The primary goal in teaching asanas is to enable students to perceive and understand more clearly what they are doing in developing a sustainable personal practice, whether in a class or independently. But there are many different ways of learning that require a varied approach to teaching. How people learn is closely tied to what educator Howard Gardner (1993) refers to as “qualities of multiple intelligence,” which vary considerably in any given class of yoga students.

In yoga classes, where the learning objectives include conceptual, emotional, physical, and metaphysical elements, the full range of multiple intelligences are in play. At the same time, a human being is more than his or her intellectual powers; motivation, personality, emotions, physical health, and personal will are more significant than a particular learning style in shaping how, where, and when one learns. This suggests that effective yoga instruction takes into account these variables in engaging with students ...

5 Ways To Sustain Your Yoga Practice

If you’re like most yoga students, you imagine practicing for the rest of your life. There is little else that creates such a sense of bliss or that takes you so deep into simply feeling good, clear, joyful and connected with a sense of spirit.

So why do so many dedicated students and teachers eventually fade away from the practice? One reason is that in the normal course of a lifelong practice one encounters physical, emotional or spiritual “plateaus” that often give way to burn-out or boredom. But even more often an attainment mentality – striving to “get the pose” – leads to injuries that may undermine your practice. Your original intention of feeling better, living a healthier lifestyle and awakening to the beauty and spirit of life gets lost.

Hatha yoga (whatever style, from Ashtanga to Iyengar to Jivamukti to Yin) offers a set of practical tools – asanas – for cultivating wellbeing, self-understanding and self-transformation. Each pose...

Kagola, a poor student of the Vedas, sat at night reciting aloud the sacred verses of the Vedas, his pregnant wife by his side in the dim light of candles. One late night he heard a voice laughing and correcting him for mispronouncing a verse. The tired and short-tempered father was enraged, cursing the unborn child, causing him to be born with eight crooks in his body, naming him Astavakra for the deformity (asta meaning “eight,” vakra “crooked”).

The crippled and humbled child sought to redeem himself to his father, studying deeply in the sacred philosophy of India and, in time, becoming a great Vedic scholar. But his deformities caused others to judge him for what they saw, not for his knowledge, wisdom, and simple articulation of the essence of mystical experience. While still a boy, King Janaka heard of Astavakra’s wisdom and sought him out as a sage and teacher. When the boy’s father learned of Astavakra’s great scholarly accomplishments and the honor bestowed upon him by King...

The tale of Vasistha and Vishvamitra in the Ramayana tells of the dynamic tension in spiritual life between the ease that arises from contentment and the spiritual depth that can result from struggle and effort. Vasisthawas an enlightened spiritual sage who established a peaceful, self-governing, cooperative society where all were happy. He had a “cow of plenty” named Nandini with the power to grant him whatever he wanted.

The powerful ruler of a neighboring kingdom, Vishvamitra, was curious about Vasistha’ssociety and went to visit with his army. Vishvamitra was impressed with Vashistha’s cow and tried to take her away by force, but Vasistha’sspiritual power—his tolerance and mastery of emotion—was too great for the many weapons that Vishvamitra used against him. In an epic battle between Vishvamitra and Vasistha, a hundred of Vishvamitra’s sons were incinerated by Vasistha’s breath. Vishvamitra eventually abdicated and committed himself to a simple ascetic life in pursuit of spiri...

Shiva is usually represented in Indian iconography as immersed in deep meditation or dancing the Tandava upon the demon of ignorance in his manifestation of Nataraja, the lord of the dance (Zimmer 1972, 151–157). As an ancient form of magic, dancing induces trance, ecstasy, and self-realization. Shiva manifests in the form of Nataraja to gather and project his frantic, endless gyrations in order to arouse dormant energies that are the creative forces shaping the world. Leading a class through a linked dance-like series of warrior asanas and vinyasas awakens students’ creative energy as body and breath are synchronized in flowing movement. But Nataraja is also the god of destruction, manifesting the element of fire that symbolizes the destruction of illusions we hold about life and the world.

In the balance of the dancing Shiva, we thus find a counterpoise of destruction and creation in the play of the cosmic dance, offering a pathway to enlightenment and equanimity.

The verbal root as in asana includes the idea of ritual, a set of actions with symbolic significance that we can tie into practice to highlight certain areas of personal, emotional, spiritual, social, and ecological experience. When teaching yoga, you can accentuate these ties by emphasizing the symbolism expressed in different parts of the practice. One source of symbolism is the vast realm of mythological figures found across the world’s diverse cultural landscapes. Whether we interpret myth as allegory and a “medium for or a flawed version of an immutable, eternal reality created by or for unsophisticated minds” or as “an essential function of the mind (conscious or unconscious) to express repressed needs and desires or to make sense out of life and resolve all conflicts therein,” as Devdutt Pattanaik (2003, 161–162) contrasts, we can find within them profound wisdom about the conditions and circumstances of life and consciousness.

Indian mythology is especially rich in tales, sy...

Pada bandha, the energetic awakening of the feet through the stirrup-like effect of contracting the tibialis posterior and peroneus longus muscles on the lower leg, can be intimately related to the activation of mula bandha and uddiyana bandha. The fascial attachments of these two muscles interweave with those of the hip adductors, which have origins in and around the ischial tuberosities (the sitting bones). The sitting bones are the lateral aspects of the perineum, with the pubic symphysis at the front and the coccyx at the back. The front half of this diamond is the urogenital triangle, a landmark for the urogenital diaphragm, a hammock-like layer that is created by three sets of muscles: transverse perineal (connecting the two sitting bones), bulbospongiosus (surrounding the vagina or bulb of the penis), and ischiocavernosus (connecting the ischium to the clitoris or covering the penile crura) (Hatley Aldous 2004, 41).Contracting this set of muscles awakens the levator ani muscle...

Most people are first drawn into the practice to reduce stress, develop flexibility, heal a physical or emotional injury, explore new social connections, or pursue physical fitness. But once in the practice, connecting body-breath-mind, something starts to happen. Students begin to experience a clearer self-awareness, a sense of being more fully alive; they feel better, more in balance, more conscious, clearer. The yearning that we have as human beings for a happy, wakeful, meaningful life and a sense of connection with something greater than our individual selves starts to become a powerful motivation for practicing over the long run of one’s life.

When used as a tool for self-transformation and a path of spiritual being, yoga starts the moment a student first pays attention to what he or she is doing in the practice. If a student is unsteady, falling, in pain, or distracted by discomfort, the tendency will be to go back into his or her analytical or agitated mind. Sthira and sukha...

This is where we can infuse our classes with creativity and playfulness. Shakti is the creative power of existence, the cosmic energy that animates the universe, the source of energy, the mother goddess, representing the active, dynamic principles of feminine power.

In some Indian traditions, every god in the panoply of Indian deities has his Shakti, the divine feminine energy without which the god would have no power. Shakti is the world-protecting, feminine, maternal side of god, symbolizing the spontaneous and loving acceptance of life’s tangible reality. She is the creative joy of life, the beauty, enticement, and seduction of the living world, instilling in us surrender to the changing qualities of existence. She is the preeminent enigma to the masculine principle of spirit, symbolizing the way that the flow of experience in daily life casts mists around the clarity of being. As we constantly project and externalize our Shakti energy, we create the universe of our life, the sma...

Your voice and use of language are invaluable teaching tools. Considered from a chakra perspective, the voice manifests through the vishuddha chakra, which opens with ease and clarity when the body is grounded, the creative juices flowing, the willful center strong yet supple, the heart open, and the mind clear. How you speak as a teacher thus reflects where you are in your life, skills, and knowledge. Building from this natural foundation, there are several elements of voice to consider.

First and foremost, your voice should be sufficiently audible that everyone can hear you, yet not so loud that it interferes with students’ attentiveness to the sound of their breath and sense of being in a tranquil space. If you choose to use music in your classes, control the volume of the music to be lower than you can comfortably project your own voice throughout the class. If you have a very soft voice or find yourself teaching very large classes, consider using amplification

Explore how you ...