Four · extends and lengthens the upper spine, beginning the exhale with the lower abdomen lengthens the lower spine. In this way the entire spine is moved by the breath in a positive

FourModule

B R E A T H

BREATH

Module04 Learning Objectives

1. Provide students with an understanding of the significance of breath to all aspects of yoga

2. Provide explicit guidance regarding the development of breath awareness and

Module4

Copyright Santosha Yoga Institute v3 All Rights Reserved 2015 4

The Principle of Breath as the Predominator

The body, breath and mind are connected intimately. When the mind is agitated so is the breath, when the body is restless and overactive the mind and breath

change their pace to suit. As we are moving our students towards the state of chitta vritti nirodha then we too need to ensure that the breath is the main focus so as to attain our goal. The only time Asana is the predominate is when the student is at their first yoga session. In this manner we can integrate the body, breath, and mind efficiently. The breath allows the mind to maintain concentration and not wander. This principle depletes the misunderstood practice of Asana and maintains the meaning of Yoga, also leads us to the next principle.


The Breath and Breath Development

Breath development is the integral component of the asana/pranayama practice; therefore the breath fills our asana practice and is the foundation for our

pranayama practice.

Breath development must be understood, applied, practiced, and taught intelligently, following the Breath Development Steps accordingly.

The quality of breath we seek during the practice is Dirgha and Sukshma.

• Dirgha - steady and uniform • Sukshma - smooth, subtle, and fine


Understanding the Breath

• Patanjali, the father of Yoga, suggests that the breath should be both Dirgha (steady and uniform) and Sukshma (smooth, subtle and fine).

• All movement is contained in the breath – breath determines movement.

• No Vinyasa Krama is to be practiced without correct coordination of the breath. If breath is left out of practices, not only do such practices become mere physical practices, they have the potential to harm the practitioner, so therefore at all times we embrace ahimsa.

Breath awareness is taught at the start of the Asana class to provide students with the most critical foundation for their practice and are also woven intelligently into an Asana class.

Without full awareness of breathing there can be no development of meditative

stability and understanding

– Thich Nhat Hanh


Physical Aspects

Begin by settling students on the mat physically - here you create physical awareness of how to lay on the mat, bringing attention to and disparity between

the left and right side of the body, external rotation of the shoulder joint, hip joints, Happy Back, scapula, location of Dens and correct lengthening of neck from Dens. We can see external rotations that exist in joints and difference in leg length and understand if any lower back issues or kyphosis exists. Always ask your students how they feel, we do not want any pain or discomfort to exist

Stress Release

• Ask your students to gently relax, to release • Feel this relaxation, feel the support of the floor beneath you • Feel the support of the bolster (if using) • Appreciate this feeling • Connect to the feeling of when you feel at ease, your favourite place to sit or

lay, where you feel most at peace – for some, you are creating this feeling, the connection to this feeling , so the can reconnect to this at any time they desire . This alone significantly affects their quality of life.


Connection to the breath, Developing Breath and

Preparing for Chest-to-Abdomen

Then move into Passive Observation of Breath encouraging them to passively observe their breath - without changing the vrittis (inhale or exhale). Refer to

PASSIVE OBSERVATION cues.

Then, Belly Breath - to switch on the parasympathetic nervous system and to cultivate a sense of release, relax the student, releasing the abdominals. Expect different responses, as students may not be used to letting go/ surrendering. Refer to BELLY BREATH.

The Resting Breath is next. This breath prepares the body and the mind for Resting/Natural Breath – the goal of this is to give a tangible connection to the feeling of what it is to surrender. You may need to describe the sense of what surrender feels like eg. ‘sinking into your favourite armchair’. Refer to RESTING BREATH.


This leads us to developing the Chest-to-Abdomen breath - the breath that we use whilst performing asana - moving in and out of the posture. During asana this breath supports the spine in the most efficient way; breathing first into the chest then the belly offers the most support for our spine.

To summarise the sequence of the order of the breath development section at the start of an asana class (Note: NEVER CHANGE THE ORDER)

• Physically laying on mat • Stress release then:

1. Passive Observation – (passively observing the breath)2. Belly Breath – (focus is on the rising of the belly on the inhale – with

intention, falling of the belly on the exhale – natural recoil, no control on exhale – here we can find out if a paradoxical is existing).

3. Resting Breath/Natural Breath (in the very beginning, timing the RB is required for the teacher/student to gain an understanding of holding patterns. There is NO control with RB)

4. Chest-to-Abdomen. (There is much in this practice, it takes a lot of time and intelligent teaching to gain and master the Chest-to-Abdomen breath)

1. Passive Observation

Teaching cues:

Passive observation of breath allows the practitioner to simply observe, watch, connect to, become the Sakshi (the witness). During passive observation the practitioner is not controlling or changing the inhale or the exhale, just simply watching the breath. It is not to be confused with Resting Breath as its intention is to simply observe. It also allows the practitioner to move from the outside world to the world inside the Yoga Shala, and inside their own bodies.


We can ask our students (not requiring an answer):

‘How does your breath feel in this moment’‘Where does your breath begin, and end’‘What is the quality of both the inhale and the exhale’‘Does your breath feel staggered or short, long, fast, slow, jagged and if so in which phase’‘Lets now create an intention to allow our breath to take on the qualities of Dirgha (long and smooth) and Suksma (effortless)’

2. Belly Breath

Belly breathing / Abdominal Breathing, where the belly bulges out on the inhale, is the first method students are taught. Accustomed to a fast pace of life, many people habitually only breathe into the chest using the top part of the lungs, which is inefficient and stimulates the stresses associated with the fight or flight response.

Above: Belly breathing starts in the abdomen first and then moves to the chest

Belly breathing helps students learn to breathe deeper and serves a necessary role in teaching deeper breathing that helps calm the mind in some forms of meditation. Sometimes, it can be used in yoga approaches that are relaxing, restorative, and require little muscular effort. The lower abdomen is relaxed, and the breath pushes the belly out, as the muscles connecting the ribcage to the diaphragm contract.

Why Belly Breath Practice?

• To produce a grounding effect on the system • To try to overcome ‘reverse breathing’ pattern. Note that many students

will have a paradoxical breath habitually presenting also known as reverse breathing, where the belly bulges on the exhale.

• To relax the abdominals • To switch on the PS Nervous System and relax any anxious student • To emphasize the movement of the diaphragm


3. Resting Breath / Natural Breath

Developing a connection to Natural Breath – starting point for Breath Awareness.

• Characteristic – generally will be abdominal shallow movement (unless overweight, pregnant or constriction)

• Rate – 10-12 approximately per minute • ‘Letting go’ – a skill to be developed – unlearn breathing habits • Allows individuals to relinquish any holding patterns/ patterns of breath • Tends to lead to a more cooperative attitude to breath • Can be done easily when initiated and cultivated • Relaxation technique helps significantly with anxiety • Tends to lead to a more cooperative attitude to the breath • Can be done at all times • To summarise, becoming aware of and releasing control of the breath to its

natural rhythm is a vital practice as it will allow finer control to all breath work done in breath development and Chest-to- Abdomen Breath.

4. Chest-to-Abdomen Breath

Chest-to-Abdomen breath begins with a sense of expansion at the chest on inhalation and then the abdomen. On exhalation, the lower abdomen ‘zips up’ as the breath moves firstly, out of the abdomen and then out of the chest.

Correct use of movement and breath is of vital importance. Chest-to-Abdomen breath supports the spine in its most

appropriate manner during asana. It is one of the most important reasons why asanas help to correct spinal problems. This technique is the breath that Sri T Krishnamacharya taught and is considered the only breath that allows fullness of breath and supports the movements of the body in asanas.

Chest-to-Abdomen is where we inhale into the centre of the chest with a sense of expansion and then consciously contract the lower abdomen during exhalation (as opposed to some teachings where the abdomen is expanded first) Chest-to-Abdomen allows the practitioner to bring a deeper integration between breath


and movement and allows for a far greater depth of yoga practice. As stated by Krishnamacharya:

‘I suggest that when we inhale we first fill the chest and then fill the abdomen, and as we exhale we first release the abdomen and then finally empty the upper lobes of the lungs in the chest region…This is contrary to the way of breathing taught in many yoga classes. The technique I am suggesting has the great advantage of stretching the spine and straightening the back. The moment we start to breathe in, the ribs rise and the spine, to which they are attached, is extended upward and slightly straightened. When using the other technique of breathing first into the abdomen, the abdomen expands so much that it inhibits the expansion of the chest and consequently the spine is not extended enough. As well, the abdominal organs are pressed down rather than the diaphragm being given room to move freely by the rising action of the body and does not hinder the extension of the spine, this Chest-to-Abdomen breath is best to use.’

The process of inhaling first into the middle of the chest with a sense of expansion extends and lengthens the upper spine, beginning the exhale with the lower abdomen lengthens the lower spine. In this way the entire spine is moved by the breath in a positive way so as to create space.

Inhaling correctly will also naturally arch the upper spine, so when moving into Bhujangasana for example the breath supports the posture. Exhaling on a forward extension will naturally support the direction of the movement and support the spine.

The most important aspect with all breathing is that the breath remains relaxed, not holding tension, and slow & steady. Quick activity allows the mind to wander, the process is over before the mind can do anything about it; whereas when an action is done with consciousness awareness the mind can be focused can be sustained during the entire movement. The goal / main priority is to link the body and the breath and the mind during a series of movements or postures. Summarising - Why Chest-to-Abdomen?


• To lengthen the spine and improve posture • To lengthen the spine and create movement in the thoracic for poses which

are created/entered on an inhale (Back Extensions) • To create space in the lower lumbar and or support in poses that focus on an

exhale (ie. Utkatasana – Seated Twists) • To create space in the lower lumbar through the exhale and to create space

in the Thoracic during the inhale • To support the spine in its most natural state during Asana • To create a 3D expansion of the Lungs • To gradually deepen the breath on both the exhale and inhale • To have a more uplifting effect on the system as opposed to Expand the belly

first then the chest • To develop finer control of the breath to lead the student to being able to

engage Uddiyana Bandha appropriately

Understanding the Teaching Cues for Chest-to-Abdomen

When we offer the instruction “exhale lower abdomen drawing it in slightly (*and up”) the latter component of the instruction is applicable only when the practitioner is able to draw the lower abdomen in and the up without force or determination. Therefore the words “and up“ is only applicable when the student is ready for this component / practice - without forcing. The subtle application of this latter component of the instruction requires time, practice, and awareness and why we begin with just the first part of this instruction. Chest-to-Abdomen takes time and practice to develop and refine, therefore our teaching of this breath must include firstly the understanding of where we are journeying to in the big picture; which is the correct application of the Bandhas and the ability to consciously choose how we are breathing and WHY.

Think of the practice like this: ‘Gradually contracting from lower abdomen/ pubic bone to navel’.


Steps in Teaching Chest-to-Abdomen

1. Teach location and feeling – assess the students ability – exhale lower abdomen drawing/moving in, inhale middle of the chest, with a sense of expansion

2. Focus on exhaling completely then let the inhale reciprocate the characteristic of the completed exhale

3. Focus on expansion of the lungs in a 3D manner; as you inhale, notice the spine lengthening from the top of the spine, allow the exhale to naturally recoil

4. Practice and combine 2 and 3 5. Practice and combine 2 and 3, with the focus on the exhale - contracting

lower abdominals try to 6. Maintain the contraction (the subtle resonating feeling of the “contraction”)

after a completed exhale, whilst you travel into the inhale - then ask yourself at which point of the inhale do you feel you need to release the contracted abdomen? Where do you feel the abdomen start to release, can you feel this and connect to this? This creates awareness of the movement of the abdomen during this phase, it will be different for all students. NB if a student bulges through the abdomen as soon as he/she brings the inhale it will LIMIT the thoracic expansion of the chest and thus limit the length of the spine.

7. Maintain the slight contraction of the abdomen and as you journey to the Inhale consciously release the upper abdominals slightly, as you travel to the exhale notice the switching on of the lower abdominals again as your breath begins again

8. Exhale draw the lower abdomen in and up, notice the concavity of the upper abdominals as you Inhale release the upper abdominals as you exhale begin again


Journal Entry 6

Watch the video the Teacher tune-up video available in the resource centre on Breath Development. Begin (or continue!) practicing your breath awareness and development according to the instructions given in this chapter and as shown in the video. Diarise your experiences each day. Whilst feelings of discomfort are uncommon if they do arise, don’t panic. Discontinue the practice and contact a Senior Teacher.


4ModuleComprehension Check

1. Provide a one-paragraph explanation of the importance of breath to the mind, the body and the breath.

2. Under which circumstances would you recommend:a) Belly Breathb) Chest to Abdomenc) Natural Breath

Explain your choice for each one

3. You have begun teaching Breath Awareness in a class when a student begins to feel discomfort. Explain how you could best handle the situation to ensure the wellbeing of the student and continuation of the class.


Assignment 3Santosha Breath and Movement Manual Assignment

This assignment requires you to carefully study each section of the Santosha Breath and Movement Manual. This manual is the work of many year of experience and expertise in the fields of yoga, physiotherapy, ayurveda, psychology and philosophy. It has been put together and carefully thought-out to formulate the very best in yoga teacher training and practice. It is extremely important that you are familiar with each section of the manual as a Santosha student.

Section 1: Introduction

a) Read the introduction section of the manual five times. Make sure you understand these concepts.

b) Write your own definition of each so that this can be used as a working glossary throughout your training and beyond.

c) For each definition, provide a teaching situation as an example. ◦ The meaning of Yoga ◦ Dens Point ◦ Principle of repeating a pose to prepare ◦ Principle of our practice not our students ◦ Principle of function over form ◦ Principle of progression ◦ Yoga for Women ◦ Sacroiliac joint pull ◦ Asymmetrical Guiding Principle ◦ Classifications of Asana ◦ Bandhas ◦ Pelvic Floor Stability and The Pelvic Floor Anatomy ◦ Alignment of Feet ◦ Neutral Spine ◦ “Roll up” vs. the correct way to come to a Standing Position ◦ Controversial Trikonasana ◦ Potential Injury Principle ◦ The Breath and Breath Development


◦ The Breath Development stages ◦ Resting Breath

d) Prepare a list of any questions based on your readinge) Submit your glossary and your prepared list of questions to santoshayttonline@

gmail.com

Section 2: Breath Awareness

Please be aware that all of the points listed in this section are included in Breath Awareness.

Read and Practice:• How to Teach students to lay on the mat • Passive Observation • Resting Breath• Belly Breath• Chest to Abdomen Breath with location and feeling - inhale middle of chest

sense of expansion , exhale lower abdomen slightly drawing back

If not sure Skype a Senior Teacher to ask questions ASAP ☺

Section 3: Postures

a) Read and Practice Teaching the poses/movements listed below with Dirgha and Suksma as the focus of breath. Ensure you read the pose carefully from the Breath and Movement Manual prior to practicing.

b) Record your experience in a few words for each pose.c) Practice the pose five times i.e. move in and out of the pose 5 times before

staying in the pose.

◦ All Prep Poses Asana Manual ◦ Neutral Standing Position ◦ Samasthiti ◦ Utkatasana ◦ Virabhadrasana 2


◦ Utthita Trikonasana ◦ Uttanasana ◦ Dandasana ◦ Simple seated twist ◦ Bhujangasana ◦ Vashistasana ◦ Supported shoulder Stand against the wall ◦ Matysara ◦ Paschimottanasana ◦ Savasana- at least 10 minutes, focusing on resting breath.

Section 4: Vinyasa Krama Sequences

Compare both the Vinyasa Krama Manual and the Breath and Movement Manual in order to answer the questions below.

a) What is the difference between what is noted in Vinyasa Krama Manual and the Breath and Movement Manual for each of the sequences below:

◦ Utthita Trikonasana ◦ Virabhadrasana 2 ◦ Paschimottanasana ◦ Uttanasana

Assignment 4: Self-Practice Assignment

**Note this assignment is different to the ‘Daily Self-Practice’ listed in the Foundation assignment section.**

Please book your session with a Senior Teacher, before starting this assignment. Using the following link: https://meetme.so/santoshayogaytt


Part A - Your Sacred SpaceYou will create your own sacred space where you intend on practicing for the duration of this course and beyond. This place will form a vital link to your self-practice and time out from the day-to-day routine and commitments that may exist in your life such as work or children for example.

Set up the space, if you can, with your mat, your meditation pillow, and create your altar. Notes on creating your altar are described in depth below. Your altar can also be placed on a mantelpiece from the wall if needed.

Please note, your sacred space will evolve with your practice does. The important thing is its’ meaning to you and the way it draws you back to your practice.

Post a photo of your sacred space, including your altar, on the group Facebook page- ☺ Include a description of what the space and your altar means to you when you have finished.

How to Create the Altar –

• Find the ‘Space’- Choose a place for your altar that is quiet and private. It could simply be the corner of your dresser , behind the couch, on the wall. What imbues an altar with its energy is the spirit you bring to it. Lastly, place your yoga mat and pillow in front of it to set the space apart from everything else. Perhaps something to separate it from the rest of the room, if the room is small. Also, if this is not possible simply having a picture on the wall where you practice that is somewhere that you pass and see, is a great start.

• Set an Intention - Close your eyes and think about your intention for creating an altar. Maybe it's to inspire you creatively, express gratitude, or wish someone healing. Most important is to create a sacred space that reflects back the energy of your yoga and meditation practice. Don't be afraid to change it up! Swapping out old pictures and flowers for fresh inspiration and continuing to add pieces as they come into your life and speak to you is a great way to keep your space inspiring and relevant to you.

• Make It Your Own Sacred Area - No matter what you choose to put on your home altar, make sure it feels like it is your own. Altars are a place for


healing, love, connection to your practice and the divine, so make sure the things you cherish are an integral part of your sacred space.

• Choose Deities from the Indian tradition that hold great significance - Choose a deity for your altar that helps inspire you to be your best self. Hanuman may remind you to be a good friend and servant of love, Shiva to dance with the mysteries of life, or Ganesha to be a remover of obstacles. If you can not connect to a Deity, perhaps it may be Buddha, or The Dalai Lama, or Gandhi or Mother Teresa, for example.

• Family Photos - While meditating/practicing yoga, you may find it comforting to see the faces of loved ones smiling back at you. It will also help you appreciate the long, but beautiful, journey through life.

• Words of Wisdom - Hang or place words of wisdom that resonate with you on your altar. Seeing these words so often will allow them to sink in and become an integrated part of your psyche.

• Lights - Lights symbolize an offering of energy and love. Decorate your altar with candles or other forms of light, calling energy and love into your home and heart.

• Incense Holder – Find the perfect Incense holder and fragrance (there are many to choose from), which you find most appealing. The fragrance will be associated with shifting your state of mind to connect inward to peace and harmony. If you use the same fragrance consistently and happen to smell it elsewhere, you will be connected back to that feeling of peace

• Fresh Flowers - Incorporate more of your senses by adding fresh flowers to your altar. You'll be able to smell the sweet nectar throughout meditation and prayer.

• Prayer Beads (Malas) -Traditionally, malas, or garlands of prayer beads, come as a string of 108 beads (plus one for the ‘guru bead’, around which the other 108 beads turn, like the planets around the sun. A mala is used for counting as you repeat a mantra. Malas are used based on preference but, in general, touching or counting the beads lightly can help bring you back to yourself. Keep your Malas in their bag or container and take them out when you practice.


Part B - Practice the Mandatory PosesRead the Santosha Breath and Movement Manual to gain a thorough understand-ing of the Mandatory poses listed below.

Select a mandatory posture from each sequence section listed to below include in your own self-practice sequence, plus a favourite posture of either listed or not listed below.

Keep the sequence (ie. order of the poses) as per below.

Once you have formulated your sequence and studied each pose from the Breath and Movement Manual, practice your sequence 3-5 times. This can be done on consecutive days or as it arises (but not all on the same day!).

Ensure that the breath remains dirgha and sukshma and follows the correct cuing outlined in the Santosha Breath and Movement Manual.

Mandatory Poses and SequencingFor further teaching details and variations for each, refer to the Santosha Breath and Movement Manual and previous assignments. If in doubt, get in touch! :)

1. Breath Awareness• Lying on mat - Explain Happy Back • Passive observation of breath• Belly breath• Resting breath• Chest-to-abdomen (understanding stage 1: location and feeling of inhale)

2. Prep Postures• Stretching breath• Apanasana• Windshield wipers/ Jathari Parivritti Stage 1- Knees bent off floor • Seated neutral pelvis and spine• Seated lateral stretch• Neck stretches• Chakravakasana


3. Standing Postures• Neutral standing • Utkatasana• Virabhadrasana 2• Prasarita Pada Uttanasana • Trikonasana

4. Sun Salutation• Surya Namaskar A – Entry Level

5. Standing Balance• Bhagirath Asana (tree pose)

6. Seated Postures• Dandasana• Vajrasana

7. Hip Postures (Reclined)• Supta Padangusthasana Theraband sequence• Supta Ardha Padma variation (straight leg or bent knee)• Supta Badha konasana • Lying wide leg konasana

8. Core and Abdominal • Ardha Navasana variations

9. Arm Balance• Plank (Start from all fours which eventually progresses to Vasisthasana)• Vasisthasana• Bakasana

10. Back bend/ Extension• Bhujangasana • Dvipada Pitham• Shalabhasana (exhale legs, inhale torso)


11. Seated Forward Fold/ Lateral/ Twist• Upavistha Konasana variation package - twist, lateral, forward, purvottanasana

(spinal extension counterpose) These poses help to prepare for Inversions -Can be done without the following or with

• Janu Sirsasana• Parivrtta Janu Sirsasana• Paschimottanasana• In terms of Pranayama - Breath Development - Master the physical

movements of Forward Bends - then add Sama Vritti into Pose - Then move into Conscious Pause end of Forward Bend - then lengthen the Suspension Phase whilst staying in pose. Then apply same order to Inversions. This is why Seated Forward Bends are before Inversions to allow the gradual progression of physical then Breath Development that will move into Inversions)

• (Note always place an Asymmetrical Forward Bend first then a Symmetrical Forward Bend - ie - Janu Sirsasana then Paschimottanasana)

12. Seated Twist• Simple seated twist• Ardha Matsyendrasana• Marichyasana C

13. Seated Shoulder Stretch - To Prepare For Inversions • Garudasana arms• Gomukhasana arms - If you cannot clasp hands with ease on both sides DO

not do Salamba Sarvangasana and approach Viparita with care and or only perform Dvi Pada Pitham as a preparation. If we continue to create more unbalance in the presence of unbalance then we are not practicing Yoga!

• Prishtanjali

14. Inversion• Dvi Pada Pitham (lift the thoracic spine in preparation for Viparita Karani and

Salamba Sarvangasana)• Supported half shoulder stand off the wall - • Shoulder stand from the mat (Viparita Karani into Salamba Sarvangasana)


15. Savasana• Entry into Savasana

Meditation - Choose a meditation of your liking from the course module and/ Breath and Movement Manual to include.

Pranayama - Choose a pranayama practice of your liking from the course module and/ Breath and Movement Manual to include.

Do not change the order of sequencing listed above.Please focus on location, feeling and breath as you practice each pose. Be sure to practice correct positioning of the spine, pelvis, shoulders, scapula, neck and head as per the Breath and Movement Manual. Repeat each pose at least 5 times before staying and apply the asymmetrical guiding principle as your body requires.☺

Part C – Other Points to Consider

• Females - What will you choose to do during your Moon cycle and why? • Injuries - If you have, or acquire an injury or illness throughout the duration

of this course, be sure to adopt your self-practice accordingly. There are many contraindications and injury points described for each pose in the Santosha Breath and Movement Manual. Alternatively, if you are not sure, get in touch with the Santosha team straight away and remember always to practice ahimsa (non-harm) with yourself.

• Which meditation practice(s) or practice you will use and why?• What it is it that you need to embrace or change in your life?• How much time do you have available to practice in each week? • Is your practice a morning or evening practice? • How will you continue your spiritual practices?


Part D – Reflection

After you have practiced your self-practice at least 3 times answer the reflective questions below:

• -How did you feel before, after and during your practice?• -Did you have any awakening moments? If so, what were they?• -Was there any pose you changed, adapted or modified, if so, why and how? • -What did you learn from your sequence?

Submit a photo of your sacred space, a finalised copy of your Self-Practice Sequence and answers to the Reflection questions in part D as a PDF to: [email protected] beautiful, journey through life.

Documents

Four · extends and lengthens the upper spine, beginning the exhale with the lower abdomen lengthens the lower spine. In this way the entire spine is moved by the breath in a positive