elements of acroyoga

Author: Jason Nemer Project Manager: )ustyna Fiuk Design & Art Direction: Ash a Tyska Mclaughlin e: fotodesignn @gmail.com Production Artist, Layout, Copywriting & Editing: Bonnie Argo www.bonnieargo.com Editing: Linda Mittel Printing: Krishna Copy Center, University Ave. Berkeley Photography: Kadri Kurgun www.kadrikurgun.com All photographs are Copyrighted property of 2013Kadri Kurgun

Copyright and Trademark Information

Copyright 2006-2013 AcroYoga, Inc. Serial # : 77066872. All rights reserved .

All content of the Manual , and the information which it contains, is the property of AcroYoga, Inc. and its affiliates and licensors, and is protected from unauthorized copying and dissemination by United States copyright law, trademark law, international conventions and other intellectual property laws. Under the United States and International Trademark laws, all Content is protected but not limited to text, descriptions, software, scripts, code, designs, graphics, photos, sounds, music, videos, applications, interactive features and all other content; ("Content") as a collective work and additionally the proprietary property of AcroYoga, Inc. By way of example only, and not as a limitation, "AcroYoga" and the AcroYoga Inc. logo are registered trademarks of AcroYoga , Inc., under the applicable laws of the United States and for other countries. Other AcroYoga, Inc. products or service names or logos appearing in this Manual are either trademarks or registered trademarks of AcroYoga, Inc. and for its affil iates. The absence of a product or service name or logo from this list does not constitute a waiver of AcroYoga , Inc. trademark or other intellectual property rights concerning that name or logo. Utilization of the term "AcroYoga" or variations therein are appended by the United States and International trademark laws, as are all descriptive terms, sequences, and content. Additionally, all entities and representatives of the practice that ) have been Certified under AcroYoga, Inc. are officially listed on the AcroYoga.org website. All non-certified practitioners are asked to immediately cease and desist the use of all AcroYoga, Inc. trademarks, intellectual property and language. AcroYoga, Inc. will strongly enforce and pursue their ) legal rights to the Trademark. )

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DEDICATION : I dedicate this book to all the teachers that have blessed and inspired me. To my mother for supporting me to follow my dreams. To Jenny Sauer-Kiein for co-authoring many of the sequences in this manual and for bringing her gifts and passion to life through this practice. To all the AcroYoga teachers for being bright lights that attract and feed community. To all the students around the world that are living examples of how we can support and play with each other.

ACROYOGA INC. CAUTIONARY STATEMENT

The following recommendations have been designed specifically for AcroYoga Inc. participants. Because of the physical demands required , participants are asked to read and understand certain cautions and responsibilities designed to improve the safety and enjoyment of the activity.

PREPARATION : Choose an outfit which fits comfortably and allows free movement but will not inhibit movement or interfere with partner grips and connections. Wear supportive undergarments . Be aware of your surroundings; secure space for partner work, stable foundations, choose an environment where you will not collide with anything, etc. Do not apply lotions or oils to your hands or feet prior to starting partner work. Do all stretching exercises prior to practice. Take time to stretch leg, arm, neck, ankle, wrists, and back muscles before each session. Participants with a medical history or current condition (to include but not limited to seizures, neuromuscular, renal, cardiac, insulin/diabetic, pregnant, or chronic skeletal problems, disorders, or diseases must seek a Physicians approval prior to partici-pation in the practice.

ACROYOGA TRAINING SESSION Think safety FIRST! Always be aware of the proximity of others when executing large motor movements. Please follow the Manual. AcroYoga is a methodology and should be practiced in a progression from simple to complex. Advanced work/unfamiliar movement should only be attempted with the assistance of spotters and only if your skill level (and the skill level of your partner and spotter) supports the movement. Always use proper spotting techniques when executing off the mat work. In all examples of unfamiliar movement, spotters must employ the "hands-on" technique. No jewelry. No nylon shorts or wind pants. No gum or candy. Hair should be managed to ensure safety.

Table of Contents HISTORY o F AcRoYoGA 1

How TO PRACTICE AcRoYoGA 3 GRIPS & FooT PLACEMENTS 5 THE ART OF PARTNERSHIP 8 PARTNER YoGA 9 THREE RoLES oF AcRoYoGA 14 THREE PERSON PARTNER YoGA 17 WHY Do AcRoYoGA/MISSION 20 CIRCLE CEREMONY 21 LUNAR HEALING ARTS PRACTICES 24 INTRODUCTION 26 LuNAR AsANA SEQUENCE 27 THAI MASSAGE & THERAPEUTIC FLYING 32 SUPINE THAI MASSAGE LEVEL 1 33 SUPINE THAI MASSAGE LEVEL 2 35 FooT PLACEMENT 40 FoRWARD FLYING 41 PRONE THAI MASSAGE 47 BACK FLYI NG 49 HIGH FLYING WHALE 55 Low FLYING WHALE 61 HAMMOCK 63 SoLAR AcROBATIC PRACTICES 66 INTRODUCTION 68 SoLAR AsANA WARM UP 69 INVERSION PYRAMIDS 77 AcRoBATIC TRAINING PHILOSOPHY 89 SPOTTING 91 FOUNDATIONAL AcROBATICS 93 PARTNER INVERSIONS 95 STANDING CouNTERBALANCES 97 HAND BALANCING 99 PYRAMIDS 100 FLYING VocABULARY 101 FLYING PRESSES 103 MOUNTS & DISMOUNTS 109 AcROBATIC FLYING TRANSITIONS 117 THANKS & PRAISES 133

WHAT ACROYOG A HAS BEEN Acrobatics and yoga have mixed in many ways for thousands of years. It is impossible to cite all the masters that explored the alchemy of acrobatics and yoga; here we will point out some of the most prominent we know. The father of modern yoga, Krishnamacharya, was a pioneer in the blending of these arts. There is footage from 1938 of Krishnamacharya flying children, in similar postures we do in modern Aero Yoga. His appreciation and integration of gymnastics, brought to India by the British, inspired this fusion of acrobatics and yoga, which planted many seeds that have continued to bear fruits.

Since Krishnamacharya's exploration with flying yoga, multiple practitioners have continued the fusion of these arts over the past few decades. For example, in 1985, an acrobat named Benjamin Marantz developed a form of therapeutic flying called Acrosage. Ken Nateshvar Scott, another acrobat gone healer, developed Contact Yoga, a practice with therapeutic flying and Thai massage. Kevin & Erin, students of Ken Nateshvar Scott started Circus Yoga, a family approach to blending circus arts and yoga. Eugene Poku and Jessie Goldberg developed AcroYoga Montreal in 2000. Their style is geared towards creativity and performance. At this point Aero Yoga has grown beyond any one school or person. All of these teachers have laid a foundation that is still supporting the positive momentum of Aero Yoga worldwide.

PHOTO OF KRISHNAMACHARYA, THE FATHER OF MODERN YOGA, FLYING HIS STUDENTS (1938)

History of AcroYoga AeRo YoGA BY JASON & JENNY

Jason and Jenny met in December of 2003 in San Francisco through mutual yoga friends . Jason had trained and competed in acrobatics and gymnastics for many years. Jenny taught youth circus acrobatics and had studied Contact Yoga, a partner flying and massage practice. Their first meeting they jammed and envisioned for many hours . Jenny had never done the high level hand balancing they played with that night. It was also Jason's first time receiving therapeutic flying. After hours of talking, a partner practice that would blend their passions and talents was born. In January of 2004 they were teaching a partner doubles acrobatics class at the San Francisco Circus center. Their first public workshop was at Yoga Tree in SF for Valentines Day. They sold it out, got inspired and took the show on the road in California.

Carolyn Cohen was their first dedicated student. She came to every class and would always bring a friend. She was also a Thai massage therapist and Chinese med icine doctor. Jason's roommate and friend Francisco Morales-Bermudez was a yoga teacher and Thai massage therapist as well. Both Carolyn and Francisco were invited to join the teaching team of what they called then Contact Aero.

The four played, taught, jammed and expanded the practice in the early days in San Francisco. In April of 2006 Contact Aero became Aero Yoga. During this transition, Jason & Jenny took the active roll in developing the practice. Carolyn became their first senior teacher and Francisco branched off and developed Synergy, a partner practice with a greater emphasis on circle asana and healing arts.

After 3 years of traveling and teaching Jason & Jenny met many students that wanted to go deeper in the practice. They started on their first manual for the teacher training. They soon realized that the manual could be a tool for all students of Aero Yoga and released their first flight manual in 2006. In August of 2006 they hosted their first AcroYoga teacher training for 19 students . Now 7 years later, there are over 300 teachers worldwide on 6 out of 7 contents.

THE Loco

2003 2 008 2 011

Like the practice the logo has evolved through the years. Our first logo was designed by Nick Ruben , the second Arianne Traveso and our final by lzzy Vanhall. Our current logo of the triple infinity symbol represents the interconnectedness of the three branches of the practice. When the solar and the lunar practices are combined skillfuly, the balance of yoga is achieved. The broken circle represents the dynam ic nature of the ever growing community.

RED-ORANGE: SOLAR - Acrobatic Practices that cultivate trust, empowerment and joy.

BLUE: LUNAR - Healing Arts Practices that cultivate listening, loving and healing.

PURPLE: ELEMENTAL - Yogic Practices that cultivate breathe awareness, softness , strength and harmony.

DE FINITI ON OF AcROY OGA The word AcroYoga comes from the Greek root akros = high and the Sanskrit word Yoga = un ion. Together they form AcroYoga -High Union . From this place, many amazing physical shapes can be formed , and students literally and figuratively elevate each other. Our highest aim is to bring individuals into a state of union with themselves , with each other, and with the community. From this place of mutual support the true self can be realized, celebrated and shared for the benefit of all.

AcroYoga is a community based practice that encourages personal transformation. We ignite our collective potential as we support each other to reach new heights. AcroYoga invites you to experience the full spectrum of your being through opportunities to: give and receive; support and be supported; experience strength and sensitivity. It is a systematic approach to health and healing designed to be accessible for every practitioner. The best part is that it's fun to do and fun to watch . It brings people together the old fashioned way, through human connection, touch and play.

History of Aero Yoga

WHERE CAN AcRoYocA Go? By design AcroYoga is about community, relationships and partnerships. In our viewpoint there are no founders of AcroYoga. This movement is riding on the shoulders, feet and hands of many gifted people. This manual is an offering of an AcroYoga system designed to support students to have a step by step guide to learn how to play AcroYoga. Where this practice grows depends on the communities where AcroYoga teachers bring the practice.

Many spiritual traditions have been shared orally; this tradition is communicated through touch and shared experience. Due to this fact, AcroYoga can never really belong to any one person. It is a growing collective of physical wisdom that is ever expanding. The more we all play with each other the bigger the global party gets. Where the practice can go is to every park in every city around the world in an expression of divi ne play and human connection.

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How to Practice AcroYoga THE GOLDEN RULES IN THE LUNAR PRACTICES: IF IT FEELS GOOD, IT IS RIGHT

There are many types of bodies; no one recipe will work for the cultivation of the AcroYoga practice. The body will not lie. As we learn to listen to signals from our body, we can make choices that support our health and happiness. If students are ever unsure about a posture or practice, refer to the golden rule. Does it feel good in your body?

IN THE SOLAR PRACTICES: IF YOU ARE HAVING FUN, IT IS RIGHT

There are many reasons to do acrobatics, fun is the juice that will keep the tree of acrobatics alive for many years. The deeper students go down the acrobatic path, the more challenges they will find, the more opportunities to be clearer, stronger, softer and more harmonious. After the struggle comes victory and if there can be a stable sense of fun and joy along the path that is an ideal condition to grow an acrobatic relationship. If students are ever unsure about a posture of practice, refer to the golden rule. Are you having fun?

PH I LOSOPH I ES SELF, OTHER, COMMUNITY

KNow THY SELF, SuPPORT OTHERS, ENJOY CoMMUNITY

All reality starts with the perspective of the seer. This is where we will do most of our work as yogis. Partner practices are not a substitute for individual practice; it's quite the opposite. The deeper we go in partnersh ip, the more important it is that we dedicate to our solo practices to discover our patterns, our struggles and our strengths. We create the majority of our happiness and struggles before we ever meet our enemies or friends. One can see solo practice as a form of weeding, pulling the thoughts , words, and movements that do not support our positive evolution from our lives. We then have a more fertile ground to plant thoughts words and actions that do support our highest potential. What we learn in our own lives and our own practice we can apply to our partnerships. Partnership allows us to be seen and challenged and supported. As partnerships develop, they invite expansion, reflection and growth. That growth can be exponentially elevated by community, a place for a partnership to be celebrated and supported to new heights.

Self SADHANA =THE PRACTICE

"PRACTICE AND ALL IS COMING" PATIABHI jOIS

Sadhana is a Sanskrit word for practice. Sadhana is a life long journey. There is no fixed point of attainment or finish line. Like many languages, Sanskrit words have multiple meanings, some of these other meanings are; home, reservoir, or residence. This is where true wisdom is held , experienced and expressed. Wherever we are, there is always more room to learn , refine and appreciate. When this is understood and embodied the student can enjoy the scenery and build their life long practice. Reading about AcroYoga can give you a mental foundation, but the real experience cannot be explained in words. It is communicated from person to person and is amplified by the number of people that practice.

THE POWER OF THE MIND, EVOLUTION VS. REVOLUTION One is not better than another. The combination of the two is more powerful than either of these concepts, alone. Evolution is a slow, gradual process. Dedicating to evolution is what we do every day as conscious yoga practitioners. Revolution is a much faster path . This is the path that starts in the mind. Once a belief is born in the mind that something is possible, the road to realization can be short, easy and paved! It comes from the ability to believe in the potential you have not yet realized. This belief is stronger than any yoga prop, teacher or text. This ability to change your mind is the gift of a student ready to abandon who they are to see who they can become.

EFFORT FOR EASE, ALIGN WITH YOUR BONES Acrobats seem to defy comon laws of physics as they balance each other in countless ways with magical grace and ease. What is their trick? Usually they have trained hard for many years to attain that level of ease in high level skills. There is a period of great effort that in time translates to a place of ease. This is only true if the effort is channeled in a way that will increase your technical efficiency. For example, to get the arms straight in handstand takes considerable effort. Once the arms are straight, the effort pays off with a new sense of ease because the bones are stacked and the muscles are working more efficiently.

The bones are our bodies' evolutionary response to gravity. Smart acrobats will always train techniques that cultivate the most efficient

How to Practice AcroYoga support and least effort. This recipe will always start with the sacred geometry of the bones . The acceleration of gravity is a planetary constant that yogis, acrobats and all matter on earth exist within. There are no special rules that allow exception to this deeply rooted, grounding force. Acrobats and yogis alike position their bodies in ways that demand strength, increase flexibility or a combination of both . Their applications and training methods often differ. Using your God given bone structure is a destination that yoga and acrobatics will arrive at either by trial and error, or the blessings of good teachers. The degree to which this principle is embodied will be a contributing factor towards the degree of ease in postures and the difficulty of skills.

Other THE ART oF CoMMUNICATION There are many elements that contribute or detract from the fluidity of partner work. Communication is the vehicle that brings partners to a place of common understanding. Words, facial expressions, touch, breath and even thoughts are all ways to communicate. When honest communication is being exchanged the connection deepens, and this foundation is where all partner work grows from .

AHIMSA (COMPASSION) & SATYA (TRUTH) Two of the founding principles of Yoga can strengthen the ability to give and receive. Ahimsa translates as compassion or kindness, Satya translates as truth or non-lying. If one communicates their truth then their partner can interact compassionately. For example if partners are stretching each other and the one receiving the stretch is being pushed too much but does not communicate this truth, their partner cannot proceed with kindness . The more honest partners can be about where they are and what they need , the stronger their connection can grow.

COMMUNICATION: LISTENING & HOW WE EXCHANGE FEEDBACK As we take the brave step off our yoga mat and decide to engage in partnership we have many tools to support us. One of the most important tools in partnership is listening. If communication is present without listening, it ceases being communication and becomes noise. We have many ways to listen - our ears, eyes, skin, feet, hands and

hearts. Communication as well has many vehicles - voice, breath, touch, hands, face. Communication , when done well , can be clear honest and kind . In general, when we express our experience of the practice with our partners we start with what worked. From this place we are affirming the relationship and the exchange. This helps us feel good and remain open. After both partners exchange, there is time for evolutionary feedback. Evolutionary feedback explores how things could evolve to an even a better exchange. It is not negative feedback, constructive, or even solutionary. It is for the positive evolution of the partnership.

THREE TYPES OF COMMUNICATION Verbal techniques - This is thetimeto starttheflowofcommunication between partners . You can never check in too much. Do you need more or less pressurefweight? How are you doing? How does this feel? Do you want to re-adjust?

Non-Verbal techniques - Besides communicating with words, also encourage students to have an awareness of their partners. Breath (ease, depth, and overall quality of the breath) , Facial Expressions (relaxed, tense or grimacing) and Body Reactions (from deep release and surrender to resistance and tension).

Tactile techniques - You may also want to use signals through touch, such as when partners are being stretched and have a forearm grip: One squeeze means "that's enough right there". Two squeezes means "you can go further".

How WE CONNECT: GRIPS & FOOT PLACEMENTS One of the principles of acrobatics is how to stack the bones to optimize our God given structure. This practice is magnified greatly by how two people learn to connect through grips and foot placements. There are more bones in the hands and feet than in the rest of the body so this aspect of the practice is refined over decades. In general in acrobatics you are looking to find bones to support and in therapeutics you are looking more for muscles to support. The quality of touch from acrobatics to therapeutics can have differences and commonalities. Universally there is a high value to bases that are confident and clear in how they connect. Compassion with strength is an ideal that will let the flyer trust and surrender. The more sensitive a base becomes in lunar practices , the more intelligent their acrobatics becomes . The stronger the base becomes in acrobatics, the more steady they are in the therapeutics.

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Grips

FOREARM CROSSED FOREARM REVERSE HAND TO HAND

HAND TO HAND HAND TO HAND: STEEP HAND TO HAND: FLAT

-FOOT TO HAND FOOT TO HAND REVERSE FOOT TO HAND

LIFTED BADDHAKONASANA HAND PLACEMENT 5

FOLDED LEAF

Feet turned out below hip bones of flyer at top of thigh . Flyer's thigh rests in the middle of the foot

BACK BIRD

Feet parallel cupping the glutes with the feet. Toes at the waistband

FRONT BIRD

Feet parallel, flyer's hip bones in the soft part of the foot (the arch). Toes on the belly, heels on the thigh

BAT/STRADDLE BAT

Feet parallel or slightly internally rotated, inseam of foot touching flyer's hip bones

Foot Placements

BACK LEAF

Feet turned out cupping the gluteal fold with the arch of the foot

HIGH FLYING WHALE

Feet parallel either side of flyer's spine, toes around waistband and heels at bottom of shoulder blades

STAR REVERSE STAR

Feet turned out with toes around collar bone and flyer's shoulders resting into arch offoot. Heels together behind flyer's head

Feet parallel with toes towards top of flyer's shoulder blades. Flyer's shoulders rest into arch offoot

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The Art of Partnership

PARTNERSHIP SELECTION In choosing a partner, it is helpful to pick someone who: You trust and respect. Is committed to the process of giving and receiving feedback. Is interested in working as a team. Compliments and supplements your strengthsjweaknesses. You can learn from. Has similar goalsjvision for the cultivation of your AcroYoga practice.

CULTIVATING THE PARTNERSHIP In the vein of giving and receiving, the relationship between partners will grow and bloom as much as it is being watered and nourished. Basically, you get out what you put in. If you fully commit yourself to the journey and process of partnership, it can be a time and energy-consuming project. It is, however, highly fulfilling and can be quite harmonious if both partners are willing to put the time in together.

PARTNER YoGA Partner Yoga is one ofthe best places to cultivate win-win situations. Partners develop communication and listening to find the space of mutual support and release. In all of these practices , gravity and loving touch help us let go of fear and pain. As we learn to listen deeply we can use our power in a sustainable way.

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Partner Yoga FACE TO FACE

GROUNDING SPINAL FLEX & RouND INFINITY SPINAL TWIST

Seated face to face, cross legged, knees touching

Inhale bend elbows, draw heart Exhale extend arms and round spine Left arm behind back, right an .. on the outside of partner's arr to hold their hand. Bend left a to deepen twist

through between arms

SOLE-TO-SOLE FORWARD FOLD

Connect soles of feet, both partners extend legs and fold forward. One partner at a time points toes into the other's foot

STRADDLE WHIRLPOOL

DOUBLE BOAT

Bend knees and place feet on the floor, toes touching. Connect at forearms and joining one side sole to sole, extend leg as straight as possible. Do both sides extending arms and lifting the heart, shoulders drawing back

TRANSITION TO STANDING

Stay in straddle with feet connected, connect forearms in a crossed grip. Close eyes, start with small circles and gradually expand to explore range of motion. Reverse directions and spiral back to stillness

Hold forearms, bend knees and place feet on floor. Leaning away from partner elevator up to stand

CHAIR TWIST COUNTERBALANCE

Maintain Utkatasana, open left arm up and back and lean away from partner. REPfAT OTHER SIDE

STEEPLE

Palms touching, reach arms up and walk back hinging at hips. Keep arms straight and draw heart through shoulders

DIAMOND TWIST

From Steeple, exhale and twist open to one side, botom palm stays connected as top arm reaches up. REPfATOTHER SIDE

Lean away with extended arms, backbend over bent back arm. REPEAT OTHER SlOE FROM SPINAL TWIST

STRADDLE BOAT

Keep arms connected and feet off Aoor, bend knees under arms, re-extend legs in straddle

Partner Yoga FACE TO FACE

BouND ANGLE SEE SAw

One partner's legs are straight, feet connected to the shins of bound angle. Connect forearms, on exhale one partner folds forward , the other leans back. Inhale to come up, Exhale to reverse the fold . Backbending partner keep heart lifted, shoulder blades down . SwrrcH ROLES AND REPEAT

STRADDLE BOAT TWIST

Hold right arm to right arm on the inside of legs, reach out with left arm spiral torso. REPEAT OTHER SlOE

STRADDLE SIDE BEND

Place legs on the ground in a straddle connecting feet. Hold right forearm to right forearm, inhale lift left arm up, exhale sidebend. REPEAT OTHER SlOE

STANDING PLANK COUNTERBALANCE BACKBENDING FOUNTAIN (HAl R (OU NTERBALANCE

Stand 6 inches apart, hold forearms, lean back with a stra ight body and straight arms

Inhale lift the heart, exhale drop head back. Inhale to come back to center

Partners stand about 1 foot apart, hold crossed forearm grip, bend knees so thighs are parallel to the Aoor

TABLE TOP

Hands rest on shoulders, arms straight, hinge at hips for go degree angle, melting heart between shoulders

(LOSING

Stand with left hand on own heart, right hand on partner's heart, grounding in breath

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Partner Yoga BACK TO BACK

GROUNDING SPINAL TWIST SIDE BEND

Sit back to back, cross legged with awareness on breath

Connect palms with thumbs pointing up, twist to the right bending left arm to open chest, keep arms at shoulder height. Place hands on knees, ground down, find length

Arm on floor starts straight, then work forearm to floor. Upper hand can connect to partner. Hips grounded. Take thumb and index finger oftop hand around partner's wrist, gently lengthen their arm. REPEAT OTHER SIDE

in the spine. REPEAT OTHER SIDE

MASSAGE TABLE CHILD'S POSE TRACTION

Giver comes to table top, receiver sets hips below giver's pelvis and rests head between shoulder blades of giver. Giver arches and rounds the spine like catfcow as receiver stays relaxed

Giver come to elbows, hold wrists of receiver and tractions arms out and down while pressing tail up and back. SWITCH RoLES FROM MASSAGE TABLE

MINI BACK PACK

Flyer squats down so hips are below base's hips, elbows interlaced

Base leans forward towards a flat back, keeping elbows and back connected. Flyer's feet stay on the floor

Release interlace of elbows, traction flyer's arms overhead. Keep backs connected to return to standing. SWITCH RoLEs

FULL BACK PACK

Base squats down so hips are below flyer's hips, elbows interlaced

DOUBLE CHILD

Both partners transition to a foot-to-foot child's pose

Base leans forward towards a flat back, keeping elbows connected, taking flyer's weigl-

CROSS lEGGED SEAT WITH BACKBEND

Both partners stay in cross legged easy pose, receiver's hands come to floor or on knees in forward bend as giver leans back, keep spines connected. SWITCH ROLES


Sit back to back with knees bent, feet flat, elbows interlaced. Press into partner's back, and through feet to trans ition to stand ing

Base can release interlace of elbows and traction flyer's arms to side or overhead, while pressing tailbone back

Partner Yoga BACK TO BACK

ASSISTED FORWARD BEND WITH BACKBEND

Receiver extends legs straight, receiver bends knees and places feet flat. Receiver folds over legs as giver leans back, supporting weight with bent knees , keeping spines connected. Backbending partner can grab toes of paschi, pas hi partner can point toes or clasp wrists to traction giver. SWITCH RoLES

GROUNDING

Stand back to back with awareness on breath

HERO VARIATION

DOUBLE PRASARITA PADOTTANASANA COUNTERBALANCE

Heels a few inches apart between partners, arms between legs holding at forearms , lean hips away from each other bringing weight into toes

FULL BACK PACK DISMOUNT (LOSING

Base guides flyer's feet into hip crease for hip opener, and bends forward while hold ing hips of flyer

Base unhook flyer's feet, holding flyer's hip bones to slowly stand, keeping backs connected.

Standing back to back grounding into feet and focus ing on breath

SWITCH RoLES FROM FuLL BACK PACK

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How to Practice AcroYoga Community

SITA, RAM, HANUMAN In Ind ia there is a beautiful story about three divine creatures; Sita Ram and Hanuman. Their relationship can serve as a template for how we interact in AcroYoga . This is a very long beautiful story made short. Sita got kidnapped , Ram her husband was devastated, Hanuman came in and saved the day. It was Hanuman 's service to Ram that connected the partners . Sita represents the feminine, receptive, lunar, all embodied by the flyer. Ram represents the mascul ine, power, solar, all embodied by the base. Hanuman represents service, support, yoga, all embodied by the spotter.

3 IS THE MAGIC NUMBER SMALLEST COMMUNITY A group of 3 is the smallest community. The way we encourage students to practice AcroYoga is in groups of 3: Base, Flyer and Spotter. As we learn to listen, communicate, struggle, soften, adjust, try again, we learn everyth ing we need to work in larger and larger communities. Community is a natural evolution. As we feel secure in ourselves and secure in our partnerships, we can bring our attention higher and higher, expanding to bless more and more people.

When we come together in circle we all form one organism. In th is shape you can see everyone and everyone can see you . There is a baseline of equality and interconnection that serves as the foundation for the practice. We all take roles: base, flyer, spotter, teacher, student, intermediate, advanced , wh ite, black, Asian ... When we are in circle none of these labels carry the same weight, we have the potential to loose our individuality for these brief moments and feel the support of a greater identity. These practices and philosoph ies can bui ld a model for how we see and interact with the world at large. Th is connection is the mission of AcroYoga, and it is the nature of humanity to live, work and play together to build a healthy supportive global community.

3 ROLES OF AcROYOGA BASE - The safety, balance and support of the flyer.

FLYER - In acrobatics: squeeze and trust. In therapeutics : breathe and let go.

SPOTTER - Primary role to support the safety of the flye r, secondary role to support good alignment of the base.

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Spotting: THE GLUE TO THE PRACTICE, THE MOST IMPORTANT ROLE FOR BUILDING COMMUNITY Spotting is the most important role in the practice; it can either promote advancement or limit growth of a community. As a spotter you are giving your full attention and energy towards the safety and well being of the person attempting the skill. It is an art best learned by doing. This book will give you ideas but you have to apply them many, many times to gain the wisdom of how to spot well. The safest way to start is to practice with a partner who can already do the skill safely without a spot. Practice with them to get feedback about your touch and technique. Skilled spotters help communities flourish.

The spotter is the glue between the base and flyer. The spotter's outside eye can see things neither the base or flyer can see. They can serve as an interpreter between the acrobats and offer suggestions to aid the stability of the skill. The spotter is there to increase the potential of a successful skill attempt.

Spotting is a form of love, you can have too much or not enough. We aim to give the right amount of lovefsupport to help our partner find their own center. Over spotting is like smothering someone with love, they cannot receive it and can resist the support. On the other side if there is not enough love/support the partner can feel scared and not trust. Ideally the perfect amount of love and freedom is reached, as a spotter you are always looking to do the minimum to maximize the skill and confidence of the flyer.

Before attempting a new skill there must be two conditions:

1. No doubt that you can spot the flyer. No doubt that the person is ready to attempt the skill.

2. If there is any doubt, do not attempt the skill without an additional spotter. Or do another skill that is easier, and a stepping stone towards that skill.

THREE BASIC LEVELS OF RISK: Low risk: Therapeutic flying, foundational acrobatics and flying.

Medium risk: Acrobatic and therapeutic flying transitions, standing counterbalances.

High risk: Two-high acrobatics, popping, acrobatics with momentum.

Three Roles of AcroYoga In all spotting the spine is straight, the hands are soft and there is a constant awareness of where the flyer may move and where the spotter might be at risk.

STANCES: Warrion spotting stance: Good for supporting a flyer in one direction, far from the spotter, then transitioning closer to the spotter, the front leg bent is the power leg, back leg straight is the anchoring leg.

Goddess spotting stance: Feet wide, knees bent and over the feet, spine straight. This is good for many different angles of support, not as strong as the warrior but much more versatile.

Duck squat spotting stance: Feet hips width or a bit wider, knees knocked in to support the back or shoulders of the flyer. This is specific for some inversion work and Thai massage techniques.

LEVELS OF SPOTTING: Heavy hands on: Great for beginners that have fear, builds trust and confidence.

Light hands on: Hands are in the same position but with less force, this allows for the flyer to feel more of what they are doing.

Hot potato: Hands on lightly, then let the flyer go unassisted, then go back to supported. This gives the flyer freedom to eventually not need support at all.

Safety spot: This is when the spotter is in places but does not touch the flyer unless they start to fall.

SPOTTER V1 RTU ES: One pointed focus. Good pos ition. Stability. Strength. Confidence. Speed. Sensitivity. Dedication. Devotion.

SPOTTER PITFALLS: - Not fully present - Not hands on enough - Eyes focused in the wrong place -Too far from flyer -Too hands on - Too close to flyer

TECHNIQUES & PRINCIPLES: Keep your eye on the ball. If your eyes stay on your partner the whole time their confidence in you grows and your effectiveness increases.

Find the place that you are most effective spotting. On your knees, wide stance, on the side, front, or back of your partner. You have to be stable to support.

Stay out of harms way. If you get a foot to the head you cannot spot anyth ing! When all else fails go for the center of gravity (the hips) . There can be too much of a good th ing. Light spotting will give the student enough sensation to understand how to do it on their own.

The base is the pillar on which everything rests . The more stable the base is, the more fun can be had above. The base is ultimately respons ible for the flyer's safety, no matter what. The buck stops with the base, they are the primary spotter and responsible for the flyer's safety. It takes much longer to learn to become a stable base but once it is atta ined a base can offer the gift ofinviting flyers to trust and be free .

Basing: BASE VIRTUES: Sensitivity: The ability to listen first and know what will be the most supportive way to interact with their flyer, is the most powerful tool of a base.

Strength: Starts in the mind and flows through the body.

Stability: Us ing technique and bones to support weight.

Confidence: Flyers will feel this in the quality of touch and tone of voice.

Safe: Understands own limitations and that of their flyer and spotter.

Calm: Able to react but not overreact. Even , level-headed in their communication and how they move.

Trustworthy: As the flyer trusts more and more the base respects this trust by keeping the flyers safety above all other pursuits .

Grounded: Li terally and energetically receiving support from the earth and translating that grounded quality up to the flyer.

Patient: Power is only useful to a base if it is used at the right time, waiting fo r that time is the mark of an experienced base.

Powerful: When the flyer needs support the base has the clarity, confidence and power to lift the flyer, there is an element of speed here.

BASE PITFALLS: - Lack of commun ication - Holding breath - Lack of compass ion - Using muscle vs. alignment -Unclear communication - Bent arms and legs - Abrupt movements - Over correcting - Dropping partners due to lack of progressions or spotters

Three Roles of AcroYoga Flying: The flyer is the one that takes the risks and trusts their base completely. The combination of strength and flexibility in synchronicity is the dance of the flyer. Over time the flyer must embody a wide range of physical states , ranging from highly passive in therapeutic fly ing to highly engaged in partner acrobatics. As these elements come more into balance for the flyer, the more poss ibilities there are for artistic expression.

FLYER V1 RTU ES: Unified "One Piece": The ability for the whole body of the flyer to act as one unified piece, huge muscular energy from out to in .

Trust: The ability to surrender to the base and spotter to know that they will do their job and keep the flyer safe.

Flexibility: The more range of motion the flyer has the more expressive they can be and the more easeful many acrobatic fly ing trans itions will be.

Bravery: Self-trust that allows for more dynamic acrobatics.

High strength to weight ratio (i.e. "press handstands"): Flyers don 't have to be super strong, they are better off if they are strong in relation to their weight, not weightlifter heavy muscles, strong light acrobatically smart muscles .

Fluid and controlled transitions: The way flyers move will either support or challenge the relationship with the base. In general flu id and controlled styles of movement are easier to harmonize with.

Grace in motion and in static positions: The best flyers always have a quality of grace in their movement. All the elements earlier stated will lead to grace.

FLYER PITFALLS: - Trying to control the balance - Fear - Adjusting positions abruptly - Not trusting - Holding breath - Inflexibility - Bending or loosen ing body

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Three Person Partner Yoga

TRIO TREE FOREARM GRIP HEART OPENER

Connect palms and raise arms to the sky, place foot into tree pose. Connect gaze and breath. REPEAT BOTH SIDES

Transition to standing. Take a forearm grip on either side, extend arms

Keep forearm grip lift right leg and extend over partner's leg. Hook toes around partner's waist. Sh ift grip to hands and open heart

DANCER'S POSE

Connect left palm with partner's in center, unhook right leg and catch with right hand. Kick foot back into hand to open the chest. REPEAT FROM HEART OPENER ON LEFT LEG

STRADDLE PILLOW

PRASARITA PADDOTANASANA

Turn to face away from partners, separate feet and connect heels. Fold forwards, reach ing through legs t o connect in a cross forearm grip. Lean hips away from each other

ElEVATOR UP

Sit in a comfortable straddle, raise left arm overhead , lean to the right and lay back over partner's th igh . REPEAT OTHER SIDE

Connect shoulders , hook elbows and bend knees with feet Aat. Press back into partner's and press through feet to stand

HALF BOUND TWIST

Keep right leg in place, bring left hand into a half bind behind back and reach right hand to connect with partner on your left. Turn gaze over left shoulder

ELEVATOR TO THE GROUND

Three Person Partner Yoga

FORWARD FOLD

Return to center, keep right leg in place. Bring hands to partner's shoulders and begin to fold in towards the center

SIDE BEND

Thread right hand towards the left, find partner's foot. Rotate torso open and reach left arm over left ear, connect to partner's shoulder

Coming back to standing, hook elbows with partner's and press shoulders into one another

Bend the knees maintaing contact through shoulders and lower to the earth

HIGH FIVE! NEVER GONNA GET DIS!

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Why do AcroYoga

Mission "WE B U I L D C 0 M M U N I TY T H R 0 U G H D IV I N E PLAY."

Community is the medium where the practice of AcroYoga lives. With this practice we can bring the world together th rough play. From play we create a worldwide network of friends and family we have many things in common with .

By doing AcroYoga you stand to enjoy these benefits: Build strength, flexibility, confidence, coordination, community & friendships. Become more balanced, open, kind, present, connected & healthy.

Through practicing AcroYoga you may find yourself: Experiencing more joy; practicing compassionate communication skills; cultivating kindness; taking more risks in your daily life; making new friends; building community; feeling centered; expanding the full spectrum of your being; enjoying life as play; releas ing fear; embracing the unknown; surpassing the limitations of the mind; communing with the divine.

PHOTO CREDIT: WARI O M WWW.WARI.CAT

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Circle Ceremony

GROUNDING IN SELF HEART SANDWICH KNEE CONNECTION

Sit in a circle touching knee to knee. Grounded in Place left hand on front of own heart and right Rest hands on the knees of the person to either the breath bring hands to heart center hand on back of neighbor's heart side

MASSAGE SHOULDERS

Exhale rest ams on shoulders to either side. Massage partner's shoulders

FORWARD BEND (PASCHIMOTTANASANA)

Inhale at center, exhale fold forwards over legs and find someone else's toes

Shift arms to neighbor's back, lift chest to open heart using support of partner's hands

SliDE BEND

Inhale lengthen at center, exhale to side bend to the right

TABLE TOP- LEFT AND RIGHT

Place hands behind hips and feet flat on the floor, lift hips and extend crown

WARRIOR 3 Keep hands on backs, extend leg back and reach crown forward REPAT OTHER LEG FROM STANDING FOREST

Inhale lengthen at center, exhale to side bend to the left

Lift one leg up, keeping hips lifted

SUPPORTED BACKBEND

Stand hip to hip, support with hands at low back, lift chest to the sky

SPINAL FLEX & ROUND

Inhale to arch the spine

FORWARD FoLD

Inhale lengthen at center, exhale fold forward

Exhale to round the spine

HEART OPENING

Inhale lengthen at center, exhale lean into support of partner's hands to lift chest


Drop leg over to the side to rest on your partner. Connect palm to palm, place feet flat on the Lift hips more to support your partner's . floor, press through feet and hands to stand REPEAT OTHER SIDE

GROUP SIT (UTKATASANA)

Stand close in circle, hands to shoulders, sit down angling hips for thighs of person behind

Turn head to face center, lean forwards with arms relaxed

Circle Ceremony

ARM EXTENSION

Connect palm to palm, inhale extend arms to the sky

TRANSITION

Connect palm to palm, raise arms, extend legs straight and walk hips and legs forward

STANDING FOREST

Staying connected palm to palm place one foot to inner thigh for Tree Pose

Lean back, angle body in towards center of circle

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HEALING ARTS

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Lunar Healing Arts Practices

SENSITIVITY BEFORE STRENGTH All true strength has an element of softness and all true softness has an element of strength . As we invest time to soften before channeling our strength, that strength is guided by the precision that can only be achieved by subtle, fine, lunar awareness. In the physical practice it means to bend slowly and listen to where your partners weight really is, then add power. Healing arts also start softly, listening with our hands, eyes and heart as we make passes on the body to investigate before we add a lot of body weight or pressure. This is why we introduce the lunar aspects of the practice first . This philosophy also translates to many other aspects inside and outside the practice. The ability to be patient, receptive and soft will give the practitioner the information they need to be skillful with their power.

LUNAR HEALING ARTS PRACTICE The Lunar Therapeutic Practice supports healing, relaxation and letting go. Practitioners cultivate deep listening, loving touch and the ability to give and receive. This branch is much more subtle, patient and slow. It is based on understanding the flow of energy in the body, where it may be blocked, and how to use breath, gravity, body weight, emotions, thoughts, prayers and vibration to free up these blockages.

The Lunar elements include: the lunar a sana sequence, partner yoga massage, therapeutic flying, singing & meditation.

LuNAR AsANA SEQUENCE The lunar asana sequence helps students understand how to listen, move energy in their own body and use their bodyweight in a comfortable, efficient way. Chi/energy cultivation stances, asana, massage body positions and self-massage are the ingredients that fine-tune the lunar aspects before students work with each other. Partner Yoga is a gentle way to get practitioners working together, sharing touch, bodyweight and communication. The massage sequences give students the opportunity to refine touch and learn the parts of the body they will be in contact with when they fly their receivers. Giving and receiving can be equally healing. Therefore, both are practiced. Therapeutic flying is the deepest expression of the lunar arts. Flying allows the receiver to release and surrender to gravity while being nurtured and supported by the giver.

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Lunar Asana Sequence

CENTERING CHI BALL CHI GENERATION C1 RCU LATE ENERGY SELF HEALING

Right hand to heart, left hand to belly, 3 breaths

Step feet hips width. Rub palms together, separate hands to feel energy

Bend knee, lengthen tailbone. Raise arms in circle, palms face towards body

Place hands to anywhere that you need healing

FORWARD FOLD & LIFT CRESCENT LUNGE CHI GENERATION PRAYER HANDS

Inhale sweep arms up, Exhale fold , Inhale flat back, Exhale fold. Pulse 3 times between flat back & fold

Step right leg back coming into high lunge

Arms in line with shoulders imagining holding a ball, 3 breaths

Inhale hands to prayer posit ion

PRASARITA PADOTANASANA

Inhale extend legs and interlace fingers, Exhale fold forwards, 3 breaths

TABLE TOP PALM PRESSING

Lean weight left and right with hips, palming with breath: Inhale to shift weight, exhale to pour weight through hands

CRESCENT LUNGE

Turn over right leg into high lunge

WRIST STRETCH

Palm walk to stretch wrists: turn hands out, to back and lean back for wrist stretch, then hands palm walk all the way around to front again

CH I GENERATION

Arms in line with shoulders imagining holding a ball, 3 breaths

KNEEL DIAMOND

Take knees wide with toes together and tucked under, sit on heels

PRAYER HANDS

Inhale hands to prayer position

SELF MASSAGE

Alternately palm press thighs with straight arms


SELF BLESSING - STAN Dl NG BODY SCAN WALKING MEDITATION

Scoop energy in palms, bathe the head, shoulders, arms, then draw to low back, down the backs of legs, tops of feet, up the front of legs, to the belly and then release energy. Repeat 3 times

Inhale sweep arms up, Exhale fold from wrists and allow hands to scan down body. Repeat 3 times

Step one foot forwards and shift weight from heel to toe by bending knee. Repeat out to the side at 45 and 90 degrees retrace same steps to center. REPEAT OTHER FOOT

LUNGE PULSE

Exhale bend back knee

LUNGE PULSE

Exhale bend back knee

DowN Doc

Inhale extend back leg. Pulse 3 times

Inhale extend back leg. Pulse 3 times

HEART OPENING

Open arms to cactus, lift heart

HEART OPENING

Open arms to cactus, lift heart

LOW LUNGE WITH PALMING

Press back to Down Dog, 3 breaths

Step left leg into low lunge. Inhale place hands, exhale pour weight, (palm walk out 90 degrees)

GODDESS WITH BODY SCAN

Inhale sweep arms up, Exhale fold at wrists, hands scan down the body. Repeat 3 times

DowN Doc

Step back to Down Dog, 3 breaths

MONKEY LUNGE

FOLDED LEAF TRACTION

Exhale place heels of hands in hip crease, extend arms to traction spine

CAT/Cow

Inhale arch, exhale round , Pulse 3 times

Draw back leg underneath Use hands Other side. Hands in prayer 3 breaths

pelvis and sit with buttock to transition on heel , toes tucked under. Hands in prayer 3 breaths

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DOWN Doc

Press back to Down Dog, 3 breaths

RUNNERS LUNGE

Extend fron t leg flex toes and fold forward , 3 breaths

FOREARM STRETCH

Low LUNGE W ITH PALMING

Step right leg into low lunge. Inhale place hands, exhale pour weight. Palm walk out go degrees to the right

RusSIAN DANCE

Place hands to earth , coming onto knees to switch sides. Practice changing sides several times

WRIST CIRCLES


MONKEY LUNGE

Draw back leg under and Use hands Other side. Hands in prayer 3 breaths

sit with buttock on heel, to transition toes tucked under. Hands in prayer 3 breaths

TWISTED LUNGE

Turn over right leg, keep left hand on the earth , lift right arm to twist open , 3 breaths

TORSO C1 RCLES

TWISTED THIGH STRETCH

Place back knee down, take right arm to left foot to draw heel in and rotate chest open , 3 breaths

Hands in prayer, inhale at center, exhale ta ke hands off to one side and turn head in opposite d irection. REPEAT TO OTHER SIDE

Keeping wrists connected circle wrists 3 times towards the body and 3 times away from the body

Inhale interlace Circle torso 3 times in each directions fingers & stretch palms up

THAI CHOPS

Hands in prayer fl ick from wrists to chop with pinkie edge of hand on lower leg

3 BRUSHES Brush energy off leg REPEAT FROM S ELF M ASSAGE FOOT OTHER SIDE

SELF BLESSING - SEATED

Bathe energy over head and neck

DOWN DOG TWISTED LUNGE

Press back to Down Dog, 3 breaths Step left leg forwards , keep right hand on the earth, lift left arm to twist open , 3 breaths

LIZARD LUNGE

Place hands or forearms to earth inside front foot, back toes tucked under, 3 breaths

BACKBEND

Inhale at center, exhale arch to open heart and shoulders

RUNNERS LUNGE

Extend front leg flexing toes and fold forward, 3 breaths

TOE STRETCH

U ntuck toes, sit back and stretch tops of feet lifting one knee at a time

Sweep across the shoulders and down arms

Draw energy to low back/kidneys

Brush energy down the legs


TWISTED THIGH STRETCH

Place back knee down, take left arm to right foot to draw heel in and rotate chest open, 3 breaths

DOWN DOG HEEL PULSE

Inhale rise onto toes , exhale root heels to earth , pulse 3 times

SELF MASSAGE FOOT

Self massage, palming or thumbing on foot with mothering hand on knee

Release off the toes

LIZARD LUNGE

Place hands or forearms to earth inside front foot, back toes tucked under, 3 breaths

SIT ON TOES

From Down Dog pulse lift onto toes, place knees down and sit on heels keeping toes tucked under

SELF MASSAGE CALF

Thumb or palm up and down lower leg

CLOSING

Seated meditation

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Thai Massage & Therapeutic Flying HEALING ARTS This is the nectar of AcroYoga. These elements have the power to create huge transformation and healing. It is an exchange between two practitioners, a dance between giver and receiver. The Thai sequences designed in this manual are in service of students learning techniques that will support them becoming skillful bases . The base grounds the flyer and creates the potential for release of pain, tension, and muscular holding patterns. The flyer is responsible for breathing deep, relaxing their muscles and communicating what is working and what can work better. The base uses their body with the support of gravity to sculpt the flyer into many shapes that stretch and open the flyer's upper body. As the flyer trusts the base, the opening of the emotional body aids the opening of the physical body. The passive nature of the flyer allows for gravity to re-balance their body. After 3-15min depending on the bases skill set, the flyer comes down and gives Thai massage to the legs and lower body of the base. Supporting the flyer warms the base's legs . This warmth creates an ideal environment for the base to receive massage. After an equal exchange of Thai and Fly, they switch roles of flyer and base. When the exchange is done both have given and received a full body treatment. When both Thai and Fly are exchanged the two practitioners leave feeling healthier, happier and more balanced . Very few people will leave their first flight without a smile or giggle. It makes people happy; every one likes that!

Techniques for Thai Massage: BO DY MECHANICS:

Giving

Using Your Weight: The beauty, grace and effectiveness of Thai massage is based in the ability of the masseur to use their whole body. The hands and feet apply pressure, but the energy comes from using one's whole body weight through the strength and openness of the core. A visualization of 'pouring one's weight' through the bones into the recipient also makes for a smooth distribution of energy, as well as effectiveness and ease for the practitioner.

EN JOY Y ouRSELF: It is always important to protect one's back when giving Thai massage. Finding comfort and ease in your positioning will translate to your cl ient as well , and vice versa. If you are straining or working too hard, your partner will sense it, even on a subconscious level. Using proper stances will also help facilitate ease in giving a

massage. Keeping your body aligned with ease as much as possible will allow for more circulation of blood and energy throughout the body. As you work with your own body's alignment and posture, be patient. It may take time for our bodies to adapt to Thai massage stances.

BODY COMFORTABLE: Keep a long spine. Use your legs as much as possible during any lifting maneuver. Stack the bones, especially keeping arms straight (when possible) to prevent over-use of the muscles . Push off the back foot or knee to shift your body weight forward when pouring your weight. Keep your hands soft and use your whole palm to distribute the weight evenly. Allow your hands to mold around body contours.

TooLs: Audible breath - synchronized, guided, or expressed exhale with movement and stretching.

Check in with facef bodyfbreath of receiver.

Slow gradual movements - pour weight on exhale.

Stacking bones - no extra, using own body weight vs. muscle strength.

Efficient alignment - "arms straight- back straight".

Embodying nature's rhythm & movements by keeping a constant movement or rocking in your body and the breath flowing.

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CENTERING

3 breaths to center and ground

ALTERNATE PALM I NG

Alternately palm the thighs with hands turned out (up, down, up)

ALTERNATE PALM SHOULDERS

Supine Thai Massage LEVEL 1

FIRST CONTACT

Rub hands together generating heat. Lightly place hands on receiver's feet

GROUND THIGHS

Scoop the thighs with fingers on outer line of leg and lift towards midline, on exhale ground the thighs with double palm pressing offering synchronised pressure through both hands . Work from knee up to hip

GROUND SHOULDERS

TRACTION & EXTERNAL ROTATION

Lift feet, gently traction, place the feet on the ground turning toes out to provide external rotation, lightly press down to ground

FOREARM BODY ROCKS

Sit hips back towards heels, place forearms alongside receiver's outer thigh , rock body side to side working the rock to the feet

Palm the shoulders, shifting weight side to side. Find the perfect fit of heel of hand beneath collar bone

Inhale set hands at chest-shoulder junction nest the heel of hand beneath collar bone, lean weight back into monkey lunge

Exhale double palm press, lean weight forward intr both hands, stack shoulders over wrists 3 times (Limo BADDHAKONASANA HAND PLACEMENT)

WALKING MEDITATION

Keep heel on the ground, begin stepping up inner foot and calf (up, down, up) . Allow foot to sink into muscle, avoiding bone

Step off and bend receiver's leg into half happy baby to create space to work thigh

Keep heel connected to the earth begin stepping up inner thigh (up, down, up)

BLOOD STOP

Place foot below hip bone at hip crease with toes turned out, sink weight straight down. Hold for 5 breaths then release slowly (FOLDED lEAF FooT PLACEMENT)


PALM FEET THUMB FEET ALTERNATE PALMING KNEE C1 RCLES

Palm the feet alternately side to side, shift weight on inhale, pour weight on exhale

Thumb the feet alternately side to side, shift weight on inhale, pour weight on exhale

Palm the calves shifting weight side to side, hands turned towards receiver's midline to stay on muscle and stay off bone (up, down, up)

Place fingertips around the kneecap and circle the knees both inwards and outwards 3 times

TRANSITION : LIFT LEGS

Lift from heels, press legs up over receiver's body

BRUSH DowN ARMS

SACRAL FLOAT PREP

Come into lunge to one side, drape receiver's legs over thigh ensuring backs of knees are snug and supported

SACRAL FLOAT

Cross receiver's toes, press down on tops of feet to lift the hips. Move from hips, rock to shift hips and release low back. Use free hand to help rock. If needed come up onto toes to lift hips

SHOULDER SHIMMY

Sit back into monkey lunge take receiver's wrists , shimmy shoulders by lengthening arms from side to side

BULL F IGHTER (TORERO) SPINAL ROCKS

Simultaneously sweep energy off the arms and hands

Transition to standing holding receiver's heels. Step one foot forward, lean forward , turn their toes towards each other. Exhale lean weight back pressing buttocks onto tops offeet x 3

Come into low squat with forearms on thighs, rock forward and backward, watch rock translate through spine and head of receiver

ROCKING SPINAL TWIST

Step across to outside of receiver's leg, step one foot forward, rock receiver towards you to release low back

TRANSITION: LOWER LEG

Step back to center, either place receiver's foot on the ground or practice catching their heel with the top of your foot and release to the ground REPEAT FROM WALKING MEDITATION ON OTHER LEG

3 BRUSHES Brush energy from hips off the toes

CLOSING

Both giver and receiver honor each other and the exchange

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CENTERING FIRST CONTACT TRACTION & EXTERNAL ROTATION

3 breaths to center and ground Rub hands together generating heat. Lightly place hands on receiver's feet

Lift feet, gently traction towards you, place the feet on the ground, turn toes out to provide external rotation, lightly press down to ground

ALTERNATE PALMING INTERNALLY ROTATE AND GROUND THIGH

Alternately palm the thighs with hands turned out (up, down, up)

In lunge place one hand on outer thigh and one hand on inner thigh. Hug the muscles onto the bone, lift and rotate the leg inwards, check that the toes sprial internally. Ground the thigh with both hands

SACRAL FLOAT

Cross receiver's toes, press down on tops offeet to lift the hips . Move from hips, rock to shift hips and release low back. Use free hand to help rock. If needed come up onto toes to lift hips

ALTERNATELY PALM SHOULDERS

Palm the shoulders, shift weight side to side. Find the perfect fit of heel of hand beneath collarbone

ROOT & GROUND SHOULDER BLADE

Reach for receiver's opposite hand, take a butterfly grip

GROUND SHOULDERS

Inhale set hands at chest-shoulder junction, nest the heel of hand beneath collar bone, lean weight back into monkey lunge

Lean back into monkey lunge to lift their shoulder blade off the ground, cup scapula with free hand, replace arm to the earth

Exhale double palm press, lean weight forward into both hands, stack shoulders over wrists 3 times (Limo BADDHAKONASANA HAND PLACEMENT}


PALM FEET THUMB FEET ALTERNATE PALMING KNEE C1 RCLES Palm the feet alternately side to side, shift weight on inhale, pour weight on exhale

Thumb the feet alternately side to side, shift weight on inhale, pour weight on exhale

Palm the calves, shift weight side to side with hands turned towards receiver's midline, stay on muscle and stay off bone (up, down, up)

Place fingertips around the knee cap, circle the knees both inwards and outwards x 3

FOREARM BODY ROCKS TRANSITION: Ll FT LEGS SACRAL FLOAT PREP

Sit hips back towards heels, place forearms alongside receiver's outer thigh, rock body side to side working the rock to the feet

Lift from heels, press legs up over receiver's body

Come into lunge to one side, drape receiver's legs over thigh, ensure backs of knees are snug and supported

Place hand at chest-shoulder junction, on exhale draw scapula down the back, pour weight through top hand to ground shoulder

BRUSH DOWN ARMS

Simultaneously sweep energy off the arms and hands

PALM FOREARM AND HAND

Palm tile forearm, keep a mothering hand at the chest-shoulder junction, continue to palm down to the hand. REPEAT FROM SHOULDER LOOP ON OTHER SIDE

BUTTERFLY RoCKS

TRAPEZ I US TRACTION

Cup fingertips over the top of the shoulders , exhale sit back into onkey lunge to release the trapezius keep receiver's head relaxed

Transition to seated by pressing receiver's knees in towards their chest, take a wide butterfly with legs with giver's feet resting on pinkie edge by receiver's hips. Find perfect fit of receiver's feet resting into giver's hip crease and hug receiver's knees together. Rock receiver's knees side to side, work feet underneath the glutes, continue to rock side to side

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TRANSITION : TO STANDING

Press receiver's knees in towards their chest and shift from seated to standing keeping their weight over their body

DEEPER VARIATION

Lift heel off the earth and step on inner thigh or towards top of thigh (up, down, up)

THAI LUNGE STRETCH

Place receiver's foot in own hip crease and find see-saw palming on hamstring and thigh . As weight pours into one hand, allow other hand to lift and receiver's pelvis to rock


Bus DRIVER BULL FIGHTER (TORERO)

Hold receiver's heels, allow knees to softly bend towards happy baby. Arms straight, sway side to side

Transition to standing holding receiver's heels. Step one foot forward, lean toward receiver and turn their toes towards each other. Exhale shift weight pressing buttocks onto tops of feet 3 times

BLOOD STOP

Place foot below hip bone at hip crease with toes turned out and sink weight straight down. Hold for 5 breaths then release slowly (FOLDED l...eAF FOOT PLACEMENT)

PEDAL BOAT

Transition to seated allowing receiver's leg to rest out to the side, knee in line with hip. Place outer foot inside their knee and hook toes around own shin. Use other foot to walk on hamstring

ROCKING SPINAL TWIST

Step across to outside of receiver's leg, stepping one foot forward rock receiver towards you to release low back

KNEE TRACTION

Align receiver's knee over their hip, place foot on thigh below knee and cup their foot with hands. Press into foot first, then traction back with arms

SPINAL ROCKS

Coming into low squat with forearms on thighs, rock forward and backward watching rock translate through spine and head of receiver

TRANSITION : LOWER LEG


WALKING MEDITATION

Keep heel on the ground, step up inner foot and calf (up, down , up) . Allow foot to sink into muscle, avoiding bone

Step off and bend receiver's leg into half happy baby to create space to work thigh

HlP CIRCLES

Keep heel connected to the earth, step up inner thigh (up, down , up)

Stepping back to center, either place receiver's foot on the ground or practice catching their heel with the top of your foot and release to the ground

In lunge support receiver's heel and knee, circle their hip 3 times in each direction using own center to generate movement

REPEAT FROM WALKING MEDITATION ON OTHER LEG

WHOLE LEG TRACTION

Lengthen receiver's leg and traction . REPEAT FROM HIP CiRCLES OTHER LEG

3 BRUSHES Brush energy from hips off the toes

CLOSING

Both giver and receiver honoring each other and the exchange

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Adjusting Foot Placement: Base, Flyer, Spotter

SPOTTER ADJUSTMENT

SPOTTER: Stand to one side of flyer's legs, loop arm around thigh and lift while using other hand to reposition base's foot

BASE ADJUSTMENT

BASE: Take reverse hand to hand grip press up through arms, reposition foot placement one at a time FLYER: Press through hands, lift one leg at a time

FLYER ADJUSTMENT

BASE: Hold flyer's shoulders and press up FLYER: Hold base's ankles , lift one leg at a time and use hands to reposition foot placement

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Forward Flying LEVEL 1

FUNKY Doc MOUNT

FLYER: Place hands by base's ears, step feet close to base's hips BASE: Place hands on flyer's shoulders, place feet turned out on flyer's upper thigh

TRANSITION : HANDS TO ELBOWS

FLYER: Ma inta in straight arms

LIFTED BADDHAKONASANA

BASE: Straighten arms and legs, stack bones FLYER: Soles of feet together, knees wide, arms behind back hold opposite elbow

BASE: Walk one hand at a time above flyer 's elbows, straight arms

FOLDED LEAF

FLYER: Legs separate into a piked straddle, arms relax, backs of hands on floor by base's hips BASE: Release flyer's chest towards legs, hands to back, legs at go degrees

REVERSE NAMASKAR

FLYER: Soles offeet together, knees w ide, bend elbows and take hands to base of neck BASE: Arms and legs straight, draw flyer's elbows together

TRANSITION: HANDS TO WRISTS

BASE: Take space between thumb and index finger to Ayer's wrists and sweep arms overhead

FOLDED LEAF

FLYER: Legs separate into piked straddle, release hands BASE: Bend elbows to bring Ayer's chest towards legs, place hands on flyer's back


SUPER YOGI

FLYER: Interlace fingers, keep legs piked, exhale on traction BAS E: Hold wrists, bend elbows and keep arms close together

HAND TO HAND DISMOUNT

BASE: Exhale press legs away and pull wrists with arms to traction. Inhale legs to go degrees, exhale repeat

FLYER: Bend elbows to take base's hands

BASE: Straighten arms, bend knees F LYER: Straighten arms, bring feet to the ground

BASE: Take Ayer's hands

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HAND TO HAND MOUNT

FLYER: Step feet close to base's hips, take reverse hand to hand grip, BASE: Place feet turned out on flyer's upper thigh , take reverse hand to hand grip, bend elbows and straighten legs

FOLDED LEAF

FLYER: Legs separate into piked straddle, release hands BASE: Bend elbows to bring flyer's chest towards legs, place hands on flyer's back

TRANSITION : WALNUT

BASE: Bend knees and press flyer's head all the way through then extend legs FLYER: Bring soles offeet together, knees


FOLDED LEAF HARMONICS

FLYER: Legs separate into a piked straddle, arms relax, backs of hands on floor by base's hips

BASE: Hands on flyer 's shoulder blades, gently rock side to side to release spine

BASE: Release flyer's chest towards legs , hands to back, legs at go degrees

SUPER YOGI

FLYER: Interlace fingers, keep legs piked, exhale during traction BASE: Hold wrists , take arms overhead, bend elbows and keep arms close together

WALNUT

BASE: Exhale press legs away and pull wrists with arms to traction. Inhale legs to go degrees , exhale repeat

FLYER: Point toes towards the ceiling, allow arms to straighten and head relax BASE: Place palms, thumbs or pinkie edge of hand either side of flyer 's spine and rock the legs forward and backward to shift the weight into hands

wide, reach around base's legs to catch ankles

TRANSITION : LIFTED BADDHA PREP

FLYER: Bring hands behind back, take opposite hand to opposite elbow BASE: Take fingertips to top of flyer's shoulders

REVERSE NAMASKAR

BASE: Walk hands to flyer's elbows, straighten arms and draw flyer's elbows together FLYER: Bring soles offeet together, knees wide, bend elbows and take hands to base of neck


FLYER: Bend elbows to offer hands


ll FTED BADDHAKONASANA

FLYER: Bring soles offeet together, knees wide BASE: Straighten arms, hands at chest-shoulder junction, stack bones in arms and legs

REVERSE NAMASKAR SIDEBEND

HIPPY TWIST (LEVEL 1)

FLYER: Keep toes anchored towards the ground, relax head and neck BASE: Keep arms straight, exhale bend one knee. Inhale both legs straight, exhale other knee bends

FOLDED LEAF

BASE: Exhale take hands off to one side, turn pelvis so that legs accentuate flyer's side body lengthening. Inhale return to center, exhale repeat other side

FLYER: Legs separate into piked straddle, release hands BASE: Place hands on flyer 's back

BASE: Straighten arms, bend knees

BASE: Take flyer's hands, bend knees to release head FLYER: Straighten arms, bring feet to the ground

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HAND TO HAND MOUNT

FLYER: Step feet close to base's hips, take reverse hand to hand grip BASE: Place feet in flyer 's hips crease, take reverse hand to hand grip, bend elbows and stra ighten legs

SUPER YOGI VARIATION

BASE: Bring flyer 's hands overhead FLYER: Interlace hands behind base's head BASE: Exhale press legs away to traction spine, hold flyer 's forearms for support. Inhale legs return to 90 degrees, exhale repeat

TRANSITION : YOGA MUDRA PREP


FOLDED LEAF LEAF HUGGER

FLYER: Legs separate into a piked straddle, arms relax, backs of hands on floor by base's hips BASE: Release flyer's chest towards legs, hands to back, legs at 90 degrees

BASE: Thread hands underneath flyer's arms and place on shoulder blades. Exhale bend knees and press feet away, lengthen spine by drawing hands away from feet. Inhale return to straight legs at 90 degrees, exhale repeat FLYER: Exhale on traction

HALF MOON

FLYER: Keep legs in piked straddle, arms extended with fingers interlaced BASE: Keep arms straight, exhale take hands off the m idline to one side, turn pelvis so that legs accentuate flyer's side body lengthening. Inhale return to center, exhale repeat other side

YoGA MuDRA: SHOULDER OPENER

FOLDED LEAF WITH SCARECROW

FLYER: Allow arms to bend, keep torso relaxed BASE: Take space between thumb and index finger to flyer' s elbows, turn hands out so can see own thumbs

YoGA MUDRA: SHOULDER MASSAGE

FLYER: Bring hands behind back and interlace fingers BASE: Use hands to help flyer interlace fingers . Bend knees and press the head through , then extend legs

FLYER: Keep legs in piked straddle BASE: Cup outside of flyer 's arms, rotate thumbs in and up, draw hands towards the ground

BASE: Place pinkie edge of hand either side of flyer's spine and rock the legs forward and backward to shift the weight into hands. If possible place their hands behind back of head to deepen stretch


LIFTED BADDHAKONASANA

FLYER: Bring arms behind back, holding opposite elbow, soles of feet together, knees wide BASE: Fingertips to top of flyer's shoulders, stra ighten arms, hands to chest-shoulder junction

TRANSITION: TWISTED LEAF PREP

HIPPY TWIST (LEVEL 2)

FLYER: Keep feet anchored towards the ground, relax head and neck BASE: Exhale bend one knee, bend opposite arm. Inhale both legs straight, both arms straight, exhale repeat other side

TWISTED LEAF

BASE: Extend arms to lift flyer's chest. Thread one arm between legs keeping other arm extended

FOLDED LEAF

FLYER: Legs separate into piked straddle, release hands BASE: Place hands on flyer's back

FOLDED LEAF

FLYER: Legs separate into piked straddle, release hands

BASE: Bend knee to press flyer 's shoulder through legs, hug legs together to pin shoulder in place. Exhale use hands on Flyer's shoulder to twist torso, turn pelvis to deepen twist. Inhale release twist, exhale repeat

BASE: Place hands on flyer's back


FLYER: Bend elbows to offer hands BASE: Take flyer's hands, bend knees to release head

FLYER: Relax arms, exhale during twist

BASE: Straighten arms, bend knees FLYER: Straighten arms, bring feet to the ground

LEG LOVE: Bus DRIVER

FLYER: Offer gratitude and therapeutic release back to the base through leg love. Catch the heels, invite the knees to bend and in a wide stance arc side to side drawing knee towards shoulder FoR MORE LEG LOVE, SEE SUPINE THAI MASSAGE (PG 33)

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Prone Thai Massage

CENTERING TRACTION AND INTERNAL ROTATION

3 breaths to center and ground Cup receiver's foot, lift and lengthen one leg towards you, rotate toes inwards and gently replace foot to floor. REPEAT OTHER LEG

CALF STRETCH WINDSHIELD WIPER

Bend receiver's legs, stack receiver's ankles over knees, align fingers at heels and forearms along the soles of the feet. Exhale sit weight down, bend elbows to flex ankle and stretch calves

Sway receiver's legs side to side to release lower back

LIZARD TAIL TRACTION

Cup receiver's feet, step one foot forward and lift their legs, being aware not to compress the lower back. Offer a gentle traction, separate the knees wider than the hips, replace legs to earth

FIGURE 4 PALMING

Bend receiver's legs, take one foot and tuck toes into the back of their opposite knee. With one hand on the top of their foot to stabilize leg position, palm the outside line of their leg. REPEAT OTHER SIDE

PALM FEET

Palm the soles of the feet alternately side to side, shift weight on inhale, pour weight on exhale

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JJr , I j, _, 1111 PALM HAMSTRINGS

Rest receiver's lower leg over own thigh and alternately palm the hamstrings with hands turned out

TRANSITION: LOWER LEGS

Extend legs to straight

PALM THIGHS TRANSITION: TO SEATED PALM SHOULDERS

Ensure receiver's knees are wide, alternately or double palm press on thighs

Bring one hand to receiver's low back and the other hand to their shoulder. On exhale draw their shoulders up over their hips to seated

Transition receiver to comfortable seated position, turn one foot alongside receiver's low back, invite them to lean onto leg for support. Alternately palm side to side, vary hand placement fingers facing forward, out to the side and backwards

Prone Thai Massage

STEP ON FEET PALM CALVES

Transition to standing and step on the feet, shift weight from side to side, keep heels on the ground for stability

For deeper pressure turn so that the giver's heels are applying the pressure with ball of foot in contact with the ground for stability

Alternately palm the calves, shift weight side to side with hands externally rotated (up, down , up)

STEP ON HAMSTRINGS

Stand to the inside of receiver's leg, align inner arch of own foot with their knee crease, if possible hook their toes around shin. Shift weight side to side to press on hamstring working from knee to hip. REPEAT OTHER SIDE

PALM BACK WITH KNEES IN GLUTEAL FOLD

MARKING FooT PLACEMENT

FooT PosiTION 1: BAcK LEAF Turn toes out, place inner arch on gluteal crease, pour weight straight down for blood stop, hold for 5 seconds

FooT PosiTION 2: BACK BIRD Turn toes forward aligning toes around waist band and heel on buttocks, give light traction REPEAT BOTH FOOT POSITIONS OTHER LEG

TRANSITION : CHILD' S POSE

Gently place knees in receiver's gluteal fold . With butterfly palms, inhale place hands either side of receiver's spine, exhale to pour weight, stack shoulders over wrists. Work this up and down the spine to the height of the shoulder blades

Receiver brings hands under shoulders, giver cups receiver's hips . On exhale shift hips back to heels bringing receiver to Child's Pose. Palm press on the sacrum

NECK CLAMPING

Invite receiver's head to bow towards chest, interlace hands, squeeze up and down the neck by drawing elbows together

MoTORCYCLE

Hold hands with receiver in butterfly grip, walk up and down either side of spine with soft feet

THAI CHOPS

Interlace thumbs, spread fingers, flick wrists, chop hands up and down receiver's back

3 BRUSHES Brush energy from head off the back and arms 3 times

CLOSING

Both giver and receiver honor each other and the exchange

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HANDS TO ANKLES MOUNT: FOOT POSITION 1

FLYER: Stand at base's hips facing away, hold ankles with thumbs turned in BASE: Turn feet out and place arch along gluteal crease (FooT PosiTION 1)

Bow (DHANURASANA)

Backward Flying LEVEL 1

FLYER: Bend knees and lean back BASE: Bend knees to receive weight, catch flyer 's upper arms or shoulders, then extend legs

BACK LEAF

FLYER: Relax legs and arms BASE: Support flyer's shoulders with hands, straight legs and stacked over hips

FtSH (MATSYASANA)

FLYER: Reach outside base's legs to catch ankles BASE: Support flyer's shoulders

FLYER: Reach hands through base's legs, interlace fingers leaving index free. Extend legs and cross one ankle over the other. Repeat with other ankle on top BASE: Support flyer 's shoulders


TRANSITION : BACK BIRD TO FOOT POSITION 2

F LYER: Lean weight into one leg, stag opposite leg. Once base repositions foot , release stag leg BAS E: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband , heels on buttocks (Foor PosmoN 2)

DISMOUNT

FLYER: Hold base's ankles , use them for support to help chest lift as feet come to the ground BAS E: Maintain support of flyer 's shoulders , bend the knees to place feet on the ground us ing toes to press and lift flyer's chest

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FLYER: Hold base's ankles with thumbs turned in, bend knees and lean back BASE: Bend knees to receive weight, catch flyer's shoulders and extend legs


BACK LEAF

FLYER: Relax legs and arms BASE: Support flyer's shoulders with hands, straight legs and stacked over hips

Bow WITH CHEST OPENER TRANSITION: BADDHAKONASANA TO BAT

FLYER: Reach outside base's legs to catch ankles BASE: Support flyer's shoulders. If flexibility allows use hands to open the chest

REVERSE CANNONBALL DISMOUNT

FLYER: Hold base's ankles, bring soles of feet together and look up towards feet BASE: Support flyer's shoulders

FLYER: Bring feet over towards head, using hands to reposition base's feet BASE: Turn feet to follow flyer 's hips finding slight internal rotation at hip crease

FLYER: Hold base's heels, tuck knees in towards chest and chin to chest. Roll through base's legs bringing feet to the floor, use heels to stand , hold heels and lean away to traction base BASE: Hold flyer's shoulders , maintain straight legs at go degrees for flyer to roll out


TRANSITION : BACK BIRD TO FOOT POSITION 2

F LY ER: Lean weight into one leg, stag opposite leg. Once base repositions foot, release stag leg BASE: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband, heels on buttocks (FooT PoSITI ON 2)

BAT FOOT PLACEMENT

BAS E: Feet sl ightly turned in, inner arch as close to flyer 's hip crease as possible FLYER: Legs pike down towards the earth

BAT

FLYER: Keep soles offeet connected , reach up and catch ankles with arms extended

PALM SHOULDERS

BASE: Place hands on flyer 's shoulders with fingers pointing out, alternately press upwards FLYER: Hold ankles with arms extended, relax head and neck

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FLYER: Stand at base's hips facing away, hold ankles with thumbs turned in . Bend knees and lean back. Relax arms and legs BAS E: Place feet parallel with toes around waist band , heels on buttocks. Bend knees to receive shoulders and extend legs

TRANSITION : BACK LEAF TO STRADDLE BAT

FLYER: Hold base's ankles, look up towards feet and take legs wide into straddle BASE: Support flyer 's shoulders, begin to follow hips w ith feet turning toes in

LIFTED )ALANDHARA

Bow (DHANURASANA) VARIATION

FLYER: Hook feet around base's shins and reach hands to backs of knees BASE: Support flyer's shoulders, help hook feet

FLYER: Bring feet over towards head, using hands to reposition base's feet, find piked straddle BASE: Turn feet to follow flyer's hips finding internal rotation at hips crease

FLYER: Legs in piked straddle, arms relaxed, communicate with base about depth of stretch

TRANSITION : FOOT POSITION 1

FLYER: Stag one leg at a time to adjust foot positon BAS E: Turn feet out and place arch along gluteal crease (FooT PosiTION 1)

,.. ' FOOT PLACEMENT STRADDLE BAT/BAT BASE: Feet slightly turned in, inner arch as close to hip crease as possible FLYER: Legs pike down

BASE: Bring both hands to back of flyer's head with heels of palms together. Exhale begin to raise flyer 's chin towards chest by extend ing arms, flex feet to deepen stretch . Release slowly, catch head and neck with care

URDHVA MUKHA HIPPY TWIST WITH THUMBING

FLYER: Relax arms and legs BASE: Walk hands underneath flyer's shoulder blades, place thumbs between shoulder blades and spine. Bend one knee at a time, if possible bend opposite arm and leg to apply pressure through thumbs


HAND PLACEMENT: URDHVA MUKHA HIPPY TWIST

NECK MASSAGE BAT MASSAGE CHAIR: PALM SHOULDERS BAT MASSAGE CHAIR: THUMBING HAND PLACEMENT THUMBING

BASE: Gently squeeze hands on back of flyer 's neck

FLYER: Bring soles offeet together, catch ankles with arms extended BASE: Place hands on flyer's shoulders with fingers pointing out, alternately palm press upwards, bend knees to apply more pressure

FLOATING BUDDHA DISMOUNT

BASE: Turn palms towards head, take hands through legs, place fingertips between flyer's shoulder blades and spine. Bend knees to press weight into fingertips

BASE: Hands beh ind flyer's shoulders, fingertips either side of flyer 's spine

BASE: Press up on flyer's shoulders and transition one foot at a time from hips onto flexed parallel feet, cupping the glutes

FLYER: Transition legs into a tuck holding around shins and tucking chin to chest BASE: Shift grip from shoulders to tops of arms. Bend knees and begin to lower flyer towards the ground, use arms to slow down and stay connected , allow own torso to rise off the ground until both base and flyer land softly in a seated tuck

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High Flying Whale LEVEL 1

HIGH FLYING WHALE MOUNT

FLYER: Stand either side of base's shoulders, help base place feet then lean back BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees

POINT AND FLEX

FooT PLACEMENT: HIGH FLYING WHALE

BAS E: Heels towards the bottom of the shoulder blades, toes around waistband. Feet parallel either side of the spine

BASE: Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend


ARM VARIATIONS: HIGH FLYING WHALE

FLYER: Arms overhead for deep backbend

HIGH FLYING WHALE DISMOUNT

FLYER: Arms out to the sides for moderate backbend

BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground. Press with toes to help Ayer stand

FLYER: Arms crossed over chest for mild backbend

FLYER: Hands interlaced beh ind back of head for neck support

DOWN DoG SACRAL PRESS

FLYER: Come into Down Dog BASE: Place hands with fingers turned out on Ayer's low back, stand in Warrior 1 and press Ayer's hips towards heels to lengthen spine

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HIGH FLYING WHALE MOUNT

FLYER: Stand either side of base 's shoulders, help base place feet then lean back BASE: Hold flyer's ankles , bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees

TRANSITION : LIFT LEG AND STAG ARDHA USTRASANA

BASE: Keep arms straight FLYER: Bring stag leg to base 's knee, catch ankle F LYER: Press down through one foot to lift other leg, bend knee and touch toes to opposite knee

BASE: Support flyer's bent leg with hand, bend knee to meet flyer's foot

SUPPORTED USTRASANA

FLYER: Bring stag leg to base's knee, catch ankle BAS E: Support both flyer's knees with hand , bend knee

elements of acroyoga

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