of the feet. This action elongates and awakens the entire spine. Indian yogis have the exemplary tendency to humbly cast their gaze downward in Samasthiti. T. Krishnamacharya suggested that not to look down is to lose one’s head.
Surya Namaskara A, vinyasa one, correct shoulder position (left) and incorrect shoulder position (right)
The ideal alignment in Samasthiti is reached when all the major joints of the body — ankles, knees, hips, and shoulders — align one above the other, creating a vertical line that also passes through the ears. This establishes a posture with the least resistance to the forces of gravity, making effortless standing a possibility. Samasthiti is the blueprint for all other postures. Allow lightness and balance to be your guide.
Surya Namaskara A
SUN SALUTATION A
Drishti Thumbs, nose, navel
Surya Namaskara means Sun Salutation. It is traditionally done facing east, to greet the rising sun. Surya, the sun, is worshiped in many cultures as the giver of life; so too in India. The Sun Salutation is a warm-up exercise that is done a number of times to improve cardiovascular fitness. Surya Namaskara A is usually repeated five times, but more can be done on cold days, less in extreme heat — until the body feels awake and balanced. This sequence of asanas is also practiced to alleviate depression. It is said to bring health and vitality to the body and sunlight to the spirit.
Vinyasa One
At the beginning of the inhalation turn the palms out and reach far out to the sides and up, embracing as much space as possible until your palms are together above your head. The neck should always move as an extension of the spine, as indeed it is. The gaze lifts at the same pace as the lift of the arms. When the palms meet we are gazing up to the thumbs. The movement of the arms, the shifting of the gaze, and the movement of the breath should all be perfectly synchronized. This needs to be deeply understood, as it applies to the whole of the practice.
The lifting of the arms originates deep in the abdomen. This is done by hooking the breath into the abdomen and letting the power of the inhalation lift the arms. All lifting and upward movements are performed on the inhalation. The breath initiates each move and brings intelligence, grace, and ease to movement and posture.
When raising the arms, prevent hunching the shoulders up around the ears by actively drawing the shoulder blades down the back. This not only looks more elegant, but also prevents jamming of the neck (cervical) vertebrae and sets the correct pattern for arm balances and backbends. When looking up, do not throw the head back so that the face is parallel to the ceiling. This would be done either by collapsing the back of the neck or by overcontracting the trapezius muscle at the back of the neck.
ANATOMICAL FOCUS
Latissimus Dorsi
The action of the latissimus dorsi in drawing the shoulder blades toward the hips is anatomically called the depression of the shoulder girdle. Belonging to the outermost layer of muscles on the body, this muscle is difficult to overwork — in fact strengthening and toning of the latissimus dorsi relieves the burden usually placed on the trapezius and the other muscles that elevate the shoulder blades. The ideal approach is to commence training this muscle early.
Either way, it achieves no strength and offers no support to the neck. Instead, lift the chin to the ceiling, elongate the neck and the trapezius by engaging the latissimus dorsi muscle (the muscle that draws the shoulder blades down the back), and keep the back of the neck supported.
The head gently tilts on the atlas, the first of the neck vertebra. In Greek mythology, Atlas was the god who carried the world on his shoulders. This vertebra is also called C1, being the first of the seven cervical vertebrae.
Vinyasa Two
As we commence the exhalation, the pelvis begins to tip forward. On the way down, lead with the heart. The heart area remains lifted and open; do not collapse the chest. The arms are lowered at either side until eventually the hands are placed onto the floor, with the fingertips in line with the toes. Beginners and those with tight and shortened hamstring muscles should take care to keep the low back straight. As necessary, bend the knees when the pelvis no longer folds forward and the low back begins to round instead. Rounding of the low back places strain on the discs of the lumbar spine, eliminating the intended action of stretching the ham-string muscles. Even with the knees bent, one needs to feel a stretch in the hamstrings.
FIGURE 3 TRAPEZIUS AND LATISSIMUS DORSI
When the arms are raised above the head, the movement of the humerus is accompanied by an upward rotation of the scapula (shoulder blade). This upward rotation is performed by the trapezius muscle. At the same time, the trapezius performs the action of taking the head back and of elevating the shoulder girdle, which leads to hunching the shoulders up around the ears as the arms are raised. This tendency needs to be counteracted by engaging the antagonist of the trapezius, the latissimus dorsi. Engaging the latissimus dorsi draws the shoulder blades down the back and thus keeps the neck elongated.
ANTERIOR VIEW
Surya Namaskara A, vinyasa two
YOGIC CONTEXT
Breath Sense
All stretching needs to be done with sensitivity and awareness. In this way we work with, rather than against, the body. The breath is a great sensory tool that carries the natural intelligence of the body. It enables us to sensitize our awareness and thereby regulate the intensity of the stretch. As we inhale, we explore the new territory created and explored. This is the creative aspect of the posture. As we exhale, we release and relax into the new space gained. If you cannot breathe freely and extend the spine with your exhalation, you are trying too hard. All postures need to be worked with awareness, sensitivity and intelligence.
Surya Namaskara A, vinyasa three
The abdominal muscles should be firm and supportive but not overcontracted, as this action would shorten the spine. At the end of the exhalation the crown of the head points down toward the floor. The neck is extended, with the head acting as a weight to lengthen the entire spine. Action is forever present in the feet, with the legs long, strong, and supportive. The groins are deep and soft (see Padangushtasana, page 37, for more details). The spine remains passive as it spills out of the hips, and only the shoulders are supported and lifted away from the ears.
Vinyasa Three
With the inhalation, lift the whole torso, attempting to concave or at least flatten out the low back while gazing up between the eyebrows. Unless one is extremely flexible, it is recommended to lift the hands off the floor and let only the fingertips keep contact with it. The legs work strongly, and the torso is buoyant, supported by the extensor muscles of the back. Keep the heart lifted, broaden the shoulders, draw the shoulder blades