Elements of Acroyoga

Author: Jason Nemer Project Manager: )ustyna Fiuk Design & Art Direction: Ash a Tyska Mclaughlin e: fotodesignn @gmail.com Production Artist, Layout, Copywriting & Editing: Bonnie Argo www.bonnieargo.com Editing: Linda Mittel Printing: Krishna Copy Center, University Ave. Berkeley Photography: Kadri Kurgun www.kadrikurgun.com All photographs are Copyrighted property of 2013©Kadri Kurgun Copyright and Trademark Information Copyright© 2006-2013 AcroYoga, Inc. Serial # : 77066872. All rights reserved . All content of the Manual , and the information which it contains, is the property of AcroYoga, Inc. and its affiliates and licensors, and is protected from unauthorized copying and dissemination by United States copyright law, trademark law, international conventions and other intellectual property laws . Under the United States and International Trademark laws, all Content is protected but not limited to text, descriptions, software, scripts, code, designs, graphics, photos, sounds, music, videos, applications, interactive features and all other content; ("Content") as a collective work and additionally the proprietary property of AcroYoga, Inc. By way of example only, and not as a limitation, "AcroYoga" and the AcroYoga Inc. logo are registered trademarks of AcroYoga , Inc., under the applicable laws of the United States and for other countries. Other AcroYoga, Inc. products or service names or logos appearing in this Manual are either trademarks or registered trademarks of AcroYoga, Inc. and for its affil iates. The absence of a product or service name or logo from this list does not constitute a waiver of AcroYoga , Inc. trademark or other intellectual property rights concerning that name or logo. Utilization of the term "AcroYoga " or variations therein are appended by the United States and International trademark laws, as are all descriptive terms, sequences, and content. Additionally, all entities and representatives of the practice that have been Certified under AcroYoga, Inc. are officially listed on the AcroYoga.org website. All non-certified practitioners are asked to immediately cease and desist the use of all AcroYoga, Inc. trademarks, intellectual property and language. AcroYoga, Inc. will strongly enforce and pursue their legal rights to the Trademark.

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DEDICATION : I dedicate this book to all the teachers that have blessed and inspired me. To my mother for supporting me to follow my dreams. To Jenny Sauer-Kiein for co-authoring many of the sequences in this manual and for bringing her gifts and passion to life through this practice. To all the AcroYoga teachers for being bright lights that attract and feed community. To all the students around the world that are living examples of how we can support and play with each other.

ACROYOGA INC. CAUTIONARY STATEMENT The following recommendations have been designed specifically for AcroYoga Inc. participants. Because of the physical demands required , participants are asked to read and understand certain cautions and responsibilities designed to improve the safety and enjoyment of the activity. PREPARATION :

Choose an outfit which fits comfortably and allows free movement but will not inhibit movement or interfere with partner grips and connections. Wear supportive undergarments . Be aware of your surroundings; secure space for partner work, stable foundations, choose an environment where you will not collide with anything, etc. Do not apply lotions or oils to your hands or feet prior to starting partner work. Do all stretching exercises prior to practice. Take time to stretch leg, arm, neck, ankle, wrists, and back muscles before each session. Participants with a medical history or current condition (to include but not limited to seizures, neuromuscular, renal, cardiac, insulin/diabetic, pregnant, or chronic skeletal problems, disorders, or diseases must seek a Physicians approval prior to participation in the practice. ACROYOGA TRAINING SESSION

Think safety FIRST! Always be aware of the proximity of others when executing large motor movements. Please follow the Manual. AcroYoga is a methodology and should be practiced in a progression from simple to complex. Advanced work/unfamiliar movement should only be attempted with the assistance of spotters and only if your skill level (and the skill level of your partner and spotter) supports the movement. Always use proper spotting techniques when executing off the mat work. In all examples of unfamiliar movement, spotters must employ the "hands-on" technique. No jewelry. No nylon shorts or wind pants. No gum or candy. Hair should be managed to ensure safety.

Table of Contents HISTORY o F AcRoYoGA

1

How TO PRACTICE AcRoYoGA

3 5 8 9 14 17 20 21

GRIPS & FooT PLACEMENTS THE ART OF PARTNERSHIP PARTNER YoGA THREE RoLES oF AcRoYoGA THREE PERSON PARTNER YoGA WHY Do AcRoYoGA/MISSION CIRCLE CEREMONY LUNAR HEALING ARTS PRACTICES INTRODUCTION LuNAR AsANA SEQUENCE THAI MASSAGE & THERAPEUTIC F LYING SUPINE THAI MASSAGE LEVEL SUPINE THAI MASSAGE LEVEL

1 2

FooT PLAC EMENT FoRWARD FLYING PRONE THAI MASSAGE BACK FLYI NG HIGH FLYING WHALE Low FLYING WHALE HAMMOCK

24 26 27 32 33 35 40 41 47 49 55 61 63

AcROBATIC FLYING TRANSITIONS

66 68 69 77 89 91 93 95 97 99 100 101 103 109 117

THANKS & PRAISES

133

SoLAR AcROBATIC PRACTICES INTRODUCTION SoLAR AsANA WARM UP INVERSION PYRAMIDS AcRoBATIC TRAINING PHILOSOPHY SPOTTING FOUNDATIONAL AcROBATICS PARTNER INVERSIONS STANDING CouNTERBALANCES HAND BALANCING PYRAMIDS FLYING VocABULARY FLYING PRESSES MOUNTS & DISMOUNTS

History of AcroYoga WHAT ACR OYOG A HAS BEEN

AeRo YoGA BY JASON & JENNY

Acrobatics and yoga have mixed in many ways for thousands of years. It is impossible to cite all the masters that explored the alchemy of acrobatics and yoga; here we will point out some of the most prominent we know. The father of modern yoga, Krishnamacharya, was a pioneer in the blending of these arts. There is footage from 1938 of Krishnamacharya flying children, in similar postures we do in modern Aero Yoga. His appreciation and integration of gymnastics, brought to India by the British, inspired this fusion of acrobatics and yoga, which planted many seeds that have continued to bear fruits. Since Krishnamacharya's exploration with flying yoga, multiple practitioners have continued the fusion of these arts over the past few decades. For example, in 1985, an acrobat named Benjamin Marantz developed a form of therapeutic flying called Acrosage. Ken Nateshvar Scott, another acrobat gone healer, developed Contact Yoga, a practice with therapeutic flying and Thai massage. Kevin & Erin, students of Ken Nateshvar Scott started Circus Yoga, a family approach to blending circus arts and yoga. Eugene Poku and Jessie Goldberg developed AcroYoga Montreal in 2000. Their style is geared towards creativity and performance. At this point Aero Yoga has grown beyond any one school or person. All of these teachers have laid a foundation that is still supporting the positive momentum of Aero Yoga worldwide.

Jason and Jenny met in December of 2003 in San Francisco through mutual yoga friends . Jason had trained and competed in acrobatics and gymnastics for many years. Jenny taught youth circus acrobatics and had studied Contact Yoga, a partner flying and massage practice. Their first meeting they jammed and envisioned for many hours . Jenny had never done the high level hand balancing they played with that night. It was also Jason's first time receiving therapeutic flying. After hours of talking, a partner practice that would blend their passions and talents was born . In January of 2004 they were teaching a partner doubles acrobatics class at the San Francisco Circus center. Their first public workshop was at Yoga Tree in SF for Valentines Day. They sold it out, got inspired and took the show on the road in California. Carolyn Cohen was their first dedicated student. She came to every class and would always bring a friend. She was also a Thai massage therapist and Chinese med icine doctor. Jason's roommate and friend Francisco Morales-Bermudez was a yoga teacher and Thai massage therapist as well. Both Carolyn and Francisco were invited to join the teaching team of what they called then Contact Aero. The four played, taught, jammed and expanded the practice in the early days in San Francisco. In April of 2006 Contact Aero became Aero Yoga. During this transition, Jason & Jenny took the active roll

PHOTO OF KRISHNAMACHARYA, THE FATHER OF MODERN YOGA, FLYING HIS STUDENTS

(1938)

in developing the practice. Carolyn became their first senior teacher and Francisco branched off and developed Synergy, a partner practice with a greater emphasis on circle asana and healing arts. After 3 years of traveling and teaching Jason & Jenny met many students that wanted to go deeper in the practice. They started on their first manual for the teacher training. They soon realized that the manual could be a tool for all students of Aero Yoga and released their first flight manual in

2006.

In August of 2006 they hosted their

first AcroYoga teacher training for 19 students . Now 7 years later, there are over 300 teachers worldwide on

6

out of 7 contents.

History of AeroYoga THE Loco

2 008

2003

2 011

Like the practice the logo has evolved through the years. Our first logo was designed by Nick Ruben , the second Arianne Traveso

WHERE CAN AcRoYocA Go?

and our final by lzzy Vanhall. Our current logo of the triple infinity

By design AcroYoga is about community, relationships and

symbol represents the interconnectedness of the three branches of

partnerships. In our viewpoint there are no founders of AcroYoga.

the practice. When the solar and the lunar practices are combined

This movement is riding on the shoulders, feet and hands of many

skillfuly, the balance of yoga is achieved. The broken circle represents

gifted people. This manual is an offering of an AcroYoga system

the dynam ic nature of the ever growing community.

designed to support students to have a step by step guide to learn

RED-ORANGE: SOLAR - Acrobatic Practices that cultivate trust,

communities where AcroYoga teachers bring the practice.

how to play AcroYoga. Where this practice grows depends on the empowerment and joy. Many spiritual traditions have been shared orally; this tradition is BLUE: LUNAR - Healing Arts Practices that cultivate listening,

communicated through touch and shared experience. Due to this

loving and healing.

fact, AcroYoga can never really belong to any one person. It is a

PURPLE: ELEMENTAL - Yogic Practices that cultivate breathe awareness, softness , strength and harmony.

the Sanskrit word Yoga

=

more we all play with each other the bigger the global party gets. Where the practice can go is to every park in every city around the

DE FINITI ON OF AcRO Y OGA The word AcroYoga comes from the Greek root akros

growing collective of physical wisdom that is ever expanding. The

=

world in an expression of divi ne play and human connection.

high and

un ion . Together they form AcroYoga -

High Union . From this place, many amazing physical shapes can be formed , and students literally and figuratively elevate each other. Our highest aim is to bring individuals into a state of union with themselves , with each other, and with the community. From this place of mutual support the true self can be realized, celebrated and shared for the benefit of all. AcroYoga is a community based practice that encourages personal transformation . We ignite our collective potential as we support each other to reach new heights. AcroYoga invites you to experience the full spectrum of your being through opportunities to: give and receive; support and be supported; experience strength and sensitivity. It is a systematic approach to health and healing designed to be accessible for every practitioner. The best part is that it's fun to do and fun to watch . It brings people together the old fashioned way, through human connection, touch and play.

2

How to Practice AcroYoga THE GOLDEN RULES

Self

IN THE LUNAR PRACTICES: IF IT FEELS GOOD, IT IS RIGHT

There are many types of bodies; no one recipe will work for the cultivation of the AcroYoga practice. The body will not lie. As we learn to listen to signals from our body, we can make choices that support our health and happiness. If students are ever unsure about a posture or practice, refer to the golden rule. Does it feel good in your body? IN THE SOLAR PRACTICES: IF YOU ARE HAVING FUN, IT IS RIGHT

SADHANA =THE PRACTICE

"PRACTICE AND ALL IS COMING" PATIABHI jOIS

Sadhana is a Sanskrit word for practice. Sadhana is a life long journey. There is no fixed point of attainment or finish line. Like many

languages, Sanskrit words have multiple meanings, some of these other meanings are; home, reservoir, or residence. This is where true wisdom is held , experienced and expressed. Wherever we are, there is always more room to learn , refine and appreciate. When this is

There are many reasons to do acrobatics, fun is the juice that will

understood and embodied the student can enjoy the scenery and build

keep the tree of acrobatics alive for many years. The deeper students

their life long practice. Reading about AcroYoga can give you a mental

go down the acrobatic path, the more challenges they will find,

foundation, but the real experience cannot be explained in words. It is

the more opportunities to be clearer, stronger, softer and more

communicated from person to person and is amplified by the number

harmonious. After the struggle comes victory and if there can be a

of people that practice.

stable sense of fun and joy along the path that is an ideal condition to grow an acrobatic relationship. If students are ever unsure about a posture of practice, refer to the golden rule. Are you having fun?

THE

POWER

OF

THE

MIND,

EVOLUTION VS. REVOLUTION One is not better than another. The combination of the two is more

PH I LOSOPH I ES SELF, OTHER , COMMUNITY

KNow THY SELF, SuPPORT OTHERS, ENJOY CoMMUNI TY

All reality starts with the perspective of the seer. This is where we will do most of our work as yogis. Partner practices are not a substitute for individual practice; it's quite the opposite. The deeper we go in partnersh ip, the more important it is that we dedicate to our solo practices to discover our patterns, our struggles and our strengths. We create the majority of our happiness and struggles before we ever meet our enemies or friends. One can see solo practice as a form of weeding, pulling the thoughts , words, and movements that do not support our positive evolution from our lives. We then have a more fertile ground to plant thoughts words and actions that do support

powerful than either of these concepts, alone. Evolution is a slow, gradual process. Dedicating to evolution is what we do every day as conscious yoga practitioners. Revolution is a much faster path . This is the path that starts in the mind. Once a belief is born in the mind that something is possible, the road to realization can be short, easy and paved! It comes from the ability to believe in the potential you have not yet realized. This belief is stronger than any yoga prop, teacher or text. This ability to change your mind is the gift of a student ready to abandon who they are to see who they can become.

EFFORT FOR EASE, ALIGN WITH YOUR BONES Acrobats seem to defy comon laws of physics as they balance each

our highest potential. What we learn in our own lives and our own

other in countless ways with magical grace and ease. What is their

practice we can apply to our partnerships. Partnership allows us to

trick? Usually they have trained hard for many years to attain that level

be seen and challenged and supported . As partnerships develop,

of ease in high level skills. There is a period of great effort that in time

they invite expansion, reflection and growth . That growth can be

translates to a place of ease. This is only true if the effort is channeled

exponentially elevated by community, a place for a partnership to be

in a way that will increase your technical efficiency. For example, to

celebrated and supported to new heights.

get the arms straight in handstand takes considerable effort. Once the arms are straight, the effort pays off with a new sense of ease because the bones are stacked and the muscles are working more efficiently. The bones are our bodies' evolutionary response to gravity. Smart acrobats will always train techniques that cultivate the most efficient

3

How to Practice AcroYoga support and least effort. This recipe will always start with the sacred

hearts. Communication as well has many vehicles - voice, breath,

geometry of the bones . The acceleration of gravity is a planetary

touch, hands, face. Communication , when done well, can be clear

constant that yogis, acrobats and all matter on earth exist within.

honest and kind . In general, when we express our experience of

There are no special rules that allow exception to this deeply rooted,

the practice with our partners we start with what worked. From this

grounding force. Acrobats and yogis alike position their bodies in ways

place we are affirming the relationship and the exchange. This helps

that demand strength, increase flexibility or a combination of both .

us feel good and remain open. After both partners exchange, there is

Their applications and training methods often differ. Using your God

time for evolutionary feedback. Evolutionary feedback explores how

given bone structure is a destination that yoga and acrobatics will

things could evolve to an even a better exchange. It is not negative

arrive at either by trial and error, or the blessings of good teachers. The

feedback, constructive, or even solutionary. It is for the positive

degree to which this principle is embodied will be a contributing factor

evolution of the partnership.

towards the degree of ease in postures and the difficulty of skills.

THREE TYPES OF

Other

COMMUNICATION Verbal techniques - This is thetimeto starttheflowofcommunication

between partners . You can never check in too much. Do you need

THE ART oF CoMMUNICATION

more or less pressurefweight? How are you doing? How does this

There are many elements that contribute or detract from the fluidity

feel? Do you want to re-adjust?

of partner work. Communication is the vehicle that brings partners to a place of common understanding. Words, facial expressions, touch, breath and even thoughts are all ways to communicate. When honest communication is being exchanged the connection deepens, and this foundation is where all partner work grows from .

Non-Verbal techniques - Besides communicating with words, also

encourage students to have an awareness of their partners. Breath (ease, depth, and overall quality of the breath) , Facial Expressions (relaxed, tense or grimacing) and Body Reactions (from deep release and surrender to resistance and tension).

AHIMSA (COMPASSION) &

Tactile techniques - You may also want to use signals through touch,

SATYA (TRUTH)

One squeeze means "that's enough right there". Two squeezes

Two of the founding principles of Yoga can strengthen the ability to

such as when partners are being stretched and have a forearm grip: means "you can go further".

give and rece ive. Ahimsa translates as compassion or kindness, Satya translates as truth or non-lying. If one communicates their truth then their partner can interact compassionately. For example if partners are stretching each other and the one receiving the stretch is being pushed

How WE CONNECT: GRIPS & FOOT PLACEMENTS

too much but does not communicate this truth, their partner cannot

One of the principles of acrobatics is how to stack the bones

proceed with kindness . The more honest partners can be about where

to optimize our God given structure. This practice is magnified

they are and what they need , the stronger their connection can grow.

greatly by how two people learn to connect through grips and foot

COMMUNICATION: LISTENING

the rest of the body so this aspect of the practice is refined over

& HOW WE EXCHANGE

support and in therapeutics you are look ing more for muscles to

placements. There are more bones in the hands and feet than in

FEEDBACK As we take the brave step off our yoga mat and decide to engage

decades. In general in acrobatics you are looking to find bones to support. The quality of touch from acrobatics to therapeutics can have differences and commonalities. Universally there is a high value to bases that are confident and clear in how they connect.

in partnership we have many tools to support us. One of the most

Compassion with strength is an ideal that will let the flyer trust and

important tools in partnership is listening. If communication is present

surrender. The more sensitive a base becomes in lunar practices ,

without listening, it ceases being communication and becomes noise.

the more intelligent their acrobatics becomes . The stronger the base

We have many ways to listen - our ears, eyes, skin, feet, hands and

becomes in acrobatics, the more steady they are in the therapeutics.

4

Grips

FOREARM

HAND TO HAND

CROSSED FOREARM

REVERSE HAND TO HAND

HAND TO HAND : STEEP

HAND TO HAND : FLAT

FOOT TO HAND

FOOT TO HAND

LIFTED BADDHAKONASANA HAND PLACEMENT

5

REVERSE FOOT TO HAND

Foot Placements

FOLDED LEAF

FRONT BIRD

BACK LEAF

Feet turned out below hip bones of flyer at top of thigh . Flyer's thigh rests in the middle of the foot

Feet parallel, flyer's hip bones in the soft part of the foot (the arch). Toes on the belly, heels on the thigh

Feet turned out cupping the gluteal fold with the arch of the foot

BACK BIRD

BAT/STRADDLE BAT

HIGH FLYING WHALE

Feet parallel cupping the glutes with the feet. Toes at the waistband

Feet parallel or slightly internally rotated, inseam of foot touching flyer's hip bones

Feet parallel either side of flyer's spine, toes around waistband and heels at bottom of shoulder blades

STAR

REVERSE STAR

Feet turned out with toes around collar bone and flyer's shoulders resting into arch offoot. Heels together behind flyer's head

Feet parallel with toes towards top of flyer's shoulder blades. Flyer's shoulders rest into arch offoot 6

The Art of Partnership

PARTNERSHIP SELECTION In choosing a partner, it is helpful to pick someone who: • You trust and respect. • Is committed to the process of giving and receiving feedback. • Is interested in working as a team . • Compliments and supplements your strengthsjweaknesses . • You can learn from. • Has similar goalsjvision for the cultivation of your AcroYoga practice.

CULTIVATING THE PARTNERSHIP In the vein of giving and receiving, the relationship between partners will grow and bloom as much as it is being watered and nourished . Basically, you get out what you put in. If you fully commit yourself to the journey and process of partnership, it can be a time and energyconsuming project. It is, however, highly fulfilling and can be quite harmonious if both partners are willing to put the time in together.

PARTNER YoGA Partner Yoga is one ofthe best places to cultivate win -win situations. Partners develop communication and listening to find the space of mutual support and release . In all of these practices , gravity and loving touch help us let go of fear and pain. As we learn to listen deeply we can use our power in a sustainable way.

8

Partner Yoga FACE TO FACE

9

GROUNDING

SPINAL FLEX & RouND

Seated face to face, cross legged, knees touching

Inhale bend elbows, draw heart through between arms

INFINITY SPINAL TWIST

Exhale extend arms and round spine

Left arm behind back, right an .. on the outside of partner's arr to hold their hand. Bend left a· to deepen twist

SOLE-TO-SOLE FORWARD FOLD

DOUBLE BOAT

Connect soles of feet, both partners extend legs and fold forward. One partner at a time points toes into the other's foot

Bend knees and place feet on the floor, toes touching. Connect at forearms and joining one side sole to sole, extend leg as straight as possible. Do both sides extending arms and lifting the heart, shoulders drawing back

STRADDLE WHIRLPOOL

TRANSITION TO STANDING

Stay in straddle with feet connected, connect forearms in a crossed grip. Close eyes, start with small circles and gradually expand to explore range of motion. Reverse directions and spiral back to stillness

Hold forearms, bend knees and place feet on floor. Leaning away from partner elevator up to stand

CHAIR TWIST COUNTERBALANCE

STEEPLE

DIAMOND TWIST

Maintain Utkatasana, open left arm up and back and lean away from partner. REPfAT OTHER SIDE

Palms touching, reach arms up and walk back hinging at hips. Keep arms straight and draw heart through shoulders

From Steeple, exhale and twist open to one side, botom palm stays connected as top arm reaches up. REPfATOTHER SIDE

Partner Yoga FACE TO FACE

BouND ANGLE SEE SAw

Lean away with extended arms, backbend over bent back arm . REPEAT OTHER SlOE FROM SPINAL TWIST

One partner's legs are straight, feet connected to the shins of bound angle. Connect forearms, on exhale one partner folds forward , the other leans back. Inhale to come up, Exhale to reverse the fold . Backbending partner keep heart lifted, shoulder blades down . SwrrcH ROLES AND REPEAT

STRADDLE BOAT

STRADDLE BOAT TWIST

STRADDLE SIDE BEND

Keep arms connected and feet off Aoor, bend knees under arms, re-extend legs in straddle

Hold right arm to right arm on the inside of legs, reach out with left arm spiral torso. REPEAT OTHER SlOE

Place legs on the ground in a straddle connecting feet. Hold right forearm to right forearm, inhale lift left arm up, exhale sidebend. REPEAT OTHER SlOE

STANDING PLANK COUNTERBALANCE

BACKBENDING FOUNTAIN

(HAl R (OU NTERBALANCE

Stand 6 inches apart, hold forearms, lean back with a stra ight body and straight arms

Inhale lift the heart, exhale drop head back. Inhale to come back to center

Partners stand about 1 foot apart, hold crossed forearm grip, bend knees so thighs are parallel to the Aoor

TABLE TOP

(LOSING

Hands rest on shoulders, arms straight, hinge at hips for go degree angle, melting heart between shoulders

Stand with left hand on own heart, right hand on partner's heart, grounding in breath 10

Partner Yoga BACK TO BACK

GROUNDING

SPINAL TWIST

Sit back to back, cross legged

Connect palms with thumbs pointing up, twist to the right

Arm on floor starts straight, then work forearm

with awareness on breath

bending left arm to open chest, keep arms at shoulder

to floor. Upper hand can connect to partner. Hips

SIDE BEND

height. Place hands on knees, ground down, find length

grounded. Take thumb and index finger oftop hand

in the spine. REPEAT OTHER SIDE

around partner's wrist, gently lengthen their arm. REPEAT OTHER SIDE

MASSAGE TABLE

CHILD'S POSE TRACTION

Giver comes to table top, receiver sets hips below giver's pelvis

Giver come to elbows, hold wrists

Both partners transition to a

and rests head between shoulder blades of giver. Giver arches and

of receiver and tractions arms out

foot-to-foot child's pose

rounds the spine like catfcow as receiver stays relaxed

and down while pressing tail up and

DOUBLE CHILD

back. SWITCH RoLES FROM MASSAGE TABLE

FULL BACK PACK

MINI BACK PACK

11

Flyer squats down

Base leans forward towards

Release interlace of elbows,

Base squats down so

Base leans forward towards

so hips are below

a flat back, keeping elbows

traction flyer's arms overhead.

hips are below flyer's

a flat back, keeping elbows

base ' s hips, elbows

and back connected.

Keep backs connected to return

hips, elbows interlaced

connected, taking flyer' s weigl-

interlaced

Flyer's feet stay on the floor

to standing. SWITCH RoLEs

Partner Yoga BACK TO BACK

CROSS lEGGED SEAT WITH BACKBEND

ASSISTED FORWARD BEND WITH BACKBEND

Both partners stay in cross legged easy pose, receiver's hands come to floor or on knees in forward bend as giver leans back, keep spines connected. SWITCH ROLES

Receiver extends legs straight, receiver bends knees and places feet flat. Receiver folds over legs as giver leans back, supporting weight with bent knees , keeping spines connected. Backbending partner can grab toes of paschi, pas hi partner can point toes or clasp wrists to traction giver. SWITCH RoLES

TRANSITION TO STANDING

GROUNDING

DOUBLE PRASARITA PADOTTANASANA COUNTERBALANCE

Sit back to back with knees bent, feet flat, elbows interlaced . Press into partner's back, and through feet to trans ition to stand ing

Stand back to back with awareness on breath

Heels a few inches apart between partners, arms between legs holding at forearms , lean hips away from each other bringing weight into toes

Base can release interlace of elbows and traction flyer's arms to side or overhead , while pressing tailbone back

HERO VARIATION

FULL BACK PACK · DISMOUNT

(LOSING

Base guides flyer's feet into hip crease for hip opener, and bends forward while hold ing hips of flyer

Base unhook flyer's feet, holding flyer's hip bones to slowly stand , keeping backs connected. SWITCH RoLES FROM FuLL BACK PACK

Standing back to back grounding into feet and focus ing on breath

12

How to Practice AcroYoga Community SITA, RAM, HANUMAN In Ind ia t here is a beautiful story about three divine creatures; Sita Ram and Hanuman . Their relationship can serve as a template for how we interact in AcroYoga . This is a very long beautiful story made short. Sita got kidnapped , Ram her husband was devastated, Hanuman came in and saved the day. It was Hanuman 's service to Ram that connected the partners . Sita represents the feminine, receptive, lunar, all embodied by the flyer. Ram represents the mascul ine, power, solar, all embodied by the base. Hanuman represents service, support, yoga, all embodied by the spotter.

3

IS THE

MAGIC

NUMBER

SMALLEST COMMUNITY A group of 3 is the smallest community. The way we encourage students to practice AcroYoga is in groups of 3: Base, Flyer and Spotter. As we learn to listen, commun icate, struggle, soften, adjust, try again, we learn everyth ing we need to work in larger and larger commun ities. Commun ity is a natural evolution. As we feel secure in ourselves and secure in our partnerships, we can bring our attention

3

ROLES OF AcROYOGA

higher and higher, expanding to bless more and more people.

BASE - The safety, balance and support of the flyer. When we come together in circle we all form one organism . In th is shape you can see everyone and everyone ca n see you . There

FLYER - In acrobatics: squeeze and trust. In therapeutics :

is a baseline of equality and interconnection that serves as the

breathe and let go.

foundation for the practice. We all take roles: base, flyer, spotter, teacher, student, intermediate, advanced , wh ite, black, Asian ... When we are in circle none of these labels carry the same weight,

SPOTTER - Primary role to support the safety of the flye r, secondary role to support good alignment of the base.

we have the potential to loose our individuality for these brief moments and feel the support of a greater identity. These practices and philosoph ies can bui ld a model for how we see and interact with the world at large. Th is connection is the mission of AcroYoga, and it is the nature of humanity to live, work and play together to build a healthy supportive global community.

14

Three Roles of AcroYoga Spotting:

In all spotting the spine is straight, the hands are soft and there is a constant awareness of where the flyer may move and where the spotter might be at risk.

THE GLUE TO THE PRACTICE, THE

MOST

IMPORTANT

ROLE

FOR BUILDING COMMUNITY Spotting is the most important role in the practice; it can either

STANCES: Warrion spotting stance: Good for

supporting a flyer in one direction,

far from the spotter, then transitioning closer to the spotter, the front leg bent is the power leg, back leg straight is the anchoring leg.

promote advancement or limit growth of a community. As a spotter

Goddess spotting stance:

you are giving your full attention and energy towards the safety and

spine straight. This is good for many different angles of support, not

well being of the person attempting the skill. It is an art best learned

as strong as the warrior but much more versatile.

Feet wide, knees bent and over the feet,

by doing. This book will give you ideas but you have to apply them many, many times to gain the wisdom of how to spot well. The safest

Duck squat spotting stance:

Feet hips width or a bit wider, knees

way to start is to practice with a partner who can already do the skill

knocked in to support the back or shoulders of the flyer. This is

safely without a spot. Practice with them to get feedback about your

specific for some inversion work and Thai massage techniques.

touch and technique. Skilled spotters help communities flourish.

LEVELS OF SPOTTING: The spotter is the glue between the base and flyer. The spotter's outside eye can see things neither the base or flyer can see. They can serve as an interpreter between the acrobats and offer suggestions

Heavy hands on: Great

for beginners that have fear, builds trust and

confidence.

to aid the stability of the skill. The spotter is there to increase the

Light hands on :

potential of a successful skill attempt.

this allows for the flyer to feel more of what they are doing.

Hands are in the same position but with less force,

Spotting is a form of love, you can have too much or not enough.

Hot potato:

We aim to give the right amount of lovefsupport to help our partner

go back to supported. This gives the flyer freedom to eventually not

find their own center. Over spotting is like smothering someone

need support at all.

Hands on lightly, then let the flyer go unassisted, then

with love, they cannot receive it and can resist the support. On the This is when the spotter is in places but does not touch

other side if there is not enough love/support the partner can feel

Safety spot:

scared and not trust. Ideally the perfect amount of love and freedom

the flyer unless they start to fall.

is reached, as a spotter you are always looking to do the minimum to maximize the skill and confidence of the flyer. Before attempting a new skill there must be two conditions: 1.

No doubt that you can spot the flyer. No doubt that the person is ready to attempt the skill.

2.

If there is any doubt, do not attempt the skill without an additional spotter. Or do another skill that is easier, and a stepping stone towards that skill.

THREE BASIC LEVELS OF RISK: Low risk : Therapeutic

flying, foundational acrobatics and flying.

Medium risk : Acrobatic

and therapeutic flying transitions, standing

counterbalances. High risk: Two-high acrobatics,

SPOTTER

V1 RTU ES:

One pointed focus. Good pos ition . Stability. Strength. Confidence. Speed. Sensitivity. Dedication. Devotion.

SPOTTER PITFALLS: - Not fully present - Eyes focused in the wrong place

-Too far from flyer

-Too hands on

- Too close to flyer

TECHNIQUES & PRINCIPLES: Keep your eye on the ball. If your eyes stay on your partner the whole time their confidence in you grows and your effectiveness increases. Find the place that you are most effective spotting. On your knees,

popping, acrobatics with momentum.

wide stance, on the side, front, or back of your partner. You have to be stable to support.

15

- Not hands on enough

Three Roles of AcroYoga Stay out of harms way. If you get a foot to the head you cannot spot anyth ing! When all else fails go for the center of gravity (the hips) .

Flying:

There can be too much of a good th ing. Light spotting will give the student enough sensation to understand how to do it on their own. The base is the pillar on which everything rests . The more stable the base is, the more fun can be had above. The base is ultimately respons ible for the flyer's safety, no matter what. The buck stops with the base, they are the primary spotter and responsible for the flyer's safety. It takes much longer to learn to become a stable base but once it is atta ined a base can offer the gift ofinviting flyers to trust and be free .

The flyer is the one that takes the risks and trusts their base completely. The combination of strength and flexibility in synchronicity is the dance of the flyer. Over time the flyer must embody a wide range of physical states , ranging from highly passive in therapeutic flying to highly engaged in partner acrobatics. As these elements come more into balance for the flyer, the more poss ibilities there are for artistic expression .

FLYER V1 RTU ES:

Basing:

Unified "One Piece": The ability for the whole body of the flyer to act as one unified piece, huge muscular energy from out to in .

BASE VIRTUES:

Trust: The ability to surrender to the base and spotter to know that

Sensitivity: The ability to listen first and know what will be the most

they will do their job and keep the flyer safe.

supportive way to interact with their flyer, is the most powerful tool of a base.

Flexibility: The more range of motion the flyer has the more expressive they can be and the more easeful many acrobatic flying

Strength: Starts in the mind and flows through the body.

trans itions will be.

Stability: Us ing technique and bones to support weight.

Bravery: Self-trust that allows for more dynamic acrobatics.

Confidence: Flyers will feel this in the quality of touch and tone of

High strength to weight ratio (i.e. "press handstands "): Flyers don 't have to be super strong, they are better off if they are strong in

voice.

relation to their weight, not weightlifter heavy muscles, strong light Safe: Understands own limitations and that of their flyer and spotter.

acrobatically smart muscles .

Calm: Able to react but not overreact. Even , level-headed in their

Fluid and controlled transitions: The way flyers move will either

communication and how they move.

support or challenge the relationship with the base. In general flu id

Trustworthy: As the flyer trusts more and more the base respects this trust by keeping the flyers safety above all other pursuits . Grounded: Literally and energetically receiving support from the earth and translating that grounded quality up to the flyer. Patient: Power is only useful to a base if it is used at the right time, waiting fo r that time is the mark of an experienced base.

and controlled styles of movement are easier to harmonize with. Grace in motion and in static positions: The best flyers always have a quality of grace in their movement. All the elements earlier stated will lead to grace.

FLYER PITFALLS: - Trying to control the balance

- Fear

Powerful: When the flyer needs support the base has the clarity,

- Adjusting positions abruptly

- Not trusting

confidence and power to lift the flyer, there is an element of speed

- Holding breath

- Inflexibility

here.

- Bending or loosen ing body

BASE PITFALLS: - Lack of commun ication

- Holding breath

- Lack of compass ion

- Using muscle vs. alignment

-Unclear commun ication - Abrupt movements

- Bent arms and legs - Over correcting

- Dropping partners due to lack of progressions or spotters 16

Three Person Partner Yoga

TRIO TREE

FOREARM GRIP

Connect palms and raise arms to the sky,

Transition to standing. Take a forearm

Keep forearm gri p lift right leg and extend

place foot into tree pose. Connect gaze

grip on either side, extend arms

over partner's leg. Hook toes around partner's

HEART OPENER

and breath. REPEAT BOTH SIDES

waist. Sh ift grip to hands and open heart

DANCER ' S POSE

PRASARITA PADDOTANASANA

Connect left palm with partner' s in center, unhook right leg and

Turn to face away from partners, separate feet and connect

catch w ith right hand . Kick foot back into hand to open the chest. REPEAT FROM H EART O PENER ON LEFT LEG

cross forearm grip. Lean hips away from each other

heels. Fold forwards , reach ing through legs t o connect in a

STRADDLE PILLOW

ElEVATOR UP

Sit in a comfortable straddle, raise left arm overhead , lean to the right and lay back over

Connect shoulders , hook elbows and bend

partner's th igh . REPEAT OTHER SIDE

knees with feet Aat. Press back i nto partner's and press through feet to stand

17

Three Person Partner Yoga

HALF BOUND TWIST

Keep right leg in place, bring left hand into a half bind behind back and reach right hand to connect with partner on your left. Turn gaze over left shoulder

FORWARD FOLD

SIDE BEND

Return to center, keep right leg in place. Bring hands to partner's shoulders and begin to fold in towards the center

Thread right hand towards the left, find partner's foot. Rotate torso open and reach left arm over left ear, connect to partner's shoulder

ELEVATOR TO THE GROUND

Coming back to standing, hook elbows with partner's and press shoulders into one another

HIGH FIVE!

Bend the knees maintaing contact through shoulders and lower to the earth

NEVER GONNA GET DIS!

18

Why do AcroYoga

Mission "WE B U I L D C 0 M M U N I TY T H R0 U G H D IV I N E PLAY." Community is the medium where the practice of AcroYoga lives. With this practice we can bring the world t ogether th rough play. From play we create a worldwide network of friends and family we have many t hings in common with . By doing AcroYoga you stand to enjoy these benefits: Build strength, flexibility, confidence, coordination, community & friendships. Become more balanced, open, kind , present, connected

& healthy.

Through practicing AcroYoga you may find yourself: Experiencing more joy; practicing compassionate communication skills; cultivating kindness; taking more risks in your daily life; making new friends ; building community; feeling centered; expanding the full spectrum of your being; enjoying life as play; releas ing fear; embracing the unknown; surpassing t he limitations of the mind; communing with the divine.

PHOTO CREDIT: WAR I

O M WWW.WARI.CAT

20

Circle Ceremony

GROUNDING IN SELF

HEART SANDWICH

KNEE CONNECTION

Sit in a circle touching knee to knee. Grounded in Place left hand on front of own heart and right Rest hands on the knees of the person to either the breath bring hands to heart center hand on back of neighbor's heart side

MASSAGE SHOULDERS

SliDE BEND

Exhale rest ams on shoulders to either side. Massage partner's shoulders

Inhale lengthen at center, exhale to side bend to the right

FORWARD BEND (PASCHIMOTTANASANA)

TABLE TOP- LEFT AND RIGHT

Inhale at center, exhale fold forwards over legs and find someone else's toes

Place hands behind hips and feet flat on the floor, lift hips and extend crown

WARRIOR

Shift arms to neighbor's back, lift chest to open heart using support of partner's hands 21

3

Keep hands on backs, extend leg back and reach crown forward REP£AT OTHER LEG FROM STANDING FOREST

Inhale lengthen at center, exhale to side bend to the left

Lift one leg up, keeping hips lifted

SUPPORTED BACKBEND

Stand hip to hip, support with hands at low back, lift chest to the sky

Circle Ceremony

SPINAL FLEX & ROUND

ARM EXTENSION

Inhale to arch the spine

Exhale to round the spine

Connect palm to palm, inhale extend arms to the sky

FORWARD FoLD

HEART OPENING

TRANSITION

Inhale lengthen at center, exhale fold forward

Inhale lengthen at center, exhale lean into support of partner's hands to lift chest

Connect palm to palm, raise arms, extend legs straight and walk hips and legs forward

TRANSITION TO STANDING

STANDING FOREST

Drop leg over to the side to rest on your partner. Connect palm to palm, place feet flat on the Lift hips more to support your partner's . floor, press through feet and hands to stand

Staying connected palm to palm place one foot to inner thigh for Tree Pose

REPEAT OTHER SIDE

GROUP SIT (UTKATASANA)

Stand close in circle, hands to shoulders, sit down angling hips for thighs of person behind

Turn head to face center, lean forwards with arms relaxed

Lean back, angle body in towards center of circle

22

G lJ

HEALING ARTS

) )

J J

'

Lunar Healing Arts Practices

SENSITIVITY BEFORE STRENGTH All true strength has an element of softness and all true softness has an element of strength . As we invest time to soften before channeling our strength, that strength is guided by the precision that can only be achieved by subtle, fine, lunar awareness. In the physical practice it means to bend slowly and listen to where your partners weight really is, then add power. Healing arts also start softly, listening with our hands, eyes and heart as we make passes on the body to investigate before we add a lot of body weight or pressure. This is why we introduce the lunar aspects of the practice first. This philosophy also translates to many other aspects inside and outside the practice. The ability to be patient, receptive and soft will give the practitioner the information they need to be skillful with their power.

LUNAR HEALING ARTS PRACTICE The Lunar Therapeutic Practice supports healing, relaxation and letting go. Practitioners cultivate deep listening, loving touch and the ability to give and receive. This branch is much more subtle, patient and slow. It is based on understanding the flow of energy in the body, where it may be blocked, and how to use breath, gravity, body weight, emotions, thoughts, prayers and vibration to free up these blockages. The Lunar elements include: the lunar a sana sequence, partner yoga massage, therapeutic flying, singing & meditation.

LuNAR AsANA SEQUENCE The lunar asana sequence helps students understand how to listen, move energy in their own body and use their bodyweight in a comfortable, efficient way. Chi/energy cultivation stances, asana, massage body positions and self-massage are the ingredients that fine-tune the lunar aspects before students work with each other. Partner Yoga is a gentle way to get practitioners working together, sharing touch, bodyweight and communication. The massage sequences give students the opportunity to refine touch and learn the parts of the body they will be in contact with when they fly their receivers. Giving and receiving can be equally healing. Therefore, both are practiced. Therapeutic flying is the deepest expression of the lunar arts. Flying allows the receiver to release and surrender to gravity while being nurtured and supported by the giver.

26

Lunar Asana Sequence

27

CENTERING

CHI BALL

CHI GENERATION

Right hand to heart, left hand to belly, 3 breaths

Step feet hips width. Rub palms together, separate hands to feel energy

Bend knee, lengthen tailbone. Raise arms in circle, palms face towards body

C1 RCU LATE ENERGY

SELF HEALING

Place hands to anywhere that you need healing

FORWARD FOLD & LIFT

CRESCENT LUNGE

CHI GENERATION

PRAYER HANDS

Inhale sweep arms up, Exhale fold , Inhale flat back, Exhale fold. Pulse 3 times between flat back & fold

Step right leg back coming into high lunge

Arms in line with shoulders imagining holding a ball, 3 breaths

Inhale hands to prayer posit ion

PRASARITA PADOTANASANA

CRESCENT LUNGE

CH I GENERATION

PRAYER HANDS

Inhale extend legs and interlace fingers, Exhale fold forwards, 3 breaths

Turn over right leg into high lunge

Arms in line with shoulders imagining holding a ball, 3 breaths

Inhale hands to prayer position

TABLE TOP PALM PRESSING

WRIST STRETCH

KNEEL DIAMOND

SELF MASSAGE

Lean weight left and right with hips, palming with breath: Inhale to shift weight, exhale to pour weight through hands

Palm walk to stretch wrists: turn hands out, to back and lean back for wrist stretch, then hands palm walk all the way around to front again

Take knees wide with toes together and tucked under, sit on heels

Alternately palm press thighs with straight arms

Lunar Asana Sequence

SELF BLESSING - STAN Dl NG

BODY SCAN

WALKING MEDITATION

Scoop energy in palms, bathe the head, shoulders, arms,

Inhale sweep arms up, Exhale fold

Step one foot forwards and shift weight from

then draw to low back, down the backs of legs, tops of feet,

from wrists and allow hands to

heel to toe by bending knee. Repeat out to

up the front of legs, to the belly and then release energy.

scan down body. Repeat 3 times

the side at 45 and 90 degrees retrace same steps to center. REPEAT OTHER FOOT

Repeat 3 times

HEART OPENING

LUNGE PULSE Exhale bend back knee

Inhale extend back leg. Pulse 3 times

LUNGE PULSE

GODDESS WITH BODY SCAN

FOLDED LEAF TRACTION

Open arms to cactus,

Inhale sweep arms up, Exhale

Exhale place heels of hands

lift heart

fold at wrists, hands scan down

in hip crease, extend arms

the body. Repeat 3 times

to traction spine

HEART OPENING

DowN Doc

CAT/Cow

Exhale bend back

Inhale extend back

Open arms to cactus,

Step back to Down Dog, 3

Inhale arch, exhale round ,

knee

leg. Pulse 3 times

lift heart

breaths

Pulse 3 times

MONKEY LUNGE

DowN Doc

LOW LUNGE WITH PALMING

Press back to Down Dog,

Step left leg into low lunge. Inhale

Draw back leg underneath

Use hands

place hands, exhale pour weight,

pelvis and sit with buttock

to transition

(palm walk out 90 degrees)

on heel , toes tucked under.

3 breaths

Other side. Hands in prayer 3 breaths

Hands in prayer 3 breaths

28

Lunar Asana Sequence

DOWN Do c

Low LUNGE W ITH PALMING

MONKEY LUNGE

Press back t o Down Dog, 3 breaths

Step right leg into low lunge. Inhale place hands, exhale pour weight. Palm walk out go degrees to the right

Draw back leg under and sit with buttock on heel, toes tucked under. Hands in prayer 3 breaths

Use hands to transition

RUNNERS LUNGE

RusSIAN DANCE

TWISTED LUNGE

TWISTED THIGH STRETCH

Extend fron t leg flex toes and fold forward , 3 breaths

Place hands to earth , com ing onto knees to switch sides. Practice changing sides several times

Turn over right leg, keep left hand on the earth , lift right arm to twist open , 3 breaths

Place back knee down , take right arm to left foot to draw heel in and rotate chest open , 3 breat hs

WRIST CIRCLES

FOREARM STRETCH

Keeping wrists connected circle wrists 3 times towards the body and 3 times away from the body

Hands in prayer, inhale at center, exhale ta ke hands off to one side and turn head in opposite d irection.

TORSO C1 RCLES

Inhale interlace fingers & stretch palms up

Circle torso 3 times in each directions

REPEAT TO OTHER SIDE

29

Other side. Hands in prayer 3 breaths

THAI CHOPS

3

Hands in prayer fl ick from wrists to chop with pinkie edge of hand on lowe r leg

Brush energy off leg

BRUSHES

REPEAT FROM S ELF M ASSAGE FOOT OTHER SIDE

SELF BLESSING - SEATED

Bathe energy over head and neck

Lunar Asana Sequence

DOWN DOG

TWISTED LUNGE

TWISTED THIGH STRETCH

LIZARD LUNGE

Press back to Down Dog, 3 breaths

Step left leg forwards , keep right hand on the earth, lift left arm to twist open , 3 breaths

Place back knee down , take left arm to right foot to draw heel in and rotate chest open, 3 breaths

Place hands or forearms to earth inside front foot, back toes tucked under, 3 breaths

LIZARD LUNGE

RUNNERS LUNGE

DOWN DOG HEEL PULSE

SIT ON TOES

Place hands or forearms to earth inside front foot, back toes tucked under, 3 breaths

Extend front leg flexing toes and fold forward, 3 breaths

Inhale rise onto toes , exhale root heels to earth , pulse 3 times

From Down Dog pulse lift onto toes, place knees down and sit on heels keeping toes tucked under

BACKBEND

TOE STRETCH

SELF MASSAGE FOOT

SELF MASSAGE CALF

Inhale at center, exhale arch to open heart and shoulders

U ntuck toes, sit back and stretch tops of feet lifting one knee at a time

Self massage, palming or thumbing on foot with mothering hand on knee

Thumb or palm up and down lower leg

CLOSING

Sweep across the shoulders and down arms

Draw energy to low back/kidneys

Brush energy down the legs

Release off the toes

Seated meditation

30

Thai Massage &Therapeutic Flying HEALING ARTS

massage. Keeping your body aligned with ease as much as possible will allow for more circulation of blood and energy throughout the

This is the nectar of AcroYoga . These elements have the power to

body. As you work with your own body's alignment and posture, be

create huge transformation and healing. It is an exchange between

patient. It may take time for our bodies to adapt to Thai massage

two practitioners, a dance between giver and receiver. The Thai

stances.

sequences designed in this manual are in service of students learning techniques that will support them becoming skillful bases. The base grounds the flyer and creates the potential for release of pain, tension, and muscular holding patterns. The flyer is responsible for breathing deep, relaxing their muscles and communicating what is working and what can work better. The base uses their body with the support of gravity to sculpt the flyer into many shapes that stretch and open the flyer's upper body. As the flyer trusts the base, the opening of the emotional body aids the opening of the physical body. The passive nature of the flyer allows for gravity to re-balance their body. After 3-15min depending on the bases skill set, the flyer comes down and gives Thai massage to the legs and lower body of

BODY COMFORTABLE: Keep a long spine. Use your legs as much as possible during any lifting maneuver. Stack the bones, especially keeping arms straight (when possible) to prevent over-use of the muscles . Push off the back foot or knee to shift your body weight forward when pouring your weight. Keep your hands soft and use your whole palm to distribute the weight evenly. Allow your hands to mold around body contours.

TooLs:

the base. Supporting the flyer warms the base's legs . This warmth

Audible breath - synchronized, guided, or expressed exhale with

creates an ideal environment for the base to receive massage. After

movement and stretching.

an equal exchange of Thai and Fly, they switch roles of flyer and base. When the exchange is done both have given and received a

Check in with facef bodyfbreath of receiver.

full body treatment. When both Thai and Fly are exchanged the two

Slow gradual movements - pour weight on exhale.

practitioners leave feeling healthier, happier and more balanced . Very few people will leave their first flight without a smile or giggle. It

Stacking bones - no extra, using own body weight vs. muscle

makes people happy; every one likes that!

strength. Efficient alignment - "arms straight- back straight".

Techni ques for Giving Thai Massage :

Embodying nature's rhythm & movements by keeping a constant movement or rocking in your body and the breath flowing.

BO DY MECHANICS : Using Your Weight: The beauty, grace and effectiveness of Thai massage is based in the ability of the masseur to use their whole body. The hands and feet apply pressure, but the energy comes from using one's whole body weight through the strength and openness of the core. A visualization of 'pouring one's weight' through the bones into the recipient also makes for a smooth distribution of energy, as well as effectiveness and ease for the practitioner.

EN JOY Y ouRSELF: It is always important to protect one's back when giving Thai massage. Finding comfort and ease in your positioning will translate to your cl ient as well , and vice versa. If you are straining or working too hard, your partner will sense it, even on a subconscious level. Using proper stances will also help facilitate ease in giving a 32

Supine Thai Massage LEVEL 1

CENTERING

FIRST CONTACT

TRACTION & EXTERNAL ROTATION

3 breaths to center and ground

Rub hands together generating heat. Lightly place hands on receiver's feet

Lift feet, gently traction, place the feet on the ground turning toes out to provide external rotation, lightly press down to ground

ALTERNATE PALM I NG

GROUND THIGHS

FOREARM BODY ROCKS

Alternately palm the thighs with hands turned out (up, down, up)

Scoop the thighs with fingers on outer line of leg and lift towards midline, on exhale ground the thighs with double palm pressing offering synchronised pressure through both hands . Work from knee up to hip

Sit hips back towards heels, place forearms alongside receiver's outer thigh , rock body side to side working the rock to the feet

ALTERNATE PALM SHOULDERS

GROUND SHOULDERS

Palm the shoulders, shifting weight side to side. Find the perfect fit of heel of hand beneath collar bone

Inhale set hands at chest-shoulder junction nest the heel of hand beneath collar bone, lean weight back into monkey lunge

33

(Limo BADDHAKONASANA HAND PLACEMENT)

BLOOD STOP

WALKING MEDITATION

Keep heel on the ground, begin stepping up inner foot and calf (up, down, up) . Allow foot to sink into muscle, avoiding bone

Exhale double palm press, lean weight forward intr both hands, stack shoulders over wrists 3 times

Step off and bend receiver's leg into half happy baby to create space to work thigh

Keep heel connected to the earth begin stepping up inner thigh (up, down , up)

Place foot below hip bone at hip crease with toes turned out, sink weight straight down . Hold for 5 breaths then release slowly (FOLDED

lEAF FooT PLACEMENT)

Supine Thai Massage LEVEL 1

PALM FEET

THUMB FEET

ALTERNATE PALMING

KNEE C1 RCLES

Palm the feet alternately side to side, shift weight on inhale, pour weight on exhale

Thumb the feet alternately side to side, shift weight on inhale, pour weight on exhale

Palm the calves shifting weight side to side, hands turned towards receiver's midline to stay on muscle and stay off bone (up, down, up)

Place fingertips around the kneecap and circle the knees both inwards and outwards 3 times

TRANSITION : LIFT LEGS

SACRAL FLOAT PREP

SACRAL FLOAT

SHOULDER SHIMMY

Lift from heels, press legs up over receiver's body

Come into lunge to one side, drape receiver's legs over thigh ensuring backs of knees are snug and supported

Cross receiver's toes, press down on tops of feet to lift the hips. Move from hips, rock to shift hips and release low back. Use free hand to help rock. If needed come up onto toes to lift hips

Sit back into monkey lunge take receiver's wrists, shimmy shoulders by lengthening arms from side to side

BRUSH DowN ARMS

BULL F IGHTER (TORERO)

SPINAL ROCKS

Simultaneously sweep energy off the arms and hands

Transition to standing holding receiver's heels. Step one foot forward, lean forward , turn their toes towards each other. Exhale lean weight back pressing buttocks onto tops offeet x 3

Come into low squat with forearms on thighs, rock forward and backward, watch rock translate through spine and head of receiver

ROCKING SPINAL TWIST

TRANSITION: LOWER LEG

Step across to outside of receiver's leg, step one foot forward, rock receiver towards you to release low back

Step back to center, either place receiver's foot on the ground or practice catching their heel with the top of your foot and release to the ground

3 BRUSHES Brush energy from hips off the toes

CLOSING

Both giver and receiver honor each other and the exchange

REPEAT FROM WALKING MEDITATION ON OTHER LEG

34

Supine Thai Massage LEVEL 2

35

CENTERING

FIRST CONTACT

TRACTION & EXTERNAL ROTATION

3 breaths to center and ground

Rub hands together generating heat. Lightly place hands on receiver's feet

Lift feet, gently traction towards you, place the feet on the ground, turn toes out to provide external rotation, lightly press down to ground

ALTERNATE PALMING

INTERNALLY ROTATE AND GROUND THIGH

Alternately palm the thighs with hands turned out (up, down , up)

In lunge place one hand on outer thigh and one hand on inner thigh. Hug the muscles onto the bone, lift and rotate the leg inwards, check that the toes sprial internally. Ground the thigh with both hands

SACRAL FLOAT

ROOT & GROUND SHOULDER BLADE

Cross receiver's toes, press down on tops offeet to lift the hips . Move from hips, rock to shift hips and release low back. Use free hand to help rock. If needed come up onto toes to lift hips

Reach for receiver's opposite hand, take a butterfly grip

ALTERNATELY PALM SHOULDERS

GROUND SHOULDERS

Palm the shoulders, shift weight side to side. Find the perfect fit of heel of hand beneath collarbone

Inhale set hands at chest-shoulder junction, nest the heel of hand beneath collar bone, lean weight back into monkey lunge

Lean back into monkey lunge to lift their shoulder blade off the ground, cup scapula with free hand, replace arm to the earth

Exhale double palm press, lean weight forward into both hands, stack shoulders over wrists 3 times (Limo BADDHAKONASANA HAND PLACEMENT}

Supine Thai Massage LEVEL 2

C1 RCLES

PALM FEET

THUMB FEET

ALTERNATE PALMING

KNEE

Palm the feet alternately side to side, shift weight on inhale, pour weight on exhale

Thumb the feet alternately side to side, shift weight on inhale, pour weight on exhale

Palm the calves, shift weight side to side with hands turned towards receiver's midline, stay on muscle and stay off bone (up, down, up)

Place fingertips around the knee cap, circle the knees both inwards and outwards x 3

FOREARM BODY ROCKS

TRANSITION: Ll FT LEGS

SACRAL FLOAT PREP

Sit hips back towards heels, place forearms alongside receiver's outer thigh, rock body side to side working the rock to the feet

Lift from heels, press legs up over receiver's body

Come into lunge to one side, drape receiver's legs over thigh, ensure backs of knees are snug and supported

Place hand at chest-shoulder junction , on exhale draw scapula down the back, pour weight through top hand to ground shoulder

PALM FOREARM AND HAND

TRAPEZ I US TRACTION

Palm tile forearm, keep a mothering hand at the chestshoulder junction, continue to palm down to the hand.

Cup fingertips over the top of the shoulders , exhale sit back into onkey lunge to release the trapezius keep receiver's head relaxed

REPEAT FROM SHOULDER LOOP ON OTHER SIDE

BRUSH DOWN ARMS

BUTTERFLY RoCKS

Simultaneously sweep energy off the arms and hands

Transition to seated by pressing receiver's knees in towards their chest, take a wide butterfly with legs with giver's feet resting on pinkie edge by receiver's hips. Find perfect fit of receiver's feet resting into giver's hip crease and hug receiver's knees together. Rock receiver's knees side to side, work feet underneath the glutes, continue to rock side to side

36

Supine Thai Massage LEVEL 2

37

TRANSITION : TO STANDING

Bus DRIVER

BULL FIGHTER (TORERO)

Press receiver's knees in towards their chest and shift from seated to standing keeping their weight over their body

Hold receiver's heels, allow knees to softly bend towards happy baby. Arms straight, sway side to side

Transition to standing holding receiver's heels. Step one foot forward, lean toward receiver and turn their toes towards each other. Exhale shift weight pressing buttocks onto tops of feet 3 times

DEEPER VARIATION

BLOOD STOP

ROCKING SPINAL TWIST

Lift heel off the earth and step on inner thigh or towards top of thigh (up, down, up)

Place foot below hip bone at hip crease with toes turned out and sink weight straight down. Hold for 5 breaths then release slowly (FOLDED l...eAF FOOT PLACEMENT)

Step across to outside of receiver's leg, stepping one foot forward rock receiver towards you to release low back

THAI LUNGE STRETCH

PEDAL BOAT

KNEE TRACTION

Place receiver's foot in own hip crease and find see-saw palming on hamstring and thigh . As weight pours into one hand, allow other hand to lift and receiver's pelvis to rock

Transition to seated allowing receiver's leg to rest out to the side, knee in line with hip. Place outer foot inside their knee and hook toes around own shin. Use other foot to walk on hamstring

Align receiver's knee over their hip, place foot on thigh below knee and cup their foot with hands. Press into foot first, then traction back with arms

Supine Thai Massage LEVEL 2

SPINAL ROCKS

WALKING MEDITATION

Coming into low squat with forearms on thighs, rock forward and backward watching rock translate through spine and head of receiver

Keep heel on the ground, step up inner foot and calf (up, down , up) . Allow foot to sink into muscle, avoiding bone

Step off and bend receiver's leg into half happy baby to create space to work thigh

Keep heel connected to the earth, step up inner thigh (up, down , up)

TRANSITION : LOWER LEG

HlP CIRCLES

Stepping back to center, either place receiver's foot on the ground or practice catching their heel with the top of your foot and release to the ground

In lunge support receiver's heel and knee, circle their hip 3 times in each direction using own center to generate movement

REPEAT FROM WALKING MEDITATION ON OTHER LEG

WHOLE LEG TRACTION

3 BRUSHES

CLOSING

Lengthen receiver's leg and traction .

Brush energy from hips off the toes

Both giver and receiver honoring each other and the exchange

REPEAT FROM HIP CiRCLES OTHER LEG

38

Adjusting Foot Placement: Base, Flyer, Spotter

SPOTTER ADJUSTMENT

Stand to one side of flyer's legs, loop arm around thigh and lift while using other hand to reposition base's foot

SPOTTER:

BASE ADJUSTMENT

FLYER ADJUSTMENT

BASE: Take reverse hand to hand grip press up through arms, reposition foot placement one at a time F LYER: Press through hands, lift one leg at a time

Hold base's ankles , lift one leg at a time and use hands to reposition foot placement

BASE: Hold flyer's shoulders and press up FLYER:

40

Forward Flying LEVEL 1

FUNKY Doc MOUNT

LIFTED BADDHAKONASANA

FOLDED LEAF

FLYER: Place hands by base's ears, step

BASE: Straighten arms and legs, stack bones

FLYER: Legs separate into a piked straddle, arms

feet close to base ' s hips

FLYER: Soles of feet together, knees wide,

relax, backs of hands on floor by base's hips

BASE: Place hands on flyer's shoulders,

arms behind back hold opposite elbow

place feet turned out on flyer' s upper thigh

TRANSITION : HANDS TO ELBOWS

BASE: Release flyer' s chest towards legs, hands to back, legs at go degrees

REVERSE NAMASKAR

FLYER: Ma inta i n straight arms

FLYER: Soles offeet together, knees w ide, bend

BASE: Walk one hand at a time above flyer' s elbows, straight arms

elbows and take hands to base of neck BASE: Arms and legs straight, draw flyer' s elbows together

41

Forward Flying LEVEL 1

TRANSITION: HANDS TO WRISTS

SUPER YOGI

BASE: Take space between thumb and index finger to Ayer's wrists and sweep arms overhead

FLYER: Interlace fingers, keep legs piked, exhale on traction BAS E: Hold wrists, bend elbows and keep arms close together

FOLDED LEAF

HAND TO HAND DISMOUNT

FLYER: Legs separate into piked straddle, release hands BASE: Bend elbows to bring Ayer's chest towards legs, place hands on flyer's back

FLYER: Bend elbows to take base's hands BASE: Take Ayer's hands

BASE: F LYER:

BASE: Exhale press legs away and pull wrists with arms to traction. Inhale legs to go degrees, exhale repeat

Straighten arms, bend knees Straighten arms, bring feet to the ground

42

Forward Flying LEVEL 2

43

HAND TO HAND MOUNT

FOLDED LEAF

HARMONICS

FLYER: Step feet close to base's hips, take reverse hand to hand grip, BASE: Place feet turned out on flyer's upper thigh , take reverse hand to hand grip, bend elbows and straighten legs

FLYER: Legs separate into a piked straddle, arms relax, backs of hands on floor by base's hips BASE: Release flyer's chest towards legs , hands to back, legs at go degrees

BASE: Hands on flyer's shoulder blades, gently rock side to side to release spine

FOLDED LEAF

SUPER YOGI

FLYER: Legs separate into piked straddle, release hands BASE: Bend elbows to bring flyer's chest towards legs, place hands on flyer's back

FLYER: Interlace fingers, keep legs piked, exhale during traction BASE: Hold wrists , take arms overhead , bend elbows and keep arms close together

BASE: Exhale press legs away and pull wrists with arms to traction. Inhale legs to go degrees , exhale repeat

TRANSITION : WALNUT

WALNUT

BASE: Bend knees and press flyer's head all the way through then extend legs FLYER: Bring soles offeet together, knees wide, reach around base's legs to catch ankles

FLYER: Point toes towards the ceiling, allow arms to straighten and head relax BASE: Place palms, thumbs or pinkie edge of hand either side of flyer's spine and rock the legs forward and backward to shift the weight into hands

Forward Flying LEVEL 2

TRANSITION : LIFTED BADDHA PREP

ll FTED BADDHAKONASANA

HIPPY TWIST (LEVEL 1)

FLYER: Bring hands behind back, take

FLYER: Bring soles offeet

FLYER: Keep toes anchored towards the ground ,

opposite hand to opposite elbow

together, knees wide

relax head and neck

BASE: Take fingertips to top of flyer's

BASE: Straighten arms, hands at

BASE: Keep arms straight, exhale bend one knee.

shoulders

chest-shoulder junction, stack

Inhale both legs straight, exhale other knee bends

bones in arms and legs

REVERSE NAMASKAR

REVERSE NAMASKAR SIDEBEND

FOLDED LEAF

BASE: Walk hands to flyer's elbows, straighten

BASE: Exhale take hands off to one side, turn pelvis

FLYER: Legs separate into piked

arms and draw flyer's elbows together

so that legs accentuate flyer's side body lengthening.

straddle, release hands

FLYER: Bring soles offeet together, knees

Inhale return to center, exhale repeat other side

BASE: Place hands on flyer' s back

wide, bend elbows and take hands to base of neck

HAND TO HAND DISMOUNT FLYER: Bend elbows to offer hands BASE: Take flyer's hands, bend knees to release head

BASE: Straighten arms, bend knees FLYER: Straighten arms, bring feet to the ground

44

Forward Flying LEVEL 3

HAND TO HAND MOUNT

FOLDED LEAF

LEAF HUGGER

FLYER: Step feet close to base ' s hips, take

FLYER: Legs separate into a piked

BASE: Thread hands underneath flyer's arms and place on

reverse hand to hand grip

straddle, arms relax, backs of hands on

shoulder blades. Exhale bend knees and press feet away,

BASE: Place feet in flyer' s hips crease, take

floor by base' s hips

lengthen spine by drawing hands away from feet. Inhale

reverse hand t o hand grip, bend elbows

BASE: Release flyer's chest towards legs,

return to straight legs at 90 degrees, exhale repeat

and stra ighten legs

hands to back, legs at 90 degrees

FLYER: Exhale on traction

SUPER YOGI VARIATION

HALF MOON

FOLDED LEAF WITH SCARECROW

BASE: Bring flyer' s hands overhead

FLYER: Keep legs in piked straddle, arms extended

FLYER: Allow arms to bend , keep torso

FLYER: Interlace hands behind base ' s head

with fingers interlaced

relaxed

BASE: Exhale press legs away to traction spine,

BASE: Keep arms straight, exhale take hands off

BASE: Take space between thumb and index

hold flyer' s forearms for support. Inhale legs

the m idline to one side, turn pelvis so that legs

finger to flyer' s elbows, turn hands out so

return to 90 degrees, exhale repeat

accentuate flyer' s side body lengthening. Inhale

can see own thumbs

return to center, exhale repeat other side

TRANSITION : YOGA MUDRA PREP

YoGA MuDRA: SHOULDER OPENER

YoGA MUDRA: SHOULDER MASSAGE

FLYER: Bring hands behind back and interlace fingers

FLYER: Keep legs in piked straddle

BASE: Place pin ki e edge of hand either side

BASE: Use ha nds t o help flyer interlace fingers . Bend

BAS E: Cup outside of flyer' s arms,

of flyer's spine and rock the legs forward and

rotate thumbs in and up, draw

backward to shift the weight into hands. If

knees and press the head through , then extend legs

hands towards the ground

possible place their hands behind back of head to deepen stretch

45

Forward Flying LEVEL 3

LIFTED BADDHAKONASANA

HIPPY TWIST (LEVEL 2)

FOLDED LEAF

FLYER: Bring arms behind back,

FLYER: Keep feet anchored towards the ground, relax head and neck

FLYER: Legs separate into piked

holding opposite elbow, soles of

BASE: Exhale bend one knee, bend opposite arm. Inhale both legs

straddle, release hands

feet together, knees wide

straight, both arms straight, exhale repeat other side

BASE: Place hands on flyer's back

BASE: Fingertips to top of flyer' s shoulders, stra ighten arms, hands to chest-shoulder junction

TRANSITION : TWISTED LEAF PREP

TWISTED LEAF

FOLDED LEAF

BASE: Extend arms to lift flyer's chest. Thread one

BASE: Bend knee to press flyer' s shoulder through legs,

FLYER: Legs separate into piked

arm between legs keeping other arm extended

hug legs together to pin shoulder in place. Exhale use

straddle, release hands

hands on Flyer's shoulder to twist torso, turn pelvis to

BASE: Place hands on flyer's back

deepen twist. Inhale release twist, exhale repeat FLYER: Relax arms, exhale during twist

LEG LOVE: Bus DRIVER

HAND TO HAND DISMOUNT FLYER: Bend elbows to offer hands BASE: Straighten arms, bend knees

FLYER: Offer gratitude and therapeutic release back to the base

BASE: Take flyer's hands, bend

FLYER: Straighten arms, bring feet to the

through leg love. Catch the heels, invite the knees to bend and

knees to release head

ground

in a wide stance arc side to side drawing knee towards shoulder FoR MORE LEG LOVE, SEE SUPINE THAI MASSAGE (PG

33)

46

Prone Thai Massage

CENTERING 3 breaths to center and ground

TRACTION AND INTERNAL ROTATION

PALM FEET

Cup receiver's foot, lift and lengthen one leg towards you, rotate

Palm the soles of the feet

toes inwards and gently replace foot to floor. REPEAT OTHER LEG

alternately side to side, shift weight on inhale, pour weight on exhale

;J

_, CALF STRETCH

WINDSHIELD WIPER

JJr ,·

j,

PALM HAMSTRINGS

Bend receiver's legs, stack receiver's ankles over knees, align

Sway receiver's legs side to side to

Rest receiver's lower leg over own

fingers at heels and forearms along the soles of the feet. Exhale

release lower back

thigh and alternately palm the

sit weight down, bend elbows to flex ankle and stretch calves

LIZARD TAIL TRACTION

hamstrings with hands turned out

FIGURE 4 PALMING

TRANSITION: LOWER LEGS

Cup receiver's feet, step one foot forward and lift

Bend receiver's legs , take one foot and tuck toes into

Extend legs to straight

their legs, being aware not to compress the lower

the back of their opposite knee. With one hand on

back. Offer a gentle traction, separate the knees

the top of their foot to stabilize leg position, palm the

wider than the hips, replace legs to earth

outside line of their leg. REPEAT OTHER SIDE

PALM THIGHS

TRANSITION: TO SEATED

PALM SHOULDERS

Ensure receiver's knees are wide,

Bring one hand to receiver's low back and

alternately or double palm press

the other hand to their shoulder. On exhale

Transition receiver to comfortable seated position, turn one foot alongside receiver's low back, invite

on thighs

draw their shoulders up over their hips to

them to lean onto leg for support. Alternately

seated

palm side to side, vary hand placement fingers facing forward, out to the side and backwards

47

I

1111

Prone Thai Massage

STEP ON FEET

PALM CALVES

Transition to standing and step on the feet, shift weight from side to side, keep heels on the ground for stability

For deeper pressure turn so that the giver's heels are applying the pressure with ball of foot in contact with the ground for stability

STEP ON HAMSTRINGS

MARKING FooT PLACEMENT

Stand to the inside of receiver's leg, align inner arch of own foot with their knee crease, if possible hook their toes around shin. Shift weight side to side to press on hamstring working from knee to hip.

FooT PosiTION 1: BAcK LEAF Turn toes out, place inner arch on gluteal crease, pour weight straight down for blood stop, hold for 5 seconds

Alternately palm the calves, shift weight side to side with hands externally rotated (up, down , up)

FooT PosiTION 2: BACK BIRD Turn toes forward aligning toes around waist band and heel on buttocks, give light traction REPEAT BOTH FOOT POSITIONS OTHER LEG

REPEAT OTHER SIDE

PALM BACK WITH KNEES IN GLUTEAL FOLD

TRANSITION : CHILD' S POSE

Gently place knees in receiver's gluteal fold . With butterfly palms, inhale place hands either side of receiver's spine, exhale to pour weight, stack shoulders over wrists. Work this up and down the spine to the height of the shoulder blades

Receiver brings hands under shoulders, giver cups receiver's hips . On exhale shift hips back to heels bringing receiver to Child's Pose. Palm press on the sacrum

NECK CLAMPING

MoTORCYCLE

THAI CHOPS

3 BRUSHES

CLOSING

Invite receiver's head to bow towards chest, interlace hands, squeeze up and down the neck by drawing elbows together

Hold hands with receiver in butterfly grip, walk up and down either side of spine with soft feet

Interlace thumbs, spread fingers, flick wrists, chop hands up and down receiver's back

Brush energy from head off the back and arms 3 times

Both giver and receiver honor each other and the exchange

48

Backward Flying LEVEL 1

HANDS TO ANKLES MOUNT: FOOT POSITION 1

BACK LEAF

FLYER: Stand at base' s hips facing away,

FLYER: Bend knees and lean back

FLYER: Relax legs and arms

hold ankles with thumbs turned in

BASE: Bend knees to receive weight,

BASE: Support flyer's shoulders with

BASE: Turn feet out and place arch along

catch flyer's upper arms or shoulders,

hands, straight legs and stacked over hips

gluteal crease (FooT PosiTION 1)

then extend legs

Bow (DHANURASANA)

FtSH (MATSYASANA)

FLYER: Reach outside base's legs to catch ankles

FLYER: Reach hands through base's legs,

BASE: Support flyer' s shoulders

interlace fingers leaving index free. Extend legs and cross one ankle over the other. Repeat with other ankle on top BASE: Support flyer' s shoulders

49

Backward Flying LEVEL 1

TRANSITION : BACK BIRD TO FOOT POSITION

F LYER:

2

Lean weight into one leg, stag opposite leg. Once base repositions foot , release stag leg

BAS E: Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband , heels on buttocks (Foor PosmoN 2)

DISMOUNT

FLYE R:

Hold base's ankles , use them for support to help chest lift as feet come to the ground

BAS E: Maintain support of flyer 's shoulders , bend the knees to place feet on the ground us ing toes

to press and lift flyer's chest

50

Backward Flying LEVEL 2

HANDS TO ANKLES MOUNT: FOOT POSITION 1

BACK LEAF

FLYER: Hold base's ankles with thumbs turned

FLYER: Relax legs and arms

in, bend knees and lean back

BASE: Support flyer's shoulders

BASE: Bend knees to receive weight, catch

with hands, straight legs and

flyer' s shoulders and extend legs

stacked over hips

Bow WITH CHEST OPENER

TRANSITION: BADDHAKONASANA TO BAT

FLYE R: Reach outside base's legs to catch

FLYER: Hold base's ankles, bring soles of

FLYER: Bring feet over towards head, using

ankles

feet together and look up towards feet

hands to reposition base's feet

BASE: Support flyer's shoulders. If flexibility

BASE: Support flyer's shoulders

allows use hands to open the chest

BASE: Turn feet to follow flyer's hips finding slight internal rotation at hip crease

REVERSE CANNONBALL DISMOUNT FLYER: Hold base 's heels, tuck knees in towards chest and chin to chest. Roll through base' s legs bringing feet to the floor, use heels to stand , hold heels and lean away to traction base BASE: Hold flyer' s shoulders , maintain straight legs at go degrees for flyer to roll out

51

Backward Flying LEVEL 2

TRANSITION : BACK BIRD TO FOOT POSITION

2

Lean weight into one leg, stag opposite leg. Once base repositions foot, release stag leg Support shoulders, as flyer lifts leg, reposition feet to parallel with toes at the waistband, heels on buttocks (FooT PoSITION 2)

F LY ER :

BASE:

BAT FOOT PLAC EMENT

BAT

PALM SHOULDERS

BAS E: Feet sl ightly turned in, inner arch as close to flyer's hip crease as possible FLYER: Legs pike down towards the earth

FLYER: Keep soles offeet connected , reach up and catch ankles with arms extended

BASE: Place hands on flyer's shoulders with fingers pointing out, alternately press upwards FLYER : Hold ankles with arms extended, relax head and neck

52

Backward Flying LEVEL 3

HANDS TO ANKLES MOUNT: FOOT POSITION 2

Bow (DHANURASANA) VARIATION

FLYER: Stand at base' s hips facing away, hold

FLYER: Hook feet around base's

FLYER: Stag one leg at a time to

ankles with thumbs turned in . Bend knees and

shins and reach hands to backs of

adjust foot positon

lean back. Relax arms and legs

knees

BAS E: Turn feet out and place arch

BAS E: Place feet parallel with toes around waist

BASE: Support flyer' s shoulders, help

along gluteal crease (FooT PosiTION 1)

band , heels on buttocks. Bend knees to receive

hook feet

TRANSITION : FOOT POSITION 1

shoulders and extend legs

,

.·.

'

FOOT PLACEMENT STRADDLE BAT/BAT

TRANSITION : BACK LEAF TO STRADDLE BAT FLYE R: Hold base's ankles, look up towards feet

FLYER: Bring feet over towards head , using hands

BASE: Feet slightly turned in, inner arch

and take legs wide into straddle

to reposition base's feet, find piked straddle

as close to hip crease as possible

BASE: Support flyer' s shoulders, begin to follow

BASE: Turn feet to follow flyer' s hips finding

FLYER: Legs pike down

hips w ith feet turning toes in

internal rotation at hips crease

LIFTED )ALANDHARA FLYE R: Legs in piked straddle, arms relaxed, communicate with base about depth of stretch BASE: Bring both hands to back of flyer's head with heels of palms together. Exhale begin to raise flyer' s chin towards chest by extend ing arms, flex feet to deepen stretch . Release slowly, catch head and neck with care

53

Backward Flying LEVEL 3

URDHVA MUKHA HIPPY TWIST WITH THUMBING

HAND PLACEMENT: URDHVA MUKHA HIPPY TWIST

FLYER: Relax arms and legs BASE: Walk hands underneath flyer's shoulder blades, place thumbs between shoulder blades and spine. Bend one knee at a time, if possible bend opposite arm and leg to apply pressure through thumbs

NECK MASSAGE

BAT MASSAGE CHAIR: PALM SHOULDERS

BAT MASSAGE CHAIR: THUMBING

HAND PLACEMENT THUMBING

BASE: Gently

FLYER: Bring soles offeet together, catch

BASE: Turn palms towards head, take

BASE: Hands beh ind flyer's

squeeze hands on

ankles with arms extended

hands through legs, place fingertips

shoulders, fingertips either side of flyer's spine

back of flyer's neck

BASE: Place hands on flyer's shoulders with

between flyer's shoulder blades and

fingers pointing out, alternately palm press

spine. Bend knees to press weight

upwards, bend knees to apply more pressure

into fingertips

FLOATING BUDDHA DISMOUNT BASE: Press up on flyer's shoulders and

FLYER: Transition legs into a tuck holding around shins and tucking chin to chest

transition one foot at a time from hips onto

BASE: Shift grip from shoulders to tops of arms. Bend knees and begin to lower flyer towards

flexed parallel feet, cupping the glutes

the ground , use arms to slow down and stay connected , allow own torso to rise off the ground until both base and flyer land softly in a seated tuck

54

High Flying Whale LEVEL 1

HIGH FLYING WHALE MOUNT

FooT PLACEMENT: HIGH FLYING WHALE

Stand either side of base's shoulders, help base place feet then lean back Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband . Press legs away until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees

BAS E: Heels towards the bottom of the shoulder blades, toes around waistband . Feet parallel either side of the spine

FLYER :

BASE:

POINT AND FLEX

BASE:

55

Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend

High Flying Whale LEVEL 1

ARM VAR IATIONS: HIGH FLYING WHALE FLYER: Arms overhead for

FLYER: Arms out to the sides

FLYE R: Arms crossed over

FLYER: Hands interlaced

deep backbend

for moderate backbend

chest for mild backbend

beh ind back of head for neck support

HIGH FLYING WHALE DISMOUNT

DOWN DoG SACRAL PRESS

BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .

FLYER: Come into Down Dog

Press with t oes to help Ayer stand

BASE: Place hands with fingers turned out on Ayer' s low back, stand in Warrior 1 and press Ayer' s hips towards heels to lengthen spine

56

High Flying Whale LEVEL 2

HIGH FLYING WHALE MOUNT

FLYE R:

Stand either side of base's shoulders, help base place feet then lean back

BASE: Hold flyer's ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband. Press legs away

until flyer's feet are weightless; then straighten arms. Legs may be beyond go degrees

TRANSITION : LIFT LEG AND STAG

ARDHA USTRASANA

BASE: Keep arms straight

FLYER:

Press down through one foot to lift other leg, bend knee and touch toes to opposite knee

BASE: Support flyer's bent leg with hand, bend knee to meet

F LYER:

SUPPORTED USTRASANA

FLYER:

Bring stag leg to base's knee, catch ankle

BAS E: Support both flyer's knees with hand ,

bend knees to meet flyer 's feet

57

Bring stag leg to base's knee, catch ankle

flyer's foot

TRANSITION: HIGH FLYING WHALE

BASE: Sh ift one hand to flyer's ankle, straighten arms, receive second foot FLYER:

Extend one leg, press down to lift and offer second leg

High Flying Whale LEVEL 2

POl NT AND FLEX BASE: Keep arms straight and shoulder width apart, roll through point and Aex with feet to change depth of backbend

TRANSITION : LIFT LEG AND STAG (OTHER SIDE)

ARDHA USTRASANA (OTHER SIDE)

BASE: Keep arms straight

FLYER: Bring stag leg to base ' s knee, catch ankle

FLYE R: Press down through one foot to lift other leg, bend knee and

BASE: Support Ayer' s bent knee with hand, bend knee

touch toes to opposite knee

to meet Ayer's foot

HIGH FLYING WHALE DISMOUNT

DowN Doc HIP TRACTION

BASE: Bring legs towards head; bend elbows to place Ayer's feet on the ground .

FLYE R: Come into Down Dog

Press with toes to help Ayer stand

BASE: Hold Ayer's hip crest, stand in Warrior 1 and traction hips towards heels

58

High Flying Whale LEVEL 3

HIGH FLYING WHALE MOUNT FLYER: Stand either side of base ' s shoulders, help base place feet then lean back BASE: Hold flyer' s ankles, bring legs towards flyer, place feet either side of the spine with toes around waistband . Press legs away until Flyer' s feet are weightless; then straighten arms. Legs may be beyond go degrees

ARDHA PADMASANA (OTHER SIDE)

ARDHA PADMASANA

ARDHA YIRASANA (OTHER SIDE}

FLYER: Bend one knee

FLYE R: Lift bent leg, bring

FLYE R: Bend one knee

FLYER: Lift bent leg, bring heel

BASE: Switch grip to

heel towards hip into half

BASE: Switch grip to top of

towards hip into half lotus, catch

top of flyer' s foot, bend

lotus ; catch foot with hand

flyer's foot; bend knees and

foot with hand

knees and press flyer' s

BASE: Support bent knee

press heel towards buttock

BASE: Support bent knee

ARDHA YIRASANA

heel towards buttock

HIGH FLYING WHALE DISMOUNT

DowN DoG SACRAL PRESS FLYER: Come into Down Dog

BASE: Bring legs towards head; bend elbows to place flyer' s feet on the ground . Press

BASE: Place hands with fingers

with toes to help flyer stand

turned out on flyer's low back, stand in Warrior 1 and press flyer' s hips towards heels to lengthen spine

59

High Flying Whale LEVEL 3

POINT AND FLEX BASE:

Keep arms straight and shoulder width apart, roll through point and flex with feet to change depth of backbend

USTRASANA

HIGH FLYING WHALE

Bring one foot at a time to base's knees , catch ankles BASE: Support flyer 's legs during transition

FLYER: Extend one leg at a time, arms overhead BASE: Support legs during transition, straight arms

F LYER:

60

Low F:lying Whale

THRONE ON SHINS MOUNT BASE: Lift legs to go degrees; take

BASE: Bend elbows to make a seat,

hands to backs of flyer's knees

draw feet to meet flyer's shoulders

BASE: Bend knees to receive flyer's

FLYER: Sit on base's forearms

torso, knock knees together to support

FLYER: Lay back

low back, flex feet around shoulders

Low FLYING WHALE BASE: Extend arms, transition arms from behind knees to the ankles. Keep feet flexed and knees knocked together, begin to rock with arms and knees forward and backward FLYER: Relax arms overhead

UPAVISTHA KONASANA FLYER: Draw legs overhead and catch toes in straddle BASE: Keep feet flexed and knees knocked together, take hands to flyer's thighs to deepen

61

THRONE ON SHINS DISMOUNT FLYE R: Extend legs back out towards the ground

BASE: Extend legs to lift flyer's chest

BASE: Transition hands to back of flyer' s knees

FLYER: Sit up on base's forearms , then stand

Hammock

HAMMOCK MOUNT FLYER: Stand close to base's hips, facing away

FLYER: Bend knees and sit back on base's

FLYER: Relax arms over head, press lower

BASE: Place feet turned out behind flyer's knees,

shins, relax shoulders back

legs towards the ground; relax hips

BASE: Bend knees to allow weight to rest on

BASE: Straighten arms and legs

raise arms ready to catch shoulders

shins, catch flyer's shoulder blades in hands

CHI MACHINE: LEG SWAY BASE: Keep arms and legs straight, take legs apart and return together

CHI MACHINE: SIDE BEND BASE: Keep arms and legs straight, take hands off the midline to one side; turn hips off midline to same side to lengthen flyer's side body

THRONE ON SHINS DISMOUNT

63

CHILD's PosE

BASE: Bend knees to bring flyer's feet towards the ground, hug knees together to create a

FLYER: Bring knees wide and place

platform with lower legs, press flyer's head and chest up FLYER: Reach hands towards knees, bring feet to the ground, sit on base's shins to stand

forehead on the ground BASE: Place hands on flyer's sacrum

Hammock

(HI MACHINE: HIPPY TWIST BASE: Keep arms stra ight, bend one knee at a time FLYE R: Keep hips relaxed , press lower legs towards the ground

TRANSITION : KNEES AND ELBOWS SUPPORT

OcCIPUT RocK

BASE: Take hands to back of flyer' s head

BASE: Bend knees taking heels towards and away from buttocks. Ma intain support of flyer' s head

with heels of palms connected, bring

FLY ER: Keep arms , head and legs relaxed

elbows between shoulder blades; knock knees together

64

) )

) ) )

Solar Acrobatics Practices

PowER & PoTENTIAL The Solar Acrobatic Practices are tools to unlock power in ourselves and others. We cultivate the ability to take risks and attempt skills that many would think impossible. The deeper students go on this path, the more open they become to their true potential. They become capable of many advanced physical expressions of courage, teamwork and balance. Students skillfully wield the fire of acrobatics by using clear, positive communication and sensitive listening. These elements are the keys that support partnership and partner acrobatics .

SOLAR ACROBATIC PRACTICE The Solar Acrobatic Practice supports empowerment and embodiment. Practitioners cultivate full body strength and flexibility. This branch is much more dynamic, active and engaged. It is based on understanding the progressive steps in building strength, cultivating an inversions & spotting practice, investing in solo practice as a tool to inform and enhance a partner practice, and how to implement these principles in partner acrobatics . The solar elements include: the solar as ana sequence, strength & flexibility building exercises, inversions

& spotting, and partner acrobatics .

SOLAR ASANA WARM

UP

The solar asana sequence teaches the alphabet of acrobatics, and the names and shapes needed for students to communicate as they do acrobatics together. The sequence also strings together strength and flexibility building exercises in a progressive way to warm and open the body. Acrobats build strength by using their bodyweight and their partner's bodyweight. Push-ups, down dog push-ups, abdominal exercises and partner condition ing drills are some of the building blocks that bring the mind and body into powerful harmony. The inversions and spotting build confidence, communication and support for students to move through fears. Step by step we build acrobatic techniques for headstands, handstands and beyond . The most dynamic expression of the practice is partner acrobatics .

68

Solar Asana Warm Up

69

CENTERING

MouNTAIN STRETCH

Left hand on belly, right hand on heart. 3 breaths to center and ground

Inhale extend arms overhead , fingers interlaced in kali mudra, pointer finger extended

Exhale lean to the right

Inhale extend arms overhead

Exhale lean to the left

In hale to center, arch backwards

PLANK

DowN DoG

TABLE ToP

ElBOW ARTICULATION

Exhale step back to plank, legs together, shoulders over wrists . 3 breaths

Exhale hips back, separate feet, 3 breaths

Exhale knees to floor, bone stack arms and legs

Inhale and microbend elbows to the side, exhale squeeze forearms in to find straight arms, repeat 3 times

ARCH AND HOLLOW

FLOAT

FORWARD FOLD & LIFT

HOLLOW LUNGE

Keeping arms stra ight, inhale arch spine, exhale round spine, repeat 3 times

Keep hollow in ribs and extension in arms, jump feet forward to hands

Exhale relax torso over legs, inhale extend spine halfway, repeat 3 times

Step right foot back to high lunge, lean into front leg to find hollow body

KNEE PusH UPs

CHILD's PosE

Exhale belly to floor, inhale extend arms , repeat, repeat 3 times

Sit hips back, relax for breath

SPHINX ARCH AND HOLLOW

1

Foreams parallel with elbows under shoulders, inhale arch, exhale hollow, keeping hips on floor 3 times

Solar Asana Warm Up

T POSITION

ARCH AND HOLLOW

MAHA BANDHA

HANDSTAND MUDRA

FORWARD FOLD & LIFT

Exhale press arms down to aT

Inhale open arms to cactus, shoulder blades together. Exhale hollow, gazing at feet, repeat 3 times

Exhale hands to rest on thighs , squeeze midline with hollow shape

Inhale raise arms up while keeping ribs down and hollow

Exhale relax torso over legs, inhale extend spine halfway, repeat 3 times

CAT AND Cow

DOWN Doc

ELBOW ARTICULATION

Keep arms stra ight, inhale arch spine, exhale round spine, repeat 3 times

Exhale hips back, separate feet

Inhale microbend elbows to the side, exhale squeeze forea rms in to find straight arms, repeat 3 times

INTEGRATE SHOULDERS

HANDSTAND MUDRA

Inhale reach forward ; exhale plug arms back into shoulder sockets

Inhale lift arms up keeping ribs down , exhale to extend arms high

PLANK TIGHTNESS

Exhale to plank, tap oppos ite shoulder 7 times wh ile mainta ining full body tightness

FOREARM PLANK

SPHINX

DowN Doc PUSH UPS

Exhale, press into tops offeet, lift hips , hold 3 breaths

Draw shoulder blades together, gaze up for 3 breaths

From a narrow Down Dog bend elbows out to the side, eventually touch ing nose in between the thumbs . Push down and up, repeat 3 times

70

Solar Asana Warm Up

71

HOLLOW LUNGE

INTEGRATE SHOULDERS

HANDSTAND MUDRA

Step right foot forward to high lunge, lean into front leg to find hollow body

Inhale reach forward; exhale plug arms back into shoulder sockets

Inhale lift arms up keeping ribs down; exhale to extend arms high

COBRA

LOCUST

FRONT BIRD

Curl chest up and back, 3 breaths

Interlace hands behind back and lift chest, 3 breaths

Separate hands to the side, 3 breaths

SPOTTER'S STANCE

LEG PRESSES

GODDESS POWER

Exhale lower hands down; imagine you are holding a flyer's hips

Inhale bend the front knee, exhale extend the front leg, keep spine straight, repeat 3 times

Turn to the right with knees wide, inhale open arms and reach out for strength, exhale draw power into core, repeat 3 times

LEG PRESSES

DowN Doc

TucK juMPS

Inhale bend the front knee, exhale to extend the front leg, keep spine straight, repeat 3 times

Exhale place hands down, step back to Down Dog

Walk forward to Uttadogana, hips over shoulders, jump to tuck bringing knees to chest, repeat 3 times

Solar Asana Warm Up

PLANK TIGHTNESS

PLANK PUSH UPS

CHILD's Pose

Exhale to plank, tap opposite shoulder 7 times while maintaining full body tightness

Exhale to lower down, inhale to push up keeping body straight, repeat 3 times

Sit hips back, relax for breath

1

1

DowN Doc PusH UPs

WARRIOR

From a narrow Down Dog, bend elbows out to the side, eventually touching nose in between the thumbs. Push down and up, repeat 3 times

Inhale step left leg forward, arms up

1

GODDESS SQUATS

PRASARITA PADOTTANASANA

WARRIOR

Inhale bend knees, exhale extend legs, keep spine straight, repeat 3 times

Exhale fold forward with hands interlaced behind back, 3 breaths

Inhale turn towards right leg, arms up

SPOTTER'S STANCE

Exhale lower hands down; imagine you are holding a flyer's hips

HEADSTAND TUCK PRESS

CHILD'S POSE

CROW

In a supported headstand, keep legs together. Tuck press legs in and up, press 3 times

Relax, 3 breaths

Maintain hollow body with knees close to shoulders, push with fingers, 3 breaths 72

Solar Asana Warm Up

CONNECTING VINYASA

SEATED PIKE

Step or jump back to Plank, Upward Dog, Down Dog

Step or Aoat through , legs together

SHOULDERSTAND

TUCK UPS

UTTADOGANA

Hollow body to a tuck, keeping core engaged throughout the

Support back, legs squeeze

Exhale roll forward to

motion , repeat 3 times

together, 3 breaths

forward bend , hips over shoulders over wrists

PLANK

Place hands face up

Step or jump back,

Lower all the way to

Place left forearm parallel

Place right forearm parallel

under feet, stretch

legs squeeze together,

the ground

to front of mat, draw right

to front of mat, draw left

THIGH STRETCH

tops of wrists , 3

shoulders stacked over

heel towards left buttock,

heel towards left buttock,

breaths

wrists

keep shoulders square

keep shoulders square

HEART OPENER

DowN Doc

TWISTED LUNGE

TWISTED THIGH STRETCH

LIZARD LUNGE

RUNNER 'S LUNGE

Extend arms, lower

Lift hips up

Inhale step left leg

Release back knee to

Exhale release

Straighten front leg,

heart towards Aoor,

and back

forward , left arm up,

Aoor, top arm reaches

forearms to the

foot Aexed, inhale

for outside of back foot,

inside offront leg,

lengthen spine,

forehead or chin to

descend hips and curl

3 breaths

exhale lower torso, 3

ground , 3 breaths

back, 3 breaths

hips over knees ,

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LOWER

WRIST STRETCH

3 breaths

breaths

Solar Asana Warm Up

STAG

PIKE STRETCH

TUCK ROCKS

Draw one leg up, tracing the inner edge of other leg, both sides

Inhale raise arms up, exhale reach forward with hollow body and extended arms, legs and feet squeeze together with toes pointed

Roll back and forth with core engaged , small movement, repeat 5 times

HOLLOW BODY HOPS BACKWARDS

HOLLOW BODY HOPS FORWARDS

Jump legs back, squeeze and press legs down, keep extension in the arms , repeat 5 times

Jump legs forward to meet hands, squeeze and press legs down, keeping extension in the arms, repeat 5 times

1

Bow

CHILD's PosE

DowN Doc

DOLPHIN

LEG HOPS

Catch the outer ankles, use the power of the legs to lift up

Press hips to heels . Relax, 3 breaths

Lift hips up and back

Place elbows shoulder width, shoulders stacked over elbows. Lift one leg holding the midline, kick or press to an L shape, do both sides, repeat 3 times

HALF MOON/SIDE STAR

VERTICAL SPLIT

SIDE LUNGE {SKANDASANA)

TWISTED LUNGE

Step onto front leg, stack hips, lift left leg, reach left arm up, 3 breaths

Exhale fold over front leg, lift back leg towards sky, both legs straight, 3 breaths

Step top leg out towards right, hold both ankles, keep hips low, glide side to side, repeat 3 times

Inhale turn towards right leg, right arm up, 3 breaths

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Solar Asana Warm Up

TWISTED THIGH STRETCH

LIZARD luNGE

RUNNER'S LUNGE

HALF MooN/SIDE STAR

Release back knee to Aoor,

Exhale release

Straighten front leg, foot

top arm reaches for outside

forearms to the inside

Aexed, inhale to lengthen

of back foot, descend hips

of front leg, 3 breaths

spine, exhale to lower

and curl back, 3 breaths

torso, 3 breaths

TRIPOD HEADSTAND STRADDLE PRESS

SEATED STRADDLE

Press legs through a pike staddle to vertical, then back down

Sit with legs wide

Step onto front leg, stack hips, lift left leg, reach left arm up, 3 breaths

VERTICAL SPLIT Exhale fold over standing leg, lift back leg towards sky, both legs straight, 3 breaths

jANUSIRSASANA SIDE BEND Bend right knee, lean to left, open side body, 3 breaths

through pike straddle to Aoor

jANUSIRSASANA FORWARD FOLD

PIGEON

P1 KED STRADDLE STRETCH

Turn towards straight leg and

Turn hips towards bent leg, inhale lengthen spine,

lean forward, 3 breaths

exhale fold forward, 3 breaths

Exhale lean forward, keeping legs active, 3 breaths

V-UPS

SHOULDERSTAND

UTTADOGANA

From hollow body, sit up to a V, and back to hollow body, keeping core

Support back, legs squeeze

Exhale roll forward to

engaged , repeat 3 times

together, 3 breaths

forward bend, hips over shoulders over wrists

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Solar Asana Warm Up

GODDESS WITH TRACTION

STRADDLE jUMPING jACKS

Place hands in the hip crease and straighten arms, sit hips down to traction spine, 3 breaths

Place hands on floor under shoulders, bend knees and jump in and out 5 times. Keep legs close to chest and press arms down

jANUSIRSASANA FORWARD FOLD

PIGEON

jANUSIRSASANA SIDE BEND

Turn towards straight leg and lean forward, 3 breaths

Turn hips towards bent leg, inhale to lengthen spine, exhale to fold forward, 3 breaths

Bend left knee, lean to right, open side body, 3 breaths

PIKE STRETCH

HOLLOW BODY ROCKS

Swing left leg around to meet right, inhale raise arms up, exhale and reach forward with hollow body and extended arms, legs squeeze together with toes pointed

Keep core engaged, toes and shoulders off floor, rock back and forth with small motion, repeat 5 times

KICK SWITCHES

FORWARD BEND

HANDSTAND MUDRA

(LOSING

Keeping foundation strong, lift one leg and kick up to L, switch legs in the air. Do both sides, repeat 3 times

Exhale release torso over legs, 3 breaths

Inhale raise arms up, keep ribs down and hollow

Feet together, hands in prayer, sealing the practice 76

Inversions & Spotting

PRINCIPLES OF INVERSIONS & SPOTTING You are only as strong as your foundation . The inversion pyramid is a systematic approach to inversions. All students will have different strengths and struggles. This system will help students find the individual keys they need to set their inversions free. Inversions are great for our physical and emotional bodies, turning our world upside down to bring out our childlike nature. When the playing flows the ego goes! Inversions force us to summon our courage and let go of fear. Spotting techniques develop deeper levels of trust, building the foundation for acrobatic partner skills. Before a student inverts on a partner they should have already experienced an inversion with their body and the earth. As the spotter and the flyer get their techniques honed and aligned there is much more success moving to partner acrobatics.

PYRAMID PHILOSOPHY- THE SECRET OF PROGRESSIONS When most people look at high level acrobatics it seems superhuman because they don 't know the science of progressions. For every polished act you see at the circus, there have been years of training and baby steps that steadily got the performers to that unbelievable level. Every time you do a skill successfully you are theoretically adding a stone to your pyramid. Every time you attempt a skill and fail you are taking a stone away. If the skil l you are trying is beyond your current skill set, try something similar but easier to build your foundation . After many successes your base will be ready to support the next level on your pyramid of skills. The moral of the story is to cultivate patience by working progressively, and in time you will reach your highest potential. (Philosophy based on conversations with Yevgeny Marchenko - USA Olympic Gymnastic coach and 5 time World Champion Mixed Pair Sports Acrobatics base.)

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Pyramid #1 9

Handstand Building Blocks

BODY POSITIONS, THE

ALPHABET OF AcROBATics Straight: In this position the body is in one lin e from head to toe.

This is the most important pos ition in acrobatics due to its intrinsic strength. Once this position is mastered all other positions are a variation of this seed . Arch: This is a back bend . It refers to the shape of the spine, then

FouNDATIONAL ALIGNMENT OF HANDS, ARMS, UPPER BODY Table, Cat, Cow: Hands shoulder width, knees hips width, feet flexed ,

arms straight, shoulders over wrists, thighs vertical, knees under hips, head neutral. In this pose we can learn vertical bone alignment with little weight bearing. The cat is embodying hollow and maximum extension through the arms, the cow is embodying arch .

how that relates to the rest of the body. Arch is a common shape in

Plank: Feet together, body straight from head to toes, arms straight

many yoga asanas and also the shape of the spine for many Thai

wrists under shoulders.

stances . Hollow: This is a shape of the spine from the hips to the head, it is

most acute in the thoracic spine, ribs moving towards the spine, tailbone tucked forward. The body makes a hollow shape like inside a spoon . This is the position that takes the most training to embody. Arching is very natural , one can think of hollow as the medicine for overarching in the attempt to find straight. Tuck: This is a verb and a noun, the verb is to move the legs from

straight to bent, the full position is knees close or touching the

Down Dog: Body is in an inverted V-shape, hands shoulder width ,

straight line from wrists to hips , feet hips width apart. Dolphin: Elbows under shoulders, ribs in hollow body, looking towards

hands , the rest of the body is like a down dog. Tightness drill: The flyer lays on their back with arms overhead , the

spotter lifts the flyer's legs up and holds the legs with straight arms. The spotter drops one leg at a time as the flyer tries to keep their legs squeezing together, 15 seconds or less.

chest, feet close to the butt.

PusH-UPS (Two LEVELS}:

Pike: This is a verb and a noun , the point of reference is the hips

1.

specifically the hinge is at the hips. To pike is to move the legs closer

Knee Push up: Lying on the belly, knees and feet together, legs

bent on the ground at go degrees, fingertips in line with the

to the upper body. The full position is legs together and a bend at

shoulders, hands just wider than shoulders , chin on the floor. On

the hips.

exhale straighten arms, bend arms until chin touches the floor, body stays straight the whole time.

Hollow Pike: Feet together, arms parallel with the floor and reaching

towards or past toes, ribs in and actively moving towards the spine.

2.

fingertips in line with the shoulders, hands just wider than

Piked Straddle: This is the shape of a seated straddle with legs wide

shoulders, chin on the floor. On exhale straighten arms, inhale

apart, knees and toes facing the sky. This is the shape of folded leaf

bend arms until chin touches the floor, body stays straight the

and many other flying postures, where the legs are at go degrees to

whole time.

the chest. Open Straddle: This is the shape of standing with the legs apart a bit

wider than hips, knees and toes are facing forward, this is the shape

Push up: Lying on the belly, feet together and flexed, legs straight,

DowN Doc PusH -UPS (THREE LEVELS}:

1.

of an acrobatic handstand great for hand to hands .

Half Down Dog Push up: Walk the down dog in a third of normal

distance, feet hips width, look between thumbs , bend arms straight out to the side about half way, aim your nose to land in

Stag: One leg straight one leg bent, foot of the bent leg touches the

between your thumbs .

knee of the straight leg. 2.

Down Dog Push up (gaze between thumbs): Walk the down dog in

a third of normal distance, feet hips width , look between thumbs , bend arms straight out to the side, touch your nose to land in between your thumbs. 3.

Down Dog Push-up (with head neutral) : Walk the down dog

in a third of normal distance, feet hips width, head neutral to encourage more hollow body, bend arm straight out to the side, touch the top of your head in between your thumbs .

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Pyramid #1- Handstand Building Blocks THE (ORE AND PRESSING

STATIC INVERSIONS

TECHNIQUES

Supported Headstand: Elbows shoulder width, fingers interlaced

Tuck rocks: Roll from the hips to the shoulders , knees bent, feet

together, arms extended , shou lders touching ears. Ma ke the rocks as small as you can , move body as one piece.

cupping the top of the head, walk feet in as close as possible, tuck knees into chest, press up to a straight body. Tripod Headstand: Hands shoulder width , head placed in same

distance as hands to make a perfect triangle, walk feet in as close Hollow body rocks: Roll from the hips to the shoulders, legs straight,

feet together, arms extended, shoulders touching ears. Make the

as possible, tuck knees into chest, press up to a straight body, keep elbows over wrists.

rocks as small as you can, move the body as one piece. Tuck ups: From hollow body swing arms down towards the legs, at

the same time tuck knees in towards the chest. Once in the tuck

Crow: Place hands shoulder width , bend arms, place knees as close

to armpits as possible, straighten arms as feet lift off the floor, feet together.

extend back to the hollow body. The faster with good form the better. V-ups: From hollow body swing arms down towards the legs, at

the same time pike legs up towards the chest. Once in the V shape extend back to the hollow body. The faster with good form the better. Hollow body hops forwards: This drill is to teach you how to press

down . Hands shoulder width , arms straight, shoulders over wrists , very narrow down dog. Bend knees and jump hips over hands, extend through straight arms, find as much hollow as you can. Keep shoulder behind tips of fingers, feet softly land closer to hands. As you get stronger you can jump less and press more. Hollow body hops backwards: This drill is to teach you how to press

up. Hands shoulder width, arms straight, shoulders over wrists, very

DYNAMIC INVERSIONS AND jUMPS Tuck Jumps: From a very narrow down dog, hands shoulder width,

shoulders over wrists, hollow body with a lot of extension through the arms, bend knees and jump into a tuck position , knees close or touching chest, feet close to butt, feet and knees together at all times . Pike Jumps: From a very narrow down dog, hands shoulder width,

shoulders over wrists, hollow body with a lot of extension through the arms, bend knees and jump into a pike position, feet together and knees straight while in the air.

narrow down dog. Bend knees and jump hips over hands , extend through straight arms and find as much hollow as you can. Keep

Straddle Jumps: From a very narrow down dog, hands shoulder

shoulder beh ind tips of fingers, feet softly land further behind the

width, shoulders over wrists, hollow body with a lot of extension

hands. As you get stronger you can jum p less and press more.

through the arms, bend knees and jump into a piked straddle position, feet apart and knees straight while in the air, landing where

Straddle Jumping Jacks: From a very narrow down dog, hands

shoulder width, shoulders over wrists, hollow body with a lot of extension through the arms, bend knees and jump into a piked

you took off from . Dolphin

1

Leg Hops: From dolphin lift one leg as high as possible,

straddle position , feet land apart. Then starting with feet apart, jump

bend the other leg and jump off of it. At the same time swing the top

bringing feet together again and land in a standing pike. Land softly.

leg overhead, maintain shoulders over elbows the whole time. Handstand Kick Switches: From a very narrow down dog, lift one

leg as high as possible, bend the other leg and jump off of it, at the same time swing the top leg overhead and switch the legs in the air, maintain shoulders over wrists the whole time.

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Pyramid #1- Handstand Building Blocks

80

Body Positions: The Alphabet of Acrobatics

,

I

STRAIGHT

ARCH

HOLLOW

Body stays in one line from top to bottom

Chest lifts and arms arc back into a backbend

Ribs draw down and pubic bone Knees draw in to chest and curls up, engage abdomen, arms heels to buttocks, hands cup knees by ears

TUCK

PIKE

HOLLOW PIKE

PIKED STRADDLE

OPEN STRADDLE

STAG

From a pike, reach hands forwards over toes, find hollow through torso

Hinging at the hips, legs open, body in two planes

Legs open to wider than hips width, body in one plane

One leg bends, trace the toes up the inseam of straight leg to the knee, hug the midline

Legs squeeze together, hinging at the hips

SPLIT

Legs separate as wide as possible front to back, chest stays over hips

Alignment of Hands, Arms & Upper Body TABLE

feet flexed , knees hip width, hands shoulder width, head neutral , eyes at thumbs

Cow, ARcH

tail bone up, shoulders relaxed, head back, eyes up

1 flyer on back, arms up, hips up, feet together, squeeze legs together

TIGHTNESS DRILL

KNEE PUSH UP PREP

KNEE PUSH UP

hands wider than shoulders, elbows wide, body straight, knees bend feet together

on exhale straighten arms, inhale bend arms until chin touches floor

CAT, HOLLOW

tail bone down , ribs in, shoulders extended, head down , eyes at navel PLANK PUSH UP PREP PLANK

feet together, body straight and unified, hands under shoulders, head neutral, eyes at thumbs

TIGHTNESS DRILL

2

hands wider than shoulders, elbows wide, body straight, legs straight, feet together

PLANK PUSH UP

on exhale straighten arms, inhale bend arms until chin touches floor

base drops one foot at a time, flyer stays unified and squeezes legs together

DowN Doc

feet hip width, hands shoulder width, head neutral

DOWN Doc PUSH UP PREP DOLPHIN

elbows under shoulders, forearms parallel, eyes at thumbs, body straight, feet together

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DowN Doc PusH UP 1

narrow down dog, walk in 1/3 of look in between thumbs, normal down dog, feet hip width, bend arms to the side until nose touches floor in hands shoulder width between thumbs

DowN Doc PusH UP ".t. head neutral, bend arms tc the side until top of the he an touches floor in between thumbs

The Core & Pressing Techniques

HOLLOW BODY HOPS: FORWARD 1

hands shoulder width, shoulders over hands, knees bent, jump hips up, extend shoulders, hollow body, legs come towards chest

HOLLOW BODY HOPS: FORWARD 2

look in between thumbs, arms straight, legs straight

3

TucK ROCK 1

TUCK RocK 2

TUCK ROCK

feet and knees together, knees over hips, arms stright and extended, shoulders by ears, eyes to knees

keep same shape, rock towards shoulders, hips lift

keep same shape, rock towards hips, shoulders lift

HOLLOW BODY HOPS : FORWARD

3

softly land feet close to hands

3

HOLLOW BODY ROCK 1

HOLLOW BODY ROCK 2

HoLLow BoDY RocK

feet together, legs straight, arms stright and extended, shoulders by ears, eyes to toes

keep same shape, rock towards shoulders, hips lift

keep same shape, rock towards hips, shoulders lift HOLLOW BODY HOPS: BACKWARDS 1

hands shoulder width , shoulders over hands , knees bent, jump hips up, extend shoulders, hollow body, legs push away from chest TUCK UP 2

TUCK UP 1

3 return to hollow body

TucK UP

swing arms down , sit up and tuck legs in

start in hollow body

HOLLOW BODY HOPS: BACKWARDS 2

look in between thumbs, arms straight, legs straight

HOLLOW BODY HOPS: BACKWARDS

3

softly land feet further from hands V-UP 2

V-UP 1

V-UP

swing arms down, sit up and pike legs in

start in hollow body

3

return to hollow body

Foundational Inversions SUPPORTED

Dynamic Inversions

TRIPOD

HEADSTAND

HEADSTAND

fingers interlaced, elbows shoulder width, body straight

hands shoulder width , forearm vertical, elbows over wrists body straight TucK)UMP1

TucK)UMP2

hands shoulder width, jump hips up, touch shoulders over hands knees to ribs

DoLPHIN HoPs 1

elbows under shoulders, forearms paralell, eyes at thumbs, one leg up

CROW

hands shoulder width, knees supported by upper arms, feet together, eyes to thumbs

Handstand

STRADDLE jUMP 1

STRADDLE jUMP 2

hands shoulder width , jump hips up, bring shoulders over hands legs to a pi ked straddle

/

DOLPHIN HOPS 2

bend bottom leg

(

3

KICK SWITCH 1

KICK SWITCH 2

KICK SWITCH

hands shoulder width, shoulders over hands, bottom leg bent

jump bottom leg as top leg swings into a split

bottom leg swings up as top leg swings down

KICK SWITCH

softly land with opposite leg on the ground

4 P1KE)UMP1

PIKE)UMP2

hands shoulder width , jump hips up, bring shoulders over hands legs to a pike

DOLPHIN HOPS 3 jump bottom leg as top leg swings into a split

82

Pyramid #2 - Free Handstand UNIFY, P RESS & W ALK Plank Tightness drill: The spotter stands to the side of the flyer

do ing plank at their feet facing towards their head, flyer lifts one leg.

Levell : From straight, pike legs down to 45 degrees, extend back up to vertical.

Spotter holds flyer's ankle like a suitcase, flyer unifies the legs and

Level 2: From straight, pike legs down until legs are horizontal with

squeezes legs together, spotter lightly pushes back and forth to help

the floor, extend back up to vertical.

flyer find res istance in the fingers. Spotter steps to a wide stance facing the flyer's hips , placing other hand on the hips to encourage

Level 3: From straight, pike legs down until toes touch the floor,

strong hollow position . Spotter in a wide stance facing the flyer's

extend back up to vertical.

head with stra ight arms holding the ankles , spotter drops on foot at a time, flye r tries to keep legs together.

hands , use fingers pushing into the floor to slow the decent as you

Tuck Press Headstand: Tripod set up, walk feet in as close to head

lower the top of the head to the floor for a tripod headstand, tuck

as possible, when feet are weightless , push hands into the floor like

knees into chest, feet towards butt, press to vertical and stra ight.

a down dog push up, keep elbows over wrists, press hips over the shoulders , bring feet towards butt and knees towards chest, extend legs in a vertical plane until body is straight. Levell : From straight, knees bend until body is in a tight tuck shape, extend back up, keep legs moving only in the vertical plane.

Headstand to Crow: Knees into chest and feet towards butt, tight

ball, feet and knees together, open knees and place as high on triceps as possible, find the strength from your fingers to lift your head and come back to crow. Air Vinyasa Handsta nd Walking: Spotter holding flyers ankles, flyer

Level2: From straight, knees bend until body is in a tight tuc k shape,

in a plank, shoulders over wrists. Flyer presses hips over shoulders

extend the legs to a pike horizontal with the floo r, re-bend knees into

until their body is in an L shape, from there the flye r walks forward

tight tuck, extend to vertical.

and backwards . This drill can also be done with one leg vertical.

Level 3: From straight, knees bend until body is in a tight tuck shape,

ALIGNMENT, TIG H TNESS ,

extend down towards the floor until toes touch the floor, re-bend knees into tight tuck, extend to vertical.

BALANCE

Straddle Press Headstand: Tripod set up, walk feet in as close to

Alignment, Tightness, Balance (ATB) Philosophy:

head as possible, when feet are weightless, push hands into the floor like a down dog push up, keep elbows over wrists , press hips over the shoulders as the legs come to the widest straddle possible, press legs in a ve rtical plane until body is straight. Level

1:

Fro m straight, straddle legs to an open straddle all staying

in the vertical plane. Level 2: From stra ight, straddle as wide as possible, pike legs as close to the belly as possible, bring legs horizontal with the floor, stradd le as wide as possible, legs horizontal with the floor, press back to st ra ight. Level3: From straight, straddle as wide as possible, pike legs as close

These are the 3 magic steps to finding ease, grace and stability in inversions. Alignment - Bones (hands placed shoulder width for handstand or

elbows directly under shoulders for forearmstand , etc) . Tightness -

Muscles (squeezing and firming the muscle layer

to unify the body around the steady and efficient structure of the bones) . Balance - Gaze (having a gaze point that supports steady balance,

usually the floor between the hands , without taking the head out of alignment with the spine).

to the belly as poss ible, bring toes to touch the floor, straddle as wide

Wall Alignment Handstand: From a narrow down dog one heel

as poss ible, bring thighs towards belly press back to straight.

touching the wall , other leg extending up the wall . Spotter with

Pike Press Headstand : Tripod set up, walk feet in as close to head

as poss ible, when feet are weightless, push hands into the floor like a down dog push up, keep elbows over wrists, press hips over the shou lde rs, extend legs in a vertical plane until body is straight. 83

Crow to Headstand: From Crow bring gaze to a point in front of your

hands at hip bones gives a heavy spot to aid the flyer to walk their hands close to the wall as the legs come together, heel of the palms a few inches from the wall , flyer's toes are pointed , head neutra l. Flyer tries to get their body as close to the wall without touch ing, spotter supports flyer's hips as they cartwheel down to one side.

Pyramid #2 - Free Handstand Hanuman Finger Power Handstand : Flyer measures out distance

Pike Jump to Handstand : Start with shoulders over wrists, arms

from wall by lifting one leg to hip height with foot touching the wall,

straight and ribs in towards the spine, bend knees while upper body

the standing foot is the approximate distance to place hands for a

holds the same shape. Jump strong, bring hips over the shoulders,

scissor lift to hanuman handstand . Once in the hanuman handstand,

extend to vertical.

the foot touching the wall is flexed so the only way to come free from the wall is by pushing with the fingers.

HANDSTAND BAIL OuT

L Balance Handstand : Flyer measures out distance from wall by

TECHNIQUE

lifting one leg to hip height with foot touching the wall, the standing foot is the approximate distance to place hands with fingers pointing

Handstand Bail Outs from the Wall: From L handstand with one foot

away from the wall. One foot pushes off the wall as the other extends

on the wall other foot vertical, jump off the wall to fall past vertical.

to vertical ; the foot touching the wall is at hip height. Very slowly flyer

With a heavy spot at the hips, take one large step with the hand

points their foot touching the wall until they can balance free from

under the vertical leg and cartwheel down .

the wall, keeping the legs in the L shape. Scissor Lift to Forarmstand ATB: From dolphin one leg lifted as high

Kick-Press to L Handstand to Bail Out: From a vertical split with both hands on the floor, the foot on the floor is pointed.

as possible, shoulders over elbows the whole time. Spotter supports

By pressing or a small hop then pressing the bottom leg lifts

the top leg as the flyer pushes the leg down into the spotter, flyer

parallel to the floor. With a safety spot, more pressing than

floats the bottom leg up to meet the top leg, head of the flyer in

jumping, come through vertical. Once past vertical take one large

neutral. Spotter walks to the flyer's back side, steps on the hands,

step with the hand under the vertica l leg and cartwheel down.

lifts the flyer from the thighs to help them find a straight extended position . Spotter tries to pull legs apart to encourage the body unification. Spotter steps off the hands as the flyer looks in between

HANDSTAND

their hands, spotter is giving as little support as possible, hot potato

Free Straight Handstand: From a vertical split with both hands on

spotting.

the floor, the foot on the floor is pointed . By pressing or a small hop

Scissor Lift to Handstand ATB: From a narrow down dog one leg

then pressing the bottom leg to meet the top leg in a vertical plane.

lifted as high as possible, shoulders over wrists the whole time spotter supports the top leg as the flyer pushes the leg down into the spotter. Flyer floats the bottom leg up to meet the top leg, head of the flyer in neutral. Spotter walks to the flyer's back side, lifts the flyer from the thighs to help them find a straight extended position . Spotter tries to pull legs apart to encourage the body unification. Flyer looks in between their hands, spotter is giving as little support as possible, hot potato spotting.

HANDSTAND ENTRIES Tuck Jump to Handstand: Start with shoulders over wrists , arms straight and ribs in towards the spine, bend knees while upper body holds the same shape. Jump strong, tuck knees to chest feet towards butt, once hips are over the shoulders, extend to vertical. Straddle Jump to Handstand: Start with shoulders over wrists, arms straight and ribs in towards the spine, bend knees while upper body holds the same shape. Jump strong, open legs to a pike straddle as wide as possible, once hips are over the shoulders start bringing the legs in a wide straddle to vertical.

84

Pyramid #2- Free Handstand

86

Unity, Press & Walking

PLANK TIGHTNESS DRILL

1

2 Flyer: bring feet together, shoulders over wrists or even slightly over the fingertips PLANK TIGHTNESS DRILL

Flyer: plank one leg up Spotter: hold raised ankle li ke a su itcase

TuCK PRESS HEADSTAND

PLANK TIGHTNESS DRILL

Spotter: step to goddess, push down the sacrum Flyer: bring your belly towards the spotter's hand

3

PLANK TIGHTNESS DRILL 4 PLANK TIGHTNESS DRILL 5 Spotter: step to goddess holding Spotter: drop one foot at a time both feet Flyer: try to keep feet together and body in one piece

1

tripod, legs pike

2 tuck knees in towards chest

TUCK PRESS HEADSTAND

1 hands shoulder width or wider, strong fingers, knees up high into armpits

(ROW PRESS TO HEADSTAND TuCK PRESS HEADSTAND

3

extend legs vertical

STRADDLE PRESS HEADSTAND

(ROW PRESS TO HEADSTAND

2

look in front of hands , bend arms and slowly lower head , forearms vertical , feet in close to hips

HEADSTAND PRESS TO (ROW

tuck knees in tight towards arm pits, strong fingers , slowly lift head , stra ighten arms

1

tripod , legs pike

STRADDLE PRESS HEADSTAND

2

open into wide stradd le

STRADDLE PRESS HEADSTAND

3

press to pi ked straddle 1 Flyer: shoulders over finger tips, body straight and unified Spotter: goddess stance AIRVINYASA HSWALKS

STRADDLE PRESS HEADSTAND

4

press to open straddle

STRADDLE PRESS HEADSTAND

5

press to vertical

PIKE PRESS HEADSTAND

1

tripod , legs pike

PIKE PRESS HEADSTAND

2

press legs up

PIKE PRESS HEADSTAND

press to vertical

87

3

AIR VINYASA HS WALKS 4

Flyer: lift one hand at a time, step forward andfor backward Spotter: step with flyer, follow their pace

2 Flyer: push down into straight arms, draw ribs towards the spine, belly in Spotter: stand up step in until flyer's hips are over their shoulders

A I R VINYASA HS WALKS

AIRVINYASA HS WALKS

Flyer: lift one leg vertica l

3

Alignment, Tightness, Balance BELLY WALL HANDSTAND

this type of handstand training will support finding a straight or slightly hollow handstand , toes pointed, everything 1 mm from the wall. Heavy spot on entry and exit

FINGER POWER HANDSTAND

set up about one legs length from the wall place your hands for a handstand , split your legs and only let your heel touch the wall, with only finger strength try to bring your heel off the wall. If it is easy go further from the wall. If it is not possible move your hands closer to the wall

FOREARM STAND A.T . B. l Flyer: elbows shoulder width , shoulders over elbows, head neutral, one leg up, Spotter: warrior one stance, hand on shin, foot by shoulder

HANDSTAND A.T.B. l Spotter: step to the back of the flyer, firm grip on shins and calfs Flyer: head neutral

FOREARM STAND A.T.B. 2

HANDSTAND A .T . B . 2

Flyer: push into supported leg until other leg is vertical, bring legs together Spotter: push into supported leg walk forward until flyer is vertical and you are supporting on the side

Flyer: push into supported leg until other leg is vertical, bring legs together Spotter: push into supported leg walk forward until flyer is vertical and you are supporting on the side

FOREARMSTAND A.T.B. 3 Spotter: step gently on hands, firm grip on flyer''s shins and calfs

3 Flyer: hands shoulder width, shoulders over wrists , head neutral , one leg up Spotter: warrior one stance, hand on shin, foot by shoulder

FOREARM STAND A.T.B. FINGER POWER (LOSE UP

heel connects to the wall, foot flexed

l HANDSTAND BALANCE set up in an L handstand slowly point your toe to bring your weight from the heel of your palm to the base of your hand, into your fingers and fingertips , from 95% vertical one degree at a time until it is 100% vertical

l hands shoulder width, shoulders over wrists, jump hips over hands

STRADDLE jUMP

l

hands shoulder width, shoulders over wrists , jump hips over hands

PIKE jUMP

l

hands shoulder width , shoulders over wrists, jump hips over hands

TucK juMP 2

knees touch the chest

HANDSTAND A .T . B.

4

HANDSTAND A.T.B. 4

Spotter: lift flyer straight up to align the bones vertical Flyer: keep head neutral, extend and unify the body

Spotter: lift flyer straight up to align the bones vertically Flyer: keep head neutral, extend and unify the body

FOREARMSTAND A.T.B. 5 Spotter: tries to pull flyers legs apart Flyer: try to keep legs unified

HANDSTAND A.T.B. 5 Spotter: try to pull flyers legs apart Flyer: try to keep legs unified

FOREARMSTAND A .T.B. 6 Spotter: steps off the flyers hands and supports the minimum Flyer: eyes to thumbs, find balance

HANDSTAND A.T. B . 6 Spotter: support the minimum Flyer: eyes to thumbs, find balance

Handstand Entries

TucK juMP

,_ _

TucK juMP

Handstand Bailouts

3

BAIL OuT

extend legs vertical

l

BAIL OuT 2

BAIL OuT

Safety Police: goddess stance, Flyer: cartwheel the legs down hands on hips, opposite side Saftey Police: follow the Ayers hip as they come down to the vertical leg

3

Flyer: step the hand furthest from the spotter forward Saftey Police: steer the hips of the flyer down as they lift up

3

STRADDLE jUMP 2

STRADDLE jUMP

straddle press legs in and up

extend legs vertical KICK/PRESS TO

l

HANDSTAND

l

hands shoulder width, shoulders over wrists, one leg just off the ground the other ready to bend and jump

PIKEjUMP2

PIKE jUMP 3

pike press up

extend legs vertical

KICK/PRESS TO

l

HANDSTAND 2

bottom leg jumps, the top leg swings to vertical

Handstand 88

Acrobatic Training Philosophy PH I LOSOPHY OF ACROBATICS

path for it hap pening in the physical world. For visualization to work, you first have to believe it is possible.

The 3 elements of any physical practice: Do What Works: If you are struggling while trying acrobatic skills Strength, Flexibility and Technique Strength and Flexibility are first a practice of the mind, then a practice of the body. Confidence, determination and sensitivity are

there are two possible reasons: 1.

You are not using the best technique for you and your partner

2.

You are not ready to attempt the skill

the elements that must be present before feats of high-level strength

Either way consistent, intense struggle does not have to be a part

and flexibility can be experienced consistently. Physical strength and

of your acrobatic practice. Hard work and struggle are not the same

flexibility can be increased gradually over time. The trick is learning

thing. Struggle causes injuries, increases frustration and takes the

how to channel what you already have. Strength is all about will.

beauty away from the skill. Hard work is a discipline that will help

Flexibility is a practice of letting go. There is no way to quantify how

build strength and improve technique if channeled by a good coach.

much will you can have or how much you can let go. Once this infinite potential is realized in the mind, the athlete is ready to train the body.

Acrobatic technique is different from many other disciplines because a major determining factor is the interaction of different bodies. The way one pair does an element might be very different than

Confidence: Confidence is a virtue that acrobatics helps cultivate.

another pair due to bone structure, strength, flexibility, etc. When

As students become more confident they rise to their true potential.

attempting acrobatic skills, one should let go of the idea of right and

Students over time can realize the power of connecting mind and

wrong technique. The trick is to keep trying ways that make th ings

body. Confidence starts in the mind then is realized into the physical

easier for both partners. Learning about your partner's strengths

world through the body. Huge leaps can be made in the physical

and difficulties will help you find ways to highlight your common

practice by first deciding and knowing in the mind that you are

strengths and support your challenges.

capable of that skill. This illustrates confidence in yourself, which will naturally begin to extend to confidence in others. Both types of confidence are needed to do acrobatics . In order to have confidence in others, the element needed is trust.

PARTNER

Trust; The Currency of Acrobatics: Trust is earned over time and can

To excel in the practice of acrobatics one key component is training

be seen like a bank account. Every good experience can be seen as a

regularly with a partner. The more time and energy you invest in

deposit and accrues interest. If a partner is not supported in the way

each other and training consistently, the easier and smoother

they need , it is a withdrawal. The transaction amounts can vary; a

everything becomes. There are many elements that go into choosing

small deposit may be a smile and hug, while a huge withdrawal may

an acrobatic partner:

be dropping a partner to the hard floor. When deciding about trying an acrobatic skill the flyer will run a credit check, the riskier the move the more trust must be accrued . Spotters serve as insurance to aid in the trust building process. Over time partners become established in their ability to communicate and trust. These ideas and actions form the foundation that AcroYogis can grow from. Concentration: One of the gifts of acrobatics is its built in demand for concentration. In the eight steps of yoga concentration , is the 6th step. In acrobatics trust is an entry level requirement. In acrobatics if you have another body in your hands, most of the time you wi ll be very present and concentrated. This high degree of concentration can be applied in all aspects of the practice but is most common to acrobatics. Visualization: Visualizing is a powerful compliment to concentration. Visualizing is very effective while the body is still and calm . With eyes closed , the ability to see the skill being done in your mind paves the

89

CHoosiNG AN AcROBATIC

Size - The ty pe of acrobatics you want to' do will help you choose a partner fit for your style. If you want to do mainly counterbalances and intro level elements, similar size might be best. If you are doing high-level acrobatics (hand to hand etc.) with a lot of flight, a difference in size will work better. Strengths & Weaknesses - Identify the strengths and weaknesses of both you and your potential partner. You can either choose a partner that has similar strengths, so you are both very good at some aspects, or choose a partner that has strengths where you do not. The clearer you are as to what type of acrobatics you want to train will help you choose a suitable partner. Personality - If you have a sense of what types of personal ities you get along with and which ones drive you crazy; do a bit of research about your potential partner to see where they fall. It is much more enjoyable to train acrobatics with someone you get along with .

Acrobatic Training Philosophy Level of Dedication- This one is very important. If you both know how

many times a week you want to train and what you want to learn, the journey will be more smooth and enjoyable. If your expectations are very different, problems will arise, as the training gets more intense. Coach vs. Guru - A guru can be translated as the one who takes

away the darkness. In the Indian tradition the guru is the one that leads disciples further down the yogic path . The guru has seen and felt what the student is searching for. They are the well of wisdom and guidance to make the journey more direct, and keep the yogi on track. The yogi surrenders to the guru and takes on the words of the teacher as truth . Once these truths are tested in the world they can become knowledge, and through meditation they can be realized as wisdom . In Acrobatics it is a similar role with differing themes . To learn how to do death-defying stunts the student must trust their coach with their life. The coach will teach enough building blocks for the student to understand the foundation . From that foundation the skill can be attempted and felt with the coach's assistance. With enough repetition and faith , the student attempts the skill by themselves, real izing their full potential. These relationships are ancient and sacred . They are built on respect and love. The inner coach, like the inner guru is the true teacher. Any great teacher will lead you to this conclusion .

90

Acrobatics and Spotting

DUCK SQUAT SPOTTING STANCE

GODDESS SPOTTING STANCE

WARRIOR 1 SPOTTING STANCE

Feet wider than hips, knees in ,

Feet wide, legs bent, hips low,

Front leg bent, back leg rooted,

hands at your hip height

spine straight, hands sensitive

spine straight, hands sens itive

FRONT 81 RD LEG PRESSES FREE WITH SPOTTER SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when pressing by bending knees to stay beneath flyer

BACK PLANK LEG PRESSES WITH SPOTTER SPOTTER: Stand in Goddess with arms underneath flyer' s torso and legs, reach through to opposite side of flyer. Follow base when pressing by bending knees to stay beneath flyer

91

Acrobatics and Spotting

SCISSOR LIFT TO STAR MOUNT WITH SPOTTER BASE: Hand to hand grip, place feet on flyer's shoulders with toes around collar bones FLYER: Place shoulders on base's feet, hand to hand grip, lift one leg SPOTTER: Support flyer's leg from the outside, offer resistance for the flyer to press against

FLYER: Press into spotter support to lift other leg straight up, tuck chin to chest SPOTTER: Resist flyer as they press, step forward to aid flyer find hips over shoulders BASE: Be patient for flyer's hips to lift over shoulders

BASE: Extend legs to straight when flyer's hips are over shoulders, press heels together behind flyer's head, extend arms straight and wide FLYER: Tuck chin to chest, then press head into base's shins, squeeze legs together, straight arms SPOTTER: Transition from flyer's leg to standing behind base with hands at flyer's hips. Hands on hips for dismount

jUMP TO STAR MOUNT WITH SPOTTER SPOTTER: Hands around the flyer's hipbones, Warrior 1 stance

SPOTTER: Step back as the flyer inverts, hands stay at the hips until the base and flyer are set

SPOTTER: Stand behind base & flyer, hands supporting the hipbones. Step back to Warrior 1 with hands on hipbones to support the flyer coming down

92

Foundational Acrobatics

DOUBLE PLANK

DOUBLE PLANK WITH ONE LEG

DOUBLE TABLE

DOUBLE TABLE WITH ONE LEG

BASE: Place feet flyer's

FLYER: Lift one leg, keep

BASE: Find strongest position for

FLYER: Lift one leg, keep lifting hip

shoulder width distance

body unified

hands, lift hips, head back

BASE: Lift one leg, keep lifting

FLYER: Tops of feet rest on

FLYER: Place hands on base's

base's shoulders, unified body,

shoulder, one foot at a time on

hands on base's ankles

base's knee, transition slowly to lift hips

TITIBASANA ON CHILD'S POSE

BEACH

STRADDLE PEACOCK ON CHILD'S POSE

BASE: Find tabletop with shoulders over

BASE: Find comfortable Child's Pose

BASE: Find comforrable Child's Pose

wrists, hips over knees

FLYER: Place hands on base's lower back,

FLYER: Place hands on base's lower back,

FLYER: Hook one forearm under base's

fingers point down the back, lift legs up,

fingers point down the back, elbows

midsection , wrap other arm around

strong and straight arms and legs

together at stomach, body strong, legs in

shoulder of base's near side, neck hangs

open straddle, body unified

free, jump or press to piked straddle

SHOULDERSTAND ON BRIDGE BASE: Place feet directly under knees, lift hips, take arm variation that supports hips staying lifted FLYER: Place hands on base's knees, position shoulders on base's thighs toward the knees, jump or press into shoulderstand

93

Foundational Acrobatics

DOWN DOG COUNTERBALANCE BASE: Place feet one at a time on flyer's hip crest, feet turned out, bend knees with arms at down dog angle, keeping upper body stable and strong, straighten legs pressing flyer back, maintain eye contact FLYER: Enjoy gentle spinal traction, allow weight to shift back into heels until arms lift up, then continue leaning weight onto base's feet to stabilize the couterbalance, maintain eye contact

TITIBASANA ON PLANK

)EDI PLANK

PLANK ON KNEES

SCORPION ON KNEES

BASE: Set up in Plank, shoulders

BASE: Lay on back, place hands

BASE: Lay on back, place

BASE: Place hands on flyer' s

over wrists, feet as wide as flyer's

over shoulders, separate feet as

hands over shoulders, bend

knees

shoulders, body strong

wide as flyer' s shoulders

knees, feet flat on floor, feet

FLYER: Hips lower, bend knees

FLYER: Place hands on base's

FLYER: Place hands on base's

as wide as flyer's shoulders

to reach toes towards head, arch spine

ankles, bend knees and lift

shins, lift one leg at a time into

FLYER: Place hands on

legs as high as possible, then

base's hands, strong body

base's knees, lift one leg at

straighten legs

a time into base' s hands

SPLIT CouNTERBALANCE

STRADDLE VARIATION

BASE: Keep knees together, place them towards flyer's low back. Slowly lean

TRANSITION FROM SPLIT COUNTERBALANCE

back while holding onto flyer's heel, arm extended, knees bending

FLYER: Present both legs to base, moving slowly

FLYER: Begin in squat, tight interlaced grip above base's hips behind back.

BASE: Hold both heels of flyer, press them down and back

Present one leg to base, to counterbalance slowly lift other leg and extend just above the floor, keep legs in a spit

94

Partner Inversions

PARTNER HANDSTAND

PARTNER FOREARM STAND (OPTIONAL STAG VARIATION)

Place hands far enough apart that you have space to kick and connect feet. Use a spotter to help connect the feet, find arch through the spine

Set up for forearmstand with enough space between you to kick up. Connect feet, allow an arch throught the spine. Option to take stag one leg

FRONT L I MBER

L HANDSTAND ON DOWN DOG

BAS E: Stand with feet hips width apart, ready to receive flyer's legs and latch over shoulders FLYER: Kick up to handstand hands beh ind base's feet, bend legs over base's shoulders

Find comfortable Down Dog Place hands facing away from base, lift one leg at a time and point toes over sacrum. Stack shoulders over wrists, keep arms straight, option to lift one leg

BASE: Lever flyer's lower legs by bending over shoulders, begin to bend forward with a flat back until flyer's feet come to the ground . Keep legs as straight as possible on transition FLYER : Relax arms overhead and enjoy the backbend . As feet near the ground bring arms by side waist to come to standing

BASE:

FLYER:

HANDSTAND ON DOWN DOG (OPTIONAL SCORPION VARIATION)

FLYE R: Place hands directly on top base's hips, slide torso onto base's spine. Keep shoulders behind wrists like down dog arms, press chest back into spine of base

95

FLYER:

Lift legs up, lift head, gaze up

Partner Inversions

BACK PACK WALKOVER

BAsE: Bend knees to place buttocks underneath flyer's buttocks, interlace elbows to lift flyer, begin to transition towards a forward fold slowly, keep legs extended when placing flyer's hands on the ground FLYER: Place buttocks above base's buttocks, allow feet to raise off the ground, take arms overhead, look towards the ground. Place hands down and split legs to dismount through walkover

jEDI Box

HALF LOOP DE LOOP

BASE: Lay on ground, stack wrists over shoulders, separate feet flyer's shoulder width apart. Simultaneously engage core and stack shoulders over hips. Option to release one arm FLYER: Place hands on base's ankles, lift one leg at a time, place feet in base's hands, strong body. Simultaneously engage core and stack hips over shoulders. Option to release one leg

BASE: Place feet flyer's shoulder width apart, raise one arm to recieve flyer's leg FLYER: Facing away from base, place hands near base's ankles. With control, halffront walkover to present one leg to base. Split and lean away with free leg, pressing heart forward away from base

SOLE TO SOLE HANDSTAND WITH LEG VARIATIONS

Start in a short down dog facing away from one another. Connect toes, press actively into feet to extend to standing splits variation. Maintain press to lift other leg and extend overhead. Keep arms straight. Option to take leg variations such as half scorpion

96

Standing Counterbalances

REVERSE THIGHSTAND WITH SUPPORT

Legs bent, feet parallel on base's lower back BAS E: Thighs parallel to floor, forearm grip FLYE R: Feet turned out place one foot on base's thigh , forearm grip SuPPORT:

REVERSE THIGHSTAND COUNTERBALANCE WITH SUPPOf..

F LYER: Step straight up onto base's thighs, feet turned out BASE: Stay steady as flyer steps up

THIGHSTAND COUNTERBALANCE WITH SUPPORT

THIGHSTAND WITH SUPPORT

Legs bent, feet parallel on base's lower back BAS E: Thighs parallel to floor, hands on flyer's hips F LYE R: Place toes on base's knees, hold base's wrists SUPPORT:

97

Lean chest back and straighten arms Lean back with straight body, straight arms SuPPORT: Feet hover as base's back peels away BAS E:

FLYER:

FLYER: Step straight up onto base's thighs, feet parallel BAS E: Support flyer's hips, pull in and down on flyer's legs

BAS E: Transition to forearm grip, lean chest back and straighten arms F LYER: Transition to forearm grip, lean forwards with straight body, straight arms SuPPO RT: Feet hover as base finds ease with the counterbalance

Standing Counterbalances

REVERSE THIGHSTAND WITH CROSSED ARMS WITH SUPPORT

Su PPORT: Legs bent, feet parallel on base's lower back BASE: Thighs parallel to floor, crossed forearm grip F LYER: Feet turned out place one foot on base's thigh, crossed forearm grip

Step straight up onto base's thighs, feet turned out BASE: Stay steady as flyer steps up FLYER:

REVERSE THIGHSTAN D CouNTERBALANCE WITH CROSSED ARMS WITH SUPPORT

BASE: F LYER:

Lean chest back and straighten arms Lean back with straight body, straight

arms SuPPORT:

Feet hover as base's back peels

away

BASE: Release one arm, keep connected arm straight FLYER: Release one arm, maintain straight body, keep connected arm straight S uPPORT: Feet hover if base's back peels away

FLAG

BASE: Thighs

parallel to floor, forearm grip Place one foot across base's thighs turned out, forearm grip FLYER:

F LYER: Step straight up onto base's thighs, lift other leg and hook foot behind base's neck, flex foot BASE: Stay steady as flyer steps up, press head into flyer's foot

BASE: Wrap arm around flyer's heel, hold leg and anchor, lean chest back, lift other arm F LYER: Lean away with straight body, body stays in one plane, keep foot flexed

98

Hand Balancing

Low FOOT TO HAND

Box

HIGH FOOT TO HAND

BASE: Wrists over elbows, elbows close to body, strong grip

BASE: Arms straight, wrists over shoulders, legs at 90 degrees FLYER : Hips over ankles, shoulders over wrists

BAS E: Arms straight, wrists over shoulders, strong grip FLYER: strong legs, squeeze midline, gaze up

Hold base's feet, offer one foot to set grip then press into arms to stand. Point through toes and squeeze midline with legs, gaze up F LYER:

THRONE TO REVERSE Low FooT TO HAND

BAS E: Two fingers under feet, bend elbows and stack wrists

BASE: Hand to hand grip, arms straight, writst over shoulders , tight grip

over elbows , squeeze elbows in close to body, strong grip FLYER: Body tight, squeeze feet in towards each other, flex feet slightly, gaze up

Step through one foot at a time to base's knees, squeeze knees in and up towards chest, gaze up

STRADDL E SIT, TITIBASANA

FLYER:

L SiT

BASE: Arms straight, wrists over shoulders, strong grip

BASE: Arms straight, wrists over shoulders, tight grip

Draw legs outside arms lifting knees towards shoulders , extend legs stra ight and strong into piked straddle

Step through one foot at a time to bases's knees, squeeze legs together and up towards chest

F LYER:

99

TUCK SiT

FLYER:

Pyramids

SUPER YOGI PYRAMID

DOUBLE BIRD PYRAMID

DOUBLE Bow PYRAMID

/

HIGH FLYING WHALE PYRAMID

DOWN DoG PYRAMID

CANDLESTICK PYRAMID (STAG)

HIGH FLYING WHALE PYRAMID (STAG)

HIGH FLYING WHALE PYRAMID (HANUMAN)

WARRIOR ON DOWN DOG PYRAMID

DOWN DOG SCORPION PYRAMID

100

Flying Vocabulary

101

FRONT BIRD

FRONT PLANK

Bow

REVERSE FRONT Bl RD

BAT

STRADDLE BAT

FLOAT! NG PASCH I

VASH/VISHNu ' s CoucH

THRONE

STRADDLE THRONE

REVERSE THRONE

REVERSE STAR : DOUBLE STAG

SIDE STAR (SUPPORTED)

SIDE STAR

CANDLESTICK

Flying Vocabulary

BACK BIRD

BACK PLANK

BOAT

REVERSE BACK PLANK

STAR (PI KED STRADDLE}

STAR (OPEN STRADDLE}

STAR (PIKE}

STAR (TuCK)

STAR (STRAIGHT)

FREE STAR (OPEN STRADDLE}

FREE STAR (STRAIGHT)

REVERSE STAR (STRAIGHT)

SHOULDERSTAND (STRAIGHT)

SHOULDERSTAND

REVERSE SHOULDERSTAN D

(PI KED STRADDLE}

(SPLIT)

REVERSE SHOULDERSTAND

102

Flying Presses

FRONT BIRD LEG PRESSES (WITH HANDS) BASE: Place feet parallel on flyer's hips, take

BASE: Bend knees to receive flyer,

BASE: Bend knees and arms simultaneously as low as possible

reverse hand to hand grip

then extend legs to straight, feet

while maintaining stability, then extend to stacked position

FLYER: Keep arms straight and body engaged

over !lips, wrists over shoulders

FLYER: Keep arms straight, gaze up, strong body with chest and

FLYER: Arms straight, lift chest

legs lifting

and legs , gaze up

Bow LEG PRESSES BASE: From Front Bird point toes to lift flyer's chest and

BASE: Bend knees as much as possible, then extend legs to straight,

release grip. Keep hands stacked over shoulders

feet over hips, adjust toe point to keep flyer' s chest elevated

FLYER: Reach one hand at a time to ankles and kick feet

FLYER: Maintain body position by kicking feet into hands

into hands to lift chest

THRONE LEG PRESSES BASE: Bend knees , place feet parallel on flyer's thighs,

BASE: Press legs to straight, transition hands to support soles of flyer's

hold flyer's ankles FLYER: Stand by base's shoulders facing away, reach for

feet, extend arms over shoulders, feet over hips. Bend knees and arms simultaneously as much as possible whilst maintaining stability, press

the feet, begin to sit

back to straight and stacked FLYER: Allow legs to bend so knees stack over base's wrists and shoulders stack over base's hips. Maintain body position

103

Flying Presses

FRONT BIRD LEG PRESSES (FREE) BASE: From Front Bird point toes to lift flyer's

BASE: Bend knees as much as possible,

BASE: Extend legs to stacked position

chest and release grip. Keep hands stacked

then extend legs to straight, feet over hips

FLYER: Maintain body position

over shoulders

FLYER: Keep lifting chest and legs, gaze up

FLYER: Reach arms along sides, lift torso and legs, gaze up

FRONT BIRD TO BIRD ON HANDS BASE: From Front Bird bend knees, turn toes out to place hands on flyer's hips. Place index and middle finger on belly, ring and pinkie finger around outer hip, flyer's hip bone should rest in center of palm . Remove legs, stack wrists over shoulders, keep arms straight. Bring feet to flyer' s th ighs, heels turned out, then work feet under flyer's hips to remove hands, press legs back to straight, feet over hips FLYER: Maintain body position, lift chest and legs, gaze up

104

Flying Presses

BACK PLANK LEG PRESSES

BAS E: Feet parallel on flyer's lower back, bend knees to receive weight, extend legs straight, hands stay stacked over shoulders FLYER: Hold base's ankles, maintain hol low body during mount, gaze towards toes, reach arms alongside legs

BASE: Bend knees as much as possible whilst maintaining stability to press flyer, keep arms over shoulders, move legs at the same time, extend back to straight FLYER: Maintain body position, engage core

BACK PLANK TO BACK PLANK ON HANDS

BAS E: Bend knees as much as possible whilst ma intaining stability to press flyer, turn toes out to place hands on low back and buttocks, stack wrists over shoulders, keep arms straight, press through fingers to lift flyer's chest. Bring feet back with heels turned in, then transition foot back underneath flyer, press legs to straight F LYE R: Maintain body position, engage core. Can be done in tuck, boat or back plank variations

lOS

Flying Presses

BACK PLANK LEG PRESSES {TUCK VARIATION)

BASE: Feet parallel on flyer's lower back, bend knees to receive weight, extend legs straight, hands stay stacked over shoulders FLYER: Hold base's ankles, maintain hollow body during mount, tuck knees into chest, reach arms alongside legs

BASE: Bend knees as much as possible whi l st maintaining stability to press flyer, keep arms over shoulders, move legs at the same time, extend back to straight FLYER: Maintain body position, engage core

BACK PLANK LEG PRESSES (BOAT VARIATION)

BASE: Feet parallel on flyer's lower back, bend knees to receive weight, extend legs straight, hands stay stacked over shoulders FLYER: Hold base's ankles, maintain hollow body during mount, draw knees into chest with legs extended, reach arms alongside legs

BASE: Bend knees as much as possible whilst maintaining stability to press flyer, keep arms over shoulders, move legs at the same time, extend back to straight F LYER: Maintain body position, engage core

106

Flying Presses

CANDLESTI CK: TUCK PRESS BASE: Bend knees place feet close to hips , extend arms straight FLYER: Place shoulders in base's hands, hold base's thighs , stra ight arms, walk feet to base's knees . Press or jump legs up through tuck to straight

BASE: Ma intain straight arms , press through fingert ips to keep flyer connected to thighs FLYER: Keep arms straight, tuck knees into chest with control then extend back to straight

STAR TUCK PRESSES BASE: Begin in Star, ma intain heels together, legs straight and arms straight FLYER: Begin in Star, tuck knees in towards chest, keep arms straight, press back of head into base's sh ins, extend back up to stra ight

STAR PIK E PR ESSES BASE: Begin in Star, maintain heels together, legs straight and arms straight FLYER: Begin in Star, pike legs in towards chest, keep legs straight and lower as much as possible, keep arms straight, press back of head into base's sh ins, extend back up to straight 107

Flying Presses 1

CANDLESTICK : STRADDLE PRESS

BASE: FLYER:

From candlestick maintain straight arms, press through fingertips to keep Ayer connected to thighs From candlestick keep arms straight, straddle press legs as low to ground as possible then back up to straight

STAR STRADDLE PRESSES

Begin in Star, maintain heels together, legs straigh and arms straight Begin in Star, press legs through piked straddle as low as possible, keep legs straight, keep arms straight, press back of head into base's shins, extend back up to straight BASE:

FLYER:

108

Mounts and Dismounts

FRONT BIRD MOUNT

FRONT BIRD DISMOUNT

BASE: Place feet parallel on flyer's hips, take reverse hand

BASE: Keep arms straight, bend knees to place flyer's feet on the

to hand grip, bend knees to receive flyer. Extend legs, feet

ground close to hips

over hips, wrists over shoulders

FLYER: Maintain body position, arms straight

FLYER: Keep arms straight and body engaged, gaze up

CANDLESTICK STEP TO KNEES MOUNT

CANDLESTICK PIKED STRADDLE MOUNT

BASE: Bend knees place feet close to hips, extend arms straight

BASE: Bend knees place feet close to hips, extend arms straight

FLYER: Place shoulders in base's hands , hold base's thighs,

FLYER: Place shoulders in base's hands, hold base's thighs, straight arms,

straight arms, walk feet to base's knees. Press or jump legs up

step feet to outside of base's legs, press or jump through piked straddle

CANNONBALL MOUNT

109

BASE: Extend legs straight, feet over

FLYER: Tuck knees into chest,

FLYER: Pull with arms, lift hips, extend legs up and out to

hips, place hands on flyer's shoulders

keep arms straight

piked straddle, use hands to draw base's feet to hip crease

FLYER: Hold the outside of base's feet

BASE: Keep legs straight,

BASE: Press up on flyer's shoulders, keep legs stra ight, turn

and lower torso, extend arms

support flyer's shoulders

feet in slightly to find Straddle Bat foot placement

Mounts and Dismounts

THRONE MOUNT

THRONE DISMOUNT

BASE: Bend knees, place feet parallel on flyer's thighs, hold flyer's ankles. Press legs straight, transition hands to soles of flyer's feet, straighten arms FLYER: Stand by base's shoulders facing away, reach for the feet, sit onto the feet

BASE: Trans ition hands to cup behind flyer's ankles, bend knees and place flyer's feet close to shoulders, release the feet FLYER: Maintain body pos ition , hold base's feet for extra support when coming to stand

jUMP TO STAR BASE: Hand to hand grip, place feet on flyer's shoulders with toes around collar bones FLYER: Place shoulders on base's feet, hand to hand grip, step close to base's shoulders

FLYER: Press or jump legs to piked straddle, tuck chin to chest, press through arms BASE: Be patient for flyer's hips to lift over shoulders, press through arms

BASE: Extend legs to stra ight when flyer's hips are over shoulders, press heels together beh ind flye r' s head , extend arms straight and wide FLYER: Tuck chin to chest, then press head into base's shins, engage legs, straight arms

CANNONBALL DISMOUNT BASE: From Straddle Bat, place hands on flyer's shoulders , keep legs straight FLYER: Hold outside of base's feet, tuck knees into chest

FLYER: Straighten arms, mainta in tuck shape, roll through bases legs , bring feet to the ground BASE: Support flyer's shoulders, keep legs extended as flyer rolls through, press flyer's chest up

110

Mounts and Dismounts

FLOATING PASCH! DISMOUNT BASE: From Bat, bring hands to flyer's upper arms close to the shoulders, bring legs forward to stack wrists over shoulders, keep arms straight, allow feet to release from flyer's hips FLYER: Keep strong grip on front of ankles , extend legs straight, squeeze legs together, straight arms, strong press through hands

BASE: Release feet, flex feet behind flyer's back, use toes as a back spot to stop them rolling back if necessary, find balance, then tip flyer's feet to the ground FLYER: Maintain body position, straight arms and legs

WALKOVER TO BACK BIRD MOUNT - STANDING DISMOUNT BASE: Support flyer's upper arms with hands , draw legs forwards ready to receive flyer's low back, feet parallel , flex feet, place toes at flyer's waistband FLYER: Place hands by base's shoulders , front wa lkover with control , keep split through legs wh ile base connects feet

BASE: Bend knees to receive flyer, press legs to BASE: Bend knees to place flyer's feet to straight, feet over hips , use hands to lift flyer's arms the ground FLYER: Clasp base's ankles , allow feet to FLYER: Stag one leg, extend other leg, active backbend . Once hands leave the ground reach them come to the ground along sides of base's legs

WALKOVER TO THRONE MOUNT BASE: Feet para llel , ready to receive flyer. Place feet on buttocks and thighs as flyer's legs come over, ra ise hands FLYER: Place hands close to base's hips , controlled front walkover, arms stra ight, keep legs split to slow the entry 11 1

BASE: Bend knees to receive flyer's weight, clasp outsides of flyer's feet and pull down to offer resistance for flyer to sit up. Straighten legs once flyer's chest has lifted FLYER: Flex feet into base's hands to lever chest up, curl shoulders over hips

BASE: Transition hands to soles of flyer's feet, stack feet over hips, wrists over shoulders, straight arms FLYER: Allow knees to bend , shoulders over hiJ=

Mounts and Dismounts

jUMP TO REVERSE STAR

BASE: Place feet on flyer's shoulders, toes towards shoulder blades , receptive through legs as flyer leans in F LYER: Place shoulders on base's feet, place hands on backs of base's legs, fingers point down, squeeze elbows in, lean weight forwards to begin the jump

F LYER: Press of jump hips over shoulders, press down through arms, squeeze elbows in, gaze down at base BAS E: Wait for flyer's hips to be over shoulders, then press legs to straight, feet stacked over hips

.J BACK BIRD MOUNT - WALKOVER DISMOUNT

BAS E: Feet parallel, toes at waistband, heels on buttocks, raise arms . Bend knees until hands connect to flyer's shoulders FLYER: Step close to base's hips facing away, reach back for base's ankles, thumbs turned in. Lean weight back, when feet leave the ground stag one leg

BAS E: Transition hands from flyer's shoulders to upper arms , bend knees, place flyer's hands on the ground close to shoulders, press toes to help flyer transition F LYER: Place hands on ground , straight arms, split legs to bring hips over shoulders, walkover out

BACKWARD ROLL TO REVERSE SHOULDERSTAND MOUNT

BASE: Sit in tuck with feet on the ground , place hands on flyer's shoulders FLYER: Sit on top of base's feet, tuck knees into chest, hold base's ankles

BAS E: Begin to roll towards back, bend knees into chest, flex feet to scoop flyer's hips, draw flyer's shoulders into hands FLYER: Follow momentum to roll back, keep knees in tuck, gaze towards toes, maintain hold of base's ankles

BASE: Extend legs and arms to press flyer into shoulderstand, wrists over shoulders , ankles over hips F LYER: Extend arms to press base's legs away, extend legs up, squeeze legs together, gaze up

112

Mounts and Dismounts

CARTWHEEL TO STRADDLE BAT BASE: Hand to hand grip, extend leg to the side to meet flyer, turn foot to line up beneath flyer's hipbone FLYER: Step close to the side of base's hip, angle toes towards base's hip, hand to hand grip

BASE: Bend knee in to receive flyer, press through arms, extend legs, place other foot in flyer's opposite hip crease FLYER: Lean weight into base's foot, press through arms, pike lower leg to create shelf, extend top leg up and over, keep body in one plane. Place other leg onto base's foot

CARTWHEEL TO VISHNU'S COUCH BASE: Hand to hand grip, extend leg to the side to meet flyer, turn foot to line up beneath flyer's hipbone. Bend knee in to receive flyer for Straddle Bat FLYER: Step close to the side of base's hip, angle toes towards base's hip, hand to hand grip. Lean weight into base's foot, press through arms, pike lower leg to create shelf, extend top leg, keep body in one plane

113

BASE: Press through arms, bend knee to allow flyer's chest to lift, place free foot towards flyer's armpit, press legs away from each other FLYER: Press through arms to lift chest, maintain pike through bottom leg, extend other leg up, keep body in one plane

Mounts and Dismounts

BASE: Press through arms to release foot, bend other leg to place flyer's feet to ground FLYER:

Press through arms to lift chest, place feet to the ground close to base's hip

BASE: Extend both legs, press legs away from each other FLYER : Transition lower hand to base's leg, extend top arm

BASE: Transition to hand to hand grip, press through arms, bend leg to place flyer's feet to the ground FLYER:

Transition to hand to hand grip, press through arms, place feet to the ground

114

Mounts and Dismounts

CARTWHEEL TO STAR WITH STEP

BASE: Hand to hand grip, extend leg to the side to meet flyer, turn foot to line up beneath flyer's hipbone FLYER: Step close to the side of base's hip, angle toes towards base's hip, hand to hand grip

BAS E: Bend knee in to receive flyer, press through arms, extend leg, bend opposite knee to place foot on flyer's shoulder FLYER: Lean weight into base's foot , press through arms, pike lower leg to create shelf, extend top leg up and over, keep body in one plane.

(ARTWH EEL TO STAR

BASE: Hand to hand grip, extend leg to the side to meet flyer, turn foot to line up beneath flyer's shoulder F LYER: Step close to the side of base's hip, angle toes towards base's hip, hand to hand grip

115

BASE: Bend knee in to receive flyer, press through arms , extend leg, bend opposite knee to place foot on flyer's shoulde r FLYE R: Lean weight into base's foot , press through arms , pike lower leg to create shelf, extend top leg up and over, keep body in one plane.

Mounts and Dismounts

BASE: Press through arms and legs, transition foot from flyer's hip to shoulder, press to star, extend arms straight and wide, press heels together behind flyer's head FLYER : Maintain piked straddle, press through arms, once in star extend arms straight and wide, press head into base's shins in Star

BASE: Press through arms and legs, press to star, extend arms straight and wide, press heels together behind flyer's head FLYER : Maintain piked straddle, press through arms, once in star extend arms straight and wide, press head into base's shins in Star

BASE: Bend elbows, find active resistance through arms, step one foot to flyer's hip, press through arms to lift flyer's chest, bend knee to place flyer's feet to ground FLYER: Bend elbows, find active resistance through arms, pike through leg onto base's foot , press through arms to lift chest, step feet to the ground

BASE: Bend elbows, find active resistance through arms, step one foot out, press through arms to lift flyer's chest, bend knee to place flyer's feet to ground FLYER: Bend elbows, find active resistance through arms, pike through legs, press through arms to lift chest, step feet to the ground

116

Acrobatic Flying Transitions

PRASARITA TWIST TO STRADDLE BAT BASE: From Folded Leaf thread Ayer's arm in front of legs, bend opposite

BASE: Keep arms straight, wrists over shoulders , step foot out of

knee, press shoulder until Ayer reaches footjleg for Prasarita Twist.

Ayer's hip. Place foot with heel turned in to inside of other foot on

Switch hands on shoulders, turn Ayer to stack wrists over shoulders

Ayer' s hip crease. Once foot is in place begin to straighten leg

FLYER: Reach for opposite footjlower leg, allow torso to twist open. Keep

FLYER: Hold onto footflower leg, ma intain pike through legs

pike through both legs

TURNTABLE BASE: From Reverse Bat place one

BASE: Use arms to turn Ayer until able to straighten

BASE: Continue to turn Ayer using arms, with

hand between Ayer's shoulders ,

arms , shoulders over wrists. Step foot out, place to

support of foot. Place other foot in Ayer's hip for Bat

other hand at Ayer' s sacrum

inside of Ayer's hip crease with toes turned in

FLYER: Keep hold of ankles, look up towards own

FLYER: Keep hold of ankles, look

FLYER: Keep hold of ankles, tuck chin to chest

feet until arrived in Bat

up towards own feet

FRONT BIRD TO PIKED STRADDLE SHOULDERSTAND BASE: From Front Bird raise hands to receive Ayer's shoulders . Keep arms

BASE: Keep arms and legs straight and stacked , use legs to pull

straight, wrists over shoulders

Ayer back if needed to keep wrists over shoulders

FLYER: Hold base' s ankles, place shoulders in base ' s palms, take legs to

FLYER: Straighten arms to press base's legs away, stack hips

piked straddle

over shoulders, keep legs in piked straddle. Pull base's feet into hip crease to land in Folded Leaf

117

Acrobatic Flying Transitions r

BASE: Catch flyer's hip crease with free foot, turn toes in slightly for Straddle Bat. Maintain arms straight until both feet are in place with legs straight FLYER: Release foot when base's foot has released, open into piked straddle, trace leg along horizon line

REVERSE TURNTABLE

BASE: From Bat place one hand between flyer's shoulders, other hand at flyer's sacrum and lift flyer's chest FLYER: Keep hold of ankles, tuck chin to chest

FRONT

B1 RD TO

BASE: Use arms to turn flyer until able to straighten arms, shoulders over wrists. Step foot out, place to inside of flyer's hip crease with toes turned out FLYER: Keep hold of ankles, look up towards own feet

BASE: Continue to turn flyer using arms, with support of foot. Place other foot in flyer's hip for Reverse Bat FLYER: Keep hold of ankles, look up towards own feet until arrived in Reverse Bat

STRAIGHT SHOULDERSTAND

BASE: From Front Bird raise hands to receive flyer's shoulders . Keep arms straight, wrists over shoulders FLYER : Hold base's ankles, place shoulders in base's palms, maintain a straight body, legs engaged

Keep arms and legs straight and stacked Straighten arms to press base's legs away, stack hips over shoulders, keep legs squeezing together and straight. Pull base's feet into hips to land back in Front Bird BAsE:

FLYER:

Acrobatic Flying Transitions

B1 RD TO SHOULDERSTAN D 180 TWIST TO STRADDLE BAT BASE: From Front Bird raise hands to receive flyer's

BASE: Turn flyer's shoulders using arms, place foot in flyer's hip crease. Keep

shoulders. Keep arms straight, wrists over shoulders

turning torso using arms and leg until other foot can be placed in Straddle Bat

FLYE R: Hold base's ankles, place shoulders in base's

FLYER: Turn hips , look at base's foot, place foot into hip crease. Pike down

palms , take legs to piked straddle. Press arms straight,

through leg, thread arm in front of base's legs to twist torso, open top leg into

stack hips over shoulders

piked straddle for Straddle Bat

CANDLESTICK FREE SHOULDERSTAND 180 TWIST TO STRADDLE BAT BASE: From Candlestick bend knees in towards chest until

BAS E: Keep arms stacked , press through fingertips to support wrists

wrists stack over shoulders

FLYE R: Transition one hand at a time to base's forearm above elbow,

FLYER: Ma intain piked straddle, stay engaged

thumbs in, fingers pointing towards the ground . Root down towards the ground with hands, squeeze elbows in

SUPPORTED HELICOPTER BASE: From Straddle Bat place hands on flyer's shoulders as the flyer turns . Begin

BAsE: Step free foot inside the other to catch flyer's hip

to press arms to stra ight and stacked, release foot as weight transfers to arms

crease, toes turned out, keep pressing flyer's shoulders,

FLYER: Begin to twist torso, maintain piked straddle, squeeze elbows in

transfer foot to other hip crease, catch in Folded Leaf FLYER: Squeeze elbows in , ma intain piked straddle

119

Acrobatic Flying Transitions

BACK BIRD TO REVERSE SHOULDERSTAND BASE: From Back Bird place hands on flyer's shoulders. Keep arms straight, bring wrists over shoulders FLYER: Hold base's ankles, place shoulders in base's palms, take legs from stag into spl it

BASE: Use arms to twist flyer's torso, catch hip crease with foot toes turned out, keep arms straight FLYER: Ma intain piked straddle, squeeze elbows in, root down through hands

BASE: Keep arms and legs straight and stacked, use legs to pull flyer back if needed to keep wrists over shoulders FLYER: Stra ighten arms to press base's legs away, split legs until hips stack over shoulders then extend to stra ight. Pull base's feet in to return to Back Bird

BASE: Continue to turn flyer's torso, catch flyer's hip crease with other foot in Straddle Bat FLYER: Maintain piked straddle, release contact with hands when base has placed both feet

120

Acrobatic Flying Transitions

FREE SHOULDERSTAND TO REVERSE THIGHSTAND COUNTERBALANCE BASE: From Free Shoulderstand, place feet flat on the ground hips width apart, press through fingertips to support wrists, keep arms straight and stacked . Press through fingertips to anchor flyer towards legs FLYER: Root down towards ground through arms, squeeze elbows in, pike legs down towards base's knees, use core to slow decent of legs . Place feet with toes towards base's knees. Press through hands to lift chest as hips lower

STAR TO THIGHSTAND COUNTERBALANCE BASE: From Star keep arms straight, draw wrists over shoulders, press strongly through arms. As flyer's feet come to knees, bend legs and take feet towards the ground , feet hips width FLYER: Keep arms straight, engage core to pike legs down slowly with control , curl legs in as close to chest as possible, stack shoulders over wrists. place toes on base's knees

THIGHSTAND COUNTERBALANCE TO SiTTING ON SHOULDERS BASE: From Thighstand Counterbalance bend arms to draw flyer directly over shins , press through arms with active resistance, tuck ch in to th read head through flyer's legs, extend legs as flyer sits FLYER: Draw body back in a plank until standing straight, bend knees to allow base to thread head through, sit onto base's shoulders, as feet release from knees tuck them around base's torso

121

Acrobatic Flying Transitions

BASE: Transition to forearm grip, keep arms straight, curl up using core as flyer leans away, send knees over toes, as hips lift lean shoulders away from flyer, keep chest lifted FLYER: Transition to forearm grip, keep arms straight, sit hips towards heels, lean away from base, as base's hips lift, extend legs and lean back

BASE: Keep arms straight, place feet hips width, use core to coil chest up as flyer begins to lean away, send knees over toes to lift hips, lean shoulders away from flyer, lift chest FLYER: Keep toes on base's knees, arms straight, sit hips towards heels and lean chest forwards , send knees over toes, pull away from base with arms, send hips forward and extend legs

BASE: Bend knees, send hips backwards, place flyer's feet on knees. Take hands to flyer' s hips, draw head out, lean shoulders back, extend arms, lift chest for Thighstand Counterbalance. Support flyer's hips until their feet are on the ground FLYER: Place toes towards base's knees, lean hips into base's hands, send chest forwards, extend legs. To dismount, bring hands to base's forearms , press through hands, hop feet to the floor

122

Acrobatic Flying Transitions

STRADDLE BAT STEP TO STAR BASE: From Straddle Bat take hand to hand grip, find active resistance through arms, elbows squeeze in. Remove one foot from flyer's hip, bend knee deeply to place foot under flyer's shoulder FLYER: Take hand to hand grip, squeeze elbows in, active resistance through arms, maintain piked straddle

BASE: Press through arms and leg to make space to remove second foot, place to flyer's shoulder. Press heels together behind flyer's head, take arms wide and straight for Star FLYER: Press through arms, keep hips over shoulders , maintain piked straddle, press head into base's shins in Star

STRADDLE BAT POP TO STAR BASE: From Straddle Bat take hand to hand grip, find active resistance through arms, elbows squeeze in. Bend knees and extend legs to pop flyer up, keep legs close and feet ready to catch shoulders in Star FLYER: Take hand to hand grip, squeeze elbows in, find active resistance through arms, maintain piked straddle

BARREL ROLL BASE: From Straddle Bat take reverse hand to hand grip, bend arms to allow flyer to twist torso, press through arms to remove one foot and lift flyer's chest FLYER: Twist torso, take reverse hand to hand grip, press through arms to lift chest, circle top leg around

123

BASE: Press arms straight to lift flyer's chest, step foot to hip of flyer's free leg crossing in front of other foot, toes turned out FLYER: Press through arms to lift chest, reach top leg back, place hip onto base's hip, lift other leg

Acrobatic Flying Transitions

STAR STEP TO STRADDLE BAT

BASE: Bend arms, squeeze elbows in , active resistance through arms . Step one foot out from flyer's shoulder, trace along side body while bending opposite knee, place foot in flyer's hip crease. Remove second foot and place in hip crease for Straddle Bat FLYER: Bend arms, squeeze elbows in, active resistance through arms, maintain piked straddle

STAR POP TO STRADDLE BAT

BASE: From Star bend elbows, find active resistance through arms, elbows squeeze in . Bend knees and extend legs to pop flyer up, keep legs close to flyer's side body, press through arms to slow decent, feet ready to catch hip crease in Straddle Bat FLYER: Bend arms, squeeze elbows in, find active resistance through arms, maintain piked straddle, press through arms to slow decent

BASE: Stabilize flyer on one leg, hug leg in to center. Bend arms to allow flyer's chest to come down , place other foot to hip crease for Straddle Bat FLYER: Pike through leg on base's foot, turn torso to look between arms , circle other leg up and over, place leg on base's foot for Straddle Bat

124

Acrobatic Flying Transitions

FRONT BIRD TO HIGH FLYING WHALE BASE: From Front Bird bend one knee to turn foot out, extend leg as flyer rolls onto foot FLYER: Place one hand above base's knee on lower leg, extend arm,

BASE: Internally rotate foot to begin to turn flyer, reach hand for flyer's bottom foot to help continue turning. FLYER: Maintain straight arm, pike through lower leg,

pike down through bottom leg to create shelf for Side Star, keep body

extend through top arm and leg

in one plane, raise top arm and leg

BIRD TO THRONE TO HIGH FLYING WHALE BASE: From Front Bird keep arms straight, release one foot, step to

BASE: Find active resistance through arms and leg to transfer

flyer's th igh

other foot to flyer's thigh. Bend both knees until flyer's shoulders stack over hips, then extend legs

FLYER: Press through arms as base releases foot, draw knee towards armpit to offer th igh, place foot on base's shin

FLYER: Keep arms straight, press through leg to draw other knee forward , place both feet on base's sh ins and sit up

HIGH FLYIN G WHALE TO THRONE TO BIRD

125

BASE: From H igh Flying Whale switch grip to reverse foot to hand . Bend

BASE: As flyer sits up press through leg, use toes on other leg to help

arms, remove one foot, knee and place foot to flyer's upper thigh

flyer's chest rise. Step other foot to flyer's thigh , stra ighten both legs anr'

FLYER: Bend knees, bring arms by sides , engage core

arms for Throne FLYER: Use core to sit up, allow knees to bend , stack shoulders over hips

Acrobatic Flying Transitions

BASE: Bring free foot to flyer's shoulders, turn toes in , extend through leg as flyer turns to support torso , turn toes down to wa istband , catch flyer 's top foot as it comes over. Extend arms, feet parallel either side of spine FLYER: Keep arm straight to lift chest, maintain pike of lower leg, slowly bring top leg over once base's foot is at shoulders , lift hips. Release arm once base transitions second foot in place

BASE: Transition hands to flyer 's feet , reverse foot to hand grip for Throne. Bend arms and legs , trace one foot down flyer's back, flex foot to receive flyer 's weight FLYER: Keep core engaged , curl back onto base's foot

BASE: Transition second foot to flyer's shoulders, switch grip to flyer 's ankles for High Flying Whale F LYER: Keep core engaged until both base's feet are engaged, lift one leg at a time to switch grip

BASE: Transition flyer 's feet to shins, take

BASE: Keep arms straight, step one foot to flyer's hip at a t ime for Front Bird

reverse hand to hand grip, keep arms straight F LYER: Place feet on base's shins , take reverse hand to hand grip

FLYE R:

Keep arms stra ight, lift one leg at a time and extend back to Front Bird

126

Acrobatic Flying Transitions

REVERSE BIRD STEP TO STAR

BASE: From Reverse Bird reach hands towards legs, find d iagonal power line with straight arms from shoulders to flyer 's shoulders, hand to hand grip FLYER : Hand to hand grip with base, keep arms straight, squeeze legs together with body engaged

BASE: Bend elbows, find active resistance through arms, remove one foot, step to flyer's shoulder, bend knee deeply. Wait for flyer 's hips to stack over shoulders, then press through leg and step other foot to flyer's shoulder FLYER: Bend elbows , find active resistance through arms, split legs to tip hips up over shoulders , maintain spl it and press through arms, squeeze elbows in

BASE: Press both legs to straight, press heels together behind flyer's head, straighten arms out to the side FLYER: Straighten arms and legs , press head back into base's shins

FRONT B1 RD STEP TO REVERSE STAR

BAS E: From Front Bird take reverse hand to hand grip. Find active resistance in arms, remove one foot, bend knee to place foot to flyer's shoulder FLYER: Take reverse hand to hand grip, find active resistance in arms, pike through leg as base removes opposite foot, allow shoulders to come towards base's foot

127

BAS E: Receive flyer's weight by bending knee deeply, take hands widr turn palms up to open flyer's shoulders . Once flyer's hips are over shoulders press through leg to step other foot to flyer's shoulder F LYER : Split legs to stack hips over shoulders, press through arms

Acrobatic Flying Transitions

BASE: Bend elbows, find active resistance through arms, remove one foot, step to flyer's hip. Bend knee deeply. Press through arms to lift flyer's chest, remove other foot and bring it to flyer's hip FLYER: Bend elbows, find active resistance through arms, split legs to bring hip to base's foot, lift chest and lift gaze

BASE: Press both legs to straight, ankles over hips, transition flyer's hands to lower legs one at a time FLYER: Squeeze legs to straight, transition hands to base's calves, fingers pointing down, root towards the ground. Squeeze elbows in , gaze at base's navel

BASE: Press arms towards diagonal power line, straighten legs as flyer's chest lifts, flex feet to help lift flyer's chest FLYER: Squeeze legs together, lift chest and gaze, straighten arms to find diagonal power line. If possible, lift chest and find hands free

BASE: Transition to reverse hand to hand grip, find active resistance in arms. Step one foot out from flyer's shoulder, bend opposite knee to lower flyer, place free foot at flyer's hip, flex foot to receive flyer's torso. As weight transfers bend knee and press through arms to lift flyer's chest, remove second foot and place at flyer's hip for Front Bird FLYER: Transition to reverse hand to hand grip, find active resistance in arms, split legs to lower one hip to base's foot. Press through arms to lift chest, lift gaze

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Acrobatic Flying Transitions

CORKSCREW BASE: From Folded Leaf take hand to hand grip as flyer turns torso, find active resistance through arms . Turn flyer with hips, step one foot out from hip, bend knee deeply, place foot on flyer's shoulder FLYER: Turn torso, take hand to hand grip, find active res istance through arms, maintain piked straddle through l'e gs

BASE : Press through leg to release other foot. Press through arms, place other foot to flyer's shoulder, extend both legs and arms for Star F LYER : Press through arms, maintain piked straddle through legs

CATHERINE' S WHEEL BASE: From Front Bird raise arms ready to receive flyer's shoulders. Bend knees to lower flyer into Free Shoulderstand, point toes to raise flyer's hips over shoulders F LYER: Place hands on base's forearms, fingertips towards the ground, squeeze elbows in , keep body straight and engaged

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BASE: Take legs outside and around flyer's torso, bend knees and place feet towards flyer's buttocks. Press arms through legs to direct flyer's chest towards backbend F LYER: Switch grip to cup around outside of base's forearm, bend knees, begin to backbend to take legs over, use arms for resistance as legs decend and buttocks land on base's feet

Acrobatic Flying Transitions

BAS E: Find active res istance through arms, as flyer turns hips remove foot from opposite shoulder, bend arms and knee to lower flyer, step foot to flyer's hip crease, use hips to turn flyer, place other foot to hip crease for Folded Leaf F LYE R: Find active resistance in arms, begin to turn hips, mainta in piked straddle. Bend elbows as chest lowers, press through leg as base places foot to hip crease, turn torso to face base's legs

BASE: Support flyer's hips with feet, trans ition to reverse foot to hand grip, bend arms until elbows are on the ground directly under wrists , squeeze elbows in. Use toes to press flyer up to standing in Low Reverse Foot to Hand FLYE R: Release arms along side waist, use core to lift chest to sit on base's feet and stand into Reverse Foot to Hand . Squeeze legs in , allow feet to flex deep ly, lift gaze up

BASE: Bring legs through flyer 's legs, feet parallel , place on the hips as flyer leans forward, release flyer's feet away for Front Bird FLYER : Lean hips forward once base's legs come through , keep gaze and chest lifted , lift legs up and back

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Acrobatic Flying Transitions

TUMBLEWEED

BASE: From Star bend arms, find active resistance, remove one foot and trace down flyer 's back to sacrum for Back Bird, release and replace other foot FLYER: Bend arms, find active resistance, stag one leg, as base places foot allow weight to transfer back into back bend

BAS E: Bend knees to trans ition hands to foot to hand grip on flyer's feet, place elbows on the ground, wrists stacked over elbows. Press through feet to help flyer stand in Low Foot to Har -' FLY ER: Bend both knees, allow feet to lower towards the ground , use core to stand up, squeeze legs together, lift gaze

REVERSE TUMBLEWEED

BASE: From Back Bird take hand to hand grip, find active resistance through arms, step one foot to flyer's shoulder. Once flyer's hip are over shoulders extend through leg, place other foot, extend both legs for Star FLYER: Take hand to hand grip, bend arms , find act ive res istantce, split legs to stack hips over shoulders , extend straight to Star

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BASE: Transition hands open, keep legs straight, stack wrists over shoulders , FLYER: Transition hands to base's wrists, pike down, legs hips width , draw feet towards base's hands

Acrobatic Flying Transitions

BASE: Place feet to flyer's shoulders, bend knees deeply to allow flyer to stack hips over shoulders, transition hands one at a time to hand to hand grip and press legs straight to find Star FLYER: Pike forwards to place shoulders on base's feet, take hands to base's shins, fingertips point towards ground, squeeze elbows in , press legs up into piked straddle, transition one hand at a time to hand to hand grip, extend up to straight

BASE: Take foot to hand grip, bend knees to free flyer's head and shoulders, keep legs up to aid flyer into Low Foot to Hand FLYER: Place feet into base's hands, release grip, use core to stand up into Low Foot to Hand , use hands on base's legsjfeet if needed

BASE: Take legs through flyer's legs, place feet at low back, bend knees to receive flyer's hips, release feet away, extend legs for Back Bird FLYER: Sit onto base's feet as they arrive at lower back, arch spine and stag one leg for Back Bird

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Thanks & Praises A huge thanks to so many amazing talented supportive beings that

soul has been a grounding chord for me, thank you for all the ways you

have made t his practice a reality.

showed me how to receive divine light.

I am humbled by all the amazing people in my life that have

To Sianna Sherman, for opening me to the grace within me that I could not see.

supported me and the vision of AcroYoga. Th is is a small list of many beings that have made th is vision into a practice that continues to change the way we relate to each other.

To Janet Stone, for opening your family to me and being such a consistent friend .

To jenny Sauer-Kiein, for co-creating many of the flows and sequences in this manual. For your devotion to compassionate communication and years of dedication to build ing this practice from the seeds of our first conversations and jams. Through being my most dedicated partner for almost a decade, the lessons you shared with me are a big part of what AcroYoga is, and always will be. To Kadri Kurgun , for your vision and skill to capture and create this practice, for being the guy with the lens that sees the world's beauty and reflects it. To Bonnie Argo, for laying out the manual, from the detailed text to giving the book life and a feel. For being such a bad ass in so many ways, for singing your heart into the world , for being a rock that I can count on , for mentoring so many. To our AcroYoga models in the manual, Jenny Sauer-Kiein, Jeremy Simon, justin Bench, Jane Hansen .

To my Mom, for all your support from birth until now, your love and teachings are the foundation of my being and I will always see you as my first teacher of yoga, meditation, and how to be a loving human .

To )ai Uttal, for teaching me to fall in love with my voice and teach ing me how to invite others to do the same. To Carolyn Cohen, for being the first student of AcroYoga , without you none of this would have happened . To Francisco Morales-Bermudez, for your brotherhood and support. To Tim & Tara Dale, for being the first people to say yes to AcroYoga. To the Thai Circus Family, for being the cousins I never knew I had , for opening your practice to ours and building a big global family of metta monkeys . To Dr. Scott Blossom , for your ins ight into healing arts , amazing intellect on so many topics and for playing music for spirit and fun . To Dr. Eric Ruben, for being one of the most skilled healers to every lay hands on me, your ability to help the body find balance is a huge source of inspiration .

For being my biggest supporter in all ways . You not only said yes to

To Alexandra Ruiz, for being one of my best friends , for creating a home

my dreams you helped them come true.

for AcroYoga en Mexico, for inspiring so many teachers and being an

To my Dad, thank you for teaching me about kindness , patience, hum ility and for sharing Mexican culture. To my Step Dad, fo r teach ing me about how to honor spirit in plants and an ima ls, how to listen, communicate and believe in magic. To my Step Mom, for your positivity, encouragement and always being a cheerleader. To Jenny's parents , for all your love and support and for raising such an amazing human . To Tom Monas , for teaching me how to train acrobatics and build progressions. To Lu Yi , fo r teach ing me how to extend and have good feeling, your mastery in teach ing is second to your ability to see the good in people. To Dharma Mittra, my teacher of saintly behavior and humility. Your

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To Rusty Wells, for your huge generosity, big heart and bhakti seeds .

amazing leader. To Jennifer Yarro, for your dedication to sharing healing arts, for teaching me how to use x-ray vis ion and for bringing your skills and passions to the world . To David Lurey, for bringing bhakti to so many AcroYogis, for being an example of a man living with integrity, for being one of my best friends . To Adam Rinder, for being there from the start, for singing, for inspiring so many to become more bright. To )onny Nobleza, for your amazing studentship for being my flyer and brother. For helping me become a mus ician. To Chris Loebsack, for the constant support that you offer to me and the practice. For being so strong and soft. To juan P, for building an AcroYoga army in South America . Your ability to live AcroYoga has produced one of the strongest communities on Earth .

Thanks & Praises To Jaqui Wan, for being an example of how selfless a community builder can be. To Paige Elenson, for putting the world on your feet, turning your dream of flying some Kenyans into a movement that is changing thousands of people's lives . To Jeremy Simon, for dedication to building commun ity, your studentship, friendship, your ability to be one piece and many hot cookies. To Katie Capano, for going to the ends of the earth to bring light to dark places , for being a friend and a supporter when I needed both. To Jason & Chelsey Magness, for being real and down to Earth, even when you spend so much time suspended from it. To lux, for being an acrobatic genius , masterful teacher and someone I can lean on in so many ways . To Pau Castellsague, for how you use your enthusiasm to bring love to so many. To Wari Om Castellsague, for bringing your family into AcroYoga and for capturing the beauty with your perspective. To Justin Bench, for supporting the photo shoot and supporting everything you come into contact with that has the letters AY on it! To Justyna Fiuk and Asha Tyska Mclaughlin, for your diligent work producing th is manual and the artistic standards of the company. lastly but very importantly to Rob Izumi and Deven Sisler the two most supportive people in my AcroYoga life, your dedication hard work and love are the water that keeps the AcroYoga tree growing, I will never be able to thank you enough . To all the students that move me on a daily basis. You are the reason for al l of th is. In loving support, Jason Nemer

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