Ashtanga-Vinyasa

• Kukkuta: Rooster
• Asana: Pose

Kukkutasana is the twenty-third pose of the primary series, and the eighteenth seated pose. This is the final pose of what is often called the “apex” of the Primary series—five challenging asana in the middle of the sequence.

Kukkutasana, an arm balance, is entered directly from Garbha Pindasana. It can only be performed in Lotus. (If attempted with the legs not in lotus, it becomes Bhujapidasana.)

FOCUS ON…

Maintain as much flexion of the spine as possible, especially rounding the back and lifting between the shoulder blades. Keep the shoulder blades as wide as possible, wrapping around to the sides of the ribs.

Exiting the posture by jumping back from lotus requires a great deal of strength of the sort derived from the practice of ordinary jump backs and uthplitihi.

Vinyasa of the Pose

On the ninth rock forward from Garbha Pindasana, come onto your hands and balance for five breaths. This is the state of the pose.

Exhaling, slide the lotus down the arms until you’re seated.

Inhale, lift the lotus (or come onto the knees; described below).

Exhale, jump back.

ALTERNATIVES & SOLUTIONS

Jumping back in lotus is quite challenging. A way to build up to it is to rock forward from seated lotus onto your knees, place the arms shoulder width apart so the elbows are just under the body, then attempt to balance on the elbows. From there, straighten the legs and come down into chatvari.

Once you’re ready to try something more challenging, try “hooking” one lotus foot behind an arm before you lift up. That way, you’ll have additional leverage.

Then, one day, you’ll simply be able to lift up and jump back:

Lotus jump-back

A video posted by Ashtanga Yoga Room (@yogawithgriffinamelia) on Apr 4, 2016 at 2:49pm PDT

COMMON MISTAKES

Do not allow the shoulder blades to pinch together or the arms to go dead. Press firmly through the hands, round the back, and lift as high from the ground as possible.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Garbha: Womb
• Pinda: Embryo
• Asana: Pose

Garbha Pindasana is the twenty-second pose of the primary series, and the seventeenth seated pose. This is the fourth pose of what is often called the “apex” of the Primary series—five challenging asana in the middle of the sequence.

Garbha Pindasana is a dynamic asana, still for five breaths and nine breaths while moving. The practitioner rolls the length of the spine nine times, said to symbolize the nine months of gestation.

It requires a very specific strength of the deep low belly, and helps to massage and align the spine. Like all of the apex postures of the primary series, it is a deep spinal flexion.

FOCUS ON…

This asana can be performed either in lotus or unbound, with crossed legs. In either case, it’s important to keep the spine deeply rounded, in full flexion. Endeavor to bring the hands and the head together, and to keep the hands touching the head while you roll. This will not only make the movement smoother, preventing flailing and throwing oneself about, but also encourage deeper flexion (better roll), and most importantly, force the deep abdominal muscles below the navel to work. If the hands and the head are apart, it’s easier to use momentum, or to roll upright by jerking the limbs.

Unbound Form

From seated, cross the legs at the ankle. Flex the feet fully, “locking” them together, then create stability and strength by trying to actively abduct the legs/pull the feet apart. This helps to make up for the stability that would be gained from binding in lotus.

Next, reach between the legs and either (a) lace the fingers together around the feet or (b) grasp the ears or hair with your fingers.

Lotus Form

From seated, place the legs into lotus. Squeeze the knees together, tightening the lotus. Reach the arms through the legs until they have passed through the lotus just beyond the elbows. Then, rest the chin in the hands or grasp the ears or hair.

The initial position is to balance on the sacrum for five breaths, as close to the tailbone as possible. After five breaths, rock nine times, turning clockwise each time. Rock all the way to balance on your shoulders. Turn the pelvis slightly, twisting the spine, while on the shoulders in order to turn. If you’re grasping the ears or hair while upright, continue to hold while you rock. The hands should not be allowed to come away from the head as you rock. You will likely find this requires an additional, or different, strength.

Each rock should be a controlled alternation between being balanced on the sacrum and on the shoulders, rather than shallow rocks on the torso or overzealous, unbalanced attempts. Use the breath intelligently, exhaling fully and quickly as you rock forward, inhaling as you roll backward. “Control” means that you should be able to stop and balance at any time on either the shoulders or pelvis, and not to rely on momentum to complete the movement.

Vinyasa of the Pose

From Sat, jump through and land in Dandasana; inhale.

Exhale, place the limbs in either unbound or lotus form. Lift the legs and balance on the pelvis, as near to the tailbone as possible. Five breaths here.

Inhale to rock back, exhale to rock forward. Repeat nine times, turning clockwise in a circle.

Exhale rock forward; release the hands and transition to Kukkutasana.

ALTERNATIVES & SOLUTIONS

If you’re just beginning, and it’s challenging to coordinate turning in a circle while rocking, just rock forward and back without turning. After becoming familiar with the motion, try to incorporate the turn. It’s easy to get “stuck” on your back, or, in lotus, to accidentally roll over onto your side and get stuck. After practicing just forward-and-back for a couple weeks, you’ll be able to add the turn in. If you do find yourself getting stuck, try focusing more on moving with the flow of the breath and coordinating a strong exhalation with the rock forward.

It’s common when beginning this posture to have difficulty putting the arms through the lotus. You can do one side at a time by, from seated, placing the right arm in the crook of the right knee, then placing the right leg in lotus. Place the left arm in the left knee, then wriggle the left foot into lotus behind the right arm. I don’t recommend doing this for a long period of time, but it can help create additional space in the lotus.

Traditionally, the turn is performed clockwise only. However, you may wish to experiment with turning counterclockwise, as well.

While turning, you will likely roll off of your mat. If the ground hurts your spine, try placing two mats side-by-side for additional padding.

COMMON MISTAKES

Avoid rocking part-way up and down, rolling only on the mid-back.

If you’re prone to excessive lumbar lordosis, or anterior pelvic tilt, you might find that you’re “smacking” down rather than rolling. Try to emphasize posterior pelvic tilt; you can also try tucking the chin to the chest and grasping the top of the skull rather than the sides, which helps to flex the spine further.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Supta: Sleeping
• Kurma: Turtle
• Asana: Pose

Supta Kurmasana is the twenty-first pose of the primary series, and the sixteenth seated pose. This is the third pose of what is often called the “apex” of the Primary series—five challenging asana in the middle of the sequence.

Supta Kurmasana is the deepest forward fold of the Primary series. It has several manifestations. The first two forms described here can be perfected during the course of learning the Primary series. The final form, with both legs crossed behind the head, is best added after some degree of competency has been gained with the Intermediate series. Inability to put the legs behind the head should not be a bar or disqualification to learning the full Primary series and beginning practice of the Intermediate.

FOCUS ON…

All forms of this pose emphasize deep spinal flexion, combined with full external rotation of the legs. The latter two forms also demand shoulder mobility in internal rotation.

From all forms, EXIT CAREFULLY. The same holds true for any pose. This asana, with deep spinal flexion, plus a bind, and potentially with the weight of the feet on the head, can be dangerous if you exit haphazardly, let the hands or feet pop apart, or do not pay heed to what is happening in your body.

Initial Form

This form is an introduction to the pose. It starts to establish the necessary patterns, and will be outgrown within a few weeks or months of consistent practice. It does not require shoulder mobility, and the position of the arms inherently limits it; the arrangement of the upper arms will prevent deep flexion. Once sufficient flexibility has been gained, therefore, this form must be abandoned.

From Kurmasana, sit up just enough that you can bring the feet together. Press the heels together firmly, and point the toes out to the sides. With the arms woven beneath the legs, grasp over the tops of the feet and pull, as if twisting the throttle of a motorcycle. The feet should be a middling distance from the pelvis, such that they are beneath the head. Fold forward deeply, tugging with the arms, and reach the head to touch the heels; or work towards that eventuality. Hold for five or more breaths, then sit up and take Vinyasa.

Primary Form

From Kurmasana, sit up just enough that you can wriggle the feet together. Keep the arms angled away behind you. With the head on the ground inside the heels, walk the right foot on top of the left, so that the ankles are crossed. Exhaling deeply, reach the arms back, then wrap them around the legs, across the lower back, and bind the hands together. Keep the feet actively pulling against one another, toes spreading. Hold for five or more breaths, then sit up and take Vinyasa. (Lift through Tittibhasana if desired)

Vinyasa of the Pose

This form is appropriate for those who can put both feet behind their head with relative ease. It should be added after the practitioner has developed competency with Intermediate series through Yoga Nidrasana.

From Kurmasana, sit up just enough that you can wriggle the feet together. Keep the arms angled away behind you. With the head on the ground inside the heels, lift the left heel and place it behind the head. Next, lift the right heel and cross it behind the left. Use the power of your legs to do so, keeping the hands on the ground behind you. Bind the hands together behind the back. The legs should cross over the neck, as low as possible, not the head. 

Five breaths here; this is the state of the pose.

Now, exhaling, unbind the hands and place them to either side of the heart.

Inhale, lift up. As your arms straighten, unbind the feet to come to Tittibhasana.

Exhale, jump back to catvari and take vinyasa.

Alternative entrance: From Kurmasana, sit up and place the legs behind the head (using the hands if needed) as in Dwi Pada Sirsasana. Then, slowly lower yourself, using your hands, until the forehead touches the ground. Snake the arms back to bind behind the back.

ALTERNATIVES & SOLUTIONS

If none of the above stages is accessible to you, it is best to revisit the previous forward folding postures until the requisite flexibility develops.

As an intermediate exploration between the Primary form and the leg-behind-head version, try placing the crossed ankles on a block or bolster, then placing the head on the ground just inside the heels.

If the bind is close, but the hands don’t quite come together, use a strap or washcloth to bridge the gap. Walk the hands closer and closer until they meet.

COMMON MISTAKES

Do not be too ambitious here. For the final form, Dwi Pada Sirsasana and Yoga Nidrasana should be comfortable. Otherwise, this position will exert a great deal of force on the neck and lower back and can be uncomfortable or injurious. Until that point, be content with the Primary form of the posture.

As with any asana, collapsing or flopping into the posture will not serve you well.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Kurma: Turtle (Typically considered to be an incarnation of Vishnu, supporting the world upon his back)
• Asana: Pose

Kurmasana is the twentieth pose of the primary series, and the fifteenth seated pose. This is the second pose of what is often called the “apex” of the Primary series—five challenging asana in the middle of the sequence.

Kurmasana requires significant hamstring length, the most of any pose in the Primary series. The final action of Kurmasana—lifting the heels off the ground—demands strength of the quadriceps at their shortest length.

FOCUS ON…

This pose need not be attempted or added into the sequence until sufficient flexibility has been developed from the preceding forward fold postures. Keep in mind the lessons taught by those postures, too:

Principles of Forward Folding:

The arm position in Kurmasana distinguishes it from most forward folds. The angle of both the legs and arms should be narrow. The legs should cross well above the elbows, near or on the shoulder.

While some spinal flexion is necessary, a “collapse” is not. Length must be teased out of the front of the body, so that the belly is long and the sternum can touch the ground. The head should be placed lightly on the mat, with the chin touching down; it should not be uncomfortable. The sternum should be on the ground and bear weight. If the shoulders are bearing weight but the sternum is not touching the ground, the technique is incorrect and will lead to stress and tension of the shoulders and neck. The collarbones and upper arm should be in a gentle external rotation in order to counteract the tendency of internal rotation caused by the position of the body.

Vinyasa of the Pose

Seated Vinyasa (More conservative):

From Sat, jump through and land in Dandasana. Bend the knees, and bring the feet to floor just wider than the edges of the mat. Fold forward and tuck the arms under the legs, positioning appropriately. Exhale fully as you get into position.

Inhale, straighten the legs fully. Lift the heels. This is the state of Kurmasana; hold five breaths.

Exhale, let the heels down and bend the knees slightly.

Inhale, Untuck the arms and sit upright.

Exhale, enter Supta Kurmasana. (no vinyasa)

Floating Vinyasa (More demanding):

From Sat, jump into Tittibhasana.

Exhaling, bend the knees and arms, lowering yourself to the ground so that the heels and sitting bones touch down simultaneously. Turn the hands and reach the arms back behind you, coming into the Kurmasana position.

Inhale, straighten the legs fully. Lift the heels. This is the state of Kurmasana; hold five breaths.

Exhale, let the heels down and bend the knees slightly. Enter Supta Kurmasana.

ALTERNATIVES & SOLUTIONS

If your hamstrings have gained some flexibility, but you’re not quite able to find the deepest expression of this posture, I recommend keeping the knees a bit more deeply bent. Rather than staying static—or stuck—in the pose, stretched to your limit, come out a little bit, then rhythmically bend and straighten the knees, pulling and pressing the heels. They will probably slide somewhat, which is good. If they don’t, place them on a blanket to help get a bit of slide. Bend the elbows, pulling the hands into the floor.

After bending and straightening at least five times, hold for five breaths maintaining the same sense of engagement.

COMMON MISTAKES

Legs are often placed too widely—the angle should be approximately or close to 45 degrees, close the edges of the mat, not 90°+.

Pain in the elbows is common for beginners. It is typically due to improper placement of the legs. Pain arises when the legs cross directly over or near the elbows, causing too much pressure. The legs need to be placed farther up the arms. Often, narrowing the angle of the arms, rather than having them pointing out to the sides, can help alleviate this issue as well.

If pain does not subside, revisit other forward folding postures until sufficient flexibility is developed.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Bhuja: Arm / Shoulder
• Pida: Pressure
• Asana: Pose

Bhujapidasana is the nineteenth pose of the primary series, and the fourteenth seated pose. This is the first pose of what is often called the “apex” of the Primary series—five challenging asana in the middle of the series.

It is the first arm balance in the primary series to be held for five breaths. Throughout the earlier parts of the sequence, strength has been developing by supporting the body on the hands during the jump forward and back, but this is the first named arm balance.

This pose is the summary and archetype of the primary series, encapsulating the lessons and actions that the series is constructed around: hip and hamstring flexibility, shoulder strength, and healthful spinal flexion.

A certain measure of hip flexibility is necessary to begin working into this asana. However, the name given this posture implies one of the main actions necessary: shoulder pressure, or, squeezing the shoulders with the legs. This dual necessity of flexibility integrated with strength of the inner thighs and low belly gives it a unique value amongst arm balances.

This pose has two versions: lifted, and bowed. The transition between the two variations is especially useful in developing coordination and strength.

FOCUS ON…

This posture has one of the most dramatic evolutions of any in the primary series. In the beginning stages, it is best to take this slowly, set up deliberately, and take extra breaths. After diligent practice, it becomes possible to maintain a more minimal breath count, and to jump fluidly into position. Be patient!

In either case, the most important part is to place the legs as high up the arms as possible, near or on the shoulders. Then, squeeze, round the back, and press the floor away. This creates lift—otherwise, the asana will be rather ‘flat’ and the feet will not rise far from the ground.

To this point, the practitioner has been trying to remove deep flexion from the spine, keeping it closer to neutral for forward folding. This is the first position of the primary series in which deep flexion is to be encouraged. This is the introduction to a family of arm balances in which deep flexion is necessary to more fully access the strength of the shoulder blades, lats, and side abdominal strength. Shallow flexion is called for in seated or standing forward folds because of the way that the lumbar spine transfers weight to the pelvis; too much flexion stresses the lumbar intervertebral discs. When the weight of the body is on the hands, deep flexion does not pose the same hazard. Indeed, the situation is reversed: deep flexion is necessary in order to maintain the health of the shoulder blades, thoracic vertebrae, and neck. Without full flexion, the body “hangs” off the muscles and ligaments that connect the shoulder blades to the ribs. With no bony joint, there is a greater risk of overstretching or hypertension (often manifested as rock-hard rhomboids and trapezius). Furthermore, the action of creating flexion creates stability in this pose, and prevents wobbling.

The deep flexion of this pose is especially strong during the initial jump, the lifted position, and jumping back. The upper spine is relatively straight in the bowed pose, though the lower back maintains flexion.

Other arm balances in this deep flexion family include the various bakasanas, tittibhasana, all forms of kukkutasana, karandavasana, galavasana, and utpluthih. Not all arm balances share this similarity, however.

In the lifted version of Bhujapidasana, the arms are straight; they bend deeply in the bowed version.

Researching 

For beginners, or for those who the bowed version is not appropriate, it’s a good idea to stay in the lifted version.

I will first discuss a method for stepping into the posture and working into it. Over time, integrate the traditional vinyasa count.

From adho mukha svanasana, (downward facing dog), bend the knees deeply, look forward past the hands, and crouch—as if a cat, ready to pounce. Bend and straighten the knees a couple times; try and feel the connection to the hips and pelvic floor.

Next, hop the feet wide to land in front of the hands. Jump as far forward as you can in order to get the knees high on the shoulders. It’s okay if the wrists come up off the ground a little (as pictured).

Next, sit back onto the hands, settling the weight into the fingers and palms. Try to avoid dead hands, which compromises the structure of the wrist and carpal tunnel. Bend the arms deeply, and “sit” across the upper arms. As you find your balance on the hands, wriggle the feet closer together until you can cross the ankles. It is worth the extra effort to cross the ankles. Leaving the feet uncrossed, even if they are touching, undermines the actions at work here.

Squeeze the knees into the arms firmly and straighten the arms to lift the feet. Round the back. To find the balance, you may need to explore the edge between keeping the pelvis so lifted that the feet are stuck on the ground and lowering the hips so much that you lose your balance and fall out of the posture. (Note the angle of the femurs—there needs to be a slight upward angle.)

And, voila! Bhujapidasana. Stay here five breaths, then either let the feet come down and ease out (shift your weight forward to come back onto your feet rather than crashing down onto your sitting bones), or work on jumping back. Alternatively, stay for five breaths, then work on lowering down and coming back up once or several times.

Vinyasa of the Pose

Note: the feet do not touch the ground at any point of the following vinyasa count.

From Sat, jump and land in the lifted version of Bhujapidasana.

Inhale, round the back and look forward.

Exhale, start to bend the elbows, and fold forward until the chin* lightly touches the ground. The feet will need to point in order to tuck back through the arms without touching the ground. This is the state of the pose; hold here for five breaths.

Inhale, lift back up.

On the same inhalation, straighten the legs.

Exhale, tuck the legs back to a bakasana-like position.

On the same exhalation, float back to catvari and take vinyasa.

*For those with a neck injury, or beginners, try placing the crown of the head on the ground instead.

ALTERNATIVES & SOLUTIONS

If you’re having trouble finding your balance, the hips are feeling a bit tight, or the wrists are inflexible/painful: experiment with placing blocks and/or a wedge under the hands.

It’s also worth getting into the “leapfrog” position, then sitting down on 2 bolsters. Try and lift up from there.

If you’re working towards lowering your head to the ground, you can place a bolster or block under the head. That way, you’ll have less distance to lower; just be sure you can lift back up.

If you’re having a bit of trouble jumping back, try tucking one leg back at a time. You can even lean a little towards the opposite side to get a bit of extra clearance.

COMMON MISTAKES

Shoulder blades pinching, or hanging in the joints. Looking down rather than forward.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Nava: Boat
• Asana: Pose

Navasana is the eighteenth pose of the primary series, and the thirteenth seated pose.

Navasana is primarily a strength-building posture, developing the hip flexors, abdominal, and spinal musculature.

FOCUS ON…

Unlike “crunches” of modern exercise routines, the Navasana position is best performed with the spine straight and neutral. This allows the abdominal muscles to strengthen without shortening and hardening. Performing Navasana with a flexed spine, or doing crunches, sit-ups, etc., contributes to the poor posture, back pain, and diminished organ function already endemic to western societies. The tendency towards slouching in this position is understandable: the abdominal muscles—any muscle—are strongest in a somewhat shortened position. This tendency must be abolished in a Yogi, and strength developed equally throughout a muscle’s range of length.

In this way, the psoas and quadriceps are recruited for maintaining the position. A supple and strong psoas, especially, is a requirement of good posture and functional movement. In a slouched position, the psoas is effectively “offline.”

It is preferable to practice with the spine straight, the heart and head lifted, rather than to have the legs straight, if such a choice must be made. As the requisite strength develops, the legs can be straightened fully.

Stage 1

Balance on the sitting bones, making effort to tip the pelvis anteriorly. If the weight is on the sacrum, or back of the hips, you have rolled too far back. Place the hands behind you to lengthen the collarbones and encourage the heart to lift; don’t allow slouching or rounding of the upper body.

The knees should be together, the legs energetic and the toes spreading. Press forward through the roots of the big toes. Gaze down the length of the nose.

Over time, maintain these actions and take the hands off the ground, extending them straight forward parallel to the floor. Next, work at straightening the legs. Do not sacrifice any of the previously established alignments in order to straighten the legs; be patient for the strength to develop.

The back does not need to be arched, or the pelvis to be anteriorly rotated, but that effort or sensation may be necessary in order to reach a neutral position. In other words, the alignment of the upper body should be as in Samasthiti, despite the influence of gravity.

Vinyasa of the Pose

This pose is held for a total of 25 breaths. Every fifth exhalation, lift up and rock in Lolasana (as discussed here), then set down into another round of Navasana. No additional or “resting” breaths are to be taken. An advanced variation is to lift into handstand from each Navasana, then lower back down without touching the feet to the earth.

From Sat, jump through and land straight in Navasana. There is no Dandasana or other preparatory breath; Navasana begins immediately.

After five full and unhurried breaths, lift up and rock, inhaling.

Exhaling, set back down into Navasana. Five more breaths;

Inhaling, lift and rock.

Exhaling, set back down for the third round.

After five breaths, inhale, lift and rock.

Exhale into the fourth Navasana.

Inhaling, lift and rock.

Exhale into Navasana; last five breaths.

Inhaling, lift and rock.

Exhale, jump back to take Vinyasa.

ALTERNATIVES & SOLUTIONS

If having the hands on the ground behind you as described above is either painful, or does not provide enough lift, try lightly holding the backs of the knees. Be sure not to slouch or let the chest cave in; keep pulling the heart towards the knees.

If the coccyx is painful, sit on a blanket or other padding.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Marichi: “Ray of Light.” Marichi, as one of the aspects of the sun, is the master of illusions, the one who awakens us from dreams or delusions. Also, the name of a sage, one of the Seven Rishis of the Vedas.
• Asana: Pose

Marichyasana D is the seventeenth pose of the primary series, and the twelfth seated pose. There are four variations of Marichyasana (A, B, C, D). A & B are forward folds (straight leg / lotus leg), and C & D are twists (straight leg / lotus leg).

The common thread of the Marichyasana poses is (1) the loosening of the Sacroiliac (SI) joint—as such, it is an essential posture for aspirants to deep backbending and lotus postures—and (2) enhancing the mobility of the shoulder girdle by binding the hands together behind the back.

The following is a discussion of the position on the right side, as pictured. As an asymmetrical posture, it must be repeated on the left side. In Ashtanga, always twist to face right first; the second side is to face left. The exception to this rule, traditionally, is Pasasana. 

FOCUS ON…

Marichyasana D is the half-lotus variation, as is B. For the first side, the left leg is placed into lotus (or crossed underneath), then the right leg is bent, into a squatting position. It is important that the right leg is in a true squat, supporting the weight of the body. Shifting the weight forward will also allow the lotus knee to press fully into the earth; if the weight is on the back of a posteriorly rotated pelvis, the lotus knee will be floating regardless of flexibility.

The ‘default,’ ineffective, position is typically for the hips to be on the ground, supporting the body’s weight, posteriorly tilted. Although it is important in all the Marichyasana variations for the hips to be mobile, it is especially necessary in the twisted variations. For the weight to be in the sitting bones is both immobilizing—preventing a full twist—and dangerous to the sacrolumbar junction, which would experience increased force while in its most vulnerable alignment (flexion + twisted). The pelvis should be neutral, not posteriorly tilted. When leaning forward enough for the right hip to float and the weight to be in the right foot, the spine will be at < 90° angle relative to the floor.

You must shift your weight forward so the right sitting bone lifts slightly off the ground, and the weight comes into the right foot. The left hip stays on the ground. DO NOT try to keep the hips “square” in any twist. Allow unrestricted movement from the hips while entering and exiting twists. In the state of the pose, you can gently work towards squaring (emphasis on “ing;” focus on the process) the hips. If the pelvis is held rigidly, you will be at a higher risk of injury because force will not be able to transfer properly between the spine and the ilia (SI joint).

The SI joint is the connection between the two halves of the hips (ilia) and the base of the spine (sacrum), and serves as the connection between the lower body and the torso. In many Western body this joint is fused or immobile from our sitting and exercise patterns. That immobility contributes to back pain, “humpback” (kyphosis), etc. In backbending, healthful movement of the SI joint is essential to avoid overuse injury of the lumbar spine.

To enter the twist, it is important to lean back slightly to ensure that movement can come all the way from the hips. Simultaneously, harness the power of the exhalation to curl and twist fully. If you don’t lean back, the pelvis and lumbar spine will not be able to participate in the movement, and/or the skin of the abdomen will get “stuck” on the thigh. This results in either a shallow, uncomfortable twist, or if you’re hypermobile, over-twisting of the thoracic and cervical vertebrae.

The next action is to bind the arms (around the bent leg). The basic principles are the same as binding in A or B variation; the bind in this posture is somewhat more demanding. Both arms are in full internal rotation, and the chest must be lifted. The twisting action must include the collarbone, where it joins the manubrium over the heart (the sternoclavicular joint). Trying to twist just the forearm without involving the collarbone will be futile. Check the Solutions section below for suggestions on how to work towards a full bind.

Once bound, use the strength of the bound leg to help propel the twist. The interplay of resistance between the bound leg and the binding arm allows length to come back into the spine, the shoulders to open and relax, and the twist to deepen.

The benefit of binding, in addition to increasing the range of motion and health of the shoulder girdle, is that it makes it necessary to use your core musculature in order to stay upright. Propping yourself up with your hands in a twist can give a sensation of increased stability, leverage, and ease…Unfortunately, too much leverage in a twist, combined with relaxed muscles and a posterior pelvic tilt can destabilize the spine. 

To twist healthfully and responsibly, sit upright and distribute the effort of twisting evenly from the hips to the crown of the head. Although the spine is more mobile in twisting in certain places, the internal experience of effort can feel dispersed equally.

The gaze is down the length of the nose, beyond the back of the mat. Keep the head high, soften any tension in the face, and adopt a regal gaze.

Principles of Forward Folding:

Vinyasa of the Pose

From Sat, jump through and land in Dandasana.

Still exhaling, place the left leg in lotus position (or cross underneath; discussed below). Bend the right knee fully.

Place your right hand behind you. Inhale and reach the left hand up and back, lengthening the belly and starting the twist.

Exhale, curl in and hook the left elbow as far down the right thigh as possible. Internally rotate the left arm as much as possible, including the collarbone.Bring your weight forward, and bind the hands.*

This is the state of Marichyasana D; hold for five breaths. With every breath, sit up straighter and taller.

On the fifth exhalation, turn your head to look forward towards the front edge of your mat.

Inhale, and release both hands with control (don’t let them “pop” apart), placing them to the sides of the hips.

Exhale, jump back and take vinyasa.**

Repeat for the second side.

*Binding the wrist is the preferred method. Alternatives are listed below; if you can hold the wrist, straighten the elbows more and more as you gain flexibility to help the torso lengthen.

**Traditionally, vinyasa is taken between sides of asymmetrical postures. If you’re just starting out and building stamina, or have time constraints and require a faster practice, the vinyasa between sides may be omitted.

ALTERNATIVES & SOLUTIONS

If lotus is inaccessible or painful, simply cross the leg beneath.

An intermediate stage is to work on getting the armpit and knee together without binding fully. Additionally, this is a useful variation for those with injury to the shoulder girdle (commonly, torn or irritated bicep tendon). You will have an easier time if you keep the left elbow bent rather than straight:

If you’re unable to sit up straight (the spine is rounding), or if your right sitting bone feels stuck on the ground (rolling back): place a blanket or block beneath the hip of the lotus leg. Add additional support if necessary until both the leg and spine can be straightened.

If you have had knee injury or surgery, and/or feel a pinching sensation when the knee is closed fully in this way, place a rolled up washcloth or piece of fabric behind the knee. When you squeeze the cloth with your knee, the bones of the femur and tibia will be held slightly apart. In the majority of cases, this alleviates or eliminates any pinching sensation or pain. The more severe the injury, the greater amount of cloth should be used. The support can be reduced over time as the joint heals. It’s also helpful when recovering from a knee injury to sit up higher using blankets.

If you can wrap the arms around behind the back, but cannot bind the hands, use a strap or towel to bridge the distance. Over time, walk the hands closer and closer, then bind fingertips, then clasp hands, and finally the wrist.

COMMON MISTAKES

Hunching forward, or letting the head hang, is common when binding or balancing is a challenge. With every breath, work on sitting up straight, lifting the sternum, and lengthening the belly. Focus on feeling and projecting an air of nobility and grace.

The common mistakes of the Marichyasana family appear in this position, as well:

Be sure that you have the necessary amount of space between the foot and opposite leg. If they are too close, or touching, it is impossible to create the proper actions that define this pose. If your foot slides in when you’re in the pose, use a block as a spacer.

One of the most common errors is for the right leg to be “dead” or listing off to the side. This shows that the hip and thigh musculature is not participating effectively in the movement.

Take the necessary steps to make the leg fully vertical, which, depending on the situation, might include:

Press with the leg away from the midline, propelling the twist

Encourage by squeezing with the arms

Lean further forward, sitting up on a block if needed

Push the right foot and left heel firmly into the ground

Spend 5 breaths easing into the posture and getting the legs and hips into position before binding.

---

Load More...Follow me Instagram

Do you have a question? Email me.

          

• Marichi: “Ray of Light.” Marichi, as one of the aspects of the sun, is the master of illusions, the one who awakens us from dreams or delusions. Also, the name of a sage, one of the Seven Rishis of the Vedas.
• Asana: Pose

Marichyasana C is the sixteenth pose of the primary series, and the eleventh seated pose. There are four variations of Marichyasana (A, B, C, D). A & B are forward folds (straight leg / lotus leg), and C & D are twists (straight leg / lotus leg).

The common thread of the Marichyasana poses is (1) the loosening of the Sacroiliac (SI) joint—as such, it is an essential posture for aspirants to deep backbending and lotus postures—and (2) enhancing the mobility of the shoulder girdle by binding the hands together behind the back.

The following is a discussion of the position on the right side, as pictured. As an asymmetrical posture, it must be repeated on the left side. In Ashtanga, always twist to face right first; the second side is to face left. The exception to this rule, traditionally, is Pasasana. 

FOCUS ON…

Many practitioners try to muscle their way into this posture, using their upper body. In reality, it unfolds from the pelvis and low belly. The upper body plays a role, but in a supporting and refining role, rather than as the fundamental action.

The right leg is bent, into a squatting position, the left straight, as in Marichyasana A. It is important that the right leg is in a true squat, supporting the weight of the body. It is essential for there to be a sense of power and weight in the legs. The ‘default’ position is typically for the hips to be on the ground, supporting the body’s weight. All too often I see students leaning—or falling—backward, heavy on their sitting bones. Think of this family of positions as being similar to squatting rather than similar to sitting. Although it is important in all the Marichyasana variations for the hips to be mobile, it is especially necessary in the twisted variations. For the weight to be in the sitting bones is both immobilizing—preventing a full twist—and dangerous to the sacrolumbar junction, which would experience increased force while in its most vulnerable alignment (flexion + twisted). The pelvis should be neutral, not posteriorly tilted. When leaning forward enough for the right hip to float and the weight to be in the right foot, the spine will be at < 90° angle relative to the floor.

You must shift your weight forward so the right sitting bone lifts slightly off the ground, and the weight comes into the right foot. The left hip stays on the ground. DO NOT try to keep the hips “square” in any twist. Allow unrestricted movement from the hips while entering and exiting twists. In the state of the pose, you can gently work towards squaring (emphasis on “ing;” focus on the process) the hips. If the pelvis is held rigidly, you will be at a higher risk of injury because force will not be able to transfer properly between the spine and the ilia (SI joint).

The SI joint is the connection between the two halves of the hips (ilia) and the base of the spine (sacrum), and serves as the connection between the lower body and the torso. In many Western body this joint is fused or immobile from our sitting and exercise patterns. That immobility contributes to back pain, “humpback” (kyphosis), etc. In backbending, healthful movement of the SI joint is essential to avoid overuse injury of the lumbar spine.

To enter the twist, it is important to lean back slightly to ensure that movement can come all the way from the hips. Simultaneously, harness the power of the exhalation to curl and twist fully. If you don’t lean back, the pelvis and lumbar spine will not be able to participate in the movement, and/or the skin of the abdomen will get “stuck” on the thigh. This results in either a shallow, uncomfortable twist, or if you’re hypermobile, over-twisting of the thoracic and cervical vertebrae.

The next action is to bind the arms (around the bent leg). The basic principles are the same as binding in A or B variation; the bind in this posture is somewhat more demanding. Both arms are in full internal rotation, and the chest must be lifted. (Check the Solutions section below for suggestions on how to work towards a full bind.)

Once bound, use the strength of the bound leg to help propel the twist. The interplay of resistance between the bound leg and the binding arm allows length to come back into the spine, the shoulders to open and relax, and the twist to deepen.

The benefit of binding, in addition to increasing the range of motion and health of the shoulder girdle, is that it makes it necessary to use your core musculature in order to stay upright. Propping yourself up with your hands in a twist can give a sensation of increased stability, leverage, and ease…Unfortunately, too much leverage in a twist, combined with relaxed muscles and a posterior pelvic tilt can destabilize the spine. 

To twist healthfully and responsibly, sit upright and distribute the effort of twisting evenly from the hips to the crown of the head. Although the spine is more mobile in twisting in certain places, the internal experience of effort can feel dispersed equally.

The gaze is down the length of the nose, beyond the back of the mat.

Principles of Forward Folding:

Vinyasa of the Pose

From Sat, jump through and land in Dandasana.

Still exhaling, bend the right knee into the chest. Close the joint fully. Measure a hand-length distance between that foot and the left thigh.

Place your right hand behind you. Inhale and reach the left hand up and back, lengthening the belly and starting the twist.

Exhale, curl in and hook the left elbow as far down the right thigh as possible. Bring your weight forward, and bind the hands.* This is the state of Marichyasana C; hold for five breaths. With every breath, sit up straighter and taller.

On the fifth exhalation, turn your head to look forward towards the front edge of your mat.

Inhale, and release both hands with control (don’t let them “pop” apart), placing them to the sides of the hips.

Exhale, jump back and take vinyasa.**

Repeat for the second side.

*Binding the wrist is the preferred method. Alternatives are listed below; if you can hold the wrist, straighten the elbows more and more as you gain flexibility to help the torso lengthen.

**Traditionally, vinyasa is taken between sides of asymmetrical postures. If you’re just starting out and building stamina, or have time constraints and require a faster practice, the vinyasa between sides may be omitted.

ALTERNATIVES & SOLUTIONS

If this pose is very difficult, spend additional time twisting in the standing postures. You can take a shallower twist by holding the right knee in the crook of the left elbow rather than trying to bind around it.

An intermediate stage is to work on getting the armpit and knee together without binding fully. Additionally, this is a useful variation for those with injury to the shoulder girdle (commonly, torn or irritated bicep tendon). You will have an easier time if you keep the left elbow bent rather than straight:

If you’re unable to sit up straight (the spine is rounding), or if your right sitting bone feels stuck on the ground (rolling back): place a blanket or block beneath the hip of the straight leg. Add additional support if necessary until both the leg and spine can be straightened. Also try spending more time in D variation. Since both legs are bent in Marichyasana D, the hamstrings have less influence.

If you have had knee injury or surgery, and/or feel a pinching sensation when the knee is closed fully in this way, place a rolled up washcloth or piece of fabric behind the knee. When you squeeze the cloth with your knee, the bones of the femur and tibia will be held slightly apart. In the majority of cases, this alleviates or eliminates any pinching sensation or pain. The more severe the injury, the greater amount of cloth should be used. The support can be reduced over time as the joint heals. It’s also helpful when recovering from a knee injury to sit up higher using blankets.

If you can wrap the arms around behind the back, but cannot bind the hands, use a strap or towel to bridge the distance. Over time, walk the hands closer and closer, then bind fingertips, then clasp hands, and finally the wrist.

COMMON MISTAKES

The common mistakes of the Marichyasana family appear in this position, as well:

Be sure that you have the necessary amount of space between the foot and opposite thigh. If they are too close, or touching, it is impossible to create the proper actions that define this pose. If your foot slides in when you’re in the pose, use a block as a spacer.

The left—straight—leg can be “asleep” or externally rotated. Bring it back to vertical, spread the toes, and press through the mound of the big toe.

One of the most common errors is for the right leg to be “dead” or listing off to the side. This shows that the hip and inner thigh musculature is not participating effectively in the movement.

Take the necessary steps to make the leg fully vertical, which, depending on the situation, might include:

Press the right knee away from the midline, propelling the twist

Encourage by squeezing with the arms

Lean further forward, sitting up on a block if needed

Push the right foot and left heel firmly into the ground

Spend 5 breaths easing into the posture and getting the legs and hips into position before binding.

---

Load More...Follow me Instagram

Do you have a question? Email me.