"Teaching Hatha Yoga" - 200 hour T.T. manual
This manual covers the fundamental aspects of practice and teaching - techniques of practice, alignment fundamentals, teaching methodology, use of voice and clarity of language, effective demonstration, history and philosophy of the major branches of Yoga - Vedanta, Tantra, Hatha, and modern yoga- as well as the business of Yoga, ethics and how to creatively sequence any style of class for yourself or in your teaching.
Cost: $10.00 CDN. for PDF. Download | Manual 193 pages | 9.8mb
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Book Review
"Daniel has written this book to be a guide to a 200 hour teacher program and I think he does his audience a service. I especially like the section on teaching methodology. It includes suggestions on speaking, demonstrating, sequencing and the role of a teacher. My other favorite section is a discussion of Philosophy, Lifestyle and Ethics that a new teacher must consider but without a guidebook like this one might not think to do so."
- Paul Grilley; author of "Yin Yoga"
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Cost: $10 for pdf. download. Manual 193pages, 9.8MB. The manual will be sent to your email address within 24 hours.
Samples from the Book
Learning to Instruct
Before talking about Yoga philosophy within a class or even teaching a pose, you must be able to direct a student’s movement with clarity and a minimum of words.
Exercise:
Pick an everyday activity like opening a door, taking off a shoe, scratching your leg, and write a script for that action so that it can be carried out without interpretation. An example of an instruction with a lack of clarity would be:
“Walk up and grab the door handle and open the door.”
This instruction would work, but only because the person you are instructing has opened many doors before and knows how. A better instruction would be:
“Standing one arm’s length away from the door, step your left foot forward and grasp the handle of the door in your right hand. Turn the handle clockwise until it stops, then bearing more weight in your right foot, smoothly pull the handle toward you, opening the door.”
Ask a friend to try such an exercise using different everyday activities and make sure your friend does not interpret your instruction, but does exactly what you have instructed. It’s fun and your friends will think you are crazy for doing it. The experience will, however, prove useful by illustrating just how difficult it can be to be both clear and concise, and will inform your teaching greatly.
Adding Content
Begin simply. Simple is clear. Clear is good. Practice your teaching by simply instructing the breath through your own performance of Sun Salutations, one breath per movement. From there, layer on instruction so that the fundamentals of your teaching are so well established you will have the freedom to be creative.
Level 1—Breath
As you verbally instruct the breath in your own practice, listen to the tone of your voice. Notice the timing and pace of the simple instruction to inhale, exhale. Create a steady flow in your body and your words. Speak the word “inhale” just slightly before you initiate the first movement into Urdhva Hastasana, and “exhale” just before the second movement into Uttanasana. Notice your own tendencies to shorten the breath.
When you feel comfortable instructing your own breath, visualize the sequence of movements of Surya Namaskara instead of actually performing them, and instruct the breath
audibly. When you are comfortable with that level of instruction, walk around a room and instruct the breath, keeping a steady pace of visualized movement by noticing your own inhalation and exhalation. Embody the teaching of the breath so completely in this way that if you “freeze-framed” any part of the Sun Salutation you would know which part of the breath, inhalation or exhalation, connects with it.
Level 2—Outer Body Movement
Next is teaching outer body movement. Duration within a posture is dependent upon the style of class you are teaching such as upbeat, restorative, meditative, and so on. As a starting point, use five breaths per posture or per side. Five deep, rhythmic breaths take roughly one minute. In standing postures, this is long enough to be challenging for any student if the full depth of the posture is explored.
You will need to write a script to instruct entrance into a posture. Starting your entrance to most standing postures from a lunge gives you a “home base” reference point. Here is an example of a bare-bones outer body instruction for Parsvakonasana (side angle posture) entered from a lunge:
“From your lunge (performed with the right foot forward, left foot back) turn your back foot 45 degrees and press all four corners of the foot to the earth. Place your right forearm on your right thigh and your left hand on your hip. Turn your torso to the left.”
This is a very basic instruction, free of unnecessary words. This instruction takes about fifteen seconds, allowing time for students to perform each part of the instruction. Once they have taken the basic form, the duration is five breaths or approximately one minute. The posture is repeated again on the other side for the same duration. Write a basic outer body script for all the standing postures you will be teaching and practice speaking
them as you perform the asana, using your own body movements as a cue for timing. Speak
first, then move.
When you feel comfortable at this level, instructing your own body, try standing still as if you were teaching a class from the front of the room and speak through one standing posture at a time. Then time yourself, eliminating anything unclear or unnecessary.
Level 3—Physical Alignment/Energy Movement
Building upon the breath and the basic form of the posture, aligning the body optimally is next. Basic outer body alignment (length of stance, body position) should already be taken care of in your outer body movement instruction. Now you can begin to describe the movement of prana, connected to the inhalation and exhalation to align the student with the pulse of nature. Connect the inhalation to condensing energy, the exhalation to expansive energy. Here is an example, building upon the previous instruction for Parsvakonasana:
“From your lunge (performed with the right foot forward, left foot back) turn your back foot 45 degrees and press all four corners of the foot to the earth. Inhale as you draw energy from the earth into your centre. Place your right forearm on your right thigh and your left hand on your hip. Turn your torso to the left. On your next exhalation, send that energy back through the legs into the earth.”
This enhanced instruction now takes about twenty-five seconds to verbalize. At this point, you are beginning to introduce philosophical intention. By simply describing the flow of energy, the student’s attention is drawn to this universal pulsation of opposites. Depending on the student, this physical embodiment may be an “Ah, Ha!” moment, or it may not resonate at all. Keep teaching. Practice this with all the standing postures again, as you perform them, and then standing still.
Level 4 —Embodying Intention
Here, your teaching throughout the class should refer to your initial class intention introduced briefly at the beginning of class. You could use a poem, or share a personal experience, recite a Yoga sutra or utilize any other inspiring material to introduce an intention. Whatever it is, weave the intention throughout your class. Because what we experience individually and physically is also metaphorical for the universal play of Consciousness, the essential truth of the teachings become self-evident, leading to a deepening of wisdom within the student. Skillful and creative teaching in this way elevates the Asana practice from a physical workout to its potential as an experience revelatory of our true nature. Here is an example, again building on the previous instructions. The intention for this class, reflected in the postural instructions, is “Non-attachment”.
“From your lunge, turn your back foot 45 degrees and press all four corners of the foot to the earth, reconnecting with it. Inhale as you draw energy from the earth into your centre, knowing that what is taken must be again be given back. Place your right forearm on your right thigh and your left hand on your hip. Turn your torso to the left and with gratitude, expand fully on the inhalation. On your next exhalation, send that energy back through the legs into the earth, and allow this pulse of energy to move through you like a river, its flow keeping it clear, without stagnation.”
This level of instruction can be very inspiring if it comes naturally from a place of true embodiment in the teacher. You must decide what level of instruction with which you are comfortable. Make sure you have the fundamentals of instruction absolutely solid before moving on. There is no point in attempting to transmit subtle aspects of our true nature when half the class is in another posture.
Your intention will work more effectively if it is an intention that can be embodied. The above example works in asana practice because releasing the breath is clearly a physical form of non-attachment. You may have a great class intention that is difficult to embody. An intention such as “study of scripture to increase wisdom” is a great thing to dedicate one’s efforts towards, but it is difficult to weave that kind of intention into the body during asana practice.
Instructing Specific Postures
Being an effective Yoga teacher is like being a good waiter. You direct the students to take their seat, describe to them what is on the menu, possibly modifying a dish or two to better serve them, and occasionally check back to see how things are going. Each course of the meal needs to be brought out and presented, and then the waiter allows the guests to enjoy. One big difference is that dinner guests are usually not encouraged to like down on the floor afterward.
Using effective and clear language, the students you are teaching must be instructed in and out of the basic form of every posture you teach. Advanced students may be familiar with the names of many postures, but beginners will require instruction as to how to approximate every posture. These basic instructions are essential before refinements of alignment are taught. To do this, you will need to write a script for every posture you intend to teach—the full syllabus at the end of this book is a good place to start.
This work is made a little easier as many postures share similarities. Stance width for many standing postures is the same. Many seated postures also share similarities in their general form. The artistry of teaching once the basic form of a posture is approximated by your students is to then creatively illustrate the differences between the postures.
Some examples of possible scripts:
Surya Namaskara-A — Sun Salutation
“ Inhale and raise your arms,
exhale and fold forward, touching the floor
inhale and look forward
exhale, step back and lower down to a low plank, called Chataronga Dandasana.
Inhale, sweep your body forward and up into Urdhva Mukha Svanasana (upward dog)
exhale and move back into an upside-down V, or Adho Mukha Svanasana.
Hold this posture for five breaths, feeling the connection to the earth through your fingers. Bend the knees a little, stretch back from the hands and elongate the spine.
On your 6th inhale, step up and gaze forward.
Exhale and fold forward again
Inhale back up to standing, raising your arms to the sky
Exhale to equal standing.”
Due to the speed of Surya Namaskara, moving at one posture per breath, it is not possible to instruct much more that the basics of entry into each posture. Surya Namaskara is an excellent place to begin instructing postures precisely because of this.
Exercise:
Write a script for Surya Namaskara-A in your own words. Your own use of grammar, colloquial language and choice of words is like a signature. Your natural way of interpreting the practice is uniquely your own. Make your teaching your own, not a copy of anyone else. At the same time, keep the number of words to a minimum while still giving clear instruction.
Parsvakonasana
“From down dog, please step your right foot forward between your hands. Placing your right forearm on your knee, turn your torso to the left as you turn your back foot 45 degrees toward the front of your mat. Keeping your back foot strong, track your right knee directly over your ankle. Reach your left arm 45 degrees up to the ceiling, palm facing down. Breathe fully, keeping the eyes soft. Remain here for 5 breaths. On your next inhale, place both palms on the mat, exhale and step back to downward dog.”
Janu Sirsasana
“From Dandasana, bring your left leg in and place the sole of your foot against your right thigh. Keep the fingers on the ground beside you and firm the muscles of your legs. From this foundation, extend your spine up and tip your pelvis forward. Take your leg, ankle or foot with your right hand. Using your connection to the ground through your left fingers, inhale and square your shoulders, exhale and fold forward into the posture. Every inhale, extend your spine. Every exhale, surrender more deeply into Janu Sirsasana. Take 5 long breaths here. Keep your straight leg firming toward the floor and on your next inhale, rise back up from the forward fold and place the legs in Dandasana again.”
Rajakapotasana
“From down dog, sweep your right foot forward, crossing it over the front of the mat so your right knee is wider out than your hip, and the outer shin and ankle lay on the mat. Keep your left leg engaged while you lay the toenails of that foot on the mat, stretching back. Fingers or palms under your shoulders, inhale and draw the spine long, keeping your foundation strong in both legs. Exhale and curl back, taking to the top of your throat back. Continue firming the legs and fill the
back ribs with breath. After 5 breaths, place the palms
down firmly and push back to down dog.”
Savasana
“Now the effort of the asana practice is over. Lie down on your mat, allowing your palms to open and the legs and feet to relax. Take one more long inhale through the nose and sigh out through your mouth. Allow the eyes to rest back into the sockets as you bring the lids of the eyes over them. Feel the connection between your body and the floor and sink deeper into the experience of surrender.”
Every word you use should be specific and not easily misinterpreted. Remember, your students will be exerting themselves physically, undergoing some discomfort and trying to hear your voice above their own internal dialogue. Use direct, active language to instruct the basic form of postures.
These examples are simple and direct, and constitute the “nuts and bolts” of instructing postures. Your own energy, words and intention for the class you are teaching will blossom from a clear foundation of basic instruction, and allow you to truly bring your own voice to your teaching. Becoming adept at basic instruction will also allow you to fully relax as you teach. This tangible ease and confidence will encourage your students to relax and also accept the teachings more completely. When you are skilled at instructing simply, then you can begin also to teach to what you observe—adding appropriate verbal and physical adjustments when necessary.
Exercise:
Write a script for 5 standing and 5 seated postures. Instruct the entrance into standing postures from Downward-facing dog. Instruct the seated postures from Dandasana . Be as brief as possible for now, remembering the student needs to find the posture and then spend five long breaths experiencing it. After writing your script, read it aloud in a natural voice and see if it sounds like something you’d say. Avoid unfamiliar anatomical descriptions or jargon the general population would not understand.
Teaching to What You Observe
Now that you have the tools to teach at a level of subtlety that is appropriate for you, you must actually teach to the class you are leading. Observe the following:
- the foundation of the posture (usually feet) for alignment and connection.
- the quality of breath—listen to the rate, the ease, the depth.
- the basic form of the posture; placement, alignment, energy flow.
Be ready to adjust your class depending on what you see. If the sequence you are teaching is clearly too difficult or physically demanding for the majority of the class, adjust accordingly without letting them off the hook completely.
Verbal adjustments
After observing, you can give adjustments to postures verbally. Remember that every student is different, from the structure of the bones to their ability. Not every posture is appropriate for every student, and no two students will look the same in a posture. There is no ‘perfect’ posture in terms of what it looks like on the outside. Perfect posture is one that is balanced in it’s action, with the full light of awareness of the practitioner illuminating the body, and results in an expression of creativity and joy.
There are ways to create more opening, a deeper flow of prana and safety for the joints in a posture. When you observe a student and have determined that their posture could be adjusted to reveal more awareness, or to align them to practice more safely, you make a choice to verbalize this.
To the group
If, after determining the place that offers the best sight lines, you observe the entire class from this optimal position in the room and notice a general misalignment, energy flow or body positioning that could be changed to deepen the experience of practice, address the whole room in a manner reflective of your intention to uplift and support their efforts. Be concise. Use direct wording. An example of indirect, wishy-washy wording would be:
“Okay…ummm hmmm… I see that maybe, if you feel like it today, and it’s appropriate for you, and you feel like listening to me, that possibly everyone could maybe push their right foot onto their left thigh just a bit harder, again (laughs nervously) … or not.”
This kind of direction is simply irritating. This teacher is wasting the student’s valuable time in an effort to avoid offending anyone. The reason the students are in your class is to take direction from a qualified teacher. Offer this direction to them directly, with a minimum of chatter, and in a way that supports their efforts and is not demeaning:
“Everyone, please push your left foot to your right thigh more deeply.”
To an individual
When verbally instructing an individual student to make an adjustment, you could lower the volume of your voice to speak only to that person, again remembering you have a class to teach and limited time. Do not engage in a conversation with the student. Simply direct their attention to what it is you’d like them to adjust, and ask them to do it. Use their name if you know it. If you do not know their name, now is a good time to ask:
“Hi—what’s your name? O.K.,—Deb,—move your hands back two inches—that’s great.”
Not:
“Hi, hey, your practice is looking great. How long have you been practicing? I’m noticing something going on here in your hands, and I’m wondering if you know about it? You don’t? Oh, well let me sit down here and tell you some stuff.”
And so on. Deb has now been in Down Dog for two minutes and the rest of the class is bored and beginning to chat amongst themselves. Remember the big picture, be concise, and let the students know that you are available to answer questions before or after class.
Physical adjustments
Through observation, you may determine that a student may benefit from a physical adjustment. Before adjusting physically, you need to know if it’s o.k. to touch a particular student. If you have the opportunity to do a new student intake, you can ask them at that time. If you are substitute teaching an on-going class, you can ask the students before class begins to come up and let you know about any injuries or if they would not like to be physically adjusted.
Forms of contact
When you adjust, your touch should be reassuringly firm, not feathery or indistinct. Until you have experience with a particular student, keep the intensity of the adjustment on the low side of a scale of 1-10. There are times when a deep adjustment is therapeutic, but there is also higher risk of injury.
Touch can be used to direct a student’s attention to a specific area of the body, to manually assist in movement, to re-assure (as in a friendly touch) or to assist relaxation, as in adjustments for Savasana (corpse posture). Be aware of zones of the body that are “high voltage.” Never use touch is a sensual or sexual manner. Keep your attention on the highest purpose of teaching Yoga, which is to assist in the re-connection with the Divine.
