Tadasana – Mountain Pose (tah-DAHS-anna)
tada = mountain
Root through the foot in a balanced posture, allowing balance between the front and the back of the body.
Regressions
You can check your alignment in this pose with your back against a wall.
Progressions
Challenge your balance by practicing this pose with your eyes closed.

Uttanasana – Standing forward fold (OOT-tan-AHS-ahna)
ut = intense
tan = to stretch or extend
Stack the leg joints in line from ankle to hip, hands progress to the side of the legs or feet, body compacts towards the thighs
Regressions
Bend the knees, flex the spine
Progressions
Align this pose against a wall, place a riser under the balls of the feet or the heel, add rotation – progressive postures on different planes include
- Adho Mukha Svanasana – downward facing dog
- Janu Sirsasana – single leg seated head to knee forward bend
- Paschimottanasana – double leg seated forward bend
- Supta Padangusthasana – supine hamstring stretch
- Padangusthasana – big toe pose


Utkatasana – Chair pose(OOT-kah-TAHS-anna)
utkata = powerful, fierce
Thighs parallel to the floor in optimum gaining depth yet keeping the torso raised and arms lifted.
Regressions
Reduce the range
Progressions
Hold posture for longer in different and varied ranges of depth and width – add rotation



Parsvottanasana- Intense side stretch/pyramid posture – (parsh-voh-tahn-AHS-anna)
parsva = side, flank
ut = intense
tan = to stretch or extend
Knees lock with back foot in slight block, external rotation on back femur, spine moves to accommodate the stretch, pelvis – knee and ankle (front leg) can all be adjusted to be more specific on the hamstring
Regressions
Reduce the range, bend the knees, support on the thigh or shin
Progressions
Hold posture for longer using the pelvis, knee and ankle to adjust the stretch – add rotation. Moving slowly into this pose and pausing in the halfway position is a strength posture for both the lower back and back of the legs Ardha Uttanasana – are-dah oot-tan-AHS-anna) ardha = half uttana = intense stretch, this is an advanced posture when held.


Adho Mukha Svanasana – downward facing dog – (AH-doh MOO-kah shvah-NAHS-anna)
adho = downward
mukha = face
svana = dog
Spread the fingers with heels of the hand loaded, energy goes up through the torso, lifting the base spine upwards and then down through the leg to the heel targeting the floor. body moves back towards the thighs.
Regressions
Reduce the range, bend the knees
Progressions
Hold posture for longer, raise on leg one Legged Dog / Downward Dog (Split) Pose (Eka Pada Svanasana) and add rotation

Virabhadrasana . – warrior – (veer-ah-bah-DRAHS-anna)
“The Warrior” or “Virabhadrasana” series replicates a tragic love story of love, hate, rage, violence, sadness, wrath, compassion and forgiveness which begins with the marriage between Lord Shiva and his bride Sati.
According to ancient texts, Sati’s father, the powerful King Daksha did not approve of their union. Shiva was described as an unorthodox god with dreadlocks who was prone to meditating in graveyards whilst smeared with the ashes of the dead. Shiva was also reclusive and would spend a lot of time meditating on mountain tops rather than engaging in society.
In addition to consuming toxins and singing and dancing at will, it is also said that Shiva carried around with him a skull (legend has it that the skull was actually stuck to his hand following a curse placed on him by Lord Brahma after Shiva cut off one his five heads). Accordingly, Shiva was very much the antithesis of King Daksha who thrived on rules and regulations and was a preserver of traditional society.
After they were married, Sati left to live with Lord Shiva in the PleasureCity, Bhoga, on MountKailash. Enraged by their union, King Daksha decided to hold a huge event known as a Yagna (a ritual sacrifice) to which he invited all heavenly creations, deities and dignitaries… with the exception of Lord Shiva and his own daughter, Sati.
Sati was enraged at the snub and decided that she would go to the Yagna alone and confront her father. Shiva, however, refused to go choosing instead to remain alone and meditate. Unfortunately, when Sati arrived at the gathering her father refused to speak to her and when he eventually did it was only to ridicule Sati and Shiva which humiliated his daughter.
The Yagna guests looked on and laughed at Sati as her father sniggered and mocked her new husband saying that he was a despicable character and asked if Shiva was also known as “the Lord of the Beasts”. Sati was so angry at her father that she decided that she would sever all ties with him which also included the earthly body which he had given his daughter.
“Since you have given me this body I no longer wish to be associated with it.”
The story goes that Sati then sat down on the floor, went into a meditative trance and, by way of yogic exercises, began to increase her inner fire until such a point that she burst into flames and died.
The Wrath of Shiva
Shiva soon heard the news of his wife’s violent death. At first he was deeply saddened but then became so enraged at his loss that he tore off his clothes and ripped out his jatars (his dreadlocks). Legend has it that Shiva then picked up one of his jatars from the floor and threw it down to the earth to create “Virabhadra” (Vira meaning hero and Bhadra meaning friend).
Shiva then directed his warrior demon, Virabhadra, to go to the Yagna and kill everyone, behead King Daksha and drink his blood. It is here that we really see the links between this ancient tragic love story and the warrior poses that we see commonly in modern yoga classes known as Virabhadrasana I, II and III.
Virabhadrasana I
According to the ancient texts, Virabhadra entered the Yagna by thrusting his way up from deep underground with his sword held over his head in both hands – a feat re-enacted in the posture Virabhadrasana I.

Virabhadrasana II
Next, Virabhadra made his presence known to the Yagna guests by standing with his sword poised and ready to strike. Essentially, the posture Virabhadrasana II represents Virabhadra having his victim in his cross hairs (consider the drishti point of the middle finger as the cross hairs and the back arm is the sword ready to strike forward).

Virabhadrasana III
Finally, Virabhadra lifted his sword into the air and, as instructed by Shiva, quickly and precisely he severed the head of King Daksha. This macabre scene is represented by Virabhadrasana III.

Utthita Parsvakonasana – extended side angle pose –(oo-TEE-tah parsh-vah-cone-AHS-anna)
utthita = extended
parsva = side, flank
kona = angle
This posture requires depth and so flexibility, once in posture rotate the torso towards the sky and encourage the top arm to come directly over the torso and head without falling in. The back foot is the root and the guide so remains solidly on the floor.
Regressions Reduce the range, support on the base leg, keep the body lifted reaching to the back of the room.
Progressions Load more weight through the front leg.
This posture advances with rotation to create a revolved side angle pose Parivrtta Parsvakonasana (par-ee-vrt-tah parsh-vah-cone-AHS-anna)
parivrtta = to turn around, revolve, parsva = side, flank, kona = angle BUT IMPORTANTLY the position of the back foot changes. In Utthita Parsvakonasana the back foot is blocked and grounded to the floor, rooting the posture and making it stable. Keeping the foot in this position can be biomechanically and physiologically unsound for so many people, so we can seg-way between the block and the heel lifted in a lung posture ( see below). There are several different options for the load of the upper body and placement of the arm, leading ultimately to a sealed & locked posture with hands in prayer position using the seal of the hands with the lock of the arm and the outside front leg to lever the entire torso into thoracic rotation and the bound position where the hands clasp behind the body creating a bind from which to align against.




There are no agreed terms for lunges in Yoga, there are options –
Alanasana – high lunge, Anjaneyasana – low lunge, this also involves the crescent moon posture
In these postures we control the range of back extension by actively tilting the pelvis. Encourage load through the front leg (not back or centre), keeping the back leg straight, the spine emerges forward form its tilted pelvis and extends into the upper back.
Regressions Reduce the range, keep the weight centred out of the front leg
Progressions learn to hold this posture and maximise the use of the hamstrings on the front leg by favouring weight in the heel and a depth of posture that retains use of the muscles, being aware of hanging too deep into the joints.

Trikonasana- triangle pose – ( trik-cone-AHS-anna)
trikona = three angle or triangle
This posture can be multi levelled requiring the underside of the torso to remain as straight as possible, it is useful to glide into the posture cuing a lateral tilt of the pelvis
Regressions Reduce the range, support on the base leg, use a block for support
Progressions Use the wall to straighten the posture and reduce hip flexion, place the support hand behind the front leg, reduce the upper arm lever by wrapping behind the torso, take the upper arm above the head rotating the torso towards the sky. Revolve the entire posture turning to face the front leg into Parivrtta Trikonasana revolved triangle pose (par-ee-vrit-tah trik-cone-AHS-anna) parivrtta = to turn around, revolve trikona = three angle or triangle.





Viparita Virahbhadrasana – reverse sun warrior
A side bend or lateral flexion on a basic leg posture
Regressions Reduce the range, support on the side of the body, hip or waist
Progressions Push through the ribcage increasing lateral flexion.

Prasarita Padottanasana- wide leg forward fold – (pra-sa-REE-tah pah-doh-tahn-AHS-anna)
prasarita = stretched out, expanded, spread, with outstretched limbs
pada = foot
ut = intense
tan = to stretch or extend (compare the Latin verb tendere, “to stretch or extend”)
This posture is really enjoyable. it has several hand and arm positions.
Regressions Bend the legs and support on the floor or the legs
Progressions create a width that challenges the greatest stretch. The position of the arms and the torso will both progress and regress the posture to suit your clients.

Urdhva Mukha Svanasana- upward facing dog – (OORD-vah MOO-kah shvon-AHS-anna)
urdhva mukha = face upward (urdhva = upward
mukha = face)
svana = dog
Back extension both supported and unsupported. This posture can be used along or is a key pose in Vinyasa as a transition example in the sun salutation.
Regressions Reduce the range of the arms at the elbow joint and remain in full contact with the floor
Progressions Extend the arms and keep all limbs off the floor by placing the weight on the front of the foot.

Plank position
Chaturanga tricep dip/four limbed staff pose – (chaht-tour-ANG-ah don-DAHS-anna)
chaturanga = four limbs (chatur = four
anga = limb)
danda = staff (refers to the spine, the central “staff” or support of the body)
Vasisthasana side plank/raised bridge (vah-sish-TAHS-anna)
Vasitha means wealthy, vast or richest – There’s a Vasistha numbered among the seven (sometimes 10 or 12) seers (rishis) or lords of creation (prajapatis), and a Vasistha who’s author of a number of Vedic hymns. He’s also said to be the owner of the fabulous “cow of plenty,” Nandini (“delight”), which grants his every wish and accounts for his infinite wealth.
Purvottanasana reverse bridge / upward plank (pur-voh-tah-NAHS-uh-nuh)
Plank to Chaturanga provides a key transition in flow postures example the sun salutation. Vasisthasana has many versions for progression and regression and is often given as a stand alone exercise. Purvottanasana revferses the plank position and so opens the chest and front shoulder. the postures require great skill to advance and get right so it is worth spending time repeating them and explaining their purpose.
Regressions the more of your body that rests on the floor, the easier this posture will be.
Progressions the image shows the most advanced option.




Vrksasana – tree – (vrik-SHAHS-anna)
vrksa = tree
A balance posture for focus and the feeling of root and stability. on the support leg align all leg joints and press the inner thigh into the resting foot to create a solid base. Hold from the back of the body and focus forward.
Regressions Flex the knee of the support leg, use the resting leg/foot to balance on the floor or lower down the support leg and let the arms drop creating a balance lock with the hands in front of the chest.
Progressions as the eyes affect balance close the eyes or move the head to challenge stability.

Ardha Padmasana Vrksasana – standing half lotus (pod-MAHS-anna)
Ardha Baddha Padmottanasana – folded standing half lotus
padma = lotus
Crossing the heel into the hip of the stability leg makes this an easier balance posture than Vrksasana above for many people. the support leg is much more active in this position.
Regressions Flex the knee of the support leg, use the resting leg/foot to balance on the floor or lower down the support leg and let the arms drop creating a balance lock with the hands in front of the chest.
Progressions progress into Ardha Baddha Padmottanasana with smooth transitions both on the way down and on return.

Ardha Chandrasana – half moon – (are-dah chan-DRAHS-anna)
ardha = half
candra = glittering, shining, having the brilliancy or hue of light (said of the gods); usually translated as “moon”
Regressions Flex the knee of the support leg
Progressions more depth and more alignment in only one plane

Natarajasana – dancers pose – (not-ah-raj-AHS-anna)
nata = actor, dancer, mime
raja = king
Always grip the ankle and not the foot. Push the ankle into the hand and create a tension as you lift the leg higher. When the leg is lifted as high as possible then start to flex forward at the hip. the lifted leg will always be your guide.
Regressions Flex the knee of the support leg
Progressions more depth and more alignment in only one plane

Bakasana – crow or crane pose – (bahk-AHS-anna)
baka = crane
An advanced balance, the knees need to sit on the back of the arms and a counter balance created. to learn rest the head on the floor and be sure not to take the pressure through the cervical vertebrae
Regressions simply do not do this as there is a n element of danger and potential to harm
Progressions a transition into jump back plank or head/handstand.

Paripurna Navasana – boat pose – (par-ee-POOR-nah nah-VAHS-anna)
paripurna = full, entire, complete
nava = boat
This is great if you can balance on the ischial tuberosity (or tuberosity of the ischium, tuber ischiadicum) most often referred to as the sitting bones a large swelling posteriorly on the superior ramus of the ischium. Hoever some people are not built to do this.
Regressions bend the knees and move the pelvis/weight forward or backward to help balance.
Progressions no hands


Lets look at seated poses and their alternatives. We are trying to find a position that is both comfortable and enduring allowing stillness for prolonged periods of time. Everyone is different and will suit a position that suits their accumulated lever lengths. any seated position is compromised and so may take time to develop. We want the pelvis to sit upright and allow the spine to be natural.
Virasana – hero pose – (veer-AHS-anna)
vira = man, hero, chief
A great alternative to lotus.

Padmasana – lotus pose – (pod-MAHS-anna)
padma = lotus
Or half lotus, this position actively brings the pelvis into a more upright position which allows the spine to sit more naturally. The problem is that so few can sit in this position in comfort.

Baddha Konasana – bound ankle pose – (BAH-dah cone-AHS-anna)
baddha = bound
kona = angle
The seated poses dilute until we sit cross legged.
Sukhasana – cross legged or easy pose
sukha = pleasure

Ardha Matsyendrasana- Half Lord of the Fishes – (ARE-dah MOT-see-en-DRAHS-anna)
ardha = half
matsyendra = king of the fish
indra = ruler
There are so many variations of the twist pose and with this comes various Sanskrit names. The variations alter leg and arm positions in order to regress or progress the twist. It is another posture that each individual will need to find a suitable version in order to get a result. It can move planes into supine for absolute ease – Jathara Parivartanasana athara = abdomen, parivartana = to completely revolve.


Eka Pada Rajakapotasana — pigeon pose – (EHK-a PHOD-a RHA-ja KAH-pot AHS-uhna)
Eka = one
Pada = foot or leg
Raja= king
Kapota = a pigeon or dove.
This position is therapy and the king of external rotation. It can hit one of the major pelvic tightnesses at the piriformis and out gluteals. we must encourage everyone to feel this and explore the posture. there is no one way to do this. focus on the front bent leg position, the pelvic position and the spine being in extension, natural or rotation.

Dhanurasana – bow pose –(don-your-AHS-anna)
dhanu = bow
A major bound back extension and similar to its counterparts in standing Natarajasana and kneeling Ustrasana. Always hold the ankles and not the feet being guided into extension by a gentle pushing of the ankles into the hands while lifting the legs.

Ustrasana – camel pose –(oosh-TRAHS-anna)
ustra = camel

Upavistha Konasana- wide leg seated – (oo-pah-VEESH-tah cone-AHS-anna)
upavistha = seated, sitting
kona = angle
The perfect inner thigh stretch. Can be regressed by using one leg only or shortening the leg levers and reducing the forward tilt and progressed by adding upper body movements in every plane of motion and range of motion.

Paschimottanasana- seated forward bend – (POSH-ee-moh-tan-AHS-anna)
paschimottana = intense stretch of the west
pashima = west
uttana = intense stretch
Great for lower back and hamstrings, can be performed supine also for greater ease
Supta Padangusthasana – reclining hand to toe – (soup-TAH pod-ang-goosh-TAHS-anna)
supta = lying down, reclining
pada = foot
angusta = big toe


Savasana- corpse pose –(shah-VAHS-anna)
sava = corpse
Looks really easy but designed for complete relaxation it is one of the hardest to master.
