Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Yoga
A movement and Yoga
Therapists guide to
ASANA
Kirstie Bender Segarra, PhD LMT ERYT
Myofascial Yoga
A movement and Yoga Therapists guide to
ASANA
Copyright © 2013 Kirstie Bender Segarra All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any
information storage and retrieval system, without permission in writing from the
author. Permission may be sought by contacting balinesetraditionalmassage.com.
First Edition 2013
ISBN: 10-1484838785
ISBN-13: 978-1484838785
The author/publisher has made every effort to trace holders of copyright in
original material and to seek permission for its use in Myofascial Yoga: A
movement and yoga therapists guide to asana. Should this have proved
impossible, then copyright holders are asked to contact the publisher so that
suitable acknowledgement can be made at the first opportunity.
In dedication with loving memory to Mary Owen Dean Scott, Ph.D.
a.k.a. “Tutu”.
Table of Contents
MYOFASCIAL YOGA
A MOVEMENT AND YOGA THERAPISTS GUIDE TO ASANA FORWARD
INTRODUCTION
CHAPTER ONE: WHAT IS MYOFASCIAL YOGA?
CHAPTER TWO: SUPERFICIAL BACK LINE AND SUPERFICIAL FRONT LINE
CHAPTER THREE: LATERAL LINE, “OUR INTERNAL FISHINESS”
CHAPTER FOUR: SPIRAL LINE OR MÖBIUS STRIP CHAPTER FIVE: DEEP FRONT
LINE, “OUR CORE”
CHAPTER SIX: THE ARM LINES AND FUNCTIONAL LINE CHAPTER SEVEN:
ALIGNMENT, TOUCH AND BODY READING CHAPTER EIGHT: EASTERN
MEDICINE
CHAPTER NINE: SEQUENCING YOUR MYOFASCIAL YOGA CLASS CONCLUSION
WORKS CITED
CONTRIBUTORS AND MODELS
FORWARD
Given how sedentary and routinized our post-industrial society has become, we
can salute and encourage all forms of movement training, because each has a
value to different people at different times in their lives. Yoga is of course one
of the oldest attempts, along with martial arts, to reform the person through the
body, to make a better human being via how that person positions themselves or
moves. As yoga has blossomed into our western world - just speaking of the one
'limb' of hatha yoga - it has become so very popular (and popularized) and has at
the same time diversified into many different forms in various venues, from the
most meditative to the most vigorous. Long live all these approaches!
I myself am not very knowledgeable about the depths of yoga, so I cannot
comment on the superiority of any method over any other. It is not a question of
'better than', but simply 'what does this living being need right now to become
more awake, alive, and adaptable to whatever their future may hold?' In my own
observation, the worst yoga done with full attention is better than the best yoga
done with your attention elsewhere. The next question becomes: attention to
what?
Here then is where I am very happy with this book. Kirstie Segarra has turned
our attention kindly but firmly toward a systems point-of-view. She has
employed some of my anatomical ideas (thank you) and taken them beyond my
original conception to show how the various asanas engage whole systems of
muscles and their surrounding fascia.
Applying standard Western musculoskeletal anatomy to yoga is a frustrating
experience. Our standard anatomy is an anatomy of parts, a reductionistic,
scalpel-based approach that breaks the body down into smaller and smaller parts,
thinking that if we put all those parts together we will come up with the whole.
But as the greatest systemic thinker in my lifetime, Buckminster Fuller, showed
us, there are behaviours of wholes unpredicted by putting together the
behaviours of the parts - this is how he defined synergy.
Yoga has always been synergetic, and yoga has always been a systemic
approach, not a series of exercises for different 'parts'. The Anatomy Trains
schema (and it is just that, simply a map), a subset of the holistic point of view
subsumed currently under the name 'fascia', presents us with a lot easier way to
understand the intention of the yoga asanas.
In the book you hold, Kirstie Segarra has laid out clearly, concisely, and usefully
how the asanas relate to the Anatomy Trains, and how to take up and teach
(whether teaching yourself or others) the anatomy of asana in a way that makes
sense to the body and to the person. Enjoy the ride.
Intuition and scientific knowledge are not opposed, they are simply two different
ways of knowing. This book allows you to blend both ways of knowing in
mutual service to each other to develop your inner and your outer knowledge of
yoga in your own living body.
Tom Myers
Clarks Cove, Maine
2013
INTRODUCTION
I began practicing bodywork and yoga asana in 1996 while completing my
graduate studies in Whole Systems Design with Antioch University in Seattle,
Washington. I had the amazing opportunity of working with Dr. Rodney
Donaldson studying second order cybernetics—biological systems. Much of our
work focused on understanding Dr. Gregory Bateson, author of Steps to Ecology
of Mind, as well as Dr. Humberto Maturana’s work in cognition, ontology and
the biology of love. This work inspired me to become a massage therapist in
order to work with individuals to achieve freedom of movement and experience
joy.
My first yoga experience was watching my mom stretch on the living room floor
in the 1970’s. I was very much an athlete—basketball being my first love. I
would not give any thought to stretching until I studied in Bali, Indonesia with
traditional healers where they tricked me into starting a practice in Hatha yoga. I
have yet to stop my explorations in yoga from the physical to the spiritual.
In the 2000’s, a colleague introduced me to Thomas Myers, Rolfer and creator of
Anatomy Trains: Myofascial Meridians for Manual and Movement Therapists.
Without Tom’s enthusiastic understanding of anatomy and physiology, I would
not have made the leap to exploring yoga asana, which is integrated and
grounded in western anatomy. At that time, Tom hadn’t created the manual for
yoga therapists, so I dove in and began creating courses and coined the term
“Myofascial Yoga.” “Myo” means muscle and “fascial” is the connective tissue
of the body. I have been profoundly altered by my discoveries along the way and
see this book as an opportunity to share what I have learned.
My guru, “Ganesh” Lee Veal, DC, graciously took me on as a student in cranial
sacral therapy and I am indebted to him for his transference of knowledge and
understanding of the “wisdom body” and neuromuscular therapy.
I am deeply grateful for the opportunity to develop integrative health programs. I
teach full-time at the University of New Mexico-Taos, which has been my
practical testing ground for the material presented in this book.
The goal of Myofascial Yoga: A Movement and Yoga Therapists Guide to Asana
is to show how teaching asana should include fascia, connective tissue, as an
integrative and necessary step to bring yoga asana fully into movement therapies
in the West. This approach integrates Eastern and Western techniques and is
truly a unique opportunity to explore ourselves from a somatic level of
awareness while moving through and changing patterns that keep us from living
more freely in joy and health.
One of my favorites, philosopher, and author Alan Watts wrote “We do not
‘come into’ this world; we come out of it, as leaves from a tree. As the ocean
‘waves,’ the universe ‘peoples.’ Every individual is an expression of the whole
realm of nature, a unique action of the total universe. This fact is rarely, if ever,
experienced by most individuals. Even those who know it to be true in theory do
not sense or feel it, but continue to be aware of themselves as isolated ‘egos’
inside bags of skin.”[1]
Namaste, Kirstie Bender Segarra February, 2013
PS. Special thanks to Thomas Myers for his support on this project. If you are
interested in purchasing Tom’s book, which I highly recommend, or attending a
webinar designed for yoga teachers and/or the hands-on workshops around the
world go to AnatomyTrains.com. Every workshop I have attended has reshaped
my practice on the most profound level.
One of the challenges of teaching yoga in the West is that there are so many
different lineages of yoga emphasizing different aspects of the yogic pathway.
Often, Pantañjali is accredited with being the founder of “yoga” as we know it in
the West. Nicolai Bachman, scholar, writes that “Pantañjali did not create yoga.
He brilliantly compiled its essence entitled P ā tañjala-Yoga-Dar ś anam,
meaning “view of yoga according to Pantañjali” and is known in the West as the
Yoga S ū tra-s.”[2] The Yoga S ū tra-s are the predominant source of how we
interpret yoga and its philosophical meanings today. Of course, it seems
that ā sana, the physical practice, is the most popular.
Modern ā sana as we know it is often a direct lineage from Krishnamacharya,
who trained T.K.V. Desikachar, B.K.S. Iyengar and Pattabhi Jois. Desikachar,
Iyengar and Jois went on to train students who then created their own styles of
yoga. In addition to the “big three,” there is Kripalu, Bikram Choudhury, Yogi
Bhajan (Kundalini), Neem Karoli Baba (Bhakti), Swami Satyananda Sraswati,
Swami Vivekananda, and many others. A humorous take on the complexity of
the “lineage” can be seen in the documentary Kumaré by Vikram Gandhi. So,
what is the difference between all the styles of yoga?
The Hatha Yoga Pradipika written by Swami Swatmarama in the 15th century,
is said to be the oldest text on Hatha Yoga. The Hatha Yoga Pradipikadescribes
the ā sana, purifying practices, mudras, bandhas, pranayama and more.
Throughout my years of teaching, I have seen enough in-fighting and judgment
between lineages to bring me to a place of questioning the integrity of different
people on the yogic pathway. It seems that the source is the same and whether
you teach from the “big three” or one of the other primary lineages, you will find
that the myofascial approach will benefit your instruction.
When you take a yoga class, the teacher often references the “eight limbs of
yoga” from ashtanga— ā sana (postures), pranayama (mindful breathing),
pratyh ā r ā(turning inward) , dharana (concentration), dhy ā na (meditation),
sam ā dhi (union of self with object of meditation), yamas (five moral restraints)
and niyamas (five observences). Ā sana, physical postures, as well as the other
limbs are one aspect of the whole. To truly understand yoga is to explore the
whole system through the The Yoga S ū tra-s,not just ā sana.
Myofascial Yoga is an integrative approach to yoga that looks at how to
sequence with regards to the fascial connections in body. We will first learn the
criterion in order for it to be considered Myofascial Yoga—including the fascia,
body types, breath, static poses and seeing the whole body. Then we will look at
the individual myofascial meridians and some related ā sana. We will finish with
how to sequence using a myofascial approach.
Myofascial Yoga focuses on an anatomy of wholes instead of a reductionist view
of parts. When we study anatomy we do break things down, literally taking a
scalpel to dissect the human body in order to view the bits and parts. As an
alternative, with thanks to Tom Myers, we will be observing ā sana through a
wholistic lens, a macroscopic view.
HOW IS IT DIFFERENT?
Often ā sana is presented with a breakdown of the muscles involved, a picture of
how to do it, and specific cueing. Sometimes, the postures make sense and feel
good. Other times, you hate the pose. We can even get hurt in poses we don’t
understand or that are inappropriate for our body type and personal injuries.
With Myofascial Yoga, an attempt will be made to clarify some of these errors
and hopefully empower the practitioner to make wiser decisions for their own
body.
Anyone who has practiced yoga knows that it does not feel like just our muscles
lengthening. There is a stronger experience of wholeness throughout the body,
mind and divine.
Furthermore, if you have the opportunity to experience dissection, one learns
that everything in the human body is interconnected through the fascial net. We
really cannot separate out the tibialis anterior (frontal compartment of the leg)
from the rectus femoris (quadriceps) nor the abdominis rectus—the proverbial
“six-pack.” Our body is interconnected by day 14 in utero through fascia—
mesoderm. We are literally born into our fascial patterns. Every day that we live
and inter-relate with our environment, we adapt and take on our fascial patterns.
In essence, “how we do what we do is who we become.”
Before I move on, I want to acknowledge that there is an element of “falling
from grace” just by becoming an observer and looking at something. With heart-
felt intent, I will try to minimize breaking things down to the bits and parts.
However, sometimes we need to in order to understand the whole. The first
criterion for being Myofascial Yoga is that it looks at the body as a whole.
A couple more points of clarification. First, Sanskrit is the mother tongue that
much of yoga is presented in, and I am not a Sanskrit scholar. Thus, I will spell
words such as “ asana” without the traditional accents from here on out.
Furthermore, in my research I have encountered several spellings asana—even
different names. I chose to error with the common spellings listed in Yoga
Journal Magazine. However, this does not mean they are correct. I would defer
you to Nicolai Bachman’s work in The Language of Yoga.
Second, Gregory Bateson continually stated that the “map is not the territory”[3]
in his article on “Form, Substance and Difference.”[4] Furthermore, Bateson
points out that “We say the map is different from the territory. But what is the
territory? Operationally, somebody went out with a retina or a measuring stick
and made representations which were then put on paper. What is on the paper
map is a representation of what was in the retinal representation of the man who
made the map; and as you push the question back, what you find is an infinite
regress, an infinite series of maps. The territory never gets in at all. […] Always,
the process of representation will filter it out so that the mental world is only
maps of maps, ad infinitum.”
One always has to keep this in mind in the practice of asana. Each individual is
unique and has their own sets of unique patterns that they spent a lifetime
learning and coming into balance. As a yoga teacher or movement therapist we
must always respect the inherent patterns of our clients and students. I prefer the
term client because student supposes that the teacher knows something more
than the student and creates a power differential.
Creating change in somatic patterns is to enter into a cosmic dance with our
clients. We can further explore this dance by acknowledging that “all knowing is
doing, and all doing is knowing.”[5]
WHAT IS FASCIA?
Author Thomas Myers writes “Fascia is gaining popularity as a term for all the
structural connective tissues and the various substances that they produce to hold
us together as a being on this planet. It is made mostly of various types of
collagen protein, a pliable fiber stronger than steel. These fibers are imbedded in
a mucousy colloidal gel - somewhere between silicone and cornstarch - that
eases when it is warm and stretchy, and clogs up when it is cold or held still too
long. Yoga in general – and the yoga in this book in particular - is designed to
both stretch the fibers and activate and hydrate the gel. Thus, all our tendons,
ligaments, sinews, cartilage, and other protective layers of biological fabric are
all part of the body-wide, 'keep us from being a blob on the floor', 'shaping our
movement' fascial system.” Of course the muscles are important in moving and
standing too – hence our name, myo- (muscle) fascial yoga.
The fascia starts just below your skin, and it has many interwoven layers. The
first layer is literally a carpet backing for your skin. Below this is a soft fatty
layer that protects us from bumping but also protects us from getting infection
from outside. Deep to the fat is a unitard of tough fascia that really determines
our shape. Below this are the various layers that surround and invest the
muscles, and form walls between muscles and muscle groups - these are the
layers actually called the myofascia. Deep to the muscles are the ligaments and
periosteum (the plastic wrap around the bone). The fascia extends to other parts
of the body as well: all the organs are wrapped in fascial bags and attached to the
body wall, and the brain is surrounded in a unique fascial suspension system that
runs from your skull to your sacrum, and out with the nerves and their myelin
(also fascial) sheaths.
I like to think of fascia as the “cosmic glue” that forms who we are. Fascial
research is unveiling results daily and I consider the study of fascia cutting edge
—no pun intended.
Tom Myers introduced me to the idea of tensegrity geometry, originated by artist
Kenneth Snelson and developed by Buckminster Fuller, as a new way of
understanding the engineering of bones, muscles and fascia. These wonderful
models offer a look at how the change in structure in one aspect of the body
creates a change throughout the whole system (figure 1.1). The Skwish® toy is
an example, commonly found in the baby section of toy stores, but more
complex body-like models by the same inventor, Tom Flemons, can be found at
www.intensiondesigns.com.
Not only does fascia carry our form, it is a communication organ. Your
kinesthetic body sense comes mostly from your fascia, not so much from your
muscles, via sensory receptors that sense stretch, pressure, shear (Golgi, Pacini,
and Ruffini endings respectively), and also touch. A myriad of tiny
unmyelinated ‘free’ nerve endings, which are found almost everywhere in fascial
tissues, but particularly in periosteal, endomysial and perimysial layers, and in
the visceral connective tissues, give us a sense – mostly unconscious – of where
we are in space and how we 'feel'.
Our fascia is the largest and richest sensory organ of our body - with more
nerves imbedded in it than even the eye or the tongue. In embryological
development, fascia forms the morphogenetic blueprint for our specific personal
form. Once we are born and progress toward standing and moving on our feet,
fascia is constantly working for us, shifting, changing, and doing its best to hold
us together while allowing us to move. It is a wonderful and self-adjusting
design. Unfortunately, physical trauma or psychic 'holding' can create pain in
our systems. It is possible to change the pattern of the system – through yoga,
exercises, or good manipulation - to stop the holding and move through our pain
and suffering – but it does require a mind shift and a physical shift. The yogic
pathway offers an opportunity for such healing.
So the fascia is my organ of shape and also tells me how I feel!? Why didn't we
hear about this in school?
Thus, the second criterion of Myofascial Yoga is that it includes the fascia.
Without looking at the fascia, we cannot determine the pattern of the client -
patterns that we will now explore using a typology from Ayurveda.
Stretching the back of the legs is relatively straight forward as we see in Seated
Forward Fold pose (Paschimottanasana) (figure 2.3).
Figure 2.3 Seated Forward Fold pose (Paschimottanasana)).
Whether to plantarflex (point the toes) or dorsiflex (toes to the nose) depends on
which line you are engaging. When we point our toes like a ballerina we are
shortening the SBL and lengthening the SFL. When we dorsiflex, “toes to the
nose,” as if we are standing on the earth, we are lengthening the SBL and
shortening the SFL.
I often teach the “toes to nose” version engaging the SBL because when we
sleep, we naturally shorten the back of our calves with our feet pointed. I have
found that sleeping can be quite dangerous for waking up with all sorts of aches
and pains. To combat plantar fasciitis and the ballerina point while we sleep,
engage the “toes to the nose” and lengthen your superficial back line.
What should happen at the knees?
The knee is a hinge joint. When it is in flexion it allows us to rotate the lower
leg, as in turning when skiing downhill. The knee is a secondary curve in the
body because it is held in place by the muscles above and below unlike primary
curves which are defined by the bone, such as the ankle. I encourage a soft knee,
not hyperextended backward, and not a deep bend. One can think of the soft
knee bend or “tai chi knees” that gently straighten with an inhale and softly bend
on the exhale (figure 2.4).
Figure 2.4 Mountain pose (Tadasana) with soft tai chi knees.
Another aspect of the knees is medial and lateral rotation as in Warrior II pose
(figure 2.5). Ideally, our knees are neutral and stacked on top of the ankle at 90
degrees or behind the ankle—not hyper lunging (figure 2.6).
Figure 2.5 Medially rotated knee and laterally rotated knee.
Figure 2.7 (a) Posterior tilt with anterior shift, (b) posterior tilt with
posterior shift, (c) anterior tilt with anterior shift and (d) neutral.
This brings us halfway up the SBL to the erector spinae muscle group. The
erector spinae are three long muscles running up both sides of the spine. One of
my students gave me the ideogram “I Like Spaghetti” to remember the muscles
—iliocostalis, longissimus and spinalis! The erector spinae are extensors of the
spine. You use them in conjunction with the SFL to help lift you up from a
forward fold and control the “flat back” in forward folds.
Do you flatten your back in forward folds?
Have you ever watched a cat move and noticed the fluidity they have in their
spine from front to back as well as side-to-side? Ideally, we are able to have the
same freedom. Thus, becoming rigid in forward folds to the point you are
locking up the spinal vertebrae is not ideal. A healthy back is not a “flat” back.
We have 24 articulating vertebrae that form the cervical (7), thoracic (12) and
lumbar (5). Each section of our spine has a natural curvature; the cervical forms
a posterior bend (back bend); the thoracic is an anterior bend (forward bend);
and the lumbar is a posterior bend (back bend). In cases of structural scoliosis
this will be different and many people have some form of functional scoliosis—
which is a bend, tilt (lateral bend) and/or rotation in the spinal vertebrae due to
the fascia and muscles shortening/lengthening and creating a rotation to the
vertebrae. Of course, there can be both functional and structural cases of
scoliosis amplifying each other.
Learning to understand the spine can be confusing. Taking the time to
understand each segment of the spine and how it articulates will aid you in
finding freedom of movement which invites the Kundalini to flow with Ida and
Pingala—the moon and sun aspects of energy that move up the channel,
Sushumna, of the spine.
Cueing in forward folds should maintain the fluidity and strength of the back and
front body. Folding with a flat rigid back is not anatomically correct. We have
the opportunity to invite fluidity of movement and not rigidity. The spine is
stabilized by the deep front line (DFL) through the iliacus, psoas major, psoas
minor and quadratus lumborum—which we will get to later in Chapter Five.
Oh, my head hurts!
We have arrived at the top of the head, the epicranial fascia (galea aponerotica),
which continues from the erector spinae at the base of the skull over the top of
the head and into the brow. Connecting at the skull, the SBL and SFL meet, but
not in our foreheads! They meet through the lambdoidal suture along the back of
the skull. Bring your thumbs together and form a football goal post (figure 2.8)
and place them on the occipital ridge at the base of the back skull. Gently move
your eyes around. Do you feel the muscles at the occipital ridge moving? Our
eyes adjust with the feedback coming from the occipital ridge muscles. Like a
cat, this is one way we find our ground!
Figure 2.8 Goal post of thumbs on occipital ridge muscles.
The tendency in our fear-based culture is for the SBL to be locked long in the
back and locked short in the front so we end up in a classic forward head posture
(figure 2.9). To correct this through asana, we lift the xyphoid (tail of the
sternum) and bring the ears in line with the tops of the shoulders.
Figure 2.9 (a) Ears over shoulders for normal posture with lifted xyphoid
process. (b) Forward head posture from shortening of SCM and splenius capitis.
The superficial back line is made up of more slow twitch muscles which are
great for endurance. This is very fortunate for many of us need the stability of
the SBL to go from sitting at a computer to working in a garden. The SBL does
not work alone. It works in partnership with the SFL as we will see in the
following section. The superficial front line is composed of more fast twitch
muscles which helps us react in “fight or flight” response when we are running
away from the “tiger in the bush.”
Figure 2.8 (a) Lengthened quadriceps with shortened abdominis rectus, (b)
shortened quadriceps with lengthened abdominis rectus.
Our proverbial six-pack is often associated with a “strong core.” In fact, it is not
our core. It plays a wonderful synergistic relationship with our quadriceps, helps
us create long back bends if it is not pulled short, as in Wheel pose (figure 2.9).
Functionally, it keeps our guts inside which keeps things tidy. Additionally, the
rectus abdominis draws the torso toward the pelvis as in a sit-up. The six-pack
really isn’t a lot of protection for guts or viscera. You can do sit ups until “the
cows come home” and you will be missing the point of how to stabilize your low
back and create a strong core—which is through the deep front line.
Gluteus Maximus is what I call a “Harry Potter spell” muscle. The gluteus
maximus is the largest and most superficial of the butt muscles. Its most
powerful action is to bring the body erect after stopping, by drawing the pelvis
backwards from an anterior tilt. We use it every time we go up steps. I
personally find that most people’s gluteus maximus is on vacation at the beach
with a margarita. Getting the client somatically aware of using the gluteus to do
its work is important for stabilizing the lateral line. I teach a modified chair pose
with arms out in front (figure 3.3) and have the client practice lifting with their
gluts as they come to standing. Then, I have them stand on one foot at a time and
lower down to identify the weaker gluteal muscle—right or left side. Then the
client practices repetitions on their weaker side.
Figure 3.3 Modified Chair pose (Utkatasana) with dowel to increase gluteus
maximus strength.
How is your belly breathing?
We now continue up the line to the internal/external obliques that aid in rotation
of the torso. They are also related to respiration—breathing. Every time we
inhale and expand the belly, the internal obliques push outward to increase the
visceral cavity. When we exhale, the internal obliques contract.
Learning the muscles involved in respiration helps us to understand how
interconnected and necessary it is to somatically breath. Just breathing into the
upper chest does not engage our full potential. If we truly want to be vital and
healthy individuals, we need to breath fully, with awareness. This leads us to the
external and internal intercostals— the smaller muscles that continue the basket
weave with the obliques between our ribs. The intercostals aid in inhalation and
exhalation. Take a deep breath and feel the movement between your ribs.
Sit in a chair and wiggle from side to side laterally. Gently fan open you rib cage
on both sides. Notice as you move into your fishiness, how much movement is
required through the lateral line.
Standing crescent pose (Indudalasana) (figure 3.4) or gate pose (Parighasana)
(figure 3.5) are both great lateral line poses.
Figure 4.1 Rhomboid/Serratus complex.
The SL continues around to the front of the body on the external obliques,
continuing across linea alba and abdominal aponerosis to the internal obliques
(figure 4.2).
Figure 4.2 Spiral Line. Reprinted from Anatomy Trains: Myofascial Meridians
for Manual and Movement Therapists with permission from Elsevier. Spiral
Line with added muscle labels to original image.
So how do we twist safely?
The low back has approximately 13 degrees of rotation in total. Two degrees
between T10 to L5 and 5 degrees between L5 and S1. The upper back, thoracic
spine, has between 7 to 9 degrees rotation per segment or 39 degrees total. It
makes sense anatomically to keep the rotations minimized in the low back and
maximized in the upper back. The lower back is not designed for rotation and
isolating the twist in the upper back minimizes low back injuries. No yoga
therapist wants to be responsible for injuring their clients because of incorrect
cueing.
To keep it simple, twist at the heart. Examples of twisting asana such as the
poets twist use the whole spiral line (figure 4.3).
Spiral line compensations happen to those of us who rotate in the hips and
shoulders—which are many people. You can identify your rotation by standing
in front of a full-length mirror (figure 4.5). Gaze at your belly button and see if it
points straight ahead (neutral), toward the right (right rotation) or toward the left
(left rotation). You can do the same thing from the sternum to notice rotation in
the shoulders. Quite often we counter rotate the shoulders over the rotation in the
hips to bring us into a semblance of straight ahead—so we can keep walking
forward.
Do you feel
twisted yet?
I often equate the mental feeling of being twisted with physical rotations in our
body. Remember, our whole body is connected and indeed, as we twist in the
body, we twist the dura mater (tough mother) and fascia in the brain.
Now, if you are dealing with a pregnant client, especially in the third trimester,
you will have an added component of how the baby is lying inside and how the
pregnant mama’s body is twisting around to maintain some semblance of
balance (figure 4.6).
Figure 4.7 Modified Seated Chair Twist pose, Lord of the Half Fish pose
(Ardha Matsyendrasana) and Modified Seated Spinal Twist pose.
In modified seated spinal twist, the client has the internal arch of the foot a hand
width apart from the knee of the opposite leg. The pelvis is rooted into the earth
and the client maintains the twist between the shoulders with a neutral gaze over
the sternum/heart (figure 4.8).
Figure 4.8 Modified Seated Twist. Ideally, the toes are to the nose in the
left leg to root the ischial tuberosity of the left pelvis. Here, you see a
common mistake of a relaxed left leg not anchoring the pelvis.
Lord of the Half Fish pose (Ardha Matsyendrasana) requires the flexibility and
body type to achieve without injury (figure 4.9).
Figure 4.9 Lord of the Half Fish pose (Ardha Matsyendrasana),
not over-twisting in the lumbar spine.
The stretch can be increased through the SL by engaging the shoulder blade
toward the spine—shortening the rhomboids. For example, in a right twist you
draw the scapula toward the spine and may add tucking the chin toward the right
breast at 45 degrees, which stretches the left splenius capitis.
The SL is an opportunity to untwist our minds, balance rotation in hips and
shoulders, and to come into freedom of movement through the cosmic dance!
CHAPTER Five: deep front line, “our core”
The position of the heels relative to the pelvic floor determines which adductor
muscle is being stretched; the closer the heels are to the groin stretches the
gracilis muscles, the farther away from the groin stretches adductor brevis
muscles.
The
psoas
major
track is
another
fun
local
myofascial meridian to work with asana. Figure Four/Modified Pigeon poses and
Pigeon pose (not pictured) offer an opportunity to stretch the psoas which can be
quite difficult (figure 5.8).
Figure 5.8 (a) Knee squeezes with block between the knees—inhale; press feet
into the mat and exhale, squeeze the knees (realigns adductor muscles). Keep
pelvis on the mat. (b) Figure Four pose with block to lengthen psoas. Place block
below knee joint, hold down opposite knee to keep from hiking up. Inhale,
lengthen psoas with block and exhale, press knee into block and resist. (c) Figure
Four pose drawing knee to chest to stretch opposite piriformis.
Conversely, the piriformis will sneak its way into the picture when you are
stretching the psoas, as in Figure Four pose. The piriformis arises from the
sacrum and attaches to the lateral hip on the greater trochanter (top of the leg
bone—femur). In general, the piriformis is considered a lateral hip rotator. In an
unfortunate 17% of the population, part of the sciatic nerve may arise through
the piriformis causing “piriformis syndrome” or chronic sciatic nerve pain. The
piriformis assists with balancing the sacrum and sacroiliac (SI) joint. It is not
often pointed out that it is involved with the subtle balancing when we walk,
through its biomechanical action of stabilizing the sacrum and SI joint. This
action happens when we heel strike in our gate pattern and the piriformis
contracts to force close the SI joint. [12]Thus, along with the other deep five hip
rotators, the piriformis is an important muscle to target in stretching.
The piriformis is not labeled as part of the DFL. However, in structural
integration work we include piriformis balancing as part of the DFL. The DFL is
an opportunity to assist our clients with amazing experiences of healing and I
hope you will take the challenge.
Another gentle psoas stretch for lengthening and balancing out right and left
psoas (figure 5.9).
Deep Front Arm Line and Superficial Front Arm Line in Modified Hero pose
(Virasana).
Almost every asana involves the arms. Tom Myers clearly delineates four arm
lines—the deep front arm line, superficial front arm line, the deep back arm line
and superficial back arm line (figure 6.1). The back arm lines, pictured above,
can be very helpful in deciding how to cue the arms in relation to the whole
asana.
Although the lines are not part of our structural support, except in inversions
supported by the arms, they are involved in almost everything we do and help
define how we observe and experience the world. We do so much with our arms
and hands from knitting, gardening, cooking, hugging, driving, working on
computers, to playing on iPhones. The arms play an important role in how our
shoulders and neck feel, as well as affecting our breath or simply carrying the
“weight of the world on our shoulders.”
The muscles involved with the deep front arm line (DFAL) are pectoralis minor,
biceps brachii, and thenar (thumb) muscles. The superficial front arm line
(SFAL) consists of the pectoralis major, latissimus dorsi, and the flexor group.
The deep back arm line (DBAL) is rhomboids and levator scapulae, the rotator
cuff muscles, triceps brachii, and to the hypothenar muscles. Finally, the
superficial back arm line (SBAL) runs from trapezius to deltoid on down to the
extensor group
Figure 6.1 Arm Lines. Reprinted from Anatomy Trains: Myofascial Meridians
for Manual and Movement Therapists with permission from Elsevier.
The positioning of the arms in the posture will affect which arm line is being
used. For example Warrior II pose with palms up is an opening of the front arm
lines, especially the deep arm lines. In a classic Warrior II pose, where the palms
are face down, there is more emphasis on the back arm lines (figure 6.2). Stand
up and try it and feel the difference.
Figure 6.2 (a) Classic Warrior II pose (Virabhadrasana II) with palms up (b)
Warrior II pose with shorter stance and palms up.
I invite my clients to feel the difference between loose arms (cooked spaghetti
noodle arms) and engaged arms. There is often an interplay between both of
them in order to “let go” of tensional patterns in the arms and increase strength.
In a full inversion, such as tripod headstand, it is necessary to have the strength
in the arms and upper back. I have seen too many students attempt inversions
with no regard for potential injuries in the cervical vertebrae—neck. I feel
inversions should be taught very carefully in small advanced groups of
practitioners or ideally, one on one.
Since there isn’t an asana that doesn’t use the arms, bringing the clients into
somatic awareness in how they use their arms can really change their daily lives.
Modified Cow Face pose (Gomukhasana) is a wonderful pose for stretching the
front of the chest via the pectoralis muscles, as well as shortening the rhomboid
muscles on the back. I encourage my clients to use a strap so that they maintain a
lifted heart and chin parallel to the floor. Modified Eagle pose (Garudasana),
with arms only in Hero pose is another asana that allows stretching the upper
back, lengthening the rhomboids (figure 6.3).
Figure 6.3 Eagle pose (Garudasana), with arms only in Hero pose
(Virasana) to stretch DBAL.
Other ways to
play with arms is
to use a wall. For
example, have
someone go into
a seated twist to
the right and
reach back with
theirright arm
with the palm on
the wall. This
increases the
stretch through
the front of the
chest (figure 6.4).
Figure 6.4 Modified Seated Twist pose with arm reach to the wall to stretch
DFAL.
The Functional Lines
The Back Functional Line (BFL) and Front Functional Line (FFL) are lines of
movement. For example, when we serve in tennis, the motion moves through the
right arm, if you are right handed, descending down the BFL— latissimus dorsi,
gluteus maximus, vastus lateralis to the patella and subpatellar tendon. Likewise,
the movement descends down the FFL from the humerus, pectoralis major,
rectus abdominis to adductor longus. This one movement crosses over several
key joints in the body (figure 6.5).
The crossing over of joints in movement is important when we are working with
pain. When the joints are open, pain can move freely with the pattern of
movement. When the joint spaces are stuck or closed, the pain gets stuck like a
traffic jam. Inviting freedom of movement, as in dance, helps free up the joint
spaces.
The
latissimus dorsi is an important and strong muscle. It spreads like wings across
the back body. We use the lattismus dorsi with many of the asana such as Four-
Limbed Staff pose (Chaturanga Dandasana) (figure 6.6). I think of the lattismus
dorsi as an extension of the shoulder girdle in movement.
Figure 6.6 Four-Limbed Staff pose (Chaturanga Dandasana).
Chaturanga Dandasana is a challenging pose to teach correctly and is similar to
a push-up. It is not meant for anyone with shoulder injuries or those who have
not developed some strength in the front and back lines. In general, I do not
teach this pose in my regular yoga classes. I leave it for special strengthening
classes where I can focus specifically on the pose and how to do it correctly.
Common errors are winging the elbows out when coming from high to low and
not using the core strength to support the pose. Remember that “repetition leads
to injury” and Chaturanga Dandasana is often used in transition in Ashtanga
sequences in high repetitions!
My tendency is to reflect on the movement patterns we invite through the
sequencing in asana, especially with Vinyasa Flow styles with regards to the
functional lines. I am often drawn to lateral knee pain and its relationship to the
back functional line. Often pain is not local and the shortening is distal to the site
of pain. The pattern in the BFL would move to the opposite side of the body for
movement patterns such as throwing a ball. This is especially important when
someone has a tendency to be dominant on either side of the body—visualize a
one armed push-up!
Keep the functional lines in mind when a client is having difficulty with
movement patterns and pain. With more pain, reduce the repetitions and
restructure the practice for slower myofascial release. Once the client relearns
appropriate movement patterns, they can move back with caution towards poses
that encourage strength through repetition. The arm and functional lines are
helpful in interpreting functional movement patterns and developing an
awareness of arm variations in asana.
CHAPTER Seven: Alignment, Touch and Body Reading
Have you ever gone to yoga class and the teacher walks up and adjusts you, in
the pose, to what they believe is the correct posture? This happened to me once
in triangle pose on the wall, as the yoga teacher attempted to push my left hip
against the wall. I normally have a right rotated pelvis to compensate for my left
fused ankle. This resulted in a month of injuries as my left fused ankle
determined how far I could go. This is the moment I started my pathway to
becoming a yoga teacher.
Adjustments are tricky and, at best, belong to the more skilled teacher who has
been trained in touch therapy and knows their clients medical history. If you
don’t know your clients, you have no business touching them. It is not enough
for the client to give you permission in a class setting. Some asana are already
pushing the client’s boundaries and abilities. That is simply enough!
I am clearly biased here and experience has taught me to be extremely cautious.
Remember, our role is to do “no harm.”
Touch, in the west, is a sensitive business. We transmit so much through touch.
Many people only experience touch in close personal relationships. To enter into
a person’s energetic space requires an invitation. Sometimes, a person may say it
is okay but energetically, they are not ready. It is easier to keep your distance
and give verbal cues until the appropriate moment arrives. I recommend taking
introductory courses in massage therapy to understand touch more fully.
Through touch therapy training, one can learn how humbling it is to be in
relationship with others through touch, and it is truly an art.
What about alignment?
There are several alignment based yoga systems that claim to be “alignment”
based. They are alignment based in a sense that they align a client within the
asana as the teacher sees fit. They are not alignment based in relationship to the
body and how the parts of the body relate to each other. Myofascial Yoga
addresses the discrepancy between what is projected to be correct, and working
within the relational patterns of the client. To project a classical picture of an
asana on a student of yoga is inherently incorrect teaching and will cause harm.
Myofascial Yoga is an alignment based yoga that is based on the myofascial
meridians and the anatomy of wholes, not parts.
Learning to observe the client in relation to the myofascial meridians and
applying this to the particular asana is the secret to success. The purpose of this
book is to teach movement therapists and yoga teachers to be smarter in how
they teach asana and to include the myofascia.
As stated previously, there are different body types—Vata, Pitta and Kapha.
Each body type, as well as the personal history of the client, will lend itself to
different asana and modifications. Always teach the modifications and build up
to the advanced asana.
I remember when I completed my yoga teacher training and they recommended
B.K.S. Iyengar’s Light on Yoga. Flipping through the book I was shocked at the
level of contortion involved. This isn’t possible for most people. So, here the
journey began in getting to know the “baby steps” to asana. In fact, modern
asana is derived from Swedish gymnastics in the late 1930s and the
contortionists of India from the late 1800’s.[13] With the emergence of fascial
anatomy, and other somatic disciplines such as Feldenkrais, neuromuscular
therapy and cranial sacral therapy, there is no reason for us to hurt ourselves.
Having bolsters, blocks, straps and yoga chairs will make your life easier. Yoga
is the poor man’s gym. You can turn yoga into an amazing experience with the
correct support, following your own “wisdom body” and working with an
experienced teacher.
CHAPTER eight: eastern MEDICINE
With the influence of Eastern medicine coming from acupuncture and Ayurveda,
one might ask, how do the myofascial meridians relate? The myofascial
meridians are solely fascial meridians. However, one cannot ignore some
similarities.
I will first present the “five elements” as taught in Chinese Oriental Medicine as
this is my training. However, there is five elemental theory in Ayurveda which
has some similarities and differences to how the Chinese system is presented.
Classically, one could say that the Chinese system tends toward the “yin and
yang” where as the Ayurvedic system is with “Vata, Pitta and Kapha.” As one
explores both these systems of medicine one can make distinctions that are
helpful in observing a client. I am not suggesting that one system is better than
the other, rather that they both have relevance to the practitioner and one should
know from where they are observing.
There are two distinctions in Eastern medicine I would like to make.
Acupuncture descending from China can be seen as “five element theory” or
“yin and yang theory”. The five elements describe the vital body through the
elements of earth, metal, water, wood and fire. They are often depicted in a
circular graph with arrows showing the influence they have on each other (figure
8.1). Each element serves as a “mother”, which will promote the growth of
another, the “child”. For example, fire provides the foundation for earth, earth
nurtures metal, etc.
Each element has an association of emotion, season and acupuncture meridian.
Wood is yang in nature. Characteristics associated with wood are flexibility (as
with bamboo), generosity, idealism and leadership. Wood regulates the Liver
and Gall Bladder Meridians. The season is spring and the color is green.
Emotions associated with wood are anger and the sound of shouting.
Fire is yang in nature. Characteristics associated with fire are dynamism,
strength, persistence and restlessness. Fire regulates the Heart, Small Intestine,
Pericardium, and Triple Warmer meridians. The season is summer and the color
is red. Emotions associated with fire are happiness and the sound of laughing.
Earth is balance and is both yin and yang in nature. Characteristics associated
with earth are patience, thoughtfulness, practicality, hard work and stability.
Earth regulates the Spleen and Stomach meridians. The season is the fifth season
or Indian summer and the color is yellow. Emotions associated with earth are
sympathy and the sound of singing.
Metal is yin in nature. Characteristics associated with metal are unyieldingness,
rigidity, persistence, strength and determination. Metal regulates the lungs and
large intestine meridians. The season is autumn and the color is white. Emotions
associated with metal are grief and the sound of weeping.
Transition to
seated
position with
extending the
left leg and
planting the
left hand. Lift
through the
pelvic floor,
then slowly
restack the
spine from the
low back to the upper back.
Easy pose (Sukhasana) with supported blankets to keep pelvis at 90 degrees.
“Sits” bones are to the front edge of the blanket. This allows a lengthening of the
hamstrings.
Staff pose (Dandasana) with “toes to the nose.” Balancing of SFL and SBL.
Prepping for Seated Forward Fold pose
(Pachimattasana) with a strap at the base
of the toes and lifted heart. Slowly
hinging from the “true hip” where the
femur inserts into the acetabulum, not
rounding through the low back—lumbar.
Transition to a full forward
full by tucking the chin
which creates the full stretch
for the SBL.
(Marjaryasana/Bitilasana).
Balancing SFL and SBL and
engaging the core through the
DFL.
Resting in Child’s pose (Balasana)
either supported with bolster,
knees together or wide knee with
hands above.
Tree pose
(Vrksasana) with
wall for support. Balancing postures require the lifting of the DFL to stabilize
through the core.
Lord of the Dance pose or “Dancer” with strap
(Natarajasana). Begin with balancing on one
leg and create a loop at the end of the strap
around foot or ankle. Use wall for support. The
goal is to create a back bend between the
shoulder blades and not in the low back.
Then take
both hands
to strap and
create your
bow.
Arm and Shoulder Stretches
Most asana involve the arms lines. With the exception of inversion, the arms are
do not require strength. There are many great arm and shoulder stretches. One of
my favorites is a modified Cow Face pose (Gomukhasana) sitting in Hero pose
(Virasana) on top of a block, then using the strap to create a safe stretch of the
shoulders.
Clients often over tuck their chin
in this pose. Invite chin parallel
to the floor to assist the client to
find balance and so they do not
go into “forward head posture.”
Transition between with a heart
opener in Hero pose (Virasana)
with arms outstretched.
Eagle pose (Garudasana)
with arms only in Hero
pose (Virasana).
Seated Spinal Twist
pose (Ardha
Matsyendrasana) with
front arm line being
stretched using the wall.
One-Legged Frog pose
(Eka Pada Bhekasana)
is another wonderful arm and
quadriceps stretch.
Supported Wheel pose with
bolster and blocks for support.
Back bending over the back
and of the bolster.
Deep Front Line Openers Knee to Chest
pose
Standing
Big Toe
pose
(Utthita
Hasta
Padangusthasana) can be done on the wall with a strap for those that do not
have the flexibility for this pose. It is working the DFL on the standing and
extended leg.
Reclining Hand to Big Toe pose (Supta Padagusthasana) is a gentler way to
achieve the same benefit of lengthening the adductors for the DFL.
Final Resting Postures
Conclusion
Myofascial Yoga has taught me how to honor my body and its limitations. I have
learned to be more present in each asana and find new ways to achieve health
and balance. The Myofascial meridians, as conceived by Thomas Myers, are an
amazing mapping of patterns in our bodies. Through the mapping, we are able to
unravel common postural problems, shortening and lengthening pulls that run
through the body and facilitate the healing process to restore balance and come
into our wisdom bodies.
I am deeply grateful for our fascial net and the movement forward many other
“fascialists” have made to bring awareness and understanding to the important
role our connective tissue plays in our health.
My intention is that this book will add to the wealth of existing knowledge as
well as facilitate the next step forward in understanding the importance of fascia
in our day to day lives.
Namaste!
Works Cited
1. Aaron, Ben “ Ben Aaron Finds The Nameless Dance Walk Guru
Master “ http://www.youtube.com/watch?v=HSy7h3TPB-M June 3,
2012.
2. Bachman, Nicolai, The Yoga Sutras: Workbook (Sounds True, Inc.
2011) 6.
3. Bateson, Gregory Steps to an Ecology of Mind (Chandler Publishing
Co. 1972).
4. Buddhananda, Swami, Moola Bandha: The Master Key (Yoga
Publications Trust, Munger, Bihar, India 1978) 19.
5. Chronic Pain: Research and Clinical Applications, by Diana
Thompson, Massage & Bodywork magazine, July/August 2011.
6. Crawford N http://breakingmuscle.com/womens-fitness/stop-doing-
kegels-real-pelvic-floor-advice-women-and-men.
7. Deadman, Peter A Manual of Acupuncture (Journal of Chinese
Medicine Publications 2007).
8. Earl, James and Myers, Thomas Fascial Release for Structural
Balance (Lotus Publishing 2010) 124.
9. Frawley, David Mantra Yoga and Primal Sound: Secrets of Seed
(Bija) Mantras (Lotus Press 2010) 88.
10. Goswami, Amit Ph.D., The Quantum Doctor: A physicist’s guide
to health and healing (Hampton Roads Publishing, Co. 2004) 107.
11. Frawley, David Mantra Yoga and Primal Sound: Secrets of Seed
(Bija) Mantras (Lotus Press 2010) 88.
12. Greenman, PE, Principles of Manual Medicine, 2003, p10.
13. Judith, Anodea, Eastern Body Western Mind: Psychology and the
Chakra System as a Path to the Self (Celestial Arts, 2004) 38.
14. Korzybski, Alfred remark attributed to Polish-American scientist
and philosopher,en.wikipedia.org/wiki/map-territor-relation 2013.
15. Lad, Vasant M.A.Sc., Textbook of Ayurveda Fundamental
Principles (The Ayurvedic Press 2002) 1.
16. Maturana, Humberto and Varela, Francisco, The Tree of
Knowledge: Biological basis of human understanding, (Shambala
1992).
17. Myers, Thomas W. Anatomy Trains: Myofascial Meridians for
Manual and Movement Therapists, (Third Edition, Churchill
Livingston Elsevier 2013).
18. National Centers for Health Statistics, “Special Feature: Pain,”
Chartbook on Trends in the Health of Americans 2006, accessed May
2011, www.cdc.gov/nchs/data/hus.pdf.
19. http://scienceofmom.com/2012/10/11/why-consider-delayed-cord-
clamping/.
20. Schleip, R., “Chart: Fascial mechanoreceptors and their potential
role in deep tissue manipulation,” “Fascial plasticity—a new
neurobiological explanation.” Journal of Bodywork and Movement
Therapies 7(1):11-19 and 7(2):104-116.
21. Schleip, R., “Fascia as an organ of communication,” Tensional
Network of the Human Body (Elsevier Ltd. 2012) 77.
22. Sherman KJ, Cherkin DC, Hawkes RJ, et al. “Randomized trial of
therapeutic massage for chronic neck pain”. Clinical Journal of Pain.
2009;25(3):233-238.
23. Singleton, Mark Yoga Body: The origins of modern posture
practice. (Oxford University Press 2010) 114.
24. Thompson D, “Chronic Pain: Research and Clinical
Applications”. Massage & Bodywork, July/August 2011.
25. Watts, Alan The Book on the Taboo Against Knowing Who You
Are (1966).
Special thanks to Thomas Myers for his support on this project. If you are
interested in purchasing Tom’s book, which I highly recommend, or
attending a webinar designed for yoga teachers and/or the hands-on
workshops around the world go to AnatomyTrains.com. Every workshop I
have attended has reshaped my practice on the most profound level.
Contributors and Models
About the Author Kirstie Bender Segarra, PHD LMT
ERYT has been practicing bodywork (structural
integration) and yoga since 1996. She is a full time faculty
at the University of New Mexico-Taos and Chair of
Integrative Health and Medical Massage. She trains yoga
teachers and medical massage therapists. Her passion for
movement therapy comes with a desire to assist clients in
finding their balance with regards to chronic pain
conditions. She is a Doctor of Integrative Medicine.
Ross Jenkins, photographer and editor, has been
practicing yoga since the 90’s and is currently working
on becoming invisible.
[1] Watts, Alan The Book on the Taboo Against Knowing Who You Are (1966).
[2] Bachman, Nicolai, The Yoga Sutras Workbook (Sounds True, Inc. 2011) 6.
[3] Korzybski, Alfred remark attributed to Polish-American scientist and
philosopher,en.wikipedia.org/wiki/map-territor-relation 2013.
[4] Bateson, Gregory Steps to an Ecology of Mind (Chandler Publishing Co.
1972).
[5] Maturana, Humberto and Varela, Francisco, The Tree of Knowledge:
Biological basis of human understanding, (Shambala 1992).
[6] Lad, Vasant M.A.Sc., Textbook of Ayurveda Fundamental Principles (The
Ayurvedic Press 2002) 1.
[7] Goswami, Amit Ph.D., The Quantum Doctor: A physicist’s guide to health
and healing (Hampton Roads Publishing, Co. 2004) 107.
[8] Buddhananda, Swami, Moola Bandha: The Master Key (Yoga Publications
Trust, Munger, Bihar, India 1978) 19.
[9] Schleip, R., “Chart: Fascial mechanoreceptors and their potential role in deep
tissue manipulation,” “Fascial plasticity—a new neurobiological explanation.”
Journal of Bodywork and Movement Therapies 7(1):11-19 and 7(2):104-116.
[10] Schleip, R., “Chart: Fascial mechanoreceptors and their potential role in
deep tissue manipulation,” “Fascial plasticity—a new neurobiological
explanation.” Journal of Bodywork and Movement Therapies 7(1):11-19 and
7(2):104-116.
[11] Crawford N http://breakingmuscle.com/womens-fitness/stop-doing-kegels-
real-pelvic-floor-advice-women-and-men.
[12] Earl, James and Myers, Thomas Fascial Release for Structural Balance
(Lotus Publishing 2010) 124.
[13] Singleton, Mark Yoga Body: The origins of modern posture practice.
(Oxford University Press 2010) 114.
[14] Deadman, Peter A Manual of Acupuncture (Journal of Chinese Medicine
Publications 2007).
[15] Judith, Anodea, Eastern Body Western Mind: Psychology and the Chakra
System as a Path to the Self (Celestial Arts, 2004) 38.