Ashtanga

Yoga

Teacher Training
Primary Series

WHO, WHY, WHAT, & HOW?

*Why are you here?

*What do you hope to gain from this course?

*Why do you practice yoga?

*Who should teach?

*Why do you want to teach?

*What is the essence of teaching?

*What is the essence of yoga you wish to convey?

*How will you convey it?

*What are the criteria to teach?

There are no right or wrong answers to the questions above but they are good
things to look at when considering adopting the role of a teacher.

TEACHERS TOOLS
Compassion: Understanding the needs, limitations and potential of an individual and then offering
encouragement to assist them in progressing at an appropriate rate.
Patience: Everyone learns in a unique way. Be creative in your delivery so that anyone may understand.
Offer individual attention. Do this in such a way as not to interrupt the general class flow unless there is a
question which may apply to others as well. There are no stupid questions.
Observation: There is no perfect posture. Look for the essence. Move from the gross toward the subtle.
The sculptor first uses large tools to knock away the big pieces and slowly the tools become smaller as the
need becomes more refined.
Clarity & Simplicity: Understand and convey the essence in simple terms. The greatest teachers are those
which shine a light of clarity onto areas of complexity. Keep it simple.
Confidence: Believe in what you teach. Most people choose to teach a subject because of the inspiration
they have received from it. The inspiration from yoga comes from the doing of it. Personal practice is the
key.
Honesty: If you don't know, say so. It is better to admit ignorance about a subject and then go and learn
the answer from someone that has the knowledge. You may then return to the question and speak with certainty. Teach what you know.
Ethics: Be aware of teacher/student relations and proper business approaches. All actions of a teacher are
observed. The teaching extends beyond the classroom.
Open-mindedness: One system does not hold all of the answers. Give referrals to other teachers and
explore different approaches to yoga than your own. Continue to learn.
Humor: Laugh at yourself and with others. Promote lightness. Learning is easier with an open heart and
relaxed mind.
Intuition: Non-linear thinking allows appropriate application for each individuals specific needs. With experience a second sense develops which allows for a glimpse into the subtle nature of each situation.
B a l a n c e: Introspection/Extroversion, Levity/Severity, Pushing/Pulling, Open/Close, Inhale/Exhale,
Gross/Subtle, Teach/Learn, Speak/Listen, Demonstrate/Observe. Balance is the essence.

This list could go on and on. Each teacher has a unique bag of tools which may be
brought out and applied on an individual basis . Continue to add tools to your bag
and refine the art of utilizing effectively a handful of your favorite ones . Once we
feel that we know it all there is nothing left to learn and our container of knowledge
is sealed so that creativity, inspiration and innovation begin to dry up as knowledge
presented to us runs down the sides of our tightly sealed method without being
assimilated or applied.

Suryanamaskara
"The Foundation"
The entire foundation of ashtanga yoga is based upon the dynamic flow of Suryanamaskara 'A'
& 'B'. The idea of blending breath and movement into a serpentine flow is what sets this system
of yoga apart from other methods. It does not mean that the other styles are wrong and that this
is right, it is simply that they are different approaches to a similar goal. We will spend a good
deal of time on the exploration of the two Suryanamaskaras. In their essence lies the crux of ashtanga yoga. It is here that we will begin the journey and it is here that all of the answers about
the practice live. Before actually moving through the sun salutations we will explore the internal, subtle world of the breath, locks, heat, flow & balance. Just as the essence of the practice is
present in the sun salutations, the essence of the subtle internal science of yoga is present in the
breath. Without knowledge of breathing the yoga can become nothing more than an arena for
contortionists. When we apply the specialized techniques for breath control we move from the
mundane into the divine. The simple act of breathing holds the key to life and death.

Breath, Locks & Heat

"The Internal World"
In addition to breath awareness we will look at the bandhas (locks), heat, vinyasa (flow), and
prana (life force). These elements form the internal universe of Ashtanga Yoga. The deeper one
explores this system the greater the subtle practices become the focal point. We will look at ways
to gain greater understanding of this invisible realm through partner exercises and group feedback. There will also be time given to addressing methods of altering the salutations to fit individual needs and the utilization of hands-on adjustments to assist in greater postural awareness.

The Dance Begins

"Marriage of Breath & Movement"
After setting a firm foundation with the internal aspects of Ashtanga we are now ready to begin
the practice. There will be continual reminders to keep awareness on the locks, breath, heat and
flow. The mechanics and physics of flowing movement will be explored in this section of the
course. After learning the sequence and physical placement of the body it is time to refine the
movement. Grace and fluidity grow from the inside/out. Techniques to smooth the flow will be
covered as well as understanding of the application of minimal effort to travel from point "A" to
point "B".

Adho Mukha Svanasana

Adho=Downward Mukha=Facing Svana=Dog
Downward Facing Dog

The Standing Sequence

"Seeking the Balance"
Observations, Oppositions & Adjustments
Every asana may be analyzed and adjusted according to the concept of yin and yang, the union
of opposites. For every action there is an opposition of force which either creates stillness or
movement. Alignment is an orchestration of these forces pushing against each other or pulling
away while movement is it's kinetic expression. We will explore and apply this guideline in each
and every asana as well as looking at the postures through a series of levels of observation; gross,
subtle and intuitive. The tools of a teacher must be applied to fit the needs of the situation. A
sculptor beginning with a large piece of granite will initially yield coarse tools. As the sculpting
progresses the tools become increasingly smaller. The final adjustments are subtle yet crucial to
the outcome. Hands-on adjusting techniques and levels of observation will utilize this same
form of approach. We will begin applying these methods in the standing sequence. The oppositions of lifting while sinking are great tools to utilize to enhance our understanding of the standing sequence.

The Power of Drishti

"LOOKING IN WHILE LOOKING OUT"
Each posture in Ashtanga Yoga has a drishti, a point of gaze. It is more than a general direction
in which we project our sight. Rather, it is a dynamic and acute awareness of the internal workings of Ashtanga Yoga perceived via an external focal point. It involves much more than the utilization of our eyes. In fact drishti has little to do with physical sight and everything to do with
subtle energetics. This simple action creates a profound reaction internally when applied properly. Drishti requires presence. It is the engagement of the upper limbs of Ashtanga Yoga: Sense
Withdrawal, Concentration and Meditation. Drishti is total awareness experienced with detachment. One with limited sight or even blindness can engage drishti. We will explore methods of
gazing both internally and externally to enhance balance, stability, grace and poise within the
flowing movement of vinyasa as well as the stillness of asana.

Padangusthasana
Pada=Foot Angustha=Big Toe
Foot Big Toe Posture

Padahastasana
Pada=Foot Hasta=Hand
Foot to Hand Posture

Utthita Trikonasana
Utthita=Extended Tri=Three Kona=Angle
Extended Triangle Posture

Parivritta Trikonasana
Parivritta=Revolved Tri=Three Kona=Angle
Revolved Triangle Posture

Utthita Parsvakonasana
Utthita=Extended Parsva=Side Kona=Angle
Extended Side Angle Posture

Parivritta Parsvakonasana
Parivritta=Revolved Parsva=Side Kona=Angle
Revolved Side Angle Posture

Prasarita Padottanasana A
Prasarita=Spread Out Pada=Foot Uttana=Intense Stretch
Feet Spread Intense Stretch Posture

Prasarita Padottanasana B
Prasarita=Spread Out Pada=Foot Uttana=Intense Stretch
Feet Spread Intense Stretch Posture

Prasarita Padottanasana C
Prasarita=Spread Out Pada=Foot Uttana=Intense Stretch
Feet Spread Intense Stretch Posture

Prasarita Padottanasana D
Prasarita=Spread Out Pada=Foot Uttana=Intense Stretch
Feet Spread Intense Stretch Posture

Parsvottanasana
Parsva=Side Uttana=Intense Stretch
Intense Side Stretch Posture

Utthita Hasta Padangusthasana A

Utthita=Extended Hasta=Hand Padangustha=Big Toe
Extended Hand Big Toe Posture

Utthita Hasta Padangusthasana B

Utthita=Extended Hasta=Hand Padangustha=Big Toe
Extended Hand Big Toe Posture

Utthita Hasta Padangusthasana C

Utthita=Extended Hasta=Hand Padangustha=Big Toe
Extended Hand Big Toe Posture

Ardha Baddha Padmottanasana

Ardha=Half Baddha=Bound Padma=Lotus Uttana=Intense Stretch
Half Bound Lotus Intense Stretch Posture

Utkatasana
Utka=Fierce or Powerful
Fierce Posture

Virabhadrasana A
Virabhadra=Hero or Warrior
Warrior Posture

Virabhadrasana B
Virabhadra=Hero or Warrior
Warrior Posture

Entering the Seated Sequence

"TAKE IT UP"
Dynamics of Vinyasa
It's time to enter into the seated sequence which is also officially the first posture of the first
series. Remember, this is the sandwich filling which sits between the opening of the practice comprised of sun salutations and the standing sequence and the ending of the practice consisting of
the finishing sequence. It is here that the practitioner will place whatever series is being practiced
that day. The first jumping vinyasa through the arms takes place as we enter into the seated
sequence. We will explore the aerodynamics of this "flying". We will look at it both in forward
motion as well as in reverse. We will then move into the first series seated postures. Time will be
taken to apply the various tools we've learned to evaluate not only the individual asanas but also
the particular sequencing and flow inherent in ashtanga yoga.

Forward Bending
"Moving Forward, Remaining Still"
Much of the primary series contains forward bending postures. Just as in backward bending we
will see that lengthening of the opposite side of the body is crucial in forwarding bending postures. Forward bending asanas are designed to lengthen the back of the body. This needs to be
done with awareness so that the lower back does not take the brunt of the effort. The hamstrings
importance will be looked at in this regard as well as engagement of the quadriceps to further aid
in creating a safe and satisfying forward bend. Each day we will be practicing and applying the
previous lessons in addition to the current agenda. There will be plenty of partner work as well
as taking turns leading the group through as much of the practice as we have covered. There will
always be plenty of doing. 99% Practice & 1% Theory. This method of Ashtanga Yoga must be
practiced to truly understand. Even our looking at particular skills from a teachers point of view
will ultimately open greater wells of awareness to enhance our personal practice.

Dandasana
Danda=Stick or Staff
Staff Posture

Paschimottanasana A
Paschima=Western Uttana=Intense Stretch
Western Intense Stretch Posture

Paschimottanasana B
Paschima=Western Uttana=Intense Stretch
Western Intense Stretch Posture

Paschimottanasana C
Paschima=Western Uttana=Intense Stretch
Western Intense Stretch Posture

Purvottanasana
Purva=Eastern Uttana=Intense Stretch
Eastern Intense Stretch Posture

Ardha Baddha Padma

Paschimottanasana
Ardha=Half Baddha=Bound Padma=Lotus
Paschima=Western Uttana=Intense Stretch
Half Bound Lotus Western Intense Stretch Posture

Trianga Mukhaikapada
Paschimottanasana
Tri=Three Anga=Limb Mukha=Face Eka=One Pada=Foot
Paschima=Western Uttana=Intense Stretch
Three Limbs Face One Foot Western Intense Stretch Posture

Janu Sirsasana A
Janu=Knee Sirsa=Head
Head to Knee Posture

Janu Sirsasana B
Janu=Knee Sirsa=Head
Head to Knee Posture

Janu Sirsasana C
Janu=Knee Sirsa=Head
Head to Knee Posture

Marichyasana A
Marichi=A great sage and son of Brahma
Dedicated to Marichi

Marichyasana B
Marichi=A great sage and son of Brahma
Dedicated to Marichi

Marichyasana C
Marichi=A great sage and son of Brahma
Dedicated to Marichi

Marichyasana D
Marichi=A great sage and son of Brahma
Dedicated to Marichi

The Final Ascent

"SURFING THE CRESCENDO"
We're about to scale the summit of the primary series and then slide over the top and coast on
toward Savasana. Each series in Ashtanga has a point at which there is a peak of action before
it begins a slow descent toward the finishing sequence. In the primary series that crescendo
occurs with Navasana, the boat posture. By understanding the energetic dynamic of any of the
series we may pace ourselves within the appropriate flow. These sequences are mandalas of movement. There are times that we may glide and there are times that we must climb. The internal
locks are invaluable tools. They will lift the body and create lightness when it is necessary to
ascend and they will hold us on course in a steady poise when it is appropriate to float or glide.
The breath and internal elements become increasingly important as we progress.

Loose it Complete!
"Freeing the Mind and Feeling the Flow"
Here we will apply the methods we've learned in all of the previous sessions to achieve a heightened state of focus in our practice while remaining aware of the indicators of stress or overexertion. We will move through the remaining postures of the first series as we draw the connecting
line to complete the circle started with the sun salutations. By focusing on our breath and reading the overall tapestry we may delve deeply into the essence of this practice and experience firsthand the meditative flow of subtle life energy. We become a conduit of expression for this internal rhythm and the mind may surf along on the waves of our breath. Controlling the mind
through focus and intent are the avenues which will carry us to the top limbs of the Ashtanga
tree. We will look into the effects of the practice on the mind and the minds' effects on the practice.

Navasana
Nava=Boat
Boat Posture

Bhujapidasana
Bhuja=Arm or Shoulder Pida=Pressure
Arm Pressure Posture

Kurmasana
Kurma=Tortoise
Tortoise Posture

Supta Kurmasana
Supta=Sleeping Kurma=Tortoise
Sleeping Tortoise Posture

Garbha Pindasana
Garbha=Womb Pinda=Embryo
Womb Embryo Posture

Kukkutasana
Kukkuta=Cock
Cock Posture

Baddha Konasana
Baddha=Bound Kona=Angle
Bound Angle Posture

Upavishta Konasana
Upavishta=Seated Kona=Angle
Seated Angle Posture

Supta Konasana
Supta=Sleeping Kona=Angle
Sleeping Angle Posture

Supta Padangusthasana A
Supta=Sleeping Pada=Foot Angustha=Big Toe
Sleeping Big Toe Posture

Supta Padangusthasana B
Supta=Sleeping Pada=Foot Angustha=Big Toe
Sleeping Big Toe Posture

Ubhaya Padangusthasana
Ubhaya=Both Pada=Foot Angustha=Big Toe
Both Feet Big Toe Posture

Urdhva Mukha Paschimottanasana

Urdhva=Upward Mukha=Face
Paschima=Western Uttana=Intense Stretch
Upward Facing Western Intense Stretch Posture

Setu Bandhasana
Setu=Bridge Bandha=Bondage or Contraction
Bridge Posture

The Finishing Sequence

"Turning Upside/Down"
In this section we will move into the finishing sequence. This will act as the second piece of bread
for the ashtanga "sandwich". In the following sessions we will build the remaining "filling" of the
first series. By adding the finishing sequence now we will have a full closing routine with every
practice session. The beginning and end are learned first and then one by one the asana layers
are added until a full series has been constructed. In this section of the training we will look at
the fears related to inverted postures, proper support for a safe practice and how alignment and
length can translate into strength. We will include in each session a practice and application of
the total information covered from the previous sessions. The standing sequence and sun salutations are not to be forgotten and will be continually practiced and reviewed.

Backward Bending
"Open the Front to Bend the Back"
The back-bending asanas require an opening of the front of the body. It is common to think only
on the back when practicing back-bending. Equal emphasis must be given to the lifting and
opening of the front of the body. Here we will find the balance that we are looking for. This
lengthening of the opposite side of the body gives greater support internally and the back-bending becomes more effective. Backward bending asanas are some of the most dynamic in yoga.
They stimulate the spinal cord which is the information highway of our body. We will look at
ways to approach a back-bend in stages and also how to use hands-on techniques to assist each
other safely and effectively.

Urdhva Dhanurasana
Urdhva=Upward Dhanura=Bow
Upward Bow Posture

Paschimottanasana
Paschima=Western Uttana=Intense Stretch
Western Intense Stretch Posture

Inversions
"Learning to Support yourself"
Length is Strength
Stability in inverted postures is gained through aligning the body in close proximity to our central core line. This line is refined through the creation of length. Through the utilization of our
knowledge gained from the applications of locks and the equality of opposition we will learn how
to create long lines of energy which run through our core. Once this line is achieved the effort
to remain in an inversion becomes less strenuous. It is then that the mind is allowed fertile
ground to rest in the quiet found in each asana. This point of least resistance is what we are looking for. Through refinement of our yoga practice we will gain freedom from the gross physical
aspects and find ourselves approaching the subtle energetic world which is governed by prana.

Salamba Sarvangasana
Salamba=Supported Sarva=All or Whole Anga=Limb or Body
Whole Body Supported Posture

Halasana
Hala=Plow
Plow Posture

Karnapidasana
Karna=Ear Pida=Pressure
Ear Pressure Posture

Urdhva Padmasana
Urdhva=Upward Padma=Lotus
Upward Lotus Posture

Pindasana
Pinda=Embryo
Embryo Posture

Matsyasana
Matsya=Fish
Fish Posture

Uttana Padasana
Uttana=Extended Pada=Leg or Foot
Extended Leg Posture

Sirsasana A

Sirsa=Head
Head Standing Posture

Sirsasana B
Sirsa=Head
Head Standing Posture

The Final Three

"breathing into savasana"
We will continue to refine the accumulated practice learned thus far and look into the importance of a good closing sequence. After the back-bends and inversions it is time for three seated
postures which will bring us toward a closing of our practice. The first one, Baddha Padmasana,
lengthens the spine and expands the chest in preparation for the second one, Padmasana, which
sets us deeply into our breath and locks. The third posture is Tolasana which takes us on the final
journey of the practice. It lifts us into the air, engages the locks and drishti while surcharging
every cell with a deluge of oxygen. Upon release we are lowered into a deep, relaxed yet energized
state, Savasana. In this final posture, the body becomes a sponge to assimilate the pranic lifeforce accumulated during the practice. The sequencing of the finish postures will be examined
and the importance of completing the routine with this still point will be emphasized.

Baddha Padmasana
Baddha=Bound Padma=Lotus
Bound Lotus Posture
(Sometimes Called: Yoga Mudra)

Padmasana
Padma=Lotus
Lotus Posture

Tolasana
Tola=Scale
Scale Posture

(Sometimes Called: Utpluthi)

Savasana
Sava=Corpse
Corpse Posture

You Do!
"The Beginning Is The End"
99% Practice & 1% Theory
We should have moved through the entire primary series by this point. It's time to apply all
that you have learned. By working in pairs or small groups you will guide each other through
the entire first series, applying the adjustment techniques, yin and yang, levels of observation,
alignment, flow and of course, breath awareness. When all is said and done, this entire system's impact on your life boils down to your practicing it or not. There is no magic pill or
book or mantra that will bestow upon you the benefits accrued by a regulated practice. By
assisting others you may find that the awareness of your personal practice has been enhanced.
Whether we have been practicing Ashtanga for twenty weeks or twenty years it is always the
same action, practice. Each day we return to the same foundations and explore further. There
is no point in which it is all known. Each session will reveal new levels of awareness or sprout
new questions. If we remain present and focused to see and hear, from the inside, this system
will continue to share universal knowledge with us.

Practice Beyond The Mat

"Eight lImbs & One Breath"
After exploring the ins and outs of the first series and looking at the practice from
many angles, it is then reasonable to ask what application this may have in daily
life, outside of the yoga room. We will explore this question and look at the very
core of yoga, the breath, and see it's far reaching applications beyond the boundaries of our yoga mat. There is no ceiling to the knowledge available. It is up to us
to apply this tool and find it's applications. There is no minimum amount of time to
dedicate. One may choose to practice for 5 minutes a day or devote a lifetime to
it. The very lifeblood of Ashtanga is dependent upon people practicing and sharing
it. This course has been entitled: "Teachers Training / Yoga Intensive". Are we
teachers yet? A teachers knowledge, experience, insight and integrity are the real
credentials. We can all teach as much as we know about any subject. Teaching
yoga is no different. Enjoy your practice and share it with others to whatever
capacity you feel comfortable. Keep open and continue to learn. Study with different teachers and investigate other systems. Knowledge and experience will be
your tools and practice will remain your greatest teacher.