Asanas for the Chakras

I thought it might be a nice exercise to spend a few weeks focusing on chakra sequences. This article seems to offer some valuable insights, complementing my offline sources, so I’m placing it here for safekeeping.

Swadisthana, Second, Chakra
Asanas for the Chakras

Beyond the sequencing lies a question that I’m not sure yet how to answer. Because I teach at a gym, where the focus is more on physical fitness than anything else, how much of the spiritual/philosophical aspects of yoga can I share without seeming too ‘woo woo’? My teacher shared a lot of stories and insights based on her reading, and that’s definitely an example I want to follow. But how to get there? Hm…

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Dolphin flow

I started this day with no inspiration at all for this week’s classes. I took a class on Monday that incorporated Natarajasana, so I decided to use that. Then I thought about what needs to happen for students to be successful in that pose: open knee flexors, hip flexors, and shoulders at the very least. So how to get there?

Hips and knees seem pretty straightforward. Shoulders… and that’s where I found it, my inspiration. As it turns out, I’m less interested in dancer’s pose this week and more interested in dolphin. This flow from YogaJournal seems like a great place to start: Forearm Balance Preparation.

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Moon Flow

Now that I’ve started teaching regularly… wait, let me back up. In the several moons since I last updated this page, I’ve gone from teaching belly dance to teaching yoga. I love belly dance but I think, for now at least, I’ll get more enjoyment from following a teacher than being one. Yoga has been something different.

With the encouragement (and subtle arm-twisting) of my YTT teacher, I auditioned for a group instructor position at my gym. I joined the sub list in March and have been teaching fairly regularly since then. Once I got past my initial nervousness, or perhaps to help me get past it, I generally accepted every teaching opportunity that came my way. I found that it was somewhat easy to ‘wing it’ when I was teaching only one or two classes a week. But when my ‘just say yes’ philosophy found me signed up for 10 classes in one week, I knew I had to get organized. So I planned out a sequence which I used as a template for every class that week. Which brings me to today.

I saw a post on Yoganonymous about this month’s supermoon(s) that lead me to a YogaJournal piece on Shiva Rea’s moon salutation sequence. Further research into the chandra namaskar sequence lead me to this post by Lisa Rigby. The work of these two women is the foundation/inspiration for this week’s flow.

This sequence might turn out to be ambitious bordering on crazy. By the end of the week, it will probably be streamlined to a more practical/manageable state. I will most likely forget some of this, decide to leave something out, or take a sudden look at the clock and realize I need to cut it short. But, until reality intrudes, here’s the template in all its idealized glory.

Opening
Balasana (extended child’s pose)
Marjaryasana/Bidilasana (cat/cow in tabletop)
Anahatasana (puppy pose), modified
Adho Mukha Svanasana (downward-facing dog) -> Wide-legged down dog twisting stretch, reaching hand to opposite calf
Step forward to rag doll
Roll up to Tadasana (mountain pose)
Standing side bends, hands clasped, palms facing outward -> Right, Center forward, Left (x2)
Exhale hands to heart center

Chandra Namaskar sequence
Open palms, pinkies touching, exhale and open arms wide
Palms to sacrum, inhale and open heart to sky
Release arms, exhale to wide-legged forward fold, legs bent, hands to mat palms up
Roll up, inhale arms up, exhale hands to heart center.
(x3)

From Uttanasana, step left leg back coming into runner’s lunge
Somachandrasana I -> II, holding for three breaths, three large circles of extended arm
Sahaja Ardha Malasana (spontaneous half garland pose), flowing from side to side (x3)
Transition to runner’s lunge, left leg front
Phalakasana (plank pose)
Anahatasana or knees-chest-chin
Sahaja Bhujangasana (spontaneous cobra pose), circling clockwise (x3)
Adho Mukha Svanasana
Inhale right leg up, exhale release
Inhale left leg up, exhale step forward to runner’s lunge
Step right leg forward to Uttanasana
Inhale up to Anjali Mudra

Repeat on the other side

Moving On
Transition to Utkatasana (chair pose) then flow to Ardha Utkatasana (half chair, x3)
Exhale, fold forward
Step back to plank, vinyasa -> Adho Mukha
Inhale right leg up, step forward to Anjaneyasana (low lunge)
Vinyasa to other side and repeat
Vinyasa to Adho Mukha
Step/hop forward to yogic squat
Bakasana (crow pose)
Hop back to plank, vinyasa to Adho Mukha -> Uttanasana -> Anjali Mudra

Utkatasana -> Parivrtta Utkatasana (revolved chair), right side
Step left foot back, coming into revolved high lunge
Inhale up to Ashta Chandrasana (high lunge)
Virabhadrasana III -> Parivrtta Ardha Chandrasana
Land flying leg next to standing leg and come into a squat, knees together, heels lifted
Parsva Bakasana
Land the heels, inhale up to Anjali Mudra

Repeat on the other side

Vinyasa to Adho Mukha

If there’s time
Inhale right leg up, exhale knee to nose, to right tricep, to left tricep -> Fallen triangle
Eka Pada Raja Kapotasana II, modified (half pigeon)
Janu Sirsana -> Parivrtta
Marichyasana C

Repeat on the other side

Winding Down
Setu Bandha Sarvangasana or Urdhva Danurasana (bridge or wheel pose)
Halasana (plow pose)
Salamba Sarvangasana (shoulder stand)
Matsayasana (fish pose) or some variation
Supine twist
Savasana

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Put the blame on Mame

Rita Hayworth in “Gilda”

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From Movie Studio to Dance Studio

Every time I see an actor dancing in a film, I wonder about their dance background. @Dance_Magazine has an interesting article about Emily Blunt’s experience learning to dance for The Adjustment Bureau.

I love that the choreographer helped Blunt overcome her nerves by “exhausting” her. I have that experience sometimes in asana class, that I need to exhaust myself, body and brain, in order to let go and just do things.

I also loved this.

Whenever Blunt began to get caught up with how she looked, Pouffer stepped in. “Swan would say, ‘Stop trying to make it pretty. Just mean something,’ ” recalls Blunt. “That’s what’s beautiful about this choreography. There’s a rawness to it. You can’t help but respond to it, even if you don’t quite know why. Maybe you don’t have to know why.”

Read the whole article here: From Movie Studio to Dance Studio

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Om is…

Om is a sound and a symbol which is rich in meaning and depth. It represents the divine in each of us, as well as our interconnectivity. It reminds us that we have the ability to move past our physical and mental states of consciousness and connect with the divine – both in ourselves and others. In its essence, Om represents the sound of divinity in all things in the past, present and future.

from The Meaning of Om

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My next dance performance venue…

Paloma and the Staff of Lunatic Fringe

are pleased to present

Sizzling Summer Shimmies

at the

Bean Scene

186 S. Murphy Ave

(Next to the Lunatic Fringe Boutique)

Friday August 26

7PM -10PM

Come by the Bean Scene, grab a coffee or snack, sit back and delight as Teachers, Studens and Professionals from the South Bay and beyond shake it up Belly Dance style. 

Don’t forget to stop by the Lunatic Fringe Boutique and enjoy the Sizzling Summer Sale going on both

 Friday August 26 & Saturday August 27

Take  20% off

all regular priced  merchandise

Also

Take an

Extra 10% off

All Clearance Merchandise

***Designer Sample Sale***

Lunatic Friunge Boutique has purchaed over 75 pieces of designer clothing.

Sports Wear to Evening Wear.

Ralph Lauren*BCBG* Anna Sui* Laundry * And More!  

SPECIAL BOUTIQUE HOURS:
FRIDAY 8/26  11:30AM – 10:00PM

SATURDAY 8/27  NOON 8:00 PM

LUNATIC FRINGE

182 S. Murphy Ave.

Sunnyvale, CA 94086

408 732-2405

lunaticfringeBDE.com


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HaflAdira performance 08/13/11

Here’s today’s performance at Adira Dance and Costume in San Jose.  The title of this video references the original ‘blooper’ version.  My lovely cameraman, while recording my performance on his phone, turned the instrument sideways, not realizing that the video would go sideways as well.  I guess that’s better than the performance going sideways. 🙂

I was very nervous.  I probably need to find a better way of exiting than my standard ‘tentative bow and scurry off’ method.  I’m thinking Nina Simone‘s Feeling Good might make for lovely exit music, with its bombastic horns and overall va-va-voominess.  Hard choice, though, between her version and the remake by Muse.  (Oh, hey, there’s a Michael Bublé version too.)

I left the original “oops” version of the video up on my youtube channel, so I can feel like a pop star, having the original and then a “remixed” version.  Enjoy!

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I’m performing this Saturday!

HaflAdira Flyer August 2011

 

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An evening at Yoga Belly

The day ended on an up note:

Vishvamitrasana

This was the pose I got to attempt to get myself into near the end of this evening’s class at Yoga Belly Studio. It was a nice moment when I realized that I was actually anywhere near achieving it.

Got to class just in the nick of time, after racing through the last of my work and leaving my office just in the nick of time. Yoga Belly has a changing area, which is nice, because I was in such a hurry to get on the road that I didn’t change into my workout clothes before leaving the office.

I walked into the studio and was met by a blast of warm air and immediately thought, “What am I doing here? I’m going to die.”

But the room cooled off, eventually.

I walked into the studio and a girl I don’t think I’ve seen before said [to the woman at the computer], “Oh, this is Eme.” Then [to me]: “You’re all signed up so you can go right in.”

I found a spot off to the side and suffered through I don’t know how many minutes of adjusting to movement in the hot room. I wobbled through the standing poses, the flow portion of events, sweating immoderately and carefully keeping my eyes off the image in the mirror I’d parked myself next to. And then we got to arm balances and suddenly things were much easier.

The class had the same format as bikram, not in terms of poses, but in the sense that you start off just gritting your teeth and going through it and then suddenly finding some relief, realizing that the session was front-loaded with challenging ‘warming’ poses and now that you’re warm enough the heater’s been turned off and you get to do the slightly more restful ‘deep stretching’ poses. (In bikram, of course, they didn’t turn the heater off; the instructor would just open the door occasionally and, if you were well positioned, with a spot near the door, you felt a cool breeze across your sweaty heap of a body before it closed again.)

Our instructor, Edna, then took us through a series of poses: starting with head-to-knee forward bend, moving on to revolved head-to-knee pose, then the same pose in a different position (standing and with one leg up on the wall), then extended hand-to-big toe pose.

Then it was back down to the ground for eight angle pose (which I came very close to achieving, only I didn’t manage to bring my knees together), and then it was time to try out vishvamitrasana, which I could only manage with one knee on the ground.

So.

I can’t say that my poses looked anything like the linked pictures. But I can say that I tried my best. And by the end of class, after all the bending and twisting, I was completely wrung out and it felt awesome. My clothes are still sweaty and I am strangely proud of that.

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