CONTENTS

Asana Index vi ■ Acknowledgments xvi ■ Introduction xviii

PART I The Progressive Ashtanga Method

Chapter 1 The History and Philosophy of Rocket Yoga 3
The History of Ashtanga Yoga 4
The Birth of Rocket Yoga 9
The Rocket Philosophy 12

Chapter 2 The Fundamentals 17

Introduction to the Tristhana Method 18
Daily Cleansing Rituals 32

Chapter 3 The Progressive Ashtanga Vinyasa Method 37

Introducing the Vinyasa 38
Incorporating Creativity 45

PART II Asana Library

Chapter 4 Standing Postures 49

Chapter 5 Seated Postures (Primary Series) 91

Chapter 6 Seated Postures (Rocket Intermediate) 129

Chapter 7 Inversion and Rest Postures (Finishing Series) 181

iv
PART III The Sequences
Chapter 8 Classical Ashtanga Series 199
Sun Salutations 200
Standing Series 204
Primary Series 206
Intermediate Series 210
Finishing Series 214

Chapter 9 Original Rocket Yoga Series 217

Rocket I 218
Rocket II 224
Rocket Arms and Legs 230
Rocket III 238

PART IV Make the Practice Your Own

Chapter 10 Create Your Practice Plan 249
Scheduling Your Practice 250
Committing to Your Practice 250
Fulfilling Your Minimum Daily Requirements 251

Chapter 11 Customize Your Practice 253

Softening the Practice 254
Adding Challenging Variations or Transitions 256
Practicing Drills for Skills 260
Practicing Yoga During Pregnancy 263

References 265 ■ About the Author and Project Editor 267

■ Earn Continuing Education Credits/Units 268

v
 ASANA INDEX
Chapter 4 Standing Postures
Pose Page
Samasthiti (equal standing pose) 51

Urdhva Hastasana (upward salute) 52

Tadasana Variation (mountain pose with heels lifted) 53

Chaturanga Dandasana (four-limbed staff pose or low 54

plank)

Urdhva Mukha Svanasana (upward-facing dog) 55

Adho Mukha Svanasana (downward-facing dog) 56

Utkatasana (fierce pose, chair pose, or awkward pose) 57

vi
 Chapter 4 Standing Postures
Pose Page
Ardha Utkatasana (half-chair pose) 58

Kakasana (crow pose) 59

Bakasana A (crane pose) 60

Virabhadrasana A (warrior I) 61

Virabhadrasana B (warrior II) 62

Utthita Trikonasana (triangle pose) 63

Parivrtta Trikonasana (revolved triangle pose) 64

Utthita Parsvakonasana (extended side angle pose) 65

Parivrtta Parsvakonasana (revolved side angle pose) 66

(continued)

vii
viii Asana Index

(continued)
Chapter 4 Standing Postures
Pose Page
Pincha Mayurasana (lifted peacock feather pose or fore- 67
arm stand)

Padangusthasana (big toe pose) 68

Padahastasana (foot to hand pose) 69

Uttanasana (intense stretch or standing forward fold) 70

Uttanasana Variation (intense stretch) 71

Ardha Uttanasana (half intense stretch or half lift) 72

Prasarita Padottanasana A (wide-leg intense stretching 73

pose)

Prasarita Padottanasana B (wide-leg intense stretching 74

pose)

Prasarita Padottanasana C (wide-leg intense stretching 75

pose)

Prasarita Padottanasana D (wide-leg intense stretching 76

pose)

Samakonasana (horizontal splits) 77

Hanumanasana (classic splits) 78

Upavistha Konasana Variation (seated wide-angle pose) 80

Mula Bandha Checkup (straddle press) 81

 Asana Index ix

Chapter 4 Standing Postures

Pose Page
Parsvottanasana (intense side stretch posture or pyramid 82
pose)

Utthita Hasta Padangusthasana A (extended hand to big 84

toe posture)

Utthita Hasta Padangusthasana B (extended hand to big 85

toe posture)

Utthita Hasta Padangusthasana C (extended hand to big 86

toe posture)

Utthita Hasta Padangusthasana D (extended hand to big 87

toe posture)

Ardha Padma Padmottanasana (half-bound standing pos- 88

ture)

Chapter 5 Seated Postures (Primary Series)

Pose Page
Dandasana (staff pose) 93

Paschimottanasana A (intense back stretch) 94

Paschimottanasana B (intense back stretch) 95

Purvottanasana (intense east stretch) 96

(continued)
x Asana Index

(continued)
Chapter 5 Seated Postures (Primary Series)
Pose Page
Ardha Baddha Padma Paschimottanasana (half-bound 97
lotus forward fold)

Trianga Mukhaikapada Paschimottanasana (one-leg 99

folded forward bend)

Janu Sirsasana A and B (head to knee pose) 100

Janu Sirsasana C (head to knee pose) 102

Marichyasana A (the pose of the sage Marichi) 103

Marichyasana B (the pose of the sage Marichi) 104

Marichyasana C (the pose of the sage Marichi) 105

Marichyasana D (the pose of the sage Marichi) 106

Navasana/Lolasana (boat pose) 107

Bhujapidasana (shoulder pressure pose) 109

Kurmasana (tortoise pose) 110

Supta Kurmasana (sleeping tortoise pose) 111

Garba Pidasana (embryo in womb pose) 112

Kukkutasana (rooster pose) 113

 Asana Index xi

Chapter 5 Seated Postures (Primary Series)

Pose Page
Baddha Konasana A and B (bound angle pose, cobbler’s 114
pose, or butterfly pose)
Upavistha Konasana A and B (wide-angle seated forward 116
bend)

Supta Konasana A and B (reclining angle pose) 118

Supta Padangusthasana (reclining big toe posture) 120

Ubhaya Padangusthasana (both big toes pose) 122

Urdhva Mukha Paschimottanasana (upward-facing forward 124

stretch pose)

Setu Bandhasana (bridge pose) 126

Ardha Urdhva Dhanurasana (half-wheel pose) 127

Urdhva Dhanurasana (wheel pose or upward-facing bow 128

pose)

Chapter 6 Seated Postures (Rocket Intermediate)

Pose Page
Pasasana (noose posture) 131

Parsva Bakasana (side crow [crane] pose) 132

Parsva Koundinyasana (sage Kaundinya’s pose or twisting 133

Kardinya’s one-footed pose)

Dwi Pada Koundinyasana (Kaundinya’s two-legged pose) 134

Krounchasana (heron pose) 135

(continued)
xii Asana Index

(continued)
Chapter 6 Seated Postures (Rocket Intermediate)
Pose Page
Eka Pada Bakasana (one-leg crow pose) 136

Astavakrasana (eight angle pose) 137

Shalabhasana A and B (locust pose) 138

Shalabhasana Variation (locust pose) 139

Bhekasana (frog pose) 140

Supta Virasana (reclining hero pose) 141

Balasana (child’s pose) 142

Dhanurasana (wheel pose or bow pose) 143

Parsva Dhanurasana (fallen wheel pose or side bow pose) 144

Raja Kapotasana (king pigeon pose) 145

Ustrasana (camel pose) 146

Laghu Vajrasana (little thunderbolt pose) 147

Kapotasana A and B (pigeon pose) 148

Supta Vajrasana (reclined thunderbolt pose) 150

Bakasana B (crane pose) 152

Adho Mukha Vrksasana (handstand) 154

 Asana Index xiii

Chapter 6 Seated Postures (Rocket Intermediate)

Pose Page
Bharadvajasana (sage Bharadvaja’s pose) 155

Ardha Matsyendrasana (half lord of the fish pose) 156

Adho Mukha Kapotasana (downward-facing pigeon pose) 157

Eka Pada Raja Kapotasana (one-leg king pigeon pose) 158

Gomukhasana (cow face pose) 159

Supta Urdhva Pada Vajrasana (sleeping upward lifting leg 161

thunderbolt pose)

Eka Pada Sirsasana (one foot to head posture) 163

Dwi Pada Sirsasana (feet behind the head pose) 164

Yoga Nidrasana (sleeping yogi pose) 165

Titibhasana A, B, C, and D (firefly pose) 166

Karandavasana (duck pose) 168

Mayurasana (peacock pose) 169

Nakrasana (crocodile pose) 170

Vatayanasana (horse face pose) 171

(continued)
xiv Asana Index

(continued)
Chapter 6 Seated Postures (Rocket Intermediate)
Pose Page
Parighasana (gate pose) 173

Mukta Hasta Sirsasana A (tripod headstand) 174

Mukta Hasta Sirsasana B (tripod headstand) 175

Mukta Hasta Sirsasana C (tripod headstand) 176

Baddha Hasta Sirsasana A (bound hand headstand pose) 177

Baddha Hasta Sirsasana B (bound hand headstand pose) 178

Baddha Hasta Sirsasana C (bound hand headstand pose) 179

Baddha Hasta Sirsasana D (bound hand headstand pose) 180

 Asana Index xv

Chapter 7 Inversion and Rest Postures (Finishing Series)

Pose Page
Salamba Sarvangasana (shoulder stand) 183

Halasana (plow pose) 184

Karnapidasana (ear-pressure pose or deaf man’s pose) 185

Urdhva Padmasana (flying lotus pose) 186

Pindasana (embryo pose) 187

Matsyasana (fish pose) 188

Uttana Padasana (extended-foot pose) 189

Sirsasana (headstand) 190

Baddha Padmasana/Yoga Mudra (bound lotus pose 192

[sacred seal])

Padmasana (full lotus) 193

Utpluthih (sprung-up pose) 194

Savasana (corpse pose) 195

 ACKNOWLEDGMENTS
I would like to thank all those who have supported me along the way. My
loving wife, Elizabeth Sallaberry, and my curious children, Lua, who shows
me that it will all work out, and Dalai, who reminds me that it’s not under
my control. Without your continued support and love, I would have not
had the drive to do what I do. You fuel my heart.
Thank you to my parents, Susan and James Kyle, for letting me explore
things that were considered strange. To my brother, James, it’s from you I
learned reason and how to surf the edge without losing myself.
Thank you, Larry Schultz. Your guidance over the years refined me into
what I am today as a yoga teacher, something I never wanted to be until
you inspired me to jump on the bus. I worked many hours with you directly
on this manual. It’s time to release this practice to the masses!
To Reed Taylor, my first yoga teacher and the one who knew I was more
than I thought I could be. Thank you for being real and connecting me
with Larry.
Thank you, Katie Cariffe, for sharing your skill of detail and commu-
nication, which is essential in the facilitation of yoga and was the rock
and foundation that steered the ship at 848 Folsom. Thank you to all the
old-school It’s Yoga staff and family: Maggie, Liliana Mieje, Chris Ros-
bach, Noname, Fred, Jimmy, Marlow, Tone. Thank you to studio owners
who gave me a chance early like Maru and Otam who gave me so much
energy! Pedro Luis, Yoshio Hama, and Mariangel Romero: Yoga is a union
everlasting and free.
Thank you, Deb and Ian from Flow Yoga Center, for opening doors to
the East Coast. Nina, thank you for opening the door to Spain and Europe.
Leon London, you understood quicker than most and rode the wave.
Thank you, Manuel Oria; you’re the second in command of the mother
ship in Puerto Rico. I wish I could name everyone I have practiced next to
and been inspired by.
Thank you to Patrick Mccleaf for being a kind ear and being a friend
who can sit for long hours throughout the night talking yoga, yoga, and
more yoga like soldiers around a campfire. Thank you, Tiago, for being
my fellow yoga pirate. We have scoured the seas and found the treasure
that enriches all and not just ourselves. Thank you, Christy, Christiane,
and Brandon, for sitting with me and supporting a mission to bring clarity
and communication to our Rocket community. This book has helped our
mission come to fruition.
Thank you to you, the reader, who is reading this right now—without
your curiosity and dedication to the practice of yoga in the past, present,
and future, the teachings of yoga would fade away. Pass it on.

xvi
 I would lastly like to thank all our teachers who graciously offered to be
models for us in this project. We are blessed to live in a time when we can
come from all different corners of the world to contribute to the fruition of
this book for all our students. We shared laughs and assisted each other
in the difficult postures. In the end we only see perfection, but we know
the grit and struggle that hides behind these clean images and the years
of dedication and practice that each photo represents.
In no particular order: Manuel Oria , Ahmed Jabali-Nash, Christine
­Fenerty, Fabiola Maeztu, and Christiane Coste; I thank you from the
bottom of my heart. Jai!

xvii
 INTRODUCTION
To appreciate Rocket yoga and the progressive ashtanga vinyasa meth-
odology, it is helpful to understand their origins. Ashtanga is a dynamic
system of yoga created and popularized by Krishnamacharya and his stu-
dent Pattabhi Jois during the early 20th century. Consisting of six specific
sequences and practiced daily in order and under the close guidance of
a teacher, the ashtanga practice was and continues to be a demanding
physical practice.
Rigorous and exacting, classical ashtanga yoga develops discipline and
awakens students’ understanding of themselves physically, emotionally,
and spiritually. However, many practitioners feel that the practice itself
can be restrictive. Because the sequence must be followed completely, it
limits creativity and honest expression, and it discounts the differences in
physical capability and ability in each student. And because the student
is taught each piece of the sequence only when the teacher sees fit, the
teacher holds all authority.
Rocket yoga was born to destroy this false hierarchy and give power
back to the teacher and student by urging them to listen to their inner
wisdom to challenge and guide them in their practice. The goal of progres-
sive ashtanga vinyasa further fills this gap with contemporary knowledge
about the differences in individual anatomy and range of motion and with
creativity, music, and freedom.
This book provides solid documentation of Rocket yoga—its history
and philosophy, the sequences and practices unique to its tradition, and
a guide to the postures and modifications. It includes tips for teachers
developing their offering of the practice and outlines the basics of the
practice for new students. Created to honor the fundamentals of the
method as directed by Larry Schultz, a devoted student of Pattabhi Jois
and the creator of the Rocket method, this book also serves as a standard
of training for all students and teachers of Rocket yoga.
Contemporary vinyasa yoga is constantly evolving along with our under-
standing of the physical form, science-based research, and the needs of
modern living. A blending of ancient wisdom with modern demands, this
book is a road map that allows each student to experience and share the
same sequences and philosophical ideas that thousands of self-devoted
practitioners use to transform their experience of life through Rocket yoga.

xviii
 Find a Teacher, Become a Teacher
There is no better way to deepen your personal practice than to practice with
a certified Rocket yoga teacher. Rocket teachers have dedicated hundreds of
hours to their own physical practice and understanding of the method and
will be able to answer your questions and assist you in your asana practice.
You can find certified Rocket yoga teachers at www.rocketvinyasa.com.
The website www.rocketyoga.com is the most thorough resource for the
Rocket yoga method. There, you will find Rocket workshops and Rocket
teacher trainings near you. Attending Rocket teacher trainings, workshops,
or programs does not in itself provide certification to teach Rocket yoga or
to use the name Rocket.
Only certified Rocket yoga teachers in good standing are permitted to
use Rocket yoga to describe their yoga programs or classes. The term in
good standing as employed by Progressive Ashtanga Vinyasa Yoga School
(PAVYS) means that certified teachers
• teach in the method set forth by Larry Schultz without changing core
methodology,
• maintain an active state in their association via directory membership,
• receive continuing education from PAVYS or from an intermediate or
advanced Rocket teacher or teachers, and
• are mindful of the ethical guidelines laid out by PAVYS and have signed
the certification mark and ethics agreement.
Only once they have passed the level I assessment are they considered a
certified Rocket yoga teacher, and only at that point can they call their classes
Rocket yoga. Teachers in training or teachers who use Rocket as an inspiration
for their vinyasa classes may refer to their classes as Rocket-inspired yoga.
Whether you are looking for a teacher or seeking to become a teacher,
the Rocket philosophy asks that we all remain students in our curiosity and
our search for higher truths.

xix
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 part i
THE PROGRESSIVE
ASHTANGA METHOD

1
This page intentionally left blank.
The History
and Philosophy
of Rocket Yoga
1
4 Rocket Yoga

All forms of modern yoga can trace their lineage back to more ancient
roots. Understanding the evolution of the practice provides a framework for
appreciating the unique details that allow a particular method to resonate
with us. Rocket yoga is no exception. From its roots in classical ashtanga
to the creation of a new practice that celebrates self-expression, Rocket
yoga as developed by Larry Schultz bridges the gap between traditional
practices born in India and modern American culture. Progressive ashtanga
yoga further brings together traditional practices and modern ideologies
through the creation of a system that combines classical ashtanga and
Rocket yoga to reap the benefits of both.

The History of Ashtanga Yoga

Ashtanga yoga refers to both the style of practicing a set sequence of
postures as well as the eight-limbed spiritual path outlined by Patanjali,
the ancient Indian sage who wrote the Yoga Sutras.
Tirumalai Krishnamacharya, an Indian ayurvedic healer and yoga teacher,
is credited as the source of most of the yoga that is now taught in the
West. Among his students were T.K.V. Desikachar, who taught a style of
viniyoga that offered yoga as therapy; B.K.S. Iyengar, who established the
alignment-focused Iyengar yoga; and Sri K. Pattabhi Jois, who founded
ashtanga yoga as it is known today.
Jois’ dedication to the teachings of Krishnamacharya and his diligence
in preserving the tradition exactly as he had learned it is the foundation
of today’s ashtanga vinyasa yoga.

Ashtanga Yoga as a Physical Practice

Jois’ ashtanga yoga is a dynamic and physically challenging form of hatha
yoga that demands discipline. It is traditionally practiced six days a week,
with time off for full moons and new moons and for women during their
menstrual cycle. In the Mysore style, classical ashtanga is practiced under
the guidance of a teacher. The teacher guides students through their
practice by offering new poses in the sequences when they are ready for
them and by helping with hands-on adjustments for each student. The
physical practice of ashtanga yoga works to cleanse the body and mind,
freeing them from not only physical maladies but also the six spiritual
poisons: kama (desire), krodha (anger), moha (delusion), lobha (greed),
matsarya (envy), and mada (sloth).
Today, it is possible to find ashtanga classes at many studios. These 60-
to 75-minute classes are led by a teacher who guides the class through
either the full primary series or a modified primary series. These sequences
are composed of specific poses in the order set by Krishnamacharya and
 The History and Philosophy of Rocket Yoga 5

Jois decades ago. These traditional set sequences form the backbone of
much of the variations of vinyasa yoga today.

The Eight Limbs of Ashtanga Yoga

As a spiritual practice, ashtanga yoga literally translates to “the union
of eight limbs.” Yoga Sutras, Patanjali’s classification of ashtanga yoga,
outlines eight aspects that together bring peace of mind and stillness in
the practitioner (see figure 1.1). The daily practice of asana is the gateway
through which one can access the other limbs more readily. This is why
nearly all styles of yoga begin with physical movement.

4 5
Pranayama Pratyahara

3 6
Asana Dharana

2 7
Niyama Dhyana

1 8
Yama Samadhi

Figure 1.1 The eight limbs of ashtanga yoga.

E8815/Kyle/01.01/698893/JB-R2
6 Rocket Yoga

Yama: Personal Observations

The first limb of living a yogic life is the observation of the yamas—the
social restrictions and moral codes to live by. These concepts cover values
for living a good life beyond what common law might require.
• Ahimsa—nonviolence, which includes physical violence toward others
as well as toward yourself. This also extends to violent thoughts or
ideas, self-harming behaviors, and how animals are treated.
• Satya—truthfulness in speech and with your dealings toward others
in addition to living a life that is true to your purpose, following your
values, and being honest in all relationships.
• Asteya—not stealing refers to the physical act of not taking something
that does not belong to you as well as not taking credit for ideas or
thoughts that are not your own.
• Brahmacharya—moderation in all things, whether it be in what you
eat, how you live as part of a community, or the activities you partake
in. This also extends to moderation in sexual activities.
• Aparigraha—translated as “nonattachment,” this is the practice
of nonpossessiveness and allowing others to be free agents and
not subject to your control. It also means refraining from addictive
behaviors that cause attachments or being stubborn in your beliefs
to the point of extremism.
Niyama: Ethical Observations
Niyama is Sanskrit for “rules, guidelines, or observances.” Together with
the yamas, they form the philosophical basis for how to practice yoga in
daily life.
• Saucha—cleanliness, both physical cleanliness of the body and your
surroundings as well as cleanliness of thought.
• Santosha—translated as “contentment,” this is the practice of grat-
itude, practicing nonjudgment, and seeking satisfaction in each
moment.
• Tapas—a fiery physical cleansing through rigorous physical activity,
this is the practice of self-discipline and willingly doing challenging
things in order to strengthen the inner will.
• Svadhyaya—the practice of continual learning in a quest to better
know yourself and your purpose in this life.
• Ishvarapranidhana—a devotion to a higher state of transformation,
this means taking the time to connect to your higher power or your
beliefs. If you don’t believe in a religious spirituality, spending time
in nature can also connect you to a power larger than yourself.
 The History and Philosophy of Rocket Yoga 7

Asana: Postures and Bandhas

Postures and internal locks, known as bandhas, are used to create a balance
in your body and prepare it for the storage of prana, or energy. Physical
movement through asana releases blockages (granthis) that disrupt the
flow of prana in your physical and subtle bodies (the energetics within the
body), curing pain, disease, and other ailments. It is through the practice
of asana that the other limbs become more attainable.
Pranayama: Energy Control Expansion
A breathing exercise creates a set intention of consciousness between
the physical body and emotional mind. It clears thoughts and opens the
door for higher realms of thought and deeper realms of ashtanga yoga. A
breathing exercise also benefits health and general well-being. Dedicated
practice develops endurance and gives the yogi ability to focus the mind
and achieve a deep understanding of the self.
Pratyahara: Sense Control
The senses are used to understand the outside world. They can also be
used to observe your inner world. You control distraction that arises from
external stimuli and direct your senses internally to become more aware
of what is closer to you than anything else—yourself.
Dharana: Concentration
Concentration follows this pattern: from the many to the few, from the
few to the one, eventually to none. People have the tendency to think of
many things at once. To concentrate is to pour all of your ability into one
action. This action can be physical through movement or mental through
a thought. Through direct attention with 100 percent of yourself, you can
become aware of the object you perceive. In yoga asana, the body is the
object being concentrated on.
Dhyana: Meditation
Let it all go: no mind, no perception. This is the state of stilling the mind.
All perceptions, observations, intuitions, emotions, and anything that
could be put into words disappear.
Samadhi: Liberation
Patanjali described many levels of this, some of which lead to the idea of
liberation from certain obstacles. The ultimate form is liberation or freedom
from all—to become one with the ultimate object of perception. Atman
(God within) and Brahma (God in all) become united as one. Here this
concept of God is open to interpretation, and some believe death itself
is this liberation from life.
 Tracing Your Lineage
Yogic knowledge, both physical and spiritual, is passed from teacher to
student in an unbroken chain that links practitioners today with the ancient
sages of the past. This lineage is referred to as parampara. My passion for
the Rocket style of yoga and the progressive ashtanga yoga method is a
result of my direct relationship and study with Larry Schultz and Schultz’s
direct relationship to Jois and so on, as you can see here:

Tirumalai Krishnamacharya
1 Mysore, India
An Indian scholar, ayurvedic healer, and
yoga teacher, Krishnamacharya is
considered by many to be the architect of
modern vinyasa yoga, including ashtanga
K. Pattabhi Jois
vinyasa. Born in 1888, he wrote four books
on yoga, emphasized the importance of
2 Mysore, India
breath and linking it with yoga postures, Jois developed and popularized the
and contributed to the revival of hatha flowing style of yoga known as
yoga. Krishnamacharya continued to teach ashtanga vinyasa through his shala in
and heal until his death at the age of 100. Mysore, India. In 1948, he established
the Ashtanga Yoga Research Institute
in Mysore and directly taught many of
the modern yoga teachers.

Larry Schultz
3 San Francisco, California David Kyle
After studying with K. Pattabhi Jois for 4 San Juan, Puerto Rico
many years, Larry Schultz returned to
For the past two decades, David Kyle has
San Francisco and taught a style of
dedicated himself to the study and
yoga that he felt provided a more
advancement of Rocket yoga. He
accessible practice to his students.
established the Ashtanga Yoga Puerto Rico
While touring with the Grateful Dead
school, where he can be found daily
as their personal yoga teacher, the
practicing and teaching Rocket yoga as
term Rocket yoga was coined to refer
well as classical ashtanga yoga.
to the style he developed and taught.

E8815/Kyle/DF01.01/698894/JB-R6
Tracing your own yogic lineage is a practice in humility that recognizes
where your knowledge comes from and a source of pride that connects you
to a continuing legacy. Using my lineage as a guide, outline your unique
lineage back to Krishnamacharya. List only the teachers you feel truly affect
and inspire your yoga journey. It may be useful to describe in a sentence or
two what you have learned from that teacher.

8
 The History and Philosophy of Rocket Yoga 9

The Birth of Rocket Yoga

The birth of Rocket yoga is the story of Larry Schultz’s yoga journey, from
his personal transformation through the practice of yoga to how he wanted
to share his love of the practice with others. Schultz first encountered yoga
while on vacation in the Caribbean when he was 29 years old. As he tells
it, he glanced over to a rock where an older gentleman named Cliff was
practicing yoga outside. “I ran over to him and said, ‘Dude, what were
you doing on that rock?’” Schultz said. “He said, ‘Yoga, ashtanga yoga.’
Out of the corner of my eye I saw he had a young girlfriend. I interpreted
it in my head that you could be healthy in old age and have love in old
age. Most people who are old don’t have health and love late in life. [And
that’s what] Cliff demonstrated. And that’s what I wanted” (Russel 2018).
His curiosity ignited, Schultz returned to his hometown of Austin, Texas,
and began diligently practicing yoga.
Schultz was intrigued by ashtanga yoga—the challenge of the physical
practice and the connection to spirit. When Pattabhi Jois came to Austin
in 1982 for an ashtanga workshop hosted by studio owner Stan Hafner,
Schultz signed up. This meeting between Schultz and Jois ignited a
yearslong study in which Schultz traveled to Mysore, India, multiple times
to study directly with Jois and continued to attend workshops with him in
the United States for many years.
In an article in Yogi Times, Schultz remembered an experience with
Jois. “Pattabhi said there were three kinds of yoga students,” Schultz
remembers. “He told us, ‘The first kind, all is coming in seven years; the
second kind, all is coming in 12 years; and the third kind, bad people.’
He looks at me and he says, ‘25 years, all is coming.’ I said Oh f***! But
I walked out and thought, well when I’m 56 my whole life is going to be
completely different. And it is. It’s remarkable” (Crooks 2017). It was always
amusing to Schultz to reflect on where yoga first found him and where
it took him in his life. From years of diligent practice under Jois, Schultz
changed his habits. He cleaned up his lifestyle and felt a calling to share
his life-changing experience with others. He decided that he would teach.
In 1989, Schultz began teaching ashtanga vinyasa yoga in San Francisco,
becoming one of the first students of Jois to teach the system. He also
became one of the first to open a yoga studio with the goal of making
ashtanga yoga accessible to everyone, both physically and financially.
And then he did what was unthinkable to the traditionalists—he began
to revise the system itself.
Classical ashtanga was built on a hierarchy—not only of postures and
series but of teachers as well. Schultz believed that the classical ashtanga
system did not resonate with the needs of his students, and by breaking
with the hierarchies of ashtanga tradition and allowing all students to have
access to all poses, he could provide a system that capitalized on each
10 Rocket Yoga

person’s strengths. This was in conflict with Jois’ Mysore style, in which
only authorized teachers were allowed to give a student a new pose to
practice after the teacher felt the student had attained mastery of the
previous one.
Schultz said, “The Western sequence can’t be the Eastern sequence.
In the West, what we want is abundance of health, abundance of love,
abundance of friends. We want abundance of time. In the East, it was a
different theory. You were born a Brahmin and that’s what you became.
‘All is coming’ is your evolution, how you want to be, how you want to see
eternity, how you want to grow with your community. ‘All is coming’ is not
a black Mercedes. It’s not enlightenment. But we do have the power to
transform our miserable self into a positive self” (Crooks 2017).
Schultz taught a modified version of classical ashtanga in which he incor-
porated postures from all of the ashtanga series and allowed students to
experiment with the various forms. These classes were some of the first
power yoga offerings in the West and the beginnings of the Rocket style
of yoga. As a result, Jois called Schultz “the bad man of ashtanga yoga”
because of Schultz’s interest in teaching second- and third-series poses
not yet authorized by Jois (Russel 2018).
In the Yogi Times article, Schultz explained his relationship with ashtanga
yoga. “I left the ashtanga Mysore system but I still practice ashtanga, I just
don’t see it like you,” he said. “Ashtanga for me is a science of sequencing
breath and movement to create an effect. The effect is transformation
where you see growth in your life. You see change happening slowly. You
see the shell chipping away and a new being emerges. And you learn to
take that off the mat” (Crooks 2017).
Schultz was influential in the San Francisco yoga scene of the 1990s
and beyond, referring to himself as the Mayor of Folsom Street, the street
where his studio, It’s Yoga, was located. He was able to bridge the gap
between the traditional and the social aspects of yoga, with his studio
being a gathering place not just for yoga but also for music, parties, dance,
and even social and political movements (Lurrey 2021).
Larry Schultz created three series of postures based on a modification
of the classical ashtanga series. For students, these routines renewed
energy and vitality in the body by working directly on the joints and
stimulating all of the body’s systems. For teachers, the routines offered a
creative outlet to express themselves honestly in their personal practice,
while simultaneously offering an intelligent system of movement based
on set sequences that can safely guide all practitioners through the flow
of breath and asana.
In the mid-1990s, Schultz was invited to travel on tour with the Grateful
Dead as the band’s personal yoga teacher, leading the band and their
 The History and Philosophy of Rocket Yoga 11

entourage through yoga classes before concerts. While on tour with the
Grateful Dead, one of the band members asked Schultz what the name
of his yoga was. Schultz replied that it didn’t have a name, at which point
Bob Weir said, “It should be called Rocket yoga, because it gets you there
faster!” And just like that, the name Rocket was born.
In an interview in Deadhead maga-
zine, Phil Lesh credits Larry Schultz and
ashtanga yoga with having a real effect “The Rocket is designed
on the music of the tour and giving him
personally a new feeling of centeredness to wake up the nervous
(Cushman 1995). Schultz toured with the
Grateful Dead, honing and solidifying
system and feed it the
the Rocket sequences until the death of precious prana it craves
Jerry Garcia in 1995.
All in all, Schultz created three yoga
while promoting a spirit
sequences—referred to as Rocket I, of change and freedom
Rocket II, and Rocket III—helping to
build the foundation of power yoga.
in the practice.”
The Rocket routines are a revision of the –Larry Schultz
traditional ashtanga series and destroy
the hierarchy of postures and empower
practitioners to own their creative process. By following the foundation
that the Rocket style provides, they are able to add their own variations
while honoring the teachings of traditional ashtanga yoga.
Rocket yoga gets you to a space of happiness and acceptance—a space
where your inner voice sings and guides you in the right direction. Schultz
designed an asana sequence that invigorates and strengthens students
with advanced postures while remaining accessible through modifications
and, above all, practicing acceptance of each body’s present abilities.
The thread of commitment to sequence that runs through Schultz’s
personal practice, his trademark Rocket classes, the weekly class sched-
ule, and the widening circle of its yoga studios is clear. “Yoga ultimately
is a socialization tool,” he said. “First you have to learn it for yourself and
love yourself on a day-to-day basis. Then it’s about service. The planet
wants us to serve each other. We’re all miniature versions of Gandhi and
Mother Teresa, all those great examples. But most people don’t know
how to share what they love” (Crooks 2017).
“When yoga came to the West, I had the good fortune to find a great
teacher, the best teacher for me, and to grow because of the practice,”
Schultz said. “A lot of people don’t have that. My vision is to have yoga
all over the planet and to make it safe and effective” (Crooks 2017).
12 Rocket Yoga

The Rocket Philosophy

The philosophy of Rocket yoga reveals itself in the practice, reflects back
to the old literature such as the Bhagavad Gita and the Yoga Sutras, and
then finds a home in the heart of each stu-
dent. The way that each student practices,
“A philosophy gives interprets their feelings, and builds their
meaning and purpose inner home is unique to each individual.
Rocket yoga is about your individual jour-
to the practice of yoga.” ney within. Along with Schultz’s philosophy
–Larry Schultz and my personal philosophy, there is room
for you to add your own.

Schultz’s Philosophy
The following are tenets that Schultz considered important to his per-
sonal yoga philosophy. Your own experiences, the deep questions that
you have, and how you interpret the answers will shape your own yoga
philosophy over time.
Living in the Question
Questions will arise in your daily practice and through everyday living.
It is crucial to learn to listen to that inner voice and to hold on to those
questions until answers are revealed.
Practice What You Teach; Teach What You Practice
Pertaining to physical postures in the yoga practice as well as the spiritual
aspects of the practice, this can be offering students only yoga poses that
teachers have done in their own practice as well as heeding the advice
teachers present to students when it comes to tenets for living.
Function Over Form
Bring life into each posture by focusing not on how they look but on how
they feel in the body.
Drishti
Most students constantly look outside themselves during practice. Drishti
is the practice of a focused gaze during asana practice. By intentionally
setting vision to a specific point, one trains the mind to find stillness. When
the gaze is turned inward, one’s practice, purpose, and creativity unfold.
Control and Surrender
Letting go is how you begin to take control. By acting without attachment
to the end results, you are able to live in truth and simplicity.
 The History and Philosophy of Rocket Yoga 13

Nauliland
Ultimately, yoga is about freedom: freeing the mind so that you are able
to live in your truth. That freedom is exemplified by Nauliland, a term that
refers not just to a retreat center in California but also to a state of mind,
as explained in the sidebar Understanding Nauliland.

Understanding Nauliland
For Schultz, Nauliland was a pause, a break from modern society’s condi-
tioning and standards that allows people to come together and be in the
moment: a place to be together, to be on the mat doing the physical yoga
practice, and to be in the circle having philosophy talks. It was a place to
communicate with each other and create a foundation and a sense of com-
munity support that allow people to grab into the real world with a little
more stability, direction, drive, and inspiration.
Nauliland is also a physical place that people celebrate as the unification
of a community, not unlike a modern-day ashram. From the modern yoga
teacher trainings Schultz held in San Francisco to all the yoga studios where
people gather now, when people come together and leave behind their
social conditioning, their social responsibilities are put on hold momentarily.
Placing this retreat in your daily life allows you to honor your path, yourself,
your own transformation, and your self-realization. It also allows you to
celebrate with those around you. Nauliland is a place you can visit and that
you can take with you whenever the community gets together and decides
to celebrate together for a certain amount of time.
And when you can’t travel to a certain destination, Nauliland is the place
inside your heart where yoga resides. For Schultz, it was a place for living
life through your heart and through your senses—what you see with your
eyes, what you feel with your body, what you hear with your ears—rather
than through the mind, which can be clouded and full of judgment and
misdirection. Schultz said, “Pay attention to what you see with your eyes
open, but know that what you think is make-believe.”
 What Makes Rocket Yoga Unique?
Although it is rooted in the foundation of ashtanga yoga, three characteris-
tics set the Rocket style apart from other vinyasa flow or power yoga styles.
Versatility
The Rocket sequences are set routines that offer a solid foundation from
which creativity can flourish. This creates continuity between Rocket yoga
students and teachers worldwide by providing a base sequence that is
agreed on. This unique sequencing is a thread that runs through the entire
series from standing to seated asanas. From this standardized sequence,
optional transitions and additional asanas can be added to offer more detail
that is specific to the teacher’s chosen physical focus. This makes the Rocket
sequences some of the most versatile vinyasa sequences, offering teachers a
place to authentically share their strengths and create an experience unique
to each student’s needs.
Completeness
Considered an all-inclusive practice, Rocket yoga breaks through common
areas of tension, habitual patterns, and energy blockages to combat one’s
tendencies toward stagnancy and resistance in the body. Grounding for-
ward folds are balanced by expansive backbends. Handstands and arm
balance variations keep the energy levels high and encourage students to
connect to their inner power and shift their perspective. Spinal twisting,
hip openers, and core-strengthening exercises create a well-balanced and
uplifting sequence of postures. Rocket yoga has gained global recognition
as a complete, feel-good practice that challenges the student, opens the
body, and clears the mind.
Accessibility
Rocket yoga introduces the vigorous practice of ashtanga yoga to the masses
by providing a standard class format and allowing access to the benefits of
the ashtanga postures without requiring feats of flexibility or strength. Poses
are offered by the teacher according to each student’s abilities, not the rigid
hierarchy of poses in classical ashtanga. Accessible to all levels, the Rocket
style provides modifications to beginners and variations that challenge even
the most advanced students, allowing the benefits to be felt by all.

14
 The History and Philosophy of Rocket Yoga 15

My Personal Yoga Philosophy

Many of Schultz’s personal philosophies resonate with me. However, years
of personal practice have brought to light the following personal truths
that guide my own practice as a teacher and as a student in this lineage.
Yoga Practice Is Designed to Teach You About Yourself
I strive to create and provide a space for each practitioner to express
and grow in their personal practice in order to achieve this goal of
self-­d iscovery. I offer freedom inside
their practice and focus my attention on
aiding them in developing discipline and “We do the practice
strength for their mind and body.
From here, I believe that each practi-
to love ourselves so
tioner will develop at their individual pace we can learn to love
in a safe and effective manner. I teach
what I practice and say what I feel: grace, others more.”
comfort, acceptance, and love. –Larry Schultz
Health Is Freedom
By allowing ourselves to connect with how we feel, we learn how to control
and how to create from a space that is calm, clear, and focused. Through
yoga asana, we create and control the level of health inside our body, mind,
and soul through the feelings that arise while we practice. Once our mind
is at ease and our attention is focused, we are able to cleanse and purify
all blocks and create a blank slate from which we begin to manifest our
deepest desires and then learn to let them go. This practice brings health,
which is happiness, and happiness is one of our most important goals.
Free Agency Is a Gift
For every type of person, there is a different kind of yoga, and for every
desired effect, there is a sequence of actions to create it. We are all given
the gift to choose what resonates with us best. Choice is a powerful tool—
so we must use it wisely. The best students question their teachers and
require proof through personal experience before they give their trust to
a philosophy. We must all become scientists of our own reality, and by
recognizing this power of choice, we are left with only a smile knowing
that wherever we are, it’s because we chose to be there.
 Developing Your Own Yoga Philosophy
A yoga philosophy is a framework that supports your intentions and goals
as a student and a teacher. This philosophy will be strengthened over time
through personal experience and by seeking truths that resonate with you.
Establishing a personal philosophy that inspires and influences your lifestyle
is a practice within itself that will keep your values and intentions clear.
Developing your philosophy may take time. Allow your ideas to perco-
late over time and be open to changing your philosophy as you learn new
things about yourself. Actively seek new experiences to help you see things
from different perspectives. Listen to your own inner teacher, and commit
to nurturing your philosophy daily.
Ask yourself the following questions to guide you, and then write your
own yoga philosophy in the space provided.
What do you do to practice yoga each day?
On the best of days, what does practicing yoga give you?
On the worst of days, what does practicing yoga give you?
How can you share your personal yoga practice with others?
If you are training as a teacher, ask yourself the following questions to
guide your teaching philosophy, and then write your answers about your
philosophy in the space provided.
Who do you want to teach?
How do you want to teach?
Where do you want to teach?
When do you want to teach?
Why do you want to teach?

16
The
Fundamentals 2
18 Rocket Yoga

Before you dive into a full practice, it is helpful to know the foundational
elements—that is, what the practice is built on. When everything else is
stripped away, what are the essential parts we are left with? These fun-
damentals form the backbone of your practice. Together with your own
diligence and commitment to your craft, they unlock the full benefits of
this yoga practice.

Introduction to the Tristhana Method

Classical ashtanga yoga and Rocket yoga are both built on the tristhana,
meaning three folds or three parts. Tristhana comprises the three founda-
tional attributes that distinguish classical ashtanga yoga from other types
of hatha yoga and provide a road map for safely practicing asanas, or
placing one’s body into a certain shape. The three attributes of tristhana
are breath, focused gaze, and accessing an energetic lock in a specific
posture. In Sanskrit, these are known as pranayama, drishti, and bandha.
Asanas alone are not yoga and will not deliver the full transformative
power of a yoga practice. Without all three attributes working in unison,
there would be no vinyasa involved with the yoga. Vinyasa is the inten-
tional linking of breath and movement, a concept we will dive deeper into
in chapter 3. However, when a pose is combined with a specific gazing
point and a particular quality of breath, the full benefits of yoga can be
felt. The tristhana method offers safety within the physical practice and
direct progression on the path of self-realization through the purification
of the three bodies: physical, mental, and spiritual. Here, we take a closer
look at each of these qualities.

Pranayama, or Breath
Pranayama is the idea of expanding, controlling, and directing one’s
prana, which is life force or vitality. The beginner’s point of introduction
to pranayama, the concept of expanding and controlling one’s life force
energy, is best done with breath control and retention. However, it is
not only these breathing techniques that
create the expansion and control of prana.
The practices of posture, a focused gaze,
“When the Breath and breath control together provide the
wanders, the mind is expansion of prana.
It is the movement of breathing that
unsteady, but when the easily connects us to the idea of move-
Breath is still, so is the ment creating life. Without breath, we
would surely die. So the movement of the
mind still.” breath is essential to life like the beating
–Hatha Yoga Pradipika of the heart is. Our bodies and minds are
external parts of this existence, just like our
 The Fundamentals 19

cars, televisions, and radios. Our cars and TVs need fuel or electricity to
function. Prana is the fuel or wave that carries the signal of life through the
body and mind. This signal moves us and manifests itself in many forms
from physical movements to thought waves. Where there is movement,
there is this life force. Prana is the catalyst for life when it infuses move-
ment into the body and even the subtlest movements in the thoughts of
the mind. Pranayama is not just moving the breath but also controlling
the movements in the body that produce the breath and controlling the
subtleties of the thought that is behind the breath.
In your practice it is important to work with your respiratory system
to its fullest capacity and function. Learning how to control your breath
requires an intimate connection to all the stages of the breath and how
they affect the body and mind. There are many breathing exercises that
yoga practitioners use for many different effects. However, only one
breathing technique specifically aids your practice of ashtanga yoga and
Rocket vinyasa. This is the ujjayi breath. This technique is also useful for
other vinyasa-type practices, so it can be seen as a universal breathing
principle for vinyasa practice.
Ujjayi is translated as “victorious.” This particular breathing technique
can be done on its own in a comfortable seated position, or it can be
applied consciously and with great intention during the practice of your
vinyasa. Ujjayi breathing is a beginner technique. Even so, it can have
a powerful and profound effect on your body. The qualities that define
the ujjayi make observing the breath easier for both the student and the
teacher. More awareness of the breath will lead to a fuller experience in the
yoga practice. Ujjayi breathing also creates a safer experience because the
breath will inform you of whether you are overexerting yourself physically
or whether there is still room to push your edge. The three main qualities
of the ujjayi breath are rhythm, sound, and movement.
Rhythm
Breathing is rhythmic. Inhalations and exhalations should be done with the
same timing. A five-second inhalation requires a five-second exhalation.
If a yoga pose is difficult and causes the breath to lose its rhythm, then
the breath control is lost. If the breath is without control, then there is no
yoga. Postures should be modified as needed to maintain the desired
rhythm of the breath.
Sound
The sound of the breath is smooth. All sound comes from the constriction
of the throat. A smooth hissing sound like the wind or waves of the ocean
is the intention. This sound brings a meditative and calming quality to the
breath. Similar to rhythm, sound enables you to quickly discern whether
you are physically overexerting yourself. Difficulty maintaining the sound
of the ujjayi breath is your signal to find more ease in the posture.
20 Rocket Yoga

Movement
The breath’s movement during an inhalation is an expansion as well as a
lifting of the chest and rib cage. On the exhalation, the core contracts and
squeezes into the spine. Each breath should create an obvious shift and
change in the body’s posture. This is not a normal breath. It is an excited or
active breath that provides a deep, continuous feed of oxygen, or prana,
and movement to the body.

Drishti, or Focused Gaze

A steady gaze leads to a steady mind. Drishti is seen both in a physical
and a metaphysical way. It is not only literally what you see but also an
intentional observation of the inner workings of nature. It is where you
are physically gazing at the moment as well as your intention for your
practice. Nine physical drishti points are traditionally used in the asana
practice. Rocket yoga offers other options beyond these nine points when
creating variations, but these will serve as your basic alignments during
your practice. These are the nine drishti points:
1. Nasikagra—tip of the nose
2. Bhrumadhya—between the eyebrows (third eye)
3. Nabhi chakra—navel
4. Hastagrai—hand or fingertips
5. Padhayoragrai—toes
6. Parshva—to the right
7. Parshva—to the left
8. Angustha ma dyai—thumb
9. Urdhva or antara—up to the sky
The drishti establishes a sense of balance in the spine. The direction of
your gaze affects the position of the head and neck, which will determine
the alignment of your yoga asana. Pay attention to the specific drishti
point for each asana in chapters 4 to 7. Where the eyes go, energy flows.
The direction and fixed gaze of your eyes also brings an intense con-
centration over your practice. The eyes provide the sense of sight, which
can be a distraction when they are focused on external processes. Your
gaze must turn inward for introspection to take place. By holding the gaze
on a specific place, you start to turn the senses inward and increase the
sensitivity and skill of the action at hand. The same works with focusing the
mind to think only of the duty or action that is taking place and keeping
it from wandering to other thoughts, places, or dreams. Through proper
intention, you see beyond the physical realm and into a deep image of
the self.
Your gaze also relates to your memory and your dreams—the vision you
have of the past and for the future. As a yoga practitioner, you understand
 The Fundamentals 21

that truth lies in the present moment, the eternal now. It is not found in
the past, in memories of things that are no more. And it is not found in
your dreams of realizing what you imagine you will desire in the future.
Reality is only in the present. Through focused drishti, you keep yourself
involved with the present moment. You commit to being here now. Once
you are firmly grounded in the present moment, you will have a point from
which to move forward. You will be able to manifest your dreams through
focused intention—through your drishti. This is the secret. Your mind will
attract what it is focused on. Even without physically moving the body
through different yoga postures, you can cultivate focus and learn to use
your drishti in meditation.
One way to improve vision, memory, and focus is to practice trataka,
which is a meditation technique that involves gazing at the flame of a
candle. If you don’t have a candle, you can also gaze at any object, such
as a flower. For these instructions, we will use a candle.

Prepare and Practice

Preparation
Set up a candle in a dark or dimly lit room. The candle should be about two
feet (61 cm) away from you and about chest high. Find a comfortable place
to sit. The room should have no draft or wind that would cause the candle
to flicker. A still flame is best.

Practice
Gaze at the tip of the candle intently for 10 to 15 seconds or until you feel
you can no longer hold your gaze (see figure), then close your eyes. With
your eyes closed, you will see the afterimage of the flame in your mind’s eye.
Concentrate on this image. Begin to envision the qualities of the object—
color, smell, touch, and its entire essence. As the image fades, allow it to
slowly disappear and then slowly open your
eyes. Repeat the exercise.
Try not to look elsewhere in the room as you
do this. Do your best to focus your drishti com-
pletely on the object. At the end of the medita-
tion, make a note of how you feel. This practice
helps develop concentration and understand-
ing of the object being meditated on.
Trataka is not dangerous, but it should be
done with caution if you have glaucoma, epi-
lepsy, schizophrenia, or migraines. It should not
be performed if you are feeling angry, anxious,
or agitated or have a headache because it can
worsen these experiences.
22 Rocket Yoga

Bandhas, or Energetic Locks

Bandhas are energy locks, or valves, that help control the flow of prana
in our nadis. Nadis are energetic lines, or passages, that run through the
body in a pattern similar to our nervous system; more will be explained
about the relationship between the bandhas and nadis later in this section.
The three main bandhas applied in classical ashtanga as well as in Rocket
yoga are all located along the centerline of the body (see figure 2.1). They
correspond to the three diaphragms within the body:
1. Mula bandha (root lock)—pelvic girdle
2. Uddiyana bandha (abdominal lock)—diaphragm
3. Jalandhara bandha (throat lock)—voice box
More than these three main bandhas can be used to understand the
function of bandha both for internal and external control. For example,
the hasta bandha is a great visual example as the open hand closes into a
fist. This shows an area closing in on itself to centralize all the power into
one place. The feet and most joints, like shoulders and knees, can also
use bandhas for protection and stabilization. However, we will focus here
on the three main bandhas.

Sushumna nadi Jalandhara bandha

Central channel of energy Throat lock

Uddiyana bandha Mula bandha

Abdominal lock Root lock

Pingala nadi Ida nadi

Channel of energy on the Channel of energy on the
right side of the body left side of the body

Figure 2.1 Nadis and the three bandhas.

E8815/Kyle/F02.01/698898/mh-R3
 The Fundamentals 23

To understand how bandhas work, think of a river with dams. When the
dams are open, water rushes freely down the river. When a dam is closed,
the energy of the river can be transformed into electrical energy. Ideally,
the river should be full and freely flowing, and the dams should be able
to lock or unlock without trouble, harnessing energy when it’s needed.
Similarly, prana is the flow of energy inside the body. When the prana is
flowing freely through the nadis, the body is at its optimal state of health.
In yoga, it is believed that prana is in a constant state of flowing in and
out of the body. Controlling the bandhas allows you to capture the prana
inside to increase your prana and flush it through all of the nadis to awaken
the spiritual body. Practice allows for the use of the bandhas to push the
prana up the sushumna to the next highest chakra, purifying and curing
ailments and imbalances that lie along the way.
Bandhas have a direct connection with the energetic body within, but
it is easier to describe bandhas in physical terms through the muscles and
organs that correspond with them. Some systems of yoga only see bandhas
as a subtle energetic process. We will move from the gross to the subtle
by allowing the bandha to reflect a physical muscle contraction or group
of muscle contractions that cause the simultaneous internal relaxation to
open particular energetic areas of the body.
Through practice and increased sensitivity, which result from the puri-
fication of the energetic body, this action of bandhas becomes more and
more subtle and constant without much effort at all. The idea of contracting
a bandha causes an internal opening of that area like a lotus flower bud
being squeezed from the bottom and opening its petals.
The bandhas can be practiced together or individually at specific times
during asana, pranayama, mudra, visualization, meditation practice, and
cleansing kriyas, which are discussed at the end of this chapter. They also
occur spontaneously, especially in children, but also in yogis who can allow
themselves to be moved by the evolutionary transformational force—the
kundalini. There are many more bandhas than the classic three acknowl-
edged in ashtanga vinyasa, but some do not have outward flows and,
therefore, we do not need to practice those bandhas, or if we did, there
would be little effect. Our goal is to focus on the three bandhas that help
to untie the knots that restrict our natural flow of energy up the sushumna.
When starting a yoga practice, there is no need to focus on the bandhas.
Start with learning the gross movements and placements for each pose,
and add in a calm and steady breath while holding the pose. Only after
you are able to perform each pose with a stable breath should you focus
on the subtle energetics of the bandhas.
 The Chakras
In the ashtanga system we acknowledge the subtle body, the energetic cen-
ters and channels within the physical body. The seven chakras are located
along the spine from the crown of the head to the base of the sacrum (see
figure 2.2). Chakra is a Sanskrit word meaning “wheel” or “cycle.” Each
chakra has its own characteristics, vibrational frequency, color, and associ-
ated element.

Crown chakra
Third eye chakra

Throat chakra

Heart chakra
Solar plexus chakra

Sacral chakra
Root chakra

Figure 2.2 The seven chakras.

E8815/Kyle/F02.02/698899/mh-R3

Although the chakras cannot be seen or touched, their impact can be

felt both physically and emotionally when they are open or blocked. The
most common and basic description of the chakra system is outlined below.

Associated
ashtanga
Name Location Color Element limb Governs
Crown chakra, or Crown of the White Cosmos Dyana and Connection to the cosmos, indi-
sahasrara (thousand head samadhi vidual dissolves into universal
petal white lotus) consciousness, enlightenment
Third eye chakra, Third eye or Violet Light Dharana Illusion of separateness and
or ajna (unlimited forehead or duality ceases, intuition and
authority) indigo creativity, right hemisphere
receptive mode of conscious-
ness

24
 The Fundamentals 25

Associated
ashtanga
Name Location Color Element limb Governs
Throat chakra, or Throat Blue Sound Pratyahara Verbal communication, logical,
vishuddha (pure) linear thought, left hemisphere
active mode of consciousness
Heart chakra, or ana- Heart, center Green Air Pranayama Agape (unconditional love),
hata (unstricken or of the chest compassion, healing, breathing
liberated)
Solar plexus chakra, Navel to Yellow Fire Asana Power, physical strength,
or manipura (city of solar plexus belongingness
gems)
Sacral chakra, or Uddiyana Orange Water Niyamas Generative, procreation, emo-
svadhisthana (dwell- bandha tions
ing place of the self)
Root chakra, or Mula bandha Red Earth Yamas Grounding and personal securi-
muladhara (founda- or perineum ty,connection to the earth
tion or root) (for men)

Mula Bandha

Associated Chakra: Muladhara

The root (mula) lock moves the earth
chakra energy up through the muladhara
chakra (root chakra) system, con-
Benefits
necting above it to the water chakra
Strengthens the pelvic floor muscles (swadhisthana), while also serving
Relieves menstrual pain as the valve connecting sky energy,
Lowers blood pressure or spirit, below it to the center of
Stabilizes the pelvis to allow for the earth. Mula bandha keeps the
more mobility in the spine energy flowing between the body
Provides a feeling of lightness and and the earth.
integration The muladhara chakra is the
Calms the nervous system most important chakra in hatha,
kundalini, and tantric yoga as well
Cleanses the muladhara chakra
as the most mysterious. It is where
Contraindications our dormant potential and animal
Pregnancy power reside, and it is from here
Hypertension the kundalini is activated and enters
Anxiety into the central channel (sushumna),
Cardiovascular issues activating the superconscious net-
work. This is not an archaic myth or
Hernia
fantasy and should not be ignored
Peptic ulcers nor demeaned, but rather it is
26 Rocket Yoga

knowledge essential to success in hatha yoga. Mula bandha is designed

to keep this energy flowing in this region. In yogic literature, the goddess
Kundalini is pictured as lying dormant in the muladhara chakra in the
form of a serpent coiled three and a half times around a lingam (a sacred
Hindu object representing the god Shiva). The symbol for this chakra is a
downward-facing triangle normally, but when the chakra is activated (by
an activated kundalini) the triangle points upward.

Prepare and Practice

Preparation
The best preparation for mula bandha is ashwini mudra in order to tone the
nerves, glands, and muscles of the area. Ashwini mudra, horse gesture, is
the rhythmic contracting and relaxing of the anal sphincter. It can be done
lying supine with the legs at 90 degrees or in a simple and comfortable seat.

Practice
Contract the anal sphincter muscle and hold for as long as you can before
releasing. For men it is the upward turning (like a triangle) of the space
about one inch (2.5 cm) above the perineum. The perineal space becomes
indented, domed, or sucked in and up, creating empty space for the front
of the pubic bone and sacrum to move toward each other. It is sometimes
described as the sensation of cutting off the flow of urine. It is similar for
women, except that the center of the action occurs at the cervix being drawn
up and in. This is not a pelvic tilt (anterior or posterior, which occurs between
the humerus and pelvis or between the trunk and pelvis), but rather mula
bandha occurs deep within the moveable elements and energetic dynam-
ics of the pelvic girdle itself. It is an energy dynamic more than a muscle
movement. The sensation here is similar to performing a Kegel. Perform
this 8 to 10 times.
 The Fundamentals 27

Uddiyana Bandha
Associated Chakra: Manipura
Uddiyana means “flying upward.”
chakra (solar plexus chakra) It is the bandha that moves the
energy upward from the earth,
Benefits
water, and fire centers into the heart
Relieves constipation and indiges- (air) chakra, strongly influencing
tion the efficacy of the lower bandhas
Strengthens the abdominal muscles by “making room” on top. Some
and diaphragm practitioners say that it helps suck
Increases blood flow in the abdo- the energy into the central column.
men and blood flow to the brain It prevents tension and stagnation
Stimulates gastric fire to develop or accumulate in the
Connects the upper and lower body navel region. Uddiyana bandha not
to work as a whole only cleanses the region around
Opens blockages in the manipura the navel and the front of the lower
chakra, connecting the water center spine, but it also purifies and ener-
(swadhisthana chakra) with the air gizes the entire body.
center (anahata chakra)
Helps untie vishnu granthi
Contraindications
Stomach or intestinal distress or
ulcers
Hernia
High blood pressure
Heart disease
Glaucoma
Pregnancy

Prepare and Practice

Preparation
Tadagi mudra (tank seal) is a simple pose that offers an approximation of
the engagement of uddiyana bandha. By lying down, you can use the force
of gravity to assist in finding the right engagement. To assume this pose,
lie flat on your back and extend the arms overhead until the backs of the
hands touch the ground. Reach the arms away from your center as much
as possible. At the same time, reach the heels away from the body. You are
stretching in opposite directions. As you are stretching, allow the belly to
contract into the torso. Breathe normally in this position, allowing the lower
belly to remain hollow throughout the breath.
(continued)
28 Rocket Yoga

(continued)

Practice
Although uddiyana means “flying upward,” this term refers to the energy,
not the navel point, which remains downward and back toward the spine.
For best results and especially to first learn the effects, start by standing
with the feet approximately shoulder-width apart and facing forward. Take
one hand to the back to feel the part of the spine that lines up opposite
the navel, which will be near the top of the lumbar curve approximately at
T12 (this spot on the spine will vary according to individuals, seasons, and
conditions). Loosen the area in the back and visualize the navel moving
inward toward it, without the spine moving away from the navel. Do not
hunch the shoulders or collapse the chest by concentrating the movement
at the solar plexus and below.
Next, bend the knees slightly, and place the hands on the inside of the
lower thighs with the meat of the palms resting on the top of the lower
thighs and fingers pointing slightly in toward the knees. Avoid placing
undue weight on the hands, arms, or shoulders. Avoid torquing the knees
or legs, rounding the shoulders, and collapsing the upper torso or upper
back. Let the top of the scapula sink away from the ears as the heart remains
lifted. The tailbone moves toward the pubic bone, allowing the tailbone
and sacrum to sink down and find the mula bandha. Resist the tendency of
the pelvis to round in retroversion or tuck in anteversion; keep it long and
stable in mula bandha.
Here, take a deep breath in through your nose, then exhale quickly and
forcibly also through your nose (or pursed lips) as you contract your abdom-
inals to push as much air as possible out of your lungs. Then relax your
abdominal muscles completely. Perform a mock inhalation by expanding
your rib cage (thorax) as if you were going to inhale, but don’t actually take
any air in. You only want to physically expand the rib cage. The expansion
of the rib cage without air creates a vacuum effect that pulls the abdominal
muscles and viscera up into the thorax and hollows the belly. Hold for 5 to 10
seconds, then slowly release and take a full breath. Repeat for 3 to 10 rounds.
 The Fundamentals 29

Jalandhara Bandha
Associated Chakra: Vishuddhi
The throat lock’s purpose is to com-
chakra (throat chakra) press the neck or, more specifically,
the upper-esophageal sphincter.
Benefits
This compression increases the flow
Improves breath retention capacity of prana in the upper chest and to
Develops the ability to concentrate the brain. This bandha is not usually
Improves thyroid function fully engaged while doing asanas
Stabilizes metabolism but instead is a soft constriction. It
Contraindications
is only fully engaged when in med-
itation or during the finishing poses
Hypertension
of a full practice.
Neck pain
Upper-back pain
Cardiovascular problems
Vertigo
Cervical spondylitis
Untreated thyroid problems

Prepare and Practice

Preparation
Jalandhara bandha is the easiest of the bandhas to access. Simply find a
comfortable seat with no distractions.

Practice
From a comfortable seat, lightly place the hands on top of your lap or knees.
Take a full breath in, then draw the center of the sternum forward to meet
your chin. Allow the chin to drop inward and downward just enough to touch
the chest. This movement should elongate the back of the neck and soften
the throat. Keep the shoulders down and the remainder of the body relaxed.
Hunching the shoulders forward to get the chin to rest on the sternum will
not create the benefits of jalandhara bandha. Hold your breath for as long
as you can. Release the bandha by lifting the chin. It is important to release
the bandha before exhaling. Repeat for 3 to 10 cycles.
Rather than conceptualizing the bandha as bringing the chin in toward
the sternal arch, it might be easier to visualize it as bringing the sternal arch
up to meet the chin. Visualize making a double chin by moving the heart
forward, sinking the scapula, and moving the chin down and slightly back.
30 Rocket Yoga

Maha Bandha
The three classic bandhas, mula bandha, uddiyana bandha, and jalandhara
bandha, when practiced together are called maha bandha, or tribandha.
Only a few poses require all three to be applied simultaneously. During
your asana practice, maha bandha promotes constant awareness of the
internal support and processes at a cellular and energetic level. This
allows the energy to build all the way to the end of the practice where it is
released at the moment of meditation and rest. Maha bandha is powerful
when done correctly. The precautions for each individual bandha also
apply when practicing maha bandha.

Prepare and Practice

Preparation
Setu bandhasana (bridge pose) is a good pose for starting to feel the
engagement of maha bandha without excessive effort. Lie flat on your back
and bend your knees, placing your feet flat on the ground, hip-width apart.
Arms are long by your side.

Practice
In this position, inhale deeply, then on an exhale, press the arms and feet
down into the ground and lift the hips as high as possible (see figure).
Bring the hands to the lower back to support the hips, if needed. You can
also place a block under the sacrum for a more restorative effect. Feel the
abdominals gravitate toward the thoracic cavity, opening the base of the
rib cage. Allow them to move with gravity. Stay here for 5 to10 breaths.
Notice how all three bandhas are engaged: mula bandha through the lower
abdominal tone, uddiyana bandha through the opening of the lower ribs
and the gravitational force on the inner abdomen, and jalandhara bandha
associated with the cervical flexion of the neck.
To feel the engagement of maha bandha even more
strongly, from setu bandhasana, fully exhale all the
breath. During the pause after the exhalation,
slowly begin to lower the spine toward
the ground. You will feel a natural lift
in the pelvic floor as the contents
of the abdominal cavity
move toward the
vacuum of the
thoracic space.
This is the sen-
sation of maha
bandha.
 Finding the Bandhas
The practices of certain kriyas (yogic cleansing techniques) are a great exercise
for bandha awareness. Nauli kriya is the most important kriya for the beginner
yogi to learn and perform and can help to access the uddiyana bandha. This
exercise is said to cure diseases in the abdominal region and encourages a
healthy digestive system. It should be done on an empty stomach and preferably
in the morning before eating. It can be incorporated into your daily cleansing
activities like brushing your teeth, taking a shower, and yoga asana. To perform
this exercise, follow these steps:
1. Stand with the feet slightly wider than the hips, then bend the knees.
2. Place the hands on top of the knees with the fingers turned inward to
spread the scapula apart and broaden the upper back. Round the spine
by tucking the tailbone slightly and encouraging the abdominal region
to relax and soften.
3. Look toward your belly to observe the movements. Exhale all the air from
the body, leaving the lungs completely empty.
4. Draw the diaphragm and organs up into the rib cage area as you expand
and stretch the rib cage (see figure a). This is called bahya kumbhaka.
By taking advantage of the atmospheric pressure that surrounds us and
the void that is left in the body from the kumbhaka, an internal vacuum
is created that aids in the manipulation of the internal body. This vacuum
creates a deep internal massage and
energetic stimulations when the lower
abdominal region lifts.
5. Maintaining the vacuum and lift in the
abdomen, try to move the abdominal
muscles in and out or from one side to
the other (see figures b and c). If you
have difficulty creating the vacuum in
the thoracic cavity, try to strongly push
the palms of the hands down into the
upper thighs. Pushing the femur bones
down will naturally create a slight hol-
lowing of the lower abdomen.
a

b c
31
32 Rocket Yoga

Daily Cleansing Rituals

Cleansing rituals are not specific to yoga. Many cleansing rituals are already
part of our daily activities in society. Taking baths and showers to clean the
skin and brushing our teeth make us feel clean and fresh. This affects our
well-being and prepares us for our day. Yogic cleansing techniques were
specifically designed for the hatha yogi. They were originally suggested
for all who practice asana and pranayama to prepare the physical and
subtle bodies with the shatkarma, the six cleansing techniques.
1. Jala neti—cleansing of the nasal passages by pouring filtered water
through the nose
2. Agnisara dhauti—cleansing of the digestive tract
3. Vasti—cleansing of the colon through the use of an enema
4. Trataka—purifying through gazing at a fixed point or the flame of
a candle
5. Nauli—cleansing of the abdominal organs through specific muscular
engagement
6. Kapalabhati—removing toxins from the body through a breathing
technique
When practiced in full, the shatkarma can be intense and require training
because some of the methods can be dangerous if done without proper
guidance. Some kriyas require a particular apparatus, such as a neti pot—a
small container with a spout used for rinsing the nasal passages with saline
solution. These practices are usually done within the privacy of the home,
the same as regular bathing and cleaning practices. Vasti, or enemas, are
not part of Rocket yoga; although under the guidance of a professional,
they can be good for alleviating many common ailments in the digestion
and elimination processes.
Only the purification techniques that are accessible as a daily ritual
done by oneself are focused on here. In Rocket yoga, these daily cleans-
ing techniques are a preparatory series called the four purifications. Each
purification technique can be done alone to great benefit. It is necessary
to establish a repetitive practice over 40 days to see the full effects of
each pranayama. The four purifications are nadi shodhana pranayama,
kapalabhati pranayama, agnisara dhauti, and ashwini mudra.

Nadi Shodhana Pranayama

Nadi shodhana pranayama is a nerve-cleansing technique consisting of
simple alternating nostril breathing. This practice evens the breath that
enters each nostril, alleviating congestion. It also balances the sympathetic
and parasympathetic nervous systems by alternately engaging each one
in rhythm until they are used equally.
 The Fundamentals 33

Prepare and Practice

Preparation
Find a comfortable seated position so all of your attention is on the expe-
rience of the breath.

Practice
Start with a pinch-type grip, and use the thumb of your right hand for the
right nostril and the ring finger of the same hand for the left nostril. Keep
your pointing and middle fingers softly closed into the palm (see figure a).
Exhale all the air out through both nostrils. Close the right nostril with the
thumb, and inhale through the left side (see figure b). Close the left side with
the ring finger (see figure c), then release the thumb from the right nostril
and exhale through the right side (see figure d). Then inhale back through
the right side. Close the right side with the thumb, then release the ring
finger from the left nostril and exhale through the left side. This can initially
be performed for about 10 rounds. Build up to 27 rounds (108 breaths).
Eventually with focus you can perform 40 rounds or more.

a b

c d
34 Rocket Yoga

Kapalabhati Pranayama
Kapalabhati pranayama is known as the skull shining breath. It brings a
glow to the forehead of the practitioner as it builds a rising energy and
sense of heat that makes the forehead sweat. This is also considered one
of the shatkarma techniques. This technique focuses on the action of exha-
lation only. Rhythmic exhalations are short and sharp, and the inhalation is
a natural, effortless refilling of the lungs. People with high blood pressure
or lung disease should not practice this pranayama because breathing in
this way slightly increases the blood pressure during the exercise.

Prepare and Practice

Preparation
Sit comfortably with the spine erect.

Practice
Take one full breath cycle, exhaling completely. On the next inhale, breathe
in only about 60 percent. Use the abdominals and diaphragm to push the air
out on the exhalation. After the squeeze of the diaphragm and push of the
abdominals into the spine that are associated with the exhalation, relax. This
will cause a small amount of air to enter the lungs. Take 30 forced, rhythmic
exhalations, and then rest. These can be done rapidly or as slowly as one
exhalation per second. Three rounds are efficient to feel the effects. Over
time you can build up to 60 breaths and 10 rounds.
 The Fundamentals 35

Agnisara Dhauti
Agnisara dhauti is translated as “fire wash.” This is a technique that requires
you to hold your breath as you exercise the function of the diaphragm.
This exercise can build an intense heat inside that purifies and cleanses
like a low fever. Knowledge and practice of uddiyana bandha will make
this exercise most effective.

Prepare and Practice

Preparation
Find a comfortable seated position and look toward the belly.

Practice
Exhale all your breath and hold for the duration of the round. Use the action
of your diaphragm to pull the belly up and under the rib cage. The rib cage
should expand in all directions. This is often described as a fake inhalation,
where you perform the action of inhalation without letting the air come
in. The result is a vacuum effect on the torso. Repeat this rhythmically as
long as you can with the breath held. Start with 50 pumps over three to five
rounds. Eventually you can build up to 100 or even 500 pumps of the belly
to stoke the inner fire!

Ashwini Mudra
Ashwini mudra is called the horse mudra. This is an excellent preparatory
practice for creating more awareness of the pelvic floor. This exercise is
great for beginning the process of mula bandha practice.

Prepare and Practice

Preparation
Sit comfortably with your spine erect.

Practice
Take a deep inhalation and hold the breath for as long as you feel comfort-
able. Repeatedly with steady rhythm, contract and release the sphincter
muscle. During the contraction, feel a pull up and into the base of the spine.
Relax, and do not push out. Do this 20 to 60 times per round and build up
to 10 rounds.
36 Rocket Yoga

Advanced Application of the Purifications

An advanced technique is to perform the four purifications together in one
routine. The purifications are done in order with no resting breaths between.
This brings efficiency to the purification routine because it can be done in
a shorter amount of time with the same benefits. Perform this before you
begin your asana practice in order to clear your body and mind.
Perform five rounds of nadi shodhana followed by kapalabhati for one
round, finishing off with an exhalation retention for agnisara dhauti. Pump
as long as you can comfortably hold the breath. Immediately take an inhala-
tion retention and practice ashwini mudra for as long as comfortable. After
completing, you can repeat and build up to five rounds. Over time, increase
the number of rounds in each purification.
The Progressive
Ashtanga
Vinyasa Method
3
38 Rocket Yoga

Classical ashtanga is a beautiful but physically demanding practice that

can be seen as overly rigid and monotonous. Rocket yoga is a dynamic
sequence based on ashtanga yoga that creates more space for explora-
tion and provides more modifications for those who need them. When
practiced together, they deliver the benefits of both. On one hand, you
are able to see the progression of a pose because you consistently prac-
tice in the same way. On the other hand, you have a structure that allows
for more playfulness and curiosity. Together, they form the progressive
ashtanga vinyasa method—a yoga practice that combines series from
both classical ashtanga and Rocket to offer a weekly schedule proven to
accelerate your yoga practice.

Introducing the Vinyasa

The Sanskrit word vinyasa is translated as “to place in a special way.” This
implies the need for concentration and awareness of the action within the
present moment. In the yoga practice, vinyasa refers to the union of breath
and body, moving together with intention. It is this union that forms the
foundation of classical ashtanga as well as Rocket yoga. The following are
the defining characteristics of the vinyasa technique that will be the basis
of your yoga practice.

Presence
The vinyasa technique keeps you in the present. Ideally, this works by keep-
ing your attention on each movement and breath at that very moment—
perfecting each movement along the way so the mind is not distracted
by what has passed or what will come. By connecting each movement
to a specific breath, it becomes possible to stay in the present moment
even through challenging physical movements. Instead of focusing on the
tension in the body, bringing the mind to concentrate on the expansive-
ness of the breath at each moment holds the mind in a state of presence.

Counting
Simple rules can be observed when following a vinyasa practice. A vinyasa
system is also a counting system, so it can be viewed with the precision of a
mathematical system. Inhalations are always odd numbers and exhalations
are always even numbers (for example: movement one—inhale; movement
two—exhale; movement three—inhale; movement four—exhale). Sun sal-
utations always begin with an inhalation, extending the arms upward on
the first count. Subsequent sun salutations also start on the count of one.
Although classical ashtanga counts each movement and breath aloud,
it is not necessary to do so in Rocket yoga. Focus instead on the gross
physical movements, the small details of alignment, and the energetic
qualities of each posture. For example, inhalations are expansive move-
ments that extend upward, lengthen the body, and untwist. Exhalations
 The Progressive Ashtanga Vinyasa Method 39

are contracting movements that move downward and inward and twist. By
following these simple rules, you can create simple and effective vinyasa
sequences that follow a breath and energy consciousness.

Transitions
Transitions refer to how you move from one pose to the next. Some tran-
sitions need only one breath, and others require more. Classical ashtanga
uses the transition that offers the most efficient movement from one pose
to the next, linking each movement to a precise breath. Rocket yoga invites
you to add difficulty to the transition when possible, releasing the rigidity
of a precise breath and allowing for more playfulness in these spaces of
movement.

Meditative Movement
The vinyasa absorbs you into a trancelike state. Vinyasa can also be
described as the process of transcending from one point of existence to
another. The vinyasa is whatever helps you accomplish this process.
Many qualities are carried through this amazing and organic way to
create a connection between your physical, mental, and energetic selves.
You can begin to understand the science of the breath behind the tradi-
tional systems. This gives vinyasa a more specific definition and allows you,
no matter the yoga style, to observe the same simple rules of practice.

Precise Placement
A stable foundation is the key to building a stable structure. When force is
properly balanced and evenly distributed, the foundation easily provides
support for long periods of time. However, if the foundation is damaged or
force is unevenly distributed, the structure is exposed to extra strain, which
compromises stability and leaves the structure vulnerable. Either slowly or
quickly, the structure gives in to gravity and collapses. These principles of
architecture can also be applied to the practice of yoga asana. The follow-
ing exercise provides insight into the structure and alignment needed to
properly perform specific yoga asanas.
The body is split into three planes of movement: sagittal, transverse, and
coronal. The sagittal plane splits the body into two sides—right and left;
the transverse plane splits the body into upper and lower; and the coronal
plane splits the body into front and back. To guide proper body placement
you can draw lines on your yoga mat (see figure 3.1). First, to address the
sagittal plane, use a ruler to find the middle of your mat, and draw a cen-
terline down the length of the mat. Next, you will establish the top of the
mat with a dotted line 8 to 12 inches (20-30 cm) from the top edge. This
provides a line to which you always return. There should be enough space
(continued)
 Precise Placement (continued)
to place your hands a few inches in front of your toes when you are standing
in a forward fold with your toes touching that line. Once the top of the mat
is established, it doesn’t change during the standing sequence, just like
the centerline. The next sets of lines are represented by the dotted lines,
which show the width of your shoulders above the top-of-the-mat line and
the width of your hips below the top-of-the-mat line.
We all know our hands are supposed to be shoulder-width apart in the
push-up position, and the feet are hip-width apart. Very few people know
this actual measurement—they simply guess. We want the placement to be
precise, and one way to accomplish this is to mark these widths on the mat.
Lie on your back on your mat and have a friend measure the distance between
your shoulders and between your hips. Mark those points on your mat. If
you don’t have someone to help you, you can also use a measuring tape to
measure your shoulder and hip widths, then apply those measurements to
your mat. Note: When measuring your shoulders, measure from the bony
protrusion on top of your shoulder, not the outside of your shoulder. You
want to get as close to the shoulder joint as
possible, not measuring the extra flesh and Front
muscles on the upper arm. Similarly, for the
hips, try to measure from the bony points in
front of the hips, not the width of the outer
Shoulders
hips.
Create these lines to fit your mat to your Top
body and to guide alignment that will allow Hips
you to make sense of the choices you have
when practicing standing asanas and to build
a proper foundation (hands and feet) for the
pose. Use a ruler, and keep your lines straight.
Be creative and give yourself something
Sagittal plane

pleasing and easy to observe when practic-

ing. Put lines on your favorite yoga towel if
you practice with a towel instead of directly
on the mat.
Today, many yoga mats come with lines
already marked. Although these are useful
for finding the centerline, you may still need
to add your specific shoulder-width and hip-
width measurements. Over time, your body
will be able to feel your foundation and know Back

when it is aligned without the use of lines on Figure 3.1 Yoga mat lines
E8815/Kyle/F03.01/698905/mh-R2
your mat. to guide proper alignment.

40
 The Progressive Ashtanga Vinyasa Method 41

Tempo
The progressive ashtanga vinyasa system modifies the postures to pro-
vide more accessibility to each student. Progressive ashtanga vinyasa
also modifies the tempo of the breath to enhance the overall effects of
the practice. For beginners, it is useful to apply a slower breathing tempo
to allow for explanation of alignment techniques and to provide an easy
environment for learning the postures. This also encourages the mind to
slow down and become more aware of the yoga process and its commu-
nication with the body.
Rocket yoga’s more advanced sequences speed the rhythm to a three- to
five-second count for inhalation and exhalation. This juices up the body’s
fluids and heightens the senses for an empowering practice. The depth
of the breath should never be shortened while tempo is changed. The
deeper the breath, the deeper the practice will become. Encourage the
breath to be profound and deep so that increasing the rhythm does not
feel rushed.

TIPS FOR TEACHERS

Setting the Tempo
Knowing how to set the right tempo for your class will come with time. It is
important to intuit how your students feel and counteract that to help them
achieve balance. If they are stressed from work and moving quickly, slow
them with your rhythm to bring them into the present moment. If they seem
sluggish or low in energy, increasing your tempo will help to move them into
a state of balance and presence.
The timbre and cadence of your voice as well as the cues you provide will
stimulate your students through slower or faster tempos. Speaking loudly
and quickly will invigorate your students. Alternatively, a quiet and slower
cadence will have a calming effect. Record yourself teaching either a full
class or just a few rounds of sun salutations. Listen to your voice. Notice
the tone of your natural speaking voice. Is it naturally fast and energetic? Is
it deep and slow? What small changes can you make to how you speak to
affect the tempo of the class?

Music
Sound and music are important considerations in your own personal prac-
tice and when creating an experience for your students if you teach. Music
can enhance the experience of the practice, but when chosen poorly, it can
be distracting. In the classical ashtanga method, no music is used during
classes, and the sound of the ujjayi breath becomes the rhythm of the
class. The silence creates an atmosphere in which the breath is the primary
sound in the practice room, adding to the meditative flow of the practice.
42 Rocket Yoga

Rocket yoga allows music, which amplifies the energy in the practice,
providing yet another outlet of creativity, expression, and expansion.
Take a few considerations into account when choosing music for practice.
Before you start your practice, decide how you are feeling and what kind
of energy you are seeking to cultivate. The music you choose can set the
energy and atmosphere for your practice. Don’t use music that has a fast
rhythm when you want to slow or ease the practice. Also, if you want to
invigorate your practice with high energy, slower meditative music will
not aid this effect.
Instrumental vs. Lyrics
The easiest music to use for practicing is instrumentals that carry the
particular rhythm or tempo that you want to feel. Instrumentals are less
distracting than music with lyrics. Words and language ignite a specific
part of the brain, and using music with words can be distracting.
Yoga Music vs. Mainstream Music
Students and teachers have different tastes in the type of music that
inspires them. Whether you lean toward music created specifically for yoga,
like ancient chanting (mantras) or classical ragas, or have a more modern
and mainstream music taste inspired by electronic dance music (EDM),
there is music for everyone. What is important is that you choose music
that is authentic to you, music that you truly enjoy listening and moving to.
Synchronizing Music to Movement
The tempo of the music should match or encourage the same energy
being cultivated through movement. The sun salutations and beginning of
the standing asanas should have an upbeat rhythm that builds and keeps
the tempo of the practice steady. As the forward folds in the standing
series are entered, the music tempo slows and coincides with the milder
energy of forward folding. With the seated series, there can again be a
buildup in the rhythm to keep the mind and body active and engaged.
Finishing-series music should slow and encourage introspection. These
suggestions on how to work with music apply to all three Rocket yoga
sequences.
Silence
It can be useful to work with silence in yoga practice because it focuses
the attention on the sound of the breath. It is important to leave a space
for silence at the beginning of practice before chanting om or during
savasana at the end of the practice. If you use music during savasana, it
should be light with no loud or sudden sounds.
Additionally, at any moment during practice, the music can be silenced
to bring more attention to the sound of the breath. Silence is important
because it allows the senses to turn inward, bringing observation within
the body.
 The Progressive Ashtanga Vinyasa Method 43

TIPS FOR TEACHERS

Choosing Music
Choose music that allows your voice to become the song or lyric that
matches the beat as it guides the body through the practice like a dance. If
you choose songs that have lyrics, make sure that you understand the lyrics,
that they are not offensive, and that they do not contradict the vibe of your
class. Positive lyrics and melodic voice tones can sometimes be a positive
addition to your class.
Create a 60- to 90-minute playlist, using the guide here:
• Opening: a few minutes to set the tone for the practice and begin the
sun salutations (5-10 minutes)
• Warming up: moving into the standing sequence (10-15 minutes)
• Peak movement: the most physically intense portion of the practice
(20-25 minutes)
• Cooling down: bringing the energy of the practice back down with
slower movements or longer holds in poses (10-15 minutes)
• Finishing: finishing sequence and final poses (10-15 minutes)
• Savasana: allowing rest, with music or in silence (5-10 minutes)

Sequence
Rocket yoga is simply a reconfiguration of the sequence of traditional
poses. Studying the subsequences of each routine will help you to under-
stand the overall sequence of the entire practice. The subsequences are
the smaller chunks within the series that have a common theme. Every
practice begins with sun salutations A and B, followed by a sequence of
standing poses known as the standing sequence. This is followed by a set
of seated poses from either the classical ashtanga primary or intermediate
series. All practices end with the same sequence targeted at cooling the
body, known as the finishing sequence. You will notice similarities and
overlap between the sequences of classical ashtanga and Rocket yoga,
but starting with sun salutations and the standing sequence and ending
with the finishing sequence is always the same.
The base sequences of Rocket yoga do not add extra or new poses to
the standing sequence. You should be familiar with the traditional series
first and then progress into the deeper science of sequencing with the
Rocket routines. Learn the variations as smaller sequences that can be
added on to help encourage specific effects in the practice. Nothing is
better than practice. Teachers ideally practice the same sequence they
teach each day or a more advanced variation of that sequence.
44 Rocket Yoga

TIPS FOR TEACHERS

Expanding Your Vocabulary
As a teacher, the words you use have an impact not only on the tone of the
class but also on the experience the student has. Expanding your vocabulary
can help you to be more specific in the experience that you build. Applying
stimulating vocabulary encourages depth and creativity for both you and
your students. In addition, knowing how to express an idea in multiple ways
creates efficient communication between what you would like your students
to do or feel and what they actually do and feel.
Here is a list of words you can start to weave into your classes. Write down
any words from other teachers that resonate with you. Write your own list
of words that feel authentic to you and that you would like to remember
for future classes.
Adjectives Verbs Lengthen
and Adverbs Affirm Melt
Aware Anchor Pause
Beautiful Articulate Peel
Compassionate Ascend Play
Conscious Assimilate Pour
Crystal clear Center Probe
Deep Contemplate Reach
Direct Create Refresh
Divine Descend Release
Electric Embody Retreat
Elegant Empower Ride
Energetic Engage Salute
Expansive Enlighten Sip
Expressive Enliven Stimulate
Freeing Explore Support
Fresh Extend Surrender
Grounded Exude Synchronize
Light Flex Transcend
Luscious Flow Transform
Melting Glide Validate
Molding Ground Wiggle
Rooted Grow Wander
Spacious Integrate Wonder
Truthful
 The Progressive Ashtanga Vinyasa Method 45

Firmness, Rational Feminine

or Yang Energy Resolute Generosity
Aspire Resolution Gentle
Bold Humility Gratitude
Confidence Steadfast Happiness
Courage Stillness Intuitive
Dynamic Tolerance Kindness
Energetic Trust Love
Equilibrium Truthfulness Mindfulness
Faith Vigor Open
Fearlessness Vitality Opening
Focused Willpower Passive
Fortitude Receptive
Yin Energy
Independence Reverent
Allow
Inner flowing Soft
Celebrate
Integrity Subtle
Connect
Intention Surrender
Compassion
Patience Wise
Devotional
Purity Yielding
Enthusiasm

Incorporating Creativity
The classical ashtanga sequences as well as the foundational Rocket
sequences are meant to guide your practice and provide a road map that
relies on the power of repetition to boost your practice. By practicing the
same set of sequences, you will notice the physical changes in your body,
and your mind will begin to relax, confident in the sequence of poses.
Now is the time to listen to your body and to the manifestations of
creativity that begin to emerge. If you find yourself wanting to experi-
ment with the different physical forms, feel free to do so. Trying different
variations, spending more time on a pose, or adding drills will empower
your practice. Your body has its own intuition, and the beauty of Rocket
yoga lies in its flexibility that allows each yogi to work where they are most
comfortable at that very moment. In chapter 10, we will cover ways you
can modify this practice to suit where you are at a specific time.
Keep in mind that the feeling of being inside the pose is important.
This feeling, which is an ideal balance between stimulation and comfort,
guides you to the shape inside the pose that is best for your body. There-
46 Rocket Yoga

fore, modifications to make the practice more accessible for stiffer or less
conditioned bodies and variations to make the practice more stimulating
and challenging will be the result of exploration and creativity in your
practice. Creativity might be something as subtle as experimenting with
your hand position (open hand versus closed fist) or where your eyes are
looking. It can also be something more dramatic such as lifting a foot off
the floor to turn a standing posture into a balancing posture or adding a
twist where there usually isn’t one.
Creativity drives the evolution of personal process. Learning to listen to
your inner teacher will open new experiences in your body’s capabilities
with movement and in your mind’s capabilities with perception.

TIPS FOR TEACHERS

Theming a Class
When looking to bring new techniques or postures into your classes, it is
helpful to work around a theme or specific intention. This can be subtle, such
as emphasizing ahimsa throughout the practice, or it can be more direct
and physical, such as opening the hips or strengthening the upper body.
The subtle effects of weaving a theme through a class help to draw students
deeper into the feeling of the practice and self-observation.
These themes can show themselves throughout the sequence, with more
detail brought to preparatory postures or through building up the core
concepts of new postures. Repetition is key for the process of the body’s
learning. Themes should carry themselves throughout a weekly or even
monthly process for students to fully integrate the new postures and the
lessons of the theme. It is useful to convey the theme of the class to the
students so that they can join in the process of bringing attention and detail
to different areas of the body.
As an exercise, write a theme for a class. How can you relate this theme
to the basic fundamental postures in Rocket yoga? What postures can you
integrate or emphasize to iterate your theme? What cues can you provide
to bring the student’s awareness to the theme and how it correlates to their
practice?
 part ii
ASANA LIBRARY

47
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Standing
Postures 4
50 Rocket Yoga

The standing postures are performed at the beginning of both the clas-
sical ashtanga and Rocket yoga series, albeit with some variation. They
warm up the legs and create a grounding energy from which the rest of
the practice can unfold.
All of the standing poses in Rocket yoga come from classical ashtanga.
The notable difference is the sequence that they are practiced in and
the addition of arm balances and inversions that amplify the grounding
energy. As you practice both sequences, notice which one feels better in
your body. Do you feel more physically warmed up with one sequence?
Do you feel a greater grounding energy with the other? Tap into this
self-exploration to guide your practice.
 SAMASTHITI
(sahm-as-TEE-tee)
sama = equal, same sthiti = standing pose

EQUAL STANDING POSE

First drishti: nasikagra—tip of the nose
1. Stand on the mat with the feet together. Arms are relaxed at the
side of the body. Head is neutral. Evenly distribute weight on all four
corners of the feet.
2. Press the base of the big toes into the mat to engage pada bandha.
3. Draw the navel into the spine to engage uddiyana bandha.

Modification
To help with balance, stand with the feet hip-width apart.

51
 URDHVA HASTASANA
(OORD-vah ahs-TAS-ahna)
urdhva = upward hasta = hands asana = pose

UPWARD SALUTE
Eighth drishti: angustha ma dyai—thumb
1. From samasthiti (page 51), on an inhale,
raise the arms above the head, pressing
the palms together at the top.
2. Draw the navel into the spine to engage
uddiyana bandha.

Modification
To ease shoulder tension, bring hands shoul-
der-width apart.

52
 TADASANA VARIATION
(tah-DAHS-anna)
tada = mountain asana = pose

MOUNTAIN POSE (WITH HEELS LIFTED)

First drishti: nasikagra—tip of the nose
1. From uttanasana variation (page 71), on an inhale,
straighten the legs and roll up the spine one ver-
tebra at a time until fully erect. Raise both hands
overhead, turning the palms toward the center-
line and keeping them shoulder-width apart.
2. On an exhale, lift the heels, balancing on the balls
of the feet. Stretch the body completely from the
toes to the fingertips. Pull the front ribs into the
body to prevent the back from arching. Aim to
create a hollow front body, feeling the pose as
a handstand on the feet. Press evenly into the
balls of the feet to avoid balancing on the inner
or outer edge of the foot.
3. Scoop the sacrum under and draw the navel into
the spine to engage uddiyana bandha and stabi-
lize the core. Engage the inner thighs toward the
midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently
apply jalandhara bandha.
4. After a few breaths, walk forward on the balls
of the feet to return to the top of the mat for
samasthiti.

Modification
To aid with balance, leave the heels down, and focus
on lengthening the spine.

53
 CHATURANGA DANDASANA
(CHAT-oor-an-gah dahn-DAS-ahna)
catur = four anga = limb danda = staff asana = pose

FOUR-LIMBED STAFF POSE

LOW PLANK
First drishti: nasikagra—tip of the nose
1. From uttanasana (page 70), place the palms flat on the ground shoul-
der-width apart.
2. Step the feet back so the body is in a high plank, forming one line
from the shoulders to the heels.
3. Bend the elbows, and lower the body until the elbows are at 90
degrees and pointing toward the back of the mat. Keep the entire
body as straight as possible during the motion.
4. Draw the navel into the spine to engage uddiyana bandha.

Modification
If you do not have the strength to perform the full chaturanga from high
plank, lower the knees to the ground, and from this position, bend the
elbows to lower to the ground.

54
 URDHVA MUKHA SVANASANA
(OORD-vah MOO-kah shvah-NAHS-ahna)
urdhva = upward mukha = facing svana = dog asana = pose

UPWARD-FACING DOG
First drishti: nasikagra—tip of the nose
1. From chaturanga dandasana (page 54), straighten the arms com-
pletely, keeping the hips and lower body close to the ground.
2. Untuck the toes so the tops of the toes touch the mat.
3. Engage the quads and lift the knees off the ground.
4. Draw the torso and ribs through the arms, keeping the shoulders away
from the ears. Lift the chin slightly.
5. Draw the navel into the spine to engage uddiyana bandha.

Modification
Keeping the knees on the ground, straighten the arms only halfway and lift
the head and collarbones using the upper-back muscles.

55
 ADHO MUKHA SVANASANA
(AH-doh MOO-kah shvah-NAHS-ahna)
adho = downward mukha = facing svana = dog asana = pose

DOWNWARD-FACING DOG
Third drishti: nabhi chakra—navel
1. From urdhva mukha svanasana (page 55), on an exhale, keep the hands
and feet in place as you lift the hips to form an inverted V shape.
2. Press the thighs toward the back of the mat, and then press into the
hands to move the rib cage toward the thighs.
3. Lower the heels toward the ground as much as possible.
4. Draw the navel into the spine to engage uddiyana bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

56
 UTKATASANA
(OOT-kah-TAHS-anna)
utkata = fierce, powerful asana = pose

FIERCE POSE
CHAIR POSE
AWKWARD POSTURE
Eighth drishti: angustha ma dyai—thumb
1. From samasthiti (page 51), on an inhale,
bend the knees as much as possible while
keeping the heels on the ground and the
torso erect. Raise both arms overhead,
press the palms together, and reach the
fingers toward the sky.
2. Keep the big toes, ankles, and knees
touching by engaging the inner thighs.
Keep the weight on the feet evenly dis-
tributed between the ball of the foot and
heels. Tuck the tailbone, aligning the tops
of hip bones parallel to the floor. Lift the
sternum to open the heart, and pull the
front ribs in to secure the front of the body.
3. Draw the navel into the spine to engage
uddiyana bandha. Lift the pelvic floor
to engage mula bandha. Maintain the
soft sound of the breath through the
contraction of the throat to gently apply
jalandhara bandha.

Modifications
• To ease shoulder tension, bring the hands
shoulder-width apart.
• To reduce work in the legs, decrease the
bend in the knees.
• To aid with balance, widen the stance side
to side.
• To ease neck tension, shift the drishti for-
ward to lengthen the back of the neck.

57
 ARDHA UTKATASANA
(ARD-hah OOT-kah-TAHS-anna)
ardha = half utkata = fierce, powerful asana = pose

HALF-CHAIR POSE
First drishti: nasikagra—tip of the nose
1. From utkatasana (page 57), on an exhale, bring the torso parallel to
the floor until it is just touching the upper thigh. Both the thighs and
the torso are parallel to the ground. Clasp the hands and raise the
arms above the ears to prevent the upper back from rounding forward.
2. Reach the crown of the head forward and the tailbone back in oppo-
sition to lengthen the spine. Keep the weight of the body shifted
back into the heels to prevent them from lifting. This will engage the
thighs more.
3. Draw the navel into the spine to lift the belly off the thighs and engage
uddiyana bandha. Press the heels down, squeeze the inner thighs
together, and lift the pelvic floor to engage mula bandha. Maintain
the soft sound of the breath through the contraction of the throat to
gently apply jalandhara bandha.

Modifications
• To ease shoulder tension, bring the hands shoulder-width apart.
• To reduce work in the legs, decrease the bend in the knees.
• To aid with balance, widen the stance side to side.

58
 KAKASANA
(kah-KAHS-ahna)
kaka = crow asana = pose

CROW POSE
First drishti: nasikagra—tip of the nose
1. From utkatasana (page 57), place both palms on the floor, shoul-
der-width apart. Bring the knees either to the top of the elbow, to the
top of the triceps, or to the outside of the triceps. Look forward and
lean forward to bring the weight of the body to the hands.
2. Lift both feet off the ground. Engage the inner thighs to keep the big
toes touching.
3. Continue to push both hands into the ground and balance on the
hands.
4. Lift the pelvic floor to engage mula bandha and draw the navel into
the spine to engage uddiyana bandha.

Modifications
• To relieve weight on the wrists, lift only the heels from the mat until the
wrists are strong enough to support the body weight.
• To work on balance, lift one foot at a time, alternating between feet.

59
 BAKASANA A
(bahk-AHS-anna)
baka = crane asana = pose

CRANE POSE
First drishti: nasikagra—tip of the nose
1. From ardha utkatasana (page 58), on an exhale, place the hands on
the mat shoulder-width apart, spreading the fingers to broaden the
surface space and stabilize the wrists.
2. Bend the elbows, placing the knees on the shelf created by the upper
arms. Place the knees as close as possible to the armpits. Shift the
weight forward from the feet to the hands, and lift the feet by engag-
ing the hamstrings.
3. Move the elbows forward until they stack over the wrists. Move the
weight on the hands to the balls of the hands and fingers. This will
allow you to use the entire hand to help with balance. Squeeze the
inner thighs toward the midline for more lift.
4. On an exhale, straighten the arms. Press the knees firmly into the
arms, and pull the thighs into the chest.
5. Draw the navel into the spine to engage uddiyana bandha. Lift the
pelvic floor to engage mula bandha.

Modifications
• To relieve weight on the wrists, lift only the heels from the mat until the
wrists are strong enough to support the body weight.
• To work on balance, lift one foot at a time, alternating feet.
• A block can be used to support the feet in an upright position, simu-
lating the feeling of balance in the full pose.

60
 VIRABHADRASANA A
(veer-ah-bah-DRAHS-anna)
virabhadra = warrior asana = pose

WARRIOR I
Fourth drishti: hastagrai—hand or fingertips
1. From adho mukha svanasana (page 56), on an inhale, step one foot
forward into a lunge, rotating the back heel in 45 degrees to press the
heel and the outer edge of the back foot into the floor.
2. Raise both arms overhead, clasp the hands together and interlace the
fingers, and then press the palms toward the sky.
3. As much as possible, keep the ribs and hips square to the front of the
mat. Bring the forward knee over the ankle to create a 90-degree angle,
allowing the thigh of the forward
leg to lower until it is parallel to
the ground.
4. Without moving either foot,
engage the inner thighs as though
bringing the legs together in the
center. This will create an oppo-
sition that strengthens the legs.
5. Draw the navel into the spine to
engage uddiyana bandha, and
keep the breath in the heart space.
Lift the pelvic floor to engage
mula bandha. Maintain the soft
sound of the breath through the
contraction of the throat to gently
apply jalandhara bandha.
6. Repeat on the other side.

Modifications
• To ease shoulder tension, bring the
hands shoulder-width apart.
• To aid with balance, widen the
stance side to side.
• To ease the opening of the hips, lift
the back heel, shorten the stance,
or decrease the angle of the lunge.

61
 VIRABHADRASANA B
(veer-ah-bah-DRAHS-anna)
virabhadra = warrior asana = pose

WARRIOR II
Fourth drishti: hastagrai—hand or fingertips
1. From virabhadrasana A (page 61), on an exhale, open the hips toward
the side of the mat and allow the feet to slide a little farther apart.
Release the clasp of the hands, and open the arms to the sides until
they are parallel to the floor and aligned over the legs.
2. Bring the forward knee over the ankle to create a 90-degree angle,
allowing the thigh of the forward leg to lower until it is parallel to the
ground. Without moving either foot, engage the inner thighs as though
bringing the legs together in the center. This will create an opposition
that strengthens the legs. Press the heel and the outer edge of the back
foot into the floor, maintaining a lifted arch in the back foot.
3. Gently tuck the tailbone to balance the pelvis, keeping the spine per-
pendicular to the ground. Draw the shoulder blades down the back to
lift the chest.
4. Draw the navel into the spine to engage
uddiyana bandha and keep the breath
in the heart space. Lift the pelvic floor
to engage mula bandha. Maintain the
soft sound of the breath through the
contraction of the throat to gently apply
jalandhara bandha.
5. Repeat on the
other side.

Modifications
• To ease shoulder tension, turn
the palms toward the sky.
• To aid with balance, widen the
stance side to side.
• To ease the opening of the
hips, turn the back foot out
to 90 degrees, shorten the
stance, or decrease the angle
of the lunge.

62
 UTTHITA TRIKONASANA
(oo-TEE-tah tree-cohn-AHS-anna)
utthita = extended tri = three kona = angle asana = pose

TRIANGLE POSE
Eighth drishti: angustha ma dyai—thumb
1. From virabhadrasana B (page 62), on an inhale, straighten the front
leg, keeping the arms in the T position out to the sides.
2. On an exhale, extend the torso over the forward leg. Reach the bottom
hand toward the forward foot. With the first two fingers, clasp the big
toe of the forward foot while reaching up with the upper arm, creating
opposition that opens across the heart space.
3. Avoid collapsing the torso by opening the chest toward the sky. Avoid
overextension of the spine by gently tucking the tailbone. Move the
lower hip under as the upper hip opens to align the hips.
4. Draw the navel into the spine to engage uddiyana
bandha and keep the breath in the heart space. Lift
the pelvic floor to engage mula bandha. Maintain
the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
5. Repeat on the other side.

Modifications
• To decrease the stretch on the hamstring or the side
body or both, place the lower hand onto a block, the
ankle, or the shin.
• To align the upper body with the legs, set up the
pose with your back to a wall, then lean back into
the wall as you move into the pose.

63
 PARIVRTTA TRIKONASANA
(par-ee-VREET-tah tree-cohn-AHS-anna)
parivrtta = revolved tri = three kona = angle asana = pose

REVOLVED TRIANGLE POSE

Eighth drishti: angustha ma dyai—thumb
1. From utthita trikonasana (page 63), on an exhale, look down toward the
ground, and then step the back foot in to shorten the stance enough
to square the hips to the front of the mat.
2. On an inhale, bring the opposite hand to the outside of the forward
foot, pressing the palm into the ground. Reach the other hand toward
the sky. Lengthen and twist from the base of the spine, opening the
chest toward the sky.
3. Keep the hips square to stabilize the base of the spine, lengthening
through the crown of the head and extending back through the sacrum.
4. Push down into the ground with the bottom hand to provide the
rotation and twist needed for the top hand to reach higher. Distribute
the weight evenly between the legs to stabilize the
pelvis further.
5. Draw the navel into the spine to engage uddiyana
bandha and keep the breath in the heart space.
Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. Bring the chin
toward the shoulder to gently apply jalandhara bandha.
6. Repeat on the other side.

Modifications
• To aid with balance, widen the
stance side to side.
• To decrease the stretch on the
hamstrings or side body or
both, place the lower hand onto
a block, the ankle, or the shin.
• To d e c re a s e t h e t e n s i o n
induced by twisting the spine,
place both hands on the floor
or on blocks to emphasize the
work in the legs.
• To secure the base of the spine
for twisting, place the top hand
on the sacrum, focusing on
keeping it square to the ground
during the twisting motion.

64
 UTTHITA PARSVAKONASANA
(oo-TEE-tah pars-vah-cohn-AHS-anna)
utthita = extended parsva = side kona = angle asana = pose

EXTENDED SIDE ANGLE POSE

Fourth drishti: hastagrai—hand or fingertips
1. From parivrtta trikonasana (page 64), on an exhale, look toward the
ground. Use both hands to bend the front knee, and step the back
foot farther back to take a wider stance, allowing the hips to open
to the side of the mat. The front thigh creates a 90-degree angle to
the shin. The shoulders are in line with the hips. The forward hand is
placed with the palm flat on the ground outside of the forward foot.
2. On an inhale, reach the back arm above the head and forward at a
45-degree angle, creating a long line along the side of the body from
the outer edge of the back foot to the hand of the top arm. Spin the
chest up toward the sky.
3. Press the outside of the front knee into the arm that is pressing into
the ground. This action will open the inner thigh and pelvis. If the
front knee moves past a 90-degree angle, slide the back foot farther
to lengthen the stance.
4. Draw the navel into the spine to engage uddiyana bandha and keep
the breath in the heart space. Engage the inner thighs toward the
midline to lift the pelvic floor and engage mula bandha. Bring the
chin toward the shoulder to gently apply jalandhara bandha.
5. Repeat on the other side.

Modifications
• To decrease compression in the hip, do not
place the forward hand on the floor. Instead,
bring the elbow to the top of the thigh, creating
more space in the hip and side body.
• To focus more on the alignment
of the torso, reach the top arm
straight up to the sky.

65
 PARIVRTTA PARSVAKONASANA
(par-ee-VREET-tah pars-vah-cohn-AHS-anna)
parivrtta = revolved parsva = side kona = angle asana = pose

REVOLVED SIDE ANGLE POSE

Fourth drishti: hastagrai–hand or fingertips
1. From utthita parsvakonasana (page 65), on an inhale, return to standing
and square the torso and hips to the front of the mat, keeping the
deep bend in the front knee.
2. On an exhale, twist from the base of the spine toward the front knee,
placing the opposite elbow outside of the knee. Extend the arm so
the hand reaches to the ground outside of the foot, pressing the palm
firmly into the ground. Extend the other arm over the head to create a
straight line from the outer edge of the back foot through the middle
finger of the top hand.
3. Apply extra effort into maintaining deep breaths in twisting postures
that apply more compression to the torso. The downward pressure in
the bottom hand is essential for opening the twist of the spine, even if
just the fingertips keep reaching into the ground as the chest rotates
and opens toward the sky.
4. Keep downward pressure on both feet by engaging the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Draw the navel into the spine to engage uddiyana bandha, lifting the
belly to provide space for more rotation of the spine. Bring the chin
toward the shoulder to gently apply jalandhara bandha.
5. Repeat on the other side.

Modifications
• To emphasize the rotation of the spine, when bringing the outside of
the elbow to the opposite knee, press the palms together in
prayer, and bring the thumbs to the center of the sternum.
• To ease the opening of the hips, shorten the stance
and decrease the angle of the lunge.
• To aid with balance, lift the back heel or
completely drop the back knee
to the ground.

66
 PINCHA MAYURASANA
(PEEN-cha my-oor-AHS-anna)
pincha = feather mayura = peacock asana = pose

LIFTED PEACOCK FEATHER POSE

FOREARM STAND
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an exhale, drop the knees
and elbows to the ground to prepare. Grab opposite elbows to
measure a forearm’s length between the elbows, then straighten the
forearms so they are parallel with the sides of the mat. Spread the
fingers wide, rotate the upper arms externally, and press the forearms
firmly into the mat.
2. Lift the knees off the mat, and walk the feet in
toward the elbows, beginning to shift weight
from the legs to the arms.
3. On an inhale, gently kick up with one or two
legs until both legs are extended straight
over the hips and shoulders. Squeeze the
elbows toward one another to stabilize the
foundation. Keep the body active and firm
for easier balance.
4. Engage the bandhas by tucking the tailbone
for uddiyana bandha, and squeeze the legs
together to awaken mula bandha. Press into
the shoulder blades to lengthen the neck
and prevent the shoulders from collapsing.
5. Hold for as long as needed.
6. On an exhale, lower the legs to the mat with
control, straighten the elbows, and press into
downward-facing dog.

Modifications
• If maintaining a parallel position in the fore-
arms is difficult, change the foundation of your
forearms by placing one hand on top of the
other to create a triangular foundation.
• If there is not sufficient strength to carry the
weight of the body in the shoulders, lift only
one leg toward the sky for dolphin pose.
Practice both sides.
• Practice the forearm plank position for shoul-
der stabilization without the balance.
67
 PADANGUSTHASANA
(pod-ang-goosh-TAHS-anna)
pada = foot angustha = big toe asana = pose

BIG TOE POSE

Third drishti: nabhi chakra—navel
1. From adho mukha svanasana (page 56), walk the hands toward the
back of the mat, coming into a forward-folding position with the feet
hip-width apart and parallel. Clasp the big toes with the first two
fingers of both hands.
2. On an inhale, look up, lift the chest, and pull the shoulder blades
back and down.
3. On an exhale, lengthen the spine and fold forward, allowing the
elbows to extend out toward the sides while the crown of the head
reaches toward the floor. Shoulders lift away from the ears to relax
the shoulders. Engage the front of the thighs to release tension in the
hamstrings. Allow the crown of the head to reach slightly forward and
down to prevent the spine from rounding excessively.
4. Draw the navel into the spine to engage uddiyana bandha even before
bending forward and keep the breath in the heart space. Engage the
inner thighs toward the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

68
 PADAHASTASANA
(pah-dah-has-TAHS-anna)
pada = foot hasta = hand asana = pose

FOOT TO HAND POSE

Third drishti: nabhi chakra—navel
1. From padangusthasana (page 68), on an inhale, look up and lift the
torso to extend the spine. Release the big toes, then slide the palms
under the soles of the feet with palms facing upward until the toes
come all the way to the wrist creases.
2. On an exhale, fold forward, maintaining the length in the spine. Allow
the elbows to bend out toward the side or back toward the body.
Balance the weight in the feet evenly from the balls of the feet to the
heels. Shoulders lift away from the ears to relax shoulders. Engage
the front of the thighs to release tension in the hamstrings. Allow the
crown of the head to reach slightly forward and down to prevent the
spine from rounding excessively.
3. Draw the navel into the spine to engage uddiyana bandha even before
bending forward and keep the breath in the heart space. Engage the
inner thighs toward the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

69
 UTTANASANA
(OOT-tan-AHS-ahna)
ut = intense, powerful, deliberate
tan = stretch, lengthen asana = pose

INTENSE STRETCH
STANDING FORWARD FOLD
Third drishti: nabhi chakra—navel
1. From samasthiti (page 51), fold forward, hinging from the hips.
2. Draw the navel into the spine to engage uddiyana bandha.

Modification
To ease the hamstring stretch and lower-back stretch, bend the knees gen-
erously, resting the front of the ribs on top of the thighs.

70
 UTTANASANA VARIATION
(OOT-tan-AHS-ahna)
ut = intense tan = stretch asana = pose

INTENSE STRETCH
Third drishti: nabhi chakra—navel
1. From padahastasana (page 69), on an inhale, look up and lift the torso
to extend the spine and stretch the back of the wrists.
2. On an exhale, release both hands from under the feet and grab oppo-
site elbows. Relax the torso and allow gravity to pull on the upper
body, reaching the elbows toward the tops of the feet. Gently shake
the head to release tension in the neck.
3. Draw the navel into the spine to engage uddiyana bandha even before
bending forward and keep the breath in the heart space. Engage the
inner thighs toward the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

71
 ARDHA UTTANASANA
(AR-dha OOT-tan-AHS-ahna)
ardha = half ut = intense tan = stretch asana = pose

HALF INTENSE STRETCH

HALF LIFT
First drishti: nasikagra—tip of the nose
1. From uttanasana (page 70), keep the hands on the ground, and lift the
torso until the arms are straight and the spine is lengthened forward.
2. Draw the navel into the spine to engage uddiyana bandha.

Modification
Place the hands on the front of the shins or the knees and lift the torso
halfway from that point, keeping the knees generously bent.

72
 PRASARITA PADOTTANASANA A
(pra-sa-REE-tah pah-doh-tahn-AHS-anna)
prasarita = spread pada = foot
ut = intense tan = stretch asana = pose

WIDE-LEG INTENSE STRETCHING POSE

First drishti: nasikagra—tip of the nose
1. From samasthiti (page 51), on an inhale, step the right foot toward the
back of the mat, turn the body to face the side of the mat, and bring
the arms out to form a T. The outer edges of the feet are parallel, and
the feet are wider than shoulder width. With the arms extended to the
side, the feet should be under the forearms, anywhere from under the
elbows to under the wrists. When you fold forward, the crown of the
head should touch the ground between the feet. Adjust the width of
the stance accordingly. Once you find your stance, press the outside
edges of the feet into the mat to lift the inner arches of the feet.
2. On an exhale, bring the hands to the waist.
3. On an inhale, reach both arms overhead, and then on an exhale,
lengthen the spine and fold forward, placing the hands on the mat
shoulder-width apart with the fingertips in line with the toes.
4. On an inhale, lift the torso halfway to establish a strong and straight
spine, and then on an exhale, fold forward, bringing the crown of the
head toward the ground. Keep the elbows pointed toward the back
and bent to 90 degrees. Draw the scapula up the back and away from
the shoulders.
5. Engage the inner thighs toward the midline to lift the pelvic floor
and engage mula bandha. Lift the belly to engage uddiyana bandha.
This will assist in pelvic tilt and support the lower-lumbar area during
the compressive nature of the fold. Keep the chin locked to engage
jalandhara bandha. This will aid in blood pressure control because
blood moves into the head during standing forward folds.

Modifications
• To ease the hamstring
stretch, bend the knees
generously.
• Place the forehead
or hands on blocks
to help maintain
spinal extension
in the forward
fold.

73
 PRASARITA PADOTTANASANA B
(pra-sa-REE-tah pah-doh-tahn-AHS-anna)
prasarita = spread pada = foot
ut = intense tan = stretch asana = pose

WIDE-LEG INTENSE STRETCHING POSE

First drishti: nasikagra—tip of the nose
1. From prasarita padottanasana A (page 73), on an inhale, look up and
lift the torso to extend the spine. Stay here for the exhalation, and
bring the hands to the waist.
2. On an inhale, stand up all the way and bring the arms over the head,
pressing the palms together at the top. Look up toward the thumbs.
3. On an exhale, bring the arms behind the back and place the hands
in the reverse prayer position.
4. On an inhale, look up to the sky and press the palms firmly together
to open the chest.
5. On an exhale, fold forward at the waist, keeping the elbows open,
and place the crown of the head on the floor. Shift the weight forward
in the feet so the heels are not heavy and the hips align forward with
the legs and feet.
6. Engage the inner thighs toward the midline to lift the pelvic floor
and engage mula bandha. Lift the belly to engage uddiyana bandha.
This will assist in pelvic tilt and support the lower-lumbar area during
the compressive nature of the fold. Keep the chin locked to engage
jalandhara bandha. This will aid in blood pressure control because
blood moves into the head during standing forward folds.

Modifications
• To ease the hamstring stretch,
bend the knees generously.
• Place the forehead or hands on
blocks to help to maintain spinal
extension in the forward fold.
• To ease shoulder tension, grab
opposite elbows or bring the
fists together behind the back.

74
 PRASARITA PADOTTANASANA C
(pra-sa-REE-tah pah-doh-tahn-AHS-anna)
prasarita = spread pada = foot
ut = intense tan = stretch asana = pose

WIDE-LEG INTENSE STRETCHING POSE

First drishti: nasikagra—tip of the nose
1. From prasarita padottanasana B (page 74), on an inhale, come fully
upright, look to the sky, reach the arms overhead, and press the palms
firmly together.
2. On an exhale, interlace the fingers behind the back, then straighten
the arms to draw the shoulder blades inward and down.
3. On an inhale, look up, open the chest, and extend the crown of the
head toward the sky. On an exhale, lift the clasped hands off the back
to fold forward, taking care to maintain the neutral spine position.
Bring the crown of the head toward the ground.
4. Engage the inner thighs toward the midline to lift the pelvic floor
and engage mula bandha. Lift the belly to engage uddiyana bandha.
This will assist in pelvic tilt and support the lower lumbar area during
the compressive nature of the fold. Keep the chin locked to engage
jalandhara bandha. This will aid in blood pressure control because
blood moves into the head during standing forward folds.

Modifications
• To ease the hamstring stretch, bend the knees generously.
• Place the forehead or hands on blocks to help to maintain spinal
extension in the forward fold. To ease shoulder tension, use a strap to
aid with the bind.

75
 PRASARITA PADOTTANASANA D
(pra-sa-REE-tah pah-doh-tahn-AHS-anna)
prasarita = spread pada = foot
ut = intense tan = stretch asana = pose

WIDE-LEG INTENSE STRETCHING POSE

First drishti: nasikagra—tip of the nose
1. From prasarita padottanasana C (page 75), on an inhale, come fully
upright, look to the sky, reach the arms overhead, and press the palms
firmly together to open the chest.
2. On an exhale, fold forward, reaching the hands toward the feet, clasp-
ing the big toes with the first two fingers, and pulling the shoulder
blades down and back.
3. On an inhale, look up and lengthen the crown of the head toward the
horizon, opening the chest. Press down with the toes while pulling
up with the fingers.
4. On an exhale, pull yourself into a forward fold, with the elbows reach-
ing out toward each side to create a straight line from the left elbow
across the upper back to the right elbow. Keep the wrists lifted and
in line with the elbows. Keep the thumbs tucked in or touching the
fingertips instead of pushing them down into the floor.
5. Engage the inner thighs toward the midline to lift the pelvic floor
and engage mula bandha. Lift the belly to engage uddiyana bandha.
This will assist in pelvic tilt and support the lower-lumbar area during
the compressive nature of the fold. Keep the chin locked to engage
jalandhara bandha. This will aid in blood pressure control because
blood moves into the head during standing forward folds.

Modifications
• To ease the hamstring stretch,
bend the knees generously.
• Place the forehead or hands on
blocks to help to maintain spinal
extension in the forward fold.

76
 SAMAKONASANA
(sah-ma-cohn-AHS-anna)
sama = same kona = angle asana = pose

HORIZONTAL SPLITS
First drishti: nasikagra—tip of the nose
1. From prasarita padottanasana D (page 76), on an inhale, look up
halfway to extend the spine, and then on an exhale, place both hands
to the center of the mat and begin to slide the feet apart from one
another, directly out to the sides. Both legs and the hips should stay
in one line. If possible, sit on the ground while pressing the hands
into the mat or dropping onto the elbows.
2. Keep the legs actively squeezing toward each other, with the feet
pressing down to engage mula bandha. Keep the pressure of the
feet on the ground to support the stability of the stretch. Uddiyana
bandha will help to maintain the length in the spine and isolate the
opening of the fold into the hip socket. Keep the throat locked to
maintain a controlled breath.

Modification
Use a block or blocks to bring the floor closer to meet the hands.

77
 HANUMANASANA
(hah-new-mahn-AHS-anna)
hanuman = monkey king asana = pose

CLASSIC SPLITS
First drishti: nasikagra—tip of the nose
1. From samakonasana (page 77), on an inhale, place both hands on
the ground to lift the torso, and rotate the body to face the right leg.
The right leg is extended straight out in front of the body, while the
left leg is extended straight behind, creating one line with the legs.
2. On an exhale, slide the legs farther apart until both legs are firmly on
the ground.
3. On an inhale, lengthen the spine and reach both arms overhead,
touching the palms together in the center. On an exhale, fold for-
ward over the right leg, bringing the hands toward the foot and the
forehead toward the shin.
4. Hold for as long as needed, then repeat on the other side.

78
 Modifications
• To ease the front leg hamstring stretch, use a block under the front thigh
to support the leg and the process of relaxing without overstretching
(see figure a).
• To focus on opening the hip of the back leg, bend the front knee gen-
erously (see figure b).
• Use blocks under both hands to support the body and provide ground-
ing (see figure c).

b c

79
 UPAVISTHA KONASANA VARIATION
(oo-pah-VEES-tah cohn-AHS-anna)
upavistha = seated kona = angle asana = pose

SEATED WIDE-ANGLE POSE

First drishti: nasikagra—tip of the nose
1. From hanumanasana (left side) (page 78), on an inhale, return to an
upright seated position, and then on an exhale turn toward the side
of the mat with both legs extended at equal angles from the torso.
2. On an inhale, raise both arms overhead, lengthening both sides of
the body.
3. On an exhale, fold forward between the legs, leading with the heart.
Maintain the extension of the spine by keeping the head up and
changing the gaze to look forward. Engage the bandhas to support the
weight of the torso, keeping the spine as straight as possible so that
the bottom of the ribs reach the ground before the chest and head.
4. To add a side stretch on an inhale, lift the right arm toward the sky to
lengthen the side body. On an exhale, reach the right hand toward the
left foot, allowing the left shoulder to slide in front of the left thigh.
Reach out through the right heel to ground the leg and increase the
side stretch. Avoid collapsing the chest into a forward fold; instead,
turn the front of the chest toward the sky to keep the stretch in the
side body. Hold for as long as needed, then repeat on the other side.

Modification
If the hip flexors, inner thighs, or hamstrings are tight, do not fold forward.
Instead, place the hands on the ground behind the hips and focus on sitting
tall and finding the extension of the spine through the base of the sacrum.

80
 MULA BANDHA CHECKUP
(moo-lah bahn-dah)
mula = root bandha = lock checkup = to lift off the floor

STRADDLE PRESS
First drishti: nasikagra—tip of the nose
1. From upavistha konasana variation (page 80), on an inhale, return to
an upright seated position.
2. On an exhale, place the hands on either side of the left leg, framing
the knee. Take a small forward fold over the left leg, engaging the
uddiyana bandha and mula bandha strongly.
3. On an inhale, press the hands into the ground to lift both legs off the
ground in the straddle position. Keep the muscles of the face and jaw
relaxed. Hold for as long as needed, then repeat on the other side. It is
the strong engagement of the mula bandha and the lower abdominals
that will lift the legs and hold them in the straddle position.

Modifications
• Use blocks under the hands to provide space to lift into.
• Lift only one or both legs, keeping the hips on the floor.
• Lift only the hips, keeping both heels on the floor.

81
 PARSVOTTANASANA
(parsh-voh-tahn-AHS-anna)
parsva = side ut = intense tan = stretch asana = pose

INTENSE SIDE STRETCH POSTURE

PYRAMID POSE
Fifth drishti: padhayoragrai—toes
1. From uttanasana (page 70), bring the arms behind the body, pressing
both palms together with the fingers pointing upward in a reverse
prayer position. On an inhale, lift the torso until standing, and lift the
chin to look up. Keep the arms in reverse prayer position.
2. On an exhale, step one foot back about three feet (1 m), keeping it
in line with the front foot. Pivot on the feet to turn around to face the
back of the mat.
3. On an inhale, draw the shoulder blades to the centerline, pressing
the palms firmly together and taking a small backbend to open the
chest and upper back.
4. On an exhale, bend from the hips over the front leg, leading with the
heart center. Reach the chin toward the shin, keeping the weight in
both legs even to keep the hips even and level.
5. Draw the navel into the spine to engage uddiyana bandha even before
bending forward and keep the breath in the heart space. Engage the
inner thighs toward the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
6. Repeat on the other side.

82
 Modifications
• To aid with balance, widen the stance side to side.
• To decrease the stretch on the hamstring, place the hands on the floor,
the ankle, or the shin (see figure a).
• To ease shoulder tension, grab opposite elbows or bring the fists
together behind the back (see figure b).

a b

83
 UTTHITA HASTA PADANGUSTHASANA A
(oo-TEE-tah hahs-tah pod-ang-goosh-TAHS-anna)
utthita = extended hasta = hand
pada = foot angustha = big toe asana = pose

EXTENDED HAND TO BIG TOE POSTURE

Fifth drishti: padhayoragrai—toes
1. From samasthiti (page 51), on an inhale, raise the right leg, clasping
the big toe with the first two fingers of the same-side hand. Keep the
standing leg straight and strong, and place the other hand on the hip.
2. On an exhale, bring the head to touch the knee, taking care to roll
the shoulders back and maintain the integrity of the hips.
3. Using the two-finger grip, anchor the lifted leg into the hip joint to
engage uddiyana bandha and keep the breath in the heart space.
Lift the pelvic floor to engage mula bandha. Maintain the soft sound
of the breath through the contraction of the throat to gently apply
jalandhara bandha.
4. Repeat on the other side.

Modifications
• To ease the hamstring stretch, bend
the knee of the lifted leg generously.
• To aid with balance, bend the knee
of the standing leg, or use a wall.

84
UTTHITA HASTA PADANGUSTHASANA B
(oo-TEE-tah hahs-tah pod-ang-goosh-TAHS-anna)
utthita = extended hasta = hand
pada = foot angustha = big toe asana = pose

EXTENDED HAND TO BIG TOE POSTURE

Sixth drishti: parsva—to the right
Seventh drishti: parsva—to the left
1. From utthita hasta padangusthasana A (page 84), on an inhale, lift the
head and stack the shoulders over the hips, coming into an upright
position. On an exhale, open the leg to the side, maintaining the
bind with the fingers. Turn the head to look in the opposite direction.
2. Keep the hips square and resist the urge to lean away from the raised leg.
3. Draw the navel into the spine to engage uddiyana bandha and keep
the breath in the heart space. Lift the pelvic floor to engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
4. Repeat on the other
side.

Modifications
• To ease the hamstring
stretch, bend the knee of
the lifted leg generously.
• To aid with balance, bend
the knee of the standing
leg, or use a wall.

85
 UTTHITA HASTA PADANGUSTHASANA C
(oo-TEE-tah hahs-tah pod-ang-goosh-TAHS-anna)
utthita = extended hasta = hand
pada = foot angustha = big toe asana = pose

EXTENDED HAND TO BIG TOE POSTURE

Fifth drishti: padhayoragrai—toes
1. From utthita hasta padangusthasana B (page 85), on an inhale, bring
the leg forward to the front of the mat. On an exhale, fold the head
to the knee, touching once. On an inhale, lift the head up and stack
the shoulders over the hips, coming into an upright position, and
then release the foot from the grip. Continue to keep the leg lifted
to move directly into utthita hasta padangusthasana D.
2. Draw the navel into the spine to engage uddiyana bandha and keep
the breath in the heart space. Lift the pelvic floor to engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
3. Repeat on the other side.

Modifications
• To ease the hamstring stretch,
bend the knee of the lifted leg
generously.
• To aid with balance, bend the
knee of the standing leg, or
use a wall.

86
UTTHITA HASTA PADANGUSTHASANA D
(oo-TEE-tah hahs-tah pod-ang-goosh-TAHS-anna)
utthita = extended hasta = hand
pada = foot angustha = big toe asana = pose

EXTENDED HAND TO BIG TOE POSTURE

Fifth drishti: padhayoragrai—toes
1. From utthita hasta padangusthasana C (page 86), hold the leg
extended in front of the body as high as possible while keeping the
shoulders stacked over the hips and the spine erect. Resist the urge to
lean back in order to lift the leg. Keep both legs straight and strong.
2. Draw the navel into the spine to engage uddiyana bandha and keep
the breath in the heart space. Lift the pelvic floor to engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
3. Repeat on the other side.

Modifications
• To ease the hamstring stretch,
bend the knee of the lifted leg
generously.
• To aid with balance, bend the
knee of the standing leg, or
use a wall.

87
 ARDHA PADMA PADMOTTANASANA
(ARD-hah PAHD-ma pahd-mo-tahn-AHS-anna)
ardha = half padma = lotus pada = foot asana = pose

HALF-BOUND STANDING POSTURE

First drishti: nasikagra—tip of the nose
1. From utthita hasta padangusthasana D (page 87), on an exhale, place
the foot of the lifted leg into the lotus position, pressing the outer edge
of the top of the foot to the top of the opposite thigh. Reach the same-
side arm behind the back and hold the foot with the hand (see figure a).
2. On an inhale, lengthen the spine, relax the hips, and support the
balance of the body.
3. On an exhale, fold forward, placing the free hand on the ground to
the outside of the foot of the standing leg, and bring the forehead
to the knee (see figure b).
4. Draw the navel into the spine to engage uddiyana bandha, and keep
the breath in the heart space. Lift the pelvic floor to engage mula
bandha. Maintain the soft sound of the breath through the contraction
of the throat to gently apply jalandhara bandha.
5. Repeat on the other side.

Modifications
• To aid with balance, bend the knee of the standing leg, or use a wall.
• To ease the hamstring stretch, bend the knee of the standing leg
generously. A block can also be used if the ground is too far to touch.
• To ease shoulder tension, use a strap or towel to bind the hand and
the lifted foot.

88
a b

89
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Seated Postures
(Primary Series) 5
92 Rocket Yoga

The Rocket series of poses is a modified sequence of the ashtanga vinyasa

primary series, also known as yoga chikitsa. The classical ashtanga primary
series begins after the final pose of the opening standing sequence,
parsvottanasana, or pyramid pose. It starts with balancing poses, and
a few more standing poses before moving on to the seated sequence,
which takes up the bulk of the practice. The ashtanga primary series can
be challenging for many students because of the deep forward folding
and hip opening required throughout the seated sequence. Rocket yoga
is a modified version of that practice that removes many of the positions
that could cause injury while still maintaining the physicality and discipline
of the original series. How the poses are linked in Rocket yoga brings
more fluidity into the practice, which allows for more expression from
each student.
In addition, many of the modifications provided for each pose are
specific to the practitioner. Depending on your strengths and where you
are in your practice, you will make only the modifications that allow you
to receive the most benefit from the pose. For example, if you have tight
hamstrings, you will make similar modifications in all of the poses that
require an intense hamstring stretch.
Some of the more advanced postures of the ashtanga primary series
are omitted from the Rocket yoga repertoire. Many of the postures that
have been removed work more deeply with joint manipulation and hip
openings and are either not accessible to the average body or difficult to
perform safely on one’s own. Many of the vigorous vinyasa techniques in
the seated series that require a series of jumping movements to maintain
heat and balance in the body have also been removed. If you progress
consciously within a dedicated yoga practice, you can add the omitted
postures and vinyasas back into the series under the guidance of an expe-
rienced ashtanga yoga or Rocket teacher.
 DANDASANA
(dahn-DAHS-anna)
danda = staff asana = pose

STAFF POSE
First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position, with the hips between the hands and
the legs extended straight out front.
2. Flex the feet and bring the arches of the feet to touch at the center.
Press the palms down into the floor, and brace the shoulder blades
to the back body. Hold for as long as needed.
3. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

93
 PASCHIMOTTANASANA A
(pah-shee-moh-tahn-AHS-anna)
paschima = back of the body
uttana = intense stretch asana = pose

INTENSE BACK STRETCH

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From dandasana (page 93), on an inhale, reach the arms forward,
grabbing the big toes with the first two fingers of each hand. Gently
pull on the toes to extend the spine, activate the shoulders, and
engage the back.
2. On an exhale, fold forward, maintaining an extended spine, and bring
the chin or forehead toward the shins. Hold for as long as needed.
3. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

94
 PASCHIMOTTANASANA B
(pah-shee-moh-tahn-AHS-anna)
paschima = back of the body
uttana = intense stretch asana = pose

INTENSE BACK STRETCH

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From paschimottanasana A (page 94), on an inhale, extend the spine
and look forward, grabbing the outer edges of the feet with the hands.
Gently pull on the outer edges of the feet to extend the spine, activate
the shoulders, and engage the back.
2. On an exhale, fold forward, maintaining an extended spine, and bring
the chin or forehead toward the shins. Hold for as long as needed.
3. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

95
 PURVOTTANASANA
(poor-voh-tahn-AHS-anna)
purva = east uttana = intense stretch asana = pose

INTENSE EAST STRETCH

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, slide the hands back behind the hips about six inches
(15 cm), keeping the fingers facing forward in the same direction as
the feet.
3. On an inhale, press the heels into the ground, point the toes, and lift
the hips as high as possible, maintaining a straight line through the
front body and keeping the legs straight.
4. Draw the navel into the spine to engage uddiyana bandha. Engage the
inner thighs toward the midline to lift the pelvic floor and engage mula
bandha. If possible, lift the chin for an extension through the neck.
5. Hold for as long as needed.

Modifications
• Keep the feet flat on the ground, bend the knees, and lift the hips into
a reverse tabletop pose (see smaller figure).
• If there is too much tension in the neck to look up, gaze down the front
body toward the knees or the feet.

96
 ARDHA BADDHA
PADMA PASCHIMOTTANASANA
(AR-dah BAHD-ah PAHD-mah pah-shee-moh-tahn-AHS-anna)
ardha = half baddha = bound
padma = foot paschima = back of the body
uttana = intense stretch asana = pose

HALF-BOUND LOTUS FORWARD FOLD

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bring the left foot to the lotus position, resting the
outside of the foot as high as possible on the opposite thigh.
3. On an inhale, reach the left arm behind the back to grab the left foot
with the left hand. Reach the right arm forward to grab the outer edge
of the right foot.
4. On an exhale, fold forward.
5. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
6. Hold for as long as needed, then repeat on the other side.
7. Modifications

(continued) 97
 Ardha Baddha Padma Paschimottanasana (continued)

Modifications
• To ease the hamstring stretch, bend the knees generously.
• If bringing the foot into the half lotus position is not possible, bring
the sole of the right foot to the inner thigh of the left leg, resting the
entire foot and leg on the ground.
• If binding around the back is not possible, use a towel or strap to close
the distance between the foot and the hand (see figure).

98
 TRIANGA MUKHAIKAPADA
PASCHIMOTTANASANA
(tree-AHN-gah mook-ah-pahd-ah pah-shee-moh-tahn-AHS-anna)
triang = three limbs mukha = face eka = one
pada = foot paschima = back of the body
uttana = intense stretch asana = pose

ONE-LEG FOLDED FORWARD BEND

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, place the right foot outside of the right hip, keeping
both knees together at the centerline. Try to keep both sitz bones
equally on the ground.
3. On an inhale, reach both hands toward the flexed left foot, length-
ening the spine.
4. On an exhale, fold forward.
5. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
6. Hold for as long as possible, then repeat on the other side.

Modification
To lessen internal rotation on the bent leg and ease knee pressure, place a
block under the seat on the same side as the bent leg.

99
 JANU SIRSASANA A AND B
(JAH-noo sheer-SHAHS-anna)
janu = knee shirsha = head asana = pose

HEAD TO KNEE POSE

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bring the sole of the right foot to the inner thigh of the
left leg, resting the entire foot and leg on the ground.
3. On an inhale, reach both hands toward the flexed left foot, length-
ening the spine.
4. On an exhale, fold forward. Hold for as long as needed. This is janu
sirsasana A (see figure a).
5. To move directly into janu sirsasana B, on an inhale look up and extend
the spine.
6. On an exhale, release the hands from the foot, and lift the hips to sit on
top of the right heel, putting pressure on the area of the mula bandha.
7. On an inhale, reach both hands toward the flexed left foot, lengthening
the spine (see figure b).
8. On an exhale, fold forward.
9. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
10. Hold for as long as needed, then repeat on the other side by doing
janu sirsasana A and then B.

Modification
To ease the hamstring stretch, bend the extended leg.

100
a

101
 JANU SIRSASANA C
(JAH-noo sheer-SHAHS-anna)
janu = knee shirsha = head asana = pose

HEAD TO KNEE POSE

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, begin by moving into janu sirsasana A by bringing the
sole of the right foot to the inner thigh of the left leg, resting the entire
foot and leg on the ground.
3. Keeping the right knee bent, lift the entire right leg off the ground and
grip the base of the right toes with the right hand from underneath
the right ankle. Externally rotate the ankle and place all five toes on
the ground as close to the left thigh as possible, then gently bring
the right knee down to the ground.
4. On an inhale, reach both hands toward the flexed left foot, length-
ening the spine.
5. On an exhale, fold forward.
6. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
7. Hold for as long as needed, then repeat on the other side.

Modifications
• To ease the hamstring stretch, bend the extended leg.
• If the knee floats above the ground, place a block or blanket under the
knee to support it.
• If all five toes cannot touch the ground, sit on a block placed under the
seat of the extended leg to create more space for the external rotation
of the ankle.

102
 MARICHYASANA A
(mah-ree-chee-AHS-anna)
marichi = the name of a sage in Hindu mythology asana = pose

THE POSE OF THE SAGE MARICHI

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bend the knee of the right leg and place the foot flat
on the ground, about one hand’s distance from the inner thigh of the
left leg. Pull the heel of the right foot as close to the right sitz bone
as possible.
3. On an inhale, reach the right arm forward, and then on an exhale,
bend the elbow, reaching the arm around the right shin and below
the knee. Reach the left hand behind the back and use the right hand
to grab the left wrist.
4. On an inhale, lengthen the spine, and then on an exhale, fold forward,
bringing the head toward the left shin.
5. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
6. Hold for as long as needed, then repeat on the other side.

Modification
To ease shoulder tension, use a strap or towel to bridge the gap between
the hands.

103
 MARICHYASANA B
(mah-ree-chee-AHS-anna)
marichi = the name of a sage in Hindu mythology asana = pose

THE POSE OF THE SAGE MARICHI

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bring the left foot into a half lotus position by placing
the foot on top of the right thigh near the hip. Then, bend the knee of
the right leg and place the foot flat on the ground, about one hand’s
distance from the inner thigh of the left leg. Pull the heel of the right
foot as close to the right sitz bone as possible.
3. On an inhale, reach the right arm forward, and then on an exhale,
bend the elbow, reaching the arm around the right shin and below
the knee. Reach the left hand behind the back and use the right hand
to grab the left wrist.
4. On an inhale, lengthen the spine, and then on an exhale, fold forward,
bringing the head toward the ground between the knees, maintaining
the extension of the spine as much as possible.
5. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
6. Hold for as long as needed, then repeat on the other side.

Modification
To ease shoulder tension, use a strap or towel to bridge the gap between
the hands.

104
 MARICHYASANA C
(mah-ree-chee-AHS-anna)
marichi = the name of a sage in Hindu mythology asana = pose

THE POSE OF THE SAGE MARICHI

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bend the knee of the right leg and place the foot flat
on the ground about one hand’s distance from the inner thigh of the
left leg. Pull the heel of the right foot as close to the right sitz bone
as possible.
3. On an inhale, reach the right arm up, then on an exhale, twist toward
the right side, placing the right hand on the ground behind the hips.
Bring the right knee to the outside of the left armpit, wrapping the
left arm around the bent right leg to reach toward the back. Reach
the right hand behind the back toward the left hand, and then use
the left hand to grab the right wrist.
4. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
5. Hold for as long as needed, then repeat on the other side.

Modification
To ease shoulder tension, use a strap or towel
to bridge the gap between the hands.

105
 MARICHYASANA D
(mah-ree-chee-AHS-anna)
marichi = the name of a sage in Hindu mythology asana = pose

THE POSE OF THE SAGE MARICHI

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bring the left foot into a half lotus position by placing
the foot on top of the right thigh near the hip. Then, bend the knee of
the right leg and place the foot flat on the ground, about one hand’s
distance from the inner thigh of the left leg. Pull the heel of the right
foot as close to the right sitz bone as possible.
3. On an inhale, reach the right arm up, then on an exhale, twist toward
the right side, placing the right hand on the ground behind the hips.
Bring the right knee to the outside of the left armpit, wrapping the
left arm around the bent right leg to reach toward the back. Reach
the right hand behind the back toward the left hand, and then use
the left hand to grab the right wrist.
4. Draw the navel into the spine
to engage uddiyana bandha.
Engage the inner thighs
toward the midline to lift the
pelvic floor and engage mula
bandha. Maintain the soft
sound of the breath through
the contraction of the throat
to gently apply jalandhara
bandha.
5. Hold for as long as needed,
then repeat on the other
side.

Modification
To ease shoulder tension, use a
strap or towel to bridge the gap
between the hands.

106
 NAVASANA/LOLASANA
(nah-VAHS-anna) (loh-LAHS-anna)
nava = boat asana = pose

BOAT POSE
First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through the
hands to a seated position with the hips between the hands and the
legs lifted straight and the feet at the same level as the eyes. Reach
the hands forward toward the feet, palms facing inward toward one
another. This is navasana (see figure a).
2. Hold for five breaths, and then bring both hands to the ground beside
the hips. Cross the legs at the ankles, and keep the feet off the floor.
3. On an inhale, press the hands into the ground, and lift the hips (see
figure b). On an exhale, return the hips to the ground, and bring the
legs back into the initial position. This is lolasana.
4. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
5. Repeat this movement three to five times.

a (continued)
107
 Navasana/Lolasana (continued)

Modifications
• To ease the hamstring stretch, bend both knees, keeping the shins
parallel to the ground (see figure a).
• To decrease abdominal work, bend the knees and use the hands to
hold behind the thighs (see figure b).
• Use a block under each hand for the lift (see figure c).

a b c

108
 BHUJAPIDASANA
(BOO-jah-pee-DAHS-ahna)
bhuja = shoulder pida = pressure asana = pose

SHOULDER PRESSURE POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), jump the feet forward and
outside of the hands. Continue to walk the feet forward, or move the
hands behind the heels of the feet. Begin to sit the hips low into the
pose, with the back of the thighs resting on the shelf of the triceps
of the arms.
2. Balancing on the hands, lift both feet off the ground, crossing the left
ankle over the right, and keeping both feet flexed. Advanced students
can jump directly from adho mukha svanasana into this stage of the
pose.
3. On an exhale, bring the chin to the mat while keeping both feet off
the floor. If you cannot reach your chin to the floor, bring the top of
the head to the floor to begin and slowly work toward bringing the
chin down.
4. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
5. Stay here for five breaths.
6. On an inhale, come out of the pose in the same way you moved into it,
maintaining the same integrity of movement. Move the legs through
bakasana, then jump back directly into chaturanga dandasana. Try
not to bring the feet down to the ground at any time.

109
 KURMASANA
(koor-MAHS-ahna)
kurma = tortoise asana = pose

TORTOISE POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), jump the feet forward and
outside of the hands. Continue to walk the feet forward, or move the
hands behind the heels of the feet. Begin to sit the hips low into the
pose, with the back of the thighs resting on the shelf of the triceps
of the arms.
2. Bring the hips all the way down onto the ground. Extend the arms
directly out to the side or slightly reaching back in a V-shape. Extend
the legs straight forward on top of the arms, pointing the toes and
lifting the feet off the ground by straightening the legs strongly.
3. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
4. Stay here for five breaths, then move directly into supta kurmasana.

110
 SUPTA KURMASANA
(SOOP-tah koor-MAHS-ahna)
supta = reclined kurma = tortoise asana = pose

SLEEPING TORTOISE POSE

First drishti: nasikagra—tip of the nose
1. From kurmasana (page 110), internally rotate the arms and bring the
hands together across the lower back.
2. Bring the feet to cross behind the head, starting with the left leg first,
then bringing the right leg behind the left. Point the toes. Press the
head back into the feet and broaden across the collarbones.
3. Draw the navel into the spine to engage uddiyana bandha and then
lift the pelvic floor to engage mula bandha.
4. Stay here for five breaths.
5. Keeping the legs crossed behind the head, unclasp the hands and
bring both hands down the mat, shoulder-width apart. Press into the
hands to lift up.
6. On an inhale, uncross the ankles and straighten the legs into
­titibhasana, then on an exhale, move the legs through bakasana and
jump back into chaturanga dandasana.

111
 GARBA PIDASANA
(gar-bah pee-DAHS-ahna)
garba = womb pinda = embryo asana = pose

EMBRYO IN WOMB POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. Bring your legs into a full lotus position, drawing the right foot in first,
then crossing the left shin over the right.
3. In the space between your upper calf and your thighs, push your arms
through up to the elbow joint. You may find it easier to start with your
right arm, but it’s not important here which arm you start with. If you
have trouble, you can roll up your leggings or apply some oil or water
to your arms to facilitate this movement.
4. Once your arms are through, bend them deeply at the elbow and
reach your hands toward your ears or the sides of your face. You will
need to stay balanced here.
5. Hold for five breaths.
6. Bring both hands toward the crown of the head, then begin to roll back
and forth, up and down the length of the spine. You want to roll back
and forth nine times in a circle, eventually ending up back at the front
of your mat. Once at the front of your mat, go directly into kukkutasana.

112
 KUKKUTASANA
(koo-koo-TAHS-ahna)
kukku = rooster asana = pose

ROOSTER POSE
First drishti: nasikagra—tip of the nose
1. From garba pidasana (page 112), press your hands down into the mat,
shoulder-width apart.
2. Lean forward, and lift the rest of your body off the floor. Keep drawing
the legs up toward your chest.
3. Hold for five breaths.

113
 BADDHA KONASANA A AND B
(BAHD-ah cohn-AHS-anna)
badha = bound kona = angle asana = pose

BOUND ANGLE POSE

COBBLER’S POSE
BUTTERFLY POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bend both knees, bringing the soles of the feet together
in the center and pulling the heels as close as possible toward the
pubic bone. Use the hands to hold the feet or ankles.
3. On an inhale, extend the spine, then on an exhale, fold forward,
bringing the chin toward the floor in front of the feet.
4. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the
contraction of the throat to gently apply jalandhara bandha. This is
baddha konasana A (see figure a).
5. Hold for as long as needed.
6. On an inhale, return to an upright seat. Draw the belly into the spine
and bring the spine into flexion by curling into yourself. Bring the
forehead to touch the arches of the feet.
7. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the
contraction of the throat to gently apply jalandhara bandha. This is
baddha konasana B (see figure b).
8. Hold for as long as needed.

Modification
To ease hip opening, place blocks under each knee, or simply sit up straight
instead of folding forward.

114
a

115
 UPAVISTHA KONASANA A AND B
(OO-pah-vish-tah cohn-AHS-anna)
upavistha = open kona = angle asana = pose

WIDE-ANGLE SEATED FORWARD BEND

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, open the legs wide to about 90 degrees, keeping the
legs straight.
3. On an inhale, grab the big toes with the first two fingers of each hand
and extend the spine (see figure a).
4. On an exhale, fold forward, bringing the chest and chin to the ground.
This is upavishtha konasana A.
5. Hold for five breaths.
6. On an inhale, look up and lengthen the spine. On an exhale, release
the toes and sit tall.
7. On an inhale, lift the legs, keeping them straight and catching the
outer edge of the feet with the hands. Stay balanced on the sitz
bones, and lift the chin to gaze upward. This is upavishtha konasana
B (see figure b).
8. Hold for five breaths.
9. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

116
a

117
 SUPTA KONASANA A AND B
(SOOP-tah cohn-AHS-anna)
supta = reclining kona = angle asana = pose

RECLINING ANGLE POSE

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, lie flat on your back.
3. On an inhale, raise both legs overhead, spreading the legs wide and
setting the feet on the floor behind the head. Keep both legs straight,
and on an exhale, grab the big toes with the first two fingers of each
hand. This is supta konasana A (see figure a).
4. Hold for five breaths.
5. On an inhale, keep holding the big toes and rock up to balance on
the sitz bones (see figure b).
6. On an exhale, flex both feet hard and allow the body to fall forward,
landing on the calves and bringing the chin near the ground. This is
supta konasana B (see figure c).
7. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

118
a

119
 SUPTA PADANGUSTHASANA
(SOOP-tah pod-ang-goosh-TAHS-anna)
supta = reclining pada = foot
angustha = big toe asana = pose

RECLINING BIG TOE POSTURE

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, lie flat on your back.
3. On an inhale, lift the right leg, and use the first two fingers of the right
hand to catch the right big toe, keeping the leg straight. Keep the left
arm straight, pressing the left hand down onto the top of the left thigh.
4. On an exhale, lift the head and bring the forehead near the right knee
(see figure a). Hold for five breaths.
5. On an inhale, rest the head on the ground. On an exhale, open the
right leg to the right side, and turn the head to look over the left
shoulder (see figure b).
6. Hold for five breaths.
7. On an inhale, bring the leg back to center. On an exhale, touch the
head to the left knee once.
8. On an inhale, rest the head on the ground, and repeat on the other
side.
9. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously, or use a strap or
towel to reach the foot.

120
a

121
 UBHAYA PADANGUSTHASANA
(oo-BAI-yah pod-ang-goosh-TAHS-anna)
ubhaya = both pada = foot angustha = big toe asana = pose

BOTH BIG TOES POSE

First drishti: nasikagra—tip of the nose
Fifth drishti: padhayoragrai—toes
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, lie flat on your back.
3. On an inhale, raise both legs overhead, keeping the legs together
and setting the feet on the floor behind the head. Keep both legs
straight, and on an exhale, grab the big toes with the first two fingers
of each hand (see figure a).
4. On an inhale, keep holding the big toes, and rock up to balance on
the sitz bones (see figure b).
5. Hold for five breaths.
6. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

122
a

123
 URDHVA MUKHA
PASCHIMOTTANASANA
(OORD-vah MOO-kah pah-shee-moh-tahn-AHS-anna)
urdhva = upward mukha = face paschima = back of the body
uttana = intense stretch asana = pose

UPWARD-FACING FORWARD STRETCH POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, lie flat on your back.
3. On an inhale, raise both legs overhead, keeping the legs together
and setting the feet on the floor behind the head. Keep both legs
straight, and on an exhale, grab the heels of the feet with the hands
(see figure a).
4. On an inhale, catch the outer edge of the feet with the hands, and
rock up to balance on the sitz bones (see figure b).
5. On an exhale, bend the elbows and bring the forehead to the shins.
6. Hold for five breaths.
7. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

Modification
To ease the hamstring stretch, bend the knees generously.

124
a

125
 SETU BANDHASANA
(SAY-too BAHN-duh-AHS-uh-nuh)
setu = bridge bandha = caught asana = pose

BRIDGE POSE
Second drishti: bhrumadhya—between the eyebrows (third eye)
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front. Lie flat on your back.
2. Bend the knees and place the outer edges of the feet on the ground
with the heels touching and the toes apart.
3. Put weight into your forearms to arch the back off the ground, placing
the crown of the head on the ground but keeping your hips down.
4. Cross the arms across your chest and bring each hand to the opposite
shoulder.
5. On an inhale, press into the outer edge of the feet and the crown of the
head to lift the hips up and send the weight of the body into the legs.
6. Hold for five breaths.
7. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha.

Modification
If this pose puts an uncomfortable amount of pressure in the neck, use your
hands for support as you lift or simply keep the hips on the ground.

126
 ARDHA URDHVA DHANURASANA
(ARD-ah OORD-vah dahn-you-RAHS-anna)
ardha = half urdhva = upward danura = wheel asana = pose

HALF-WHEEL POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, lie flat on your back. Bend the knees toward the sky,
bringing the feet flat on the ground about hip-width apart. Bring the
heels in toward the sitz bones as close as possible.
3. On an inhale, press the feet into the ground, and lift the hips as high
as possible.
4. Hold for five breaths.
5. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.

127
 URDHVA DHANURASANA
(OORD-vah dahn-you-RAHS-anna)
urdhva = upward danura = wheel asana = pose

WHEEL POSE
UPWARD-FACING BOW POSE
First drishti: nasikagra–tip of the nose
1. From ardha urdhva dhanurasana (page 127), on an exhale, place the
hands next to the ears with the palms on the floor and the fingers
facing the shoulders.
2. On an inhale, press the feet and hands into the ground to lift the
entire body into a full wheel. Lift the chin to look toward the hands.
3. Hold for five breaths.

Modification
If this pose is too difficult, use a half wheel.

128
Seated Postures
(Rocket
Intermediate)
6
130 Rocket Yoga

The intermediate series carries with it a different energy than the pri-
mary series. Along with more backbends come even deeper twists and
hip openers as well as inversions. All together, they cleanse the nervous
system of previously held patterns and bring fluidity to the physical body
as well as the mind.
The poses incorporate some of the arm balances from the classical
ashtanga third series to add an arm-strengthening component as well
as integrating core stability before the deeper backbending sequence.
The poses of the intermediate series are intentionally challenging. Many
poses take the body to extreme end ranges of mobility. For this reason,
few modifications are offered in this section. Knowing when your body is
ready to take on these poses is up to you and the experience of a qualified
teacher. Connecting with your body and being aware of the patterns in
your mind as you face these challenges is the practice of yoga.
 PASASANA
(pash-AHS-anna)
pasa = noose asana = pose

NOOSE POSTURE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump to squat
between your hands at the top of the mat; reach the heels toward the
ground if possible. Keep the knees and feet firmly pressing together.
2. On an exhale, twist to the right, hooking the left elbow outside of the
right thigh. Place as much of the shoulder behind the thigh that the
upper arm rests on, and not just the elbow. Bring the palms into a prayer
position, and lift the chest so the thumbs touch the sternum. Stay here
or bind both hands behind your back, encircling both knees if possible.
Allow the tailbone to drop, and lift the twist through the upper back.
3. Draw the navel into the spine to engage uddiyana bandha and
deepen the twist. Engage the inner thighs toward the midline to lift
the pelvic floor and engage mula bandha. Maintain the soft sound
of the breath through the contraction of the throat to gently apply
jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

Modifications
• If the heels do not reach the ground, lift the heels or use a block or a
rolled-up towel to support the heels.
• To lessen work in the hips and decrease the twist, squat with the legs apart
and work the twisting action by hooking the elbow to the inside of the thigh.
• To help with balance, practice squatting low with a wall behind you
for support.

a b 131
 PARSVA BAKASANA
(PARS-vah bahk-AHS-anna)
parsva = side baka = crane asana = pose

SIDE CROW (CRANE) POSE

First drishti: nasikagra—tip of the nose
1. From pasasana (page 131), on an exhale, release the hands and place
them shoulder-width apart at the top of the mat. Twist the lower body
toward the left side so the right knee can rest atop the left elbow.
2. On an inhale, squeeze the thighs together, and shift the weight over
the elbows, lifting both feet off the mat and balancing on the hands.
Keep the toes and heels even as you squeeze the heels to your sitz
bones. Keep the elbows stacked on top of the wrists and the hips
higher than the shoulders.
3. Draw the navel into the spine to engage uddiyana bandha and sta-
bilize the core. Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. This will provide a sensation of
lightness in the pose. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

Modification
To aid with balance, bring the hip of the knee that is resting atop the elbow
to the other elbow, supporting the weight of the upper body across both
elbows (see smaller figure).

132
 PARSVA KOUNDINYASANA
(PARS-vah cawn-din-YAHS-anna)
parsva = side Kaundinya = an ancient Indian sage asana = pose

SAGE KAUNDINYA’S POSE

TWISTING KARDINYA’S ONE-FOOTED POSE
First drishti: nasikagra—tip of the nose
1. From parsva bakasana (page 132), on an inhale, straighten both legs
as you scissor them apart, extending the top leg toward the back of
the mat and the bottom leg out to the side.
2. Draw the navel into the spine to engage uddiyana bandha and sta-
bilize the core. Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. This will provide a sensation of
lightness in the pose. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
3. Hold for as long as needed, then repeat on the other side.

Modification
If this is too difficult, use side crow pose (page 132).

133
 DWI PADA KOUNDINYASANA
(dvee pah-dah cawn-din-YAHS-anna)
dvee = two pada = foot
Kaundinya = an ancient Indian sage asana = pose

KAUNDINYA’S TWO-LEGGED POSE

First drishti: nasikagra—tip of the nose
1. From parsva koundinyasana (page 133), on an exhale, briefly return
to parsva bakasana (page 132).
2. On an inhale, straighten both legs out to the side, keeping the toes
touching and the hips lifted.
3. Draw the navel into the spine to engage uddiyana bandha and sta-
bilize the core. Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. This will provide a sensation of
lightness in the pose. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

Modification
If this is too difficult, use side crow pose (page 132).

134
 KROUNCHASANA
(krawn-CHAHS-anna)
kraunch = heron asana = pose

HERON POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands. The
left leg is extended straight out front, the right leg is bent with the
right foot outside of the hip, and the toes point to the back.
2. Keep the left leg raised throughout this movement, and clasp the left
leg with both hands and pull it toward the body until it is perpendicular
to the ground (see figures a and b). Keep the toes pointed.
3. Draw the navel into the spine to engage uddiyana bandha. Engage
the inner thighs toward the midline to lift the pelvic floor and engage
mula bandha. Maintain the soft sound of the breath through the con-
traction of the throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

Modification
If this is too difficult, use the one-leg folded forward bend (page 99).

a b
135
 EKA PADA BAKASANA
(e-kah pah-dah bahk-AHS-anna)
eka = one pada = foot baka = crane asana = pose

ONE-LEG CROW POSE

First drishti: nasikagra—tip of the nose
1. From krounchasana variation (page 135), on an exhale, bend the right
knee, placing the right foot on the floor and hooking the right knee
under the right armpit. Place the hands shoulder-width apart on the mat.
2. On an inhale, lean forward until the elbows are over the wrists, shift-
ing the weight and balancing on the hands. The right foot leaves the
ground, and the left leg lifts and extends straight back and up.
3. Draw the navel into the spine to engage uddiyana bandha and sta-
bilize the core. Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. This will provide a sensation of
lightness in the pose. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
4. Hold for as long as
needed, then repeat
on the other side.

Modification
If this is too difficult, use side crow pose
(page 132).

136
 ASTAVAKRASANA
(ahsh-ta-va-KRAHS-anna)
asta = eight vakra = bent, curved asana = pose

EIGHT ANGLE POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump the left
leg through the arms, and let the right leg wrap over the right elbow,
crossing the legs at the ankles.
2. On an exhale, bend the elbows to 90 degrees, lowering the torso
toward the mat, squeezing the thighs together, and extending both
legs toward the right. Keep the legs parallel to the ground.
3. Draw the navel into the spine to engage uddiyana bandha and sta-
bilize the core. Engage the inner thighs toward the midline to lift the
pelvic floor and engage mula bandha. This will provide a sensation of
lightness in the pose. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

137
 SHALABHASANA A AND B
(shah-lah-BAHS-anna)
shalabh = grasshopper, locust asana = pose

LOCUST POSE
First drishti: nasikagra—tip of the nose
1. From chaturanga dandasana (page 54), on an exhale, lower to the
ground with the legs straight. Place the arms by your side, with the
palms facing upward.
2. On an inhale, lift the feet, head, and chest from the mat, keeping the
legs and ankles together. Press the backs of the hands down into the
mat. Engage the core to support the lower back. Keep the bottom
ribs and the front of the hips pressing into the ground even as you
lift the feet, head, and chest. This is shalabhasana A (see figure a).
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed.
5. Maintain the lift in the legs and chest and then bring the hands to
the mat, palms down, next to the lowest ribs. Press the hands into
the mat but keep the elbows bent and the work in the back. This is
shalabhasana B (see figure b).
6. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
7. Hold for as long as needed.

138 b
 SHALABHASANA VARIATION
(shah-lah-BAHS-anna)
shalabh = grasshopper, locust asana = pose

LOCUST POSE
First drishti: nasikagra—tip of the nose
1. From shalabhasana B (page 138), on an inhale, bring the arms straight
in front of the shoulders, and turn the palms to face the floor. Engage
the core to support the lower back. Keep the bottom ribs and the
front of the hips pressing into the ground even as you lift the feet,
head, and chest.
2. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
3. Hold for as long as needed.

139
 BHEKASANA
(beh-KAHS-ahna)
bheka = frog asana = pose

FROG POSE
First drishti: nasikagra—tip of the nose
1. From chaturanga dandasana (page 54), lower the entire body to the
ground on an exhale.
2. Bend the knees to bring the heels toward the sitz bones. Reach the
arms back and catch the ankles from the inside. As you press the feet
toward the ground outside of the hips, spin the palms over the tops
of the feet, allowing the fingers to point in the same direction as the
toes. The elbows stack on top of the wrists to apply downward pressure
on the feet while you simultaneously lift the chest.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed.

140
 SUPTA VIRASANA
(SOUP-tah veer-AHS-anna)
supta = reclining vira = hero asana = pose

RECLINING HERO POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, lower the knees
to the ground to come to a kneeling position. Sit the hips between
the feet, with the toes pointing directly behind.
2. On an exhale, lean back and place the elbows on the mat for support.
Continue to lower until you are lying flat on your back.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed.

Modifications
• To ease the stretch in the quadriceps, do not recline fully.
• To ease the tension in the knees, sit on a block and do not recline.

141
 BALASANA
(bahl-AHS-anna)
bala = child asana = pose

CHILD’S POSE
Drishti: none, eyes closed
1. From supta virasana (page 141), on an inhale, return to a seated posi-
tion with the hips between the heels. Use the elbows and hands as
you come up to keep the spine centered and avoid tilting to the side.
2. On an exhale, fold forward, resting the forehead on the ground. The
arms can reach forward or can rest by the hips. Bring the big toes to
touch in the center, and allow the hips and lower back to relax.
3. Rest here for as long as needed.

142
 DHANURASANA
(dahn-you-RAHS-anna)
danura = wheel asana = pose

WHEEL POSE
BOW POSE
First drishti: nasikagra—tip of the nose
1. From chaturanga dandasana (page 54), on an exhale, lower to the
ground with the legs straight. Bend the knees, reach the arms back,
and grab the ankles from the outside so that the thumbs point down-
ward.
2. On an inhale, lift the feet, head, and chest, creating opposition
between the hands and the feet to help lift the upper chest and thighs
higher off the ground. Keep the bottom ribs and the front of the hips
pressing into the ground even as you lift the feet, head, and chest.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed.

Modification
To ease tension in the front of the shoulders, use a strap to reach the feet or
ankles. You can also do one side at a time, with or without a strap.

143
 PARSVA DHANURASANA
(PARS-vah dahn-you-RAHS-anna)
parsva = side danura = wheel asana = pose

FALLEN WHEEL POSE

SIDE BOW POSE
First drishti: nasikagra—tip of the nose
1. From dhanurasana (page 143), on an exhale, remain mindful of the
shape of the body in dhanurasana, and roll to the right side. Do not
let the head touch the ground, and keep the right-side ribs touching
the ground.
2. Let the shoulder roll completely under the body to stretch the front
of the chest. Keep the toes touching and hips reaching forward.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

Modification
To ease tension in the front of the shoulders, use a strap to reach the feet
or ankles.

144
 RAJA KAPOTASANA
(RAH-jah kah-po-TAHS-anna)
raja = king kapota = pigeon asana = pose

KING PIGEON POSE

First drishti: nasikagra—tip of the nose
1. From dhanurasana (page 143), on an exhale, place both hands on
the floor, shoulder-width apart and fingers pointing forward. Keep
the knees bent.
2. On an inhale, straighten both arms, drawing the shoulder blades
down the back.
3. On an exhale, reach the crown of the head toward the toes as the
knees bend, and draw the feet toward the head.
4. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
5. Hold for as long as needed.

145
 USTRASANA
(oos-TRAHS-anna)
ustra = camel asana = pose

CAMEL POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, bring both
knees to the ground, hip-width apart and shins parallel. Bring the
torso upright, and bring both hands to the waist.
2. On an exhale, extend from the base of the spine and lean back, keep-
ing the hips over the knees and continuing to press the hips forward.
Reach the hands down to hold the heels. Internally rotate the thighs,
continuing to lift the chest. Allow the head to drop back.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
4. Hold for as long as needed.

Modification
To decrease the backbend, place blocks outside of the heels and reach the
hands to the blocks instead of the heels.

146
 LAGHU VAJRASANA
(LAH-goo vaj-RAHS-ahna)
laghu = little vajra = thunderbolt asana = pose

LITTLE THUNDERBOLT POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump the knees
between the hands and come to a kneeling position at the top of the
mat with the hands on the hips.
2. On an exhale, place the hands on the ankles with the fingers to the
outside and the thumbs to the inside of the ankle, then lean back and
lower the crown of the head to the mat behind the feet, keeping the
hips pressing forward and the back in extension.
3. Hold here for five breaths.
4. On an inhale, press into the hands and lift the body back to the starting
position, kneeling with the hands on the hips.

Modification
If your knees lift as you recline into the pose or you cannot return to the
starting position, place a block where your head would touch the ground
and only lower to that point until you have built enough strength to lower
the crown of the head to the ground.

147
 KAPOTASANA A AND B
(kah-po-TAHS-anna)
kapota = pigeon asana = pose

PIGEON POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, bring both knees
to the ground, hip-width apart and shins parallel. Bring the palms
together to the prayer position.
2. On an exhale, extend from the base of the spine and lean back, keep-
ing the hips over the knees and continuing to press the hips forward.
Reach the hands behind, stretching across the front of the body. Keep
extending the spine until the hands touch the ground.
3. Internally rotate the thighs and keep lifting and expanding the chest.
Keeping the external rotation of the upper arm, walk the hands toward
the feet until they can grab the heels.
4. On an inhale, straighten the arms as much as possible, lengthening the
spine, and then on an exhale, rest the elbows on the ground, drawing
them toward the centerline. This is kapotasana A (see figure a).
5. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
6. Hold for as long as needed.
7. Release the hands from the heels and place the palms on the ground
just outside of the feet, fingers pointing toward the front of the mat
(see figure b). On an inhale, straighten the arms and look toward the
feet. This is kapotasana B.
8. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
9. Hold for as long as needed.

Modification
If this is too difficult, use camel pose (page 146).

148
a

149
 SUPTA VAJRASANA
(SOOP-tah vaj-RAHS-ahna)
supta = reclined vajra = thunderbolt asana = pose

RECLINED THUNDERBOLT POSE

First drishti: nasikagra—tip of the nose
1. This pose is typically practiced with a partner who sits in front of you,
places their legs on top of your knees for stability and holds on to
your wrists to help maintain the connection to the feet during the
entire movement.
2. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position, with the hips between the hands and
the legs extended straight out front. Fold the legs into a full lotus
position, bringing the right foot in first, followed by the left foot.
3. Reach the arms behind the back to hold the same side foot (i.e., right
hand holds the right foot; left hand holds the left foot) (see figure a).
Tightly hold the feet in this position.
4. On an exhale, lean back, find an extension of the spine, and touch the
crown of the head to the ground (see figure b). Hold for five breaths
and then on an inhale, return to an upright seat.
5. On an exhale, perform the movement again, this time immediately
returning on the inhale. Repeat two more times, then repeat step 3
once again, holding at the bottom for five breaths.

150
a

151
 BAKASANA B
(bahk-AHS-anna)
baka = crane asana = pose

CRANE POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), bend the knees generously
and then jump directly into bakasana A (page 60), bringing the knees
to the triceps and pressing down into the hands to straighten the
arms (see figures a-c).
2. Draw the navel into the spine to engage uddiyana bandha. Lift the
pelvic floor to engage mula bandha.
3. Hold for as long as needed.

Modification
Jumping directly into bakasana A takes courage and strength. You can place
a pillow on the ground in front of your head if you are scared of falling for-
ward. You can also start from a closer position by walking your feet closer
to your hands before jumping.

152
a

c
153
 ADHO MUKHA VRKSASANA
(AH-doh MOO-kah vree-KAHS-anna)
adho = downward mukha = facing vrka = tree asana = pose

HANDSTAND
Drishti: Floor between hands
1. From samasthiti (page 51), on an exhale, fold
forward and place the hands flat on the ground,
shoulder-width apart with the fingers facing
forward.
2. On an inhale, shift your weight to your hands
and lift the legs to a full vertical position. You
can do this by either kicking one leg up at
a time, jumping into a tuck, or pressing up
through a pike or a straddle. Use the fingertips
to control the balance.
3. Draw the navel into the spine to engage uddi-
yana bandha, stabilize the core, and bring the
breath into the rib cage. Engage the inner
thighs toward the midline to lift the pelvic floor
and engage mula bandha. Maintain the soft
sound of the breath through the contraction of
the throat to gently apply jalandhara bandha.
4. Hold for as long as needed.

Modification
To help with balance, start by practicing against a wall.
As you gain strength, stamina, and balance, you can
move away from the wall.

154
 BHARADVAJASANA
(bah-rahd-vah-JAHS-anna)
Bharadvaj = the sage named Bharadvaj asana = pose

SAGE BHARADVAJA’S POSE

Sixth drishti: parsva—to the right
Seventh drishti: parsva—to the left
1. From adho mukha svanasana (page 56), on an inhale, jump through the
hands to a seated position, with the hips between the hands. Extend
the right leg straight out front, and bend the left leg with the left foot
outside of the hip and the toes pointing to the back.
2. On an exhale, place the right foot in a half lotus position on top of
the left thigh. Reach the right arm behind the back to grab the right
toes with the right hand. Place the left hand under the right knee with
the palm facing down and the fingers under the knee. Keep both sitz
bones anchored as best you can, allowing the twist to start from the
base of the spine and extend all the way up through the neck.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Lift the pelvic floor and
engage mula bandha. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
4. Hold for as long as needed, then repeat on the other side.

155
 ARDHA MATSYENDRASANA
(ARD-ha maht-syen-DRAHS-anna)
ardha = half matsyendra = lord of the fishes asana = pose

HALF LORD OF THE FISH POSE

Drishti: Gaze to the side
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position. Bend the right knee toward the sky,
and cross the right foot to the outside of the left knee. Bend the left
leg, and bring the left foot to the outside of the right hip.
2. On an exhale, twist toward the right side, placing the left elbow
outside of the right knee. Wrap the left arm down the right leg, and
reach the left hand to the inside of the right foot for a bind. Reach
the right arm behind the back, and slide the right hand into the left
hip pocket. Keep both sitz bones anchored as best you can, allowing
the twist to start from the base of the spine and extend all the way
up through the neck.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Engage the inner
thighs toward the midline to lift the pelvic
floor and engage mula bandha. Maintain
the soft sound of the breath through the
contraction of the throat to gently apply
jalandhara bandha.
4. Hold for as long as needed, then repeat on
the other side.

Modification
If this is too difficult, use marichyasana C
(page 105).

156
 ADHO MUKHA KAPOTASANA
(AH-doh MOO-kah kah-po-TAHS-anna)
adho = downward mukha = face
kapota = pigeon asana = pose

DOWNWARD-FACING PIGEON POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, lift the right
leg behind you. On an exhale, swing the leg forward, bringing the
right knee behind the right wrist, and sit with the legs in this position.
Rotate the right leg to the right, with the right shin parallel to the top
edge of the mat. Extend the left leg directly behind the left hip, with
the top of the left thigh resting on the ground.
2. On an inhale, extend the spine and straighten the arms.
3. On an exhale, fold forward over the right shin, bringing the forehead
to rest on the ground and reaching both arms forward. Keep both
hips squared with the front of the mat by pressing the front of the left
hip strongly into the ground.
4. Hold for as long as needed, then repeat on the other side.

Modification
To ease the stretch, do not fold forward.

157
 EKA PADA RAJA KAPOTASANA
(e-kah pah-dah rah-jah kah-po-TAHS-anna)
eka = one pada = foot raja = king
kapota = pigeon asana = pose

ONE-LEG KING PIGEON POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha kapotasana (page 157), sit up and place the hands
on the mat in front of the right shin, shoulder-width apart.
2. On an inhale, press the hands into the mat and lift the torso, looking
up toward the sky.
3. On an exhale, while maintaining the alignment of the hips, bend
the left knee toward the head. Reach the left hand back to clasp the
inside of the left foot. Continue to bend the back leg while the crown
of the head reaches toward the back foot. Reach the right hand back,
clasping the outside edge of the left foot with the right hand as well.
4. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Engage the inner
thighs toward the midline to lift the pelvic floor, ground the hips, and
engage mula bandha. Maintain the soft sound of the breath through
the contraction of the throat to gently apply jalandhara bandha.
5. Hold for as long as needed, then repeat on the other side.

Modification
If this is too difficult, use adho mukha kapotasana (page 157).

158
 GOMUKHASANA
(goh-mook-AHS-anna)
go = cow mukha = face asana = pose

COW FACE POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, lift the left leg
behind you. On an exhale, swing the leg forward, bringing the left
knee behind the left wrist, and sit with the legs in this position.
2. Lean toward the left side, then swing the right leg around to the front,
bending the knee to stack it on top of the left knee, right thigh over
the left thigh, then sitting the hips between the feet.
3. On an inhale, sit up, lengthen the spine, and lift the chin. Raise the
left arm, bending the left elbow so it points toward the sky, and the
left hand reaches down the back. Bend the right elbow so it points
downward, reach the hand behind the back, and clasp both hands
together (see figure a).
4. On an exhale, fold forward over the knees, leading with the chest
(see figure b).

a (continued)
159
 Gomukhasana (continued)

5. Draw the navel into the spine to engage uddiyana bandha, stabilize the
core, and bring the breath into the rib cage. Engage the inner thighs
toward the midline to lift the pelvic floor and engage mula bandha.
Maintain the soft sound of the breath through the contraction of the
throat to gently apply jalandhara bandha.
6. Hold for as long as needed, then repeat on the other side.

Modifications
• To ease the stretch, do not fold forward.
• To ease shoulder tension, use a strap to bridge the distance between
the hands.
• To perform the classical ashtanga version of this
pose, do not allow the shins to separate and the
hips to sit on the ground. Bring the shins as close
to parallel as possible, balancing completely on
one shin and using the top of the other foot for
stability. The arms mirror the legs in this version—if
the right thigh is on top, the right elbow reaches
up to the ceiling. Fold forward, maintain the same
engagement in the bandhas, and hold for as long
as needed before repeating on the other side (see
figure).

160
 SUPTA URDHVA PADA VAJRASANA
(SOOP-tah OORD-vah PAH-dah vaj-RAHS-ahna)
supta = reclined urdhva = upward
pada = foot vajra = thunderbolt asana = pose

SLEEPING UPWARD LIFTING LEG THUNDERBOLT POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (p. 56), on an inhale, jump through the
hands to a seated position with the hips between the hands and the
legs extended straight out front, and then on an exhale, lie down on
your back.
2. On an inhale, bring your feet, legs, and hips over your shoulders and
let the feet rest on the floor behind the crown of your head, similar
to halasana (page 184).
3. On an exhale, bring the right foot to a half lotus while reaching the
right arm across the lower back, grabbing the toes of the right foot
with the right hand. Hold on to the big toe of the left foot with the
first and second fingers of the left hand. Keep the left leg extended
(see figure a).
4. On an inhale, roll up to a seated position and bend the left knee,
bringing the left foot outside of the hip to twist with the half lotus,
similar to bharadvajasana (page 155) (see figure b).

a
(continued)

161
 Supta Urdhva Pada Vajrasana (continued)

5. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
6. Hold for as long as needed, then repeat on the other side.

162
 EKA PADA SIRSASANA
(e-kah pah-dah sheer-SHAHS-anna)
eka = one pada = foot sirsa = head asana = pose

ONE FOOT TO HEAD POSTURE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front.
2. On an exhale, bring the right shin behind the neck. Pay attention to
the rotation in the right hip, allowing the lower leg to move completely
down the back of the neck toward the shoulders (see figure a).
3. Fold forward and keep the head pressing back on the leg so the spine
remains as straight as possible (see figure b).
4. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
5. Hold for as long as needed, then repeat on the other side.

Modification
If this is too difficult, use downward-facing pigeon pose (page 157).

163
 DWI PADA SIRSASANA
(dwee pah-dah sheer-SHAHS-ahna)
dwi = two pada = foot sirsa = head asana = pose

FEET BEHIND THE HEAD POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (p. 56), on an inhale, jump through the
hands to a seated position with the hips between the hands and the
legs extended straight out front.
2. Bring the left leg behind the head, allowing the shin of the left leg
to rest behind the neck. Lift the chest and head up to counteract the
pressure from the leg. Engage the hamstrings of the left leg to stabilize
and hold the leg in place.
3. Bring the right leg behind the head as well, placing it behind the left
leg and crossing the feet at the ankles. Stay balanced on your sitz
bones.
4. Bring the hands to heart center, pressing the palms together.
5. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
6. Hold for five breaths.
7. To release the pose,
press the hands down
into the ground, about
shoulder-width apart,
lifting the hips off the
ground. Uncross the
ankles, extending the
legs forward and straight-
ening both the arms and
legs into titibhasana A
(page 166). Move the
legs through bakasana
(page 60) and jump back
in chaturanga dandasana
(page 54).

164
 YOGA NIDRASANA
(YOH-gah nee-DRAHS-ahna)
yoga = unite nidra = sleep asana = pose

SLEEPING YOGI POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (p. 56), on an inhale, jump through the
hands to a seated position with the hips between the hands and the
legs extended straight out front. Lie down on your back.
2. Bring the left leg behind the head, allowing the shin of the left leg
to rest behind the neck. Lift the chest and head up to counteract the
pressure from the leg. Engage the hamstrings of the left leg to stabilize
and hold the leg in place.
3. Bring the right leg behind the head as well, placing it behind the left
leg and crossing the feet at the ankles.
4. Bring the hands behind the lower back and clasp the hands together
in a bind.
5. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
6. Hold for five breaths.

165
 TITIBHASANA A, B, C, AND D
(tee-tee-BAHS-ahna)
titibha = fly, insect asana = pose

FIREFLY POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (p. 56), on an inhale, jump the feet to
the outside of the hands at the top of the mat.
2. On an exhale, brace the shoulders behind the knees and bring both
hands to the ground, shoulder-width apart.
3. On an inhale, lift and straighten the legs forward while balancing on
your hands. Point your toes and actively engage the inner thighs. This
is titibhasana A (see figure a). After a few rounds of breath, release
the feet to the floor.
4. On an inhale, stand up onto the feet as you retain the position of the
shoulders behind the back of the knees and thighs. Bring the arms
behind the back and bind the hands by clasping them together. Look
through your legs and gaze up at the sky. This is titibhasana B (see
figure b). Hold for a few breaths.
5. Maintaining the bind of the hands behind the back, walk forward five
steps and backward for five steps, taking your time and breathing as
you walk. This is titibhasana C (see figure c).
6. Bring the feet as close together as you can, pushing the shoulders
farther behind the legs. Heels touch together and the toes are allowed
to turn out for balance. Bring the hands to bind behind the head. This
is titibhasana D (see figure d).
7. To exit this pose, plant the hands on the ground shoulder-width
apart and move through titibhasana A before jumping back through
bakasana (page 60) to chaturanga dandasana (page 54).

Modification
If the hands don’t touch behind the back, use a towel or strap to connect
the hands.

166
a b

c d

167
 KARANDAVASANA
(kah-rahn-dah-VAHS-ahna)
karandava = Himalayan goose asana = pose

DUCK POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (p. 56), on an inhale, lower both elbows
to the ground, keeping the forearms parallel.
2. On an exhale, walk the feet in closer to the arms to lift the hips.
3. On an inhale, lift by transferring the weight of the body over the
shoulders and balance the hips and legs in the air, coming into pincha
mayurasana (page 67).
4. On an exhale, bring the legs into a full lotus position with the right leg
positioned first to the top of the left thigh. The left leg completes the
lotus by crossing the foot to the right thigh (see figure a).
5. On an exhale, fold the lotus in toward the chest, bringing the knees
down on the back of the upper arms (see figure b). Hold here for five
breaths.
6. On an inhale, lift back up in the same manner coming into pincha
mayurasana before releasing completely out of the pose.

a b

168
 MAYURASANA
(mah-yoor-AHS-ahna)
mayura = peacock asana = pose

PEACOCK POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, hop forward to
your knees and sit on top of the feet with the knees open wide.
2. On an exhale, place the hands on the floor with the heels of the hands
touching, fingers turned backward and the elbows positioned into the
belly/diaphragm area.
3. On an inhale, lean the weight of the body forward onto the elbows,
lifting the entire body to balance on the back of the elbows. Extend
the legs straight back.
4. Stay for as long as needed.

169
 NAKRASANA
(nah-KRAHS-anna)
nakra = crocodile asana = pose

CROCODILE POSE
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), on an inhale, shift the shoul-
ders forward and come to a high plank position.
2. On an exhale, lower into chaturanga dandasana (page 54), holding
the body in a straight line (see figure a).
3. On an inhale, jump all four limbs off the ground, and move forward a
few inches (see figure b). Exhale to land softly back into chaturanga
dandasana.
4. While the body is lifted off the floor, maintain a horizontal position.
Bend the elbows in toward the ribs, and pull the hands by the chest to
keep the shape of a crocodile with short arms. Anticipate the landing,
and reach out to the floor slowly to soften the landing by applying
pressure with the hands as you bend the elbows. Work with a bouncing
feeling to minimize the shock of the posture.
5. Repeat this action three times forward and three times backward.

Modification
To build strength for this pose, hold a high plank for 10 breaths, then
hold a low plank (chaturanga) for 10 breaths. Repeat.

170
b
 VATAYANASANA
(vah-ta-yah-NAHS-ahna)
vatayana = horse asana = pose

HORSE FACE POSE

First drishti: nasikagra—tip of the nose
1. From samasthiti (page 51), on an inhale, bring the right leg into a half
lotus with the right foot on top of the thigh, reaching the right arm
behind the back to hold the right foot. On an exhale, fold forward.
2. On an inhale look up halfway, lengthening your spine.
3. On an exhale, plant both hands at the top of the mat, shoulder-width
apart, and jump back to a push-up position while maintaining the half
lotus position in the right leg.
4. On an inhale, press the arms straight to the upward-facing dog posi-
tion and keep the hips, thighs, and knees off the ground. Maintain
the half lotus position in the right leg.
5. On an exhale, press back into adho mukha svanasana (page 56) with
the right leg in half lotus.

(continued)
171
 Vatayanasana (continued)

6. On an inhale, jump the left foot forward to the hands, then turn the
foot out, externally rotating the leg so the left knee bends over the foot
in the same direction. Bring the right knee down directly behind the
left heel and then lift your torso upward into the upright posture. Your
foundation here is the left foot and the right knee.
7. Wrap the left arm under the right arm and spiral the forearms, bringing the
palms to touch and pointing the fingers up to the ceiling. The fingers will
not be in line here; the left fingers will come to the palm of the right hand.
8. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
9. Stay here for five breaths.
10. Release from this pose the same way you entered it, keeping the right
leg in the half lotus position through chaturanga dandasana (page
54), urdhva mukha svanasana (page 55), adho mukha svanasana (page
56), ardha uttanasana (page 72), uttanasana (page 70), and urdhva
hastasana (page 52). Release the right leg from the half lotus position
when you are standing back at the top of the mat.
11. Repeat on the other side.

172
 PARIGHASANA
(pah-ree-GAHS-ahna)
parigha = gate asana = pose

GATE POSE
Ninth drishti: urdhva or antara—up to the sky
1. From adho mukha svanasana (page 56), on an inhale, jump through
the hands to a seated position with the hips between the hands and
the legs extended straight out front. Bend the right knee, placing the
right foot outside of the right hip and bringing the right knee to point
out to the right side.
2. On an exhale, reach the right arm over the head and toward the left
foot, side stretching toward the extended leg with the left shoulder
coming inside the left leg for extra leverage to open the right side
body.
3. Draw the navel into the spine to engage uddiyana bandha, stabilize
the core, and bring the breath into the rib cage. Lift the pelvic floor
to engage mula bandha and relax the hip muscles. Maintain the soft
sound of the breath through the contraction of the throat to gently
apply jalandhara bandha.
4. Stay for as long as needed, then repeat on the other side.

173
 MUKTA HASTA SIRSASANA A
(MOOK-tah HAHS-tah sheer-SHAHS-anna)
mukta = liberated hasta = hand sirsa = head asana = pose

TRIPOD HEADSTAND
First drishti: nasikagra—tip of the nose
1. From balasana (page 142), on an inhale, place your palms on the
floor, shoulder-width apart with the fingers pointing forward. Place
the top of the head between the hands and about six inches (15 cm)
behind, ensuring that you can see your hands. The elbows should form
90-degree angles. The top of the head and the two hands
form the tripod foundation for this inversion.
2. On an exhale, lift the knees off the ground and shift the
weight to the head. Tip toe the feet in as close as pos-
sible, keeping both legs straight until the hips are over
the shoulders.
3. In an inhale, lift both legs together or lift one leg and
then the other, to come into a full inversion. The body is
in a straight line, with weight on both hands and the top
of the head (see figure a).
4. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath into the
rib cage. Engage the inner thighs toward the midline to
lift the pelvic floor and engage mula bandha. Maintain
the soft sound of the breath through the contraction of
the throat to gently apply jalandhara bandha.
5. Hold for as long as needed.

Modification
To work on balance,
after creating the foun-
dation, bring each
knee on top of each
elbow and bring the
feet together in the
center (see figure b).
Stay here.

a b

174
 MUKTA HASTA SIRSASANA B
(MOOK-tah HAHS-tah sheer-SHAHS-anna)
mukta = liberated hasta = hand sirsa = head asana = pose

TRIPOD HEADSTAND
First drishti: nasikagra—tip of the nose
1. From balasana (page 142), on an inhale, place your
palms on the floor, shoulder-width apart with the
fingers pointing forward. Place the top of the head
between the hands. Extend the arms forward shoul-
der-width apart and turn the palms upward toward
the ceiling. Press through the back of your hands
to stabilize the shoulder girdle.
2. On an exhale, lift the knees off the ground and shift
the weight to the head. Tip toe the feet in as close
as possible, keeping both legs straight until the hips
are over the shoulders.
3. On an inhale, lift both legs together or lift one leg
and then the other, to come into a full inversion. The
body is in a straight line, with weight on the back
of both hands and the top of the head.
4. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
5. Hold for as long as needed.

175
 MUKTA HASTA SIRSASANA C
(MOOK-tah HAHS-tah sheer-SHAHS-anna)
mukta = liberated hasta = hand sirsa = head asana = pose

TRIPOD HEADSTAND
First drishti: nasikagra—tip of the nose
1. From balasana (page 142), on an inhale, place your
palms on the floor, shoulder-width apart with the
fingers pointing forward. Place the top of the head
between the hands. Extend the arms straight out
to the side so they are in line with the top of the
head. Turn the palms down and press through the
hands to stabilize the shoulder girdle. Keep the
arms engaged throughout this entire pose.
2. On an exhale, lift the knees off the ground and shift
the weight to the head. Tip toe the feet in as close
as possible, keeping both legs straight until the hips
are over the shoulders.
3. On an inhale, lift both legs together or lift one leg
and then the other, to come into a full inversion.
The body is in a straight line, with weight primarily
on the top of the head.
4. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
5. Hold for as long as needed.

176
 BADDHA HASTA SIRSASANA A
(bahd-dah hahs-tah sheer-SHAHS-ahna)
baddha = bound hasta = hand sirsa = head asana = pose

BOUND HAND HEADSTAND POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), drop the
knees to the floor.
2. Drop the elbows to the floor, and place the top of
the head on the floor. Interlace your fingers to cradle
the back of the head in your open palms. Feel the
top of the head pressing into the floor.
3. Lift the knees off the ground and shift the weight to
the head. Tip toe the feet in as close as possible,
keeping both legs straight until the hips are over
the shoulders.
4. Lift both legs off the ground until the body is in a
vertical line.
5. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
6. Hold for as long as needed.

177
 BADDHA HASTA SIRSASANA B
(bahd-dah hahs-tah sheer-SHAHS-ahna)
baddha = bound hasta = hand sirsa = head asana = pose

BOUND HAND HEADSTAND POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), drop the
knees to the floor.
2. Drop the elbows to the floor, and place the top of
the head on the floor. Cross your arms in front of
your forehead by first bringing the fingers of the
right hand to hold the left biceps, placing the left
forearm over the right forearm, then reaching the
left fingers under the right biceps. Press the fore-
arms and the top of the head firmly into the floor.
3. Lift the knees off the ground and shift the weight to
the head. Tip toe the feet in as close as possible,
keeping both legs straight until the hips are over
the shoulders.
4. Lift both legs off the ground until the body is in a
vertical line.
5. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
6. Hold for as long as needed.

178
 BADDHA HASTA SIRSASANA C
(bahd-dah hahs-tah sheer-SHAHS-ahna)
baddha = bound hasta = hand sirsa = head asana = pose

BOUND HAND HEADSTAND POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), drop the
knees to the floor.
2. Drop the elbows to the floor, bringing the forearms
shoulder-width apart and parallel. Place the top
of the head on the floor between the wrists. Press
the forearms and the top of the head firmly into
the floor.
3. Lift the knees off the ground and shift the weight to
the head. Tip toe the feet in as close as possible,
keeping both legs straight until the hips are over
the shoulders.
4. Lift both legs off the ground until the body is in a
vertical line.
5. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
6. Hold for as long as needed.

179
 BADDHA HASTA SIRSASANA D
(bahd-dah hahs-tah sheer-SHAHS-ahna)
baddha = bound hasta = hand sirsa = head asana = pose

BOUND HAND HEADSTAND POSE

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), drop the
knees to the floor.
2. Drop the elbows to the floor, bringing the forearms
shoulder-width apart and parallel. Place the top
of the head on the floor between the wrists, then
bring the fingers to touch the back of the shoulders
so that only the elbows are touching the ground.
Press the elbows and the top of the head firmly
into the floor.
3. Lift the knees off the ground and shift the weight to
the head. Tip toe the feet in as close as possible,
keeping both legs straight until the hips are over
the shoulders.
4. Lift both legs off the ground until the body is in a
vertical line.
5. Draw the navel into the spine to engage uddiyana
bandha, stabilize the core, and bring the breath
into the rib cage. Engage the inner thighs toward
the midline to lift the pelvic floor and engage mula
bandha. Maintain the soft sound of the breath
through the contraction of the throat to gently apply
jalandhara bandha.
6. Hold for as long as needed.

180
Inversion and
Rest Postures
(Finishing
Series)
7
182 Rocket Yoga

The postures featured in this chapter are performed as part of the final
and finishing poses of classical ashtanga and the Rocket sequences (see
chapters 8 and 9) and should be done with ease and as much relaxation
as possible. The body has worked hard, and the finishing poses cool and
calm the internal energy and prepare the body for the final rest—savasana.
The finishing series poses are held for longer counts of eight to ten
slow, deep breaths. The inversions—sarvangasana and sirsasana—can
be held for even longer, up to 20 breaths or more, if desired. Continue to
apply the ujjayi breath here, bringing a more relaxed energy to the poses
in order to tap into their cooling and restorative nature.
 SALAMBA SARVANGASANA
(sah-LOM-bah sar-van-GAHS-anna)
sa = with alamba = support
sarva = all anga = limb asana = pose

SHOULDER STAND
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), come to a seated, straight-
legged position.
2. Lie flat on the back.
3. Lift the legs and hips over the shoulders, and raise the legs up to the
ceiling. Hands can support the lower back. Keep the toes, hips, and
shoulders in one line straight up toward the ceiling.

Modifications
• If it is not possible to align the feet directly
over the shoulders while keeping the spine
straight, let the hips rest a little behind the
shoulders and feet a little over the head.
• If you have a neck injury or you want to ease
the pressure in the back and neck, practice
viparita karani (legs up the wall pose). Lie
on the floor with the hips as near the wall
as possible, and straighten the legs up the
wall. This can also be performed away from
the wall by holding the legs perpendicular to
the ground (see smaller figure).

183
 HALASANA
(hah-LAHS-anna)
hala = plow asana = pose

PLOW POSE
First drishti: nasikagra—tip of the nose
1. From salamba sarvangasana (page 183), keep the legs straight and
lower them above the head until the tops of the feet touch the ground.
Point the toes.
2. Release the arms from the lower back, clasp the hands, and then lower
the clasped hands to the ground.
3. Draw the navel into the spine to engage uddiyana bandha. Keep the
spine as straight as possible. Continue to straighten the legs, and
keep the feet pointed to engage the lower body.

Modifications
• For tight shoulders, use a strap to bind the hands.
• For a tight back or tight hamstrings, keep the hands on the lower back
for support and let the legs hang. Wait for the feet to touch the floor
before releasing the hands toward the ground.

184
 KARNAPIDASANA
(KAR-nah-peed-AHS-anna)
karna = ear pida = pressure asana = pose

EAR-PRESSURE POSE
DEAF MAN’S POSE
First drishti: nasikagra—tip of the nose
1. From halasana (page 184), bend the knees and separate the legs so
the knees slide around the head.
2. Squeeze the knees onto the ears, and keep the hands clasped.
3. Keep breathing into the chest and as deeply as you can. Breathing
against the compression of the posture causes the stretch to move
from the inside toward the outside.

Modification
To ease the stretch in the back, bend the knees onto the top of the head.
Leave the hands on the lower back for support.

185
 URDHVA PADMASANA
(OORD-vah pod-MAHS-anna)
urdhva = upward padma = lotus asana = pose

FLYING LOTUS POSE

First drishti: nasikagra—tip of the nose
1. From karnapidasana (page 185), bring the legs up to the ceiling as
you support the lower back with the hands.
2. Take the legs into padmasana, with the right leg folding first.
3. Move the hands to the knees, and press the legs away from the chest
until the arms are straight.

Modification
If the lotus position isn’t possible, put the legs into an upside-down butterfly
variation with the hands supporting the lower back (see smaller figure).

186
 PINDASANA
(peen-DAHS-anna)
pinda = embryo asana = pose

EMBRYO POSE
First drishti: nasikagra—tip of the nose
1. From urdhva padmasana (page 186), fold the legs at the hips, and
bring the thighs into the chest.
2. Bind the hands around the thighs to pull in deeper.
3. Keep the balance on the back of the shoulders so the neck is relaxed
and comfortable.

Modifications
• If binding around the lotus legs isn’t possible, fold the full lotus into the
chest by simply holding the knees. There is no need to bind.
• From butterfly variation, take the knees together and place them onto
the forehead. Allow a little pressure to build on the third eye, the space
between the eyebrows.

187
 MATSYASANA
(mot-see-AHS-anna)
matsya = fish asana = pose

FISH POSE
First drishti: nasikagra—tip of the nose
1. From pindasana (page 187), release the hands onto the floor toward
the top of the mat.
2. Lower the body between the arms like two railroad tracks until the
hips rest on the floor. Press the elbows strongly into the floor, and lift
the chest to the sky.
3. Place the crown of the head on the floor to support and maintain the
clean arch of the spine.
4. Grab the toes, and pull the lotus deeper.

Modifications
• If the lotus leg position is not possible, leave the legs in the butterfly
variation. Feet stay together, and knees fall out to the side. Work on
the arch of the spine from here.
• If the back extension is too intense, keep the legs in the butterfly vari-
ation, and the spine stays flat on the mat.

188
 UTTANA PADASANA
(oot-TAHN-a pod-AHS-anna)
uttana = extended pada = foot asana = pose

EXTENDED-FOOT POSE
Second drishti: bhrumadhya—between the eyebrows (third eye)
1. From matsyasana (page 188), release the hands into prayer position,
and release the legs from the lotus position.
2. Straighten the legs and arms, pressing the palms and toes together.

Modifications
• If the back can maintain the arch, release the legs onto the floor while
keeping the arch of the spine.
• If the back cannot maintain the arch, flatten and relax the spine onto
the floor. Keep the arms and legs reaching at a 45-degree angle.

189
 SIRSASANA
(shear-SHAHS-anna)
sirsa = head asana = pose

HEADSTAND
First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), drop the
knees to the floor.
2. Drop the elbows to the floor, and place the crown
of the head on the floor. Clasp the back of the head
with interlaced hands. Feel the crown of the head
on the floor.
3. Straighten the legs, and walk the feet a little closer
to the head so the hips rise over the shoulders.
4. Lift both legs off the ground until the body is in a
vertical line.

190
 Modifications
These modifications address issues of balance as one works toward the full
expression of the pose.
• Bend the knees and work on holding the headstand with the knees
pulled into the chest (see figure a).
• Leave one foot or both feet on the floor and become comfortable with
pressure in the head. Support the majority of the weight with the arms
(see figures b and c).
• Use a wall to support the balance of the body, using the wall only to
keep the body from falling over.

a b c

191
 BADDHA PADMASANA/YOGA MUDRA
(BAH-dah pod-MAHS-anna) (YOH-gah MOO-drah)
baddha = bound padma = lotus asana = pose
yoga = union, yoke mudra = seal, gesture

BOUND LOTUS POSE (SACRED SEAL)

First drishti: nasikagra—tip of the nose
1. From adho mukha svanasana (page 56), jump through to a seated
position with the legs straight. Pull the legs into a full lotus with the
right foot first. Work on taking the full bind with the right hand grab-
bing the right foot. The left hand grabs the left foot. This is baddha
padmasana (see figure a).
2. On an inhale, look up to the sky and open the heart.
3. Exhale to fold forward placing the chin on the floor to enter yoga
mudra (see figure b).

Modifications
• If the shoulders are tight, grab the elbows behind the back and fold
forward.
• If the lotus leg position is not possible, cross the legs into a half lotus
or easy seated posture. Hands can reach in front while you fold forward
over the knees.

a b

192
 PADMASANA
(pod-MAHS-anna)
padma = lotus asana = pose

FULL LOTUS
First drishti: nasikagra—tip of the nose
1. From baddha padmasana/yoga mudra (page 192), sit up while main-
.

taining the bind and look up toward the sky.

2. Release the bind and place the back of the wrists on the top of the
knees. Keep the arms straight as the shoulders draw down and the
spine aligns over the hips.
3. Bring the fingers to yoga mudra by bringing the tip of the index finger
to the tip of the thumb on both hands. Keep the other fingers straight.
4. Engage maha bandha to apply all three bandhas here. With each
breath, focus on maintaining the integrity of the bandhas to move
internal energy up the spine.

Modifications
• If the full lotus position is
not possible, release the
legs and take a comfort-
able seated posture.
• Use a block or pillow to
raise the hips above the
knees so the hips relax.

193
 UTPLUTHIH
(oot-PLOOT-tee-HEE)
utplu = uprooting thihi = stay or stand

SPRUNG-UP POSE
First drishti: nasikagra—tip of the nose
1. From padmasana (page 193), place the hands onto the floor outside
and a little in front of the hips.
2. Press the hands into the ground, and lift the body off the floor. Pull the
knees into the chest as the chin lifts toward the sky. Strongly engage
the pelvic floor to help lift the body.

Modification
Release the full lotus posture. Work on lifting just the sitz bones off the floor
and lifting the knees (see smaller figure). The feet can rest on the mat or
help with the lift.

194
 SAVASANA
(shuh-VAHS-anna)
sava = corpse asana = pose

CORPSE POSE
Drishti: None, eyes are closed softly
1. Lie down and relax completely.
2. Allow the legs to splay open, and move the arms away from the body,
palms facing upward.
3. Allow the breath to relax into its natural rhythm.
4. As the final resting pose, stay in this pose for five minutes or longer
until your heart rate has returned to its resting rhythm.

Modifications
• For tightness in the lower back, place a pillow or bolster under the
knees.
• For tightness in the neck and shoulders, place a small pillow under
the neck.

195
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 part iii
THE SEQUENCES
This page intentionally left blank.
Classical
Ashtanga Series 8
200 Rocket Yoga

Classical ashtanga is a dynamic and athletic form of hatha yoga composed

of six series, each with a set sequence and a fixed order of postures. The
practice is physically demanding and requires flexibility, strength, stamina,
and a steady mind. Each of the six series begins the same way—warming
up with surya namaskar A and B, followed by the standing series. After
this, begin the series you are practicing for the day, whether it is the full
primary, half intermediate, or full intermediate series. All practices end
the same way, with the finishing series to cool the body.
Classical ashtanga is meant to be practiced six days a week, ideally at the
same time each day. While some see the practice as rigid and demanding,
the discipline built from this practice allows you to quickly see progress.

Sun Salutations
One of the oldest sequences of breath with movement, the surya nam-
askar (sun salutations) sequence accesses all of the muscles and joints in
the body. This graceful mala of postures linked with breath can be both
energetically grounding as well as invigorating, and it prepares the body
for deeper practices by flushing the body with fresh blood flow, raising
internal body temperatures, stimulating the nervous system, and opening
the subtle body. These movements warm the physical body and begin to
turn one’s attention inward.
Sun salutations teach the details of breath and body coordination, a
foundation that should not be skipped by students new to the practice nor
by experienced practitioners. While the physical focus of surya namaskar
A is to warm up the spine through movements of flexion and extension,
surya namaskar B incorporates lunges that begin to move energy down
through the hips and to the legs.
All classical ashtanga series begin with the sun salutations. Traditionally,
five rounds of surya namaskar A are followed by three rounds of surya
namaskar B, with each pose linked to a specific breath. For example,
during surya namaskar A you exhale, samasthiti; inhale, urdhva hastasana;
exhale, uttanasana; and so on.
 Classical Ashtanga Series 201

Surya Namaskar A

Samasthiti (page 51) Urdhva Hastasana (page 52) Uttanasana (page 70)

Ardha Uttanasana (page 72) Chaturanga Dandasana Urdhva Mukha Svanasana

(page 54) (page 55)

Adho Mukha Svanasana Ardha Utkatasana (page 58) Uttanasana (page 70)
(page 56)

Urdhva Hastasana (page 52) Samasthiti (page 51)

202 Rocket Yoga

Surya Namaskar B

Samasthiti (page 51) Utkatasana (page 57) Uttanasana (page 70)

Ardha Uttanasana (page 72) Chaturanga Dandasana Urdhva Mukha Svanasana

(page 54) (page 55)

Adho Mukha Svanasana Virabhadrasana A (page 61) Chaturanga Dandasana

(page 56) (page 54)
 Classical Ashtanga Series 203

Urdhva Mukha Svanasana Adho Mukha Svanasana Virabhadrasana A (page

(page 55) (page 56) 61)

Chaturanga Dandasana Urdhva Mukha Svanasana Adho Mukha Svanasana

(page 54) (page 55) (page 56)

Ardha Uttanasana (page 72) Uttanasana (page 70) Utkatasana (page 57)

Samasthiti (page 51)

204 Rocket Yoga

Standing Series
The standing series grounds the body by engaging the strength of the legs.
The sequence of poses effectively warms up the legs and hips. Binding of
the hands is optional but adds to the grounding nature of the sequence.
All classical ashtanga series perform this standing sequence of postures
after surya namaskar A and B. After you finish the final standing series
pose, parsvottanasana, you go directly into the series you are practicing
that day, whether it is full primary or intermediate.
Each pose is held for five long, ujjayi breaths. This provides enough
time for the pose to unfold inside the body and for the body to receive
the benefits of the pose.
 Classical Ashtanga Series 205

Standing Series

Padangusthasana (page 68) Padahastasana (page 69) Utthita Trikonasana (page 63)

Parivrtta Trikonasana Utthita Parsvakonasana Parivrtta Parsvakonasana

(page 64) (page 65) (page 66)

Prasarita Padottanasana A Prasarita Padottanasana B Prasarita Padottanasana C

(page 73) (page 74) (page 75)

Prasarita Padottanasana D Parsvottanasana (page 82)

(page 76)
206 Rocket Yoga

Primary Series
This is the first series of classical ashtanga vinyasa yoga as traditionally
taught by Pattabhi Jois. It is often described as yoga therapy that creates
discipline and consistency through the nature of the same rhythmic poses.
Similar to a ritual, the traditional series follows an exact vinyasa count. The
focus of this series is on the knees, hips, hamstrings, and spine and has
more than 50 forward bends. The overall energetic effect of this series is
to establish a sense of calmness and to relax and strengthen the muscles
so the student can maintain a seated, still position for two hours or more.
This series was originally designed to maintain youthful energy through
the mystical techniques of the ashtanga yoga lineage. Following the pre-
scribed order of postures is required in a traditional setting; students are
not allowed to practice a posture until they have completed the posture
that comes before it. Ideally, this provides safety by requiring the body
to open into one posture at a time. Each posture in the series prepares
the student for the next one.
The half primary series stops the practice at navasana and moves directly
into the finishing series as a complete practice. You can stop at half if you
find the entire series too challenging, you are short on time, or you have
not yet built the stamina to practice the entire series. The half primary
series takes approximately 60 minutes to complete, while the full primary
series takes 75 to 90 minutes.
Each pose is held for five long, ujjayi breaths. This provides enough
time for the pose to unfold inside the body and for the body to receive
the benefits of the pose.

Primary Series

Utthita Hasta Padangust- Utthita Hasta Padangust- Utthita Hasta Padangust-

hasana A (page 84) hasana B (page 85) hasana C (page 86)
(continued)
 Classical Ashtanga Series 207

a b
Utthita Hasta Padangust- Ardha Padma Padmottanasana (page 88)
hasana D (page 87)

Utkatasana (page 57) Virabhadrasana A (page 61) Virabhadrasana B (page 62)

Dandasana (page 93) Paschimottanasana A Paschimottanasana B

(page 94) (page 95)

Purvottanasana (page 96) Ardha Baddha Padma Trianga Mukhaikapada

­ aschimottanasana
P Paschimottanasana
(page 97) (page 99)
(continued)
208 Rocket Yoga

Primary Series (continued)

a b

Janu Sirsasana A and B (page 100) Janu Sirsasana C (page 102)

Marichyasana A (page 103) Marichyasana B (page 104) Marichyasana C (page 105)

a b
Marichyasana D (page 106) Navasana (page 107)

Bhujapidasana (page 109) Supta Kurmasana (page 111) Kurmasana (page 110)

a b

Kukkutasana (page 113) Baddha Konasana A and B (page 114)

a b

Upavistha Konasana A and B (page 116)

 Classical Ashtanga Series 209

a b

Supta Konasana A and B (page 118)

a b
Supta Padangusthasana (page 120)

a b

Ubhaya Padangusthasana (page 122)

a b
Urdhva Mukha Paschimottanasana (page 124)

Setu Bandhasana (page 126) Urdhva Dhanurasana

(page 128)
210 Rocket Yoga

Intermediate Series
Known as nadi shodhana, meaning “nerve cleansing,” this is the second
of the classical ashtanga series. The intermediate series brings deep
backbends, hip openers, and a series of inversions into the practice to
open the energy channels, move prana, and challenge the body and the
mind. The specific order of poses works directly on the nervous system.
You will find that the intermediate series leaves a different energy than
that of the primary series. The intermediate series can be challenging.
Take the time to develop an awareness for each pose, keeping in mind
that many modifications are available to help make the poses accessible.
The half intermediate series stops the practice after karandavasana.
You can stop at half if you find the entire series too challenging, you are
short on time, or you have not yet built the stamina to practice the entire
series. The half intermediate series takes approximately 60 minutes, while
the full intermediate series takes about 90 minutes.
Hold each pose for five long, ujjayi breaths. This provides enough time
for the pose to unfold inside the body and for the body to receive the
benefits of the pose.

Intermediate Series

Pasasana (page 131) Krounchasana (page 135)

a b
Shalabhasana A and B Bhekasana (page 140)

Dhanurasana (page 143) Parsva Dhanurasana Ustrasana (page 146)

(page 144)
(continued)
 Classical Ashtanga Series 211

a b
Laghu Vajrasana (page 147) Kapotasana A and B (page 148)

a b
Supta Vajrasana (page 150) Bakasana A (page 60)

a b c

Bakasana B (page 152)

Bharadvajasana (page 155) Ardha Matsyendrasana

(page 156)

a b

Eka Pada Sirsasana (page 163)

Dwi Pada Sirsasana Yoga Nidrasana (page 165)

(page 164) (continued)
212 Rocket Yoga

Intermediate Series (continued)

a b c d

Titibhasana A, B, C, and D (page 166)

a b

Pincha Mayurasana Karandavasana (page 168)

(page 67)

a b
Mayurasana (page 169) Nakrasana (page 170)

Vatayanasana (page 171) Parighasana (page 173)

a b
Gomukhasana (page 159)
 Classical Ashtanga Series 213

a b
Supta Urdhva Pada Vajrasana (page 161) Mukta Hasta Sirsasana A
(page 174)

Mukta Hasta Sirsasana B Mukta Hasta Sirsasana C Baddha Hasta Sirsasana A

(page 175) (page 176) (page 177)

Baddha Hasta Sirsasana B Baddha Hasta Sirsasana C Baddha Hasta Sirsasana D

(page 178) (page 179) (page 180)

Urdhva Dhanurasana (page 128)

214 Rocket Yoga

Finishing Series
The finishing series is an important part of every classical ashtanga series.
After surya namaskar A and B, the standing series, and the practice that
day (half primary, full primary, half intermediate, or full intermediate), go
directly into this finishing series to close your practice. It provides a set of
inversions that reverse the blood flow in the body and allows the body to
cool itself from within. This will refresh the body and bring harmony and
balance back to the prana in the nadis, the energy channels inside the
body. Allow time for the finishing series in every practice and hold poses
for at least twice as long as the breath used during practice, extending the
breath so it is slower and deeper. Finish with a mantra, personal prayer,
or meditation on your highest intentions.
The finishing series poses are held for longer counts of 8 to 10 breaths.
Continue to apply the ujjayi breath here, bringing a more relaxed energy
to the poses in order to tap into their cooling and restorative nature.
 Classical Ashtanga Series 215

Finishing Series

Salamba Sarvangasana Halasana (page 184) Karnapidasana (page 185)

(page 183)

Urdhva Padmasana (page 186) Pindasana (page 187) Matsyasana (page 188)

Uttana Padasana (page 189) Sirsasana (page 190)

a b

Baddha Padmasana/Yoga Mudra (page 192)

Padmasana (page 193) Utpluthih (page 194) Savasana (page 195)

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Original Rocket
Yoga Series 9
218 Rocket Yoga

Rocket yoga is a clear distillation of the classical ashtanga series, from the
format of the class to the breath count for each pose. It departs from the
classical series in its reorganization of the standing asanas that offers more
efficiency in tying together the standing sequence. This allows for more
flow within the practice and adds a light and fluid energy. However, the
poses themselves remain the same. In addition, Rocket yoga allows for
more playfulness within the sequence, allowing you to insert nonclassical
poses when the focus invites it.
In the seated series portion of the class, Rocket yoga omits many of
the poses that can cause or exacerbate injury, such as the poses that
require one or both legs to be in the lotus position. Additionally, many
of the vinyasa transitions between poses are eliminated—again, to allow
for more flow within the practice. The finishing series is much the same
as in the classical ashtanga series; however, it demands less rigidity and
offers options to students who may or may not want to close with the
headstand and shoulder stand inversions. As you practice the classical
ashtanga primary series, notice where Rocket yoga makes changes to this
sequence and how that feels within your body.

Rocket I
Rocket I (also known as mixed levels) is a sequence modification of the
standing series from classic ashtanga vinyasa yoga as well as a modified
version of the seated series of the classic ashtanga primary series.
The Rocket standing series begins with utkatasana and brings the war-
rior postures to the front of the sequence in contrast to classic ashtanga,
which ends the standing series with the warrior postures. Rocket I then
guides you through a unique feature for leg strengthening, hip opening,
and balancing by doing all poses on the right side first and then repeating
on the left side. The standing poses are linked in a way that increases heat
in the body as you move deeper into each pose. This technique speeds
the process of strengthening the body while enhancing endurance and
stamina by specifically stimulating the sympathetic nervous system while
also maintaining proper bandha control to balance the parasympathetic
nervous system. This produces a power state in which you are highly alert
and extremely tranquil at the same time. The Rocket I seated series is the
modified version of the classic ashtanga primary seated series. Inversions
such as handstands and elbow stands are introduced as the subsequences
and transitions begin to show themselves within the basic sequences.
Similar to the classic ashtanga series, each pose is held for five long
ujjayi breaths. This provides enough time for the pose to unfold inside the
body and for the body to receive the benefits of the pose. Move directly
from one pose to the next, maintaining the inner heat that you’ve built
within your body.
 Original Rocket Yoga Series 219

Rocket I

Utkatasana (page 57) Ardha Utkatasana (page 58) Kakasana (page 59)

Virabhadrasana A (page 61) Virabhadrasana B (page 62) Utthita Trikonasana (page 63)

Parivrtta Trikonasana Utthita Parsvakonasana Parivrtta Parsvakonasana

(page 64) (page 65) (page 66)

(continued)
220 Rocket Yoga

Rocket I (continued)

Pincha Mayurasana Padangusthasana (page 68) Padahastasana (page 69)

(page 67)

Uttanasana variation Tadasana variation Prasarita Padottanasana A

(page 71) (page 53) (page 73)

Prasarita Padottanasana B Prasarita Padottanasana C Prasarita Padottanasana D

(page 74) (page 75) (page 76)

Samakonasana (page 77) Hanumanasana (page 78)

 Original Rocket Yoga Series 221

Upavistha Konasana A Upavistha Konasana varia- Mula Bandha Checkup

(page 116) tion (page 80) (page 81)

Parsvottanasana (page 82) Utthita Hasta Padangust- Utthita Hasta Padangust-

hasana A (page 84) hasana B (page 85)

Utthita Hasta Padangust- Utthita Hasta Padangust-

hasana C (page 86) hasana D (page 87)

a b
Ardha Padma Padmottanasana (page 88)
(continued)
222 Rocket Yoga

Rocket I (continued)

Dandasana (page 93) Paschimottanasana A Paschimottanasana B

(page 94) (page 95)

Purvottanasana (page 96) Ardha Baddha Padma Trianga Mukhaikapada

­Paschimottanasana Paschimottanasana
(page 97) (page 99)

a b

Janu Sirsasana A and B (page 100) Marichyasana A (page 103)

a b
Marichyasana C (page 105) Navasana (page 107)

a b

Baddha Konasana A Upavistha Konasana A and B (page 116)

(page 114)
 Original Rocket Yoga Series 223

a b c
Supta Konasana A and B (page 118)

a b
Supta Padangusthasana (page 120)

a b
Ubhaya Padangusthasana (page 122)

a b

Urdhva Mukha Paschimottanasana (page 124)

Ardha Urdhva Dhanurasana Urdhva Dhanurasana

(page 127) (page 128)
224 Rocket Yoga

Rocket II
The Rocket II standing series uses the same classical ashtanga sequence
modification as Rocket I, but omits the final standing postures, utthita
hasta padangusthasana and ardha padma padmottanasana. The Rocket
II standing series is designed to quickly prepare you to begin the seated
series while still covering the fundamental standing postures.
The Rocket II seated series is a modification of the classical ashtanga
intermediate series, starting from pasasana to the culminating headstands.
You are introduced to various postures from the third, fourth, and fifth
series of classical ashtanga. Through unique vinyasa transitions, you build
body strength after all toxins and stiffness are released by practicing the
primary series. It is a combination of nerve cleansing and awakening.
The tempo of Rocket II is a four-count inhalation and four-count exhala-
tion. You can change this rhythm according to your level and knowledge.
Slow the tempo if you’re newer to the practice. A faster pace can be
accomplished through shorter holds of the asanas. All transitions should
be slow and controlled. Only the core postures of the series are held for
five to eight counts. Most postures will be held for a three to five count.
While you are coordinating the breath and movements, the intention of
this series is to become aware of the flow between postures—the transi-
tions. Do not hold the postures for long periods, and modify them when
breathing becomes difficult. This series is not designed to promote deep
flexibility in postures, although that is an effect of the practice. Instead,
the aim is to build strength within your body and encourage creativity
within your practice.
The power of the poses and breath builds up the 11 main systems
of the body, resulting in an optimal state of physical health and mental
clarity. Respiratory, cardiovascular, muscular, skeletal, nervous, immune,
digestive, excretory, endocrine, integumentary, and reproductive systems
all play a role in the practice of ashtanga yoga. The practice awakens and
charges the feeling body with the invisible energy of prana to bring the
subtle experience of yoga to the practitioner.
 Original Rocket Yoga Series 225

Rocket II

Utkatasana (page 57) Ardha Utkatasana (page 58) Kakasana (page 59)

Virabhadrasana A Virabhadrasana B (page 62) Utthita Trikonasana (page 63)

(page 61)

Parivrtta Trikonasana Utthita Parsvakonasana Parivrtta Parsvakonasana

(page 64) (page 65) (page 66)

(continued)
226 Rocket Yoga

Rocket II (continued)

Pincha Mayurasana Padangusthasana (page 68) Padahastasana (page 69)

(page 67)

Uttanasana variation Tadasana variation Prasarita Padottanasana A

(page 71) (page 53) (page 73)

Prasarita Padottanasana B Prasarita Padottanasana C Prasarita Padottanasana D

(page 74) (page 75) (page76)

Samakonasana (page 77) Hanumanasana (page 78)

 Original Rocket Yoga Series 227

Upavistha Konasana A Upavistha Konasana varia- Mula Bandha Checkup

(page 116) tion (page 80) (page 81)

Parsvottanasana (page 82) Pasasana (page 131) Parsva Bakasana (page 132)

Dwi Pada Koundinyasana Parsva Koundinyasana

(page 134) (page 133)

a b

Krounchasana (page 135) Eka Pada Bakasana

(page 136)

a b

Astavakrasana (page 137) Shalabhasana A and B (page 138)

Shalabhasana variation (page 139)

(continued)
228 Rocket Yoga

Rocket II (continued)

Supta Virasana (page 141) Balasana (page 142) Mukta Hasta Sirsasana A
(page 174)

Kakasana (page 59) Dhanurasana (page 143) Parsva Dhanurasana

(page 144)

Ustrasana (page 146) Kapotasana A (page 148)

Raja Kapotasana (page 145)

Urdhva Dhanurasana Adho Mukha Vrksasana Pincha Mayurasana

(page 128) (page 154) (page 67)
 Original Rocket Yoga Series 229

Bharadvajasana (page 155) Ardha Matsyendrasana

(page 156)

Adho Mukha Kapotasana (page 157) Eka Pada Raja Kapotasana

(page 158)

a b

Gomukhasana (page 159)

a b

Eka Pada Sirsasana (page 163)

a b
Mayurasana (page 169) Nakrasana (page 170)
230 Rocket Yoga

Rocket Arms and Legs

Rocket yoga classes can be structured to work on specific areas of the
body. Within the sequence, add poses to strengthen the arms or poses
that require more stamina from the legs. Use the instructions here as a
guide to expanding the practice, or you can also use your creativity and
add what feels best for your body at that moment.

Rocket Arms
The Rocket arms sequence strengthens the arms by focusing on transi-
tions that strengthen the shoulder girdle and wrists and on stretches that
increase the range of motion. This section lists common variations and
transitions to add for a Rocket arms class.
Because these are variations of the poses, you may need more time
to get into the pose or find that holding them for a full five breaths is
challenging. Try to hold each pose for three to five long ujjayi breaths,
remembering to breathe with intention during your transitions. It takes
time for the body to receive the benefits of a pose, so be patient and
breathe deeply.
You may feel a lot of sensation in your arms during this practice. Move
directly from one pose to the next, maintaining the inner heat that you’ve
built within your body.

Rocket Arms
Double push-up in sun salutations and vinyasas: After upward-facing dog, return to cha-
turanga, then push directly back into downward-facing dog.

a b c
 Original Rocket Yoga Series 231

Plank core pumps in sun salutations: From downward-facing dog, inhale and lift one leg to
the sky, maintaining the hip alignment squared to the ground. On an exhale, shift forward with
shoulders to a high plank position as you simultaneously pull your knee to the forehead and
thigh to chest. Separate your shoulder blades and tuck the tailbone. On an inhale, extend
the leg back to the downward-facing dog position, stretching the leg to the sky. From here
you can switch legs, or you can step the leg forward to warrior I.

a b

Handstand in sun salutations: After the half lift, press the hands into the mat and pike press
into a handstand. Pike halfway down, then land in chaturanga.

a b c

Arms bound behind the back in chair and half chair: Interlace the fingers behind the back,
then stretch the arms straight and lift them off the body to stretch the front of the shoulders.

a b

(continued)
232 Rocket Yoga

Rocket Arms (continued)

Straight-arm crow and handstand crow: From crow pose, straighten the arms while keeping
the knees tucked into the armpits. From here, press directly into a full handstand.

a b c

Arm bind in triangle: Bring the lower shoulder in front of the forward leg, then reach the same
arm as the forward leg under and toward the lower back. Bring the top arm behind the back
and bind the fingers or grab the opposite wrist. Straighten the arms as much as possible to
stretch the front of the shoulders.

a b

Sacrum check in revolving triangle: In revolving triangle pose, place the upper hand on the
sacrum, checking that the hips are square and opening the shoulder to the ceiling before
fully extending the arm.
 Original Rocket Yoga Series 233

Bound extended-angle lunge: Bring the lower shoulder in front of the thigh of the forward
leg, and reach the lower arm under the thigh and toward the lower back. Bring the top arm
to the lower back, then grab the wrist with the other hand. Straighten the arms as much as
possible to stretch the front of the shoulders.

a b

Revolving bound lunge: Bring the lower shoulder to the outside of the thigh of the forward
leg, and reach the lower arm under the thigh and toward the lower back. Bring the top arm
to the lower back, then grab the wrist with the other hand. Straighten the arms as much as
possible to stretch the front of the shoulders.

Forearm stand prayer and hollow back: From a steady forearm stand (pincha mayurasana),
slowly begin to bring the chest through the upper arms to come into a hollow-back position.

a b

(continued)
234 Rocket Yoga

Rocket Arms (continued)

Straddle press in wide-leg forward fold: From any variation of the wide-leg forward fold, bring
the hands to the floor, shoulder-width apart. Press the hands into the ground, and press up
into a handstand, moving through the straddle position.

a b c

Side plank position out of full splits: With the right leg forward, place the left hand flat on the
ground and even with the right knee. Grab the big toe of the right leg with the right hand,
and lift the forward leg and the hips off the floor into a side plank position. This transition is
reversed to seated splits.

a b

Full handstands in seated vinyasas: Instead of taking the most efficient transition in the seated
vinyasas of the primary series, press up into a full handstand in the middle of each one.

a b c
 Original Rocket Yoga Series 235

Rocket Legs
The Rocket legs sequence strengthens the legs and cultivates a ground-
ing energy throughout the practice by adding variations to the standing
series. This section lists common variations and transitions to add to a
Rocket legs class.
Because these are variations of the poses, you may need more time
to get into the pose or find that holding them for a full five breaths is
challenging. Try to hold each pose for three to five long ujjayi breaths,
remembering to breathe with intention during your transitions. It takes
time for the body to receive the benefits of a pose, so be patient and
breathe deeply.
This sequence is meant to be challenging for the legs, and you might
feel a lot of sensation in your hips. That’s OK. Move directly from one pose
to the next, maintaining the inner heat that you’ve built within your body.

Rocket Legs
Chair pose with heels lifted: From any variation of chair pose, lift the heels off the ground
as high as possible.

Crescent lunge after warrior I: After warrior I, pivot the back heel off the ground, and come
to a crescent lunge.

(continued)
236 Rocket Yoga

Rocket Legs (continued)

Reverse warrior from warrior II: Keep the legs as they are, and reach the forward arm toward
the ceiling and back. The back arm can reach down the back leg or can wrap behind the
lower back, reaching to the opposite hip from behind.

Standing split, half moon, and twisting half moon between triangles: From triangle pose,
add this sequence, staying on the same standing leg before transitioning to the other side.

a b c

Bird of paradise and bound half moon after extended side angle: From extended side
angle, bind around the forward leg. From here, come into either bird of paradise or bound
half-moon pose.

a b
 Original Rocket Yoga Series 237

Revolving bird of paradise and half moon revolving bound after revolving extended side
angle: From revolving extended side angle, bind around the forward leg. From here, come
into either revolving bird of paradise or half-moon revolving bound pose.

Bound side angle side plank transition to parsva koundinyasana: From a bound side angle,
release the bind and place the bottom hand on the mat. Lift the forward foot and extend it
straight forward, coming into a side plank variation. Keep the forward leg in this position as
you bring the other hand to the ground, lifting the back leg off the floor to eventually come
into parsva koundinyasana.

a b

Full splits: Stay in this pose longer. You can add a bound twist under the legs or a backbend
for variation.

Pistol squats after utthita hasta padangusthasana D: Insert a pistol squat before moving into
the half lotus forward fold.

a b

(continued)
238 Rocket Yoga

Rocket Legs (continued)

Galavasana after half lotus forward fold: From half lotus forward fold, place both hands on
the mat and bring the shin of the lotus leg to the upper arms. Lean forward and lift the back
leg up to come into the arm balance, galavasana.

Rocket III
The week culminates in the Rocket III sequence, which combines all the
poses you’ve practiced throughout the week. Also known as Happy Hour,
Rocket III can be described as the combination of the Rocket I and Rocket
II series, along with poses from the Rocket arms and Rocket legs series to
form a practice that is fast paced and challenges your endurance. Because
of this, you can also do it on days when your body is physically ready to
push its limits.
The series begins the same as other Rocket classes, with sun salutations
and the Rocket standing series, typically with the additional variations from
Rocket arms and Rocket legs. This is followed by a modified primary seated
series from Rocket I, and then you begin the Rocket II seated series after
marichyasana C or after navasana. The finishing series follows as usual.
Rocket III offers both the hard and the soft forms of ashtanga vinyasa
yoga in a clear and complete sequence that helps you to see the pro-
gression of the practice at the end of each week. Rocket III offers sooth-
ing forward folds and stimulating backbends in the same class. Bringing
in many of the fun transitions from the ashtanga series, this exhaustive
practice is a favorite for many students because it includes something
for everyone, from backbending to inversions, working every part of the
body. It is best practiced before a rest day to allow time for the body to
recuperate from the long practice.
 Original Rocket Yoga Series 239

Rocket III

Utkatasana (page 57) Ardha Utkatasana (page 58) Kakasana (page 59)

Virabhadrasana A (page 61) Virabhadrasana B (page 62) Utthita Trikonasana (page 63)

Parivrtta Trikonasana Utthita Parsvakonasana Parivrtta Parsvakonasana

(page 64) (page 65) (page 66)

(continued)
240 Rocket Yoga

Rocket III (continued)

Pincha Mayurasana Padangusthasana (page 68) Padahastasana (page 69)

(page 67)

Uttanasana variation Tadasana variation Prasarita Padottanasana A

(page 71) (page 53) (page 73)

Prasarita Padottanasana B Prasarita Padottanasana C Prasarita Padottanasana D

(page 74) (page 75) (page 76)

Samakonasana (page 77) Hanumanasana (page 78)

 Original Rocket Yoga Series 241

Upavistha Konasana A Upavistha Konasana varia- Parsvottanasana (page 82)

(page 116) tion (page 80)

Utthita Hasta Padangust- Utthita Hasta Padangust- Utthita Hasta Padangust-

hasana A (page 84) hasana B (page 85) hasana C (page 86)

a b
Utthita Hasta Padangust- Ardha Padma Padmottanasana (page 88)
hasana D (page 87)

Dandasana (page 93) Paschimottanasana A Paschimottanasana B

(page 94) (page 95)

(continued)
242 Rocket Yoga

Rocket III (continued)

Purvottanasana (page 96) Ardha Baddha Padma Trianga Mukhaikapada

­Paschimottanasana Paschimottanasana
(page 97) (page 99)

a b

Janu Sirsasana A and B (page 100) Marichyasana A (page 103)

a b

Marichyasana C (page 105) Navasana (page 107)

Pasasana (page 131) Parsva Bakasana Dwi Pada Koundinyasana

(page 132) (page 134)

a b

Parsva Koundinyasana Krounchasana (page 135)

(page 133)
 Original Rocket Yoga Series 243

Eka Pada Bakasana Astavakrasana (page 137)

(page 136)

a b
Shalabhasana A and B (page 138) Shalabhasana variation
(page 139)

Supta Virasana (page 141) Balasana (page 142) Mukta Hasta Sirsasana A
(page 174)

Kakasana (page 59) Dhanurasana (page 143) Parsva Dhanurasana

(page 144)

(continued)
244 Rocket Yoga

Rocket III (continued)

Raja Kapotasana (page 145) Ustrasana (page 146)

a b
Kapotasana A and B (page 148) Urdhva Dhanurasana
(page 128)

Adho Mukha Vrksasana Pincha Mayurasana (page 67) Bharadvajasana (page 155)
(page 154)

Ardha Matsyendrasana Adho Mukha Kapotasana (page 157) Eka Pada Raja
(page 156) Kapotasana (page 158)

a b

Gomukhasana (page 159)

 Original Rocket Yoga Series 245

a b

Eka Pada Sirsasana (page 163)

a b
Mayurasana (page 169) Nakrasana (page 170)
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 part iv
MAKE THE PRACTICE
YOUR OWN
This page intentionally left blank.
Create Your
Practice Plan 10
250 Rocket Yoga

The progressive ashtanga vinyasa method is meant to be practiced six

days a week using a combination of the five series presented in chapters
8 and 9 (full primary, intermediate, Rocket I, Rocket II, and Rocket III),
according to how you feel or how you would like to feel each day. It is up
to you to decide how you would like to practice each day; however, you
are encouraged to understand the benefit of not overexerting the body.
The progressive ashtanga method is the practice of using both classical
ashtanga and Rocket yoga to create a balanced weekly schedule that
provides structure as well as freedom, discipline, and creativity.

Scheduling Your Practice

The five series—full primary, intermediate, Rocket I, Rocket II, and Rocket
III—are evenly distributed throughout the week to encourage a soft and
direct process of opening the body. Saturday is considered the day of
rest, but you can choose any day to take rest.
All of the series treat the body as a whole, but each one has a specific
focus on key areas of the body. These key areas are worked individually
throughout the week in order to avoid overworking and provide a day of
rest to let the muscles and joints recover, rebuild, and strengthen. You may
repeat the Rocket I or Rocket II series during the week by using variations
to the base sequence such as Rocket arms or Rocket legs. Full primary and
a modified version of primary may be used interchangeably depending
on individual ability level.

Committing to Your Practice

While practice is recommended six days a week, most practitioners need
to work up to this level. If you do not already have a physical daily practice,
it is not recommended that you go directly into practicing six days a week.
Start by committing to three days a week. Three days is enough to feel
the benefits of the practice and build the stamina needed to add to your
practice. By practicing every couple of days, your body will also retain the
benefits from your previous practice. It is difficult to see progress in your
own practice if you practice fewer than three days a week. If you can prac-
tice only three times a week or less, practice the classic ashtanga primary
series (either modified or half primary) or practice Rocket 1. Try to practice
at the same time each day. Creating a ritual will help to ingrain the prac-
tice into your daily life. Once you are comfortable practicing three times
a week and you begin to see improvements with the flow and sequence
of the practice, add a day. You will know if adding another practice is right
when you have the energy to do another practice, you are not overly sore
from the previous practice, and you mentally feel ready to do more. Work
your way to six days a week, remembering that there is always one day
off each week, and moon days or ladies holidays can be observed (moon
days and ladies holidays are discussed in chapter 11).
 Create Your Practice Plan 251

Sample Practice Schedule When Practicing Three Days a Week

Sunday Monday Tuesday Wednesday Thursday Friday Saturday
Rest Classic Rest Classic Rest Classic Rest
ashtanga ashtanga ashtanga
or or or
Rocket I Rocket II Rocket III

Sample Practice Schedule When Practicing Six Days a Week

Sunday Monday Tuesday Wednesday Thursday Friday Saturday
Classic Classic Classic Classic Classic Classic Rest
ashtanga ashtanga ashtanga ashtanga ashtanga ashtanga
or or or or or or
Rocket I Rocket I Rocket II Rocket II Rocket III Rocket III

Your Practice Plan

Whether for yourself or for your students, outlining a weekly practice plan
can help ensure that all parts of the body are focused on. Start with how
many days you plan to practice. Write down which series you plan to prac-
tice each day.

Sunday Monday Tuesday Wednesday Thursday Friday Saturday

Fulfilling Your Minimum Daily Requirements

Although it is a physically and mentally demanding practice, ashtanga
yoga is meant to be practiced daily. However, there will be days that
you simply do not feel physically or mentally up to the challenge of a full
practice. You may feel too sore from a previous day’s events, or you may
be emotionally drained. Your energy level might feel unusually low, or you
may not feel mentally focused enough to stay on your mat to practice. It
is important to honor how you feel—both physically and mentally, both
on the mat and in your daily life. Staying authentic and honest about your
needs is consistent with the practice of yoga. On days when your body
does not feel its strongest or when you are recovering from an injury, set
minimum daily requirements (MDR) as a simple way to stay connected to
your practice and to your inner self. Here are the MDR:
252 Rocket Yoga

• Surya namaskar A (do three to five rounds; page 201)

• Surya namaskar B (do three to five rounds; page 202)
• Paschimottanasana (page 94)
• Ardha urdhva dhanurasana (page 127)
• Savasana (page 195)
• Seated meditation (use the final three poses of the finishing series,
which are considered the “seated meditation” portion of the classical
ashtanga series; page 193)
When the body is not able to perform the MDR, it is recommended to
practice the four purifications, a routine consisting of pranayama and kriya
practices that can be practiced daily. These can be found in chapter 2.

Mind–Body Journaling
All philosophies that have existed across time began with a question. The
only people who can answer these questions are the individuals who live
within the questions. To notice change and progress inside your practice, it
is crucial to write down the experiences and observations that arise.
Write down all of the questions that come to mind before or during prac-
tice. There is no need to answer the questions immediately, because that is
what the practice is for! As you move through your physical practice, tapping
into your intuition, the answers to some of your questions may become
clearer to you. This is part of an exercise called “living in the question.”
Keep a small journal you can use while you are in teacher training, anytime
you change or add to your practice, or anytime you have questions. Write
in this journal for 15 to 30 minutes after each practice while the experience
and what you are feeling are still fresh in the body and mind. This is the best
time to write down and contemplate the finer details of the practice, to find
clarity in your questions, and to understand the answers that may appear.
In the space below, start by writing a few questions you may have regarding
Rocket yoga or the progressive ashtanga vinyasa method. After your next
practice, come back and reflect on your questions.
Customize
Your Practice 11
254 Rocket Yoga

Everyone has unique strengths and their own challenges to overcome.

There are many ways to tailor your practice to meet you where you are
in your physical abilities and many ways your practice can accommodate
you through different phases of life. Whether you need modifications to
account for limited mobility or drills to build more strength, know that
your practice can be amended to suit you.

Softening the Practice

Rocket yoga is designed to make the classical ashtanga vinyasa methods
accessible to the masses. This is done by taking a softer approach that does
not require binding or deep stretching of the joints and muscles. Rocket
yoga brings freedom of movement and more space to allow you to take
what serves you at the moment. Allow yourself to let go of the binds and
rigidity of the practice. Turn your focus to the depth of the breath rather
than the depth of the pose. Props and straps can be used when needed to
complete the feeling of binds without pushing the body beyond its limit.
Here are a few suggestions for common modifications to soften the
practice.
Modifications for Tight Hamstrings
• Bend your knees while in standing forward folds to lighten the stretch
on the hamstrings, or place the hands at your feet or shins instead
of the floor.
• Use a block to raise the floor when you need to push down into the
ground. Enabling your hands to touch something, whether it’s your
shins or a block, helps you feel a sense of grounding.
• In seated poses, bend the knee of the leg that is being stretched,
lengthening the lower back before stretching forward. If there is still
discomfort, raise your seat by sitting on a block or bolster.
• Use a strap or towel to be able to reach the foot in seated poses.
Modifications for Tight Shoulders
• If the shoulders are tight or lack overhead external rotation, keep the
hands shoulder-width apart or wider when reaching overhead instead
of touching the palms together. Use the extra space to draw the
shoulder blades down the back, allowing the arms to be supported
by the back body.
• In poses where the arms are extended to the sides (example: warrior
II), turn the palms upward to relieve tightness in the shoulders by
opening across the chest and allowing the arms to be supported by
the back body.
• Use a strap or hand towel to help with binds that require shoulder
flexibility. When using a strap for binds, try to hold it in the top hand,
allowing gravity to guide it to the lower hand. In seated poses that
 Customize Your Practice 255

use a bind, hold the towel in the hand of the arm that is more free,
and swing it over to the other hand. Open the chest in binds that are
behind the back, even when using a strap or towel to modify.
Modifications for Wrist Pain
It’s common in the beginning stages to experience wrist discomfort, and
this can hinder the process for many students looking to master the vinyasa
technique. If you begin to feel discomfort, then take a look at modifications
that will avoid making the problem worse. Also, being knowledgeable
of preventative measures for when you begin to move into the classical
transitions such as chaturanga (push-up) and jump throughs will help to
mitigate issues as you practice.
• If there is enough discomfort to cause pain when bearing weight on
the wrist, use small push-up bars to neutralize the wrists.
• Use the fists or fingertips rather than a flat palm; however, this should
be used cautiously. Although this modification relieves the wrist com-
pression, it provides little stability and can leave the wrist vulnerable
to further injury.
• Remove push-ups or inversions from your practice for a few days or
longer in order to rest. Weight-bearing wrist positions are used in
only a few postures within the series.
• If you have a predisposition to weaker wrists or are working with a
previous wrist injury, you may find support for the wrists to be essential
for a vinyasa practice that works deeply on the floor and with inver-
sions. A wrist brace or wrap that alleviates pressure is recommended.
• Strengthen your hands and wrists through small exercises and
stretches specifically designed to prepare you for your practice. Learn
to slowly increase the stabilization and support around the wrist area.
Modifications for Balance
• Keep the feet hip-width apart for standing asana instead of together
for better balance. In poses such as warrior I, the feet can also be
aligned with the hips (standing on train tracks) instead of in one line
(standing on a tightrope).
• In one-leg standing poses, a slight bend in the knee of the standing
leg can help with balance by engaging the leg muscles and bringing
the center of gravity lower.
Modifications for Vinyasa
• In the chaturanga movement, bring the knees to the floor before
bending the elbows. You can also come all the way down to the belly
during the push-up position.
• For the backbend, modify by using low cobra instead of a full
upward-facing dog.
256 Rocket Yoga

• You can move through child’s pose to downward-facing dog or move

through a tabletop position and step the feet back one at a time to
get into downward-facing dog.
• For the seated vinyasas, remove the seated vinyasa technique and
replace it with a simple lift by pressing both hands into the ground
and lifting the hips and feet off the ground. You can alternatively do
navasana (boat pose) during this transition to engage the core and
bandhas.

Adding Challenging Variations or Transitions

While each transition is carefully prescribed within the classical ashtanga
practice, Rocket yoga allows you to play with how you move from one
asana to the next. For example, jumping or pressing up into a handstand
during vinyasas is allowed to add creativity and difficulty within the prac-
tice. Or adding arm balances where they come naturally can offer a way
to experiment with your practice and push your edge.
Creativity can be applied to the fun-
damental postures themselves, such as
“The sky is not the taking a bind inside the extended side
limit when you’re angle or changing the classical variation
of the posture to bring more emphasis to
flying a Rocket ship!” different areas of the body. New postures
–Larry Schultz can be added to the sequence to build
on the fundamental asanas. For example,
a common addition to the standing series
is the posture ardha chandrasana or half-moon pose. This posture can be
placed between the triangle postures and used as an additional challenge
to build stronger and more stable legs.
Here are a few examples of transitions you can integrate within the
practice. Even if you cannot quite do the full transition, remember that
the important thing is to try your best and have fun while you move.

a b c

Bakasana to handstand
 Customize Your Practice 257

a b c

Bakasana to tripod headstand

a b c

Forward-folding pike press to handstand

a b
Koundinyasana transition to push-up

a b c
Straddle press to headstand
258 Rocket Yoga

a b c
Straddle press to handstand

a b

Hanumanasana to side plank Standing half lotus to

galavasana

a b c

Vinyasa to handstand

Hurdlers pose to one-leg Funky arm balance varia- Astavakrasana to koundin-

crow position tions to the side inversions yasana
 Customize Your Practice 259

a b c

Ustrasana to urdhva dhanurasana

a b c
Urdhva dhanurasana to standing or to handstand

a b c

Handstand to forearm stand transition

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To learn more creative options in your practice, seek out a certified

Rocket vinyasa teacher who can guide you into more playful renditions
of the series.

Practicing Drills for Skills

Outside of your practice, there are practical drills that will increase your
strength, mobility, and flexibility. While these drills are not yoga per se,
they can quickly boost your progress and help to build awareness of your
areas of weakness. Practice these drills as homework when you’re not in
the middle of your practice. These are also fun to do outside in the park.
Take your practice off the mat and into the world!

Drills for Improving Handstands

Walking on Hands
It’s important to feel comfort-
able upside down and be will-
ing to catch yourself with your
hands if you lose your balance.
This is also an exercise that is
fun to learn. You do not have
to be perfect at handstand
walking to take advantage of
the skills it will teach you. a b

Cartwheels
This is another fun practice that will help with controlled exits from your
handstands. Practice cartwheeling on both the right and left sides, slowing
the cartwheel to extend the time you spend on your hands. Play with bringing
the legs together midcartwheel before stepping out.

a b c
 Customize Your Practice 261

Walking Sideways on a Wall

This can be challenging at first. Do a supported hand-
stand with the wall behind you. Shift your weight to
the right hand, and step your left hand toward your
right hand. Then, shift your weight to your left hand
and walk your right hand out to the right. Keep shift-
ing your weight from hand to hand, stepping each
hand out as you move to the side. Once you can take
a few steps to the right and left, you will gain more
control over maintaining a center and not falling to
the side.

Pike or Tuck
Learn how to access the anterior and posterior tilt of the pelvis while in a
handstand. These actions can be small or exaggerated. Any type of exag-
geration is considered an advanced technique. Subtle control of this area
will produce a stronger balance on the ground. Training both the pike and
the tuck techniques will help you to find your balance from the core of the
body instead of using your legs to balance you.
You can practice using a wall for support or in the center of the room.
While in a handstand, bring the legs to the pike position, moving your legs
slightly forward to the front of the body. Simultaneously, allow the sacrum
and pelvis to extend to the back of the body as a counterbalance. This is not
a straight line. Instead, you will have a slight curve in the lower-lumbar area
and softness in the glutes. Keep the shoulders stacked and avoid arching
the upper back. Bring the legs back up to a full handstand.
For a tuck, start in a handstand and tighten the glutes and tuck the tailbone
with a small push of the pubic bone forward. Let the head drop between
the shoulders and shift your gaze behind you.
Explore holding the handstand for longer periods of time (even with a
teacher’s support) so you can work both the tuck and pike actions together.
Your goal is to find the balance between the two actions where you feel
most comfortable.

a b

(continued)
262 Rocket Yoga

Drills for Improving Handstands (continued)

Straddle Press
This exercise is best done with a partner
but can also be done with a wall for sup-
port. This will train the muscles needed to
support the eventual handstand that you
will master on your own. If you’re using a
wall, come to a full handstand, then rest
your hips on the wall. Slowly straddle your
legs out to each side, moving with control,
and lowering them as far as you can while
maintaining control. Bring the legs back
up to a full handstand. To do this with a
partner, they stand in front of you and hold
your hips and support your shoulders as
you straddle press up to a handstand.

Drills to Improve Seated Vinyasa Technique

• Practice your planks! This will help bring shoulder strength and sta-
bility to the shoulder girdle.
• Using blocks under both hands, practice lolasana (page 107). Keep
the knees tight to the chest and the feet tucked in. Keeping that
contracted body position, allow the body to swing like a pendulum.
This will start to bring the motion of the vinyasa into the shoulders.
• From a cross-legged seated position, press both hands into the
ground and jump back directly into a chaturanga. Reverse the move-
ment. From a high plank, jump the feet directly into a cross-legged
seated position between the hands. The art and practice is in the
struggle. Be willing to keep working on it, and wiggle the feet through
one at a time. It will get smoother with practice, so don’t give up.
• Sock drills on a wooden or tile floor can help to decrease the friction
and allow you to slide through the actions. Put on a pair of socks.
From a high plank, use your core to pull the legs through the arms to
a seated position. Then lift the hips, and push the legs back through
the arms to a push-up position. Do 10 to 20 repetitions every day.

Drills for Improving Flexibility

Choose specific postures from the series that challenge you. Practice
these alone slowly and with awareness, extending the holds to three to
five minutes a pose. Doing this slowly will stretch the body much deeper
than the active method used in Rocket vinyasa. Be gentle coming out of
the stretch.
 Customize Your Practice 263

Moon Days and Ladies Holidays

Unlike classical ashtanga that observes full moons and new moons with a day
of rest, Rocket yoga asks that you listen to your body and your own needs
to determine whether you should practice. If you are feeling mentally and
physically great, there is no reason why you shouldn’t practice.
Similarly, Rocket yoga does not subscribe to the traditional notion for
women to refrain from practice while on their menstrual cycle. Little medi-
cal evidence supports this reasoning and echoes a time when women were
seen as dirty during their cycle and were not allowed to be in a temple or
shala. Women, you are asked to listen to your body and practice if it feels
right to do so or take time off if the body feels a need to rest. Rocket yoga
empowers each student to determine for themselves what to practice, how
to practice, and how often to practice.

Practicing Yoga During Pregnancy

The room for creativity and modification makes Rocket sequences perfect
for the body as it changes during the phases of pregnancy. Pregnancy
makes mothers strong. It’s beneficial to support this strength that will be
used for the birthing process. Consult with your primary care physician
before beginning this physical training just as you would before starting
any other physical practice. It would be ideal to have an existing practice
in Rocket vinyasa and then make the changes for this new adventure. It
is not recommended to begin a Rocket practice for the first time during
pregnancy. Instead, find a certified prenatal teacher who can guide you
into the practice with more support.
These are some of the general principles to keep in mind if you’re
practicing Rocket yoga during pregnancy.
• Allow the practice to change and shift during the stages of the
pregnancy.
• Listen to your body and do only what feels appropriate.
• Remember that when pregnant, you have 40 to 60 percent more
blood in your body, and therefore, your heart is working much faster
than normal. You can feel out of breath and tired more easily.
• The relaxin hormone is secreted into the body at conception and
stays in the body for several months after delivery. The hormone is
responsible for helping to soften the connective tissues in preparation
for childbirth, so be careful not to overstretch during this time, even
if it feels good. Stay within the boundaries set in your body before
pregnancy.
264 Rocket Yoga

• Pregnancy produces a naturally low blood sugar state. Although

classical ashtanga and Rocket yoga are traditionally practiced on an
empty stomach, pregnant women should eat or drink juice before
class—even if it is just a small snack.
Here are some specific things to be aware of while practicing:
• You want to create space in your abdominal region for the growing baby.
Engaging the abdominal muscles constricts this region and should not
be practiced. This means not applying uddiyana bandha. Focus instead
on engaging the mula bandha and strengthening the pelvic floor.
• Inversions during pregnancy are contraindicated. Instead of shoulder
stands and headstands, a safe alternative is legs up the wall. This is
partially because of blood flow, but it is also because of the danger of
falling. Increased blood volume along with pressure on the umbilical
cord when inverted can create complications that put you at risk. If
you already have a strong, stable inversion practice, you may feel
confident practicing inversions for short periods.
• Lying on your back or on your right side can constrict the blood flow
and the flow of blood to the uterus. If you do lie on the floor, lie on
your left side. If you want to lie on your back, use bolsters to support
your back so you stay on an incline.
• Deep spinal twists can create stress for the already overstretched
ligaments in the pelvic region. Twists are appropriate, but they should
be done lightly, ideally not crossing the midline of the body. In seated
or standing twists, avoid twisting into a position that compresses the
abdomen, instead twisting away from the compression of the belly.
• Sometimes in class you may simply not feel like practicing or may
not be capable of practicing certain postures. Here are options for
when a class is doing postures that are not appropriate for your body:
• Viparita karani: Legs up the wall is a great inversion that allevi-
ates swelling in the ankles by taking the pressure off the feet and
reversing the flow of blood.
• Child’s pose: Keep the knees wide apart, making ample room for
the belly between the thighs.
• Squats at the wall: Keep the back against the wall with the toes
wider than the heels. Slowly move down the wall into a squat.
• Squats away from the wall: Stand with the legs wide apart and the
toes turned out. Keep the upper body straight as you slowly lower
your hips into a squat. You can place a block under the seat or you
can hold the squat with your own strength.
Rocket yoga is about self-expression and freedom of movement. It is a
celebration of movement through the discipline of yoga. Any modifications
taken to invite more ease and freedom into the practice, to challenge the
mind, or to discover the limits of the body are absolutely encouraged.
 REFERENCES
Crooks, D. 2017. “Larry Schultz.” Yogi Times, December 14, 2017. www.yogitimes.com/
review/larry-schultz-yoga-teachers-san-francisco.
Cushman, A. 1995. “Power Yoga.” Yoga Journal, Jan/Feb.
Lurrey, D. 2021. “The Rocket, a Tribute to Larry Schultz.” Ekhart Yoga, January 27, 2021.
www.ekhartyoga.com/articles/practice/the-rocket-a-tribute-to-larry-schultz.
Russel, M. 2018. “Meet Our Founder.” It’s Yoga International, May 14, 2018. https://itsyoga.
com/meet-our-founder.

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