Modifications

What you will see in books and in photographs are often the traditional forms of the postures. These shapes are possible for some practitioners but not for the majority of students, and not usually during the first years of their practice. Offering modifications in a non-hierarchical way is essential for creating an inclusive environment. I hold true to the fact that if a person is breathing, then they are participating in vinyasa. Every other aspect of the physical practice is an extension of, rather than the heart of that fact. I encourage my students to accept that coming back to the experience of the breath even once during a practice is more important than creating any of the traditional shapes. In the spirit of preserving this attention to the breath and offering a physician practice that can be healing for all students involved.

Quick disclaimer: These modifications address practitioners who are generally able to get up and down from the floor with relative ease. 

Surya Namaskar

As I cue each posture and transition, I make sure inhales and exhales are equal in length. Eddie Stern says the traditional pace is four seconds per inhale, four seconds per exhale. I wear a watch with a second hand and check in with it frequently. For younger students and those less experienced, I generally go with a six second breath cycle (three seconds per inhale, three seconds per exhale). This may seem like a lot to keep track of but adhering to an even breath cycle is one of the most therapeutic aspects of the practice and sets the stage for pranayama and meditation.

In forward folds, I encourage bending the knees if I observe that students are rounding their backs.

In ardha uttanasana, I have students initially bring their fingertips to their shins but move them towards keeping their hands in the same place as in uttanasana.

I offer stepping or jumping back to plank or chaturanga. If students are having wrist issues, I give them the option of doing the vinyasas on their knuckles or omitting them altogether.

For adho mukha svanasana, students with wrist issues may bear the weight on the forearms instead of the wrists. This orientation is more challenging, however. Bending the knees is also useful here, especially early in the practice.

 Standing Poses

l observe a lot of variety here. I try not to overwhelm students with information. Have the students work towards more refinement of the postures over the course of the whole season rather than the end of an hour or so. Most students won’t put themselves in an injurious position automatically but if the teacher pushes the students down a path that is more aesthetic than healing, this is where injuries can occur (remember that they can occur anywhere). Bending the knees is always a useful option in forward folds as it can ease some of the strain and bring opening into the back.

I make sure to reinforce gazing points (if you are addressing those) as they have a profound effect on the mental and physical benefits of the postures. 

You might notice that trained dancers tend to turn their feet out in asymmetrical standing postures. Remind them to keep the front foot pointing straight forward.

 Seated Poses

I encourage bending the knees if students are having trouble reaching the feet. While the bend will make the hamstring opening less intense, the contact between the feet and the hands can facilitate the circulation of prana and is calming to the nervous system (in my experience). 

There are varying opinions about whether or not to let the back round in forward folds. There are advantages to either a rounded back or a “straight back.”

A rounded back can stretch the muscles on the posterior chain, including the back of the neck, and allow for more focus on the bandhas.

A “flat” back with a lifted heart can create a more energized posture and help to maintain focus. This orientation is most useful when a student already has a deep forward fold and their ribs make contact with their legs.

More important than the round/flat back position is accessing how the students are breathing. Look for a lifting and spreading of the upper back and ribs.

As necessary, remind students to keep their eyes open in forward folds.

 Arm Balances

These can be fun and accessible ways for students to encounter and work with fear. If you are going to offer these postures, also offer how to fall out of them safely.

bakasana
parsva bakasana
pike jumps out of utkatasana
kick-ups out of virabhadrasana II
koundinyasana I and II from plank

I do not offer many (if any) arm balances when teaching remotely as there are too many variables at play, including position of furniture or other items and difficulty assessing student strength and readiness.

Inversions

The health benefits of inversions are numerous and the challenge they pose will be exciting to many students. However, depending on the space where you are practicing and teaching the risks might outweigh the rewards. As is true arm balances and other “impressive” postures, you must pay special attention to when the ego wants to see students accomplish challenging postures.

If there is clear wall-space available, this can be useful for having the students work on handstands and headstands. I encourage students practicing headstand to come up with straight legs, as this releases pressure on the neck and minimizes the use of momentum to enter the posture.

If no wall space is available and if the mats are sufficiently far apart, experienced students may practice handstand and headstand in the center of the room. If a student can get their head to the floor in prasarita padottanasana A, they can practice tripod headstand. 

For shoulderstand, I highly recommend beginning students practice a “piked” version of the posture and that all students place a blanket under their shoulders. 

All students can practice headstand preparation as long as this does not create too much pressure on the neck. If teaching in person, look to see if there is space between the neck and the mat and that the natural lordotic curve of the neck has been preserved.

With all inversions, I  have the students minimize the use of momentum and work to keep the breath steady and even.

Closing Postures

Leave at least five minutes for savasana. No exceptions. Leave at least five minutes before savasana for closing postures that calm the nervous system (seated forward folds, prone postures, reclined twists, and meditation). I recommend having the students hold these postures for ten breaths each. The teacher should minimize verbal instruction during this time. 

Refrain from playing music during savasana unless this is strongly requested by the students. If it is, work to remove the music by the end of the season.

Lotus

This posture, in its full form, can be extremely healing and centering but it can also lead to serious injury when practiced in an unskilled way. Some students will easily be able to arrange their legs into padmasana but most will not. When teaching in person, I will lightly touch on half-lotus by offering the following progression. I advise them not to proceed to the next step until the previous one can be practiced with ease.

 

Bend your right knee and bring your heel to touch your sitting bone

Lower the right knee to the side so that the right leg rests on the ground

Hug your heel into your navel

Keep the heel in the navel and shift the leg forward to bring the outer edge of the right foot into the left hip crease with the sole of the foot facing up

Bend the left knee and draw the left heel in towards the mid-line

 

I advise the students to pause wherever they feel a restriction or back out of any place where they experience pain in the knee or hip.

Ultimately, for most students, there are plenty of other valuable things to work on besides lotus.

After practice

Observe how the students move around the room, put their mats away, gather their things and speak to each other (if they do). A successful practice will most likely leave the students calm, clear, and capable.