Props for Yoga A Guide to Iyengar Yoga Practice with Props Volume I: Standing Asanas Eyal Shifroni, Ph.D. Co-Author: Michael Sela Based on the teachings of Yogacharya B.K.S.. Iyengar, Geeta S. Iyengar and Prashant S. Iyengar at the Ramamani Iyengar Memorial Yoga Institute (RIMYI), Pune, India. Photography Aviv Naveh Text Editing Nancy Gardosh Models Ravit Moar, Eleanor Jacobovitz, Michael Sela & Eyal Shifroni Graphic Design Aviv Gros-Allon, ViV design Props Illustrations Kym Ben-Yaakov No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior written permission of the author. Copyright © 2015 (2nd Printing) by Eyal Shifroni The author of this book is not a physician and the instructions, procedures, and suggestion in this guide are not intended as a substitute for the medical advice of a trained health professional. All matters regarding your health require medical supervision. Consult your physician before adopting the procedures suggested in this guide, as well as about any condition that may require diagnosis or medical attention. The author and the publisher disclaim any liability arising directly or indirectly from the use of this guide. All rights reserved © 2015 (2nd Printing) Acknowledgments and Gratitude 1918 - 2014 1 Ramamani Iyengar Memorial Yoga Institute – the home and teaching site of the Iyengars in Pune, India. The source of all the knowledge presented in this guide is my Guru, the late Yogacharya B.K.S. Iyengar, Guruji as we had fondly used to call him, the founder of the Iyengar Yoga method. The use of props in yoga practice was introduced by Mr. Iyengar. The various apparatus which he invented and adapted over the years were created to enrich practice and to enable every person to benefit from the gift of Yoga. I wish to express my deepest admiration and gratitude to my beloved Guruji, not only for being my personal teacher, but also for making yoga accessible to millions worldwide. Guruji was so kind to go over the manuscript of my previous book, A Chair for Yoga, and to give insightful comments and suggestions. When I visited RIMYI1 in August 2014, I had planned to show him the manuscript of this volume. Unfortunately this was deemed impossible because of his failing health. I was, however, privileged to be present in Pune on the 20th of August, the day B.K.S. Iyengar left his body and to have the chance to say a last good-bye to my Guru before he travels onward, and to participate in his funeral. I will always be grateful to this man for touching my life so deeply and for offering the gift of yoga to the world through the ingenious method he developed. I wish to humbly dedicate this book to his memory! I have been very fortunate to have come across many inspiring teachers who have shared their deep knowledge with me and who have shed light on Yoga in general and on the use of props in particular. First and foremost are Prashant and general and on the use of props in particular. First and foremost are Prashant and Geeta Iyengar, I wish to thank them for their ongoing guidance and inspiration in their teaching in RIMYI. Second, I wish to thank my teacher and friend Jawahar Bangera from Mumbai, who was so kind to go over the draft of this guide and contribute many helpful comments and suggestions. I learned a lot from many other teachers - too many to list their names here. However, I am indebted to each and every one of them and wish to express my deep gratitude to them all. A Chair for Yoga has received enthusiastic responses from many people in all parts of the world, students and teachers alike. It was indeed heartwarming to experience firsthand how yoga is relevant for all human beings, regardless of national, cultural, religious and age differences. This network of comments and responses demonstrated in simple and real terms the truth held by yoga that all III of us share a Universal Consciousness (or Mahat). The feedback and requests I received from you was a strong motivator for writing this present book! This second printing of Props for Yoga contains minor improvements relative to the first printing (November 2014); the most significant change is in the titles of the variations, which are now more informative. This Guide owes its conception and delivery to my friend and colleague, Michael Sela, who helped conceive it and formulate its structure. Michael went through the text over and over again and contributed substantially to its clarity and flow. I wish to express deep appreciation for his collaboration on this project. Thanks to Ravit Moar and Eleanor Jacobovitz, who teach with me at the Zichron-Ya'akov Center, for spending so many hours modeling for the photos in this guide. All the teachers at our center have also contributed many beneficial ideas and feedbacks – I wish to thank all of them. Thanks also to my colleagues, Ephrat Michelson, Sara Tal, Nancy Gardosh and Noa Zweig for reading the manuscript of this guide and for providing many useful comments and suggestions. Nancy also went through the text carefully to correct my English and provided encouraging feedback. I extend many thanks to my students who helped test and develop new ideas of using props during classes and workshops. Their willingness to try out these ideas and their enthusiastic feedback encouraged me to write this guide. And, last but not least, thanks to my wife, Hagit, for her continuous love and support which made this guide (and many other things) possible. IV Table of Contents Acknowledgments and Gratitude / III Introduction / IX About the Use of Props / X About this Guide / XII The Structure of the Guide / XIII How to Use this Guide / XIV Chapter 1: Understanding the Standing Asanas / 1 Appendix 1: A Practice Sequence / 143 Index / 157 Detailed Contents of Chapter 1: Understanding the Standing Asanas (Utthistha Sthiti) About Standing asanas 3 Tadasana 4 About Tadasana 4 Feet and Legs 4 1. Activating the feet: Block between feet 5 2. Activating the knees: Block between knees 6 3. Activating the thighs: Block between thighs 7 4. Turning the upper thighs in: Belt on each groin 8 5. Stabilizing the pelvis: Belt around pelvis 9 6. Moving the sacrum in: Block between sacrum and wall 10 7. Thighs back, buttocks in: Two opposite pulls 11 8. Sensing the bones of the legs: Standing on two blocks 12 9. Extending the calves: Standing on a slant 13 Arms and Chest 14 10. Activating the arms: Belt around forearms 14 14 11. Moving the trapezius down: Shoulder traction 15 12.Sensitizing the top chest: Belt around chest 17 13. Aligning the spine: Spine on a wall edge 18 Urdhva Hastasana 19 1. Stretching the sides: One arm stretches the other 20 2. Activating the arms: Belt around forearms, block 21 between palms 3. Extending the armpits: Facing the wall, palms on blocks 22 4. Extending the entire body upward: Holding a ceiling rope 23 Vrksasana 24 Opening the Pelvis 24 1. Moving the femur head in: Bent leg against the wall 25 2. Increasing the movement of the hip joint: Back against the wall 26 3. Widening the pelvis: Facing the wall 27 Stretching Up 28 4. Extending the body upward: Holding a ceiling rope 28 Adho Mukha Svanasana 29 About Adho Mukha Svanasana 29 General Structure of the Pose 29 1. Finding the distance between feet and palms 30 2. Ensuring symmetry: Using a middle line 31 Raising the Palms 32 3. Shifting weight to the legs: Supporting the palms 32 Working with a Partner 34 4. Stretching back and up: Partner pulls backward with belt 34 5. Rooting the heels: Sitting on the “dog” 36 6. Moving in the sacrum: “Two dogs” 37 7. Action and counter-action: Partner pushes against 38 back groins Lifting the Feet V 39 8. Sensitizing the buttocks: Elevating the feet 39 9. Lifting the entire pose: Feet and palms on blocks 40 10. Activating the front thighs: Heels on blocks’ edges 41 Utthita Trikonasana 67 About Utthita Trikonasana 67 Activating the Arms and Shoulders 42 11. Widening the shoulder girdle: Partner helps to turn the arms 42 12. Releasing the neck: Partner pulls the trapezius muscles 43 13. Spreading the fingers: Using wall and blocks 44 14. Relieving wrist pain: Palms on a slant 45 15. Flexing the wrists: Palms on wall 46 16. Turning the palms 47 17. Stabilizing the arms: Belt around elbows 48 18. Stabilizing the arms: Elbows on blocks or inverted chair 49 Moving On with the Pose 50 19. Moving the shoulder blades in: Starting with forearms 50 on the floor 20. Moving the middle back in: Starting with the head low 51 Aligning the Feet 68 1. Correct alignment of the legs: Using a reference line 68 Activating the Back Leg 69 2. Anchoring the back foot: Outer foot against the wall 69 3. Activating the back leg: Foot on belt 70 4. Activating the back leg: Pulling the leg with belt 71 5. Lifting the inner groin: Partner pulls the back leg 72 Turning the Legs Out 73 6. Turning the legs: Two belts on the upper thighs 73 7. Turning the front leg out: Foot turned more than 90° 74 8. Knee turned out; buttock turned in: Entering 75 from Utthita Parsvakonasana Restorative Adho Mukha Svanasana 52 21. Relaxing the brain: Head support 52 22. Passive extension of the spine: Wall rope around front groins 53 Activating the Front Leg 76