Sequencing

Sequencing a class is essential in creating a harmonius state of being. Not only asana, but also pranayama, meditation, and the use of bandhas and kriyas must also be constructed in a way to give the most benefit. Using another meaning of vinyasa, the sequential arrangement or order describes a process which involves a beginning, middle, and end. Structure your class with these delineations in mind. The structure includes all important areas of a practice and create a solid foundation for you to sequence a class. If you move toward a particular practice, such as Astanga or Forrest, you will find a particular system that is useful for the intention embraced by the teacher and students. Continue your exploration of sequencing in these systems by receiving further training and guidance under a qualified teacher. For now, experiment with this system often used by Moksha teachers and master teachers.

 

Opening / Grounding / Root

INTRODUCTION & SET-UP

Feng shui – consider the most conducive spot for your students mats and your own. Ask students to grab the specific props you request. Use those props in basics and beginner classes.

Establish the seat of the teacher. Take a seat before you begin speaking. Delight! Provide a delightful opening. Use delightful words. Acknowledge, empathize, and personalize.

Create a relationship with your students – look each one in the eye, use your students names in class. Ask new students for their names. Observe your student’s bodies, facial expressions, posture, speech, and breathing with a discerning eye yet non-judgmental (ahimsa).

DELIGHT
to transform the ananda-maya-kosha

Establish the seat of the teacher. Take a seat before you begin speaking. Introduce yourself and welcome your students! One teacher opened class by saying, "isn’t life great?!"

Delight! Provide a delightful opening. Use delightful words. Acknowledge, empathize, and personalize.

Create a relationship with your students by looking each one in the eye. Call your students by name in class. Ask new students for their names. Observe your student’s bodies, facial expressions, posture, speech, and breathing with a discerning eye yet non-judgmental (ahimsa).

GUIDED VISUALIZATION or MEDITATION
to transform the vijnana-maya-kosha

Focus the mind by choosing an object – the breath, an intention, a mantra, or a feeling/emotion. Help the student to shift from the external world to the internal world. Sankalpa is the Sanskrit word for intention. Another meaning of sankalpa is to see things clearly as they are. When one is able to see clearly, right action is possible.

CHANTING
to transform the mano-maya-kosha

Chant OM 3 times for each and every class.You may also wish to discuss the theme of class, chant a more lengthy mantra, or read a sutra or poem to set an intention (sankalpa). Create a ritual "signature" opening that you repeat in each and every class that you teach.

PRANAYAMA
to transform the prana-maya-kosha

Essential for establishing a relationship between your body and mind, teach not only traditional yogic breathing practices, but also simply how to breath. Teach anapana, ujjayi, and rhythmic/ratio breathing for beginners. Teach viloma and kapalabhati for intermediate students. Use nadi shodhana and pratiloma for more advanced students. Introduce and practice meditation techniques which prepare the student for concentration and focus.

PRATAPANA – warm-ups
to transform the anna-maya-kosha

Begin with basic movements or poses which open the neck, loosen the back, open the arms and shoulders, stretch the hips and knees, and rotate the ankles. Introduce and define the various terms and techniques that you will be using throughout the class, such as pelvic tilt, contraction of quadriceps, and wrapping of shoulder blades. Avoid begining a class with more strenuous postures such as headstand (inversion), triangle (lateral), bow (backbend), or plow (inverted forward fold). Move the spine in its 4 directions – forward fold, backbend, side stretch and twist in either a seated postion or in table.

Weave throughout the opening section key terms for your class. Use sthira and sukha as key principles. Define Sanskrit terms. Define anatomy body parts, especially sitbones, scapulas, humerus, femurs, psoas, and and perineum. Introduce key principles, methods, and techniques in the opening sequence and weave throughout the class. Some examples are pelvic tilt, quadricep contraction, wrapping the shoulder blades, and ujjayi breathing.

 

Body / Opening & Transforming / Heart

SURYA NAMASKAR
establish breath synchronized movement

To warm-up or create heat in the body, to develop focus and concentration, breath synchronized movement, and a sense of rhythm thereby releasing vrittis and conditioning from one’s day. Choose from a variety of sun salutes, such as A, B, C, or make up one of your own.

STANDING & BALANCING
manifest sthira and sukha

Choose from a variety of standing poses and link them together with a variety of methods. Basic standing poses include Warrior 1, Warrior 2, Triangle, Side Angle, Pyramid, and Foot Spreading Posture. Also incorporate one-leg balancing poses.

CREATIVE SEQUENCING
contribute to the evolution of the practice

Choose a theme, intention, focus, or apex pose for the heart of your class…

• spinal articulation – choose a set of poses from one or more of the following groupings – foward folding, backbending, side stretching, or twisting. Or choose a pose or set of poses from each group to give a balanced mix and well rounded class.
• inversions – always interesting and challenging for students.
• body regions – choose a set of poses focusing on a particular area such as hips or shoulders.
• energetic focus – choose a set of poses and interweave a theme such as deep breathing or breath synchronized movement.
• apex pose – choose a pose such as Urdhva Dhanurasana or Sirsana and construct a sequence that preps the student for the apex pose.

 

Closing / Integrating & Transcending / Third Eye

CLOSING POSTURES

Designed to cool the body and calm the nervous system, allow enough time for a proper transition from the heart of the class to savasana. In a 1.5 hour class, begin this section after 60 minutes. The Astanga sequence includes shoulderstand, plow, squeeze the ear pose, fish, headstand, child’s pose, yogamudra, and lotus.

SAVASANA

Dedicate 7 minutes for every hour of class for savasana. Adjust students in the pose to create a sense of relaxation and peace. Students will give you high marks for including a longer savasana in class. Less then 1/2 way through, stop adjustments, music, movement and support the stillness and silence with your own. Moksha let a teacher go for leaving the room to check cell phone messages. What kind of teacher do you want to be?

DEDICATION

You may wish to do a short pranayama or meditation at this point after savasana instead of before. End class with a "signature" closing that you repeat in each and every class that you teach. Chant OM 3 times. Thank your students for coming.