I N T E N T I O N

My intention this month is
Courageously Take the Seat of the Teacher and Practice Teaching.

P R A C T I C E

Practice daily. Use your daily practice to cultivate your technique. Enjoy the Sacred Preparation LIFT OFF playlist on Spotify. We are working with the seventh chakra Sahasrara. The practice theme for this month is Aura. See the Virtual Class Studio or Live Class Recordings to support your practice and learning.

M E D I T A T I O N

Practice daily for 3-11 minutes. Use your meditation this month to elevate your consciousness.

C O U R S E W O R K

Practice Teach. Receive feedback and support. 

r E A D I N G

Continue to read through your writing and catch up on your reading.

J O U R N A L

Write 3 Morning Pages followed by 2 minutes Listening to Silence each day.

O N G E N E V A

Share the connections you are making as things fall into place. 

part 1 (from Saturday)

Please note that these techniques are foundational and for your own practice. Please proof these ideas and instructions against your own understanding and practice. A strong foundation is essential for longevity. Please note that generally students of Katonah yoga begin with a minimum of 200 hr ytt + teaching experience. If you have questions, please ask.

TABLE (cat cow, circle)
FLIPPED WRIST
PLANK
UPDOG
CHATURANGA
DOWN DOG (one armed, one legged, forearm)
MOUNTAIN
FORWARD FOLD (blanket under heels, block between legs)
CHAIR
SEATED FORWARD FOLD

TABLE
holds a ninety-degree angle to the ground
trains you to work in the centre of the arm bones, and create space in the shoulders.
use structure efficiently to handle situations
enable you to refine this structural alignment without having much weight placed on the shoulders.
hands are measured at shoulder distance, middle fingers turn in to touch, pivot the hands out on the thumb mounds
knees are below hips with pinky toe side of foot pressing into the mat
armpits turn in toward the heart to open the front of the collar bone
the second finger through to the centre of the wrist is parallel with the long edge of the mat
all four points of the palm press:
index finger knuckle to outer wrist
pinky finger knuckle to inner wrist
scapula pull apart on back
strap the upper arm bones if elbows are bent and push out to these boundaries to create space in the lungs
correct alignment in the shoulders takes all the pressure off the lower body, freeing up the sacrum

cat-cow
circling
plank

FLIPPED WRIST
wrist crease comes parallel with front of mat rotating hands 180 degrees outward
sets up the collar bone and frames the lungs
elbows crease in line with wrist creases
elbows stack on top of wrists
index finger mounds press so the pressure is off the heel of the hand and pinky finger mound
put height under just the base of the palm to take the pressure off the base of the wrists
a block between the arm bones moves the elbows in line with shoulders and wrists
opens up ankles, wrists, and neck
mitigates carpel tunnel syndrome

PLANK
hands traction apart, creating space for the lungs in both the front and back body
ball of big toe presses as heels shoot back
eventually, heels are above toes with the balls of the feet pressing down the foot - when the spine is mobile, the foot will be mobile
strap the upper arms
push out to the boundaries while rolling the armpits in toward the heart
pelvis is too high and abdomen drops, creating pressure in the lower back
pad of big toe is lifted; anchor is lost
creates strength and structure in the shoulder joint
plank with flipped wrist: trains you to handle the best of a flipped situation

UPDOG
pubis is on a parallel plane with heels
sternum moves forward while heels shoot back
collars bones open to their own side, framing up the lungs
block under pubic bone creates a boundary so you don’t collapse into the
dropping the pelvis drops too low compresses the kidneys
weight is on the big toe instead of the ball of the big toe
creates fluidity in the spine gives you the stability of the lower body
head is thrown back collapses the organs, makes it hard to breathe, and is damaging to the neck

CHATURANGA
when the back muscles are too strong, collar bones will collapse in and elbows will not hug in to the side ribs
chest touches the ground, making the angle in the elbows too acute, this creates too much heat in the muscles instead of lubricating the joints

DOWN DOG
The dog postures use the geometry of a triangle, the architect’s strongest polygon.
The aim of these poses is to build a sustainable frame using sixty-degree angles in the hip, wrist, and ankle joints.
The coccyx is the apex of the triangle; the spine and hands stretch forward in
Dog poses leverage the structural integrity of the shoulder joint that was found in the table poses while using a sixty-degree angle that takes the pressure off the shoulders.
aim for a straight line from wrists to hips with no angle in the shoulders
armpits wrap in toward the heart
the front body (pubis, navel, sternum) moves closer to the thighs
heels are lifted
knees are bent
articulate the lumbar arch that the lower back is designed with work for the integrity of an equilateral triangle so you aren’t bearing weight on the shoulders
the architecture of a sixty-degree angle is that it sustains itself the magic of the posture lies in finding the effortless effort

ONE LEGGED DOG
top leg’s hip is lifted, and the shoulder of the standing leg collapses down (a common error)

ONE HANDED DOG
strengthens the lung of the hand that is on the ground

FOREARM DOG
forearms are shoulder-distance apart: measure by cupping hands around opposite elbows; then, keeping elbows where they are, straighten the forearms out in line with the elbows

STANDING POSES
The standing poses set the framework of the foot—your substantiation and how you hold your ground. The setup of the foot reverberates up through your structure, affecting all of it.
The aim when standing is to eventually release the grip of the muscles and instead use the right angle for support.
This is found by reorganizing the foot, finding the centre of the leg bone, stabilizing the pelvis, and lifting the upper body off the pelvis (letting the spine hang from the head).

MOUNTAIN
feet are measured at hip distance
one foot turns in at a ninety-degree angle to touch its opposite inner heel then pivots out from the centre of the heel
weight is shifted forward on the centre of gravity, which sits behind the ball of the foot
the base of the toes spread which frees up the lungs
the head and pelvis pull in opposite directions
the spine maintains its natural waves
we stand every day; we might as well do it in proper form
sets the foundation for being stable on the planet
gives you the ability to mediate hanging back and moving forward as the situation demands

STANDING BOW
utilize the back leg in standing bow

FORWARD FOLD
This joint is the largest in the body, and using its fold puts us in our depths. The season of folding is winter
The more acute the angle, the more heat it creates.
feet are hip-distance apart knees are bent and move forward into the armpits
pubis, navel, and sternum move forward, closer to the thighs
weight shifts forward toward the ball of the foot
head hangs
heels turn out to open up the sacral plate

BLANKET UNDER HEELS to shift weight forward
BLOCK BETWEEN LEGS to organize knees

creates heat while putting you in your depths

CHAIR
equation: standing forward fold + lunge position of upper body all the principles of the previous postures apply vision is directed forward and out

SEATED FORWARD FOLD
all longevity poses help to develop stamina, endurance, remaining somewhere long enough so you can get the magic out of it

PART 2 (for Saturday)

LUNGES
WARRIOR POSES
VIRASANA/HEROS
CAMEL
WHEEL
PIGEON
BOUND ANGLE
SHOELACE POSES
HEADSTAND
HANDSTAND


LUNGES
Lunges are the first postures that give you an opportunity to look around and see who is in the room with you.
In the lunge postures the legs move linearly, maintaining the compass directionality in the pelvis to ensure sacral alignment.
Lunges open up the hip flexors while bringing the front body (pubis, navel, and sternum) forward and up.
Lunges flush the thighs, lungs, liver, and eyes and are the postures that move you into spring, opening the field of your liver.
The liver is the vision, and in springtime you want to move out of the cave of winter and look out.
Lunges harness the stability of the hip joint while lubricating all the joints of the lower body.
measure the ninety-degree angle in the leg: fit the front knee in its same side armpit; flip the same wrist, and when the wrist lands below the shoulder, this is where your heel should land; this places the knee perpendicular to the ground so you flush bone instead of working in muscle
the knee in armpit flushes the lymph and frames its collar bone so the lung is framed well
the back foot is straight and the pinky toe side of the foot presses to put you in the centre of the knee then you should not have to pad up your knee
when you come up, the front body comes forward; do not lean into the spine but move the body forward in space to backbend
arms are straight, ears in line with arms

equation: lunge + upward-facing dog back leg front leg is at a ninety-degree angle front thigh bone is parallel with the ground


WARRIOR POSES
Warriors are courageous, skillful, and integrated. When warriors go into battle, they are determined, they have willpower, their eyes are open, and their vision is circumferential so they don’t get blindsided.
Know that all these practices are internal warfare. You are fighting for your liberation, battling the moon, knowing that the lunacy is primitive and the moon constantly pulls our inner waters. This is a battle on the spiritual front.
Physically, the warrior poses manipulate the back leg bone slightly differently than a lunge.
The back foot is at a forty-five-degree angle, allowing the whole leg bone to rotate in its hip socket without losing the alignment of the pelvis.
This alignment remains the same: pubis is north, coccyx is south, and hips are east and west.
The back leg is the anchor, and it stabilizes the whole posture.
The front leg is the rudder, navigating and directing us through the terrain.
The upper body is the sail, the freedom the torso finds to revolve around its spit when the lower body is stable, substantiated.
This freedom in the torso allows us to see circumferentially.
The trinity is always the integrity of integration: stable on the bottom, able in the middle, with a revolutionary vision.

VIRASANA/HEROS POSE
The root of virasana is virile, having stamina, energy, power, and vigour.
This strength and power within the body is found in its largest joint, the hip joint. This is where your true power lies.
When you have a well-folded hip joint, the lower body organs, especially the reproductive organs, become organized and current flows throughout.
The fold and fit in virasana shapes the arches of the feet. They will break down arches that are too high and build up arches that are flat. This arch is your wave, your acuity of hearing, to hear the information from every direction.
By setting the wave of the foot, you are setting every wave in the body, and by sitting in virasana, you are participating in the fluency that current needs to flow through structure.
Virasana is the gateway to deeper backbends as it sets the sacral plate by setting the leg bones.
In a backbend, the whole back shares the arch, not just the lumbar spine.
This starts with a well-folded virasana.
knees are together
butt sits inside the heels, which are on the outside of the hips big toes turn in; no spacing between arch of foot and curve of butt cheek
pinky toe side of foot presses
perineum is seated on a block initially, then on the ground when we move into the backbends (if no pain is felt in the knees)

CAMEL
find the fit first: in virasana, fists press into the balls of the feet
lift the hips up in unison as the pubic bone moves forward in space
thighs are at a ninety-degree angle ribs pull down to hips to stabilize pelvis, taking the arch out of the lower back and into the upper spine
it is tempting to throw the head back here, but keep the back of the neck long so you do not damage the neck
to come out, fold the hip joint and return to virasana leverage
start on the knees initially with the toes tucked under and reach

WHEEL
while lying on the back, soles of feet press into the ground, knees are bent and touching heels are on outside of hips, as if you were sitting in virasana longest finger should touch the heel to measure the placement of heel
toes turn in slightly from the top thigh so the sacral plate wraps toward the pubis, creating space
hands move above head, fingers toward shoulders, forearms perpendicular to ground, elbows above base of wrist press up—
shoulders should be above wrists, arms are straight, pubic bone lifts; aim for an even backbend in the spine

SHOELACE POSES
(shins stacked, make a frame)
Shoelaces were designed to be tied and threaded to ensure that the shoe won’t fall off.
These poses teach you to weave the pelvis. This is the metaphor of Penelope at the loom, weaving her art all day and unraveling it at night.
A clockwise spin is a spin in time as you weave your personal story.
A counterclockwise spin unravels, showing you what it is made of.
The minute you unravel a knot, you realize nothing was there.
These poses will help you avoid getting knotted up.
In the shoelace poses, weaving your legs demands a lot out of the hips and immediately places you in the depths.
The ability to go deeper down into the well, into your personal desires, then to rise with a higher vision is a goal of the practice.
Everything is to be mediated; when you go deep you must also rise high. The higher you rise, the farther down you must come.
The aim is for a circumferential vision, a higher rise while still anchoring the depths of your being into the planet.
upper leg bones roll out in their hip sockets; the pelvis maintains its neutral alignment with the pubic bone tipped down so the arch of the lower back is intact
top heel stacks on bottom knee and vice versa you have an equilateral triangle between your legs from second toe through heel, heel through knee, knee through hip, hip through torso, you are a series of right angles keep the knee stable by flexing the foot leverage
sit on a blanket or bolster to move yourself forward onto your perineum.

PIGEON POSES
Pigeon poses are a plug in a socket. The plug is the perineum, and the socket is the planet.
As you plug yourself into the planet, you draw on the planet’s energy, allowing you to be rooted, stable, and substantiated, thus freeing the upper body to rise higher and see farther out.
Just like the shoelace poses, pigeons work in your depths. Pigeon poses allow you to manipulate the fold in the front leg while creating space in the hip flexor of the back leg.
The front leg is eventually in a position that emulates half of a lotus pose. This position allows you to find the orientation in the front leg that can be difficult while sitting with both legs in front because of tightness in the hamstrings, pelvis, and so on.
The dialogue of pigeon is spherical, to set the linear lines and then become whole.
The archetype of a pigeon is a proud chest, full lungs, and a ground of being, providing a strong foundation for the upper body.
All of the poses become the same. The most important piece is always the stability, the foundation as you build off this ground.
As the torso moves forward and up in space, the vision rises higher. When you see the pattern in one posture, you will see it in them all.
Use this repetition.
Do the same thing over and over, and eventually you will get results and insights that will serve you.
organization the front knee is on a grid: a forty-five-degree angle from its hip joint
the front foot is pointed so the foot is in line with the shin to protect the knee
grid yourself: left hip is east, right hip is west, pubis is north, and coccyx is south
shoulders are above hips front body comes forward; never lean back into the spine
use a block under the perineum if your heart is too far forward (your hands will be on the ground in front of your hips, supporting the torso’s weight) use two blocks under the hands, in line with the hips, to lift higher
common errors - front foot is flexed, which puts pressure on the inner knee (a far too common error)
front knee is in line with the hip instead of out to its own side
the block is placed under the butt cheek of the leg in front, which pulls the hips out of alignment
if your arms are supporting your weight in front of the hips, the heart will overheat
gives you stability in the lower body, which acts as a portal that connects the personal into the planetary
opens the lungs and the whole front body allows you to access the depths while still maintaining a backbend
easiest way to train the folds for lotus
opens the back leg’s hip flexor
great for pregnant women as it moves current in through the hips, wrapping the lower body to ensure a pelvic floor that will support a growing fetus.

BOUND ANGLE
Bound angle is a primitive pose designed for the lower body.
It shows what is going on under the table, working everything below the diaphragm, your basement.
Bound angles show the size of shoe you wear. Some people wear shoes that are too small (the heels are too close to the groin) and some wear shoes that are too big (the heels are too far from the groin).
This posture opens up your personal storybook to reveal where it has been.
Bound angle is the best posture to see where your strengths and weaknesses lie;
the soles of the feet are together; the ball of the foot, pinky toe pad, and centre of the heel all press evenly
the knees are each on a forty-five-degree angle from the pubis
the natural wave of the lower back is articulated as the pubic bone points down
weight is centred on the perineum
the fingertips are in line with the hips
shoulders are above the hips

FLIPPED POSES
When you want to flip your house upside down, all you have to do is invert the body. This flips your perspective.
Using all the geometric information and technique refined in the previous postures, these postures combine it all on the flip.
This tests the structure of your form while reversing the flow of gravity.
It trains you to see that life is flippant; everything eventually flips, and the art is to remain pliant enough to handle life’s reversals.

HEADSTAND
align the blocks up against the wall interlace the hands, four corners of palms press evenly, forearms on ground, elbows are shoulder-distance apart the interlaced hands fit into the triangle at the base of the blocks while the back presses into the top block
either float up or kick up one leg; have a partner nearby if necessary
body is perpendicular to the ground
weight is centred on head behind the hair line, not the top (flat part) of the head, maintaining the natural curvature in the neck pull the legs away; the feeling is as though you are being lifted, and very little weight should be on the head.
lower back collapses in posture and ribs poke out, disorganizing the lower body if using the wall, both feet are on the wall with legs straight, making it harder to find balance because you must quickly adjust the centre of gravity, which typically results in flailing limbs or falling

HEADSTAND FROM A SEED
begin as a seed with eyeballs in knees (which soothes the nervous system) and hands in headstand hands, fingers interlaced behind the head and elbows hugging in around the outer knees (refer to archetype of seed)
straighten your legs only; your hips will end up above your shoulders if you are ready to move on (refer to headstand prep) when the lower body is stabilized and the centre of gravity is above the shoulders, your legs will float up

HANDSTAND
square with the support of a friend DEMONSTRATE FIRST
partner presses feet into shoulders while practitioner is in dog pose with their hands shoulder-distance apart on two blocks
practitioner walks feet up the wall until the heels are in line with the butt bones
knees are slightly bent, heels turn out
head is heavy and the spine hangs
common errors knees aren’t bent, so there is no arch in the lower back too far from the wall so the fold in the hips is not utilized
reverses the flow of gravity and allows the spine to hang without muscular grip if you have trouble accessing the lower back in dog pose, it is usually easiest to do it in this pose first, especially for males
strengthens the bonds of community, if you are doing it with someone else, instead of thinking you have to do it all on your own square with the support of a friend.

HANDSTAND
measure is a little less than one leg distance from the wall
a block (or two) is under each hand to elevate the kidneys
shoulders are above hands and hips are above shoulders, perpendicular to the ground
feet are hip distance, heels in line with butt bones to create a square
knees are slightly bent, heels lifted to articulate the arch.

Prep
Bring your questions, comments, thoughts

Call Flow
11:30am-11:45am (15min) Opening: Final Exam will be available tomorrow afternoon
11:45am-12:15pm (30 min) Talk Topics: Summary
12:15pm-12:45pm (30 min) Forum/Conversation: Any questions before the final?
12:45pm-1pm (15 min) Questions and Closing

Opening
Final Exam will be up tomorrow. It is due Saturday 3/24 at 9am (send it to me via email - Please type your answers!).

Summary
I’m going to take some time again to summarize YTT. I invite you to stop me any time if you would like some expansion on it. Just raise your hand and I will stop for questions or comments.

Level 1

In this program we started with developing supportive and consistent self-care practices, developing a sustainable personal practice and a balanced conditioning and recovery schedule. You clarified why you practice yoga and fleshed out a purpose vision for your practice.

You applied information and understanding of the chakras to your life for support and healing.

You became aware of different pranayama, mantra, mudra, and kriyas practices and why we might practice them. You were asked to consider incorporating those practices into your existing practice. 

You became familiar with the long history of Yoga. 

You determined your Ayurvedic constitution for self-understanding.

You were invited to ritualize your daily routines + rhythms - to bring about structure + stability and to become your body's best healer through simple self-care practices. 

Then we dove into the Infamous 8 Limbs of Yoga. Yamas, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dyana, Samadhi

Level 2

In Level 2 we started with a discussion of the qualities of a yoga teacher as well as the concept of Tapas. Then we moved onto ethics to determine your ethical obligations and what qualities are important to you as a yoga teacher, and what it means to assume the seat of the teacher. You then prepared for the journey ahead by making a strong commitment and clarifying your relationships of support by making a Sacred Contract. 

You learned a little about different styles of yoga and attuned to what style of yoga you feel called to. You started the process of refining a yoga class design. You also looked through another lens, the rather unpopular Katonah Yoga theory and practice - I need to let that steep in me a bit before sharing about it - I love Katonah because it has blown my mind and opened my understanding of yoga and freedom within poses - I am currently studying with a teacher whos bringing that to life for me - I am so inspired!

You looked at many ways of teaching through demonstration. 

You stepped into the teaching fire.

You began to develop a broad perspective of the body and support while teaching yoga.

We talked about what teaching yoga is, and the act of taking care of yourself and others. 

We also had a conversation about consent and boundaries.

You prepared to teach by beginning to develop a Teaching Methodology and Template to design classes; by becoming familiar with sequencing principles and designing a class. 

Then we dove into MetaAnatomy.

We learned about bone and joints - recognized that there is a wide variety in the human body and presence within the pose is most important. We got to know the spine and the possibilities for movement and space. We understand that anatomical uniqueness is the norm. 

We learned about the nervous system to understand homeostasis and the spectrum of the Sympathetic (flight-flight) Nervous System to the Parasympathetic (rest-digest) Nervous System or perhaps more accurately the spectrum from create to restore.

We learned about the subtle sense of self-awareness interwoven into all experience via the energy body - the koshas, nadis, and we went back to the chakras. 

We learned that an understanding of the subtle body can create a more welcoming vessel for the Kundalini - the energy of awakening, to spread out and inhabit our experience fully. 

We were reminded that there is an intelligence to the breath and we became aware of the vibrational language of the heart and boundaries, discernment and assimilation, and the interconnected collaboration of the gut, heart, and brain.

We clarified the understanding that yoga is not a one-size-fits-all practice - Yoga is a practice of embodiment. 

Then we took an intentional pause with the Winter Solstice to assimilate and steep in all the knowledge learned thus far in preparation for teaching yoga classes of substance.

Level 3

You were introduced to NVC - a method of communication for connection and the importance of connecting to our own needs. You then learned more about conscious communication through hearing and giving feedback and by practicing using I statements, Co-listening, Reflective listening, Empowering feedback; framing experience, self-responsibility, authentic engagement.

You developed some public speaking skills by listening to TedTalks and you came to understand more deeply the power and responsibility you hold as a speaker. 

Then you received an overview of what to concentrate on while cueing and a simple cueing formula. 

We also talked about intentionality.

You began to cultivate clarity and authenticity as I stressed the importance of heart-centered communication - the place of true power as you considered the power of the tone and frequency in your voice. 

You also considered the importance of listening by listening for your natural cadence, voice and personality and that of others. 

We built upon the simple cueing formula by diving into the basic structure of a class design (the bell curve) and to understand the importance of taking pacing cues by being aware of your students and others.

We took a moment to prepare for and strategize as to how to manage distractions and expectations.

Then you played with music as a way to enhance the experience of flow and the yoga class experience. We also talked about “flow state.”

You began to fine tune your yoga teacher awareness through observation and perhaps you gained a different perspective for assisting another teacher and you had an opportunity to review hands-on assists.

You got the basics for teaching online.

You spent a good deal of time getting to know yourself even more with the process of developing and understanding of your yoga teacher and personal identity. 

Remember in Level I you explored your personal practice, self-care, psychological blocks and physical limitations, state of balance of your chakras, history of yoga, philosophical ideas and obligations, more than-physical aspects of yoga. ayurvedic constitutions, taking care of self and others, your why, personal preferences, standards of ethics and integrity, unique combinations of gifts, talents, desires and purpose - all of this is svadhyaya self study. This means to place inside yourself.

Through the concepts of branding, marketing and personal style you came to understand that you can’t serve everyone and that knowing your “brand” is in line with the practice svadhyaya. And that by knowing yourself you can more deeply connect with your students at a heart level. 

This will inspire you and grow your confidence. You considered the basics of marketing as a way to answer - who do you want to serve? And integrated this into a marketing plan to some degree, even if now it is only a thought. You were also asked to think about your style and intentionally consider what you’re wearing.

You also learned about social media and why and how to use it. You were asked to post about your experience in YTT as a way to let others know through social media what you are working towards. Another thing you could do if you don’t feel comfortable talking about yourself and share about other teachers or each other. 

Then you were asked to consider regular study sessions as a way to inspire your on-going learning on your path of integrating knowledge and transforming knowledge into wisdom. You were asked to open your creative vision through thoughtful reflection and you were introduced to the creative process of First insight, Saturation, Incubation, Illumination, Design, Revisions, Production, Delivery as outlined by Erica Jago,

You expanded your visioning to include drawing as a way of shifting perspective. You engaged your imagination to access intuition.

And finally we covered business basics to prepare you to consider this as a serious path for profit whether that be financial or karmic.

You also learned through your own study via the portal and manual in-depth details about core yoga poses including essential cues, intuitive benefits, precautions and contraindications, options and hands-on assists. 

Not to mention all the articles and books you engaged with over these last 6 months. 

You ought to be extremely proud of your work and your efforts!

I know you have something of deep value to offer and I am excited! Are you excited!!!?

Forum: Any questions before the final?

We meet tomorrow for Bri and Kellen’s classes. Please note - if possible attend the 9am class - We will work through the foundational poses in a flow. We will not be meeting after for technique.
We meet again next week on Friday, your final is due next Saturday. Please attend class - I will stick around about 30-45min for you.
Then April 5 is the final call and April 6 is the big day!

Due Mar 23 9am