Sách dạy yoga the art of adjusting complete OCR

;=:J ·: =:1 =:1 ~ =:J =x: :~{ AsouT THE AuTHOR JJ '':1 ' I' I 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 COOPER, Brian Yoga: The Art of Adjusting 2nd Edition Hatha Yoga- The Report of a Personal Experience BERNARD, Theos Penthouse Of The Gods BERNARD, Theos Pranayama- The Yoga of Breathing LYSEBETH, Andre Van Yoga and Health YESUDIAN, Selvarajan and HAICH, Elisabeth Yoga Week By Week YESUDIAN, Selvarajan Autobiography of a Yogi YOGANANDA, Paramahansa Union Yoga Publishings Yoga Asanas- A Natural Method of Physical & Mental Training FREDERIC, louis Hatha Yoga -The Yogi Philosophy of Physical Well-Being RAMACHARAKA, Yogi Advanced Course In Yogi Philosophy and Oriental Occultism 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 35 BACK B END I NG 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 ] BAC K B E ND I NG I Adjustments ~] ~] ] J J J 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 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 - ~ • legs are straight and parallel • legs begin hip-width apart nGitU~ '!;IIUUIIU 'C'YCIII7 Ull UU:!' IIUUitiiiiUUit:' IUI~IC'I::t 1-'UUIUII~ IUIYYGIU • The neck Is comfortable and not forced past its natural extension What to CHATURANGA 0ANDASANA ~] T his 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 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.•• CHAT URAN GA AND AS AN A IAdjustments OBSERVE RESISTANCE • Losing energy through the core • Encourage her to engage abdomlnals and activate her legs • Verbally obtain good alignment • Press gently on mid back • Ask student to resist while keeping alignment ADJUSTMENT ACTIVE ADJUSTMENT • Pull back on ankles • Ask student to pull away from you CHATURANGA DANDASANA 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 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 _] L' ft At U l \ i J J N Sl Ill' A fj A l'f A) t ~ .=:J Surya Namaskar ~ ::J =:J ~ =:1 ::=1 =:1 ~ :=J ~ =:1 ~ CHAPTER FOREWORD I~ 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 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! YOGA THE ART OF ADJUSTING FOREWORD 1-=:J THE ART OF ADJUSTING CONTENTS Foreword by Matthew Sweeney 05 Chapter Primary Series Asanas - Chapter Surya Namaskar - Dandasana 66 Chaturanga Dandasana 08 Purvottanasana 74 Urdhva Mukha Svanasana 12 Ardha Baddha Padma Paschimottanasana 76 Paschimottanasana 70 Bhujangasana 14 Tr i ang Mukha i kapada Pasch imot tanasana 80 Adho Mukha Svanasana 16 Janu Si rsasana 84 Marichyasana 88 Chapter Standing Asanas - - - - - - - - - - - - - - Padangusthasana 22 Trikonasana 26 Parivritta Trikonasana 30 Pa rsva konasa na 35 Parivritta Parsvakonasana 38 Padot tan a sana 40 Parsvottanasana 44 Utthita Hasta Padangusthasana 48 Utkatasana 52 Vi rabhadrasana 56 Marichyasana C 90 Marichyasana D 94 Navasana 96 Bakasana 100 Supta Kurmasana 102 Garbha Pindasana 104 Baddha Konasana 108 Upavi shta Konasana 112 Supta Padangusthasana A - C 116 Urdhva Mukha Paschimot tanasana 122 Chapter Back Bending - - - - - - - - - - Vi rabhadrasana 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 First published In Great Britain In 2006 by Harmony Publishing 25 Rodney Street Edinburgh EH74EL Scotland Copyright 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 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 _] _] ~ ~ ~ ~ :1 :=J I~ :1 =:1 ~ ~ =:J ... around the outside edges of the feet Balance on the sit bones, not the tall bone What to Lift the sternum towards the legs Lengthen out of the lower back Either hold the outside edges of the feet... www.unionyoga.co.uk RESOURCES Other Harmony Classics COOPER, Brian Yoga: The Art of Adjusting 2nd Edition Hatha Yoga- The Report of a Personal Experience BERNARD, Theos Penthouse Of The Gods... 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