Introducing Backbends from Intro I and Intro II Syllabi: Objectives I-X

When teaching backbends, the objective of the class is dependent on the level and capacity of the student.  The capacity and ability of the student should grow over time in a methodical and reasonable way.  Just as it is ridiculous to hang pictures on a wall that doesn't have drywall up, much less plaster and paint, it would be ridiculous to teach a student Viparita Dandasana before they have sound shoulder strength paired with proper mobility learned in Chatooshpadasana.

Here are the sequenced objectives for teaching backbends from the Intro I and Intro II syllabi.  Only once an objective is mastered by your students should you introduce the next objective.  Each objective may may take weeks, months, or years to master.  Not all students will master objectives in the same amount of time; some objectives may take longer than others and it is your job, as a teacher, to challenge your students reasonably, keep their practice safe, and teach your students how to practice safely and productively on their own at home. 

Objective I:  Shoulder Opening in Standing Poses
For pure beginners who do not know Shoulder Stand/ Salamba Sarvangasana.  Learn shoulder opening and strong legs.  Introduce keeping the tailbone in. 

To see the backbends sequencing for Objective I, click here.

Objective II: Add Parigasana, Adho Mukha Svanasana at Wall, Learn Shoulder Stand
Objective II is for students who have gotten a grasp of standing poses and how to engage their legs, now with the tailbone well in.  They should now learn Parigasana, Adho Mukha Svanasana/ Down Dog at the wall, and should now learn Shoulder Stand/ Salamba Sarvangasana at the wall.

To see the backbends sequencing for Objective II, click here:  backbends objective II

Objective III: Learn and master Chatoosh Padasana, first introduce after Salamba Sarvangasana (IIIa), then use to prepare for Salamba Sarvangasana (IIIb).
Objective III continues to build on the themes of opening the shoulders with the tailbone in and the thighs back, now translating into and linking directly to our first inversion.  Learn to take the armpit-chest and ribs up away from the floor while your press your arms down into the floor.  Students should learn to separate those two actions, while keeping the tailbone in.  Refine all previous actions.

To see the flow chart for backbends sequencing, Objective IIIa, please click here: backbends objective IIIa 

To see the flow chart for backbends sequencing, Objective IIIb, please click here: backbends objective IIIb

Objective IV:  Refine previous actions and objectives, now add abdominal work and more true back bends, and parivrttas.
Objective IV acts as the bridge from the Intro I (aka Teacher in Training) syllabus and the Intro II (aka Certified Teacher) syllabus. Students should have a good practice of Chattush Padasana, Shoulder Stand/ Salamba Sarvangasana, and Setu Bhandasana before progressing to Objective IV. Objective IV adds abdominal work poses to the mix.  Now that students have a good handle on how to work their legs, we can start playing with the abdominal poses like the boats.  All the length and openness created thus far should be maintained, even in the abdominal poses. 

While twisting standing poses were introduced early, it is here that the twists are more deeply explored as a tool to prepare for and recover from backbends.

It is also here, in Objective IV, that we carry the basic foundation for backbends (thighs rolling from outside to in/inner spiral/inner rotation, tailbone in, lumbar long) into more obvious backbending poses.  We can introduce Urdvha Mukha Svanasana here.


To see the chart for sequencing of backbends, Objective IV, please click here: backbends objective IV


Objective V:  Learn Urdvha Mukha Svanasana
Once students have mastered the previous objectives, now they can really work on learning Up Dog.

To see the chart for sequencing backbends, Objective V, please click here: backbends objective V

Objective VI:  Learn more intense backbends, prepare for Sirsasana.

To see the sequence chart for Objective VI, please click here:  backbends objective VI

Objective VII:  Learn Viparita Dandasana in the chair.

To see the sequence chart for Objective VII, please click here:  backbends objective VII

Objective IIX: Learn Rope I
Objective IIX is to learn Rope I, and really do it.  Students can now learn the dynamic Rope I practice.

At first, Rope I should be after abdominals and before backbends, then after the students get a hang of Rope I, it should go before Salamba Sarvangasana (particularly in forward bend week), then once the students really get a hang of it, Rope I should be practiced before Sirsasana.

To see the sequence chart for Objective IIX, please click here:  backbends objective IIX.


Objective IX:  Add Salamba Sarvangasana variations
Objective IX is to learn Eka Pada variations in Shoulder Stand.  These variations come after Halasana.

To See the sequence chart for Objective IX, please click here:  backbends objective IX

Objective X: Take out simple backbends, learn Urdvha Dhanurasana in the chair.
This objective removes simple backbends from the sequence, introduces Urdhva Dhanurasana in the chair, and focuses more fully on Dwi Pada Viparita Dandasana.

To see the sequence chart for Objective X, please click here:  backbends objective X

Junior I Syllabus Sequenced

The Junior I Syllabus Sequenced - Part I, Just Poses from the Syllabus

• Utthita Parsva Hasta Padangusthasana
• Prasarita Padottananasa II
• Urdhva Prasarita Eka Padasana
• Pincha Mayurasana
• Adho Mukha Vrksasana
• Sirsasana
• Supta Virasana - Paryankasana
• Parsva Dhanurasana
• Bhekasana
• Purvottanasana
• Swastikasana
• Supta Swastikasana
• Ardha Matsyendrasana
• Urdvha Prasarita Padasana
• Jathara 
• Maha Mudra
• Ardha Baddha Padma Paschimottananasa
• Ubhaya Padangusthasana
• Lolasana
• Eka Hasta Bhujasana
• Gomukhasana
• Salamba Sarvangasana I
• Salamba Sarvangasana II
• Halasana
• Sarvangasana Cycle
• Setu Bhandasana
• Savasana

 The Junior I Syllabus Sequenced - Part II, Just Poses from the Syllabus

• Utthita Parsva Hasta Padangusthasana
• Prasarita Padottanasana II
• Urdhva Prasarita Exapadasana
• Sirsasana
• Adho Mukha Vrksasana
• Pincha Mayurasana
• Maha Mudra
• Eka Hasta Bhujasana
• Lolasana
• Gomukhasana
• Ardha Baddha Padma Paschimottanasana
• Ubhaya Padangusthasana
• Ardha Matsyendrasana I
• Urdhva Prasarita Padasana
• Parsva Dhanurasana
• Bhekasana
• Paryankasana
• Purvottanasana
• Urdhva Dhanurasana
• Dwi Pada Viparita Dandasana
• Adho Mukha Vrksasana
• Jathara Parivartanasana
• Salamba Sarvangasana I
• Salamba Sarvangasana II
• Halasana
• Parsva Halasana
• Eka Pada Sarvangasana
• Setubandha Sarvangasana
• Swastikasana, Supta Swastikasana

The Junior I Syllabus Sequenced - Part III, Just Poses from the Syllabus

• Adho Mukha Svanasana  (AMS)
• Utthita Parsva Hasta  Padangusthasana (wall w/support)
• AMS
• Urdhva Prasarita EkaPadasana (wall)
• AMS
• Prasarita Padottanasana II
• AMS
• Utthita Parsva Hasta Padangusthasana (center no support)
• Uttanasana  (UTT)
• Urdhva Prasarita EkaPadasana
• AMS
• Adho Mukha Vrksasana
• UTT
• Pincha Mayurasana
• UTT
• Salamba Sirsasana I
• Supta Virasana
• Paryankasana
• EkaPada Bhekasana
• Parsva Dhanurasana
• Bhekasana
• Dwi Pada Viparita Dandasana
• Udhva Dhanurasana
• Purvottanasana
• Urdhva Prasarita Padasana
• Swastikasana, Supta Swastikasana, Adho Mukha Swastikasana
• Lolasana
• Gomukhasana
• Ardha Matsyendrasana
• Salamba Sarvangasana I
• Salamba Sarvangasana 2
• Halasana
• Parsva Halasana
• Eka Pada Sarvangasana
• Setubhanda Sarvangasasana
• Jathara Parivartanasana
• Maha Mudra
• ArdhaBaddha Padma Paschimottansana
• Ubhaya Padangusthasana
• EkaHastaBhujasana
• Supta Baddha Konasana
• Savasana

 The Junior I Syllabus Sequenced - Part IV, Poses from the Syllabus Plus Poses from Other Syllabi

• Adho Mukha Virasana
• Adho Mukha Svanasana
• Uttanasana
• Tadasana
• Trikonasana
• Utthita Parsvakonasana
• Utthita Hasta Padangustasana
• Utthita Parsva Hasta Padangusthasana
• Uttanasana
• Urdhva Prasarita Exapadasana
• Uttanasana
• Utthita Parsvottanasana
• Prasarita Padottanasana I
• Prasarita Padottanasana II
• Sirsasana
• Adho Muhka Virasana
• Adho Mukha Svanasana
• Adho Mukha Vrksasana
• Pincha Mayurasana
• Uttanasana Classic
• Dandasana
• Maha Mudra
• Janu Sirsasana
• Ardha Bhada Padma Paschimottanasana
• Marichyasana III
• Ardha Matsyendrasana I
• Eka Hasta Bhujasana
• Ubhaya Padangusthasana
• Swastikasana
• Parvatasana in Virasana
• Gomukhasana
• Dandasana
• Virasana
• Lolasana
• Virasana
• Swastikasana, Supta Swastikasana
• Virasana
• Paryankasana
• Supta Virasana
• Bhekasana
• Dhanurasana
• Parsva Dhanurasana
• Purvottanasana
• Urdhva Dhanurasana in Chair
• Dwi Pada Viparita Dandasana
• Salamba Sarvangasana I
• Salamba Sarvangasana II
• Halasana
• Parsva Halasana
• Eka Pada Sarvangasana
• Setubandha Sarvangasana
• Urdhva Prasarita Padasana
• Jathara Parivartanasana
•  Dandasana
• Paschimottanansana
• Savasana

Utthita Parsva Hasta Padangusthasana

x

Side Extended Hand to Big-Toe Pose

This pose gives steadiness and poise.
When teaching, allot 2 minutes to demo this pose and 3 minutes for students to do the pose.

Little practice sequence and specific practice points to learn UPHP/ poses to teach us UPHP:

1. Supta Padangusthasana I 
• Firm the thighs enthusiastically by pressing the feet down and pull the thighs up to straighten both legs completely.  
• Lengthen through the inner leg/inseam of the leg all the way to the big toe to firm the legs and make the hips compact.  
• Keep the thighs firm, take the thighs back.
• Lengthen the buttocks away from the waist and take the tailbone in and lengthen the lumbar spine. (always firm the thghts and take them back first, then take the tailbone in second)
• Keeping the shoulders back, broaden from the sternum through the collarbones to broaden the chest.
2. Supta Padangusthasana II
• Keep the both legs completely straight by firming the thighs and lengthening the inner leg.
• Keeping the L side of the trunk and the L buttock on the floor by turning the belly from the R to the L, exhale and bring the R sideways to the R with the foot at the level of the shoulder.  
• Use the work in your legs to level the hips and roll the R buttock away from the waist and towards the L heel.
3. Vrksasana
• Press your L heel down to firm the L thigh up  and stabilize your standing leg.
• Keep both hips level by rolling the R buttock away from the waist.  
• Take the tailbone in as the L thigh comes back to compact the hips.  From this stability, lengthen up.
• Lengthen the inner thigh from groin to knee.
4. Ardha Chandrasana
• Press down in the heel and the mound/ball of big toe of the R foot as you strongly take the thigh back.
• Lengthen the R side waist toward the shoulder by moving the thigh back and move your buttocks away from the lumbar spine to take the tailbone in.  Do this as you take the R hip toward the L heel. to keep the lumbar long and spacious.
5. Padangustasana
• WIth both legs firm, grasp your big toes.  From the grasp of the big toe and the resistance of the big toe back into the grasp, lengthen the inner thighs and firm the legs.
• Extend your trunk.
6. Utthita Hasta Padangustansana

Instructions for getting into Utthita Parsva Hasta Padangusthasana

1. From Tadasana, stand firmly into the heel of your L foot.  Lift the kneecap to keep the thigh up and back.
2. Keeping the L leg firm, grasp your R big toe with your R first two fingers (the foot resists into the fingers as the fingers grasp the foot), and extend your R leg straight out to the R at a 90 degree angle.   
3. Straighten both legs.  Lengthen both inner thighs to the mound of the big toe, and take the thighbone towards the hamstring. 
4. Keeping your legs firm, square your hips by lengthening the R buttock down away from the waist while you keep the L thigh moving back.  Through the action of the legs, become compact and stable in the back of the hips.  Descend the flesh of the outer hip as you ascend the entire pelvic frame.
5. Keeping the legs firm, and the hips square, lengthen throughout side-body by lifting the side body up away from the legs.  Work your legs and draw the pelvic floor in up so that low back is broad and breath can deepen.
6. Keeping your torso erect, lift and broaden your breastbone and collarbones to lift your entire front body.  Suck the shoulder blades tightly into the ribs to lengthen and open the chest.  Keep the  top shoulder blades broad as you draw the lower tips of the shoulder blades in towards the spine to support and maintain the chest opening.
7. Keeping both legs firm and straight, lift the side body from the hips to the thoracic spine.  Lengthen the torso. 
8. Exhale and bend the R leg to bring the R leg down.
9. Repeat on the other side. 

In a nut shell:

1. Stand in Tadasana
2. Pick your R leg up to the side.
3. Firm and lengthen both legs all the way to the big toe mound
4. Level your hips
5. Lift and broaden your chest.

Practice UPHP in Standing Pose week.

Jr I Sequences from Previous Assessments

Utthita  Parsva Hasta Padangusthasana

Adho Mukha Vrksasana

Salamba Sirsasana

Parsva Dhanurasana

Urdva Dhanurasana

Salamba Saravangasana II

Prasarita Padottanasana II

Adho Mukha Vrksasana

Salamba Sirsasana

Purvottanasana

Salamba Sarvangasana II

Ubbaya Padangusthasana

Utthita Parsva Hasta Padangusthasana

Pincha Mayurasana

Salamba Sirsasana

Bekasana

Urdva Dhanurasana

Parsva Halasana

Prasarita Padottanasana II                                   

Salamba  Sarvangasana  II

Dwi Pada Viparita Dandasana                              

Ardha Matsyendrasana II

Salamba Sirsasana

Parsva Halasana

Adho Mukha Vrksasana

Pincha Mayurasana

Salamba Sirsasana I

Urdhva Dhanurasana

Dwi Pada Viparita Dandasana

Ardha Matsyendrasana

Utthita Parsva Hasta Padangustasana

Urdhva Prasarita Ekapadasana

Adho Mukha Vrksasana (hands turned out)

Salamba Sirsasana I (away from wall)

Salamba Sarvangasana

Setu Bandha Sarvangasana, dropping back from Sarvangasana

Adho Mukha Vrksasana                                          

Salamba Sirsasana I

Urdhva Prasarita Eka Padasana

Ubhaya Padangusthasana

Eka Hasta Bhujasana

Adho Mukha Vrksasana

Pincha Mayurasana

Salamba Sirsasana I

Maha Mudra

Ardha Baddha Padma Paschimottanasana

Salamba Sarvangasana II

Halasana

Utthita Parsava Hasta Padangusthasana (w/ & w/o support)

Prasarita Padottanasana  2

Salamba Sirsasana away from the wall

Adho Mukha Vrksasana

Dwi Pada Viparita Dandasana on chair w/head on floor

Salamba Sarvangasana 2

Utthita parsva hasta padangusthasana (supported)

pincha mayurasana

salamba sirsasana

bhekasana

urdhva dhanurasana

parsva halasana

prasarita padottansana II

sirsasana

dwi pada viparita dandasana

salamba sarvangasana II

halasana / parsva halasana

ardha matsyendrasana I

ardha chandrasana

adho mukha vrksasana

sirsasana

urdhva dhanurasana

ardha baddha padma paschimottanasana

setubandha sarvangasana

utthita parsva hasta padangusthasana (supported)

adho mukha vrksasana

sirsasana

bhekasana

urdhva dhanurasana

salamba sarvangasana

prasarita padottansana II                                     

ubhaya padangusthasana 

adho mukha vrksasana

sirsasana

purvottanasana

salamba sarvangasana II

Iyengar Junior I Sequencing

To check out the flow chart I've created to illustrated Junior I level class sequencing, click here.

The Process

How to study and learn a pose, aka "The Process"

1. Practice the pose.  
2. Look the pose up in _Light on Yoga_, _Gem for Women_ and other books.
1. Pracice
2. Read
3. Practice 
4. Read
5. Repeat
3. Find which 3 prior poses, from prior syllabi, teach the actions to do your current pose.  What poses give us the knowledge to practice the pose.  Which poses teach us the compenant parts of our pose?
4. Do the pose and study the effects and results from practicing this pose.  What does this pose do?
5. Draw a cartoon with the arrows showing direction of intent.
6. Write down the 10 points of motions and actions in the pose. 
7. Determine what pose(s) may need to come after this pose.  Does this pose require a follow-up?
8. Compare the pose with similar poses.  How are they similar?  How are they different?
9. What are the props required for this pose?  What are common modifications for this pose?
10. Sequence your pose into your practice.  In what week should you practice this pose?  Standing pose week?  Forward bend week?
11. Study, practice, repeat.

Purvottanasana

Purvottanasana - Intense pose of the East (or front-body), aka Upward Facing Plank

When teaching, allot 1 minute for demo, 2 minutes to get your students into the pose. 

Little practice sequence to learn Purvottanasana:

1. Down Dog -Straighten both arms, straighten both legs.  Press the roots of the fingers and thumbs down well as you straighten your arms completely.  Draw the triceps in to the back corner of the armpit.  Reach your heels back and down as you take the thighs back.  Firm the knees and draw the quads up to straighten the legs completely.   
2. Up Dog - Keep you legs working as you did in the previous 2 poses.  Press your hands down to lift your breastbone up.  Roll your shoulders back and draw you rlower shoulderblades close to the spine and deep into the body to roll the armpit chest open and up.
3. Ustrasana
4. Chatoosh Padasana - Lenghthen your buttocks to your knees, learn to  keep the lumbar spine long!
5. Urdhva Dhanurasana, pushing up from a chair
6. Dandasana
7. Dandasana to Purvottanasana

Instructions for getting into Purvottanasana

1. From Dandasana, bend your knees and place your feet flat on the floor
2. Press your hands down with straight arms and pull your triceps up and into the bone
3. Exhale, press your feet down to swing your hips forward toward your feet then scoop up and lift your hips.  Continue pressing your hands down.
4. Take your tailbone in to your body as you roll your buttocks towards your knees to elongate your lumbar spine.  Keep your tailbone well higher than your lumbar spine.
5. Keeping your tailbone higher than your lumber, keeping your lumbar long, keeping your buttocks lengthening towards your knees, straighten one leg at a time.  Draw your hamstrings towards your buttocks.
6. Press your heels down to firm your legs, sharpen your knees, and lift your hips up.  Keep your tailbone moving towards your pubis.
7. Press your hands down as you draw your shoulder blades in towards your spine to lift the armpit chest up and towards your head.  Keep your shoulders plumb vertical over your wrists as you puff your armpit chest up towards the ceiling.
8. Keep your armpit chest puffed up as you lengthen your neck and head back.
9. Without losing the lift and length of the chest, point the toes to the floor.  Do not let the chest move towards the hips at all!
10. To come out of the pose, bend your elbows and knees and lower your buttocks to the floor. 

Practice Purvottanasana with Backbends.  If you practice this pose sloppily with forward bends, it could potentially put you at a higher risk for slipped discs.  Make sure your tailbone is well higher than your lumbar!

Modifications:  Keep the knees bent.

Lolasana

Lolasana - Pendant Poser

When teaching, allot 30 seconds to demo Lolasana, and 1 minute to get your students into the pose.

Little practice sequence to learn Lolasana

1. Utkatasana - compact the legs and lengthen the torso away from the hips
2. Garudasana - utilize the hamstrings to further compact the legs.  
3. Prasarita Padottanasana -
1. first with a concave spine, straighten the arms. 
2. Press the roots of each finger (and thumb!) down as you draw your triceps to the back corners of your armpits.    
4. Prasarita Padottanasana - 
1. bend your elbows and bring your hands in line with your feet.  
2. Press your hands down and draw your elbows towards each other to take your shoulders towards your hips.  
3. Lift your waist, especially the sides of your waist, to round the spine.  
5. Adho Mukha Svanasana - press your hands down to firm your arms and lengthen your side body
6. Dandasana - press your hands down into the floor, just as you did in Prasarita Padottanasana
7. Ardha Navasana - draw the entire abdomen toward your back-body as you compress your hips and legs into mid-line.
8. Lolasana!

Instructions for getting into Lolasana:

1. Sit in Dandasana
2. Cross your legs into siddhasana I
3. Press your hands down into the floor/blocks as your draw your triceps up to straighten your arms.  Work your arms like in Dandasana.
4. Exhale, continue to press down (like in Dandasana) as you draw your side waist up to lift your trunk off the floor.  
5. Draw your tailbone in and your abdomen to your back-body to round your back.
6. Lift your legs up.  Firm and compact your lower legs into your upper legs to left the legs.
7. Point your toes straight back to further compact your legs.

In a nut-shell:

1. Straighten your arms
2. Lift your trunk
3. Engage your core
4. lift your legs

Pandava Bros- Nakula

Each of the brothers symbolizes something.  Nakula, twin brother of Sahadeva, symbolizes Svadhistana, the second chakra.  Nakula and Sahadeva were born to Madri using Kunti's mantra to invoke the Asvins.  Madri is Pandu's second wife.  Kunti is Pandu's first wife.  Both were directly affected by the terrible curse on Pandu that prevented him from having children.  In the perfect work-around, Kunti had a magical mantra to invoke one god (not two, not many) and bear children from the seed of the god.  Kunti shared the magical mantra with Madri who then called down the Ashvins, the two divine horsemen who symbolize sunrise and sunset (somewhat analogous to Pollux and Castor).  Madri had twins, one of whom is Nakula.

Nakula symbolizes the 2nd Chakra, Svadhistana.  The root word "sva" means own, of self, and "adhistana" is a base, or self control.  Nakula is the brother who has self control.

Some factoids about Nakula and Svadhistana:

• Svadhistana is situated in the lower abdomen.
• Svadhistana is associated with the genitals, water element, sound, touch, taste, form, and the hands.
• Nakula is not associated with the sense of smell (although chakra below is associated with smell.  Each progressive chackra loses one of the bindings of sense perception.)
• The bija mantra for Svadhistana is "vam" or "fvam".
• The positive qualities of an in balance Svadhistana chackra, symbolized by the Pandava brother Nakula are control over the senses and self control.  He is rooted in control moore than calmness.  Nakula has taken the task of trining the horses during the incognito period, a task that requires control and skill.  
• Training horses requires more skill than caring for cows.  Horses, like our senses, tend to run wild and plunge into activity.  
• The term in Gyan yoga for self control and steadiness of the senses is "dama".
• The negative qualities of Svadhistana out of balance, symbolized by the Kaurava brother Duhshasana, is anger and hot-headedness, credulity, and disdain.
• The Kaurava brother Jayadratha represents fear of death, and is also a counterpoint to Nakula.  Fear is always intermngled with anger; they stay together in the most subtle and intricate ways and are never without the other.
• Svadhistana has six petals
• bam - credulity
• bham - insensitivity
• mam - neglect, disdain
• yam - suspicion
• ram - destructiveness
• lam - cruelty

Each of the brothers symbolize something; Arjuna symbolizes Manipura

Arjuna is the star of the Gita, and is sybolic of the 3rd chakra, Manipura, or the "jewel city".  Arjuna is the brother who symbolizes the individual self, the warrior, the austere and disciplined soul.

Some factoids about Arjuna and Manipura:

•  Manipura is situatued at the navel, and associated with digestion both of food and with assimilation of ideas.
  
• Manipurna is associated with the fire element, the visua sense, and the anus.
• "Ram" is the bija mantra of the Manipura chakra.
• This chakra, in balance, promotes austerity, tapas, self discipline, personal growth, and forbearance, or Titikisha.
• In the Mahabarata, Arjuna, the emobodiment of Manipura, hid out as a palace eunich among all the court ladies.  His austere nature never wavered.
  
• This chackra, out of balance, symbolizes the kleshas is the propogator of fear, anxiety, negative actions rooted in ignorance, greed, and misplaced loyalty.
• Karna, the Kaurava brother, is the character who symbolizes the negative counterpart of Arjuna and the embodiment of imbalanced Manipura.
• Manipura chakra has 10 petals
• dam - shame
• dham - slander or fickleness
• nam - jealousy 
• tam - desire
• tham - laziness, drowsiness
• dam - dullness, worldliness
• dham - sadness, despondency
• nam - ignorance, delusion
• pam - aversion, disgust
• pham - fear

Each of the Brothers in the Gita Symbolize Something. . .Bhima

Bhima, the second of the Pandava brothers, is all heart.  It is fitting that he correlates with the 4th chakra, Ananhata, also called "hrid padma".

Some factoids about Bhima:

• Bhima is all heart, but is easily swayed by emotion.
• Bihima is the son of Kunti and the god Vayu, the wind god.  
• He is also seen as the either the son of Hanuman or some form of Hanuman, or as a reincarnation of Hanuman.
• The earth shook when Bhima was born.
  
• Bhima represents the positive qualities of cessation.
• He is able to take a strong vow or a difficult tapas.
• In Gyan Yoga, the term for Bhima is Uparati, cessation.
• His incognito postition in the Virata court was as a cook.
• He is described as having an enormous appetite and a big belly.
• Bhima is determined, and carries his whole family on his back when they can go no further.
• His opposite amont the Kauravas is Shakuni, who represents attachment, the klesa of raga.
• The 4th chakra, Anahata, is associated with the sound of creation, the unstruck sound.
• Anahata is associated with air, the sense involvements of sound and touch.
• The bija mantra is "yam"
• Anahata has 12 petals
• kam  (hope, expectation)
• kham (care, anxiety)
• gam (endeavor)
• gham (attachment)
• nam (arrogance, hypocrisy)
• cham (languour, infirmity)
• ccham (conceit, egoism)
• jam (discrimination)
• jham (covetousness, timidity)
• jnam (duplicity, fraud)
• tam (indecisioun, suspicion)
• tham (regret)

Each of the Brothers in the Gita Symbolize Something. . .Yudhisthira

It couldn't just be a story about a battle, could it?

Each of the brothers in the Bhagavad Gita symbolizes something.  The oldest of the Pandava brothers, Yudhisthira, is sybolic of the 5th chackra.

Factoids about Yudisthira:

• Yudhisthira means "firm in battle" or could also mean "faith and confidence", and could be interpreted as "hanging in there" even when disengagement would be more prudent.
  
• Yudishtira is the son of Kunti and the god Dharma (also called Yama), the god of Justice.
• Yudishtira is teh embodiment of virtue and purity, but is not shrewd.
  
• The 5th chackra is called Vishuddha Chackra.  Vishuddha means "pure".
• The 5th chackra is in the throat.
  
• Ether element is seated at Vishuddha Chackra
• The related sensory level of Vushuddha is sound, auditory sense.
• The bija mantra is "ham"
• The 16 petals of the chakra correspond to vowel sounds
• am (soft)
• am (strong)
• im (soft)   Nisada   Hum  (exorcise)
  
• im (strong)  Risabha  Phat  (emotional exorcism)
• um (strong)  Gandharva   Vausat  (sacrificial call)
  
• um (for all)  Madhyama  Svadha  (self determination)
• rim  Dhai vata   Svaha  (hail, blessing)
• rim  Pancama  Vina  (poison)
• lrim  Sa  Amrita  (nectar)
• em
• aim 
• om
• m (am)
• h (aha) 
• (anusvara, the nasal element) 
• (visarga, the aspirate element)
  

Letter	प्	Pronunciation	Pronunciation with /p/	IAST equiv.	ITRANS equiv.	English equivalent (GA unless stated otherwise)
अ	प	/ɐ/ or /ə/	/pɐ/ or /pə/	a	a	short near-open central vowel or schwa: u in bunny or a in about
आ	पा	/ɑː/	/pɑː/	ā	A	long open back unrounded vowel: a in father (RP)
इ	पि	/i/	/pi/	i	i	short close front unrounded vowel: e in england
ई	पी	/iː/	/piː/	ī	I	long close front unrounded vowel: ee in feet
उ	पु	/u/	/pu/	u	u	short close back rounded vowel: oo in foot
ऊ	पू	/uː/	/puː/	ū	U	long close back rounded vowel: oo in cool
ऋ	पृ	/ɻ/	/pɻ/	ṛ	R	short retroflex approximant: r in burl
ॠ	पॄ	/ɻː/	/pɻː/	ṝ	RR	long retroflex approximant r in burl
ऌ	पॢ	/ɭ/	/pɭ/	ḷ	LR	short retroflex lateral approximant (no English equivalent)
ॡ	पॣ	/ɭː/	/pɭː/	ḹ	LRR	long retroflex lateral approximant
ए	पे	/eː/	/peː/	e	e	long close-mid front unrounded vowel: a in bane (some speakers)
ऐ	पै	/əi/	/pəi/	ai	ai	a long diphthong: i in ice, i in kite (Canadian English)
ओ	पो	/oː/	/poː/	o	o	long close-mid back rounded vowel: o in bone (some speakers)
औ	पौ	/əu/	/pəu/	au	au	a long diphthong: Similar to the ou in house (Canadian English)

 (thanks Wikipeidia! )

• Yudhisthira represents faith and also purity.
• In Gyan yoga (the path of knowledge and study), he corresponds to Shraddha, faith and confidence. 
  

Iti Hasa - What Has Been Said about Classical Texts

Upanishads are the milk, Gita is the cream, Vedas are the cow, Krishna is the cowherd, Arjuna is the calf in need of nourishment.

BG Bullet Points - Some Factoids about the Gita

• All ancient texts in the Classical Indian Lit cannon were originally taught and learned through recitation and memorization. The act of memorizing texts encouraged focus and scholarly concentration in the pupil.
• The Bhagavad Gita is an episode contained in the Mahabarata
• It may have first been an independent text, later inserted into the Mahabarata
• BG was spoken by Lord Krishna in 3102 BC, just prior to the Mahabharata War.  
• Some scholars place BG at 500-300 BC.
  
• BG tells the story of Prince Arjuna of the Pandava family as he struggles with morality and mortality on the battlefield of Kurukshetra.
• Arjuna is fighting the Kaurava family, who happen to be his cousins with whom he grew up. 
• The battlefield is not just a battlefield, it is a symbol of our inner landscapes, our lives.
• Arjuna's struggle is symbolic of each of our own struggles for self-mastery.
• Arjuna loses his nerve on the battlefield, questions his reasons for being there and his involvement in the whole situation.
• Arjuna asks his charioteer and good buddy, Krishna, for some perspective.
• Krishna is not just a dude, but is actually Krishna, the god.
• Krishna is an avatar of Vishnu, the preserver and sustainer. 
• Krishna is not an external being or superhuman, but symbolizes the divine spark that lies at the core of the human personality.
  
• What good fortune for Arjuna!
• Krishna offers advice on the nature of the soul and its relation to the divine, on the levels of consciousness and reality, the makeup of the phenomenal world.
• Krishna expounds on a 3-pronged path to liberation: karma yoga, jnana yoga, and bhakti yoga.
• Mindful action without attachment to the outcome of one's actions is encouraged above the renunciation of all action.  Act, and let it go rather than not acting. 
• Mindful and ceaseless work with no selfish attachment purifies the consciousness.

Rockin' the Gita: Do You See What I See?

In The Bhagavad Gita, the act of physical, literal vision acts as a clarifying experience for s/he who sees.  Each time the act of seeing is talked about, a deeper kind of vision is being alluded to and honed.  This deeper vision tends to be of a spiritual nature, and allows the seer a deeper understanding of their humanity and the workings of the cosmos.  Physical vision elucidates spiritual work while advancing earthly and spiritual understanding.

The first chapter of the Gita opens with Sanjaya, the servant and charioteer of King Dhritarashtra, relating the news of the Kurukshetra battle to his king.  While not on the battle himself, Sanjaya can relate to Dhritarashtra the goings on, as he has been given the power of sight by the sage Vyasa.  This special cognition reveals the story to Dhritarashtra, and therefore also to us, the readers of The Bhagavad Gita. The telling of the story is possible only because of the divine vision granted Sanjaya.   It is vision, both literal and figurative, that transmit the tale of The Bhagavad Gita.

Dhritarashtra, father of the hundred Kaurava brothers, was born blind.  His bride Gandhari voluntarily blindfolded herself for the course of her life as to share her husband’s condition.  This pivotal lack of sight must not be overlooked.  Their literal lack of sight can be read as a symbolic lack of vision.  Lack of foresight as well as lack of oversight created and environment for the 100 sons to run amuck.  Despite their bravery, they symbolize the senses unrestrained and deleterious.  Without guidance clarified by vision, the 100 children of Dhritarashtra and Gandhari, the Kaurava brothers, lack righteousness. 

As the battle of Kurukshetra is to begin, the theme of sight once again is threaded through opening chapter of The Bhagavad Gita. Sight plays as a key a role for Arjuna as he asks Krisna to “drive his chariot . . . and place it between the two armies that I may see those warriors who stand there eager for battle” (Mascaro 1.22).  Although Arjuna knows quite well who is in attendance, and why they fight, he asks Krisna to position the chariot so he can quite literally view with whom he will be fighting.  The passage continues to describe how “then Arjuna saw in both armies fathers, grandfathers, sons, grandsons; fathers of wives, uncles masters; brothers, companions and friends” (1.26-27).  It was this up-close sight of his family on both sides of the battlefield that produced Arjuna’s famous front-line wavering:  “When Arjuna thus saw his kinsmen face to face in both lines of battle, he was overcome by grief and despair” (1.28).  The literal sight of his foe produced in Arjuna a paralyzing anguish coupled with crippling lack of clarity; it is in plainly seeing his opponent that Arjuna loses heart.  The act of seeing produces in Arjuna his state of despair, and therefore his overwhelming need to sit down and express his confusion to his dear friend and charioteer, Krishna.

As the dialogue between Arjuna and Krisna, and thus the meat of The Bhagavad Gita  unfolds, Arjuna states that he can “not see the way of righteousness”(2.7) and asks Krisna to “be a light unto [Arujuna] on the path of duty”(2.7).   Krisna expounds on the nature of the cosmos, how and why we should navigate the righteous path, and the nature of life itself.  Using the symbolism of that which is visible and seen, Krishna  Our current incarnation and understanding is but one episode of that which is “seen between two unseens” (2.28).  Our current existence and manifestation is marked by its visibility, its sightedness; our ability to be seen in this world marks our existence. explains that we are “invisible before birth . . . and after death invisible again” (2.28).

Krisna goes on to introduce and then expound on the pivotal theme of symbolic soulful vision transcending the binding cycles of birth, death, and rebirth.   Transcendent vision sees the Supreme, and dedicates all work and the fruits of all work to the Supreme.  Transcendent vision does not cling to the simple stimuli from the senses, including most importantly the stimuli coming from the fruits of effort, but calmly and rightly views that all work and all efforts come from and return to the Divine.  This transcendent vision is the sight Arjuna should use for his personal navigation.

Thus far, The Bhagavad Gita has told story of Arjuna waffling on the battlefield and being given a divine pep-talk by his charioteer, Krisna.  In the course of their chat, Krisna reveals himself to Arjuna not just as his best friend and confidante, but as the god incarnate who maintains the balance of the universe.  Krisna explains to Arjuna the key concepts in the cosmos Arjuna must master to have clarity, which Arjuna relishes, yet with which he is not fully satisfied.  Arjuna asks for divine vision, to be visibly shown the truth spoken about by Krishna.  It is in this passage that the weight of the symbolism of sight lies.

The theme of vision reaches its literal and symbolic climax in Chapter 11 of The Bhagavad Gita, as Arjuna, forever the willing straight man to Krisna, declares that while hearing Krisna’s teaching has been profound, and while he is grateful and honored by Krisna’s presence, Arjuna wants to see Krisna as God with his own eyes.  Arjuna states, “I have heard they words of truth, but my soul is yearning to see: to see thy form as God of this all” (11.1).  Arjuna asks, and Krisna obliges.  Krisna reveals himself so Arjuna sees the form and essence of the God of Yoga in all its shapes and incarnations, with all the light of the universe emanating from the divine, and sees its entire infinite and bewildering splendor.  It is this actual vision of the God of Yoga that reveals to Arjuna his own path of right action and dedication of all his effort to Krisna.  Seeing God revealed to Arjuna his godly path in this world.  Physical literal vision produced symbolic insight.

Despite the revelatory richness of Krisna allowing Arjuna to truly see him, Arjuna was overwhelmed by his vision.   Arjuna exclaims:

in a vision I have seen what no man has seen before, I rejoice in exultation, and yet my heart trembles with fear.  Have mercy upon me, Lord of Gods, Refuge of the whole universe: show me again thine own human form.  I yearn to see thee again with thy crown and scepter and circle.  Show thyself to me again in thine own form. (11.45-46).

Krisna mercifully shows Arjuna his human form once more, but allows him to keep the enlightened spiritual state of higher vision.  

Krisna had shown Arjuna his supreme light, as had been seen by none other.  Krisna explains to Arjuna that it is not sacrifice or ritual or study that can bring this vision of the divine, but only by love and soulful vision of all creation does one see Krisna.   Through the vision given Arjuna, the lesson of true pure offering of right work and all fruits of work to the divine is taught.  The sight of Krisna illumines our own path, and we, the reader, can find ourselves sharing Sanjaya’s experience.  As Sanjaya concluded his report of Arjuna’s and Krisna’s discourse, he savored what he saw:

I remember, O King, I remember the words of holy wonder between Krisna and Arjuna, and again and again my soul feels joy.  And I remember, I ever remember, that vision of glory of the God of all, and again and again joy fills my soul.  Where is Krisna, the End of Yoga, wherever is Arjuna, who masters the bow, there is beauty and victory, and joy and all righteousness.  This is my faith. (18.76-78)

We, too, can carry with us Arjuna’s lessons and enlightened vision.  The true dedication of all labor and all outcomes to the Divine can fill our souls and illuminate our path.  Our vision can lead to higher insight and deeper understanding.  Our literal earthly vision can remind us of the sacred larger vision of the divine.

Text Used:  Mascaro, Juan.  The Bhagavad Gita, 1962.

Asanas Grouped by Type - first 3 syllabi

Teacher In Training :

Standing:

• Tasana Vriksasana
• Utthita Trikonasana
• Virabhadrasana  II
• Utthita Parsvakonasana
• Virabhadrasana I
• Ardha Chandrasana
• Parighasana
• Utkatasana
• Parvottanasana
• Prasarita Padottanasana
• Padangustasana
• Padahastasana
• Uttanasa
• Adho Muhkha Svanasana

Seated:

• Dandasana
• Gomukhasana
• Siddhasana
• Virasana
• Parvatasana in Svastikasana

Forward Extensions:

• Trianga Mukhaikapada Paschimottansana
• Marichyasana I
• Malasana

Twists:

• Bharadvajasana I

Backward Extension:

• Chatushpadasana
• Setubandha Sarvangasana
•  

Inversions:

• Salamba Sarvangasana I
• Halasana
• Karnapidasana
• Supta Konasana

Introductory:

Standing:

• Garudasana
• Parivrtta Trikonasana
• Privrtta Parsvakonasana
• Parivrtta Ardha Chandrasana
• Virabhadrasana III
• Utthita Hasta Padangusthasana I
• Adho Mukha Svanasana
• Parsvottanasana
• Prasarita Padottanasana I
• Uttanasana

Seated:

• Paripurna Navasana
• Ardha Navasana
• Supta Virasana
• Baddha Konasana
• Upavistha Konasana

Forward Extensions:

• Janu Sirsasana
• Marichyasana I (bending forward)
• Paschimottanasana
• Malasana

Twists:

• Bharadvajasana I
• Bharadvajasana II
• Marichyasana III
• Ardha Matsyendrasana I

Backward Extension:

• Ardhava Mukha Svanasana
• Chaturanga Dandasana
• Ghujangasana I
• Dhanurasana
• Salabasana
• Makarasana
• Ustrasana
• Urdhva Danurasana I
• Dwi Pada Viparita Dandasana

Inversions:

• Salamba Sirsasana
• Salamba Sarvangasana
• Halasana
• Eka Pada Sarvangasana

Intermediate Junior I

Standing:

• Utthita Parsva Hasta Padangusthasana
• Urhva Prasarita Exapadasana
• Prassarita Padottanasana II

Seated:

• Gomukhasana
• Lolasana
• Swastikasana, Supta Swastikasana
• Ubhaya Padangusthasana
• Eka Hasta Bhujasana

Forward Extension:

• Maha Mudra
• Ardha Baddha Padma Paschimottanasana

Twists:

• Ardha Matsyendrasana
• Jathara Parivartanaasana

Backward Extension:

• Parsva Dhanurasana
• Paryankasana
• Bhekasana
• Purvottanasana
• Setubandha Sarvangasana
• Urdhva Dhanurasana
• Dwi Pada Viparita Dandasana

Inversions:

• Sirsasana I
• Salamba Sarvangasana I
• Salamba Sarvangasana II
• Eka Pda Sarvangasana
• Halasana
• Parsva Halasana
• Urdhva prasarita Padasana
• Pincha Mayurasana
• Adho Mukha Vrksasana

Teacher In Training :

Standing:

• Tasana Vriksasana
• Utthita Trikonasana
• Virabhadrasana  II
• Utthita Parsvakonasana
• Virabhadrasana I
• Ardha Chandrasana
• Parighasana
• Utkatasana
• Parvottanasana
• Prasarita Padottanasana
• Padangustasana
• Padahastasana
• Uttanasa
• Adho Muhkha Svanasana

Seated:

• Dandasana
• Gomukhasana
• Siddhasana
• Virasana
• Parvatasana in Svastikasana

Forward Extensions:

• Trianga Mukhaikapada Paschimottansana
• Marichyasana I
• Malasana

Twists:

• Bharadvajasana I

Backward Extension:

• Chatushpadasana
• Setubandha Sarvangasana
•  

Inversions:

• Salamba Sarvangasana I
• Halasana
• Karnapidasana
• Supta Konasana

Introductory:

Standing:

• Garudasana
• Parivrtta Trikonasana
• Privrtta Parsvakonasana
• Parivrtta Ardha Chandrasana
• Virabhadrasana III
• Utthita Hasta Padangusthasana I
• Adho Mukha Svanasana
• Parsvottanasana
• Prasarita Padottanasana I
• Uttanasana

Seated:

• Paripurna Navasana
• Ardha Navasana
• Supta Virasana
• Baddha Konasana
• Upavistha Konasana

Forward Extensions:

• Janu Sirsasana
• Marichyasana I (bending forward)
• Paschimottanasana
• Malasana

Twists:

• Bharadvajasana I
• Bharadvajasana II
• Marichyasana III
• Ardha Matsyendrasana I

Backward Extension:

• Ardhava Mukha Svanasana
• Chaturanga Dandasana
• Ghujangasana I
• Dhanurasana
• Salabasana
• Makarasana
• Ustrasana
• Urdhva Danurasana I
• Dwi Pada Viparita Dandasana

Inversions:

• Salamba Sirsasana
• Salamba Sarvangasana
• Halasana
• Eka Pada Sarvangasana

Intermediate Junior I

Standing:

• Utthita Parsva Hasta Padangusthasana
• Urhva Prasarita Exapadasana
• Prassarita Padottanasana II

Seated:

• Gomukhasana
• Lolasana
• Swastikasana, Supta Swastikasana
• Ubhaya Padangusthasana
• Eka Hasta Bhujasana

Forward Extension:

• Maha Mudra
• Ardha Baddha Padma Paschimottanasana

Twists:

• Ardha Matsyendrasana
• Jathara Parivartanaasana

Backward Extension:

• Parsva Dhanurasana
• Paryankasana
• Bhekasana
• Purvottanasana
• Setubandha Sarvangasana
• Urdhva Dhanurasana
• Dwi Pada Viparita Dandasana

Inversions:

• Sirsasana I
• Salamba Sarvangasana I
• Salamba Sarvangasana II
• Eka Pda Sarvangasana
• Halasana
• Parsva Halasana
• Urdhva prasarita Padasana
• Pincha Mayurasana
• Adho Mukha Vrksasana