Saturday series workshops are suitable for Yoga practitioners Level 3 and up with a consistent personal practice that includes Inversions. Bookings are essential. CLICK HERE TO REGISTER for the studio
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Twists, especially the seated ones, are finished with a bind or lock. First you have to turn. As with all workshops in this series we will travel along those long lines, Parivritta Trikonasana for example, and end up with a well knotted knot – Pasasana could make an appearance.
Space, space, space! Before we bend we need to extend and create space between the vertebra, extend the groins, activate the large leg muscles, open the shoulder joints and soften the facia. Extend to bend!
This category of poses is interesting in the trajectory. We start on our feet learning balances that are often long and expansive, then we go to our hands and head and compact to balance and then extend again. Shape shifting – still the same person but exploring different parts of ourselves through the body and the asana.
Padmasana takes a staring role in the compact inversions. We will practice poses that prepare the upper body for inverting and the legs for compacting.
We all have a joint that is perhaps not as efficient as the others. Sometimes it is a knee, or perhaps an elbow. We will look at how one joint underworking will mean another overworking. By delving into the joints, their functions and limitations we will endeavour to strike balance and harmony in the joints – have them work as a team!
“Core to the Periphery, Periphery to the Core” was taught by B.K.S. Iyengar before ‘the core’ became so much part of the Western vernacular. But what is ‘the core’ really? Is it just the abdominals? Might it not include the big stabilising muscles of the pelvis and spinal muscles? Let’s find out!
Sequencing off the mat allows for greater movement patterns and organic transitions. The “yoga mat” – that rectangular shape – is a relatively new concept. The wonderful vintage footage of B.K.S. Iyengar practicing as a young man show him moving in all directions without the confines of a mat. He also used different speeds – sometimes slow and smooth, other times dynamic and sharp. One moment holding, the next jumping. New ways of working generate a new and fresh consciousness.