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AsouT THE AuTHOR

Brian Cooper has been practicing Hatha Yoga since 1970 and teaching full time since 1990. His first formal studies were at Yoga Niketan in Rishikesh in 1972. He holds a doctorate in Bio-Engineering and an advanced diploma in Thai Massage. These strands have come together to produce this manual. He was co-founder of the Edinburgh Yoga Centre and director of Union Yoga in Edinburgh. He is director of Teacher Training for Union Yoga, and executive consultant for Yoga Alliance UK. He is the founder of the eco-aware Shanti Griha Retreat Centre in the secluded north west of Scotland. Brian runs teacher training and yoga classes all over the world. You can find more information at:

• www.briancooper.eu • www.unionyoga.co.uk

RESOURCES

Other Harmony Classics

Yoga: The Art of Adjusting 2nd Edition

Hatha Yoga- The Report of a Personal Experience

Penthouse Of The Gods

Pranayama- The Yoga of Breathing

Yoga and Health

Yoga Week By Week

Autobiography of a Yogi

Union Yoga Publishings

Yoga Asanas- A Natural Method of Physical & Mental Training

Hatha Yoga -The Yogi Philosophy of Physical Well-Being

Advanced Course In Yogi Philosophy and Oriental Occultism

COOPER, Brian

BERNARD, Theos

BERNARD, Theos

LYSEBETH, Andre Van

YESUDIAN, Selvarajan and HAICH, Elisabeth

YESUDIAN, Selvarajan

YOGANANDA, Paramahansa

FREDERIC, louis

RAMACHARAKA, Yogi

RAMACHARAKA, Yogi

www.harmonypublishing.org

CoNCLUSION

This manual has shown the many ways to use adjusting to enhance asana practice.

Whatever the adjustment you choose, you should always use the correct approaches

and techniques as discussed in these pages. The adjustments shown are only a

cross-section of what is possible. Provided you carry them out properly, there is

really no limit to ways of adjusting, and the forms these can take is limited only by

the imagination. I hope this manual will give you the confidence, not only to

practise, but to experiment and develop your own approach to this skill. Adjusting

can be greatly enhanced by studying Traditional Thai Massage. Thai Massage teaches

sensitivity, awareness and understanding of the body like few other therapies can.

And of course the ultimate way of learning is through your own body. Do your asana

practice with the same mindfulness as you would carry out adjusting.

I 3 5

BACK B END I N G I Adjustments

To ensure correct shoulder opening, keep your student's arms approximately shoulder-width apart while the student lifts off the floor and also when they come back to the floor. Do this by pressing against their forearms using your hands or forearms. If a student has poor shoulder flexibility they will find this very challenging. In this case you can allow their arms to come a little wider in order for them to lift into position.

To help students lift from the floor, have them grab the adjuster's ankles.They can use this to push and get more lift. You can then assist them further by holding around their shoulders and pulling them up and towards you. The same adjustment can be done using a wall. The student places her wrists against the wall and uses this contact to push into theasana.

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The actions using the wall can also be done using adjustments. Using a belt provides better and safer control compared to holding the student directly. The belt Is placed around the lower back just on the rim of the sacrum. The student starts dropping back as you hold the pelvis forward

and check that the student's legs are working strongly. Make sure they are breathing in the position and then instruct them to come back up under their own effort, only using the belt to prevent them falling back.

B A C K B E N D I N G I Adjustments

Gradually take the student deeper, allowing some movement in the pelvis. The adjuster can also stand on the student's toes to prevent the heels lifting as they come up.

B A C K B E N D I N G I Self Adjustments

This set of photographs shows how to work towards Urdhva Dhanurasana using a wall. The principle is to push evenly into the wall to open the shoulders and lift the pelvis away from the ground. The legs must work strongly and the breath must be smooth.

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Stay In the first position until there is no effort to hold it for at least twenty even breaths, then move onto the next position, gradually moving further down the wall.

In each position you should be able to come back up by moving the pelvis away from the wall without pushing through the hands.

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Before attempting any adjusting in the backbends, it is important that the student is adequately

prepared. There is no point in, for example, helping someone drop back if they are not using their legs

to give proper support for their back, or not working correctly to open the shoulders. The classic signs

are legs bending almost immediately and pelvis tipped way off vertical. And most importantly, the

breath must remain strong and smooth throughout. The following photos show a few simple ways of

preparing for Urdhva Ohanurasana.

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CHAPTER

Back Bending

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URDHVA MUKHA PASCHIMOTTANASANA

This is the balance version of Paschimottanasana. It emphasizes the lifting and lengthening of the back and the forward movement of the sternum which

was explored in Paschimottanasana. Without this action the asana is impossible because a rounded back will drag the body backwards.

124 PRIMA" SrRI!S As•"'

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URDHVA MUKHA PASCHIMOTTANASANA I Adjustments

OBSERVE

• The student is hanging with soft legs and not pulling sufficiently on the feet

PASSIVE ADJUSTMENT

• Push and lift with your right hand between the shoulder blades

• This is achieved by pushing your knee against the back of your hand rather than directly with the knee

• The left hand pulls the feet towards the head • Use a closing action between both your

hands to bring the chest forward and lifted

URDHVA MUKHA PASCHIMOTTANASANA

Foundation

Legs are straight and heels extended

Hands wrap around the outside edges of the feet

Balance on the sit bones, not the tall bone

What to do

Lift the sternum towards the legs

Lengthen out of the lower back

Either hold the outside edges of the feet or take a wrist

Pull strongly through the arms to bring chest to legs

Gaze to the toes

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SUPTA PADANGUSTHASANA C I Adjustments

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PASSIVE ADJUSTMENT

o This adjustment encourages the proper action of the raised leg by fixing the hamstrings near their insertion

o This also prevents the pelvis on the side of the raised leg from lifting from the floor.

Pa:H•or SERt£1 A~ANAS 121

SUPTA PADANGUSTHASANA C

120 PR!MARV StRifS AIAOAI

Foundation

Front leg stays on the floor and toes extend Raised leg stays close to the ear

Top of the foot of raised leg goes to floor and toes extend

What to do

Extend through the front leg

Move back of the knee to the floor

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OBSERVE

• The side leg has not reached the floor

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SUPTA PADANGUSTHASANA B I Adjustments

PASSIVE ADJUSTMENT

• Use your foot to gently press down on the fixed leg

• Now rotate the thigh of the opening leg using both hands

PASSIVE ADJUSTMENT

• This is an inward rotation as shown which drops the sit bone down and Ulider and brings the outside edge of the foot to the floor.

SUPTA PADANGUSTHASANA B

Foundation

Both legs straight and heels extended

Hold the big toe with the thumb and forefinger

Hips remain level to each other and on the floor

Sitting bones remain grounded

Shoulders and shoulder blades remain in contact with the floor

What to do

Rotate the side leg medially until the entire edge of the foot is grounded

Extend strongly through the other leg

Gaze to the side

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OBSERVE

• The student does not have sufficient strength to lift towards the leg

SUPTA PADANGUSTHASANA I Adjustments

AcTIvE ADJUSTMENT

• Place one foot gently on the thigh of the leg on the floor to keep it down

• Take hold ofthe foot ofthe upraised leg • Pull the leg towards you and ask the

student to raise her head as close to the leg as possible

AcTivE ADJUSTMENT

• You can now slowly let go of the foot while asking your student to keep lifting the head to the leg

P<rM•<~ StAllS AsANAI 117

SUPTA PADANGUSTHASANA A

Foundation

• Hand is on the thigh of the leg on floor

• Heel of this leg extends

• Hold big toe of other leg with thumb and forefinger

• Both legs are straight

What to do

Extend the leg on the floor forward to bring back of the knee

towards the floor

Engage abdominal muscles to lift head to leg rather than leg to head

Keep both legs very active with heels extending and quadriceps engaged

a Gaze to the toes

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UPAVISHTA KONASANA

This is similar to Badha Konasana except the legs are now straight and wide apart. Good adductor flexibility is required, and if it is present, the pelvis

can tilt forward through its full range of movement without the thighs getting in the way. At this stage the hamstrings actually relax and the full expression of the a sana is achieved.

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OBSERVE

• The student's feet are falling in • The student is allowing her legs to rotate

inwards because she is letting her tailbone lift • This will prevent correct lengthening

through the spine

UPAVISHTA KONASANA I Adjustments

PASSIVE ADJUSTMENT

• Stand with your heels very close to the inside thighs

• Move your feet back to fix the thighs in a more open position

• The tailbone will now be prevented from lifting • Use both hands on the mid-back to push

down and forward from the grounded pelvis

PASSIVE ADJUSTMENT

• Alternatively, use your hands to roll the thighs back

• Your knee can be carefully used to push down and forward on the lower back

UPAVISHTA KONASANA

Foundation

legs are straight and kneecaps are pulled up

Kneecaps face directly up

Hands hold outside edges of the feet with the thumbs pressing

inside big toes

Back retains its natural curvature

Neck is relaxed

What to do

Lift and open the sternum

Move forward from the hips

lengthen the lower back

Move the ribcage to the floor

Pull up on kneecaps

Roll the thighs back

Curl the tailbone back and under

Move the shoulderblades towards the tailbone

Use the grip on the feet to pull and lengthen the torso forward

Gaze between the eyebrows

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BADDHA KONASANA

A forward bend which stretches the adductors but does not involve the hamstrings. To bring the knees to the floor in the upright position requires contraction of the

external rotators- the Piriformis and the Quadratus Femoris and relaxation of their antagonists, the adductors. Some of the adductors have a very similar action to the hamstrings and can limit anterior tilting of the pelvis. This will show in the same way as tight hamstrings in Paschimottanasana. The back will be rounded due to forcing spinal flexion at the expense of hip flexion. Students showing a rounded back should not be pushed deeper into the forward bend as this will place undue strain on the lumbar region.

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• The student's knees are on the floor showing good abductor flexibility

• She can be helped to lift and lengthen out of her pelvis and move closer to the floor

PASSIVE ADJUSTMENT

• Hold the knees down gently using your legs • The left hand pushes down and forward

while the right hand pushes back and down on the tailbone

BADDHA KONASANA I Adjustments

PASSIVE ADJUSTMENT

• If the knees do not come easily to the floor do not press on them

BADDHA KONASANA

108 P~I•AR> SPI£5 Asnn

Foundation

Soles of the feet together

Shoulders away from the ears

Neck Is relaxed

What to do

Bring the knees towards the floor

Lift and lengthen through the spine

Hold the tailbone back and down

Move the shoulders away from the ears

Press the feet together to activate the external rotators

Gaze to the nose

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When you enter a womb, you enter into a fresh body, and

start the journey of desires. But if you die alert, in that

alertness not only the body dies, all desires evaporate:'

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PASSIVE ADJUSTMENT

• Squeeze knees closer to give more space for the arms

GARBHA pI NDASANA I Adjustments

PAss 1 v E AoJus THE NT

• Pull the shoulder while pulling on the wrist • This is safer than only pulling on the wrist • Use your legs to support the student

from falling out of the asana • You can also stand behind and push the

shoulders to bring the arms further through

t'aamasana

What to do

Take the right leg first into Padmasana

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PASSIVE ADJUSTMENT

• Work shoulders under legs by pushing down on the shoulders

PASSIVE ADJUSTMENT

• Squeeze upper arms towards each other • Keep lengthening through the spine

S U PTA Ku RMASANA I Adjustments

PASSIVE ADJUSTMENT

• Place left leg behind head first and fix it with your foot before taking the right leg across

SuPTA KuRMASANA

Foundation

Start as Kurmasana

What to do

o Take the left leg over the neck first

Keep extending the sternum forward

Reach back and hold a wrist

Gaze between the eyebrows

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PASSIVE ADJUSTMENT

• Fix your knees against her shoulders • Put your hands just above the rim of the

pelvis • lift the hips high and encourage the

student to pull her knees towards her armpits

PASSIVE ADJUSTMENT

You can assist to lift into Handstand

• Continue the pull at the waist until her hips are above her shoulders

BAKASANA I Adjustments

PASSIvE ADJUSTMENT

• Ask her to straighten her legs and push strongly through the hands to straighten the arms

• You can also assist in bringing her from handstand into Bakasana, placing the knees high on the arms

Arms shoulder width apart

Knees high on the arms

Big toes touching

P;;J·~,.~( Sti\lf-', A~/.~A~ 99

............. "' ... ..,, "!::1"• .. a .. •:::ouu•~:::o, ~~ vvm a•:::ou :::ouuvv lfll'lava:~ana: tne stuaent wm e1tner nave oent legs or straight legs and a rounded back. Until the hamstrings have stretched, the student should be encouraged to lift and lengthen the back with the legs slightly bent, so the abdominals are still being worked. More flexible students should work on moving to the front edges of the sit bones.

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OBSERVE

• The student is not working to lift her sternum and maintain the lordosis in her back

NAVASANA I Adjustments

AcTivE ADJUSTMENT

• Place your hands on her feet and push • Ask her to actively lift her sternum

towards you • The reaction from pushing the feet

provides the force to lift the back

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The back retains its natural curve

What to do

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Leg is comfortably in Padmasana

• Torso is upright

What to do

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Torso upright _ _. What to do

Drop the sit bone of bent leg

Torso faces the front

Sit bone moves towards the floor

outstretched leg.

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Draw the shoulders away from the ears

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Straight leg Is In line with the hip

• Torso is level over the outstretched leg

What to do

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• ~noUiaers ana torso remain level over tne outstretcnea leg

• Heel of straight leg is extended

What to do

Shoulders directly above wrists

Head hangs back

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Widen the shoulders away from the ears

Move the shoulder blades towards the tailbone

The role of the breath In forward bending: The interaction between breath and movement is especially clear in forward bending: On the inhale, the spine lifts and lengthens, and the pelvis tips slightly back, which puts increased tension on the back muscles. On the exhale, the pelvis tips forward, flattens the spine and relaxes the back muscles. The diaphragm lifts, which compresses the heart and reduces the heart rate. These responses can be ex loited during adjusting. The adjustments are more effective when carried out on the student's exhale_

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Feet are flat as if pushed against a wall, inside and outside edges in line

Sit bones are spread with the weight slightly towards the front

What to do

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Arms are actively stretched but the shoulders are relaxed

What to do

the internal and external rotators of the hip.

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Torso and collar bones face front

What to do

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are worked strongly, and can be worked even harder by squatting down still further. It is sometimes advised to tuck the tailbone under, but this is not necessary. ; ( I I

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Drop the sitbones

Extend up throu h the s ine

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leg straight and the chest open. The lifted leg can be bent to achieve this and straightened out over time. If the standing leg weakens or bends, all energy is lost and the asana collapses.

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Grab the big toe with thumb and first two fingers

What to do

should feel evenly grounded. The hands press evenly together and are moved towards the neck which helps to lift and broaden the shoulders. The back should

not round, but lengthen over the front leg.

Neck relaxed __j

What to do _] Pull hip of front leg back to stay in line with opposite hip

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The neck is soft

The back is flat

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What to do

rolling open, before attempting to place the hand on the floor. Placing the arm inside the

bent leg gives more leverage to rotate the torso. Placing the arm outside the bent leg works

the legs harder and encourages the hips to open.

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Head and shoulders are above the front knee

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Head, shoulders, and torso are in line with front leg

• Head is above front leg, lower shoulder is directly above hand on the floor

What to do

• legs are straight and kneecaps are pulled up

• Weight is evenly distributed on both feet

diaphragm will be restricted and the breathing compromised. If the toes are being held, the legs

can be bent just enough to take strain off the back and allow the pelvis to tilt forward. The student

then has to work towards straightening the legs without losing length in the spine or straining

the back. Taking the elbows out as shown flattens the upper back and allows the shoulders to lift

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WHEN NOT TO ADJUST

• If the student is holding her toes but has to bend her legs, encourage her to straighten her legs without rounding her spine (see inset)

• There is nothing to be gained from adjusting in this position

PASSIVE ADJUSTMENT

For more flexible students:

• Stabilize using your hand on the sacrum

Push forward and down on the mid-back • Use your leg or knee to push into your hand

Lean in to use your weight to full advantage

RES I STANCE ADJUSTMENT

• Place your hands on the student's elbows and slowly start to push.

• The student pushes her elbows against your resistance

• Carefully match your push with the your student's

• Keep elbows in line with the shoulders

• Hold big toes with thumb and forefinger

What to do

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OBSERVE

_] • The student is rounding her back

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A 0 H 0 M U K H A S V A N A SAN A I Adjustments

PASS! VE ADJUSTMENT

• Pull just below the lower rim of the pelvis • Ask the student to work her hands

forward on the mat • Lean back using your bodyweight

PASSIVE ADJUSTMENT

• Clasp your hands on the lower back • Squeeze the arms to the buttocks • Shift your weight back

• Distance the feet from the hands so that by maximally stretching the legs

the heels are almost on the floor

What to do

• legs are straight and parallel

• legs begin hip-width apart

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• The neck Is comfortable and not forced past its natural extension

What to do

CHATURANGA 0ANDASANA

This asana means 'four-limbed stick posture' and the aim is to make the body as rigid as a stick, without

collapsing In any area. This makes It a highly active asana where opposing forces must be used intelligently

to counteract gravity. If you turn the page through ninety degrees you can see it is like Tadasana. The line

shown in the photograph runs through the centre of mass of the body, keeping the weight of the torso,

hips and legs evenly distributed. In Tadasana, the reaction from the floor keeps the body upright and allows

the student to find correct alignment. In Chaturanga Dandasana, the student has to achieve this against the

pull of gravity. To do this the body must be held rigidly, the pelvis must find Its neutral position, and the body

has to be stretched out from a central point at the navel, with the upper body held steady while the heels

are stretched in the opposite direction. This is what provides the necessary tension - like pulling on a

rope- to maintain the body firm and steady.

10 su~ SALLITATIO~ Su••• N•••s.••

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OBSERVE

• Losing energy through the core

• Encourage her to engage abdomlnals and activate her legs

C HAT U RAN G A 0 AND AS AN A I Adjustments

RESISTANCE ADJUSTMENT ACTIVE ADJUSTMENT

• Verbally obtain good alignment • Pull back on ankles • Press gently on mid back • Ask student to pull away from you • Ask student to resist while keeping alignment

CHATURANGA DANDASANA

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Foundation

Tips of the fingers are in line with tops of the shoulders

Elbows and hands are In line with the shoulders

Forearms and upper arms approach a right angle to each other

The feet are hip-width apart and parallel to each other

The pelvis remains in a neutral position

What to do

Draw the shoulders back towards the tailbone

Keep the neck relaxed

Squeeze the elbows to the sides of the torso

Hold Uddiyana Bandha without tilting the pelvis or lifting the sit bones

Strongly extend back through the heels

Stretch out from the navel in opposite directions

Gaze between the eyebrows

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BY MATTHEW SWEENEY

I am honoured to write the foreword for Yoga The Art of Adjusting. The detailed art of

adjusting Yoga postures has been accomplished in this book in a loving and practical format. It

also comes at a fortuitous moment. With the rapid increase of Yoga teachers all over the globe

during the last few years, greater understanding of the art of adjusting has been missing in

the printed form. I think Brian Cooper has done an excellent job of covering the key points of

adjusting most of the postures of the Primary Series of Ashtanga Yoga. He clearly explains the

main focus of each posture, the direction to take with each posture and eventually how to learn

to do each posture unaided without an adjustment. The visual aspects of each posture are

conveyed precisely in a step-by-step format giving the reader practical insight Into the

wonderful art of touch. Enjoy!

FOREWORD

YOGA THE ART OF ADJUSTING FOREWORD

1-=:J THE ART OF ADJUSTING CONTENTS

Foreword by Matthew Sweeney .......................... 05 Chapter 3 Primary Series Asanas -----------

Chapter 1 Surya Namaskar----------------- Dandasana ............................................................. 66

Paschimottanasana .............................................. 70 Chaturanga Dandasana ......................................... 08 Purvottanasana .................................................... 74 Urdhva Mukha Svanasana ..................................... 12 Ardha Baddha Padma Paschimottanasana .......... 76 Bhujangasana ........................................................ 14 Tr i ang Mukha i kapada Pasch imot tanasana ......... 80 Adho Mukha Svanasana ......................................... 16 Janu Si rsasana .................................................... 84

Marichyasana ........................................................ 88 Chapter 2 Standing Asanas -------------- Marichyasana C .................................................... 90

Marichyasana D .................................................... 94

Navasana ................................................................ 96 Padangusthasana .................................................. 22

Trikonasana .......................................................... 26 Bakasana ................................................................ 100

Supta Kurmasana .................................................. 102 Parivritta Trikonasana ...................................... 30

Pa rsva konasa na ..................................................... 35

Parivritta Parsvakonasana ................................ 38 Garbha Pindasana ................................................ 104

Padot tan a sana ....................................................... 40 Baddha Konasana .................................................. 108

Parsvottanasana ................................................... 44 Upavi shta Konasana ............................................. 112

Supta Padangusthasana A - C ........................... 116

Urdhva Mukha Paschimot tanasana ..................... 122 Utthita Hasta Padangusthasana ........................ 48

Utkatasana ............................................................ 52

Vi rabhadrasana 1 ................................................. 56 Chapter 4 Back Bending ----------Vi rabhadrasana 2 ................................................. 60

Back Bending ........................................................ 130

Conclusion ............................................................ 135

Acknowledgements

The production of this manual has been a joint effort from a dedicated team of yoga teachers and students. I would like to thank Victoria Bosso, Vicki Maggs, Shelley Osman, Kat Shaw, Dee Gates, and Caroline Walsh for their enthusiasm and patience in modelling for the photographs. I am especially Indebted to Aileen Bertram for the design and layout, and to Bruce Mackay for his skilful photography.

Disclaimer

This book Is Intended as an Instruction guide only. The author and publisher of this book are not responsible for any injury or consequences from using this book. You are advised to train with a qualified and competent teacher before using the techniques described.

First published In Great Britain In 2006 by Harmony Publishing 25 Rodney Street Edinburgh EH74EL Scotland

Copyright 0 2006 Brian Cooper

3rd Revised Edition 2010

Produced by Harmony Publishing

Design by Aileen Bertram Photographer: Bruce Mackay Brian Cooper has asserted his moral right to be Identified as the author of this work. All rights reserved. No part of this publication may be reproduced in whole or part or any form.

Printed and bound in Korea ISBN 978-o-9552412-9-1 _]

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