7
Chapter
Selected āsanas for integrating the aims and principles
Introduction
(see Chapter 5). B K S Iyengar recommends
cognitive action (Iyengar 2002a). This means that,
while you are performing an āsana, the organs of
perception – the eyes, ears, nose, tongue, and skin–
are feeling what is happening in the body. This
refined awareness must be integrated with will-
power, intellectual and mental effort to move into
the āsanas and to perform the instructions. When
acting and awareness merge together the precision
of the performance of the āsanas can be refined fur-
ther: all layers of the body are penetrated, and body,
mind, and soul become one. Learning the āsanas is
a long and sometimes difficult process. There is a
balance of activity and passivity, of strength and
relaxation. Even if the body is fully stretched, there
is relaxation at the same time.
With increasing practice hard work is transformed
into inner strength, inner life, sensitivity. Each cell
of the body is like an eye. What was effortful in the
beginning becomes effortless (Iyengar 2005).
Practical steps to achieve calmness and relaxation
are to let the throat, tongue, and back of the head
become relaxed while practicing āsanas. Further a
minimal distance can be created between the lower
and upper teeth. Also with open eyes the relax-
ation of the eyes can be practiced, letting them sink
towards the back of the head. This calms the mind,
which improves the ability to learn. All this can be
practiced in everyday situations as well.
As a demonstration of what can be achieved
through practice, we show the āsanas in their final
position. Not everyone can reach this final stage;
however, we can all grasp the essence of the āsana,
the finetuning of the body, and understand how to
modify the āsanas appropriately.
The essence of each asana can be divided into a frame ̄
and inner movements, learning which parts are stable,
which parts are moving, and understanding healthy pos-
tures and movements. For therapeutic work the varia-
tions where props are used are particularly relevant.
Using props also helps to achieve relaxation during
effort. The props are simple objects or items of furni-
ture found in most homes. In addition we recommend
that you acquire a sticky mat, belt, and cork or foam
brick. There is one example for each method, which
can then be applied to many other āsanas. The possibili-
ties for using props and modifying asanas are countless. ̄
Careful observation, refined awareness, mindfulness,
and the desire to experiment and continue learning
will help you to make the right decisions about how
to use props and modify the asanas. There are many ̄
ways of adjusting each method. The support can be
made shorter or taller, harder or softer, and shifted to
other areas of the body until it feels right. Precision is
important when using props. They must be positioned
correctly, and blankets must be carefully folded with-
out creases. The floor should not be too hard or cold.
The description of each āsana has different sections:
• Meaning of the āsana and its name
• Getting into the posture
• Being in the posture. This section is divided into
basic work and refined work. The basic work
concerns the frame and the correct alignment of
the āsana, physiological posture, and movement.
The refined work leads to the inner work and
awareness. Various suggestions are given; they
are not meant to be included all at once. Choose
an option depending on what you wish to
emphasize, and gradually integrate the learned
steps. Although the yoga postures may look
static, there is a lot of inner movement and life.
• Finishing the posture. Getting out of the posture
is as important as getting into the posture and the
work in the posture. Good alignment and precision
of movement when getting out of the posture
contribute to the overall quality of the practice.
• Suggestions for modifications using props:
refer to this if the patient cannot perform the
āsana or there is instability. The props open
up possibilities for modifications. Even when
there are no restrictions, using props may make
the basic and refined work more precise and
help to understand the essence of the āsana. In
the triangle poses, such as Utthita Triko āsana
and Parivtta Triko āsana, putting the hand on
the floor creates a wrong basic alignment for
many people, and so fine adjustments are not
possible. First of all the lower hand should get
enough support, for example on a brick, and
then the alignment can be corrected precisely.
• For some āsanas we have given variations as an
alternative or to help get deeper into the āsana.
The descriptions of the asymmetrical āsanas start
with the right side; for the left side reverse the
instructions for left and right. In individual prac-
tice it helps to start with the easier side. Practical
Introduction
