Hatha Yoga Asanas

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 Contents
Acknowledgments ix ◾ Introduction xiii

The Asanas 1

Bharadvaja’s Twist . . . . . . . . . . . . . . . . . . . . . 2 Ear Pressure . . . . . . . . . . . . . . . . . . . . . . . . . 40

Big-Toe Hold, Both . . . . . . . . . . . . . . . . . . . . . 3 Easy Sitting. . . . . . . . . . . . . . . . . . . . . . . . . . 41
Big-Toe Hold, Reclining . . . . . . . . . . . . . . . . . 4 Eight Angle . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Big-Toe Hold, Reclining Side . . . . . . . . . . . . . 5 Elephant’s Trunk . . . . . . . . . . . . . . . . . . . . . . 43
Boat, Full. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Embryo in Womb . . . . . . . . . . . . . . . . . . . . . 44
Boat, Half . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Firefly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Bound Angle. . . . . . . . . . . . . . . . . . . . . . . . . . 8 Fish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Bound Angle, Extended . . . . . . . . . . . . . . . . . 9 Fish, Lotus . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Bound Angle, Reclining . . . . . . . . . . . . . . . . 10 Foot Behind Head . . . . . . . . . . . . . . . . . . . . 48
Bow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Forward Bend, Seated . . . . . . . . . . . . . . . . . 49
Bow, Big Toe. . . . . . . . . . . . . . . . . . . . . . . . . 12 Forward Bend, Seated Half Bound Lotus. . . 50
Bow, Side . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Forward Bend, Seated Head to Knee . . . . . 51
Bridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Forward Bend, Seated Wide Angle . . . . . . . 52
Camel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Forward Bend, Standing Big Toe . . . . . . . . . 53
Cat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Forward Bend, Standing Hands to Feet. . . . 54
Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Forward Bend I, Standing . . . . . . . . . . . . . . 55
Child’s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Forward Bend I, Standing Wide Leg . . . . . . 56
Child’s, Extended . . . . . . . . . . . . . . . . . . . . . 19 Forward Bend II, Standing . . . . . . . . . . . . . . 57
Cobra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Forward Bend II, Standing Wide Leg . . . . . . 58
Cobra, Half . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Frog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Cock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Garland I. . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Cock, Side . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Garland II . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Cock, Upward . . . . . . . . . . . . . . . . . . . . . . . 24 Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 God of War . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Corpse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Half Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Couch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Hand to Big Toe, Extended . . . . . . . . . . . . . 65
Cow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Hand to Big Toe, Extended Side . . . . . . . . . 66
Cow Face . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Handstand . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Cradle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Happy Baby . . . . . . . . . . . . . . . . . . . . . . . . . 68
Crescent Lunge . . . . . . . . . . . . . . . . . . . . . . 31 Head to Knee, Revolved . . . . . . . . . . . . . . . 69
Crescent Moon . . . . . . . . . . . . . . . . . . . . . . . 32 Headstand, Eagle. . . . . . . . . . . . . . . . . . . . . 70
Crow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Headstand, One-Leg Revolved . . . . . . . . . . 71
Crow, One Leg . . . . . . . . . . . . . . . . . . . . . . . 34 Headstand, Supported. . . . . . . . . . . . . . . . . 72
Crow, Side . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Heavenly Spirits . . . . . . . . . . . . . . . . . . . . . . 73
Dancer I . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Hero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Dancer II. . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Hero, Reclining. . . . . . . . . . . . . . . . . . . . . . . 75
Dancer III . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Heron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Downward-Facing Dog . . . . . . . . . . . . . . . . 39 Horse Face . . . . . . . . . . . . . . . . . . . . . . . . . . 77

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viii ◾ Contents

Inclined Plane. . . . . . . . . . . . . . . . . . . . . . . . 78 Sage Kasyapa . . . . . . . . . . . . . . . . . . . . . . .119

Intense Three-Limb Stretch . . . . . . . . . . . . . 79 Sage Koundinya, One Leg . . . . . . . . . . . . . 120
Inverted Staff, One Leg . . . . . . . . . . . . . . . . 80 Sage Koundinya, Revolved One Leg . . . . . 121
Kneeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Sage Koundinya, Two Leg . . . . . . . . . . . . . 122
Leg Lift, Extended . . . . . . . . . . . . . . . . . . . . 82 Sage Vamadeva . . . . . . . . . . . . . . . . . . . . . 123
Leg Lift, Side Reclining . . . . . . . . . . . . . . . . 83 Sage Visvamitra . . . . . . . . . . . . . . . . . . . . . 124
Lion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Locust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Scorpion I . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Looking Within . . . . . . . . . . . . . . . . . . . . . . . 86 Scorpion II . . . . . . . . . . . . . . . . . . . . . . . . . 127
Lord of the Fishes, Half . . . . . . . . . . . . . . . . 87 Shoulder Press . . . . . . . . . . . . . . . . . . . . . . 128
Lotus, Handstand . . . . . . . . . . . . . . . . . . . . . 88 Shoulder Stand, Side Twist. . . . . . . . . . . . . 129
Lotus, Headstand . . . . . . . . . . . . . . . . . . . . . 89 Shoulder Stand, Supported . . . . . . . . . . . . 130
Lotus, Seated . . . . . . . . . . . . . . . . . . . . . . . . 90 Side Angle, Extended. . . . . . . . . . . . . . . . . 131
Lotus, Seated Bound . . . . . . . . . . . . . . . . . . 91 Side Angle, Revolved . . . . . . . . . . . . . . . . . 132
Lotus, Seated Half . . . . . . . . . . . . . . . . . . . . 92 Son of Brahma I . . . . . . . . . . . . . . . . . . . . . 133
Lotus, Standing Half Bound . . . . . . . . . . . . . 93 Son of Brahma II. . . . . . . . . . . . . . . . . . . . . 134
Lotus, Standing Half Bound Forward Bend . 94 Son of Brahma III . . . . . . . . . . . . . . . . . . . . 135
Mountain, Seated Lotus . . . . . . . . . . . . . . . . 95 Sphinx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Mountain, Standing . . . . . . . . . . . . . . . . . . . 96 Spinal Twist. . . . . . . . . . . . . . . . . . . . . . . . . 137
Noble Sealing . . . . . . . . . . . . . . . . . . . . . . . . 97 Splits, Forward . . . . . . . . . . . . . . . . . . . . . . 138
Partridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Peacock . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Staff, Four Limb . . . . . . . . . . . . . . . . . . . . . 140
Peacock, Lotus. . . . . . . . . . . . . . . . . . . . . . 100 Straight Angle. . . . . . . . . . . . . . . . . . . . . . . 141
Peacock Feathers (Forearm Stand) . . . . . . 101 Three Steps, Reclining . . . . . . . . . . . . . . . . 142
Pendant . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Tortoise . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Pigeon . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Tortoise, Bound . . . . . . . . . . . . . . . . . . . . . 144
Pigeon, King of . . . . . . . . . . . . . . . . . . . . . . 104 Tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Pigeon, One-Leg King of . . . . . . . . . . . . . . 105 Triangle, Extended . . . . . . . . . . . . . . . . . . . 146
Plank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Triangle, Revolved . . . . . . . . . . . . . . . . . . . 147
Plank, Side . . . . . . . . . . . . . . . . . . . . . . . . . 107 Upward-Facing Dog. . . . . . . . . . . . . . . . . . 148
Plank, Side Extended . . . . . . . . . . . . . . . . . 108 Upward-Facing Intense Stretch . . . . . . . . . 149
Plow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Upward-Facing Leg Stretch . . . . . . . . . . . . 150
Plow, Side . . . . . . . . . . . . . . . . . . . . . . . . . . .110 Warrior I . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Pyramid . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 Warrior II . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Reclining Angle . . . . . . . . . . . . . . . . . . . . . .112 Warrior III . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Sage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113 Wheel, Full . . . . . . . . . . . . . . . . . . . . . . . . . 154
Sage Durva. . . . . . . . . . . . . . . . . . . . . . . . . .114 Wheel, One Leg Upward . . . . . . . . . . . . . . 155
Sage Galava. . . . . . . . . . . . . . . . . . . . . . . . .115 Wind Relieving . . . . . . . . . . . . . . . . . . . . . . 156
Sage Galava, One Leg. . . . . . . . . . . . . . . . .116 Yoga Mudra . . . . . . . . . . . . . . . . . . . . . . . . 157
Sage Galava, Side One Leg. . . . . . . . . . . . .117 Yogic Sleep . . . . . . . . . . . . . . . . . . . . . . . . 158
Sage Gheranda . . . . . . . . . . . . . . . . . . . . . .118

Sun Salutation 159

Suggested Readings 163 ◾ Resources 165

Index of Asanas 167 ◾ About the Authors 171
 Acknowledgments

T his book would not have been possible without the enthusiastic dedica-
tion of dozens of yoga teachers and students whom I’ve had the great
pleasure of working with over the years. They volunteered their time and
talent as an extension of their love of yoga. Each photo session allowed
me the opportunity to expand my appreciation of the diversity yoga offers
to men and women of all ages. I am extremely thankful to have worked
with so many gifted people on this project.
This undertaking would not have been possible without the support
and encouragement of my parents, Donato and Rachele DiTuro. They
immigrated from a rural part of southern Italy to the United States for new
opportunities. Their dedication and vision ensured that their children would
have a better life. My parents allowed me to pursue my love of cooking,
science, and the arts. They were excellent teachers with little formal edu-
cation. They never attended a cooking or science class nor the opera or
symphony, but they excelled at cooking, were enthralled by science, and
enjoyed all music, from classical to pop. I cannot thank them enough for
their love and the many sacrifices they made in pursuing a better life.
The photographs in this book were shot in Arizona and California. For
allowing me to use their yoga studios for the California photo shoots, I
thank Sabina Hentz, co-owner of Yoga Is Youthfulness in Mountain View,
and Gerhard Gessner and Alexandra Oehmigen-Gessner, owners of Prana
Yoga Center in La Jolla.
Special thanks to Cheri Gross for coordinating the Mountain View photo
shoot. Cheri devoted many hours recruiting excellent yoga teachers to
model for the book, assigning the poses for each model, and arranging
for the use of Yoga Is Youthfulness.
I met my coauthor, Ingrid Yang, at the La Jolla photo shoot. Her sin-
cere enthusiasm for the project was evident from the very beginning. She
assisted with setup and teardown and modeled for a fast-paced photo
session scheduled between yoga classes. I learned from Ingrid how many
asanas have evolved over the years, placing more emphasis on the physi-
cal abilities of the majority rather than the extreme flexibility of a minority.
It was a pleasure working with Ingrid on this book.
More than 20 yoga teachers and students modeled for this book over a
period of seven years. They endured less-than-ideal conditions modeling
many of the asanas without complaint. Their professionalism was amazing.
Each photo session taught me a new pose or variation of a pose. Each photo

◾ ix
x ◾ Acknowledgments

shoot, like each model, was unique. I learned so much in the process. The
models’ experience ranged from gentle to vigorous ashtanga vinyasa yoga.
The models appearing in this book are Ingrid Yang, Pamela Scott, Eliza-
beth Ormon, Beth Perry, Cheri Gross, Carlos Mendez, Louis Jackson, Beata
Skrzypacz, Zahra Mojdeh Zahiraleslamzadeh, Liza DiGaetano, Gerhard
Gessner, Jamie Pinkum, Kristi Nelson, Justina Kerth, Robert Birks, and
Leslie Thompson. You are all awesome, and I thank each of you for your
time and the opportunity to work with you on this project.
Finally, my gratitude to Jason Muzinic and Human Kinetics for the oppor-
tunity to make this book available to all yogis and yoginis.

Daniel DiTuro
 Acknowledgments ◾ xi

T he adage “It takes a village to raise a child” applies to writing a book.

I owe thanks to every person who has come into my life to challenge,
support, embrace, or inspire me. Among the many people to whom I owe
thanks, the first is my cousin Sharon, who supported, encouraged, and
believed in me when it seemed that no one else did. Her faith in my ability
to succeed and fulfill my dreams has never wavered and, consequently,
has passed onto me. I owe to Sharon my belief in positive self-fulfilling
prophecies, tenacity, and unquestioning love.
Special thanks to my teachers Sarah Trelease, Cyndi Lee, David Life,
Sharon Gannon, and Dharma Mittra. Your wisdom and guidance will con-
tinue to resonate with me throughout my life. To the community of Blue Point
Yoga Center in Durham, North Carolina, thank you for allowing me to be your
founder, teacher, and fearless leader for many years. To the community at
Prana Yoga Center in La Jolla, California, and Alex Gessner, thank you for
welcoming me with open arms and offering me the opportunities, support,
and enthusiasm to teach new and innovative programs. I am especially
indebted to Gerhard Gessner, a true yogi in his own right, for guiding me
on this path by his example.
Thanks to Lululemon Athletica for providing some of the models’ outfits
and specifically to the teams at Lululemon Athletica in La Jolla and Buck-
town, Chicago, for being my biggest fans and supporters.
I owe particular thanks to Daniel DiTuro for spearheading this project.
Your deft organizational skills, superb photography skills, and great attitude
have made you a true joy to work with on this project. I could not have
asked for a better partner in writing this book.
To Beth Perry for being a superb yoga model and writing consultant.
To Seiji Ike-Glenn (www.neblite.com), my amazing website program-
mer, who presents my content to the world in a logical, streamlined, and
aesthetically beautiful platform. You are a technical and artistic genius.
To Gabe Feenberg (Old Man Hands) for working with me to create
beautiful music that will inspire yogis and enhance the practice of yoga
everywhere. Gabe, you are a rare, brilliant musical talent, and I am truly
honored to have shared a microphone with you.
To my parents for giving me all the opportunities, moral guidance, and
patience that a daughter could ask for. Thank you for instilling in me the
values that have made me the person I am today. I owe you everything.
And finally, to every yoga student I have been so fortunate to teach, it
is a privilege to be your teacher, and in turn, you have been my teachers.

Ingrid Yang
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 Introduction

T he English translation of the Sanskrit word yoga is “union.” It means

that, despite the physical, spiritual, and emotional boundaries people
erect among themselves in modern life, humans are, on the most basic
level, one and the same. Our goal for this book is to embody this concept
of common humanity by exploring the many manifestations of hatha yoga
asanas as physical expressions of this connectedness.
The numerous documented physical and mental benefits of hatha yoga
have played a large part in our interest in yoga in the West. The benefits of
hatha yoga include reduced blood pressure, relief from stress and anxiety,
improved flexibility, and decreased muscle and joint pain. While the people
of India have long known the healing power of hatha yoga, this practice
and its benefits are relatively new to most people in the West. As Western
medicine has embraced the mental and physical benefits of hatha yoga,
it has become more prominent in everyday life. However, brief references
to yoga in the media and the various marketing departments promoting
paraphernalia to capitalize on the practice have done little to define it for
would-be practitioners.
Hatha yoga is the yoga of asanas (postures). While it is only one of eight
limbs of yoga codified by Patanjali, it is what most people associate with
yoga when it is mentioned in everyday vernacular. It seems that you cannot
visit a coffee shop or attend a dinner party without overhearing or being
engaged in a conversation about yoga. Even a person who has never prac-
ticed yoga will recognize the lotus pose. The irony is that the lotus asana
was developed to enhance one’s ability to meditate for long periods and
connect to a deep sense of spirituality and calm being. Interestingly, calm
meditation is the opposite of what many seek when they practice hatha yoga.
Most of the asanas associated with hatha yoga were developed less
than 100 years ago and have evolved into hundreds of variations. This
evolution has occurred so that you can adapt hatha yoga into modern life
and the realities of your present existence. No two people are exactly alike.
Modifying postures to your ability is what sets hatha yoga apart from many
other physical activities. Not everyone can play football or basketball, run
a fast mile, or climb mountains, but almost everyone can enjoy and benefit
from some form of hatha yoga. There are no limits in terms of age, height, or
weight. We selected diverse models, both male and female, to demonstrate
the universal appeal of hatha yoga and to emphasize that the power of its
practice extends beyond the boundaries of physicality.

◾ xiii
xiv ◾ Introduction

Here, we come back to the concept that underlies the practice of yoga
and our perspective in writing this book: We are one. Despite differing
shapes and constitutions, we as humans share the link of humanity and a
collective yearning to discover the truth within ourselves. That truth can be
uncovered through the practice of hatha yoga, because how you relate to
your inner self can be revealed through outer expression. As you explore
the intricate world of hatha yoga asanas, you should never lose sight of
the larger picture.
For newcomers to hatha yoga, learning the asana names can be as
confusing as learning a new language. It is difficult enough to learn the
English names of the postures while practicing in a yoga class. Once
an instructor begins using Sanskrit names, it is easy for new students to
become confused. Sanskrit is an ancient foreign language and many of
the asana names sound alike to the untrained ear. They all end in asana,
which, although loosely translated to “posture,” really means “seat.” In that
regard, recalling that you are always entering a position of repose with
each asana is a useful practice whether you are an overwhelmed novice
or a more seasoned yogi.
This book is a quick guide to over 150 classic hatha yoga asanas, which
are taught in a variety of yoga classes and every training course for yoga
teachers. The asanas range from gentle yoga for beginners to more
advanced physical forms of yoga. Most styles of hatha yoga teach two
or three dozen of the asanas in this book, but that should not prevent you
from exploring new poses to expand and enhance your practice. You may
discover after studying one style of yoga that you are ready to advance
to, or try, another style. One of the greatest benefits of yoga is the ability
to modify your practice to your needs, whether physical, mental, or both.
If you practice yoga, are a yoga teacher, or are considering becom-
ing a yoga teacher, this book will serve as a comprehensive resource for
learning the yoga asanas along with their English names, Sanskrit names,
and levels of difficulty. The difficulty ratings in this book are based on the
following criteria:
▶ Flexibility
▶ Strength
▶ Balance

The rating of difficulty is a relative guide: The easiest asanas are rated 1
and the most difficult are rated 10. Of course, what is easy for one person
may be extremely difficult for someone else. That is to be expected since
every person’s physical abilities vary depending on age, physical condi-
tion, health conditions, and numerous other factors. You might execute a
perfect tree pose one day but be unable to repeat the same pose the next.
 Introduction ◾ xv

This is the dharma (teaching) that is accepted as part of yoga practice.

As with any physical activity, improvement comes with practice. Range of
motion, mental alertness, strength, stamina, and focus will all improve with
regular and dedicated practice. These are some of the reasons medical
doctors are recommending hatha yoga to their patients.
The asanas in this book are listed in alphabetical order by their tradition-
ally accepted English names translated from Sanskrit. Most asanas named
after deities, sages, or heroic figures are listed by their English names. For
example, galavasana is listed as sage galava, not flying crow pose. Excep-
tions are virabhadrasana, which is commonly referred to as warrior rather
than hero virabhadra. The Sanskrit name is also included for each asana.
The popularity of hatha yoga has resulted in dozens of variations of a
given pose. One teacher’s extended triangle pose is another’s extended
side stretch. This can be confusing if you are accustomed to practicing
one style of hatha yoga and then are introduced to another style. For most
people, variations are a necessity. Limited flexibility and your specific body
structure can prevent you from executing some of the poses in this book.
We encourage the use of props and variations to modify any pose to your
ability. Being flexible enough to sit in lotus or wrap your legs behind your
head is not indicative of good yoga practice. Instead, a sense of calm,
contentment, and focus in each pose is the true foundation of yoga practice.
The models in this book are yoga practitioners and teachers represent-
ing various levels and styles of hatha yoga, including ashtanga, vinyasa,
and Iyengar. These styles of yoga trace their lineage to Tirumalai Krishna-
macharya, a Brahmin born in the 19th century in a South Indian village. He
developed ashtanga vinyasa yoga while teaching at the Sanskrit College
in Mysore, India. Thanks to the devotion of his student K. Pattabi Jois and
Jois’ students, ashtanga yoga is one of the most popular styles of physi-
cal hatha yoga in the West. Another student of Krishnamacharya, B.K.S.
Iyengar, is one of the most influential teachers of hatha yoga. Not only
is his style one of the most popular styles of hatha yoga in the West, but
many of Iyengar’s students also have gone on to promote yoga and even
develop their own styles of yoga. Iyengar is known for precisely aligned
postures and for promoting the healing benefits of yoga. While most yoga
teachers specialize in one or two forms of yoga, Krishnamacharya modi-
fied yoga postures for the infirm, for pregnant women, and for children.
The creator of the physically and mentally challenging ashtanga vinyasa
yoga also designed the much gentler viniyoga style, which is taught by
his son T.K.V. Desikachar.
The instructions in this book are based on principles developed by
B.K.S. Iyengar. They are simplified instructions for achieving each asana.
Our best suggestion is to take your time, listen to your body, and breathe,
regardless of where you are in your yoga practice.
xvi ◾ Introduction

Vinyasa yoga is a series of postures linked into a continuous routine.

Surya namaskara, the sun salutation, is perhaps the most well known of
these routines. There are as many variations of the sun salutation as there
are asanas. The sun salutation in this book is one of many variations ideal
for home practice. Each takes only a few minutes and can be done any-
where at any time.
Perhaps most important, yoga is simply a practice. It is not a science,
a strict regimen, or a religion. There will be no finish line or complete
product. It is simply the daily practice of awakening to each moment and
discovering what emerges. Yoga teaches you to meet each moment as it
arises without judgment, just as it is. Although we sought to depict asanas
in this book as they are practiced aspirationally, our message is that yoga
is truly for everyone. Yoga provides a path to greater awareness and unity
of mind, body, and spirit. May this book guide you throughout your journey.
The Asanas
 Bharadvaja’s Twist
Bharadvajasana

Difficulty Level 4

Start Position Hero (p. 74)

1 Keep right leg in hero and extend left leg forward.

2 Bend left knee, turning left foot into right hip.

3 Twist to left, holding left foot with left hand behind back, and place
right hand on outer left thigh.

4 Gaze over left shoulder. Repeat on other side.

2 ◾
 Big-Toe Hold, Both
Ubhaya Padangusthasana

Difficulty Level 5

Start Position Staff (p. 139)

1 Bend knees and curl first two fingers around big toes.

2 Extend legs straight.

3 Look toward feet and balance on sit bones.

◾ 3
 Big-Toe Hold, Reclining
Supta Padangusthasana

Difficulty Level 5

Start Position Reclining on back

1 Bend right knee and curl first two fingers around big toe.

2 Straighten leg upward and toward head. Repeat on other side.

4 ◾