Richard Rosen's Asana Breakdown: SHALABHASANA

SHALABHASANA

Shalabha is usually translated as “locust,” but it can also mean “grasshopper.” This makes perfect sense

because these insects look very much alike and, given the right conditions, a locust will turn into a

grasshopper. I found around 10 variations, all performed lying prone, though not all of them are named

Locust. One yogi calls several Locust-like positions “balancing on the belly,” another Grasshopper and

Boat. The main difference between these versions is mostly in the position of the arms, though the legs

have one variation too. Let’s go through a standard modern version, then have a look at some variations.

PREPARATION

Locust is sometimes called a “baby backbend” because of its relative ease when compared to the “teens”

and “adults.” That doesn’t mean, however, that it can be performed without the same care needed for its

older family members. Lie prone on your mat (padded with a blanket if needed) with the little toe side of

your feet on the floor. This imparts a slight internal rotation to your thighs, which helps to widen the back

pelvis, a necessity for every backbend regardless of its imaginary age group. It’s important to remember

too, that whenever your belly is pressed against a resisting surface, as it is here against the floor, to

consciously direct your inhales into your back torso. Always move into any backbend with an inhale, and

when in the pose, don’t forget it’s very important to BREATHE.

Now clasp your hands behind your back and rest your thumbs slightly above the sacrum on your lowest

low back. With an inhalation, slowly slide your thumbs along the bone’s mid-line and out across the tail

bone, imagining that it’s lengthening toward your heels. As you do this, you can lift your head and upper

torso slightly off the floor. Hold for a few breaths, then release. Repeat this process several times until

you’re confident you can re-create this action without using your hands. Internal rotation of the thighs and

a lengthened tail bone are crucial to all backbones. Remember though to lengthen the bone, like a

kangaroo’s tail reaching back along your legs, don’t press it down toward the floor.

Next, against the lengthening of the tail, inhale, and lift your right leg off the floor. It needn’t be lifted

very high; in fact, the text in which this pose is described, dating back about 300 years, says to lift the legs

one vitasti, about nine inches. Hold for 30 seconds or so with the big toe turned in, release and rest, and

repeat with the left leg for the same length of time. Then, after another rest, inhale, lift both legs and hold

to capacity.

Let’s now turn to the arms, upper torso, and head. I’ll describe the position of the arms as I was taught

more than 40 years ago. Stretch your arms alongside your torso, backs of your hands on the floor. Inhale,

and keeping your hands on the floor, slide them back toward your feet and lift your upper torso and head

off the floor. Be sure NOT to simply arch into your lower back. As you lift, think of the tail reaching to

your heels and the top of your sternum reaching forward, oppositely. If, when you lift your sternum you

feel your front ribs press more sharply into the floor, you know you’re taking too much of the backbend

into your lower back. Release immediately, practice lengthening your tail bone some more and try again.

Back bends shouldn’t be concentrated solely in the back. All 24 movable vertebrae should participate

equally to their capacity in the pose.

Now imagine your favorite movie star is straddling your body (you could actually have yoga friend do

this) and with their hands are providing some downward resistance to the backs of your upper arms.

Inhale and press up against this imaginary resistance, bringing your arms about parallel to the floor. You

can look forward if your neck has no issues, look at the floor if it does. Hold for 30 seconds and release.

THE POSE

And now you’re ready for the moment of truth. Inhale and lift into the full pose. Remember to maintain

that inward rotation of your legs, big toes closer than the heels. Be sure you rotate from the hips, not just

the ankles. As a quick aside, one teacher, lifting his torso and legs, but leaving his back hands on the floor,

calls this the Grasshopper. Hold to capacity and release on an exhale, cross your forearms to pillow your

forehead.

VARIATIONS

As I mentioned earlier, most variations involve the arms, but the legs are also involved in one variation.

Our model, as you can see, is demonstrating one rather uncommon variation, the positioning of his arms is

often called “cactus arms.”

The traditional pose presses the hands below the shoulders against the floor. The sharp bend of the elbows

mimics the locust’s legs. If you work with this variation, be sure not to push your torso back and compress

the lower back. Press your hands down against the floor and back, using the backward pressure to move

the sternum forward. Should you want to be sure you don’t compress your low back by pressing bback,

hold your hands slightly off the floor.

There’s one variation with the hands in the under-the-shoulder position, with the legs raised but bent at the

knees so the forelegs are perpendicular to the floor. B.K.S. Iyengar calls this variation (although his arms

are stretched back) Makarasana, the “Sea Monster.” The challenge is to maintain the lift of the legs and

the knees inside the line of the outer hips.

A very popular and slightly more challenging position has the arms stretched forward. The arms can be

held parallel, or you can press your palms together. A variation of this variation is to simultaneously raise

opposite arms and legs, that is, right arm, left leg, left arm, right leg.

You can also do a variation of Locust with your hands clasped behind your back, as you did during the

preparation, and raise your arms, in what is called the Sarpasana, the Serpent. You can clasp your hands

on the back of your head. I like to hook my index fingers just under the base of my skull (at the occiput). I

can then draw the occiput away from the back of the neck to keep the neck free. Generally, the elbows are

reached out to the sides, but you might also press them together in front of your face. One yogi calls this

Navasana, the “Boat.”

Richard Rosen's Asana Breakdown: UTTHITA HASTA PADANGUSTHASANA

UTTHITA HASTA PADANGUSTHASANA

(Upright Hand and Big Toe Pose)

Utthita is one of those Sanskrit words that cover a range of meanings. In general, it relays a sense of dynamic uprightness, striving to move forward toward a “lofty” goal. Hasta means “hand,” pada, “foot” (related to “pedestrian”), and angushtha stands either for the “thumb” or, in this case, the foot’s equivalent, the “big toe.”

Utthita hasta padangushthasana (hereafter UHP) is one of four poses that have pretty much the same shape, except each is performed with the body in a different relation to the floor (and so gravity). In this pose, as you can see in the accompanying photo, the torso/head are perpendicular to the floor with the head above, the raised leg parallel to the floor. Turn the photo upside down (and eliminate the twist) and the pose is still perpendicular pose, but now the head is down, and we have either a headstand or shoulder stand, with a one-leg (eka pada) variation. Now rotate the photo 90 degrees to the right, and we have a reclining pose, supta (literally “lain down to sleep  but not fallen asleep”) padangushthasana (SP). Rotate the photo left and we have everybody’s favorite pose, virabhadrasana 3, with the raised torso parallel to the floor balanced, or at least trying to balance, on one leg with the other stretched out behind parallel to the floor.

As with any standing-on-one-leg balancing pose, such as the aforementioned virabhadrasana 3 or  Tree (vrikshasana), the obvious challenge for many students is the balance, which is to some degree affected by tightness of the back of the legs, the front groins and outer hips. So usually to begin the practice, we have a support that assists with balance, either a wall or a folding metal chair. We’ll first practice the pose with your back torso supported by a wall, then we’ll try the chair. Good luck!

WHAT YOU WILL/MAY NEED: a free wall, a yoga belt, a sturdy metal chair

PRELIMINARY EXERCISE

But before we try the full pose, we’ll work with a preliminary exercise that will stretch what needs stretching, as well as give us the opportunity to preview an action crucial to the success of not only this pose in particular, but without exaggeration, most poses in general. And that pose is UHP’s reclining, horizontal relative, SP. Regardless of your level of flexibility, you’ll need your belt for this exercise. 

Lie on your back with the back of your left heel on the floor and pressed firmly against your wall. Exhale your right thigh to your belly and wrap the belt around your right sole. Inhale, raise the leg up but stop with the knee slightly bent. Hold the belt in your left hand, and press your right thumb deeply into the right hip crease or groin, with the rest of the fingers splayed across the outer hip. With your knee still bent and your thumb “digging” into the groin, use your hand to give the thigh an outward (lateral) rotation, which likely turn the kneecap to “look” off to the right as well. As you do this you may feel the right side of you torso lengthening somewhat. 

Now very slowly and carefully, with your thumb still plugged firmly in the groin, begin to straighten the right knee. Pay close attention to what you feel is happening under your thumb. You may feel the groin start to “thicken” on the first try, so repeat the movement several times until it seems to you that your groin remains soft and deep and your outer hip released. 

Once you have that feeling, hold the belt in both hands with the elbows fully straightened. NEVER use the belt to increase the stretch by pulling your leg toward your torso; rather, when you feel ready to go farther in the stretch, bend the knee slightly, dig into the groin with your imaginary thumb, then push STRAIGHT UP against the resistance of the belt. Never straighten your knee by pushing on the kneecap. Instead think of moving the two ends of the leg farther apart: the head of the thigh bone sinks to the back of the pelvis while the back of the heel heads for the ceiling (yoga feet, not ballet). Spend a minute or two stretching the back of the leg, then take the belt in your left hand. 

Once again, slightly bend the right knee and use your right hand to do what you did at the start of the exercise. Then swing the right leg over your torso to the left, be sure to keep your back torso fully on the floor. Then repeat the same process you just completed with the leg vertical, that is, straighten the knee slowly, keeping the groin soft and the outer hip released. When you do this, you may feel an increase in the resistance of the outer right hip, which will then again tend to shorten your right side. If so, you’ll have to push a little harder with your hand to maintain the release. Stay for a minute or so, inhale the leg back to vertical and release it to the floor. Repeat with the legs reversed for approximately the same length of time. 

PREPARATION

Stand and go to your yoga wall. If you had some difficulty straightening the knees in the reclining  exercise, have your yoga belt slung over one shoulder, just in case. Lean your back against the wall but have your heels maybe six inches or so away. First, physically slide your torso across the wall to the left. When you look down along the mid-line of your torso (an imaginary line drawn down through your mid-sternum and navel to the floor), the center of your left foot should be directly under that line, NOT under the left hip. This centers the base of your standing support directly below your center of gravity, which ideally will help your balance. Spread your toes and the ball of your foot as widely as possible to maximize your contact with the floor. With an exhale, bend your right knee and press the thigh lightly to your belly, holding it in place with your left hand.

Now approximate what you did in the first part of the opening exercise: press your right thumb in the hip crease and use your hand to outwardly turn the thigh. You might let your thigh move slightly off to the side of your torso to help with the thigh rotation and hip release. 

PRACTICE

Now comes the tricky part. You may find this instruction rather confusing at first–I know I did when I first heard it  many years ago–but once you “get it,” you may find yourself more comfortable in the pose with a bit more stability.

So, with the right thigh still near the torso, reach your right hand along the INSIDE of your right leg and hold the big toe with your index and middle fingers, thumb wrapped around both. I’m emphasizing the arm INSIDE the leg because it then doesn’t interfere with the thigh’s outward rotation. If it isn’t possible to hold the toe directly–and please don’t struggle to do so–it’s best to use a belt wrapped around the sole as you had in the reclining exercise. Now very slowly with an inhale, MAINTAINING THE DEPTH OF THE GROIN AND RELEASE OF THE OUTER HIP, begin to straighten the right knee. In the best of all possible worlds, the head of the 

thigh bone will feel like it’s continuing to release floor-ward as the heel reaches out. 

Once again, don’t pull up on the toe or belt to increase the stretch of the back leg, the downward release of the head of the thigh bone is far more important. Remember, moving into and holding these poses should increase, not decrease, the feeling of spaciousness in the body-mind. Just as you did when reclining, try to move from the bent-knee to full extension of the knee several times. 

Now the moment of Truth has arrived. How do you feel about balancing? If you don’t feel you’re ready to try, stay where you are a bit longer, then release the foot. But if you feel ready, press your left had to the wall beside your hip and fix your gaze on an imaginary point on the floor about six feet away. Keeping the hand on the wall, lift your back one millimeter away from the wall. Still standing? How does it feel? Trusting that the wall won’t leave , knowing the wall is there if the room happens to move and throws off your balance. How does that feel? Next begin to slowly lessen the pressure of your hand on the wall until your fingertips are just barely touching. Finally, remove your hand from the wall and rest it on your left hip. After a while release your leg with and exhale and stand on your own two feet again. Reverse the instructions and repeat. 

If you look now at the photo, you’ll see our teacher doing the pose the second way, with the raised leg rather than the back torso supported. I recommend using a chair to support the leg rather than a fire hydrant, but that’s entirely up to you. There are actually myriad ways to support the leg, be creative, all the world is potentially a prop. Except anything made of glass. 

Notice too that that our teacher’s performing–excellently I might add, with exquisite taste in background art–a variation of UHP, often designated UHP 3 or UHP C (the 2 or B variation takes the raised leg out to the side of the torso). If you want a Sanskrit name try utthita parivritta hasta padangushthasana (UPHP). Parivritta here means “turned round, revolved,” and possibly with our teacher in mind, “spreading brilliance all around” (it’s true). Let’s work on UPHP with a chair. 

Position the chair back a few inches from your wall and pad the back with a blanket. Once again, make sure the standing (left) foot is directly below the torso’s vertical mid-line. Raise your right leg, rest the ankle on the chair back and plug your heel into the wall. Do everything to prepare here that you did when you had your back to the wall. Rest your hands on your hips and feel the position of the pelvis, it’s not uncommon for the raised leg hip to be hiked higher than the standing leg’s hip. With your foot supported on a chair, you can exaggerate the preliminary bent-knee, outwardly rotated thigh by leaning slightly toward the wall and angling your right knee to the right. Then as you’ve been doing, straighten your knee slowly, keeping the outer hip releasing toward the floor. 

Once you’ve secured your position, then simply rotate your torso to the right. Make sure you turn from the pelvis, allowing your left hip to move toward the wall, not from the lower back. When the hip moves forward as it should, you may feel the left knee buckle slightly and the left heel’s pressure lighten somewhat on the floor. In response then, press back on the head of the left thigh bone (essentially the same action applied to the raised leg) to re-affirm the contact of the heel and the floor. 

You might start by pressing your left hand to the outer right thigh while leaning your upper torso back slightly against firm shoulder blades. You can then work your hand down the outer leg in stages to the right foot and the full pose. Be sure to continue lengthening the front torso, hunching or side-bending aren’t conducive to this pose. 

We can learn a lot about this and other standing poses by looking carefully at our teacher’s photo. Notice that her standing leg is straight without hardening the knee. Then contemplate her raised left leg, hip and torso. That the hip is released is evidenced by her left side torso, which is impressively lengthened. This is what is meant by not hunching or side-bending, in any twist when the spine is long, that twist can move to its fullest without the threat of injury. Our teacher has her free arm stretched out to the side, which is one possibility. Be aware that her arms  are in line with shoulders, clearly demonstrating our teacher’s detailed knowledge of alignment. At this early stage of the practice, it might be best to simply continue to use your thumb to press the groin. As for turning the head, notice that her chin tucks down toward the shoulder. If you can do exactly this, then it’s OK to turn your head

How do you do UPHP without support? Find out by attending Mary Paffard’s workshop, Saturday, May 18, at the Nest from 2:30 to 5:00 pm.

Richard Rosen's Asana Breakdown: PARIGHĀSANA

PARIGHĀSANA (puh-ree-GHA-suh-nuh)

The pose we know today as parighāsana is actually the third in the yoga tradition to bear that name. The oldest version, which goes back at least 225 years, looks a lot like what today we call ardha navāsana (Half Boat) except in this pose the legs aren’t raised up off the floor. The second one, which I’m unable to date, looks a lot like paripurna navāsana (Full Boat) except here the forearms are crossed behind the head. 

Our version of the pose is found in Light on Yoga, which was first published in 1966. Mr. Iyengar translates parigha as “gate latch,” which approximates the word’s primary definition, “an iron bar or beam used for locking or shutting a gate.” (For more on the definition of parigha, see the postscript at the end of the breakdown). The shape of the pose does look quite a bit like a bar fixed diagonally across a gate (as does the second one above, with its diagonally lifted torso and legs). It’s one of the few poses among the 198 in LoY that’s a true side bend, in which one side of the torso is stretched to the max, while the other side is deeply compressed. 

TO BEGIN. Kneel down with your right side to a wall, about a leg’s length away, or lacking a wall, with a block a leg’s length off to your right side positioned at its lowest height (on one of its faces). If you’re using a block, be sure it’s set on the sticky mat so it doesn’t slide away from you when you press your foot against it. Stretch your right leg out to the side, press your heel to the floor and the ball of your foot to whatever support you’re using, so your toes point up to the ceiling. Position your left knee directly below the hip so your thigh is perpendicular to the floor. Pad the knee it with a blanket if needed. As always, be sure NOT to push the kneeling-side hip back; that is to say, with your right side to the wall, turn your torso a bit to the right so the left hip is slightly closer to the edge of the mat than the right. Rotate your right thigh so the kneecap is looking straight up to the ceiling. If you tend to hyper-extend your knees, put a block under the straight leg calf. You might also have a second block handy to support the underside hand.

THE PRACTICE. With an exhale, ROUND your torso to the right. If you’re used to lengthening your torso evenly side-to-side, as in Triangle, this may feel a bit odd. You’ll get accustomed to it soon enough and hopefully come to enjoy that satisfying stretch along the side torso. We tend to stretch the front and back of the torso, but rarely focus on the sides. Reach your right hand to the floor, or rest it on a block if the floor’s too far away. Brace your arm against the inner right leg and use the pressure to turn the UPPER torso to the left. When you feel ready, swing your left arm over the left side of your head. If you’re at a wall, press your fingertips against it. To go farther, walk your hand up the wall and slightly behind your head. Then push the wall forward, firm your left shoulder blade against your back and do a little back over the shoulder blades. 

If you’re not at a wall, do your best to reach the top arm away from the torso. Be aware that this reach won’t be as effective as it would be pressing a wall. In either case, inhale into the left side to create more length, exhale from the right side to help it deepen. It’s best to hold your head in a neutral position. Stay from 30 seconds to a minute, then come up gracefully with an inhale. Turn around and repeat on the left side for the same length of time. 

VARIATION. If you like, after rising from each side, you can turn the toes of the kneeling leg’s foot under to slightly raise the heel, then with an inhale, lean back for the heel with the same side hand. If the heel is too far away then use a block beside your foot at its tallest height to support your hand. You can then raise the off hand and stretch along the side that was just compressed. Stay for 15 to 20 seconds. Come up with an inhale, leading with the sternum, letting the head trail.

To go even farther, twist your torso toward the straight leg and lean back for the heel with the opposite side hand, again raising the off side hand. This will add a slight twist to the back bend. Again remain 15 to 20 seconds. To come out of this position, be sure to de-rotate the torso first before lifting up with an inhale. 

You may note that in LoY Mr. Iyengar demonstrates the final pose with his hands, palms touching, resting on the top of the straight leg’s foot. I don’t believe it’s necessary to go to this extreme to achieve a useful stretch. 

POSTSCRIPT. I’m pretty sure most languages have their quirks–certainly English does–and Sanskrit is no exception. The word parigha, which names the pose of this month, is a case in point. In BKS Iyengar’s Light on Yoga it’s translated as “gate latch,” which isn’t far off from the first entry in its definition, “an iron bar or beam used for locking or shutting a gate.” Nothing strange about that, but wait, we’re just getting started. The next entry is a little more general, “a bar, obstacle, hindrance,” which is exactly what an iron bar used as a gate latch is supposed to do. Then without warning our innocuous seeming gate latch/iron bar assumes a considerably more lethal function as “an iron bludgeon or club studded with iron.” It appears that the “gate latch” which is in place to keep people out can also be turned against trespassers on the property protected by that gate. The next entry is quite ingenious, it applies the idea of an obstacle or hindrance to a child presenting “a peculiar cross position in birth.” Apparently the poor baby is its own “gate latch,” blocking its way through the birth canal.

With the next two entries we leave the realm of the comprehensible and wade into murky backwaters of Sanskrit definitions. These often seem as if someone randomly tacked on definitions drawn from other, totally unrelated words just for the fun of making Sanskrit even harder to understand (of course we can’t discount the very real possibility that these definitions make perfect sense, rendered strange only because of some blindness in my kindergarten-level Sanskrit). 

The first of the two is “a line of clouds crossing the sun at sunrise or sunset.” My best guess is the “line of clouds” is reminiscent of a bar fitted across the sun, making an always futile attempt to block our star’s rise or set. I invite your comments on this one, and while you’re at it, why on only “sunrise” and “sunset”? Second up is an entry which isn’t so much that it’s strange in itself, but in the context of the preceding definitions, which is: “two birds flying on each side of a traveler (regarded as an omen).” I Googled this set-up and found that, generally speaking, it’s a good omen, suggesting things like spiritual awakening, some hard-earned reward coming our way, or that you might be in love (though in my experience this might be either a good thing or bad). But this answer wasn’t specific to India, so the jury’s still out. 

Bringing up the rear are some random entries. One makes perfect sense, “killing, striking, a blow,” just what we might expect from someone swinging an iron bar. But then we find our iron bar magically transformed into a “pitcher or water-jar,” most likely a fairly heavy one. Finally we’re told parigha is the name “of one of the attendants of Skanda,” the Hindu god of war, no doubt armed with an “iron bludgeon,” who is, nevertheless, in the end “a virtuous man.” Aham Brahman asmi. 

Richard Rosen's Asana Breakdown: PARŚVOTTANĀSANA

PARŚVOTTANĀSANA

parśva: side, flank

uttāna: stretched out, spread out, lying on the back, upright (from tan, to extend, in English, tend, tense) 

āsana: seat

The Sanskrit word parśvottanāsana is composed of three smaller words, parśva, uttāna, and āsana. We’re all quite familiar with this last word, āsana, which nowadays is typically rendered as “pose” or “posture,” but which literally means, “seat” (derived from the verb ās, “to sit”). That little horizontal line above the the initial ā, called a macron, indicates the vowel is long (as opposed to the unmarked, short a). This is called a “heavy” vowel which means it takes the emphasis in the word, so it’s pronounced AH-sun-uh. 

Now what about those other two words, parśva and uttāna? The accent mark above the first word’s s indicates it’s palatal, and so pronounced like sh, parsh-vuh. Uttāna has another long ā and so is pronounced oo-TAHN-uh. Look at the definition of this word and you’ll see one of the several oddities (to us English speakers) of Sanskrit. Many Sanskrit words have a wide range of meaning. Sometimes two of the meanings have no obvious relationship or might even be  contradictory. My Sanskrit is still pretty kindergarten-ish, but it seems uttāna means both to lie supine and be upright.

You may then notice something odd about the word parśvottanāsana. Where does that o near the middle come from, there’s no o in any of the three smaller words? In Sanskrit several words in the same sentence or between sentences are often blended into one word, as here. This blending is called a “junction” (sandhi), and there are a host of rules governing this process. It sometimes results inextremelylongwordswithnobreaks, and unless you can decipher the sandhis, good luck understanding what’s being said. The sandhi here is very common: when the final a of a word, like parśva, is immediately followed by a word beginning with u, the two vowels join and an o is born. This is the same sandhi we see in the three letters of aum, the a and u of which becomes om. Welcome to Sanskrit 101. 

I bring this up because we live through sandhis every day of our lives, at least two, sometimes, depending on the source, three or four. These are the times of transition between darkness and light, dawn, and light and darkness, sunset (sometimes noon and midnight are added). It’s said that these are the most propitious times of the day to practice, when the balance between external light and dark is believed to have a sympathetic balancing effect on the energies of our body, a highly desirable state for yoga practice. 

In the Iyengar system parśvottanāsana is performed as part of a very simple vinyasa, moving from the first side to the second by swinging through prasārita pādottānāsana 2 (notice the o in the second word, it’s the result of a sandhi between pada, “foot,” and uttānāsana, the name given to the basic standing forward bend). I’ll describe this movement near the end of this article.

One more thing to know about the customary way this pose is performed concerns the position of the arms and hands. You might know that when we press our palms together and rest our thumbs lightly on the sternum, it’s a gesture know as anjali mudra, the gesture of supplication or reverence (there’s actually a second way to make this gesture, with cupped palms turned up and the little finger sides of the hands touching). In Parśvottanāsana Iyengar-ites also perform the mudra behind the back, with the pinkie sides of the hands pressed against the spine between the shoulder blades. This is known as prishthānjali mudra, prishtha, meaning the “back of anything” (pronounced something like prish-tah). 

This position is difficult, not to mention painful, for a majority of students. Nest Yoga strongly believes “No pain, lots of gain,” so you have two options for the arms: keep them free and put your hands on the floor or on blocks, if needed, on either side of the feet, or cross your forearms behind your back and hold the elbows. 

PRELIMINARY

The distance between your feet in this pose can vary depending on your level of experience. If you’re a relative yoga rookie, you might want to keep your feet fairly close together, maybe about two and a half feet, give or take a few inches depending on your height. The pose will be a bit easier. If you have more experience under your belt, or are a daredevil rookie, then move your feet about three feet apart, a few more inches if you’re taller.  

Since you’ll be turning your torso to face over the forward leg, the back foot is turned in rather sharply, more so than Triangle Pose, for example. The attempt is made to square the front of your pelvis with the front of the mat. New beginners might need some help doing this, though more experienced students who are tighter in the hips and groins will experience a similar limitation. The best approach here is to position a lift under the back heel, like a thickly folded blanket or,  better yet, a sand bag (40 years ago the bags were indeed filled with sand, and while this is no longer true today the original name persists). 

When you rotate your torso over the front leg, two things might happen that will need your attention. The back heel, in response to the forward turn of the hip, might lose a bit of its contact with the floor/support. In this case, as the hip comes forward, you’ll need to push actively back, away from the front edge of the mat, with the top of the back thigh and draw the pubis to the navel. This should help to somewhat free the groin. The back heel, in most of the two sided standing poses, provides your anchor to the earth. If you lose that, the pose will likely be, to some degree, unstable, which diminishes the sense of rootedness, one of the important benefits of standing poses. The second issue, though not quite as common as the first, occurs when you draw back on the front leg hip. This sometimes results in a loss of full contact of the base of the big toe and the floor, another destabilizing action. So as you draw the front hip back, it’s necessary to plant the mound of the big toe firmly into the floor. As you might notice, the work of the heels and big toes counter the movement of the pelvis.

PRACTICE

So start this with the right foot forward, left foot back, with a distance between them that suits you best. Turn your torso to the right, monitoring the left heel and the base of the right big toe. If you feel that it’s difficult to ground the left heel, put some height below it. Then inhale and lean back, affirming the contact of the left heel with the floor or support, and maintaining that back heel awareness, exhale and lengthen forward. Remember, all forward bends are rooted in the groins (refer to last month’s breakdown of uttanāsana for more instruction in forward bending). This means that as you descend into the fold, it’s essential that you preserve the space between the pubis and navel. It’s a good idea to periodically lift slightly out of the fold to re-affirm that space. For this time, align the mid-torso over the inner right leg so it’s a straight forward bend (it’s also possible to align the mid-torso over the middle of the leg, adding a slight twist to the pose). 

Check the angle of your pelvis and the feeling of the right groin and hip. It’s not uncommon for the back leg hip to tilt down slightly, and at the same time “bunch up,” shortening the right side of the torso. If your hands are free, bend the right knee a bit and press your right thumb into the hip crease, then push back from your thumb as firmly as you can. Remember to keep the mound of the right big toe glued to the floor. Then if your hands are on some support–the floor or blocks–actively push them into the support and back toward the back foot. From this downward, backward pressure, draw the belly out a little farther, pretending that it sits deep in the pelvis like an egg in an egg cup. If your arms are crossed behind, be sure NOT to lift the elbows away from the back torso. Instead push them firmly against the back and lift the front shoulders upward. 

In your imagination, draw “energetically” up from the big toe mound to the inner right groin. Then draw that groin deeper into the pelvis to encourage the lengthening of the belly. Keep your head in a neutral place, looking at the front leg. Stay for 30 seconds to a minute. When ready to exit, come up on an inhale with a long front torso, pulling down on the tail bone to initiate the move from the base of the pelvis. Once upright, be sure NOT to shift forward onto the right foot to bring the feet together. Instead, turn your feet parallel to each other, then turn them for the second side, right foot in, left out, and repeat the relevant instructions (unless your back heel is on a support, then when the feet are parallel, step them together and reverse). Be sure to time yourself so that you stay for equal lengths of time on both sides. 

THE VINYASA

After finishing the pose to the right, exhale, maintain the forward fold and swing your torso to the left. As you do, reverse to position of the feet, right foot in, left out. As your torso reaches the left leg, inhale and lift to upright (you won’t be able to do this if your back heel is supported). Quickly repeat the preparations for the pose and come down on the exhale. Stay for the same length of time as you did on the right, then exhale and swing to the right, stopping in the middle between the two sides. If your arms are crossed behind, you’ll be more or less in prasārita pādottānāsana 2, if your hands are free, prasārita pādottānāsana 1. Stay for as long as you like, then press your hands to the floor under your shoulders (uncross them if need be) and step or hop your feet together. As always, ascend with a long inhale, pulling down through your tail bone. 

HYPER-EXTENDED KNEES

Hyper-extended knees are more common with women than with men. How can you tell if your knees are hyper? Stand with your feet hip width, inner feet parallel, and straighten your knees. If your kneecaps were a pair of eyes, where are they “looking”? If straight ahead, no problem. But if they seem to be to some degree “cross-eyed,” as if they were a yogi’s eyes staring at the tip of her nose, then it’s likely they’re hyper. Over time, if you perform your poses with hyper knees, it could lead to some unfortunate injuries not only to the knees, but the hips as well. It’s best then to brace the legs them in poses where the knees are extended. In our present pose, you’ll want to brace a block between your front leg calf and the floor. First bend your knee slightly and press one end of the block against your calf, and the bottom edge of the other end against the floor. Then straighten the knee and voila! No more hyper knee. You’ll of course need to be on a sticky mat to keep the block from slipping under the pressure of the leg. 

THE VINYASA

After finishing the pose over the right leg, exhale, maintain the forward fold and swing your torso to the left. As you do, reverse to position of the feet, right foot in, left out. As your torso reaches the left leg, inhale and lift to upright (you won’t be able to do this if your back heel is supported). Quickly repeat the preparations for the pose and come down on the exhale. Stay for the same length of time as you did on the right, then exhale and swing to the right, stopping in the middle between the two sides. If your arms are crossed behind, you’ll be more or less in prasārita pādottānāsana 2, if your hands are free, prasārita pādottānāsana 1. Stay for as long as you like, then press your hands to the floor or draw your forearms toward your tail (uncross them if need be), rise with an step or hop your feet together. As always, ascend with a long inhale, pulling down through your tail bone. 

Richard Rosen's Asana Breakdown: BADDHA UTTĀNĀSANA

BADDHA UTTĀNĀSANA

baddha: bound, tied, fixed, fastened

uttāna: to extend, to stretch, extend or bend; upright, erect; lying on the back

In the long history of āsanas, there are two poses named uttānāsana (that is, as far as I can determine), and maybe a half dozen more that have uttāna as a prefix to their full name. The older original uttānāsana is a supine reclining pose, which may seem odd to us, since the pose we know of the same name is a standing pose. In the world of āsana names, such fluidity isn’t unusual. The original uttānāsana is very similar to a pose known both as the Ball Pose (kandukāsana) and the Wind Relief Pose (pavana muktāsana). In this pose, not surprisingly, the practitioner lies supine, draws her thighs to her belly, lifts her head to her knees, and wraps her arms around her shins, appearing much like–take a guess–right! A ball. The difference between the two poses is that in original uttānāsana, the practitioner has her hands clasped on the back of her neck with her elbows pressing her knees. When applied to this pose, uttāna (as you can see in the definition above) means “lying on the back.” We can trace the original pose back to the nineteenth century Śrī Tattva Nidhi (Blessed Treasure of Reality), though it might have been inspired by the older Ball Pose, described in the eighteenth century Hathābhyāsa Paddhati (Guide Book for the Practice of Hatha [Yoga]). 

I might have mentioned in a previous post that the Sanskrit language is well known for its multivalency, a look-up-in-the-dictionary word essentially meaning, when applied to Sanskrit, that any one word of that language can have a wide range of definitions, some hard to understand how they’re related, others even seemingly contradictory. So in addition to being defined as “lying on the back,” uttāna also means “upright, erect.” Yes, that’s right, the same exact word is used to indicate both a reclining and an upright position. Welcome to Sanskrit 101. 

Uttānāsana as “erect” describes our familiar standing forward bend, which I imagine has been around for a long time, although the oldest text in which it’s described (again, as far as I can determine) is the Yoga Rahasya (Secret of Yoga). It was written in the 1920s or 1930s by one of the granddads of modern yoga, T. Krishnamacharya. I don’t think Mr. K invented the pose, but it’s possible he was the one who dubbed the pose uttānāsana for modern practitioners.

I imagine most students know that one of the prime benefits of our modern uttānāsana is the wonderful “stretch” it gives to the backs of our thighs, specifically the trio of muscles known as the hamstrings, or hammies as they’re affectionately called. But most students also know that at the same time one of the prime restrictions to a forward bend are the aforementioned hamstrings, now not quite as lovingly regarded. Because they’re attached to our sit bones, that pair of “stirrups” at the back of our pelvis–or, if you prefer, the rockers on our built-in rocking chair–tight hammies prevent, to some greater or lesser degree, depending on their tightness, the full forward fold of our pelvis over the heads of the thighs bones or femurs (there may other factors involved too). 

If you’re hamstrung by your hamstrings, it’s important to know how to properly enter the forward bend. You may have seen your teacher exhale and sweep gracefully into uttānāsana, pressing her hands to the floor beside her feet. Such a grand entrance is, to some degree, hindered by tight hammies. Many students though, determined to mimic their teacher, give it a try but when they reach the end of the line with their pelvis, complete the fold by bending ungracefully over their belly (by the way, it’s not advisable to descend into uttānāsana with your arms stretched forward; always “swan dive” into the pose). We see this especially among raw beginners. In their enthusiasm, their only goal is to go down and touch the floor, come heck or high water, rather than to create a pose that most benefits their body-mind, regardless of how far down they get. Typically, compensating for tight hammies by bending from the belly tends to create the “Humpback Whale” pose, which is actually not a laughing matter. In such cases, because the hammies refuse to release, the pelvis may be tilted slightly backward, as if in a back bend, an extremely unhealthy situation in a forward bend. Such a pose repeated over time could eventually strain the lower back and lead to serious and unpleasant consequences. It’s essential then that you realize a full “forward bend” with tight hammies, if done properly, is different for different students. A student with hamstring-itis may be, for her, in a full “forward bend” though her torso is parallel to the floor.

So how does our student enter fully into the pose but know when it’s time to stop to avoid transforming her back into a bad imitation of an enormous sea mammal? Not with one swift, balletic movement as she’s seen her teacher make (I’m thinking of our Annie Carpenter here), but slowly in stages, as many as she may need. She doesn’t want simply to go down, as our waist bender does; she instead wants to go out first and then down. It works this way.

Starting from the upright (uttana), our student inhales and lifts through the top of her sternum (manubrium) with a slight backbend (every pose begins with its own opposite). She pays particularly close attention to the space in her lower belly between the pubic bone and navel. It’s here that she’ll monitor her progress into the fold and receive the signal when it’s time to stop. With the following exhale she leans forward to maybe a 45 degree angle and pauses. In forward bends the general focus is always on the front torso (or more subtly, the front spine), and as long as she can more or less maintain the distance she established between the pubis and navel when upright, or re-establish that distance if some has been lost during descent, she can continue on to the next stage. The closer she gets to 90 degrees though, the smaller the folding movements should be, and the more frequent the pauses to lengthen become. Once past the right angle of torso and legs, the torso moves in a sort wave-like way, continually drawing out the lower belly in preparation for the next down. As soon as she feels the space in her lower belly begin to collapse and can no longer approximate its upright length, can no longer go out, her forward bend has reached its safe limit. 

Now there’s a trick–maybe it would be more formal to call it a “technique”–that we can use in our out and down that allows us at each stage along the way to maximize the length of the lower belly, thereby making the pose ultimately more effective and, just as importantly, safer. In the 44 years I’ve been a yoga student, it’s undoubtedly one of the most useful techniques I’ve learned. When I learned maybe 35 to 40 years ago, it not only vastly improved virtually all my āsanas, but movements and posture in my daily life as well. I still practice it regularly, and all you need to learn it is a yoga block and a free wall ... and, as is customary with all āsanas, the three P’s: patience, perseverance, and practice.

EXERCISE

Every pose has an anchor, and in uttānāsana that anchor is the heads of the thigh bones (femurs), golf-ball shaped bones that nestle in the hip socket. It’s from this stable base that the lower belly lengthens out and prepares to descend.                                                                                                                                                        

Go to your wall with your block. Now a block has six surfaces, two ends, two sides, and two faces. You should use the sides of the block for this exercise, and you must position the block precisely for this exercise to work. Turn your back to the wall and position the block at the very top of your thighs, slightly below but not directly on the sit bones. The block is now more or less behind the heads of the thigh bones (femurs). Step your heels out about 10 inches from the wall, more if you’re on the tallish side, and lean yourself and the block against the wall, remaining upright. If your feet are too close to the wall, you’ll feel as if you’re being pushed forward and your block will probably soon be thumping on the floor. Walk your feet out then a few more inches. 

Now press your upper thighs against the block. The tendency at first is to push the knees toward the wall instead, something you don’t want to do, especially if your knees hyper-extend. How will you know if you’re pressing the top thighs and not the knees? If you’re doing the former, you may feel a spontaneous lift of the front torso, along with a subtle increase of pressure of the heels against the floor. These two actions approximate Patanjali’s criteria for a successful āsana, which should be both comfortable (sukham) and steady (sthiram), or in the words of the British sage Lewis Thompson, “strength without tension.” This is, in fact, just how you want to always initiate your move into uttānāsana, or really any foward bend.

Now go out and down to a 45 degree angle and pause. Are you pressing the block with your uppermost thighs, or simply locking your knees? If the latter, imagine your calves are resisting against your shins, and see that your kneecaps, like a pair of eyes, are looking straight ahead. To give yourself a hand (so to speak), press your thumbs deep into your front groins and push back ... hard. The press has to be against the groins, it won’t work if you just press the thighs. Check your low belly: if you’ve maintained its upright space or can re-establish what space may have been lost moving down, you can continue to the next stage using this same method. If you move past 90 degrees (when the torso perpendicular is to the legs), your out and down progress will be more like a caterpillar inching along a tree branch. At some point, as I mentioned previously, you’ll begin to lose and are unable to restore the upright space in your lower belly, so this is where the traffic light turns red. Pushing past safe limits could well lead to the Humpback Whale Pose and its potential for injury. As a student who studied for many years under hard-core Iyengar teachers, I can assure from personal experience that aggressively attacking any āsana is a really bad idea.

You may want a chair in front of you to support your hands if they don’t comfortably touch the floor. Incidentally, even if your hammies are relatively stretchable, you may want to try this method of descent. You might find that your pretty good forward bend gets a bit prettier. Stay in place for several minutes, maybe pressing your hands, if possible, against your calves to resist pushing back on the knees. Come up on an inhale with a long front torso, initiating the ascent in the same way you initiated the descent, by pressing the heads of the femurs against the block. Be aware that it’s very common for a block to drop when ascending. It’s entirely possible that you won’t “get it” at first. I urge you to persevere, the benefits of “grounding” or “centering” the femurs, or whatever it is we’re doing, are well worth the time and effort.

BADDHA UTTĀNĀSANA

Now for the pose of the month, baddha uttānāsana, for which you’ll need your yoga belt, ideally around 8 feet long (a shorter belt may be sufficient if you’re shortish). You may not have heard of this pose before, and that’s because I just made it up (at least I believe I did; after almost four-and-a-half decades of practice, all the poses sort of run together, so if I did learn this from another teacher–which I honestly don’t think I did–then I apologize to the offended party). The pose is baddha, “bound,” because of the way the belt is used.

Make your belt into as large a loop as the belt can make, with maybe just an inch of the free end sticking out past the buckle. I prefer to do this pose with my buttocks on a wall, heels once again 10 or so inches out, but I need this help for my balance. If you feel comfortable without a wall support, that’s fine. 

Swing the loop behind you and step your feet back over it, securing it to the floor. Then bend forward maybe half way, knees bent, and loop the loop over your pelvis, across the sacrum, close to the tail bone (be sure to have its free end pointing up on your dominent hand side, that makes it easier to tighten). Now with the knees still bent, get a sense of where the pelvis is relative to the floor. Then apply what you learned in the block exercise. Imagine there’s a heavy weight on the back of your pelvis, so as you “ground” or “center” the femur heads, the pelvis can’t lift any higher. As you press back on the thighs, lengthen forward and descend slightly more. Every time you want to go farther, repeat this sequence: bend your knees slightly, snug the belt, weigh down the pelvis, press back on the femurs. Continue until your lower belly signals “stop.” You may find you’ve gone a bit farther down than usual, but no guarantees. 

Now there’s one more step to try if you can comfortably grip your ankles without the manifesting the Whale. Wrap your thumbs around the inners and the rest of your fingers around the outers. Press the bases of your big toes firmly against the floor and pull up on your ankles, imagine you’re attempting the impossible–which is what yoga is actually all about–and lift yourself off the floor (yes, in your imaginaton). As you do, draw imaginatively up along your inner legs and “sharpen” your inner groins up into your pelvis. Feel how the belt across your sacrum “caps” the rising energy, so that it spreads out across your pelvis side-to-side toward the outer hips. What you’ll have then is a “geyser” of imaginary energy creating a feeling of enormous space in your pelvis. From that space, allow your torso to release downward. Be sure not to pull your torso down, that creates tension; rather, think of your torso hanging down from that space in your pelvis. Be sure too to let your head hang from the “root” of the neck, deep inside your upper back between the shoulder blades, and feel its weight. Stay as long as you like, but at least a few minutes. To come up, first bend your knees, then release the loop and, pressing the femurs back against an imaginary block, ascend on an inhale with a long front torso. 

When you become more adept with working with the femur heads, you’ll discover they have more uses than you can shake a block at, pretty much all the poses, even savāsana. OM tat tvam asi.