The next five postures establish the rotation pattern of the femur for the Primary Series. Sown here, this seed can eventually fructify in the performance of such complex postures as Mulabandhasana (the most extreme medial rotation) and Kandasana (the most extreme lateral rotation). The rotation pattern is as follows:
• Ardha Baddha Padma Pashimottanasana — medial rotation
• Triang Mukha Ekapada Pashimottanasana — lateral rotation
• Janushirshasana A — medial rotation
• Janushirshasana B — lateral rotation
• Janushirshasana C — medial rotation
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ANATOMICAL FOCUS
The Paradox of Active Release
This is an important understanding that needs to be grasped in order to master the art of working deeply and harmoniously in all postures. Active release derives its effectiveness from the follow-ing principle: To enter a posture we use prime muscle groups that perform particular actions.
Once in the posture, we must release those mus-cle groups and engage their antagonists to work harmoniously and more deeply into the posture.
For example, to go into a backbend we engage the trunk extensors (erector spinae, quadratus lum-borum). Ultimately, however, these muscles limit backbending. They shorten the back and pinch the spinous processes of the vertebrae together.
Once we have arrived in a backbend we need to release the trunk extensors and instead engage the trunk flexors (abdominal muscles). This lengthens the back, creates space between the spinous processes, and deepens the backbend.
The same principle is applied in hip rotations such as Ardha Baddha Padma Pashimottanasana and Baddha Konasana. We laterally rotate the femur to go into hip rotations, but when in the posture we release the lateral rotators by medi -ally rotating the femur. This action takes us much deeper into the posture. In all forward bends such as Pashimottanasana we engage the hip flex-ors, particularly the psoas and rectus femoris, to
go into the posture. Once the hip joint is flexed to about 160° we won’t be able to close the joint any farther because the bulging hip flexors are in the way. To illustrate, try out the following: Stand -ing, bend the knee joint by merely contracting the hamstrings and the calf muscles. You will not be able to close the joint completely because the very muscles that perform the action also prevent its completion. Now use your hand to draw your heel to your buttock. At the same time resist your hand by gently attempting to straighten your leg. This slight leg extension, performed by the antagonists of the prime movers, will release and flatten out the leg flexors so that the joint can now be completely closed.
In the case of Pashimottanasana the principle of active release is applied by drawing the heels down into the floor. This engages the hamstrings and enables the psoas and rectus femoris to release. Once they are released the front of the hip joint can be fully closed and the forward bend completed.
This action does not mean the kneecaps will be released. The quadriceps, which pulls up the kneecaps, has four heads, rectus femoris being only one of them. If rectus femoris (the only two-joint muscle in the group) is released, the other three heads (vastus lateralis, medialis, and inter-medius) can still pull up the kneecap and work to extend the leg.
Ardha Baddha Padma
Pashimottanasana
These femur rotations refer to the action performed after one has arrived in the posture. To get into the posture the action is the opposite. When the rotation pattern is performed in this way, the more challeng-ing postures in the series, such as Marichyasana D and Baddha Konasana, become easily accessible.
Vinyasa Seven
Inhaling, jump through to sitting and straighten the legs. An experienced practitioner would go into the posture in one breath. For the sake of precision and safety we will break this rather complex move-ment down into various phases, identical to the standing half lotus (Ardha Baddha Padmottanasana).
PHASE1
Sitting in Dandasana, flex the right knee joint com-pletely until your right heel touches the right buttock.
If this is not possible, resort to daily practice of Virasana and Supta Virasana. (See “Lengthening the Quadriceps,” page 57.)
PHASE2
From here abduct the right thigh until the right knee touches the floor. Establish a 90° angle between the thighs. Pointing and inverting the right foot, draw the right heel into the right groin, or as close to it as pos-sible. You are now in the position for Janushirsh asana A (page 79). Transiting through this posture on the way into half lotus prepares the adductor muscle group. Keeping the foot pointed and inverted, draw the knee far out to the right to further stretch the adductors. Tight adductors constitute the main obsta-cle to lotus and half-lotus postures. This method gives beginners maximum opening. It is not recommended that beginners pull the foot into position without first releasing the adductors. This movement can be repeated several times to produce the desired effect.
PHASE3
Draw the heel in toward the navel. Transiting via the navel on the way into half lotus will ensure that the knee joint remains sealed.
PHASE4
Now draw the right foot across to the left groin.
Reach your right arm around your back to bind the right big toe. The palm faces downward. The palm
facing up would lead to excessive inward rotation of the humerus and, with it, hunching of the shoulder.
An inability to bind is often due to stiffness in the right shoulder because of a short pectoralis minor muscle (see figure 13, page 76). In this case reach the right arm far up and out to the right side. Spin the AS H T A N G A YO G A
74
From top, going into Ardha Baddha Padma Pashimottanasana, phases 1, 2, and 3
arm inward so that the palm faces backward. Reach far behind, lowering the hand. Abduct and depress the shoulder girdle to avoid jutting the shoulder for-ward. As you proceed, release the muscle that draws the shoulder forward (pectoralis minor). If you still cannot reach the toe, work intelligently in Parsh -vottanasana, Prasarita Padottanasana C, Urdhva Dhan urasana, and Upward and Downward Dog.
These postures reduce tightness in the shoulders.
If you are unable to bind your big toe, you are not ready to fold forward in this posture. If the foot is situated on the thigh rather than in the groin, bending forward can strain ligaments and/or damage cartilage.
Instead, continue to work on opening the hips.
Sit upright and keep drawing the foot upward with the left hand while you work the extended left leg.
Be patient. Many of the other postures will aid the loosening of your hip joints and adductors. Then you will be able to perform the posture safely.
If you managed to bind the right foot, gently place the knee out to the side and down toward the floor. The left hand reaches forward and takes the outside of the left foot. Inhaling, lift the chest and straighten the left arm. Square your hips and shoulders to the straight leg.
Vinyasa Eight
Exhaling, fold forward. The straight left leg works in the same way as the legs in Pashimottan asana. To place the right foot into the left groin we performed
outward (lateral) rotation of the thigh. To work in the posture, we now medially rotate the thigh. To aid medial rotation, keep the right foot pointed and inverted. The muscles that inwardly rotate — two hamstrings (semimembranous, semitendinous) an adductor (gracilis), an abductor (gluteus minimus), and a hip flexor cum abductor (tensor fascia latae)
— all have the tendency to suck the thigh into the hip.
This can lead to a build-up of tension in the knee.
To counteract this, let the femur reach outward and away from the hip. This action releases the adduc-tors, and its importance cannot be overemphasized.
Continue to gently draw the knee down to the floor and out to the side. The ideal angle between the
two thighs is around 40°, depending on the ratio between tibia and femur length of each individual.
The heel of the foot sits in the navel during the entire posture. Only then can the purpose of this posture, the purification of liver and spleen, be fulfilled.
Square your shoulders to the front leg and keep them at an even distance from the floor. Draw your elbows out to the sides, away from each other.
The sit bones ground; the buttocks spread. The crown of the head reaches toward the feet while the shoulder blades draw toward the hips. Hold for five breaths.
Vinyasa Nine
Inhaling, lift the chest and straighten the left arm.
Exhaling, take the leg out of half lotus and place the hands on the floor.
75 AS A N A: TH E PR I M A R Y SE R I E S
Ardha Baddha Padma Pashimottanasana, vinyasa seven Ardha Baddha Padma Pashimottanasana, vinyasa eight
Vinyasa Ten Inhaling, lift up.
Vinyasa Eleven Exhale, Chaturanga Dandasana.
Vinyasa Twelve Inhale into Upward Dog.
Vinyasa Thirteen Exhale into Downward Dog.
Vinyasas Fourteen to Twenty Repeat the posture on the left.