The Good and Bad News About Yoga for Weight Loss

IMG_2643The good news is that yoga can help one lose weight. The bad news is that the mechanism by which this occurs isn’t what most people expect, and it involves the mind a great deal more than the muscles.

 

While many people hope for a secret to weight loss, there’s no secret. Weight loss is a function of calories eaten being less than calories burned.  This simple formula means that one can either eat less or exercise more. Both the diet and exercise matter for good health, but the eating part is more important to cutting weight. This statement may be controversial and seemingly gratuitous—particularly for people who think exercise is going to single-handedly shed excess pounds–and so I’ll take some time to try to make my point.

 

The first thing one should know is that our voluntary activity only accounts for about one-third of calories consumed. The other two-thirds are used whether we move a muscle or not. Between 20 and 25% of our energy consumption is devoted to our brain, and much of the rest is used to keep us at 37°C (98.6°F) because we are, after all, mammals. This means that increasing the intensity or amount of exercise—while it has tremendous health benefits—will achieve only a marginal increase in calories burned. From the Mayo Clinic website, I learned that a 109kg (240lb) individual will burn about 273 calories doing a typical hata yoga class or about 436 calories with Power Yoga. (Compare this to about 327 calories / hr. for tai chi or 654 calories / hr. for hiking.) So your hour of yoga has maybe knocked off a 32oz soft drink or one medium size French fries. Most people have trouble finding more than one hour of time and energy for exercise per day. And as someone who sometimes spends more than an hour a day exercising, I can attest that there is a point of diminishing marginal returns. So while exercise is an important part of weight loss, one can’t go hog-wild in eating just because one exercises.

 

[One should also note that many yoga practitioners experience a reduced basal metabolic rate (BMR) because of the calming aspect of the practice. A lower BMR means that you burn fewer calories just living and maintaining your metabolism. All things being equal, this makes cutting weight all the more challenging—though the effect is certainly counterweighted by the stress reduction aspect of the practice that will be discussed below.]

 

To summarize: unless you’re an elite athlete in training for something like the Olympics, the idea that you can eat whatever you please and cut / maintain a healthy weight is likely to result in disappointment.  A common piece of dietary advice for elite athletes is to daily eat one gram of protein for every pound of ideal bodyweight and eight fist-sized servings of vegetables. Beyond that, they can pretty much eat what they want. But with that much slowly digesting material, they’re probably not going to go overboard—even if they weren’t already, almost by definition, very disciplined people.

 

IMG_2737So if an hour of yoga a day doesn’t even make up for having a Mars bar, what good is it?  For one thing, the yoga student has the opportunity to become more attuned to his or her body and, in doing so, to learn to differentiate physiological hunger from the many other permutations of hunger that overtime merge into a multi-headed hydra of craving. What are these other hungers? First and foremost, there’s psychological hunger, or the use of food as therapy. People use food to reward themselves, to medicate themselves, to take their minds off of their woes. Secondly, there’s sensory hunger in which we have no real need to eat but the food looks or smells too good to avoid.

 

One of the forms of hunger that often remains hidden is social hunger. That is, one eats to be part of the in-group and to bond. For example, imagine you’ve just eaten, are not hungry, and someone offers you food. Depending upon who it is and what your relationship is that person, you may feel compelled to eat even if you don’t need it. The double whammy is that eating as socializing is so deeply engrained and that we humans—contrary to popular belief—are dismal at multitasking. We can’t converse and be aware of what we are eating, and thus one may overeat because one is so engrossed in the distraction of socializing. This isn’t to say that there is anything inherently wrong with social eating. We all have to do it to some degree or another. One just needs to recognize that if it becomes a habit to be distracted from one’s food, one may have problems.

 

Relating back to the idea of psychological hunger, yoga helps one destress.  Stress can be a perfectly healthy phenomenon, but when it’s prolonged it can have many adverse consequences. One such consequence is having cortisol levels remain too high, and this has the effect of ramping up the appetite. Your body has been pressed into fight or flight mode, it expects that you’re hauling ass away from a sabretooth tiger or an angry woolly mammoth mamma, and that you’ll soon need to replenish depleted energy stores. Your endocrine system doesn’t know that you’re curled up on the couch with a pint of ice cream… yeah, let’s call it a “pint.” As a form of exercise, yoga helps reduce this problem. However, beyond exercise, yoga offers many relaxation techniques such as yoga nidra, kaya sthairyam, restorative postures, and some forms of pranayama(breathing exercises) that can help you turn off the “fight or flight” and turn on the “rest and digest”—what Herbert Benson called the “relaxation response.” Sometimes you might delve into an intense practice like Ashtanga Vinyasa or Power Yoga, and other times restorative yoga might be just what the doctor ordered. [Disclaimer: “What the doctor ordered” is a figure of speech. I’m not a doctor, and I haven’t even played one on TV.]

 

IMG_2633There is yet another way in which yoga can help. Yoga helps one dispassionately observe one’s drives and this way one can slowly, over time, rewire one’s attitudes toward food.  One can begin to think of hunger pangs as a sensation, rather than projecting a negative connotation onto them. In this way, one can learn to begin to watch the sensation and learn from it rather than running for the food.

 

Finally, an important benefit of yoga is in teaching one to be contented with oneself, even if one isn’t content to live with one’s present health or physical capability. Santosa is one of the niyama, and it teaches one to be content with who one is–perhaps even while one is simultaneously practicing the austerities of tapas (another niyama) in pursuit of personal development. If one isn’t contented with oneself, one can fall into a shame spiral that may create the kind of persistent stress that I warned about above. Also, if one is at a healthy weight, but has some deep-seated drive toward “perfection,” the lessons of santosa can inform you as well.

 

Best of luck in the pursuit of good health.

BOOK REVIEW: Kalaripayat by Patrick Denaud

Kalaripayat: The Martial Arts Tradition of IndiaKalaripayat: The Martial Arts Tradition of India by Patrick Denaud
My rating: 4 of 5 stars

Amazon page

There’s a dearth of books on Indian martial arts, in general, and Kalaripayattu, specifically. The few books that do exist, such as Ranjan Mullaratt’s “Kalari Margam” (a fine book which I’ve previously reviewed), focus heavily on the techniques of the martial art. Denaud builds a niche by writing perhaps the only English-language book yet that turns its focus on other aspects of the art, including the art’s history, philosophy, customs, psychology, and its influence on–and interaction with–other systems both in India and abroad (e.g. yoga, Kathakali, Ayurvedic massage, and Tai Chi.)

After three forwards by luminaries and an introduction, the book consists of seven chapters. The chapters cover the history and mythology of the art, Kalaripayattu as a martial art (weapons and techniques in general terms), the psychological aspects of the art, the art’s relationship with Ayurvedic practices—particularly massage, its relationship to other elements of Keralan culture, the results of interviews with modern-day masters, and the influence of India and Kalaripayattu on foreign martial arts.

When I picked this book up, I was somewhat expecting that it would contain little in the way of intriguing and relevant information, and that it would be stuffed with generally known background information. I’ve come across far too many books on topics for which there’s little information, and have become well-acquainted with the many methods by which authors pad out a pamphlet’s worth of information into a book. However, I was pleasantly surprised by how much information on Kalaripayattu this book contained, and how relevant the background seemed. While there’s a fair amount of background, the book doesn’t feel padded. Granted, I can’t be certain how much of this information is accurate. I know common myths are repeated that are now believed to be false (e.g. Bodhidharma spreading Kalaripayattu to Shaolin), but I saw nothing that seemed like pure fabrication (though I’d be unlikely to recognize such a thing.) Denaud does cite his sources (not in bibliographic format, just by attribution of authors and texts) on most occasions and it certainly wrings authoritatively.

I’d recommend this book for individuals interested in martial arts, and the history of martial arts. It’s a rare glimpse into various aspects of Kalaripayattu. Also, some people who are interested in south Indian culture more than martial arts may also find it worthwhile.

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DAILY PHOTO: Balancing on the Keshava Plinth

Taken on January 26, 2016 at Keshava Temple

Taken on January 26, 2016 at Keshava Temple

Flexibility & Power in Kalaripayattu: Confessions of a Gravitationally-Challenged Student

IMG_4269Learning third level material was when Kalaripayattu became daunting. Until then, it was just exhausting.

 

I’d been doing a lap of the kalari consisting of high kicks flowing into Hanumanasana (a scissors split.) Each split is on the opposite side from the last. By yoga standards, my split alignment was off. My hips weren’t perpendicular to my legs, but I’d allowed them to twist open to make the split easier. However, that was probably the least of my errors, and–unlike in yoga practice during which one might take minutes to ease into this intense split–the cadence in kalari was kick – split – struggle to one’s feet. [Okay, the “struggle” shouldn’t have been, but it’s an accurate description of my rendition.]

 

This wasn’t the hard part, by the way. I’ll get to that. The structure of the class up to that point was logically arranged to facilitate those splits. The practice started with warm ups of rapid repetitive motions that got the muscles and core warm. Then there were a series of kicking exercises that also served as dynamic stretches. Next, there was a vertical version of the splits done in a static form. With the inner edge of one’s bottom foot posted along the base board, the heel of one’s upper foot is slid up a piece of wood lathe worn smooth that has been tied vertically–perpendicularly to the steel burglar bars that one uses to pull oneself into the stretch. (This is an inner city kalari, and not the traditional version dug into the ground.) Then one revisits a high kick, swinging the leg with greater intensity. Only then does one do the lap of splits.

A traditional kalari looks like this. This is the Kalari Gurukulam in Chikkagubbi (parent school to the one at which I train.)

A traditional kalari looks like this. This is the Kalari Gurukulam in Chikkagubbi (parent school to the one at which I train.)

 

The next piece is where the third level kicked my butt. One’s hamstrings and quads stretched to the max, feeling more like limp noodles than coiled springs, one is now expected to work through a series of leaping maneuvers. There are seven leaping exercises (besides some basic warm-up leaps): a leaping circle kick, a spinning kick that takes one 360-degrees, a split kick in which one leaps up and kicks out laterally in both directions simultaneously, a split kick in which one leaps up spinning 360 degrees [theoretically] and does the same split kick in the middle, a flip kick in which one kicks up and forward and flips one’s body over in mid-air to come down on one’s hands and feet (in a lunged position with palms down next to the feet), and then there are two versions of leaping/spinning kicks that proceed down the length of the kalari.

 

IMG_1661Why does one do these plyometric techniques in the wake of such intense stretching? I suspect that experts in exercise science would tell me this isn’t the best way to improve my leaps. One should do the leaps when one’s muscles are more like rubber bands than al dente linguine. Still, I dutifully comply. Maybe there’s an ancient wisdom at work here. Maybe there’s not. There’s no way to find out without giving it a try. I fall down a number of times that first day, and on all subsequent sessions. As I write this, I’m now learning level five material, but I continue to revisit the leaps every session for two reasons. First, I’m not happy with my abilities. Second, I want to find out whether I can improve my balance of flexibility and power, and whether the kalari approach does the trick. (Note: I’m using the word “power” in the specific sense of work performed per unit time. In other words, it’s not synonymous with strength. It’s a function of both speed and strength.) At any rate, I still fall down.

 

IMG_2278However, looking beyond my own limited capacity to have my cake and eat it too (i.e. retain flexibility as I gain power), I see evidence of the success of this approach. There are a number of advanced people who’ve been using this approach for many years and have a preternatural balance of flexibility and jet propulsion. Said individuals seem to go from deep stretches to phenomenal vertical leaps without difficulty.

 

If nothing else, I’ve learned a great deal about my muscular composition. While I’m challenged by ballistic movements, my stamina is quite respectable. Type I (slow twitch) musculature seems to be disproportionately common in comparison to type II (fast twitch) in my body. While I’m including more power building training in my workouts, my progress is glacial. If I was smart, I’d take up long-distance running or some other endurance activity. But I tend to find such activities tedious, while I love the martial arts. And so I struggle.

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2015 Top 10: Highlights From the Year That Was

These aren’t necessarily in any order.

 

1.) Trekking the Great Himalayan National Park [June]:

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2.) Teaching kids at KAMMS and Socare [September & October]: I finished my RCYT course in April and have been teaching kids when I have a chance:

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3.) Completing Level I Examination at the Muay Thai Institute [September]:

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4.) Riding camels at Pushkar and Jaipur [November]:

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5.) Boating on the Ganges in Varanasi [October]:

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6.) Wandering around a coffee plantation near Chikmaglur [April]:

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7.) Completing the Level III and IV reviews in Kalaripayattu [February & August]:

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8.) Touring the Glenloch tea factory in Sri Lanka [May]:

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9.) 108 Surya Namaskara Against Child Trafficking [March]:

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10.) Junk boat tour of Ha Long Bay, Vietnam [December]: This may be jinxing us to put it on the list,  before we’ve been (we leave tomorrow) but I’m optimistic that our three weeks in Vietnam will be awesome, and I’m told Ha Long

 

 

What to expect in 2016? Lilla and I will be moving back to the States around mid-year. (To where, exactly, remains a mystery.) In January and February I’ll be doing an RYT-300 course to round out my 500 hour yoga teacher certification. I plan to make at least one more trip to Thailand to MTI for Level II. I’d also like to complete the 10-day Vipassana meditation course before returning. Lilla and I are thinking about another Himalaya trek for the summer.

I’ll also be continuing to work on press handstand progression, as that’s been a focus for me of late and I still have a ways to go.

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BOOK REVIEW: Yoga Education for Children, Vol. 1 by Swami Satyananda Saraswati, et. al.

Yoga Education for ChildrenYoga Education for Children by Swami Prakashanand Saraswati
My rating: 3 of 5 stars

Amazon page

This is the first of a two-volume set on teaching children yoga, and was the textbook for the Registered Children’s Yoga Teacher (RCYT) training course that I completed earlier this year. The focus is on integrating yogic teachings as part of a child’s broader education. It’s not just about how one can squeeze some postures into the life of a busy student, but about what yogic education can provide that mainstream education is lacking and how mainstream and yogic education can work together to produce healthier and more well-balanced children.

The book consists of three parts. Part I is entitled “Yoga and Education” and it considers a range of topics at the intersect of yoga and education. Here we learn why formal yogic education begins at age eight, and what the differences between children and adults are as they pertain to learning yoga—and learning in general. This section presents the specific practices that have historically been a child’s introduction into yoga (surya namaskara, nadi shoudhana [alternate nostril breathing], and a specific chant known as the Gayatri mantra.) The tone of the book is scientific, although it does vastly oversimplify some topics—e.g. the deterioration of the pineal gland—over what is being reported by scientists.

The middle section considers yoga as a therapeutic tool for emotionally troubled children, disabled children, and those with juvenile diabetes. This is the shortest part by far. It’s just three chapters, each linked to a subject mentioned in the topic sentence. The chapters are short and general. It should be noted, that the first section also addresses the issue of behavioral problems in a more general and less clinical sense.

The final part of the book, and the largest by page count, is yogic practices for children. There’s a brief section on pre-school exercises. As mentioned, children are formally introduced to yoga around age seven or eight. Younger children’s yoga training best takes the form of play. Therefore, the practices for younger children are more game-like. There’s a section on yoga for the classroom. In other words, practices that one can complete at a desk–as opposed to needing the full mat space.

The bulk of part three is taken up by asana. The postures are laid out as they are in the “Asana Pranayama Mudra Bandha” (APMB) book that is also put out by the Yoga Publications Trust of Bihar. For each posture there’s a line drawing, a description, and a list of benefits and contraindications. In some cases these posture listings look exactly the same as those in the APMB, but in many cases they are “marketed” differently. That is, a posture might be listed by its similarity of appearance to an animal or letter of the alphabet so that asana can be taught in conjunction with other topics—as well as be made more interesting for the young student. The grouping of asana is meant to assist in creating child-suitable lessons (as opposed to being grouped by type of posture–e.g. forward bends, back bends, twists, etc.)

The last part doesn’t deal only in asana, it also talks about pranayama practices suitable for children as well as other common practices like trataka (concentrating gaze) and yoga nidra (yogic sleep.) It’s important to note that not all pranayama practices are deemed suitable for children. Practices like yoga nidra have to be modified for children because they will not be able to sit still for extended periods, and so the yoga nidra practice must be abbreviated. Children may also have trouble following some of the instructions as used for adults.

I’d recommend this book for yoga teachers who are interested in teaching children. There are many unique features of teaching children that must be considered. This volume is under 300 pages, and the second volume is about the same thickness. I haven’t read volume two but it seems to take a similar approach, expanding on some items and focusing on a different set of practices. That volume also apparently reports on the findings of a couple studies on yoga in the educational environment.

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Saving the Knees: Preventing Knee Injuries in the Martial Arts

Public Domain Image from Wikipedia

Public Domain Image from Wikipedia

 

The knee is a hinge joint. It’s designed to flex and extend with the thigh bone (femor) and the shin bone (tibia) in the same plane. A healthy joint can tolerate a certain amount of torquing or poor distribution of the body’s weight on occasion, but repetitive movements of that nature and /or severe uncontrolled movements can lead to permanent damage. Healthy knees are stable when straight (extended), but become slack when bent (flexed.)

 

Knee damage among martial artists is all too common, and the causes may or may not be self-evident. Martial artists whose practice includes kicks that require pivoting on a support leg or which involve landing leaping maneuvers may be intimately aware of the risks. However, the first martial art that I ever trained in had no twisting / pivoting kicks and few leaps (that were rarely practiced), but knee injuries were epidemic. The culprit in this case was low postures which required the thigh to be turned out (externally rotated and abducted) with the knee deeply flexed.

 

Well, I should say those postures were the culprit in conjunction with lack of flexibility and/or strength in all the right places. This isn’t to say that the individuals who developed knee problems weren’t strong or flexible, but the areas that needed work weren’t necessarily the big muscle groups that leap to mind when workout time comes around.   Emphasis on the big muscle groups (quadriceps and hamstrings) with neglect of the muscles involved with adduction, abduction, external rotation, internal rotation and stabilization can create some problems. If you’re a runner or a weightlifter (with good form) you may be able to get away with such a stretching and strengthening emphasis. [Note: I’m not advocating such an approach for anyone. What I’m saying is that if your knee is only worked with the knee straight below the hip and pointed forward in a hinge fashion, your risks are not the same as someone who works with a flexed knee with the thigh turned out. The likely injuries are different.]

Note: Knees pointing the same direction as the toes. (The back knee might be a little far back but that's an issue for the ankle health post.)

Note: Knees pointing the same direction as the toes. (The back knee might be a little far back but that’s an issue for the ankle health post.)

WRONG: Note: if one dropped a line down from the knee it would be well inside the foot. That means the ligaments are having to work too hard and your skeleton isn't doing enough

WRONG: Note: if one dropped a line down from the knee it would be well inside the foot. That means the ligaments are having to work too hard and your skeleton isn’t doing enough

 

To do a posture like the one above, one needs the flexibility to keep the knee wide enough so that it points the same direction as the toes.  The joint shouldn’t be wrenched or torqued with load on it. The four ligaments (Anterior Cruciate Ligament [ACL], Posterior Cruciate Ligament [PCL], Medial Collateral Ligament [MCL], and the Lateral Collateral Ligament [LCL]) and the surrounding musculature keep the joint snug during movements. And, as mentioned earlier, when the knee is deeply flexed it’s more sloppy than when extended.

 

-Increase flexibility in the muscles that internally rotate and adduct  the thigh: When one goes into a wide-legged stance, one’s thigh is pulled away from the body’s center-line (abducted) and the thigh externally rotates. If the muscles that act in the opposite direction (pulling the thigh back on center and rolling the thigh inward) are too tight to allow the knee to move into proper position, then the load of the body weight will be going into the ground through a kinked joint. Furthermore, one will end up torquing through the joint as one moves. Below are a few hip openers that will help one achieve the requisite range of motion.

Utkatakonasana (often called goddess pose) variations will show you whether you're getting your knees and toes in line.

Utkatakonasana (often called goddess pose) variations will show you whether you’re getting your knees and toes in line.

Badhakonasana (often called the butterfly stretch): Work on getting those knees down

Badhakonasana (often called the butterfly stretch): Work on getting those knees down

Place one foot on top of the opposite knee (and vice versa for the other side) carefully shift weight forward. This puts an intense stretch on the hip joint to help rotate the thigh sufficiently

Place one foot on top of the opposite knee (and vice versa for the other side) carefully shift weight forward. This puts an intense stretch on the hip-joint to help rotate the thigh sufficiently

Same as the last from the side

Same as the last from the side

Upavistakonasana: put legs at about 90 degrees relative to each other, and then lean forward with a flat back placing the stomach, chest, and chin on the floor (in that order.)

Upavistakonasana: put legs at about 90 degrees relative to each other, and then lean forward with a flat back placing the stomach, chest, and chin on the floor (in that order.)

Padmasana (lotus): If you meditate in padmasana, you probably already have the range of motion necessary. Note: if padmasana hurts your   knees, you need to go back to hip openers and discontinue the practice.

Padmasana (lotus): If you meditate in padmasana, you probably already have the range of motion necessary. Note: if padmasana hurts your knees, you need to go back to hip openers and discontinue the practice.

 

-Strengthen the muscles that stabilize the knee-joint. One begins this process with the usual suspects of leg exercise. One just needs to focus intently upon alignment. Here are a few of the exercises you may already be doing.

 

Wall squat: just like sitting on a chair with one's back  to the wall--sans the chair.

Wall squat: just like sitting on a chair with one’s back to the wall–sans the chair.

The classic squat

The classic squat

Side lunge: This one is  particularly important to get the knee aligned with the foot.

Side lunge: This one is particularly important to get the knee aligned with the foot.

The basic lunge: can be done stepping forward, backward, or both (the latter in an alternating fashion)

The basic lunge: can be done stepping forward, backward, or both (the latter in an alternating fashion)

 

As one needs more challenge, one can achieve it in the usual ways (single-legged, unstable surface, add weight, or combinations thereof.) Below are a couple of variations that combine single-limbed work with an unstable surface.

 

IMG_1537 IMG_1532

 

-Save static stretching for after the joint has warmed up. It used to be common to begin a workout with static stretching. While few do this anymore, it’s a practice that needs to be replaced. Stretch warm.

 

-Don’t neglect the opposing muscle groups: When I said that one needs to increase flexibility in adductors and internal rotators, that doesn’t mean to ignore the opposing muscles. Nothing  good comes of stretching or strengthening in an unbalanced fashion. Your musculature works as a team with agonists, antagonists, and stabilizers all working  in conjunction to produce effective movement.

 

-Don’t go overboard with stretching: If your aim is to be a contortionist, then by all means go ahead. However, highly flexible martial artists need to be concerned about joint laxity. Laxity is when the joint gets so loose that it’s vulnerable to popping out-of-place.  A martial artist needs a balanced style of fitness. Extreme flexibility results in weakness and lack of joint robustness, just like extreme strength training produces a body that lacks range of motion and stamina.

 

Most importantly, don’t ignore pain when it’s still at the minor twinge point. If you have knee pain you’re doing something that joint doesn’t like. One should reevaluate your movement and, if necessary, considering stepping back from your current practice to work on capacity building exercises.

 

DAILY PHOTO: Lotus in the Mountains

Taken on June 11, 2015. Taken by my wife as I'm in the photo.

Taken on June 11, 2015. Taken by my wife as I’m in the photo.

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The Science of Inversions: or, Why and How to Get Off the Wall

IMG_0835Inversions are a class of postures (asana) in which part or all of the body / limbs are raised above the head. The classic inversions are: headstand [shirshasana], shoulder-stand [sarvangasana], plow pose [halasana], forearm-stand [pinchamayurasana], and handstand [adho mukha vrksasana], but there are many more–some of which are easier and others of which are more challenging than these basics. Other than a few partial inversions (e.g. down-dog [adho mukha svanasana] and leg-up-the-wall pose), inversions tend to be daunting for beginners (and even intermediate students) at a mental as well as a physical level.

In this post I’ll focus on headstands. Most students seem to achieve shoulder-stands and plow pose relatively easily because it feels more stable. I’ll note that those two asana require as much or more care and caution as any inversion given the flexed state of the neck. On the other hand, by the time one is perfecting one’s handstand, one will likely be over the issues that I’m addressing in this post. I’ll save those poses for a later post with a different thrust.

Let’s first consider the effect inversions are supposed to have (and then the effect they tend to have in reality.)

What inversions are supposed to do:  The story is supposed to go like this: 1.) The body inverts. 2.) Our body’s sensors recognize that the blood flow to the brain is far beyond its needs.  3.) The body quiets our vital signs.

What inversions (too often) actually do: It may surprise some readers that inversions are supposed to have a calming effect because the chain of events is often as follows: 1.) The body inverts. 2.) The amygdala fires, triggering the physiological responses associated with fear. 3.) One’s conscious mind imagines the pain and suffering of falling. 4.) The amygdala fires some more. One is in “fight or flight” mode, and the flight the body wants to make is to a right-side-up position.

While I’ve had to work hard to improve my inversions, I had a much easier time with this issue than many. Before you dismiss me as a narcissist, let me state unequivocally that I have no special gift for inversions . I’m not claiming to be a yoga prodigy by any stretch. Why was it easier for me? I’ve practiced a martial art for many years that required training in breakfalls (ukemi.) Therefore, I had no particular fear of falling over onto my back, because my body is trained to tuck and roll. [My only fear when I first started doing headstands in studio sessions was that someone, e.g. the teacher, would walk into my blind spot. Note to all: don’t walk behind someone’s back when they’re inverted unless you’re sure you’re out of the “timber” zone.]

Why are breakfalls so beneficial to the development of one’s inversions?  Because it allows one to get off the wall. A lot of practitioners get addicted to the wall. “Addicted” may sound like a harsh term, but like addicts they think they can quit anytime and that they will quit at some undesignated point in the future–sometimes they do, but often they don’t. Reliance on the wall is reinforced by the fact that one may find one can only spend a couple anxiety-filled seconds inverted without the wall, but one can spend minutes comfortably against the wall. There’s a reason for this great disparity, and understanding this reason is crucial for knowing why doing 2 or 3 seconds unsupported (at first) is better for one’s long-term development than staying for three minutes leaning on the wall.

Here’s the deal. When you invert, your body needs to make subtle corrections to keep you on balance–at least until you reach the level of yoga genius. If you stand up with your feet together, your eyes closed, and you pay attention to your feet and legs, you’ll see that this is true when you’re upright as well. It’s just that your body is used to being upright. It knows how to make all these micro-corrections without conscious thought. The good news is that one’s nervous system rapidly learns to do the same thing when one is upside-down. When I say “rapidly” I’m not talking about the first, second, or even the twelfth time you try to do an inversion. [Trust me, despite what your mother may have told you about her darling genius, you didn’t achieve stability upright on your first few tries either.] The first several times, you’ll fall down almost immediately. However, if you keep trying, your body will learn and you’ll achieve progressively longer inverted stays. You can’t make these corrections at the speed of conscious thought. But the beauty part is that your body will learn to achieve stability solely through practice without any intellectual activity whatsoever.

Why doesn’t your body learn this when you use the wall? The cornerstone biological principle for those interested in fitness, movement, and sports is: Your brain and body are lazy; they will not develop any capability that you don’t force them to by challenging activity. Your muscles don’t get bigger without overloading them and causing little micro-tears in them that they must heal up better than before. Your bones don’t get more dense unless you put more load on them (see: Wolff’s Law.) And your nervous system will not wire itself to keep you upright in an inversion if you’re propped up against a wall. You can invert against a wall for a thousand years and not get the same benefits as from an hour of struggling to get off the wall. This principle is reflected in nature from Darwinian evolution onward.  Gazelles don’t learn to run 500 miles an hour. Once it can accelerate (on average) fast enough to survive the cheetahs that prey on it, it passes on genetic material and the evolutionary pressure is off. Gazelles don’t keep getting increasingly faster than their predators for shits and giggles.

Incidentally, this is also why you should keep challenging yourself, and not rest with getting the basic form. There’s always somewhere new to take it. For example, one can look at moving between splits like so:



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Alternatively, one can work on a different form of the pose, such as the tripod headstand. Transitioning from crow pose [kakasana] to tripod headstand is a good way to start to learn the bodily control that will serve one well in intermediate and advanced practice.



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Yet another option is to practice a controlled descent. The inverted “L” is quite a challenge. Not as one might think because it requires tremendous core strength, but because it requires gradually leaning into the direction of falling backwards in order to counterbalance the weight of your legs.




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A few notes on headstand breakfalls:

– Make sure you have room in all directions to fall without crashing into anything or anyone. While it would be nice to always fall back onto one’s feet, it’s neither realistic nor beneficial to your development. Why not? If you’re always distributing your weight to fall onto your feet, you will be keeping muscles tense and will have trouble finding a relaxed state of balance. Furthermore, there is a tendency toward panicked motion if one starts to lose balance in the wrong direction, and speed is your enemy in inversions.  (One wants to do everything from entering the inversion to falling in as slow and controlled a manner as one can possibly manage.) If you get your feet up high enough to be on balance, you need to accept the fact that you’re as likely to roll onto your back as on to your feet.

– If one is doing the basic forearm-supported headstand, don’t tightly interlock one’s fingers. “Tightly” is the key word here. It’s alright to interlock your fingers, but one doesn’t want to create ridged hands such that one’s neck rolls over a 3 to 4 inch (7 to 10 cm) ledge if one falls backwards.  One wants the hands to collapse.

– Tuck and roll. Don’t reach back with your foot / feet and try to arrest your fall. If you have enough strength, flexibility, and timing to make that work you probably don’t need my advice and haven’t read this far. (i.e. you have advanced gymnastic skill.) If you’re the more typical yoga practitioner, you’re more likely to injure your back, toes, feet, or some combination thereof by arching into a back-bend to arrest your fall.

– Counter-intuitively, you probably don’t want to put anything behind you to soften your fall. You don’t want your spine rolling over surfaces that are at different levels–even if one them is relatively soft. It’s usually best to roll over a level surface, even if that surface may be a bit hard. Furthermore, if you think you’re going to save yourself by working entirely on a softer surface, you’ll probably find yourself falling more often and for a longer period. Softer surfaces are harder to maintain balance on. That’s why one of the primary ways that we make an exercise more challenging is to do it on a softer (more rolly) surface.

– Don’t let your neck crumple. On a related aside, never look around while you’re in a headstand. If you need to see something, e.g. the teacher’s demonstration, come out of the headstand.

– However you come out of an inversion, don’t neglect the counter-pose. For the headstand, child’s pose is a common counter posture, and you should spend some time there upon exiting the pose.

– It’s best to begin one’s practice of inversions under the supervision of a qualified teacher. As one develops confidence and one’s body begins to learn how to maintain stability, one can make these postures an increasing part of one’s practice.

It’s hard to get get a good sequence of pics to show how to breakfall–given my limited photography skills, that is. But here’s my attempt.

So it begins with crumpling balance

So it begins with crumpling balance

Get those fingers open so your neck doesn't flow over an interlocked fist

Get those fingers open so your neck doesn’t flow over an interlocked fist

Tuck and roll

Tuck and roll

Don't arrest your roll.  Let momentum carry you forward. Gradually dissipate the energy.

Don’t arrest your roll. Let momentum carry you forward. Gradually dissipate the energy.

Happy inverting.

3 Levels of Movement Coach

I.) New teachers and coaches often over-rely on their personal experience. In other words, one may think that the skills that came easily for one will be a piece of cake for one’s students as well. Conversely, such a teacher tends to be more sympathetic and lax when it comes to skills that kicked his or her own ass. This may work for some students, but it’ll be way off the mark for others. There’s a risk of pushing students too hard on skills that may be dangerous for them, and / or not helping them achieve a breakthrough that they are capable of because of one’s own baggage.

 

II.) The next level of coach recognizes that there are different body types. Such teachers put this knowledge to use in determining what skills present greater or lesser risk for a student given the strength, power, speed, flexibility, etc. associated with such a body. This coach will recommend modifications and capacity building exercises based on the student’s body type.

 

III.) Then there is the coach or teacher who can see the individual idiosyncrasies of a given student’s body and make recommendations based the unique conditions, strengths, and weaknesses of a particular person.