Iyengar Yoga Bari

𝗜𝗻 𝘁𝗵𝗶𝘀 𝗽𝗿𝗮𝗰𝘁𝗶𝗰𝗲, 𝗽𝗿𝗼𝗽𝘀 𝗮𝗿𝗲 𝘂𝘀𝗲𝗱 𝘁𝗼 𝗰𝗿𝗲𝗮𝘁𝗲 𝗿𝗲𝘀𝗶𝘀𝘁𝗮𝗻𝗰𝗲 𝗮𝗻𝗱 𝘁𝗮𝗰𝘁𝗶𝗹𝗲 𝗳𝗲𝗲𝗱𝗯𝗮𝗰𝗸, 𝗵𝗲𝗹𝗽𝗶𝗻𝗴 𝘁𝗼 𝗿𝗲𝗰𝗼𝗴𝗻𝗶𝘇𝗲 𝗮𝗻𝗱 𝗿𝗲𝗳𝗶𝗻𝗲 𝘁𝗵𝗲 𝗿𝗲𝗹𝗮𝘁𝗶𝗼𝗻𝘀𝗵𝗶𝗽𝘀 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝘁𝗵𝗲 𝗳𝗲𝗲𝘁, 𝗹𝗲𝗴𝘀, 𝗽𝗲𝗹𝘃𝗶𝘀, 𝗮𝗻𝗱 𝘀𝗽𝗶𝗻𝗲.

In Uttānāsana, the rounded block under the forefeet changes the conditions of support, while the ropes placed at mid-calf create resistance that helps reduce the tendency toward knee hyperextension and maintain the legs perpendicular to the floor.

In Pārsvottānāsana, the same combination of block and ropes continues to counteract the tendency toward hyperextension. As the head moves between the ropes, their resistance provides a reference that helps maintain a sense of centering.

In the first Parivṛtta Trikoṇāsana, the resistance of the rope at mid-calf continues to counteract the tendency toward knee hyperextension. The rope attached to the central ring provides a reference for the head during the rotation, helping to maintain the alignment between the crown of the head and the tailbone, and counteracting the tendency of the head to move forward and the front of the chest to collapse.

In the second Parivṛtta Trikoṇāsana, the rope along the outer side of the tibia helps keep the femur in alignment and supports a more centered distribution of weight through the foot. The rope at the upper arm provides resistance against which the palm can press, helping to stabilize the scapula.

Here, props are not used to impose alignment, but to create conditions in which alignment can be observed, understood, and refined through practice.

@ @
InPrimoPiano

𝗕𝗮𝘀𝗶𝗰 𝗽𝗼𝘀𝗲𝘀 𝗮𝗿𝗲 𝘁𝗵𝗲 𝗴𝗿𝗼𝘂𝗻𝗱 𝗶𝗻 𝘄𝗵𝗶𝗰𝗵 𝘁𝗵𝗲 𝗮𝗰𝘁𝗶𝗼𝗻𝘀 𝗻𝗲𝗲𝗱𝗲𝗱 𝘁𝗼 𝘂𝗻𝗱𝗲𝗿𝘀𝘁𝗮𝗻𝗱 𝗺𝗼𝗿𝗲 𝗰𝗼𝗺𝗽𝗹𝗲𝘅 𝗽𝗼𝘀𝗲𝘀 𝗮𝗿𝗲 𝗯𝘂𝗶𝗹𝘁 𝗮𝗻𝗱 𝗿𝗲𝗳𝗶𝗻𝗲𝗱.

𝗣𝗿𝗼𝗽𝘀 𝗱𝗼 𝗻𝗼𝘁 𝗿𝗲𝗽𝗹𝗮𝗰𝗲 𝘁𝗵𝗲 𝗮𝗰𝘁𝗶𝗼𝗻: 𝘁𝗵𝗲𝘆 𝗺𝗮𝗸𝗲 𝗶𝘁 𝗽𝗲𝗿𝗰𝗲𝗽𝘁𝗶𝗯𝗹𝗲.

In Tādāsana, the rounded brick under the balls of the feet changes the conditions of the support, increasing the demand for attention to the distribution of weight through the feet and to the response of the legs.

The ropes, applied first to the sacrum, then to the chest, and finally to both simultaneously, create points of resistance and tactile feedback that help us recognise the relationships between the feet, legs, pelvis, chest and spine.

Within the Iyengar method, 𝘁𝗵𝗲 𝗽𝗿𝗼𝗽 𝗯𝗲𝗰𝗼𝗺𝗲𝘀 𝗮 𝘁𝗼𝗼𝗹 𝗳𝗼𝗿 𝗹𝗲𝗮𝗿𝗻𝗶𝗻𝗴: it makes an action clearer, allows it to be observed and refined, and supports the ability to recognise and reproduce it even when the external support is no longer present.



InPrimoPiano