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STILL RISING, STILL SINGING: 2019 Kiss My Asana Offering #4 April 4, 2019

Posted by ajoyfulpractice in 31-Day Challenge, Books, Buddhism, Changing Perspectives, Confessions, Depression, Donate, Faith, Fitness, Gratitude, Healing Stories, Hope, Karma Yoga, Life, Loss, Love, Mantra, Maya Angelou, Minneapolis, Minnesota, Music, Pain, Peace, Philosophy, Poetry, Suffering, Tragedy, Uncategorized, Vipassana, Yoga.
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The “practice preview” below is part of my offering for the 2019 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with today’s theme or concept as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at a donation-based class on April 27th or May 4th.

I also challenge you to set aside a certain amount every day that you practice with this concept/theme in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

do yoga. share yoga. help others.

***

April is not only the standard month for Kiss My Asana, it’s also National Poetry Month. Every year I figure out a way to treat each class that I teach to at least one “April is Poetry Month” practice, full of poems set to music. For my 2018 Kiss My Asana blog offering, I profiled poets, featured poems, and offered a practice inspired by the poet and their poetry. Since I don’t always teach on Thursdays, this year’s offering will include “Throwback Thursday” links and, at least once, a profile and poems that didn’t get posted last year.

As it happens, I am subbing today ( Thursday, April 4th) – which also happens to be the anniversary of the birth one of our greatest poets, Maya Angelou. Dr. Angelou would have turned 91 today.

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.

– from “Still I Rise,” by Maya Angelou

The more I see people suffering, fearing, and living in confusion, the more I am amazed by the heart’s ability to be loving, kind, compassionate, and even playful. I have heard it said, on more than one occasion, that we have a limited capacity for pain – there is only so much anyone of us can handle before we pass out – but an unlimited capacity to experience love and joy. The heart rises up, always.

In Buddhism, there are four (4) Bhramaviharas (Divine Abodes, meaning that they are the “special dwelling places of the Divine”). I call them the heart practices, even though (technically) there are more than 4 “heart practices” in Buddhism. The bramaviharas are the unlimited capacity for loving-kindness or goodwill (metta), an unlimited capacity for compassion (karuna), an unlimited capacity for empathetic joy (mudita), and an unlimited capacity for equanimity (upekkah) – which serves as a checks and balance for the others. While these are attitudes believed to be inherent to the human spirit – something found deep within each heart – these are also attitudes to cultivate. And, you find techniques to cultivate these attitudes in various Buddhist traditions, but also in other major philosophies and religions.

In Tibetan Buddhism, there are Lojong or “mind training” techniques, which consist of approximately 59 aphorisms or slogans that can be used as meditation points. The first states, “First, train in the preliminaries.” There are four (4) preliminaries: maintaining an awareness of the preciousness of life; be aware of the reality that life ends…; recall that whatever you do, whether virtuous or not has a result…; contemplate on how ego driven pursuits result in suffering.”

The other statements are also simple. One such slogan is “In all activities, train with slogans.” Another is, “Begin the sequence of sending and taking with yourself.”

As you move through your practice, take a moment to offer yourself loving-kindness, compassion, joy, and equanimity awareness that all beings suffer and all beings deserve an end to that suffering). As Dr. Angelou said, “Hate, it has caused a lot of problems in the world, but has not solved one yet.” Try a little tenderness.

FEATURED POSE for April 4rd: Camel Pose, hands on floor variation (Ustrasana)

Begin in table top (hands and knees to the mat), in a seated position, or in a standing position with knees bent and hands braced on the thighs. Inhale love, exhale kindness. Move though a few cycles of breath until the mantra (“love” on the inhale and “kindness” on the exhale becomes seamless.) Continuing the mantra, inhale and lift the heart and hips into cow pose. With an exhale, shift into a Halloween cat pose. Move one-breath-one motion, waking up the spine and engage the spirit of metta.

After 5 – 10 full cycles, sit back on the floor or a block with the knees and feet two (2) fists width apart or stand up straight on your feet. Make sure your knees are comfortable. Offer yourself some compassion. Scan your body and as you notice the places where you are holding discomfort and disease, think to yourself, “I see your suffering/I care about your suffering/May you be free of suffering/May the causes and conditions of your suffering end.”

Adjust your body so that it becomes more comfortable. If needed move through a series of sun salutations changing the back bend with each one so that the back bends are progressive (e.g. cow the first time, sphinx the second time, any cobra the third time, extended cobra or Upward Facing Dog the fourth time.) If needed add a twist before the first set or after the last set. Return to the earlier kneeling position with hips between the knees. Notice how you feel physically, mentally, and energetically.

“I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

– Maya Angelou

The standard way to start Camel Pose is to stand up on the knees, giving yourself a little cushion (again with the thighs apart about 2 fists width apart) and bracing the hands at the waist or behind the back. If you are practicing this pose while standing on your feet, start with the standard variation. However, if you are kneeling or seated try the variation with knees and feet 2 fists width apart, but sit back (so hips are grounded on the floor, the chair, or a block) and place the hands on the floor, your feet, or a block. For all variations, gaze is right in front of your eyebrows.

If you are standing on your feet, inhale and lift your heart up and out towards your focal point. As you exhale, move your gaze a little higher up or, once you’re gazing at the ceiling, a little further back. The heart keeps rising as you inhale, opening as you exhale – until you reach a physical limit with your hands still at your back or (if it’s accessible to you) you can walk your hands down a wall into an extreme variation of full wheel (Urdhva Dhanuarasana).

If you are seated and leaning back, take an extra round of breath to extend your spine and then begin lifting your hips towards your focal point as you inhale, ensuring your core is engaged as you exhale. Once you’ve lifted the hips almost over the knees you may hold where you are or start lifting the heart on the inhale and moving the gaze on the exhale (as described above). The hands can stay grounded or move to the low back for support if the hips are stacked over the knees.

In all variations, make sure the neck is long. There is a tendency to drop the head back, over extending the neck, in order to go deeper. This actually compromises the integrity of the pose. Make sure, also, that the hips stay in line with the knees. This pose is prenatal-approved and can be practiced with a wall to support the front of the hips and also with a combination of props behind the hips.

After a few rounds of breath, come into any pose where you can relax and release without strain. Close your eyes and breathe. Notice how you feel physically, mentally, and emotionally.

One lojang statement says, “Always maintain only a joyful mind.” When you feel joy in your experience, cultivate that attitude so that you can feel it for others when they experience good fortune.

Round out your practice with a forward fold that matches the intensity of your back bend. For example, if you felt comfortable in the pose and did not feel you were overexerting, you might take Child’s Pose. If you felt like you were working very hard – but still not overexerting – you might take Child’s Pose or a forward fold with your legs stretched out in front (Paschimottanasana) or a standing forward fold (Uttanasana). If your back feels strained even after you release the back bend, come into a supine forward fold: either lay on your back with legs lifted up in the air or practice Legs-Up-the-Wall (or on a chair). Remind yourself that each part of your body, and each part of your mind, deserves to be free from suffering.

The caged bird sings

with a fearful trill

of things unknown

but longed for still

and his tune is heard

on the distant hill

for the caged bird

sings of freedom.

– from “Caged Bird” by Maya Angelou

Allow your body to relax, release, rest – and breathe. As you settle into Savasana or the final pose of your choice, remember all beings everywhere deserve to be free from suffering.

Want more? Here’s the “Throwback Thursday” link to last year’s profile and practice.

### Dr. Angelou said, “When you learn, teach. When you get, give.” If you are getting something from this practice/offering, please consider what you can give. ###

One of the Greatest and Simplest Tools – 2019 Kiss My Asana Offering #3 April 3, 2019

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Books, Changing Perspectives, Depression, Donate, Faith, Fitness, Gratitude, Healing Stories, Hope, Karma Yoga, Life, Loss, Meditation, Men, Minneapolis, Minnesota, Music, Pain, Peace, Philosophy, Suffering, Surya Namaskar, Twin Cities, Vairagya, Wisdom, Women, Writing, Yoga.
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The “practice preview” below is part of my offering for the 2019 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with today’s theme or concept as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at a donation-based class on April 27th or May 4th.

I also challenge you to set aside a certain amount every day that you practice with this concept/theme in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

do yoga. share yoga. help others.

***

“Are you sleeping? / Still dreaming? / Still drifting off alone.”

– “Sleeping” by Glen Hansard & Marketa Irglova

“And he became old in as many days as he had slept years;”

– Diogenes Laertius writing about the philosopher Epimenides

Upon hearing that the short story author Washington Irving was born April 3, 1783, some might suppose that today’s peak pose will be Savasana. Such an assumption, however, would mean that “some” are making the same error as Rip Van Winkle.

“The great error in Rip’s composition was an insuperable aversion to all kinds of profitable labor.”

– from “Rip Van Winkle” by Washington Irving

Contrary to popular belief, Savasana, which is sometimes used as a starting pose, but is most commonly practiced as a final pose, is not the time to take the deepest nap you’ve taken all day. Instead, Savasana (Seat of the Corpse) marks the death of the practice and creates an opportunity to practice the final four limbs of yoga (pratyahara, dharana, dhyana, and Samadhi).

Swami J of the Himalayan tradition says, “The willingness or unwillingness to withdraw attention from sensory experience is a significant dividing line between those who experience true meditation and those who experience only physical relaxation.” Pratyahara (sense withdrawal) is the fifth limb of yoga and serves as a bridge between engaging the mind-body in order to connect with the spirit and recognizing that the mind-body-spirit connection eternally exists. It allows one to direct their attention towards a single point, without distraction. That point could be light, love, the sun, God (whatever that means to you at this moment), your parents, or some aspect of the divine (such as loving-kindness, peace, or playfulness). That single-pointed focus, dharana, is the sixth limb of yoga. Over a long period of time, dharana becomes dhyana, concentration. Over a long period of time, concentration becomes meditation – maybe even that “perfect meditation,” Samadhi, which is sometimes referred to as “union with divine.” Symbolically, Savasana is the opportunity to release all worldly concerns and goods, to release your efforts and your awareness back to the source of all things.

“Rip’s heart died away at hearing of these sad changes in his home and friends, and finding himself thus alone in the world.”

 

– from “Rip Van Winkle” by Washington Irving

All that being said, it is not uncommon for people to fall asleep in “Corpse Pose.” Moving through the physical practice is preparation for a deep seated meditation; however, in a day and age where we have trained ourselves to be in perpetual motion, to multi-task, and to be sleep-deprived, calming the body and the mind, naturally creates an opportunity for a nap. This is especially true if we are holding a lot of residual tension or stress – which may be keeping us from sleeping well at night. And, it is true that Rip Van Winkle was presumed as dead as so many of his friends and family.

But, we’re still not spending the whole practice in Savasana.

“One of the greatest and simplest tools for learning more and growing is doing more.”

– Washington Irving

FEATURED POSE for April 3rd: Half Moon Pose (Ardha Chandrasana)

Washington Irving’s short story “Rip Van Winkle” is paired with “The Legend of Sleepy Hollow.” Yes, yes, that is a story about another “sleepy” Dutch settlement and a ghost. But, it’s a headless ghost, and the last thing we want to do during the practice is loose our heads! Delving a little deeper, you will find that both stories feature the appearance and/or reference to the ghosts of Henry Hudson and the crew of the Halve Maen*, a Dutch East India Company boat whose name, in English, is “Half Moon.”

There are at least two (2) variations of Half Moon that regularly appear in the physical practice. The first, a “Hot Half Moon” can be done at any point in the practice and does not require a lot of warm-up. It can also be done seated or lying down, is prenatal approved, and can be embellished. To practice “Hot Half Moon,” come into Samastithi (Equal Standing), either standing or seated with feet together or slightly apart. Inhale arms overhead and, as you exhale, come into a steeple grip so that index fingers are extended like a church steeple or like the main mast of a sailing vessel. If it’s accessible to you, places the thumbs one next to the other. If it is more comfortable, cross the thumbs – and make sure to change the cross when you come back to center. Inhale reach up and length; exhale and lean to the left so that the left hand/arm pulls the right hand/arm over to the side. Make sure weight is balanced in the feet, legs, and hips – so that even though you are leaning left, you are still engaging the right. From the thighs, start to rotate the body up towards the left armpit and gaze up towards the right elbow (if that is accessible and comfortable). After 3 – 6 breaths, inhale to center. Like Rip Van Winkle after his long nap, notice what’s changed and then switch to the other side. After the second side, feel free to move between the sides one-breath-one motion. Ultimately release back to Equal Standing.

Ardha Chandrasana, as it appears in a vinyasa practice, is a standing balance similar to Triangle Pose (Trikonansana) or Supine Big Toe Pose (Supta Padangusthasana) without the bind. Since this variation of Half Moon pose requires leg strength, flexibility and strength in the hips, and lots of core strength, I recommend moving through a warm up sequence like Cat/Cow and/or some Salutations plus some standing poses. For the standing poses, consider an externally rotated sequence with Warrior II (Virabhadrasana II), Triangle (Trikonasana), and Extended Side Angle (Parsvakanasana). You could also practice Supine Big Toe Pose (Supta Padangusthasana) and pay particular attention to how you root down through the (heels of the) feet and stabilize with the core. In all the poses, extend through the arms and collar bones.

After preparing the body, make your way into Triangle Pose. On an exhale, gaze down. On an inhale, shift the weight into the front leg (so it appears you’re moving into an awkward Side Angle Pose). Exhale and zip up by spreading your toes, squeezing your perineum muscles like you’re trying not to go to the bathroom, and lifting the belly button up and back. Once the core is engaged, inhale and stand on the front leg. Reach the lifted foot towards the wall behind. It might be feet away, but you want to engage your lifted foot and leg as if you are standing on the wall behind you. Reach the lifted arm up with the same awareness and intensity that you’re using to reach the lower arm down. Find balance within the imbalance. After at least 6 breaths, exhale to Extended Side Angle and inhale to standing. Again, take a moment to be like the newly awakened Rip Van Winkle and then move to the second side.

Ardha Chandrasana can be practiced with your back or your lifted foot against the wall. You can also make the pose easier by placing the lower hand on a block and folding the lower arm against the back into a half bind. (The half bind will lower your center of gravity. As with the first variation, this variation of “Half Moon” is prenatal-approved: Just keep in mind that your center of gravity is continuously changing while you’re pregnant.

After practicing any variation of “Half Moon,” move into a gentle forward fold – such as Child’s Pose (Balasana) – or, sneak in another “pose of the day”: Hands-to-Feet Pose (Padahastasana), which is often referred to as “Gorilla Pose,” but today you can call it “Chimp Pose.”

Now, as you like, Savasana!

(*SIDE NOTE: The Halve Maen set sail on April 4, 1609. On July 25, 1609, some of the crew assaulted a village in Nova Scotia. In 1610, Henry Hudson headed out in a new ship, the Discovery. Hudson, his son John, and the non-mutinous members of the ship disappeared in the spring of 1611.)

 

### do yoga. share yoga. help others. ###

 

ONCE UPON A TIME – 2019 Kiss My Asana Offering #2 April 2, 2019

Posted by ajoyfulpractice in 31-Day Challenge, Books, Changing Perspectives, Fitness, Healing Stories, Health, Hope, Men, Minneapolis, Minnesota, Movies, Music, Pain, Philosophy, Suffering, Uncategorized.
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add a comment

The “practice preview” below is part of my offering for the 2019 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with today’s theme or concept as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at a donation-based class on April 27th or May 4th.

I also challenge you to set aside a certain amount every day that you practice with this concept/theme in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

do yoga. share yoga. help others.

***

“Books help us slow down…. Books help us not to rush, books teach us to notice things, and books invite us or even make us sit down for a while.”

– from 2019 International Children’s Book Day message by Kęstutis Kasparavičius (translated from Lithiuanian by Daina Valentinavičienė)

Pretty much everything Kęstutis Kasparavičius wrote about books, in his 2019 International Children’s Book Day message, can be stated about yoga. There’s something that happens when you get on the mat, when you tap into the breath – even when you move with the breath. Like reading, practicing yoga is accepting an invitation to explore.

As someone who loves to read, it is heartbreaking to know that many people around the world (including approximately 43% of adult Americans, in 2003, or approximately 32 million, in 2013) demonstrate a “below basic” (14%) or “basic” (29%) literacy level. There’s no shame in not knowing how to read – and no shame in asking for help to learn or in asking to be assessed – however, not knowing how to read means you miss out on some of the greatest stories, some of the greatest adventures, and some of the greatest learning experiences. Simply put, there can be joy in reading and if you can’t read (or can’t read without frustration) you are missing out on some joy.

Just as I love to read, I love to practice yoga. So, it is equally heartbreaking to know that many people aren’t practicing yoga, because they have had a bad experience with yoga in the past and/or they are unaware of all the different ways yoga can be practiced. Bottom line, yoga is a personal practice and so there is a practice for every person. In fact, since there are over 7.5 billion people in the world there are at least 7.5 billion ways to practice any pose at any given moment. And, there can be joy in the practice.

International Children’s Book Day is celebrated every year on or around April 2nd. This annual celebration of children, books, authors, and illustrators coincides with the anniversary of Hans Christian Andersen’s birthday. Born in 1805, Christian Andersen was the author of short stories, poetry, plays, autobiographical novels, and travelogues. Ironically, he is remembered for the work that was initially overlooked: his children’s fairy tales. It took 10 years and an English translation for Christian Andersen’s fairy tales to be recognized, but ultimately they brought him success, fame, acceptance, and the opportunity to travel and meet writers he admired. Among those writers was Charles Dickens, who – like Christian Andersen – had also grown up without a lot of money and shared a concern for the less fortunate.

Hans Christian Andersen, the author of over 150 fairy tales, was the only son of a shoemaker – who told him stories from Arabian Nights – and an illiterate washerwoman. When his father died, Christian Andersen was 11 years old. Imagine, for a moment, receiving the gift of 1,001 variations of life and then facing the possibility of death stealing that gift. Imagine never having received the gift. How would you view the world, or yourself, without your favorite childhood stories?

FEATURED POSE for April 2nd: Pose Dedicated to the Sage Bharadvaja (Bharadvajasana), aka Stag aka Mermaid

Between the pages of “The Princess and the Pea,” “The Emperor’s New Clothes,” “The Ugly Duckling,” “The Little Match Girl,” “The Tallow Candle,” The Nightingale,” and over a hundred others, there is inspiration for a whole practice – and not just because of the poses, there are also life lessons and the opportunity for svadyaya (the internal observation of self study). Feel free to play and explore, maybe even get together with your kids and tell one of your favorite stories through the poses, like an interpretive dance.

I picked today’s featured pose, because it can be practiced at the beginning, middle, or end of a practice. Variations of it appear in a variety of practices (including in Pilates) and it can be a prenatal approved twist. It also allows the hips, back, and pelvic floor to tell a very interesting story about how we’re connected. Notice how you feel!

Sit on the floor or in a chair with both sits bones rooted to your supporting surface. If your hips are tight – if there’s compression in your low back and/or hip – sit up on top of something so that your hips are higher than your knees when the ankles are crossed. If you are sitting in a chair, make sure your feet are also grounded. Press down in order to extend up. Spend some time bringing your awareness to the breath. Notice how your body (especially your spine) reacts to the inhale, and then to the exhale.

You can move straight into the featured pose. If, however,  you want more movement in your practice, move through some sun salutations and maybe some standing poses, before practicing the featured pose. If you prefer less movement, but have really tight hips, practice a Bound Angle Pose (Baddha Konasana) and any form of squat before the featured pose. All of the above may be practiced in a chair.

When you’re ready to practice the featured pose, hug your knees into your chest on an exhale. Take a deep breath in and separate your knees about as far apart as your hips or your mat. On an exhale drop the knees to the right so that the right foot is next to the left thigh. Right hip and thigh are externally rotated; left hip and thigh are internally rotated. Adjust the legs as needed so that the knees are comfortable and the hips are grounded. If you are in a chair, you might need to bring closer together and then tip them to the right. If the left knee is uncomfortable, you can always extend the knee. If you are leaning into one hip more than the other, place something under the grounded hip (unless you are practicing Soma Yoga’s Lighthouse and then there may be a slight lift). If you want more for the hips, place the right foot on top of the left thigh, close to the left hip. Again, make sure the knees are at ease.

Cup the knees with the hands and move through a seated cat/cow: Lifting the heart up on the inhale and curling into yourself on the exhale. Start the movement in the base of the spine – so that you explore the full range of motion in your hips and core.

After 5 – 7 rounds of breath, rotate your upper body to the right. Place your right hand behind your hips, for support or reach for your left hip. If the right foot is on top of the left thigh, see if you can hold the right big toe with right peace fingers. Left hand cups the right knee. Breathe here for 5 – 7 rounds of breath or set a timer and hold the twist for a couple of minutes.

From the twist, you can lower the upper body over the right thigh or (if it’s accessible) rotate the upper body so you can see the space behind your back and then fold, belly down. Another option, instead of the forward fold, is to bring the up body more to center – but while still holding the right knee with the left hand – and reach the right arm over the right ear, towards your left side. Pull the arms away from each other as you inhale (right arm up, left arm down) and rotate your heart and gaze up towards the lifted arm. After 5 – 7 rounds of breath, release to center and hug the knees in. After a few moments, repeat the pose of the left side.

Finish your practice with the heart opener / back bend of your choice, followed by Savasana – or “the Princess in the Pea (after the pea is removed)” Pose. Feel free to substitute a different final pose, but definitely give yourself at least 2 minutes relaxing in stillness.

Here’s some music if you choose the sun salutation route! Are you sure it’s “Just look at the world around you / Right here on the ocean floor” vs “Right here in your pelvic floor?”

### do yoga. share yoga. help others. ###

Can You Handle the Truth? December 23, 2018

Posted by ajoyfulpractice in 108 Sun Salutations, 40-Day Challenge, Abhyasa, Bhakti, Buddhism, Changing Perspectives, Dharma, Faith, Fitness, Food, Gratitude, Hope, Japa, Japa-Ajapa, Karma, Kirtan, Life, Mala, Mantra, Meditation, Minneapolis, Minnesota, Music, Mysticism, New Year, Peace, Philosophy, Surya Namaskar, Tantra, Traditional Chinese Medicine, Twin Cities, Vairagya, Wisdom.
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This time last year I wrote, “2018 promises to be a year full of challenges.”

Little did I know how true that statement would be.

Oxford Dictionaries define “true” as an adjective meaning “in accordance with fact or reality…genuine…real or actual…accurate or exact…. in tune.” True can also be used as a verb when applied to something that is bringing “(an object, wheel, or other construction) into the exact shape or position required.” It originates from Old English words meaning “steadfast, loyal” and is related to a Dutch word meaning “faithful” and a German word meaning “loyal to.”

I could continue going down the rabbit hole, examining the meaning and origins of all the target words, but ultimately we know the truth when we see it…or hear it. Or do we?

Blink: The Power of Thinking Without Thinking promotes the power of insight and intuition; of knowing without knowing why we know something is true. Yet, Malcolm Gladwell also points out that, “We have, as human beings, a storytelling problem. We’re a bit too quick to come up with explanations for things we don’t really have an explanation for.” In other words, the brain gets in the way of the heart.

Our brains make us humans notoriously bad witnesses. Our brains fill in the gaps to make sense of puzzles we’ve created and, theoretically, to preserve the idea that we are not ignorant about things we are supposed to know. We make up stories, even when we’re the only one paying attention to the story in our head. In Musicophilia: Tales of Music and the Brain, Dr. Oliver Sacks wrote, “The brain needed to stay incessantly active, and if it was not getting its usual stimulation…, it would create its own stimulation in the form of hallucinations.”

Oxford defines “hallucination” as “an experience involving the apparent perception of something not present.” This last year, really the last two – going on three – years, it’s felt a little like the quality and state of being true was a hallucination. People say one thing and do something completely opposite. People accuse one another of lying. Technology allows us to morph our faces, our voices, our words, and to create realistic holograms of people who are no longer living. More and more it seems that everything real is an illusion.

Of course, the idea that everything we are experiencing is a dream, an illusion, a delusion – or a computer generated program – is nothing new: It’s part of the foundation of many philosophies, including yoga. Another part of philosophies like yoga and Buddhism is that there is a path to seeing things clearly, and that seeing things clearly is liberation.

“To live on a day-to-day basis is insufficient for human beings; we need to transcend, transport, escape; we need meaning, understanding, and explanation; we need to see overall patterns in our lives. We need hope, the sense of a future. And we need freedom (or at least the illusion of freedom) to get beyond ourselves, whether with telescopes and microscopes and our ever-burgeoning technology or in states of mind which allow us to travel to other worlds, to transcend our immediate surroundings. We need detachment of this sort as much as we need engagement in our lives.”

– excerpt from Hallucinations by Dr. Oliver Sacks

The fourth and final section of the Yoga Sutras focuses on liberation. Liberation, as Patanjali describes it, involves lifting the veil of ignorance and seeing the truth about everything, including ourselves. Patanjali also explains that the barrier/veil of ignorance can be thinned and then dissolved by birth, herbs, mantra (ajapa-japa), tapas (practices of intense discipline/austerity), or meditation. (YS 4:1)

Clarity; right view; seeing the truth – whichever way you describe it, it seems to be lacking in our current version of reality. And, as the war on truth continues, more and more people will desire it. If you are longing for a new year where you are in tune with your core values and connected to your intuition, consider starting 2019 with a practice, like yoga, which fits into that final definition of truth (see above): something that is bringing (an object, wheel, or other construction) into the exact shape or position required.

The following practices include at least three of the liberating methods mentioned by Patanjali in the Yoga Sutras:

Monday, December 31st – New Year’s Eve:

7:30 PM – 12:15 AM, Annual New Year’s Eve Celebration and Potluck, Common Ground Meditation Center (PLEASE REGISTER HERE)

 

Tuesday, January 1st – New Year’s Day:

9:00 AM – 11:00 AM, 108 Solar Powered Sadhana with Susan Meyer, Yoga Center Retreat (Please register)

10:00 AM – 1:00 PM, 108 Sun Salutations with Myra (reservations required, THIS EVENT IS FULL)

10:00 AM – 11:30 AM, New Year’s Day – Restorative Yoga with Shelly Pagitt, Yoga Sanctuary (please register, only 2 spots left as I post this!)

10:00 AM – 12:00 PM, New Year’s Day – All-Humanity Class with Matthew Sanford, Mind Body Solutions (Please register)

10:30 AM – 1:00 PM, New Year’s Day Yoga with Nancy Boler (reservations required, THIS EVENT IS FULL)

10:30 AM – 12:30 PM, 108 Sun Salutations + Champagne with Meghan Foley, UP Yoga (please register)

11:00 AM – 12:15 PM, New Year’s Donation Class with Indu Arora, Devanadi Yoga (please register)

11:00 AM – 12:30 PM, Vinyasa, Minnehaha Yoga

12:00 PM – 2:00 PM, 108 Sun Salutations with Greg Hines & live Cello music by Cory Grossman, Yoga Sanctuary (please register)

12:00 PM – 1:30 PM, New Year’s Day Sankalpa with Justyn O’Neill, Radiant Life Yoga (please register)

12:15 PM – 2:15 PM, 108 Sun Salutations with Jennifer Davis, Blaisdell YMCA (open to YMCA  members and their guests)

12:30 PM – 3:00 PM, Sankalpa~New Year Intentions workshop with Shelley Pagitt (please register)

2:00 PM – 4:00 PM, Ganesha and New Beginnings for 2019 with Tara Cindy Sherman, Yoga Center Retreat (please register)

2:00 PM – 4:00 PM, Sankalpa Shakti: The Power of Inspired Intention with Ben Vincent, One Yoga (please register)

4:30 PM – 6:30 PM, Restorative + Yoga Nidra with Tara Cindy Sherman, Yoga Center Retreat (please register)

5:00 PM – 7:00 PM, YIN Yoga + Meditation with Myra, Nokomis Yoga (reservations required)

 

Saturday, January 5th:

1:00 PM – 3:30 PM, New Year’s Intention Setting Ritual with Amy Patee (please register)

 

Sunday, January 6th:

9:30 AM – 5:30 PM, Vincent Yoga New Year’s Retreat: A Day of Reflection, Illumination and Resolution

 

My apologies to any teachers or studios in the Twin Cities who are hosting an event that is not listed above.

 

~ OM SHANTI ~

Just… Look – Part II: Beginnings and Endings September 10, 2018

Posted by ajoyfulpractice in Basketball, Books, Depression, Faith, Gratitude, Healing Stories, Hope, Life, Loss, Love, Minneapolis, Movies, Music, New Year, One Hoop, Pain, Peace, Philosophy, Poetry, Rosh Hashanah, Suffering, Texas, Vairagya, Wisdom, Women.
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 “To live in this world

you must be able
to do three things:
to love what is mortal;
to hold it

against your bones knowing
your own life depends on it;
and, when the time comes to let it go,
to let it go.”

– from In Blackwater Woods by Mary Oliver

Today (Monday) is Rosh Hashanah, the Jewish New Year, and my grandmother’s birthday. Had she lived, she would have turned 90 today. Given a few more months beyond this, she would have seen me reach the half century mark. So, this is me, holding space for beginnings and endings.

As many of you know, my grandmother was one of my constants. Through her example and her work as a nurse (especially for children, veterans, women, shut-ins, and those experiencing end-of-life care), I saw the various stages of life and the importance of being treated with respect and dignity as we all move through those stages. She was the person who always reminded me to be proud of my hair, proud of my body, proud of my spirit, and proud of my life.  And, maybe more than anyone, she illustrated how life is an adventure…an opportunity to fly…a dream…and a dance between the physical and the spiritual.

I’m fortunate in that I’ve had a lot of superior role models, but Miss Jean (aka Miss Jean Rockets) was the elder in whom I saw myself. We were kindred spirits. And I wanted to be her when I grew up. I still do.

At her funeral in June, I was charged with following the Neighbor/Nurse remarks with the family remarks. Even now, on her birthday, I can think of so many more rich and endearing memories that I could have shared. However, I stand by these:

“Steady yourself heart; talk to me, God; listen.” Taraji P. Henson started her 2017 SAG Awards speech with those 8 words. “Steady yourself heart; talk to me God; listen.” While her speech goes on record as an awards acceptance speech, it was really a thanks giving, an expression of gratitude for women who were trailblazers and light bringers, a celebration of women who lived lives no one expected them to live. Since today my family charged me with giving thanks and celebrating the life of a trailblazer and a light bringer, I start the same. “Steady yourself heart; talk to me, God; listen.”

Before I was born, she was Miss Jean and she remained Miss Jean after I was born because, as she said, she was too young to be a grandmother: She was 40 then. Even though I didn’t know it at the time, this was one of her first lessons to me – I say me, but really, to all of us: be yourself, define yourself, live for yourself.

That last part, “live for yourself” might seem odd given how much of her life she devoted – and lived – for all of us, and for all of her patients. Long before I knew the words from John 17 (verses 16 and 18), Miss Jean taught me – taught all of us – what it meant to be in the world, but not of the world; to recognize the Spirit in everyone and everything; and to honor mind, body, and spirit through action. She was a living, breathing instrument of God who – as she told me now and again – was stuck together with spit, glue, and chewing gum.

I don’t really remember her chewing gum, but she sure had a lot of gumption. That spirited initiative allowed her to listen to her heart and follow her heart, fiercely – even when it led her to cold places, like Kansas City, and back home again. Clearly, given how far some of us traveled this week, we learned that lesson too.

Miss Jean taught me the power of being still, being quiet, and appreciating your own company. She taught me the power of a smile; the power of getting on your knees at the end of the day and first thing in the morning; and she taught me the power of prayer even when you’re not on your knees. All the way to the end of her life, she taught me the power of the Serenity Prayer: to accept the things you cannot change; to change the things you can, and the wisdom to know the difference.

She taught me to not only tell stories and listen to stories, but to really hear other people’s stories. She taught, by example, the power of being open to other people’s ideas even while standing in your own truth. She’s the reason we cousins and siblings have the conversations we have.

Robert Frost wrote, “Home is the place where, when you have to go there, / They have to take you in.” But, throughout my life [Pleasantville] has been my home, because that’s where Miss Jean and Paw-Paw WANTED to take us in. It was the place where there were always chocolate chip cookies and a biscuit in the cookie jar; your favorite dessert on the cake tray, sweet tea in the fridge, homemade popsicles in the freezer, baked potatoes and salmon on the grill, Cornish hen in the oven, and the only friends I’ve known my whole life. Standing in her doorway first thing in the morning, stretching and greeting the day and standing in the doorway waving as we drove away, Miss Jean taught me – taught us – to savor life and savor love.

She was passionate about the things and people she loved: music, movies, books, God, her friends, her family, teddy bears, and the Houston Rockets – not necessarily in that order. I could tell you stories she probably wouldn’t appreciate me telling in church, but if she were here to hear me repeat some of our conversations she would just get that sparklingly defiant look and say, “Well, it’s the truth.”

Here’s one more truth: Despite how I started today, I don’t think of my grandmother as a hidden figure. I think of her as a beacon of life and light. I have lived my whole life in Miss Jean’s light. Make sure you heard that right – not in her shadow, IN HER LIGHT! And although her physical body is gone, her light still shines bright. If you have any doubts today, look around you; if you have any doubts tomorrow, look in the mirror: See your life, see your light, and honor it – as she did.

If this were one of my yoga classes, I’d end by saying, “Namaste,” which is a Sanskrit word that literally means, “I bow thou,” and is often translated as “The light in me honors and acknowledges the light that is also in you.” However, today, I’m finishing up one of our last conversations and sending my grandmother off with words from Joy Unspeakable by Barbara Holmes. Holmes wrote,

“For Africans in bondage
in the Americas,
joy unspeakable is that moment of
mystical encounter
when God tiptoes into the hush arbor,
testifies about Divine suffering,
and whispers in our ears,
“Don’t forget,
I taught you how to fly
on a wing and a prayer,
when you’re ready
let’s go!”

### Ecclesiastes 3:4 ###

 

 

SINGING BOUT MY STUFF – 2018 Kiss My Asana Offering #21 April 27, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Art, Bhakti, Books, Buddhism, California, Changing Perspectives, Confessions, Dharma, Donate, Faith, Gratitude, Healing Stories, Hope, Karma Yoga, Langston Hughes, Life, Lorraine Hansberry, Loss, Love, Men, Minneapolis, Minnesota, Movies, Music, Mysticism, Ntozake Shange, One Hoop, Pain, Philosophy, Poetry, Religion, Suffering, Surya Namaskar, Texas, Tragedy, Twin Cities, Volunteer, Wisdom, Women, Writing, Yoga.
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Please join me tomorrow (Saturday, April 28th) for a donation-based class at Flourish! Click this link for details.

“somebody/anybody
sing a black girl’s song
bring her out
to know herself
to know you
but sing her rhythms
carin/struggle/hard times”

The Lady in Brown with all the other Ladies from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

“somebody almost walked off wid alla my stuff
not my poems or a dance i gave up in the street
but somebody almost walked off wid alla my stuff
like a kleptomaniac workin hard & forgettin while stealin
this is mine!
this aint yr stuff
now why don’t you put me back
& let me hang out in my own
Self”

The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

I said it before, and I’ll say it again: The danger in not telling your story isn’t only that it might not be told, it’s also that someone else might tell your story. Someone else might, to quote the choreopoem, run off with all of your stuff. And, if someone else tells your story, they may (at best) leave out your rhythm, your tone, and what is most important to you. At worse, however, someone else telling your story can objectify you or turn you into a caricature, a living breathing stereotype come to life on the page – or on the stage.

Up until recently, certain individuals had a hard time telling their own stories in a way that they could be heard, seen, and validated. They didn’t have the money, the prestige, or the influence. I say this knowing full well that certain marginalized groups (people of color, women – of almost any color, GLBTQI, people who practice certain faiths, people who have been abused by people with power, the physically disabled, and the mentally disabled…just to name a few) still have a harder time getting their stories told, heard, seen, and validated than people who identify in a way that is not marginalized. Slowly but surely, that is changing. Still, as hard as it is, it would be harder were it not for people like Lorraine Hansberry and Ntozake Shange and works like Hansberry’s A Raisin in the Sun and Shange’s choreopoem for colored girls who have considered suicide/when the rainbow is enuf.

“Write if you will: but write about the world as it is and as you think it ought to be and must be—if there is to be a world. Write about all the things that men have written about since the beginning of writing and talking—but write to a point. Work hard at it, care about it. Write about our people: tell their story. You have something glorious to draw on begging for attention. Don’t pass it up. Don’t pass it up. Use it. Good luck to you. The Nation needs your gifts.”

– from a speech to Readers Digest/United Negro Fund creative writing contest winners (May 1, 1964) by Lorraine Hansberry

Lorraine Hansberry’s A Raisin in the Sun was inspired by real life events. It was also the first play written by a Black woman (and directed by a Black person) to appear on Broadway (1959). At some point during high school, I read excerpts from Lorraine Hansberry’s play What Use Are Flowers? and her autobiography To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. Reading her words, I thought, “I could be that. I could write, I could act, and I could represent the world…as I see it.” I can only imagine where I would be if that idea – of being on stage while putting my work on stage – hadn’t been cemented in my mind. But, there it was, an inspiration not unlike the Langston Hughes poem that inspired the title of Hansberry’s most famous play. And, like a raisin in the sun, my dream kinda got deferred.

I auditioned for The Sunshine Boys during my first semester of college. The directors kept asking me to read with different people who were auditioning, which I took as a good sign. Unbeknownst to me, they weren’t considering me for a role on stage. Instead, the directors asked if I would be their assistant. I said yes and then found myself in the role of their stage manager… and their producer and their publicist. Fast forward 7 years and I was working as a professional stage manager for the writer/director who’s most famous play was the second Broadway play written by a Black woman: Ntozake Shange.

“hey man
where are you goin wid alla my stuff?!
this is a woman’s trip & i need my stuff”

– The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

 

In 1974, Shange and four other women started performing the choreopoems that would become for colored girls…. Seventeen years after Hansberry’s Broadway premiere, Shange’s work found its way to the Great White Way. (I say, [It] found its way,” but in truth, Ntozake is (to this day) a force of creative nature and moving across the country was the least of the things she did to shepherd her work.) Twenty years after she wrote and first started to perform the poems, Shange was in Houston directing a revival.

Ntozake Shange was not the first arts and entertainment legend with whom I worked – and she would not be the last – but holy cow did she leave an indelible impression. I worked with her twice and both times I was struck by her unwavering commitment to her own vision. While it is not unusual for a director to be strong, fierce, and artistically determined, she was one of the first woman (not to mention one of the first women of color) with whom I worked who was unapologetic about who she was and what she wanted. Also notable, she saw the world and, therefore, presented the world in a very different way from the mainstream. She was (and is) defiantly herself, singing her songs, dancing to her own rhythms, and – in doing so – giving us permission to do the same.

Everybody has a rhythm, a cadence, a pace of life and one big part of the physical practice of yoga is to find your rhythm and to move to it. Your breath sets your pace, but even within the pace there is room to (physically) harmonize. Find your pace, find you rhythm, and let the movement tell your story.

for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

(Practice Time ~40 – 45 minutes)

Standing on your hands and knees, bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Make sure your shoulders and elbows are comfortable. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Notice your joints and how the angle of your body changes the sensations of your joints.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Change as little as possible when you stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. Consider how it feels to be chosen.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior chosen and ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how this Warrior balances the perspectives of the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, inhale to Plank Pose or Cow Pose, lower all the way to the floor on the exhale, and then rollover. Take a full body stretch; reach through your fingers and toes. On an exhale bend your knees so that your feet are flat on the floor. Consider the story of being fully supported. As you exhale, hug your right knee into your chest. Move the right ankle and/or knee as needed. Find stillness and then inhale to extend the right leg up towards the ceiling, with the ankle flexed so that the toes point down. Give the right leg support, first by pressing the left foot down and then by interlacing the hands behind the thigh or shin. Focus on pressing the heels away from each other as you inhale (right heel up, left heel down). This is the beginning of Supine Big Toe Pose I (Supta Padangustansana I). Consider how each foot and each leg has a different perspective as you stretch (don’t pull) the right leg towards the crown of the head. If you can maintain the extension of the right leg – without bending the right knee or losing the engagement of the left heel – feel free to extend the left leg out on the ground.

After about a minute, bind the right leg with the right hand. If you can grab the big toe with the peace fingers without bending the knee, feel free to do so. Otherwise, if you need to bend the knee, use some kind of strap (on the heel) so that the right arm and leg are as extended as possible. Left hand moves to the left hip/thigh or stretches out like a “T” to serve as a stabilizer. Making sure the left hip (and heel) stay connected to the ground, exhale and lower the extended right leg over to the right. Again, only go as far as you’re able to go without the left hip lifting up and without the left knee and toes collapsing to the left or to the right. Once you find you your edge, use the inhales to press the right hip and heel away from each other; use the exhales to flex the ankles and stabilize through the left hip and heel. This is the Supine Big Toe Pose II (Supta Padangustasana II).

After about a minute, use your core to lift the right leg back up to center and then let it float down to the floor. Place the left leg next to the right and notice how each side of the body feels. As you inhale, take a full body stretch and repeat the Supine Big Toe Poses I & II sequences on the left side.

After the second side of Supine Big Toe Poses I & II, rollover to your belly. Point the toes behind you and, with hands by your hips, reach the fingertips in the same direction as the toes. As you inhale, lift your gaze, lift your heart, and lift your arms. As you exhale, lift your legs. This is a variation of Locust Pose (Salabhasana). If there is pain or discomfort in the low back, bring the feet back to the ground and actively press them down to support the heart lifting up. Consider stretching the arms out wide.

After several breaths in Locust, exhale to release the pose. Inhale to Table Top and then exhale to Downward Facing Dog. Use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana). Find your edge, making sure your core works harder than your jaw or your arms, and offer yourself some compassion by bending your knees as needed.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath into your heart and follow the breath out of your heart. Feel what is in your heart.

At the end of the choreopoem for colored girls who have considered suicide/when the rainbow is enuf, the women repeat the words, “I found god in myself / & I loved her/I loved her fiercely.” Regardless of the production, this powerful moment brings all the women – and all the colors of the rainbow – together. When I worked on that anniversary production in 1994, I was (as I think everyone is) on a path to/with God, but I hadn’t started on the yoga path. And, even though I had heard of yoga, I had no idea it was an eight-limb philosophy culminating in Samadhi, which is sometimes translated as “perfect meditation” and sometimes as “union with Divine.” So, I never considered why the rainbow might be enuf. Nor did I previously wonder if each woman’s personality is reflected in the color of her costume as well as in her poems.

Even if you’ve never practiced yoga, you may still have heard or seen the colors of the rainbow associated with seven points along the center of the body. In yoga and Ayurveda (yoga’s sister science), the energy of the body flows through energy channels or rivers (nadis) which overlap to create energy wheels (chakras). There are more than seven chakras in the body, but the three primary nadis overlap at seven points and these are associated with the colors of the rainbow, starting with red. The lower chakras are associated with tangible or physical elements of being, while the last three (sometimes four) are associated with the metaphysical.

The term metaphysics was first applied to the work of Aristotle in reference to topics sequentially appearing beyond discussions on the physical or “natural” world. It has come to mean anything beyond the physical or beyond our understanding of the physical. Even if you are only interested in hatha yoga (the physical practice regardless of style or tradition) stepping on the mat is a first step towards transcending the physical. It doesn’t matter if we practicing standing on our feet or sitting in a wheel chair, at some point the practice takes us beyond what is easily explained. At some point we may even stop trying to explain and just be, just breath…and feel what we feel – even when we’ve been told/taught that there’s nothing to feel.

The opportunity to feel something, anything, is why I keep asking you to Kiss My Asana! If you Kiss My Asana this weekend, your donation will be doubled thanks to the generosity of the Calmenson Family Foundation.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely given. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

BEING & DOING – 2018 Kiss My Asana Offering #20 April 24, 2018

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“When you take a walk at night, lighted rooms are irresistible. You see a child setting the table, a vase of wildflowers, a stack of books on a chair. Through the open window you hear – is that Nina Simone singing “The Twelfth of Never,” one of your favorites? You imagine what is cooking on the stove. All these images form a quick glimpse of how those mysterious others behind the glass live their lives. Poems give you the lives of others and then circle in on your own inner world.”

– from the “Invitation” (pages xii – xiii) in Discovery of Poetry by Frances Mayes

 

“don’t sing benna in Sunday school; you mustn’t speak to wharf-rat boys, not even to give directions; don’t eat fruits on the street—flies will follow you; but I don’t sing benna on Sundays at all and never in Sunday school;

– from Girl by Jamaica Kincaid

According to an old adage, if you don’t tell your story, nobody else will. However, another bit of wisdom points out that if you don’t tell your story, somebody else will. Both are true – and both can create a dangerous situation because no two people have the same experience. So, who tells the story is important, as well as how it is told. What we remember about the story is also important.

When I was studying English Lit in college, one of the books on our required reading list was A Discovery of Poetry: A Field Guide to Reading and Writing Poems by Frances Mayes. This was long before she published Under the Tuscan Sun and long before the movie of the same name. But, Mayes’s power as a writer was evident (and I appreciated the poetry book so much that I still own it). This survey course on poetry introduced me to Jamaica Kincaid and a poem I have fondly remembered over the years.

Even though it’s not a poem I’ve gone back to read again and again over the years, I remember Kincaid’s poem Girl as being fun, visually stimulating, and rhythmic. I remember being struck by the romantic notion of a White woman compiling a collection of significant poems and including a poem about a Black girl written by a Black woman from Antigua. I remember it being unlike anything else we were reading at the time. I remember it contained a word (“benna”) that we had to look up, because it was outside of our cultural experience – and I loved that.

I also loved that we had to study the poem, think about the poem, and talk about the poem. I loved the meter of the poem and that it sounded (when read out loud) like people in my family, my tribe, and my community of birth. And, while I remember all that love, it turns out I didn’t really remember the poem. Part of the reason I didn’t really remember the poem is because, in hindsight, I realize I didn’t really understand the poem.

Kincaid’s poem Girl includes a litany of advice from a mother to her daughter, and a handful of responses from the daughter. The conversation is one I now realize a lot of girls have growing up, but it wasn’t a big part of my growing up experience. Adults rarely had conversations with me about what I needed to do to grow up to be a wife and mother. Additionally, the closest I ever came to the conversation in the poem was when my paternal grandmother “caught” me dancing in front of a male relative when I was 7 or 8. I was too young to really understand her caution (or her fear) and, since the situation didn’t occur again – and didn’t result in any physical trauma – I went on about my business. Sex and sexuality, in my childhood experience, were adult matters. They were something, I was taught, that I would experience when I grew up and got married. They weren’t so taboo that they were enticing, shameful, or traumatic. They were just part of life – if/when you were an adult. And, rather than living in an environment where people expected me to be the “bad girl” (whatever that means to you at this moment), I grew up always being treated as the “good girl” (whatever that means to you at this moment).

Keep all that in mind, when you read the poem.

Now, if you are an adult (especially if you are a woman) – and/or if you have experienced certain trauma in your life – there’s a word in the poem that might stick out to you. It’s a word that is repeated throughout the poem. It’s one of those nasty four letter words intended to bring shame. Some would say it’s a word significant to the meaning of the poem. I understood the word when I read it – meaning, I knew the word’s meaning; however, the word had very little significance to me. On a visceral level, it was just a word… a word that had no place in my memory of the poem.

Writing a poem can be a lot like creating a yoga sequence; just like, reading a poem can be a lot like moving through a practice. Who tells the story is as important as how the story is told. Who reads the story is as important as who tells it and how it is told.

When you move through your practice, remember that every part of your body-mind-spirit has a part in the story and therefore has a certain perspective. Every part of your body-mind-spirit tells the story in its own way, using its own form of sensation/information. Consider each unique perspective.

Girl by Jamaica Kincaid

(Practice Time ~35 – 40 minutes)

When you standing on your hands and knees, giving thanks for the support, start to consider how the beginning of the practice feels to your joints. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Make sure your shoulders and elbows are comfortable. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Notice your joints and how the angle of your body changes the sensations of your joints.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Change as little as possible when you stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. Consider how it feels to be chosen.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior chosen and ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how this Warrior balances the perspectives of the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, inhale to Plank Pose or Cow Pose, lower all the way to the floor on the exhale, and then rollover. Take a full body stretch; reach through your fingers and toes. On an exhale bend your knees so that your feet are flat on the floor. Consider the story of being fully supported. As you exhale, hug your right knee into your chest. Move the right ankle and/or knee as needed. Find stillness and then inhale to extend the right leg up towards the ceiling, with the ankle flexed so that the toes point down. Give the right leg support, first by pressing the left foot down and then by interlacing the hands behind the thigh or shin. Focus on pressing the heels away from each other as you inhale (right heel up, left heel down). This is the beginning of Supine Big Toe Pose I (Supta Padangustansana I). Consider how each foot and each leg has a different perspective as you stretch (don’t pull) the right leg towards the crown of the head. If you can maintain the extension of the right leg – without bending the right knee or losing the engagement of the left heel – feel free to extend the left leg out on the ground. After about a minute, let the right leg float down to the floor. Place the left leg next to the right and notice how each side of the body feels. As you inhale, take a full body stretch and repeat the Supine Big Toe Pose I sequence.

After the second side of Supine Big Toe Pose I, rollover to your belly. Point the toes behind you and, with hands by your hips, reach the fingertips in the same direction as the toes. As you inhale, lift your gaze, lift your heart, and lift your arms. As you exhale, lift your legs. This is a variation of Locust Pose (Salabhasana). If there is pain or discomfort in the low back, bring the feet back to the ground and actively press them down to support the heart lifting up. Consider stretching the arms out wide.

After several breaths in Locust, exhale to release the pose. Inhale to Table Top and then exhale to Downward Facing Dog. Use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana). Find your edge, making sure your core works harder than your jaw or your arms, and offer yourself some compassion by bending your knees as needed.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath into your heart and follow the breath out of your heart. Listen to the poem in your heart, the song in your soul.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely given. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

(more…)

REMEMBERING, COMPASSION – 2018 Kiss My Asana Offering #19 April 21, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Books, Buddhism, Changing Perspectives, Depression, Donate, Faith, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Love, Men, Music, One Hoop, Pain, Peace, Philosophy, Poetry, Suffering, Super Heroes, Surya Namaskar, Twin Cities, Uncategorized, Vairagya, Volunteer, Wisdom, Women, Writing, Yoga.
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“Life of meaning 

Life of hope 

Life of significance

is mine to cope.”

– from an untitled poem by Rachel Joy Scott

 “They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years contemn. 

At the going down of the sun and in the morning 

We will remember them.”

– from For The Fallen by Laurence Binyon

Even though I’m running behind and posting this super late on April 20th, what is true of today was true of yesterday: We lost somebody, somebody we should never forget.

We could go back as far as April 19, 1506 (to the Lisbon Massacre) or April 20, 1916 (to the Ludlow Massacre) and 1945 (to the Neuengamme / Bullenhuser murders) – or as recently as April 19, 1993 (to the Branch Davidian siege in Waco, TX) and 1995 (the Oklahoma City bombing) or April 20, 1999 (to the Columbine High School massacre): Either way, we lost somebody…somebody who should not be forgotten.

Obviously, and unfortunately, I’m leaving some people out.

I’m leaving out the 47 sailors killed when a gun turret exploded on the USS Iowa on April 19, 1989. I’m leaving out David Beverly who was killed in a shooting at Johnson Space Center on April 20, 2007. I’m leaving out people killed on April 20th in an explosion (2010, Deepwater Horizon accident), a plane crash (2012 in Pakistan), an earthquake (2013 in China’s Sichuan province), and a bombing of a UN convoy (in Garowe in Samolia). That’s over Four hundred, forty-six people I was going to leave out, but didn’t…and yet, I’m leaving somebody out, somebody we need to remember.

Poems are a way to tell a story, to send a message, to inspire, to remember. They can be historically accurate – or not. They can rhyme – or not. They can be laugh-out-loud funny or satirical – or not. The can be somber and serious – or not. They can be visual and/or repetitive – or not. What is a poem if it can be all of these things?

According to one definition from the Oxford Dictionaries, a poem is “both speech and song that is nearly always rhythmical, usually metaphorical.” Another definition, also from Oxford Dictionaries, says that it is “something that arouses strong emotions because of its beauty.” Meaning that maybe somebody, and their life, can be a poem.

Rachel Scott, age 17, loved poetry. She was also the first person shot in the Columbine High School. Neither of those facts are the most interesting part of her too short life. It is likely that had she lived there would be a whole litany of things that made her life interesting; however, given the facts, one of the most interesting things about Rachel is how she lived…and how she is remembered.

Rachel was buried in a casket covered with the words of the people who knew her. Mixed in with the typical condolences were messages of love and gratitude. Rachel was a firm believer in compassion and unity, and what struck her parents after her death was how many people gave thanks for the brief amount of time they knew Rachel. In an effort to continue her legacy of positivity and inclusivity, Rachel’s father and step-mother started Rachel’s Challenge, a non-religious, non-political, non-profit organization dedicated to reducing violence, bullying, and teen suicide.

“I am sure that my codes of life may be very different from yours, but how do you know that trust, compassion, and beauty will not make this world a better place to be in and this life a better one to live? My codes may seem like a fantasy that can never be reached, but test them for yourself, and see the kind of effect they have in the lives of people around you. You just may start a chain reaction.”

– from the essay “My Ethics; My Codes of Life” by Rachel Joy Scott

Practicing yoga, physically as well as philosophically, creates plenty of opportunity to offer yourself self-compassion, but it also taps into a wellspring of compassion you can offer to others. Remember every time you bend over backwards for someone, you are opening your heart for them. The chain reaction starts with you!

An untitled poem by Rachel Joy Scott & For the Fallen by Laurence Binyon

(Practice Time ~35 – 40 minutes)

Standing on your hands and knees, give thanks for the support and start to consider how you can engage on the inside to lessen the stress on the outside. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Be grounded in order to create more space. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. Consider how it feels to be anointed by love.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how it feels to be a Warrior balanced between the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, inhale to Plank Pose or Cow Pose and lower all the way to the floor on the exhale. Point the toes behind you and, with hands by your hips, reach the fingertips in the same direction as the toes. As you inhale, lift your gaze, lift your heart, and lift your arms. As you exhale, lift your legs. This is a variation of Locust Pose (Salabhasana). If there is pain or discomfort in the low back, bring the feet back to the ground and actively press them down to support the heart lifting up. Consider stretching the arms out wide.

After several breaths in Locust, exhale to release the pose. Inhale to Table Top and then exhale to Downward Facing Dog. Use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana). Find your edge, making sure your core works harder than your jaw or your arms, and offer yourself some compassion by bending your knees as needed.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath into your heart and follow the breath out of your heart.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely give it. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

Click here for more information about Rachel’s Challenge.

 

If you or someone you know is struggling emotionally, please call 1-800-273-TALK.

 

### do yoga. share yoga. help others. ###

MIDNIGHT RIDING DOWN THE MENTAL FREEWAY – 2018 Kiss My Asana Offering #18 April 19, 2018

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“Listen, my children, and you shall hear

Of the midnight ride of Paul Revere,

On the eighteenth of April, in Seventy-Five:

Hardly a man is now alive

Who remembers that famous day and year.”

from Paul Revere’s Ride by Henry Wadsworth Longfellow

Listen, my children, and you shall hear…something new and yet, very familiar. Henry Wadsworth Longfellow’s well-known poem about the events of April 18, 1775 reads like a historically narrative when, in fact, there’s a lot more going on between the lines. To understand what’s going on and why Longfellow may have fictionalized parts of the story, we have to go back…not only to 1775, but also to the 1860’s.

First, a little about the poet: Longfellow was a successful poet during his lifetime. His success and popularity among readers and critics alike was notable not only because of his poems, but also because his popularity rivaled his British contemporaries. In fact, he was one of several New England poets referred to as Fireside Poets, because his poems served as family entertainment around the fireside. Longfellow recognized that he could use his platform not only to entertain, but also to educate, guide, and inspire. He also recognized that he could best convey his messages if they were served with a Romantic hero.

Enter Hiawatha (1855), Miles Standish (1858), and one Paul Revere (1860), to name a few.

Historians note that when he died, Paul Revere was remembered as a successful silversmith and a good friend. He was not celebrated as the midnight rider until Longfellow’s poem, which is curious unless one considers the discrepancies within the poem. For instance, history reveals that Revere was responsible for sending out the lantern signal, not receiving it. But, seeing the lantern is a much more romantic idea than being given orders and it firmly establishes Revere as receiving the “hero’s call” – which is critical to the hero’s cycle/journey.

Also, Revere was one of three riders who alerted the colonists about the arrival of the British army, then referred to as the Regulars. William Dawes and Revere were both instructed to ride from Boston to Lexington (via different routes) and then on to Concord, raising the alarm along the way. They were eventually joined by a Dr. Samuel Prescott, but then all three were detained by British troops. Dawes and Prescott escaped. Revere was escorted back to Lexington, at gunpoint. Ultimately, Prescott was the only one to make it all the way to Concord. Yet, Longfellow never utters the names Dawes and Prescott.

Another curious note about Longfellow’s poem is how he switches back and forth between past and present tense – seeming to tell it like it was (in 1775), but also like it is (in the early 1860’s). In both time periods, the country was headed towards civil war. Longfellow changing between past and present tense moved readers back and forth between the American Revolution and the Civil War (between the States), and reinforced the message that both civil wars liberated people within the continent. Since he was, essentially, issuing a battle cry to other abolitionists, Longfellow needed a simple story with a simple hero, preferably one whose name had a certain ring to it, a name he could easily rhyme.

“A cry of defiance, and not of fear,

A voice in the darkness, a knock at the door,

And a word that shall echo forevermore!

For, borne on the night wind of the Past,

Through all our history, to the last,

In the hour of darkness and peril and need,

The people will waken and listen to hear

The hurrying hoof-beats of that steed,

And the midnight message of Paul Revere.”

– from Paul Revere’s Ride by Henry Wadsworth Longfellow

Did you catch that? Back in 1860, Longfellow wanted people woke, and the message (when you bring it forward) is not about the British Regulars coming; it’s about the presently coming danger to life, liberty, and freedom.

Paul Revere’s Ride by Henry Wadsworth Longfellow

(Practice Time ~35 – 40 minutes)

Standing on your hands and knees notice how notice how your body and mind communicate through sensation. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Be grounded in order to create more space. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down. Make this is your favorite part of the practice and you are savoring it. Notice the sensation/information coming from your hips and shoulders when the spine is extended versus when it is flexed.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. This is a Warrior who has received the call to action.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how it feels to be a Warrior balanced between the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. Longfellow makes Revere row the boat alone, but in reality he had help. Give thanks for those who help you along your journey.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath in and follow the breath out. Allow your mind to settle into it’s midnight ride down the mental freeway.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely give it. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

Ch-ch-ch-ch-changing – 2018 Kiss My Asana Offering #16 April 17, 2018

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(Happy (belated) birthday to Poet Laureate of the United States, Tracy K Smith!)

“Hero, survivor, God’s right hand man, I know he sees the blank
Surface of the moon where I see a language built from brick and bone.
He sits straight in his seat, takes a long, slow high-thespian breath,
 

Then lets it go.”

from My God, It’s Full of Stars (2.) by Tracy K Smith

 

“We learned new words for things.”

– from My God, It’s Full of Stars (5.) by Tracy K Smith

Practicing yoga in outer space would be really different from practicing on Earth. (I know, it sounds obvious, but when was the last time you were on your yoga mat and thought about practicing in outer space?)

I make note of how practicing yoga would be different in outer space, whenever I’m using a space-related theme or whenever I want to make a point about how people are working – or not working – during their practice. It is all too easy to let gravity do most of the work in certain poses and in certain styles. But, gravity is like the monolith in 2001: A Space Odyssey; the encounter changes the person more than it changes the monolith (or gravity).

One of the big changes that results from practicing yoga is an increased awareness of one’s mind and body, and how they work together. This increase in awareness, however, comes from the very deliberate engagement of the mind and body. It is all too easy in a vinyasa practice to let gravity and momentum dictate the practice, but then we lose the awareness that is an inherent part of the practice. The more we practice, intentionally and mindfully, the more we realize that we are not dealing with a flat void: “It goes on forever, and…”

Now, thinking about engaging the body, some of the differences between practicing in space and practicing on Earth become really obvious. For instance, microgravity would eliminate some of the weight-bearing benefits of the physical practice, which would affect bone density – something already negatively impacted by aging and by being in space. Also, microgravity would change a person’s ability to isometrically engage muscles and joints, which can affect muscle and joint strength – again, something already negatively impacted by being in space.

Isometric engagement occurs when there is static contraction of the muscle (i.e., the muscle is working) without any visible movement in the angle of the joint. This type of engagement can be categorized as overcoming, where the muscles are actively working against an immovable object, or yielding, where a person chooses to hold a position while encountering resistance.

Whether you realize it or not, there is a lot of isometric engagement in the physical practice of yoga. Squeezing your legs towards each other in Triangle Pose (Trikonasana) is isometric engagement. High Plank Pose and Four-Limb Staff Pose (Chaturanga Dandasana) involve isometric engagement. Something as simple as rooting down into your sits bones can be isometric. However, while pressing down to go up can create space between your hips and your ribs when you are on Earth; pressing down to go up in outer space creates more space between your sits bones and your practice surface.

For eons, on Earth, isometric engagement has been used to strengthen and rehabilitate muscles. In fact, it is sometimes prescribed as physical therapy, to reduce muscle atrophy when someone is in a cast. On the flip side, NASA research has shown that isometric engagement in space fails to decrease muscle degradation in astronauts. So, while some poses and sequences might be easier in space, the easiness comes at a cost.

“My father spent whole seasons
Bowing before the oracle-eye, hungry for what it would find.
His face lit-up whenever anyone asked, and his arms would rise

As if he were weightless, perfectly at ease in the never-ending
Night of space.”

– from My God, It’s Full of Stars (5.) by Tracy K Smith

Just as practicing yoga in outer space is different from practicing on Earth, practicing yoga in the United States in 2018 can be different from practicing yoga in India in the early 1900’s. People are engaging the practice in very different ways, starting with the concept of group practices and including the loss of meaning that comes from translating words based on their effect rather than their intention. Just like practicing in outer space: it can be fun, but it can also cost us some of the benefits that have allowed the practice to endure.

Don’t get me wrong, I firmly believe that yoga is meant to adjust to accommodate the people practicing it. The physical practice (hatha yoga, regardless of the style or tradition) is situated in the philosophy so that it prepares the practitioner for deep seated meditation. Originally, that meant that just as everybody’s mind and body are different, everybody’s practice was slightly different. So, it makes sense that since the day-to-day engagement of our bodies and minds in different than that of earlier practitioners, our physical practice should be adjusted accordingly. However, every adjustment has to be deliberate and mindful. If it’s not, we run the risk of losing awareness and other benefits of the practice. When you move through the practice, consider all the things that change if you have little to no gravity keeping you grounded.

My God, It’s Full of Stars by Tracy K. Smith

(Practice Time ~30 – 35 minutes)

Standing on your hands and knees notice how you are connected to the earth. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice how you are supported – how the body rests between or on the legs. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Be grounded in order to create more space. Bring awareness to your hands and feet. No, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down. Make this is your favorite part of the practice and you are savoring it.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

Still in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog. Exhale to release back into Downward Facing Dog and then repeat the sequence on the left side.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet). If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

After the final Three-Legged Down Dog, stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the feeling of your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the feeling of your entire back body (including legs and feet). Allow feel the weight of your upper body being engaged by gravity. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog and then, as you firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose or to Downward Facing Dog.

From Child’s Pose or Downward Facing Dog, use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. Give thanks. Give A LOT of thanks!

Then, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath in and follow the breath out. Allow yourself to be held by the breath and float within its embrace.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely given. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

Poet Laureate Tracy K Smith and I have a few things in common, the least of which is an appreciation of sci-fi, David Bowie, our (shared) middle initial – and how we like to use it. Earlier this year, in an interview with Vogue, Smith noted that being appointed poet laureate made her realize, “I haven’t written enough about blackness, yet it’s part of my consciousness and my lived experience[.]” I recently joined Thomas J. Bushlack for Episode 6 of “Contemplate This!” Apparently, this is something else we share. Time may change me….

### do yoga. share yoga. help others. ###