Elbow Joint Anatomy: The X-ray (Anterior View)

My right elbow doesn’t lie straight.

Or more accurately, my right arm doesn’t lie flat.

Or more pleasingly, there is something funky about my elbow.

The impetus

Today, as I lay in this marvelous savasana variation my lower body and low back felt great. I was super grounded into the floor in a state of serene ease… Sacrum bubbling. But about six minutes into savasana I realized that while the back of my left hand lies completely and comfortably on the floor, only the outer side of my right hand rests on the floor.

Woah.

I tried to supinate my forearm [definitions below] to let the back of my right hand rest on the floor, but nope, it wants to roll right back to its original position thank you. Place flat, roll back; place flat, roll back. Like those toys you give babies to knock down only to bob right back up again.

The history & the practice

Now, this isn’t surprising. I smashed my right elbow when I was a little kid. My smahed + dislocated elbow falls under “previous injury”. Long story, but the fact that it moves is a miracle. And I’ve had curious, intelligent teachers occasionally stare at my elbows in plank or down dog and puzzle over the alignment. My right elbow looks funny.

It’s something I work with during shoulder work (such as extending the arms in warrior two) and during handstand refinements.

I’m sure my elbow effects everything where my arms are weight-bearing. Inside, I pretend that it’s the reason arm balances are hard for me (even though it’s probably not). I haven’t worked out all the details in every posture. It’s on my list of future things to work out. But I get along just fine mostly.

Frankly, elbow anatomy has not been the most exciting thing calling my attention. I’m much more excited about kidneys and livers and spines. But when your arms in savasana are distinctly asymmetrical while your body feels grounded and amazing, then the laser focus goes on.

I actually had no idea what’s going on.

Snap Crackle Pop

Well, maybe a little idea.

When I get quiet and listen I can feel my right elbow clicks and clacks inside on moving. Snap crackle pop.

When I straighten my elbow and work with the orientation of my hands and the internal and external rotation of my shoulders my right arm resists symmetry. For example, externally rotating the shoulders and pronating the forearm to plant the index finger knuckle into the floor, as in downward facing dog or handstand, creates major resistance in my right arm. If I don’t pay attention, then the orientation of my right elbow, radius, and ulna will not match the left. Actually, if there is no floor to push against, then the asymmetry is much more distinct and the work in my right arm much more acute.

In sum, there is something funky about my elbow.

For starters, in savasana, while at rest, it tends to pronate.

An Elbow anatomy journey

So I went into my lovely collection of anatomy books to review and explore elbow joint anatomy.

At the top of the elbow joint you have the humerus. The forearm is composed of the radius and ulna.The primary action of the elbow is to flex and extend. Try bending (flexing) and straightening (extending) your left elbow. Now place your right hand around the elbow and try bending and extending the elbow again. Can you feel which bones are moving over each other? Or which muscles are engaged? (This is where I sense the snap crackle pop in my right elbow.)

There’s a lot going on here, but I have elected to focus today on the juncture where the radius and ulna meet. This is what I’ve sketched out. (And X-rayed out in the picture above.)

The head of the radius is a part of the radius near the elbow joint. This part of the bone is shaped like a squashed disc or cylinder. It’s covered in cartilage.

The flat part of the cylinder/disk is called the articular fovea. Its surface is depressed and receives the capitellum of the distal end of the humerus.

The surface of this cylinder’s rim (i.e. its circumference) sets into the radial notch of the ulna. This is known as the proximal radioulnar joint. (Note there is a also a distal radioulnar joint near the wrist, but I assume mine is as normal as normal is.) The anular ligament encircles the rim of the cylinder and and keeps the head and the notch in contact. The ligament is, crudely, like a rope or rubber band holding the radius to the ulna. In all, this setup is not unlike a pulley system. The head of the radius is the cylinder or wheel of the joint that rotates. The radial notch of the ulna is the surface the head slides in. The anular ligament holds the two together.

Thus the radius and ulna of the forearm slide over each other at the radioulnar joints. This enables the radius to cross the ulna in pronation, and return to a non-crossed position in supination [definitions below].

The drawing below is a study of the proximal radioulnar joint. It’s based on a couple of my anatomy books and my own experience with my elbow.

Note that the axis of rotation for supination/rotation (dotted line in picture) passes through the head of the radius. The axis runs down to the styloid process of the ulna by the wrist (not shown).

In the drawing, the fat, semi-circular double arrow shows the direction of movement (rotational about the axis) of the head of the radius on the radial notch of the ulna. The mini double arrow shows where these two surfaces connect when the radius and ulna are brought together.

Click the pictures for full image and comments.

Elbow Joint Anatomy: Sketch of Proximal Radioulnar joint (Anterior View)

Anatomy Definitions

Anatomical movements of hand / forearm:

Forearm: start with arms hanging by your sides, palms facing forward.

• Pronation: keep the upper arm and elbow where they are. Move the forearm so the palms face backward.
• Yoga Example: palms turn to floor in warrior two.
• Supination: turn the palms to face forward again, thumbs away from the body.
• Yoga Example: turn palms to sky in extended child’s pose.

Other of anatomical terms defined

• Proximal: closer to the body’s midline
• Distal: further away from the body’s midline

Let me know if you have any questions or feedback in the comments below.
Cheers!
-b

Original post can be found at: My Right Elbow – Radioulnar joint anatomy at Bethania Bacigalupe

"All Too Common"

Recent events* in yoga land called to mind an old series of napkin graphs I did on ethics and power over time. The specifics of the drama and controversy are different, the pattern remains the same.

It’s the psychology of power. A dynamic play between ethics, compromise, power, and scandal. On a napkin graph.

The Pattern

The character compromise appears in many ways. Leaders with power carry the weight of the public’s eye.

They come in many forms: disgraced politicians (hi Anthony Weiner, et al.) or academic misconduct (hi Marc Hauser, et al.) or spiritual leaders engaged in abuses of power (hi Amrit Desai, et al.).

Sometimes the star is rising; sometimes the star already shines brightly.

Often there is a community that looks up to the person as a leader.

Often the person is very charismatic. Often many people have invested their faith, lives, jobs, minds, energies and/or money into this person in their rise to power. This community of people has much to lose.

Often the person is in a field with explicit or implied ethics.

Often there is public exposure of the unethical action(s).

Often it involves sex.

Often the alleged actions highlights hypocrisy.

Often there is a range of reactions within the affected community: a mix of support–he/she is only human, how dare the public involve themselves in this [public] person’s personal life, we don’t really know the truth–to disappointment and denouncement coupled with feelings of anger and betrayal. This is the “controversy”. Often the community affected by the scandal is larger than expected.

Often the downfall is sudden and swift.

Always it involves truth and honesty, or lack thereof.

The Graph

I cleaned up the old ideas and consolidated them into this one which I share in the spirit of levity.

My title for this is “All Too Common“. (Or the “Psychology of Power“.) I draw out the all too common journey of our politicians, gurus, and other stars.

Note that at the start or birth of the Guru, the Guru can choose to move towards more (blue arrow) or less (red arrow) ethical actions. Both paths initially lead to increasing power.
If the person chose the blue arrow for their path (more ethical start), there comes a point when they make choices. Here, these choices may be towards less ethical actions. Their power increases. Eventually both paths fuse. The guru acts less and less ethically and their power rises more and more quickly. Here, the guru or politician is riding a high when allegations of misconduct become public. There is a moment of truth. Their power plummets.

Here is the all-too-common Rise and Fall of the Guru [click for better resolution picture]:

*The Footnote

*I generally shudder at this euphemism “recent events” and its ilk. Let’s just say what it is: John Friend, prominent yoga teacher, founder of Anusara Inc., previously profiled by The New York Times Magazine as The Yoga Mogul, has been accused in a very public way of various things including multiple adulterous relations with employees and/or students and freezing of pensions of employees (as reported by YogaDork last week). Between allegations and the start of “official” responses: Roseanne Harvey of It’s All Yoga Baby with a view from the outside about yoga blogging community responsibility. First interview by Elephant Journal, and John Friend’s reported first letter to Anusara teachers. Comments under each article for discussion. People with academic study in groupthink and psychology could give a better context then I can. Carol Horton’s article on Kripalu’s Reincarnation after its leader Amrit Desai‘s sex scandel is the best article I’ve read on how a similar community was able to reinvent itself.

Here’s to hope for all affected. (Especially those who have invested their time, money, and psyche in the disgraced. Do no let your investment blind you. And seek out professional resources to heal.)

Agree or disagree? Other insights? Comments welcome.

Original post can be found at: Ethics vs. Power: The Life Cycle of The Guru / Politician [GRAPH] at Bethania Bacigalupe

Anatomy of the Trapezius -- View 1

The Context

This was probably the worst weekend for me to be taking Brock & Krista Cahill’s workshops at South Boston Yoga.

Let me preface this by saying that I’ve been excited about their trip ever since the classes went on my calendar a few months ago. Inversions in all forms are my favorite part of my practice. Long-held supported inversions have been my secret to good living. On the active side, I’ve been seriously working on handstand for over 3 years. (Serious means daily focused practice and yearly commitments to “get” something by next New Years. Goals from alignment to jumping up with two legs to floating down to push ups to timing to proprioception to closed eyes. The past year I’ve diligently worked to balance off the wall. Each New Year’s goal is never achieved but I get so much fun in the process. Post for another day.)

I am the first to tell you that daily practice is critical. In my case I’ve started with a body like that flip flops every which way and needs years to build strength. Daily practice builds strength and stamina but it also explores anatomy and cements alignment and technique. Handstand is also about technique.

The Cahill’s are well-known in the handstand, press, and arm balance + transitions arena. There’s plenty to learn from someone who’s been there. Also, being in the physical presence of an accomplished asana practitioner can give new light, perspectives, and inspiration. Needless to say I’ve been excited to learn from them.

I say all this to give appropriate context to the following sentence:

About 10 minutes into Friday nights class I almost stopped and considered just lying down in savasana and listening to the rest of the class. I was that tired.

The last two weeks have been crazy, full, and exciting but the result was that my body and mind were wiped out. Add on a strong practice heavy on the sweat and flow and demanding my full cognitive attention and you have me wishing I were lying down instead of standing up.

But even though I may be physically and mentally beat the Cahills were fabulous and there were good things to be found.

The Notes

Below are some notes from tonight’s (Friday) class, in no particular order…

N.B. Not all things are relevant to Brock & Krista’s teaching tonight. Some of it was just my own wandering and meandering mind. Also excuse sketchiness and unorthodox grammar. Think more jotted notebook phrases of things I wanted to remember.

ONE
It’s easy to practice when your attention is sharp.

The adventure is to practice when nothing in your mind will focus, your body wants to take savasana, and you are TIRED. It’s been a long week.

I am the first to take a slow or restorative yoga practice. I can go on and on about my love for bolsters and blankets. I love my rejuvenating quiet yoga which partners with a love for challenging active practice.

Normally, on a tired day like this I would be lying with my legs up the wall. Tired body, tired mind = no crazy stuff. Quiet for the win on the non-sharp day. But Brock and Krista have such a positive energy. And I had made it to class, so I was there.

TWO
When I’m mentally gone, all those little patterns and details of weakness in my practice and alignment make themselves known.

My practice usually involves lots of focused attention on anatomy, alignment, and precision of movement. It’s the only way I’ve found to support and even heal the multitude of injuries I came to yoga with. But tired, that focus and attention and control just wants to float out the window. Tonight, uber-tired, I could barely instruct my feet to lift.

Benefit: imbalances in my body became crystal clear.

Example: I’ve been working on and off to find the corners of my feet and figuring out how these corners are balanced and interact in space. Sometimes, in an effort to align and discover I overdo so the actual situation becomes muddled. Does my foot actually orient that way or am I subconsciously “fixing” it by observing it? (Classic case of the observer effect.)

Tonight I could not “find” my inner back heel in lunges or extended leg’s inner heel in Utthita Hasta Padangusthasana. Also my outer pinky toe mound disappeared in my warriors.

So my inability to “correct”/control tonight, meant there was no “over-correcting”/over-controlling. The questions I had been asking myself for months were clear.

Non-benefit: I was so wiped I couldn’t actually do anything about this clarity. Realizing I could not find my inner foot did not actually help me to find my inner foot. I couldn’t figure out how to engage there like I usually would after clarity and attention. To figure out another day.

Three
Interesting start to class to place in teacher toolkit. I’m calling it “Super-Hero Tadasana“

Tadasana with hands around blocks. 90degrees. squeeze block. work shoulder alignment. Shoulders relaxed away from ears. Humerus in shoulder socket. Collar bones wide. Back ribs up and front ribs soft/down. Tall.
Do this forever.
Raise arms progressively 3inches. Repeat.
LONG time.
Until arms straight up. [like a super-hero!] Hold.
Bend elbows back–a la pincha mayurasana (Forearm balance). Elbows parallel. Back ribs up and front ribs soft.

Hello shoulders and upper back. Nice to re-meet you.

Me: bonus if you are using heavy wood or cork block.

UPDATE: I may have to rethink the trademarking of the previous sequence under the name “Super-Hero Tadasana”. Day 2 gives us another exercise to open class, this time on the floor in Supta Tadasana. Exercise involves specific engagement from feet to hips to shoulders to fingertips and your block makes an appearance again. Reasons the supta Tadasana exercise should be henceforth called “Super-Hero Tadasana”:

1. “super-hero” sounds like “supta” in Americanized Sanskrit.
2. it would defeat the purpose of trying to shorten Sanskrit named [modern] poses by Americanization if we called the supta Tadasana exercise “Super-hero Tadasana Two”. Clearly too many numbers for the yoga students in class to keep track of before they’ve had their morning coffee/green juice.
3. irony that you call out super-hero but end up on the floor.
4. bigger irony when you realize the floor kicks you ass.

Will also entertain the name “Super Tadasana” for same reasons as above.

FOUR
Obvious but true: “Shoulder blades go in opposite direction of neck.”

At first this didn’t make sense.

Point here is to engage the lower and mid-trapezius muscle fibers which draw shoulder blades down the back. Effect of softening upper trapezius fibers. Effect of moving shoulders and shoulder blades away from neck. Effect of freer neck.

The anatomy nerd in me immediately connected to finding the lower trapezius fibers. Again, it seemed so obvious in the moment, but obvious was perfect for this fried brain.

A refresher on trapezius anatomy via the following diagram (click to enlarge):

The upper fibers of the trapezius are those muscles that cause headaches and pain and make you wish you had a massage therapist on call to massage your shoulders.

When the upper trapezius fibers are tight or overly contracted, the shoulder blades are raised towards the ears. The trapezius around the neck gets tight and grips. The result: tension headaches, a stiff neck, pain in the upper back and around the neck. Sound familiar?

Relaxed upper trapezius muscle fibers will make your neck feel so much better–in handstands but more importantly in life.

So, a partial solution to stiff neck muscles: engaging the lower and middle trapezius muscle fibers. This will relax the upper trapezius fibers and therfore soften the upper traps. Then you won’t need that massage therapist on call to work at your desk (though that would still be nice) when your neck hurts or your tension headaches flare up.

Anatomical analogue:

Shoulder: the lower trapezius fibers contracting causing the upper trapezius to soften

should be a similar neurological response as

Knee: the quadriceps muscle contracting causing the hamstring muscle to relax.

FOUR.Five
Back ribs up. Front ribs down.

Handstand = Bakasana around anterior pelvis [think forward bend in the waist]. Backbend in upper torso.

Other miscellaneous:
Inner thighs touch in lunge, 3-legged dog, vira 3, et al.
Weight press in front of heel for leg engagement (shin, hamstring. No hyperextension of knee.)
Heart forward dragged by hands back for planche-style jump backs, float up and backs, plank, et al.

Back ribs are the kidney ribs.

FIVE
Crow has always been my nemesis. It is super hard for me.

At home I try to I will cycle through handstands dropping down towards bakasana but I don’t actual expect to get anywhere. Let’s just say my “float into crow” aims to be more like a controlled slide through crow. I hope.

This means that I was not expecting much while working the transition from bakasana (crow) to adho mukha vrksasana (handstand). But hey! This transition is way cooler and way more possible than I ever could have imagined! Thank you Brock for the assist and my partner for the repeat!

The assist work we did was really nice–press handstand work and the bakasana to adho mukha assist. The sensation is one of really lifting the hips in the latter. The biomechanics actually work out much more smoothly than I anticipated.

Now will have to figure out the “how to” and how to work on that one on my own.

Should ask Krista what she did for the 10 years she was working on that transition.

UPDATE: Bolsters bolsters bolsters. Up up up. Knees knees knees. “Froggy” “froggy” “froggy”. Hips hips hips. Core core core.

FIVE.Five
Note to remember: eagle crow arm balance which had not tried before was cool. Opposite leg of what would intuitively think.

[unrelated side note: variations on crow and other crossed/crazy arm-ani balances: check. Regular, straight crow: uncheck. Nemesis.]

SIX
Gah! ab work.

Not great on a good night. NOT great on a tired night.

Need to get back on the Navasana boat.

SEVEN
I liked the ardha chandrasana (half-moon) cartwheel sidebend into straddle handstand.

Tricky to work at my at home wall space so I never think to do it. (Memories of class with David Regelin and the “wild turkey kick” maneuver 2 years ago.)

Fun.

EIGHT
Krista’s instructional breakdown–from flexible person perspective–in downward facing dog of outer hip engagement.

Starting with legs up through hips, anterior pelvis, ribcage rising to level of pelvis, to shoulders, and then using this core lift to jump, press, or pike forward was AWESOME!

So light.

This is one of those situations where when she instructed us through all the steps in the sequence it worked perfectly. And then when we repeated it again on our own, I couldn’t get the exact same effect.

Note to teaching self: Remember every time you give all the steps in the entrance to a pose (e.g. Ustrasana) and then shorten the instructions the 2nd or 3rd time around? It doesn’t work the same for students! This is a Room-for-Debate moment on the merits of full instructions on the 2nd and 3rd+ pass or just a quick review of the necessary yoga points.

NINE
Still tired. Still wiped.

Handstand has always been my pick-me-up but at a certain point you give in. Hence the early Savasana…which was great. (And no, I didn’t fall asleep.) So something went right.

TEN
Brock and Krista Cahill are the cool teachers I wish I had in the studio around the corner so that I could go to class every week.

Why? Handstands are my drug and these two provide it. And there is no crying involved. And they are just cool if they can give a wiped out girl her high.

Yes, if they were my weekly teachers I would build the physical stamina for a fun inversion practice. Yes I would learn from master technicians who have really put the hours in and can communicate what they’ve learned over the years. Yes I would sweat lots.

But really I would go because I would have fun. I would get my daily dose of sweat and happy and good. They create that space.

I still believe that people from warm climates have an inherit advantage in the good mood department. But even if their LA base gives them that advantage, the Cahills should come back more often.

Cheers.
-b

UPDATE: Major props to traveling teachers who actually teach regular weekly classes. Major props to teachers who give good adjustments. Major props to teachers who manage to individually teach students in a roomful of abilities.

There is no ego here. They know what they are talking about, give fabulous individual attention, and generous and skillful assists.

The Cahills are warm and accessible, invested in students, and cool folks. Fun, sweat, and the teaching skills to boot. sweet. The absolute best “flight attendants”.

• Brock Cahill www.gravitycowboy.com
• Krista Cahill www.cahillyoga.com
• South Boston Yoga www.southbostonyoga.net

Original post can be found at: Brock & Krista Cahill workshop: Notes & drawings (handstands, trapezius, bakasana, and tired-ness) at Bethania Bacigalupe

We’ve got you covered:

Friday December 30, 2011

• 6 – 8 PM Yoga Mudra: An Invitation to Closure with Jared Hirsch at Down Under Yoga (Newton, MA)
  Cost:$30

Saturday December 31, 2011 — New Year’s Eve

• 12 – 1:30 PM MADONNATHON with Lynne Begier at Back Bay Yoga (Boston)

• 4 – 5:30 PM Special Candlelit NYE Class with Joanna Benevides at North End Yoga (Boston)

• 6:30 – 9:30 PM Special 3-hour New Year’s Eve Class with Glen Cunningham at Sadhana Yoga Studio (South End, Boston)

• 8 PM – 12:01 AM New Year’s Eve JourneyDance Celebration! w/ Toni Bergins, John & Nicole Churchil at Samadhi (Newton Centre, MA)

• First Night Kirtan & Dance! with Shubalananda & Ashley, DJ Mantra Ji & special guests ~ attend all or part at The Arlington Center
  8 PM – Shubalananda & Ashley kirtan
  11 PM – DJ MantraJi dancing kirtan
  Cost: $30 at the door or class card x 2 ~ free refreshments ~ come & go whenever you like

• 10 – 11:30 PM New Year’s Eve Benefit Class with Michael Mann at Prana Cambridge (Central Square)
  Cost: $15 minimum donation required

• 10 – 11:55 PM O2′s First Annual New Year’s Eve Class with Ann Panopoulos and Katherine Pomponi at O2 Yoga (Somerville, MA)
  Cost: $25 advanced / $35 day of

• 10 PM – 12:05 AM New Year’s Eve Yoga with Ame Wren at Back Bay Yoga (Boston, MA)
  Cost: $20

• 10 PM – 12:01 AM New Years Eve Celebration Class w/ David and Todd at South Boston Yoga (Boston, MA)
  Cost: $25adv/$30door

• 10 PM – 12:00 AM New Years Eve Flow at Be In Union (Somerville, MA)

Regular Classes:

Down Under Yoga (Newton, MA) : Saturday December 31st-ALL CLASSES RUNNING (Except 5:45pm)

Samadhi (Newton Centre, MA) : Saturday December 31st-ALL CLASSES RUNNING

Sunday January 1, 2012 — New Year’s Day

• Welcome in 2012 with the Gift of Yoga at Laughing Dog Yoga (Wellesley, MA)
  9th Annual New Year’s Celebration Yoga Classes
  8 – 9:15 AM – Breath-Flow-Stillness w/ Cynthia
  10:30 – 12 PM – New Year’s Celebration Yoga Class w/ Jennifer

• 10:30 AM – 12 PM First Morning Yoga Class with Barbara Freedman at The Arlington Center
  Cost: $17 or class card

• 12 – 2 PM Moving with Joy Into the New Year-A New Year’s Day Practice with Live Music by the Grass Gypsys with Roberto Lim at Back Bay Yoga (Boston, MA)
  Cost: $25

• 12:30 pm All-Levels – Special Additional Sunday “Late Risers” Afternoon Class for New Year’s Day with Glen Cunningham at Sadhana Yoga Studio (South End, Boston)

• 12 – 1:30 PM Vinyasa Yoga and 1:30 – 2 PM Meditation w/ Julia Hanlon at Majestic Yoga Studio (Cambridge, MA)

• 1 – 3 PM New Years Day: Grace in Transition w/ Tim and Kirsten at South Boston Yoga (Boston, MA)
  Cost: $30 advanced / $35 door

• 1 – 3 PM A Practice to Launch the New Year with Natasha Rizopoulos at Down Under Yoga (Newton, MA)
  Cost: $35

• 1:30 – 4:30 PM Honor the New Year with 108 Sun Salutations with Jennifer Maniates at Open Doors Roslindale
  Cost: $40 / $25 early

• 2 – 4 PM Special New Years Day Detox Flow with Ame Wren at North End Yoga (Boston)

• 2:30 – 4:30 PM Special New Year’s Day Restorative with Bethania Bacigalupe at Majestic Yoga Studio (Cambridge, MA)
  Cost: $20

• 3 – 5 PM ReNew You 2012: A New Years Day Intensive with Live Cello! with Larisa Forman and Rachel Arnold at Samara Yoga (Somerville, MA)
  Cost: $25

• 4 – 6 PM Radiate into 2012 with Chanel Luck at Down Under Yoga (Newton, MA)
  Cost: $35

• 5 – 7 PM The Art of Intention with Sarah Sturges at Back Bay Yoga (Boston, MA)
  Cost: $25

Regular Classes:

Down Under Yoga (Newtonville, MA) : Sunday January 1st– All Classes Running ( Except 7:45am)

Samadhi (Newton Centre, MA) : Sunday, January 1st — 4:30pm Nia & 5:45pm Tribal Beat ONLY

———-

Please confirm with individual studios for class times and prices before you head out the door. Many studios also have regular classes on their schedules (especially Friday and Saturday), so check on individual studio websites.

Please add any other yoga classes or events you know in the comments below!

Have a fabulous New Year!

-Bethania

Original post can be found at: Boston New Years Yoga Classes and Events 2012 at Bethania Bacigalupe

It’s terrible, but the news headlines are sensational and read like tabloids.

(In case you missed it, neti pots are those nasal irrigating pots that help clean your sinuses and have been a gift to allergy and sinus headache suffers everywhere. They are a favorite of nature health practitioners. Imagine their shock when they find that amoebas in your neti water can enter the brain and kill you. The news of this nightmare is everywhere, from NPR to fox news. It’s an 11 o’clock local news dream.)

In the spirit of sensationalism everywhere, my first comic:

It’s not parody.

Don’t drink the water.

Original post can be found at: Killer Neti Pots: a comic against brain-eating amoebas at Bethania Bacigalupe

Nice to go to class and explore yoga asana practice through the lens of another teacher. In this case, I couldn’t remember the last time I’d done the transition into Ustrasana (or Camel pose) from Balasana (child’s pose). Ryan’s sequence was particularly well thought out to build up a fluid, waving spine which supported back and forth the transitions between backbends and forward bends.

In all, a lovely class and interesting vinyasa to work with. Thanks Ryan.

Starting in child’s pose, hands holding the heels.

Inhale–lead with the head and heart up to camel. Wave spine up through backbend. (Stay)
Exhale–fold forward. again lead with the head, sternum, and heart. The head is the last thing to come down.

Start and end points at top right and bottom left corners.

Drawing notes:

Since this was less a pose than a vinyasa–a series of movements linked with breaths–I was thinking about time and time-lapse photography. Comics and panels do a nice job of this time traveling sensation. I like the idea of each moment being sketchy. As such, each individual “frame” was quickly drawn, speed style to not get stuck, as the momentum was forward and on.

I sketched this series from bottom up, bottom to top, left to right, but when I put the panels together I realized it can be read from top to bottom, right to left, which is nice, seeing as this vinyasa and transition doesn’t have to start any particular place. It oscillates back and forth from balasana to ustrasana and back again. Like a pendulum.

Original post can be found at: Yoga Art: Balasana to Ustrasana transition at Bethania Bacigalupe

Gibbon Skeleton-- torso, pelvis, shoulders, and skull anterior view

Comparative anatomy is cool. When you look at the anatomy, form and function of another species, you can gain insights into the human body in ways we may have overlooked or ignored. Invisible characteristics become relevant and significant.

Since form is function, our anatomy will effect our biomechanics, both in and out of yoga asana (poses). Biomechanics affects performance, posture, and pain.

For my recent research project on gibbons I was studying their skeletons and how they are adapted to gibbon life and reflect gibbon evolution. I was also looking at how they move (especially how they “brachiate”, or travel through the trees by swinging from branch to branch). This research on gibbon skeletons, led to research on chimpanzee skeletons which led back to features on the human skeletons.

I wanted to share with you one of the interesting tidbits I found which is relevant to your yoga practice or movement practice and which could be especially beneficial for yoga teachers.

Learning from gibbons

The anatomy of the lumbar spine — our special waists

Think about your lumbar vertebrae, the spine of your lower back. The lumbar spine is bounded by the thoracic vertebrae above and the sacrum below. Both are nestled into relatively immobile structures: the ribs and ribcage limit the movement of the thoracic spine and the sacrum (which is actually sacral vertebrae which have fused together) is nestled into the two sides of the pelvis.

Gibbon Skeleton-- anterior torso: ribcage, lumbar spine, and pelvis space

Human Skeleton-- anterior torso: ribcage, lumbar spine, and pelvis space

Photos I took of Gibbon and Human Skeleton. Note that in both species there is a physical separation between the ribcage and pelvis.

Notice that there is space between your ribs and your sacrum. Human waists are tall and narrow (well, most of us). Compare this to chimps, whose waists are short and wide. Other animals barely have waists. They have very little space between ribs and pelvis. Chimps’ lumbar spines are shorter than humans (relative to their shape). Humans skeletons are built so that their lumbar spine is not restricted. The tall, skinny human waist separates the ribs and pelvis so that the waist is free to move.

[nerdy anatomy aside: this narrow tall waist is adapted to bipedalism. The freedom to move means that the waist can twist, which allows the torso to twist in opposition to the pelvis. This allows the body to balance angular momentum while running.]

[nerdy technical aside: note that all the size comparisons, such as "tall" and "wide"are relative. These descriptions relate to the expected size of a waist or length of a lumbar spine when you scale skeleton to a different size. During scaling, characteristics may not scale linearly, for example volume and length do not scale equally if the shape remains proportionally the same. When a characteristic is larger or smaller than predicted, we can ask why the skeleton breaks isometry or any other predictions. For further reading, look up allometry or isometry.]

So, the lumbar vertebrae are not limited in movement by other bones. Sure, the shape of the lumbar vertebrae determine the range of motion of the lumbar spine (more flexion and extension than twisting). However there is no boney structure or cylinder (ribs, pelvis) limiting movement.

Why does this matter?

The blessings and pitfalls of mobility and flexibility

1. the freedom from bone means the human lumbar spine is highly mobile. Also the soft tissues and organs around the lumbar spine can move, twist, and bend as your body needs for motion. Extra space to move! Potential range of motion! You are not stuck.
2. the lack of extra bone architecture means the soft tissue (e.g. connective tissue, muscles, tendons, ligaments) have to do extra work to maintain the integrity of the low back. Imagine if you were all floppy in the waist and abdomen. The lumbar vertebrae could maybe hold you up if you stood vertically and balanced precisely. But now try to lean forward or to the side; the stress on your spine would be tremendous. You’d split in two.

So you need a strong “core”, 360 degrees around the low back–abs, quadratus lumborum, back muscles like erector spinae–to help the spine move and to support the low back.

If you sit all day at a desk or in a car, or your core is weak, your lumbar spine can become compromised. Your body will try to compensate for the weak core muscles. This compensation process can lead to bulging disks, low back pain, or a stiff low back.

On the other hand, we can thank our tall, flexible waists for more elegant walking/running gait, and flexibility in balance. The core muscles support us, but they can also coordinate complex movement patterns. Plus, we have the potential for a tremendous freedom of expression and movement, in yoga and in other activities (you can bend your back over a bar in olympic style high jumps!)

In short, our waists are special. Our lumbar vertebrae, or our lower back, are free to move because the ribcage and pelvis aren’t stuck together.

As a yoga teacher, this gives me some new ideas to work with. Alternate perspectives on the same situations often yield new insight. As I’ve been thinking about this anatomy in my yoga practice, expect to see some of the understanding gained to show up in classes.

And so anatomy inspires yoga.

About the photography and anatomy sketch:

I took the photos above while doing my research project at the Harvard MCZ museum. Great place to visit for locals. It’s been recently renovated (I think in 2009).

I’ve been experimenting with some digital art which is interesting because you can build up sketches as layers (a la photoshop). This is my first drawing ever on a new program so nothing fancy in this sketch of a torso and its underlying skeleton. I always enjoy drawing anatomy because it gives me insight into the relationship between structures and their ramifications in yoga. More yoga art can be found on my blog.

Since this drawing was built up in layers, I’ve taken parts apart for your edification. Let me know your reactions to the layering or just the skeletons in general.

Here I was also thinking about/had fun with:

• The spine.
• The way the top and bottom segments of cylindrical containers of the abdomen and thorax are held together. For example, lung diaphragm and pelvic diaphragm. Expressions of spines, sacrum, top and bottom elements.
• And the communication and reflexion of the geometry of the lung/ribcage diaphragm and pelvic bowl shape/diaphragm. Also the implied shape of the atlas, the first ribs and clavicle. Even the curve implied by the greater trochanter of the femur and the bottom of the pelvis.
• And human greater trochanters! (The angle of the femur. We are bipedal!) For another day…….

As always, I appreciate you meeting me here. Let me know of any feedback or questions.

Original post can be found at: Yoga Art: Low Back Anatomy lesson + Layers in Torso Skeleton at Bethania Bacigalupe

Grounded Savasana or Grounding Corpse or Final Relaxation Pose

Savasana literally means “Corpse Pose”. This pose is used at the end (or beginning!) of a yoga class or practice to relax deeply. By pausing at the end of your practice in savasana you enable the physical and subtle bodies to integrate the work you have done.

I love this variation of savasana. It is incredibly grounding and the sensation and experience it provides is most exquisite.

I discovered it accidentally after a practice where I had made heavy use of the wall. Once I finally lay down my body was too close to the wall. My legs were straight but the soles of my feet connected into the wall. My first instinct was to move away by pushing off, but the curiosity in my mind said “why not stay?”

So I did.

And let me tell you, this was the most incredible savasana. No, it’s not the same as the usual, no-wall-middle-of-the-room savasana. Its different. It has a different flavor. It tastes different. It’s like discovering a new blend of coffee or tea–familiar yet layers of complexity revealing themselves as you smell, taste, and sit with the warm cup in your hand and on your tongue.

There is a depth to this variation.

For me, the depth is not immediate. In fact, most times I use this grounded savasana variation I start out all excited about how great it’s going to be, only to be confused by how weird it feels at first. The first initial connection of my feet to the wall feel kind of strange. Your feet bones, ankles, femurs, pelvis all have to adjust–they’re standing on the floor, but not.

But once I settle and give it a bit of time, this savasana variation just feels so charged. It feels like you are charging up from the earth; it’s really connecting, really grounding. I feel super connected and integrated; solid and secure. And when we are grounded and integrated there is an incredible lightness and gaiety.

Basically, it feels amazing.

I encourage you to try it out. Give it a little time once you are in the pose. Let the complexity of sensation build up and play out. Try out subtle variations. Leave comments below–I’m curious how it goes for you!

Benefits of Grounded Savasana

Savasana is beneficial for everyone.

This grounded variation may be particularly beneficial when you are feeling:

• anxiety
• nervous
• spacey
• flakey
• out of place
• Vata-disorder (Ayurveda)
• overwhelmed
• pulled in many directions;
• stressed
• after lots of back bends
• after lots of inversions

How to set up the pose

The illustrated drawing above should give you an idea of the basic setup and instructions of the pose.

There are many ways to prop and create a supported savasana. You can incorporate any of these additional variations, such as a blanket under the knees or head. The supported savasana variation of folded blanket over the tops of the thighs is particularly complementary to this grounded savasana since it also supports grounding.

Prepare

Props: Wall. Alternatives: solid baseboard on a bed; a chest or trunk that is solid and will not slide on the floor.

Optional props: A blanket (can be small or large) to place between your feet arches and the wall Alternatives: a towel roll; small pillow; uniform jacket or sweater;

Extras: A blanket to cover yourself up. (As you relax into the pose, your body temperature may drop. This is a sign that your body is relaxing. A blanket can be nice to stay warm.) A folded blanket to place over the tops of your thighs. (Extra grounding, as noted above.)

If using the optional foot blanket/towel, fold or roll it uniformly so that it can nestle into the arches of your feet.

To come into the pose

1. Sit or lie down close to the wall.
2. If using the optional foot blanket, nestle the blanket across the bottom arches of your feet. The blanket will fill the space made by the arches of your feet.
3. Lie down on your back with your feel towards the wall. Start a bit closer to the wall than you need.
4. Connect the soles of your feet into the wall.
5. Feel free to slide a bit towards or away from the wall. You can even push off the wall with your feet.
6. Ground the feet into the wall.
7. Charge up body from the earth.
8. “Charge up” from the ground/Earth
9. Imagine the earth as a reservoir of energy, electricity, capacity.
   Ground into this; soak it up; get recharged from it.
10. (See Tips and Hints below for other notes)

Complete the setup as your usual savasana practice. For example:

1. Rest your hands where they are most comfortable. Some ideas:
1. traditional savasana position — on the floor, to either side of your waist (see Sketch above)
1. palms up (traditional)
2. palms down (more grounded variation)
2. out to the sides. Your arms will form an A- or T-position
3. on your low belly . Watch your low belly rise and fall with your breath.
2. Release the shoulder blades down the back. Allow the shoulders to rest on the floor. Let your chest expand with breath
3. Rest your head so you neck is most comfortable

Tips and Hints:

• The feet really connect into the wall.
• try sliding slightly closer to the wall and then pressing the whole foot into the wall so the femur bones integrate into the pelvis.
• Experiment with the strength of the connection between feet and wall. If you’ve never done this before, you may be surprised at how solidly you can make the foot-wall connection.
• Experiment with the distance of the body from the wall
• Experiment with the strength you press the feet into the wall
• It should feel like you are standing on the wall.
• Experiment with the distance between the feet on the wall.
• This is also a quick way to adjust the pressure/strength of foot-wall contact.
• The feet do not need to connect into the wall completely
• For example, if your Achilles tendons and calves are tight, your heels may not comfortably reach the wall.
• try sliding towards the wall to stretch the calves and tendons comfortably.
• try placing a rolled up blanket or towel beneath the arches of your feet and heels. Build up the blanket/towel enough so that the entire foot feels connected and in contact with solid support.
• Even if the heels do not connect with the wall, connect the balls of the feet solidly into the wall
• The feet can angle slightly outward on the wall.
• Experiment with the angle of the foot.
• Alternately, you can angle the feet straight up or even inward. This depends on the structure of your bones and connective tissue. Each will have a different quality. Do what feels most natural.
• Alternative: try placing a rolled up blanket or towel beneath the arches of your feet and heels. Build up the blanket/towel enough so that the entire foot feels connected and in contact with solid support.

• This variation may feel awkward, weird, even wrong at first. Give it time to develop (so long as you are not in pain). Stay in the posture and watch the sensations in your body. It may take a few seconds or a few minutes for the body to adjust to the sensation of the feet grounding. Stay present and observe the body and breath. Continue to focus on charging and connecting into the earth via the feet.

While in the Pose

Close your eyes if this is comfortable. Allow the skin of your face to relax.

Focus on grounding. As stated above and in the drawing:
Imagine that you are standing on the wall.
Ground the feet into the wall.
Charge up body from the earth.
“Charge up” from the ground/Earth.
Imagine the earth as a reservoir of energy, electricity, capacity.
Ground into this; soak it up; get recharged from it.

Let the quality of charging and earth develop over time. Observe your body and breath.

Your attention may wander. That’s okay. Keep returning to the sensation of your feet grounding into the wall. Keep returning your attention to your breath.

You can stay in this pose as long as your usual savasana. For example, 5 – 20 minutes. Start with shorter times and build as you feel comfortable.

Stay as long as you feel comfortable sweetness.

To come out of the pose

As always, move slowly. First bringing awareness through the feet, legs, and hips. Then become aware of the low back, mid back, shoulders, arms and hands.

Gently press the feet into the wall and push off towards the center of the room. Take a few moments with the feet free. Observe the sensations through the feet, legs, pelvis, sacrum, spine, and head.

Choose:

• Take a “regular”, feet free savasana for a few minutes, or
• Come straight to seated, as follows

When you are ready, you can roll over to one side.

Rest here a few moments to let your body adjust to the change in position.

Find the ground beneath your hands and gently press up to seated.

Sit quietly for a few moments, allowing your body to adjust to gravity.

Smile.

Disclaimer: Consult with your doctor before trying these postures or those of any exercise program. Yoga In The Sky, this website, this website’s owners and this website’s contributors are not responsible for any injury, pain, harm, or distress that may result from the information contained herein. You are responsible for your own health.

Please use common sense. Pain is NEVER good.

Previously in the restorative yoga poses series:

• Supported Supta Baddha Konasana
• Supported Balasana

Original post can be found at: Restorative Yoga Poses: Grounded Savasana at Bethania Bacigalupe

Supta Baddha Konasana or Reclining Bound Angle Pose

Supta Baddha Konasana, literally means “Reclining Bound Angle Pose“. This pose opens the pelvis, groins, and chest. It is one of my student’s favorite restorative poses. Once you get comfortable in this pose you won’t want to get out of it!

In this position the soft abdominal and pelvic organs are gently exposed to the sky. Normally, we spend the day protecting these areas. As such, we carry a lot of tension in the front body. If we can gently allow these areas to soften, we encourage circulation and reap a host of benefits.

Benefits of Supta Baddha Konasana

Supta Baddha Konasana opens the whole front of the body: pelvis, belly, chest, and throat. It is especially beneficial for the pelvic organs.

In this pose, the legs are supported. The inner groins can soften and the lower belly and pelvic area can soften. When we release tension (by softening) in an area, we allow circulation to flow. Fresh blood and lymphatic fluid can circulate in the pelvic region. As such this pose is very healing for the pelvis.

Since it promotes circulation around the pelvis and the front body, Supta Baddha Konasana is often recommended for:

• women, in all stages of life
• supporting fertility
• pregnancy
• easing PMS symptoms
• easing menstrual cramps
• improving indigestion
• increasing flexibility in the inner hips/groins

In addition, Supta Baddha Konasana can be very grounding and soothing. It calms the sympathetic nervous system.You can practice this pose when you seek to:

• calm anxiety
• reduce stress
• soothe and comfort
• improve focus
• calm and clear a scattered mind
• reduce tension
• relieve headaches

I can personally speak to headache relief this yoga pose provides. My best cure for bad migraines is supta baddha konasana coupled with several supported forward fold variations [restorative yoga poses post for next time]. The combo releases tension and gets me into “parasympathetic nervous system” mode.

To get the most benefit our of this pose, focus on 1) releasing your body weight into the props and floor and 2) releasing tension in the low belly by softening. More tips are below.

How to set up the pose

The traditional variation illustrated in the drawing above should give you an idea of the basic shape of the pose.

Prepare

Props: One or more (firm) blankets or bolsters. Alternatives: pillows or couch pillows placed under the knees; More alternatives: haystacks, lots of stiff towels, or telephone books built up underneath your knees.

Extras: A blanket to cover yourself up. (As you relax into the pose, your body temperature may drop. This is a sign that your body is relaxing. A blanket can be nice to stay warm.)

Fold the blanket so that it has some bulk. Place this blanket or bolster horizontally on your mat or floor. (See sketch above.) If you have several blankets you can stack them for more height.

To come into the pose

1. Lie on your back so the blanket/bolster lies underneath your.
2. Bend you knees, setting the soles of your feet on the ground.
3. Keeping the feet close together, allow the knees to drop open to the sides. The blanket/bolsters should catch and support your thighs.
4. Rest your hands where they are most comfortable. Some ideas:
1. on your low belly (see Sketch above). Watch your low belly rise and fall with your breath.
2. on the floor, to either side of your waist.
3. out to the sides. Your arms will form an A- or T-position
5. Release the shoulder blades down the back. Allow the shoulders to rest on the floor. Let your chest expand with breath
6. Rest your head so you neck is most comfortable (see Tips below)

Tips and Hints:

• Make sure your thighs are entirely on the support and not floating in the air. They should feel supported with no strain on the groins.
• Well-supported legs = happy groins = full relaxation = full benefit of the pose.
• If you need more support, adjust your props, or come out of the pose and build your blankets/bolsters/pillows up higher.
• If blankets aren’t available, try firm pillows or lots of firm towels.
• I usually tell students to start with a support that is higher than you might think. You can always lower the support height.

• If your groins feel strain: try adding more height to your support.
• If your feet don’t comfortably rest on the floor: place a blanket or pillow beneath them.
• If your ankles are uncomfortable: place a rolled up towel between the floor and the tops of each ankle.
• If your neck is cranky and uncomfortable : try placing a small pillow or folded towel or blanket beneath your head. Try adding a neck roll (see sketch).
• If you feel exposed, and therefore unable to relax:
  
• This pose opens up the soft abdominal and pelvic organs. It can therefore feel very vulnerable. A blanket or two to cover your body can help you feel more protected and grounded. Also try wrapping your feet with a towel or blanket.

While in the Pose

Close your eyes if this is comfortable. Allow the skin of your face to relax.

Focus on grounding. Let the entire weight of your body drop into the support. Especially feel the support under your legs, pelvis, and  hips, under your heart, and under your head.

As your weight settles into the bolster/blanket, and floor, watch your breath.

Let your belly be soft.

See if you can observe the inhales expand, and the exhales soften. You may observe the low belly rise on the inhale and recede/soften on the exhale. (Don’t try to force this. Just encourage the low belly to be soft and observe.)

Your attention may wander. That’s okay. Keep returning to your breath. Keep returning your attention to the rise of the low belly on the inhale, the fall of the low belly on the exhale.

• Inhale = low belly rises
• Exhale = low belly softens/recedes/falls

You can stay in this pose 5 – 20 minutes. Start with shorter times and build as you feel comfortable.

Stay as long as you feel comfortable sweetness.

To come out of the pose

As always, move slowly. First bringing awareness through the feet, legs, and hips. Then become aware of the low back, mid back, shoulders, arms and hands.

Take your hands to the outsides of your thighs. Use your arm strength to gently bring the knees together. Wait here a bit to let your low back settle.

When you are ready, you can either:

• hug your knees in and wait here a moment and roll to one side when you are ready, or
• roll directly over to one side

Rest here a few moments to let your body adjust to the change in position.

Find the ground beneath your hands and gently press up to seated.

Sit quietly for a few moments, allowing your body to adjust to gravity.

Smile.

Disclaimer: Consult with your doctor before trying these postures or those of any exercise program. Yoga In The Sky, this website, this website’s owners and this website’s contributors are not responsible for any injury, pain, harm, or distress that may result from the information contained herein. You are responsible for your own health.

Please use common sense. Pain is NEVER good.

Original post can be found at: Restorative Yoga Poses: Supported Supta Baddha Konasana at Bethania Bacigalupe

Hand.
Hand. Alive. Energy.

Fingers. Folds. Deep Ridges. Wrinkles. Experience.
Lines.

Circles.

Connect.

You might also like the Senses series, including the upcoming Yoga Art: Senses: Drishti and Yoga Art: Senses: Scent

Original post can be found at: Yoga Art: Hand: Connect A Mudra at Bethania Bacigalupe