lift
your shoulders up. Curl your toes under and lift your hips up. Keeping
your shoulder blades lifting into your upper back, walk in as far as
possible. Keeping your hips square, lift one leg up. If you can keep your
lifted leg straight and square, press through your standing leg and lift
your lifted leg up to the wall. (There should be almost no momentum in
lifting up into headstand.) Bring both feet to the wall and squeeze your
legs together, and stretch up through your legs. To come out, press
through your forearms and bring one leg slowly down at a time. Rest in
child’s pose.”
“Root your forearms down and lift your shoulders into your back.”
to your heels.”
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Salamba Sarvangasana
Sah-LUM-bah Sar-van-GAH-sana
“Shoulder Stand” and Variations
Modification with hips on blocks Half shoulderstand
Viparita karani (restorative legs Shoulderstand

up the wall)

• Opens shoulders in extension
• Full body engagement
Key Points • Foundation for full shoulderstand: upper arms rooting down
strongly to lift chest, elbows in line with shoulders, back of head
on floor, cervical curve maintained.
• Weight should be on the shoulders to avoid compression
through the neck
• Actively move shoulder blades into the upper back to stabilize
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position
• Pelvis over shoulders (shoulderstand)
• Legs straight and squeezing together (unless restorative)
• Hips neutral
• Hands, wrists and forearms firmly rooted
• Opposition: root through back of upper arms and stretch up
through feet
• Firm blankets or props under the upper back in order to help
• students maintain the natural curve of the cervical spine (head
• on floor).
• No props are required under the shoulders in the restorative and
half shoulder stand versions, since the angle of the body does
not create a sharp angle in the cervical spine.
• Strap around upper arms to keep arms in line with shoulders
• Neck injury, over-compression of cervical spine
• “Falling out” of upper back
Pose Variations • Feet flexed (lengthens back body) or flointed (“barbie” feet with
balls of feet pressing to sky
• Half shoulderstand
• Viparita karani (legs up the wall)
“Press your upper arms down and lift your shoulders into your back.”
to your heels.”
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Halasana
Hah-LAH-sana
“Plow Pose”
Halasana Karnapidasana (ear pressure pose)

• Opens the back line of the body
• Opens shoulders in extension
Key Points • In classical halasana, the upper body is in the shape of full
salamba sarvangasana. A more passive version positions the
upper body in the shape of half shoulderstand. The following
points speak to the classical variation.
• Foundation: upper arms rooting down strongly to lift chest,
elbows in line with shoulders, back of head on floor, cervical
curve maintained.
• Move shoulder blades into the upper back to stabilize position
• Active: pelvis over shoulders; upper arms root down as pelvis
lifts up
• Legs straight, toes rooted to floor, quads lift
• Arms extended and hands clasped or hands at lower back
• Upper arm rooted
• Opposition: root through back of upper arms and stretch up
through hips
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• Classical halasana: firm blankets or props under the upper back
in order to help students maintain the natural curve of the
cervical spine (head on floor). Note: no blankets are used in the
restorative and half shoulder stand versions, since the angle of
the body does not create a sharp angle in the cervical spine.
• Strap around upper arms to keep arms in line with shoulders
• Blocks or bench under feet to lessen hamstring stretch
• Neck injury, over-compression of cervical spine
• “Falling out” of upper back
• Lower back injury
Pose Variations • Paschimottanasana
• Passive halasana
• Karnapidasana (ear pressure pose)
Cueing: Action Halasana:
“Squeeze your legs together.”

“Press your upper arms down and lift your shoulders into your back.”
“Root your upper arms down and lift the outer hips up.”
“Root your toes down as you lift your thighs up.’
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Matsyasana
Mat-see-YAH-sana
“Fish Pose”
Legs straight With lotus legs, classical
Though not properly a full inversion, fish pose is included here as it is a classical counterpose to
shoulder stand and halasana in the ashtanga tradition. Fish pose is a backbend. The chest lifts,
which brings the top of the head to the floor. Generally speaking, this pose is better suited to
more experienced practitioners, as it requires body awareness to ensure that there is adequate lift
through the chest without compression of the head and neck.
Purpose • Opens chest and throat

• Spinal extension
• Cervical spine extension
• Strengthens back body
• Traditional counterpose to halasana
Key Points • Thighs neutral (classical version: lotus)
• Foundation is pelvis, elbows, and top of head (lightly)
• Backbend in thoracic (upper) spine
Prop Options • Restorative: block under upper back and head
• Holding mat in hands
Cautions • Hyperextension of cervical spine
• Too much pressure on head
• Legs disengaged
• Collapsed chest
• Back issues (herniations, bulging discs)
Pose Variations • Downward dog (releases cervical spine)
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• Cat/Cow (releases cervical spine, gentle backbend)
Cueing: Position “Lie on your back with your knees bent. Inhale and lift your pelvis
slightly up and bring your hands below your buttocks, then bring your
pelvis back onto your hands. Press your elbows and arms down to lift
your chest and your head. Gently replace your head back onto the floor
(exact placement on skull will vary based on your flexibility), ensure the
pressure is light and neck is spacious. Press your elbows down to keep
your chest lifted. If you can keep your chest lifted, extend your legs
slowly towards straight and stretch through your heels.”
“To come out, bend your knees, press your forearms down and tuck
your chin to come down.”
Cueing: Action “Press your elbows and forearms down to lift your chest.”
“Lift your shoulder blades up and into your chest.”
“Root through your pelvis as you lift your chest.”
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Backbends
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Backbends: Overview
Backbends are wonderful postures for combating the sedentary habits of modern life, such as
sitting at a desk and driving cars. Backbends open the chest, move the thoracic spine towards
extension, lengthen the hip flexors, and open the shoulders.
Almost all backbends involve hip extension, that is, taking the thigh bone back relative to the
pelvis. The feet are usually hip distance apart and parallel, and the hips are almost always square.
However, our most powerful hip extensor - the gluteus maximus - also externally rotates the hip,
which means that we have a tendency to externally rotate the thigh when backbending. Consider
lifting the hips in bridge pose: the knees and feet will tend to “turn out.” While external rotation is
not uncomfortable for all practitioners, some students experience this activation as a compression
through the low back. As a best practice, we balance the activation of the glutes with the thighs
“hugging in” to keep the thighs neutral in the transverse plane.
The cervical and lumbar spine are lordotic, which means that they easily move into spinal
extension. Conversely, the thoracic spine (where we tend to slump) is kyphotic. In backbends, care
must be taken to stabilize the lumbar spine (through an active core) and the cervical spine (by
engaging the anterior throat muscles and lengthening the back of the neck) as well as to mobilize
the thoracic spine. Simply put, move the backbend into the upper back, rather than capitalizing on
the easy extension of the low back and neck. Generally speaking, backbends shouldn’t create
fierce or sharp sensation in any one place; the feeling of the backbend should be evenly
distributed through the spine.
Paired actions are extremely useful when teaching backbends. Consider how the following cues
will support backbending:
• Press the upper inner thighs back: widens the lower back and internally rotates the thighs
(which counteracts the strength of the glutes)
• Lengthen the tailbone down: stabilizes the core and lengthens the lower back
• Soften the front ribs in: stabilizes the core
• Widen the collarbones: begins to move the upper back into thoracic extension
• Lift the chin slightly: helps lifts the chest
• Lengthen the back of the neck: stabilizes the cervical spine
Backbends can be categorized as strengthening or opening. While there is gray area between
these categories, generally speaking a strengthening backbend is one that uses the muscles of the
back to do the pose. An opening backbend is one that goes beyond the capacity of the spinal
extensors, and uses other factors (the arms, gravity, the legs) to leverage the spine more deeply
into extension. For example, a low cobra (especially if you lift the hands) is strengthening, while
bow pose (where you grab the feet and use the strength of the legs to lift up) is more of an
opening backbend. Teach opening backbends mindfully, as is it possible for students to
inadvertently go “too far, too fast” in these poses.
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Benefits:
Risks:
Sequencing Tips:
• Strengthening backbends can be taught early in the sequence as students can’t really
overdo them. Opening backbends should be taught later in the sequence as they require a
deeper opening.
• Build your sequence so that you teach backbends in order of most accessible to most
complex.
• Complex backbends are often peak poses.
• Twists are excellent for warming up for - and cooling down from - backbends.
 Neutral hips
 Hip flexor opening
 Core engagement (to protect lower back)
 Thoracic extension
Teaching Tips:
• Use the paired actions liberally to ensure that you are protecting the lumbar and cervical
spine from hyperextension.
• Have students lengthen the side waists before they backbend.
• A useful cue is to reach the chest “forward and up” to create a sense of lifting the body out
of gravity - and avoiding collapse.
• Use root-rebound cues to defy gravity and create stability.
• Stabilize and strengthen the pelvis and core before moving into the opening of the
backbend.
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Anuvittasana
Ah-nu-vee-TAH-sana
“Obtained Pose” or Standing Backbend
Moderate Hands clasped Deeper backbend
Purpose • Opens the front of the chest

• Opens the shoulders
• Opens the ribs/lungs
• Feet parallel
• Core engaged and tailbone lengthening for lumbar support
• Hips press forward
• Lift from upper back
• Chest moves forward and up
• Lift up and over the back body to deepen the pose
Prop Options • May hold strap
• Optional block between thighs
Cautions • Shoulder injury (keep hands on hips)
• Compression in low back
• Compression in neck (if drop head back)
• Balance
• Hand clasped, shiva mudra
Cueing: Position Bring your hands to your hips. Root through your feet and lengthen
your tailbone down. Inhale to lift your chest and draw your shoulders
back. Reach your chest forward and up to move into a standing
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backbend.”
“To come out, engage your core and inhale to lift up to a standing
position.”
Cueing: Action “Hug the legs to the midline.”
“Press the inner thighs back as you lengthen your tailbone down.”
“Draw your front ribs in as you lift your chest forward and up.”
“Press your hips forward and lift your heart.”
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Bhujangasana
Boo-jahn-GAH-sana
“Cobra Pose”
Low cobra, aka “baby” cobra Fingerstand cobra Full cobra
Purpose • Opens the chest

• Spinal extension; strengthens spinal extensors
• Work adductors/ midline
Key Points • Thighs neutral
• Legs hip distance apart
• Feet pressing down into mat
• Core engaged to support lower back/prevent hyperextension
• Use hands to create length in side waists
• Low cobra is more strengthening; full cobra is more opening
• Pelvis remains on mat
Prop Options • Block between legs or ankles
Cautions • Hyperextension of lower back
• Hyperextension of cervical spine
• Legs externally rotating
• Legs inactive
• Feet splayed
• Collapsed shoulders
• Hand/ wrist injury
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Pose Variations • Urdhva mukha svanasana
• Salabhasana
• “Fingerstand” cobra: low cobra with elbows wide on fingertips
• Cow
Cueing: Position “From lying flat, bring your hands under your shoulders. Stretch your
legs back and press the tops of your feet strongly into the floor.
Engage your core to lengthen your tailbone to your heels. As you inhale,
lift your chest forward and up.”
Cueing: Action “Press the outer edges of your feet down.”
“Lift your inner thighs up to the sky as you lengthen your sitting bones
to your heels.”
“Draw your low ribs in as you draw the shoulders back.”
“Widen your collarbones.”
“Pull the shoulder blades together up into the back of the heart.”
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Urdhva Mukha Svanasana
UHRD-vah MOO-kah Shva-NAH-sana
“Upward Facing Dog”
Purpose • The classical backbend in surya namaskar A and B

• Opens chest
• Spinal extension; strengthens spinal extensors
• Strengthens legs
• Legs strongly lifting
• Tailbone to heels
• Gaze to nose
• Feet and hands pressing down into mat to lift and open heart
• Legs disengaged
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• Shoulders ahead of wrists (hard on wrists and shoulders)
• Collapsed shoulders; lack of shoulder blade retraction
• Hand/ wrist injury
Pose Variations • Bhujangasana
• Salabhasana
• Cow
Cueing: Position “From lying flat, bring your hands under your shoulders. Stretch your
legs back and press the tops of your feet strongly into the floor.
Engage your core to lengthen your tailbone to your heels. As you inhale,
lift your chest forward and up. Press through your feet and lift your
pelvis off the floor.”
Cueing: Action “Press the tops of your feet down.”
“Lift your inner thighs up to the sky as you lengthen your sitting bones
to your heels.”
“Draw your low ribs in as you draw your upper arms back.”
“Press into your hands to pull the heart forward.”
“Pull the shoulder blades together up into the back of the heart.”
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Salabhasana
Shah-lah-BAH-sana
“Locust pose”
Classical One leg at a time
Hands clasped With stabilizing assist
Purpose • Opens chest

• Engages and strengthens spinal extensors
• Arms in extension
• Work adductors/midline
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• Best practice: legs hip distance apart
• Advanced: legs and feet together
• Core engaged to support lower back / prevent hyperextension
• Holding strap
Pose Variations • Cobra
• Cow
• Half Locust (alternate legs and arms), “Swimming”
• Superhero (both arms forward)
• Lift only legs
• Hands interlaced
Cueing: Position “From lying flat, reach your hands back (version dependent). Stretch
your legs back and press the tops of your feet strongly into the floor to
engage your legs. Engage your core to lengthen your tailbone to your
heels. As you inhale, lift your chest forward and up and lift your legs.”
Cueing: Action “Lift your inner thighs up to the sky as you lengthen your sitting bones
to your heels.”
“Press your pubic bone down into the mat as you lift your chest.”
“Reach your fingers back as you stretch your chest forward.”
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Sphinx
Classical With thigh stretch/ half frog

(ardha bhekasana)

• Forearms parallel and pressing down
• Legs and feet are hip distance apart
• Use traction of forearms on the floor to lengthen side waists,
pull arm bones back and open the chest
• Holding strap
• Chin lifting: hyperextension of cervical spine
• Cow
• Salabhasana
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• For students with sensitive backs, they can bring their elbows
further forward to keep their low ribs on the ground.
Cueing: Position “From lying flat, bring your elbows under your shoulders with your
forearms parallel. Stretch your legs back and press the tops of your feet
strongly into the floor to engage your legs. Engage your core to
lengthen your tailbone to your heels. As you inhale, press the forearms
down, and pull your heart forward and up.”
Cueing: Action “Lift your inner thighs up to the sky as you lengthen your sitting bones
to your heels.”
“Press your pubic bone down as you lift your chest.”
“Press your forearms down as you stretch your chest forward.”
“Broaden your collar bones.”
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Anahatasana
Ah-nah-hah-TAH-sana
“Heart Melting Pose”
Stiffer More flexible

• Passive melt of upper back
• Arms straight, upper arms in external rotation
• Hips above knees
• Toes tucked or untucked
• More flexible: walk hands forward, chest or chin to earth
Prop Options • Block between thighs
• Support under chest
• Blanket under knees
Cautions • Compression of lower back
• Arms not straight
• Shoulder compression
• Cervical spine compression
• Cow
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Cueing: Position “From all fours, keep your hips over your heels as you begin to walk
your hands forward. Keep your arms straight and allow your heart to
melt to the floor.”
Cueing: Action “Roll your inner thighs back as you lengthen your tailbone slightly
down.”
“Melt your heart.”
“Walk your fingertips forward and soften your shoulder blades into your
back.”
“Wrap your outer arms towards the floor.”
“Breathe.”
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Ustrasana
Oo-STRAH-sana
“Camel Pose”
Stiffer body, modified More flexible

• Knees hip distance apart
• Toes tucked (easier) or feet flat (deeper)
• Strap around upper thighs
• Hips and thighs to wall
• Holding strap
• Hands to blocks
• Bolster across shins; hands to bolster
• Neck issues (keep looking forward)
484
• Hinging from mid or lower back rather than mobilizing upper
back
Pose Variations • Locust
• Bridge
• Cobra
• Cow
• Standing backbend
• Hands remain on hips
• Hands interlaced
• Hands on backs of thighs
Cueing: Position “Stand on your knees with your shins parallel behind you and your toes
tucked. Widen your inner thighs back as you lengthen your tailbone
down. Bring your hands on your hips and inhale to lift all four sides of
your waist. Keeping your front ribs in, draw your shoulders back, reach
your chest forward and up to move your upper back into a backbend.
Keeping your hips over your knees, lift your chest strongly and draw
your shoulders up into your back body. If you feel stable, bring your
hands to your heels. Press your hands down as you lift your chest up.”
“To come out, engage your core, press through your feet, and lift your
chest up.”
Cueing: Action “Press your inner thighs back as you lengthen your sitting bones to your
heels.”
“Root your tailbone down.”
“Lift your heart forward and up.”
“Root into your shins and feet as you lift your chest.”
485
Dhanurasana
Dah-nyur-RAH-sana
“Bow Pose”
Thighs down, chest up Both thighs and chest lifting;

moving to “teardrop”

Key Points • Knees bent
• Knees hip distance, toes together (“teardrop” variation)
• Legs and feet together (advanced)
• Core engaged to support lower back / prevent hyperextension
• Strap to reach feet
• Neck issues (keep looking forward)
• Knees splaying wide
• Knee pain
486
• Compression of lower back rather than mobilizing upper back
Pose Variations • Bridge
• Locust
• Camel
• Half Dhanurasana
Cueing: Position “Laying on your belly, bend your knees, reach back and hold onto the
outsides of your ankles or feet. Hug your legs to the midline to keep
them parallel. Lengthen your tailbone to your knees and engage your
core. Draw your bottom ribs in as you open the chest. As you inhale,
press your feet back into your hands and lift your chest.”
Thighs down: “Press the thighs down into the earth as you reach your
chest forward and up.”
Teardrop: “Bring your toes to touch. Press your feet into your hands and
up to the sky as you lift your chest.”
Cueing: Action “Roll your inner thighs to the sky as you root your tailbone to your
knees.”
“Draw your front ribs in as you lift your heart forward and up.”
“Kick your shins into your hands to lift your chest.”
“Breathe into your chest.”
487
Natarajasana
Na-tah-rah-JAH-sana
“Dancer’s Pose”
Modified
Purpose • Standing backbend

• Opens hip flexors
• Trains balance
• Open front line of body
• Opens shoulder/chest
Key Points • Hips neutral and square
• Four corners of front foot firmly rooted
• Lifted side bodies
• Back leg inner thigh to sky, tailbone roots
• Chest reaching forward and up
• Hips square, but chest and shoulder opening to side
Prop Options • Strap for back foot
• Wall
Cautions • Hyperextension of lumbar spine
• Hyperextension of standing leg
• Hunched shoulders
488
• Bent standing leg
• Twisted hips
• Chest dropping
• Compression of lower back rather than mobilizing upper back
Pose Variations • Standing quad stretch
• Standing backbend
• Both hands over head, holding back foot (or strap) (advanced)
Cueing: Position “From Tadasana, lift your left arm up. Place your right elbow at your
right hip with your palm up. Bend your right knee and hold onto the
inside of your foot. Inhale to lift all four sides of your waist. Draw your
core in, as you exhale, kick your foot into your hand and hinge from the
hips. When you can’t press your foot back any further, press the foot up
to the sky. Roll the lifted inner thigh to the ceiling as you anchor your
tailbone down. Draw the belly in and stretch through your left fingers to
reach your chest forward and up.”
“Reach your chest forward and up.”
“Press your foot strongly into your hand.”
“Soften your front ribs in as you draw your shoulders onto you back.”
“Lengthen your tailbone down as you press your foot back.”
“Press your foot back as you reach your chest forward.”
489
Purvottanasana
Poor-voh-tan-NAH-sana
“Stretch of The East”
Modified with knees bent; sometimes called Full

reverse table

• Foundation is hands - shoulder distance - and feet – hip distance
• Legs and feet hip distance apart
• Core engaged to support lower bac /prevent hyperextension
Prop Options • Block between legs
• Holding strap in hands
• Cervical spine unsupported
• Feet turning out
• Collapsed chest
490
• Sinking pelvis (use leg strength to lift)
• Neck issues
Pose Variations • Setu bandhasana/ chatush padasana
Cueing: Position Modified: “Sit on your bum and bring your hands behind you, shoulder
distance apart. Press down through your hands and lift your chest.
Root through your feet and lift your pelvis up.”
Cueing: Action “Roll your inner thighs in and down as you lengthen your sitting bones
to your knees.”
“Engage your core as you lift your shoulder blades up and into your
chest.”
“Root through your feet as you lift your pelvis.”
“Press your heels down and lengthen your tailbone forward.”
491
Camatkarasana
Cah-maht-kah-RAH-sana
“Wild Thing”

• Opens shoulder
Key Points • Enter from side plank
• Root hand firmly to floor
• Lower shoulder blade firmly wrapped onto back as ribs turn to
sky
• Use feet to lift hips
• Core engaged to support lower back /prevent hyperextension
Prop Options • N/A
Cautions • Loss of shoulder stability
• Insufficient lift of hips
492
• Collapsed chest
• Sinking pelvis (use leg strength to lift)
• Neck issues
Pose Variations • Side plank
• Bridge
Cueing: Position “From side plank on left hand, turn your right knee up to sky and step
toes behind your left knee. Root into left hand to anchor shoulder onto
the back. From the lift of the scapula into the chest, turn the chest and
pelvis up to the sky. Root into the feet to lift the chest and bring your
right arm up and over your ear.”
To come out: “Reach your right arm straight up to the sky, restack your
legs into side plank, lift your hips, and bring your right hand back to the
earth in plank position.”
to your knees.”
“Root your hand down to lift your chest.”
“Press through your feet to lift your pelvis.”
493
Setu Bandhasana | Chatush Padasana
SEH-too Bahn-DAH-sana | CHAH-tush Pa-DAH-sana
“Bridge Pose”
With one foot lifted, “eka pada”

• Foundation is upper arm bones and backs of arms.
• Legs and feet hip distance apart
• Core engaged to support lower back /prevent hyperextension
• Holding strap in hands
• Holding mat in hands
• Flattening cervical curve (press back of head down)
494
• Collapsed chest
Pose Variations • Salabhasana
• Bhujangasana
Cueing: Position “Lie on your back with your knees bent and your feet under your knees.
Your feet are hip distance apart and parallel. Lift your hips up. Roll your
inner thighs down as you lengthen your tailbone to your knees. Press
the upper arms firmly down and interlace your hands under your back.
Lift your pubic bone to your navel slightly as you lift your chest towards
your chin. Press the back of the head down slightly to keep the cervical
curve of your spine.”
“To come out, release your hands and lower your hips.”
to your knees.”
“Engage your core as you lift your shoulder blades up and into your
chest.”
“Root through your feet as you lift your chest.”
495
Urdhva Dhanurasana
URD-vah Dan-ur-AH-sana
“Wheel Pose/ Upward Bow”
Preparatory Intermediary position with head on floor
Wheel – version 1 Wheel – version 2
Purpose • Heart opener

• Full spinal extension
Key Points • Foundation firmly rooted, even between hands and feet
• Hips in extension
• Feet hip distance apart and parallel
• Hands shoulder distance apart
• Midline engagement to keep thighs from turning out
• Arms straight
496
• Upper arms in external rotation
Prop Options • Block between legs or feet
• Hands on wall (for wrist injury)
• Hands on block at wall (for wrist injury)
Cautions • Hyperextension/compression of lower back
• Knees moving forward of ankles
• Elbows splayed wide (losing upper arm external rotation)
• Collapsed chest
• Shoulder collapse
• For students with neck issues, it is not advised to place head on
floor
Pose Variations • Setu Bandhasana
• Dhanurasana
• Bhujangasana
• Spine in even arc (version 1), or pressing chest through arms
(version 2)
Cueing: Position “Lie on your back with your knees bent and your feet under your knees.
Your feet are hip distance apart and parallel. Root through your feet to
lift your hips up. Roll your inner thighs down as you lengthen your
tailbone to your knees. Place your hands by your shoulders. Root your
hands down, plug your shoulders onto your back. Engage your core and
(keeping shoulders on earth) lift your chest to the sky. Inhale to press
through your hands and feet and exhale, lift your chest and pelvis fully
up. Wrap your outer arms in and straighten your arms. Root through the
inner edges of your feet and press your hands down to lift your chest
up.”
“To come out, root your hands and feet, tuck your chin slightly and
lower down onto your upper back, then to the floor.”
Cueing: Action “Roll your inner thighs in and down as you reach your sitting bones to
your knees.”
“Press through your hands to lift your heart up.”
497
“Stretch your arms.”
“Lift your chest to the sky.”
“Reach your tailbone and your chest apart.”
498
Seated Poses
499
Seated Poses: Overview
Seated poses are generally practiced in the last part of class as part of a cool down, although they
can be used judiciously to open the body during practice. Because the pelvis and legs are on the
floor, these poses require less muscular effort than standing poses. They can be held longer and
are good for pacifying the nervous system and encouraging a deeper sense of release and
relaxation.
Although the purpose of most seated poses involves some sort of stretching, these poses still
require a degree of muscular engagement to maintain balanced action when they are taught in a
hatha, flow, or power style practice. (Similar shapes are also used in yin yoga, but the intention in
yin yoga is to stretch connective tissue, which gives the practice of those poses a different flavor.)
Benefits:
Risks:
Sequencing Tips:
• Because these poses require less muscular effort to maintain and are easier to hold, they
are often used in final part of class as counter poses and transition poses from the peak.
Teaching Tips:
• Although these poses are generally less effortful, encourage students to maintain enough
muscular action to stabilize the pose and maintain proper alignment. The universal actions
are still present.
• When used in the cool down, teaching these poses is a good time to focus on the breath.
• Adapt your vocal tone and cueing appropriately when teaching poses for the purpose of
relaxation rather than activation.
500
Dandasana
Dahn-DAH-sana
“Staff Pose”

• Strengthens back muscles
• Grounding, rooting
• The “tadasana” of seated poses
Key Points • Thighs neither turning in nor out
• Feet together, legs together
• Outer edges of feet drawing back to keep feet in tadasana
alignment
• Inner and outer thighs pressing down evenly
• Spine tall and lifted (tadasana)
• Legs working towards straight
• Hands pressing down into earth
Prop Options • Sit on blocks
• Hands on blocks
• Strap around feet to lift chest
Cautions • Rounding spine (bend knees more to find height of spine)
• Feet unengaged
501
• Legs not active
Pose Variations • Bend knees
• Hands placed behind the pelvis to help lift chest
• Supta dandasana (lie on back, feet in air)
Cueing: Position “Sit up tall on your sitting bones and reach your legs forward. Bring the
sides of your feet together and flex your feet. Press your thighs down
strongly. Press your hands down by your hips and lift your chest and
spine tall.”
Cueing: Action “Root the inner thighs down as you anchor through your sitting bones.”
“Lift strongly through all four sides of the waist.”
“Root through the sitting bones to lift through the crown of your head.”
“Draw your front ribs in as you draw your shoulders onto your back.”
502
Janu Sirsasana
JAH-noo Shear-SHAH-sana
“Head To Knee Pose”
With strap, stiffer body More flexible

• Stretches groin
• Lengthens spine
• Stretches lower back
• Some spinal flexion
• Some spinal rotation
• Grounding
Key Points • One thigh externally rotated, knee wider than 90 degrees, heel
to pubic bone, sole of foot facing up
• Pelvis is turned slightly open
• Extended leg thigh is pressing down strongly
• Spine is in a slight twist and flexion
• Side waists are working towards being even
• Lengthen before forward folding
• Strap around foot
• Block or blanket under bent knee
Cautions • Rounding spine (bend knees more to find height of spine)
• Inner knee compression (prop knee up, open angle of knee joint,
503
place a strap in joint to create space)
• Spinal lateral flexion (C-curving spine, rather than evenly
lengthening both sides of the waist)
• Feet unengaged
• Legs not active
• Shoulders hunching
• Chest rounding
Pose Variations • Baddha konasana
• Paschimottanasana
• Hands placed behind the pelvis on floor to help lift chest
Cueing: Position “From dandasana, bend your right knee. Take your right knee wide to
the side and place your heel to your pubic bone. Inhale lift all four sides
of your waist and twist your torso to face your extended leg. Keeping
both side of your waist long (especially the left), hinge from your hips
and reach your chest towards your toes.” (Hand options: behind you,
strap, holding shin, holding side of foot.)
Cueing: Action “Root the sitting bones back and down and reach the chest forward.”
“Inhale and lengthen the front of the body, exhale to soften into the
pose.”
“Foot through your pelvis as you stretch your chest forward.”
“Relax your shoulders away from your ears.”
504
Paschimottanasana
Pah-shee-moh-tah-NAH-sana
“Stretch of the West”
Stiffer More flexible
Purpose • Stretches the entire back line of the body

• Stretches the hamstrings
• If hips can flex, some spinal flexion
• Grounding
• Relaxing
Key Points • Legs together and engaged (like dandasana)
• Feet flexed or flointed
• Spine long and working towards neutral
• Chest wide, collar bones spread
• Shoulder blades drawing into back body to reach chest forward
• Elbows widening apart to open chest
• Lengthen before folding
Prop Options • Sit on block
• Strap around feet
• Support under knees
• Block under head
Cautions • Flexion of spine without sufficient flexion at hip
• Feet and legs unengaged
505
• Shoulders hunching, tension
• Legs not parallel
• Disc/back issues
• Sciatica
Pose Variations • Janu sirsasana
• Supta paschimottanasana
• Happy baby (release back)
• Sitting on blocks
• Hand hold variations (strap, fingertips behind you, hands to
shins, hold outer feet, bind hands around feet)
Cueing: Position “From dandasana, root through your sitting bones. Inhale to lengthen
through the sides of your waist. As you exhale, hinge forward from your
hips. Hold (strap, shins, feet) and widen elbows to the side to open the
chest. Inhale to lengthen, as you exhale, reach your chest to your toes.”
Cueing: Action “Root the sitting bones down and reach the chest forward.”
“Roll your inner thighs down to the floor as you anchor your sitting
bones back and down.”
“Hug your legs together.”
“Inhale and lengthen, exhale to fold.”
“Lengthen your sternum forward.”
“Draw your shoulders down your back.”
“Release your neck.”
506
Marichyasana C
Mah-ree-chee-AH-sana
“Sage Marichi’s Pose”
Arm straight With bind
Purpose • Rotates and release spine

• Engages spinal extensors and rotators
• Widens chest
• Good for internal organs
• Grounding
Key Points • Spinal rotation
• Foundation: heel in line with sitting bone, extended leg engaged
and thigh pressing down
• Sides of waist lifting evenly
• Chest wide, collar bones spread (width of chest is more
important than the arm position)
• Although the classical version of this pose uses an arm bind, the
bind should only be used if it enhances the lift and rotation of
the pose. For general practitioners, holding the front shin or
wrapping the elbow around the knee is more helpful.
• Shoulder blades drawing into back body to lift chest
• Elbows widening apart to lift chest
• Lengthen before twisting
• Use a strap to bind
Cautions • Rounding spine (especially lower back)
507
• Contracting front of chest
• Failing to lift up through side waists
• Feet unengaged
• Legs not active
lengthening sides of the waist)
Pose Variations • Ardha matsyendrasana
• Reclined twist
• Hold onto bent knee for more support
• Elbow around bend knee to help lift chest
• Bind/no bind (binds should not compromise the width of the
chest)
Cueing: Position “From dandasana, bend your left knee and place your left heel in front
of your left sitting bone. Press your right leg firmly into the floor. Inhale
to lift your chest, as you exhale hook your right elbow around your left
knee and widen your chest. Place your left fingertips behind you, and
twist to the left.”
Cueing: Action “Root the sitting bones down and lift through the sides of your waist.”
“Inhale and lengthen, exhale to twist.”
508
Ardha Matsyendrasana
AHR-dah Maht-see-yen-DRAW-sana
“Half Lord of the Fishes Pose”
“Stop sign” elbow “Stop sign” elbow With bind
Purpose • Rotates and release spine

• Engages spinal extensors and rotators
• Widens chest
• Can stretch outer hip of crossed leg
• Grounding
• Foundation: feet firmly grounded, weight on sitting bones even
• Sides of waist lifting evenly
• Although eventually this pose takes the back arm behind the
body, this position only be used if it enhances the lift and
rotation of the pose. For general practitioners, holding the front
shin, wrapping the elbow around the knee, or making a “stop
sign” (pictured on left) is more helpful to the purpose of the
pose.
• Shoulder blades drawing into back body to lift chest
• Elbows widening apart to lift chest
• Lengthen before twisting
509
Cautions • Rounding spine (especially lower back)
• Contracting front of chest
• Compression through bent knee (lack of external rotation): sit on
block or extend knee straight
• Failing to lift up through side waists
• Feet unengaged
• Shoulders hunching forward
Pose Variations • Marichyasana C
• Reclined twist
• Hold onto bent knee for more support
• Elbow around bend knee to help lift chest
Cueing: Position “From dandasana, bend your left knee and place your left foot on the
outside of your right knee. Bend your right knee, open the knee to the
side, and bring the top of your right foot by your left hip. Inhale to lift
your chest, as you exhale hook your right elbow around your left knee.
Place your left fingertips behind you, twist to the left.”
Cueing: Action “Root the sitting bones down and lift through the sides of your waist.”
“Inhale and lengthen, exhale to twist.”
510
Baddha Konasana
BAH-dah Koh-NAH-sana
“Bound Angle Pose”
Upright - stiffer, heels further More flexible, heels closer, Working spine straight,
away rounded spine chin to floor
Purpose • Stretches adductors

• May stretch outer hips
• May stretch low back
• Note: where students feel the stretch in this pose often depends
on their body
• Can also offer spinal flexion
• Grounding
• Relaxing
Key Points • External rotation comes from hip; not from knee
• There should be sensation in hip, never knee joint
• Feet press together
• Shoulders relaxed
• Upper body relaxing
Prop Options • Sitting on props
• Strap or separator in knee joint to create space if needed
Cautions • Knee pain
511
• Rolling back onto pelvis
• Spinal flexion with no hip flexion
• Sciatica pain
Pose Variations • Remain upright
• Feet further away from hips (opens knee joint)
• Feet opening “like a book”/outer edges pressing (knee
dependent)
• Supta baddha konasana
• Sukhasana with forward fold (targets outer hip)
• Upavistha konasana (targets groin without implicating knee)
Cueing: Position “From sitting, bring the soles of your feet together in front of your
public bone and press them firmly. Inhale to lengthen, exhale to forward
fold.”
Cueing: Action “Root the pelvis down and reach the chest forward.”
“Relax your body weight.”
“Relax your shoulders.”
512
Upavistha Konasana
Oo-pah-VEE-shtah Koh-NAH-sana
“Wide Legged Forward Fold”
Upright
Purpose • Stretches the adductors and medial hamstrings

• Grounding
• Relaxing
Key Points • Thighs widely abducted
• Thighs press down and are engaged
• Feet engaged
• Hinge from hips first before allowing spine to flex
• Props under knees
Cautions • Rounding through back body (can’t get lift)
• Knee pain
Pose Variations • Remain upright with hands behind you to lift spine
• Bend knee
513
• Reclined at wall with legs wide (passive)
• Baddha konasana
Cueing: Position “From sitting, bring your legs wide into a “v”. Press the thighs down and
lift tall through your spine. Inhale to lengthen, exhale to forward fold.”
Cueing: Action “Root the pelvis down and relax the chest forward.”
“Press the thighs down.”
514
Eka Pada Kapotasana - Cooling
EH-kah PAH-da Kah-poh-TAH-sana
“Deer/ Cooling Pigeon”
Deer/90-90 pose Cooling pigeon
Note: there are two versions of pigeon: active and cooling. This is the cooling version.
Purpose • Stretches the outer hips (glutes, abductors, piriformis, etc.)

• Grounding
• Relaxing
Key Points • Front leg externally rotated in a 90 degree position
• Rotation comes from hip, not from knee
• There should be sensation in outer hip, never knee joint
• Front shin parallel with front of mat (unless you’re doing a
variation)
• Front hip stays anchored to floor to prevent compression of
inner knee
• This is the cooling version of pigeon. Unlike active pigeon, this
pose is passive and the front hip should stay grounded on the
earth to protect the knee from twisting.
Prop Options • Block under head
• Forearms on blocks
Cautions • Knee rotation and pain
• Lifting hips off the floor (keep front hip down)
515
• Compression at front of hip (change angle of thigh to hip)
• Sciatica pain
Pose Variations • Thread the needle: more accessible
Cueing: Position “Sit on your right hip with your right thigh parallel to the front of your
mat and your left thigh parallel to the side of your mat. Keeping your hip
rooted, forward fold over your front shin. If you can keep your hip
rooted, you can slide your left leg back in order to allow the left hip to
descent to the floor and increase the stretch.
Cueing: Action “Release the pelvis down and let the chest melt forward.”
“Inhale to lengthen, exhale to soften.”
516
Gomukhasana
Goh-moo-KAH-sana
“Cow Face Pose”
Upright Forward fold With arms

• Grounding
• Relaxing
Key Points • Rotation comes from hip; not from knee
• Knees stacked
• Feet pointed but relaxed
• Strap for arms (if incorporating triceps stretch)
Cautions • Top knee lifting
• Knee pain
• Sciatica pain
517
• Feet wider away from hips
• Reclined gomukhasana
• Sukhasana with forward fold
• Thread the needle
• Cooling pigeon
• Adding gomukhasana arms (bound triceps stretch with opposite
arm)
Cueing: Position “From sitting, bring your right shin forward so your knee is pointing
straight ahead and right heel is by your left hip. Stack your left knee on
top of your right. Inhale to lengthen, exhale to forward fold.”
Cueing: Action “Root the pelvis down and relax the chest forward.”
518
Agnistambhasana
Ag-nee-stahm-BAH-sana
Fire Log Pose, aka Double Pigeon

• Grounding
• Relaxing
• Shins stacked
• Feet lightly engaged
Prop Options • Prop under top knee
• Sitting on props
Cautions • Top shin lifting up away from bottom ankle (can prop or change
position)
• Knee pain
• Sciatica pain
519
• Sukhasana with forward fold
• Thread the needle
• Cooling pigeon
• Baddha konasana
Cueing: Position “From sitting, bring your right shin forward and parallel to the front of
your mat. Cross your left shin on top so that the shins are stacked.
Inhale to lengthen, exhale to forward fold.”
Cueing: Action “Root the pelvis down and reach the chest forward.”
520
Reclined Poses
521
Reclined Poses: Overview
Reclined poses are often practiced in the last part of class as part of a cool down, although they
can be used judiciously to open the body at the beginning of and during practice. Because the
spine is supported by the floor, these poses are excellent for stabilizing the back body and torso
while focusing the stretch into the limbs without compromising the back. Having the back body on
the floor also helps students improve their proprioception and recognize their own compensatory
patterns; it’s easier to feel what’s happening in their bodies when they have direct feedback from
the floor. Because the back body is supported, these can be held longer and are good for pacifying
the nervous system and encouraging a deeper sense of release and relaxation.
Although the purpose of many reclined poses may be stretching, these poses still require a degree
of muscular engagement to maintain balanced action when they are taught in a hatha, flow, or
power style practice.
Benefits:
Risks:
Sequencing Tips:
• Because these poses are close to the earth, they are often used in final part of class as to
transition into savasana.
• Awareness of back body against floor
Teaching Tips:
• Although these poses are often less activating, encourage students to maintain enough
muscular action to stabilize the pose and maintain proper alignment. The universal actions
are still present.
• When used in the cool down, teaching these poses is a good time to focus on the breath.
• Adapt your vocal tone and cueing appropriately when teaching poses for the purpose of
relaxation rather than activation.
522
Eka Pada Apanasana/Apanasana
EH-kah PAH-dah Ah-pah-NAH-sana
“One Foot Wind Expeller Pose”
Apanasana Eka pada apanasana
Purpose • Stretches the groin

• Stretches hip flexor (eka pada)
• Releases the back
• Grounding
• Relaxing
Key Points • Hold onto front of knee
• Chest relaxed
• Knee to chest
• Eka pada: extended thigh pressing down
• Spine neutral
• Shoulders open, chest open
Prop Options • Press extended foot into wall
• Thin block under head (if neck in hyperextension)
Cautions • Neck extension (can put block under head)
• Extended thigh can’t root (release grip on bent knee slightly and
allow pelvis to settle)
• Compression at front of hip (change angle of thigh)
Pose Variations • Apanasana (both knees into chest)
523
• Eka pada apanasana (one knee into chest)
• Reclined with knees bent (simple supine pose)
Cueing: Position Eka pada: “Lie on your back and draw your right knee into your chest.
Stretch your left heel forward and root your left thigh firmly into the
earth.”
Cueing: Action “Spread your back body into the floor.”
“Roll your left inner thigh down as you draw your knee to your chest.”
“Soften your front ribs into the floor as you open your chest.”
“Soften the hip socket.”
“Release your shoulders into the earth.”
“Let the back of the head rest into the earth.”
524
Supta Hasta Padangusthasana A & B
SOOP-tah HAH-sta Pah-dan-goo-SHTAH-sana
“Reclined Hand To Foot Pose”
“A” with strap “B” without strap (more flexible)
Purpose • Stretches the hamstrings

• Stretches the adductors
• Grounding
• Relaxing
Key Points • Back released to floor
• Spine neutral
• Pelvis and back body grounded
• Leg on floor stays well grounded (like tadasana)
• Chest opened
• Leg straight (A: press heel to sky, B: external rotation of leg at
hip)
• Shoulders open, chest open
Prop Options • Strap around ball of foot or heel of lifted leg
• Big toe lock (more flexible)
• Press extended foot into wall
• Thin block under head (if neck in hyperextension)
Cautions • Loss of engagement of leg on floor
• Pelvis rolling to side (especially in “B”)
• Neck extension (can put block under head)
525
• Loss of tadasana spine (hiking hip, hyperextension of back,
rounding of upper back)
Pose Variations • Eka pada apanasana (one knee into chest)
Cueing: Position A: “Lie on your back and draw your right knee into your chest. Place a
strap around the ball of your right foot. Stretch your left heel forward
and root your left thigh firmly into the earth. Keeping your pelvis
anchored and your back spread into the floor, reach your leg up into the
sky.”
B: “Bring the strap into your right hand. Place your left hand on your left
thigh to anchor the leg. Keeping the left side of the body firmly
anchored, take your right leg wide to the side. Reach through and
stretch both legs. Inhale to bring your leg back up to the center.”
“Spread the ball of your foot into the strap.”
Diagonal dual action: “Press the big toe mound of your right foot into
the strap as you plug your right thigh bone into the socket.”
“Roll your left side waist down as you reach through your right foot.”
526
Reclined Twists
Sanskrit name (rarely used) is Ardha Jathara Parivartanasana
One leg Two legs
Purpose • Rotates and releases spine

• Widens chest
• Can stretch outer hip of crossed leg
• Grounding
• Foundation: side of pelvis and upper back
• Shoulder blades widening on back
• The more the knees are stacked, the deeper the twist.
Prop Options • Bolster, blanket or block under anything that is lifting away from
floor (i.e.: shoulder or top knee)
Cautions • Spinal issues (herniations, bulge, etc.)
• Arm hanging in air (support with props)
• Twisting from shoulder rather than spine
• SI joint pain
• Cervical spine (look up if any neck issues)
Pose Variations • One knee
• Two knees
527
• “Twisted root” wrapping legs
• Arm variations (cactus, wide, hands to belly)
• Active variation abdominal strenghtener: jathara parivartanasana
Cueing: Position “Lie on your back with your knees bent and your feet flat on the floor.
Lift your hips a couple inches to the right and release your knees to the
floor on the left. Open your arms wide. If it’s comfortable for your neck,
look to your right hand.”
“Inhale to lengthen, exhale to twist.”
“Release the weight of your legs to the earth.”
528
Thread the Needle/Figure Four
Modified Seated

• Supports back
• Feet lightly engaged
Prop Options • Strap around leg if needed
• Cushion under head if neck is hyperextended
• Foot against wall (no arms)
Cautions • Knee rotation and pain
• Neck tight
• Compression at front of hip (change angle)
Pose Variations • Leave foot on the floor (more accessible)
• “Baby cradle” (less accessible) - hugging shin parallel to chest and
extending opposite leg
Cueing: Position “Lie on your back and bend your knees. Cross your right ankle over your
left knee. Draw your left knee into your chest and hold onto the back of
your thigh or the front of your shin.”
Cueing: Action “Relax your back body into the floor.”
529
530
Ananda Balasana
Ah-NAHN-da Bah-LAH-sana
“Happy Baby”
Modified – holding shins

• Grounding
• Relaxing
Key Points • Hold onto outer shins or outer feet
• Chest relaxed
• Knees outside hips
Prop Options • Strap around feet
• Thin block under head if neck is hyperextended
Cautions • Neck extension (can put block under head)
• Can’t reach feet (hold shins or do apanasana)
• Compression at front of hip (change angle of thigh)
Pose Variations • Apanasana (knees into chest)
• Eka pada apanasana (one knee into chest)
• Reclined with knees bent (simple supine pose)
• Supta baddha konasana
• Half happy baby (one knee at a time)
531
• Rocking happy baby
Cueing: Position “Lie on your back and draw your knees into your chest. Unflex your
knees so the soles of your feet are facing the sky. Hold onto the outer
shins or outer feet with your hands and draw your knees down to the
outside of your ribs.”
532
Supta Baddha Konasana
SOOP-tah BAH-dah Koh-NAH-sana
“Reclined Cobbler’s Pose”
With blocks

• Grounding
• Relaxing
Key Points • Feet together, knees wide
• Tailbone long towards heels
• Chest relaxed
• Upper body relaxing.
Prop Options • Blocks under knees
• Thin block under head if neck is hyperextended
Cautions • Hyperextension/compression of lower back (prop under knees
or change pose)
• Neck extension (can put block under head)
Pose Variations • Baddha konasana
• Happy baby
• Half happy baby
Cueing: Position “Lie on your back. Place the soles of your feet together near the pelvis
and release your knees wide.”
Cueing: Action “Lengthen your tailbone to your heels.” “Release the thighs.”
“Release your back body to the earth.”
533
Savasana
Shah-VAH-sana
“Corpse Pose”
Purpose • Total relaxation

• Calms the mind
• Death meditation
• Integration of practice
Key Points • Palms up
• Shoulders anchored under back, neck long
• Feet about hip distance apart
• Face relaxed
• Eyes closed unless that is aggravating
• Breath light and quiet
Prop Options • Blocks under knees
• Blanket/ prop under head
• Restorative backbend
• There are many options for propping Savasana; when used, the
props should encourage the body to release.
Cautions • Neck extension (can put small support under head)
• Shoulders hunching rather than on back
534
• Tension, holding, distraction
• Loud breathing (should be quiet/silent)
• Low back tension (can place bolster under knees)
Pose Variations • Prone Savasana
• Seated Meditation
• Legs up the wall
Cueing: Position “Lie on your back with your hands palm up by your side. Allow all the
muscles of your body to relax.”
“Soften your face/ jaw/ eyes/ tongue/ throat.”
“Let go.”
535

Yoga Blue Fitness - RSY 200 - Part II - Asana Section

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Yoga Blue Fitness - RSY 200 - Part II - Asana Section

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Each pose description includes:

• Photo of the pose (including common variations, if relevant)

supta reclining, supine

• Releases the back body

Cautions • Compression of front of hip

With block Without block

• Provides a steady seated platform for a tall spine

• Spine is effortlessly tall

• Block or chip foam block under sitting bones

• Knees lifted too high

• Siddhasana, virasana, vajrasana, savasana

• Provides a steady seated platform for a tall spine

• Feet and ankles together

• Bolster/ blanket/ chip foam block: can place between shins

• Knee issues/ pain (need to sit higher or choose alternate

With block Without block

• Provides a steady seated platform for a tall spine

• Spine is effortlessly tall

Key Points • Head stacked over hips

• Provides a steady seated platform for a tall spine

• Sukhasana, virasana, vajrasana, savasana

Cueing: Position “Align your heels at your pubic bone.”

• Provides a steady seated platform for a tall spine

Cueing: Position To be taught by teacher.

Starter Script for Surya Namaskar A

Starter Script for Surya Namaskar B (Ashtanga):

Surya Namaskar C (more accessible)

Tadasana Urdhva Hastasana Uttanasana Ardha Uttanasana

Chaturanga Dandasana Urdhva Mukha Svanasana Adho Mukha Svanasana (5)

Ardha Uttanasana Uttanasana Urdhva Hastasana Tadasana

• Usually none as it is practice in a flow

• Chaturanga: dropping shoulders or collapsing lower back

In general, cueing surya namaskar should be at an even tempo, as the

Dancing Cat Dancing Cow

• Moves the spine in flexion and extension

• Hands outer shoulder distance apart

• Blanket under knees to prevent pressure on the knee joint

With blocks Without blocks

• Often used in surya namaskar before chaturanga

Prop Options • Hands on blocks

Cueing: Position “Inhale reach your chest forward.”

Classical Puppy Dog: Less weight bearing

Modified with knees down

• Strengthens the legs

Modified with knees down

• Strengthens the core

Prop Options • Blocks under pelvis

Symmetrical and Neutral

Externally Rotated Standing Poses

Asymmetrical Neutral Standing Poses

Establishes the principles of action needed for all poses

• Sets a clear alignment foundation

Cautions • None for an average practitioner

Cueing: Action Universal Actions:

Hands apart Palms pressing together

Purpose • Often the second pose in a vinyasa flow after Tadasana

Purpose • Heats the body

Elbows clasped Uttanasana Padangusthasana Padahastasana

Purpose • Opens hamstrings

Pose Variations • Bent knees

Purpose • Stretches hamstrings