Counter postures are in some ways “resting postures” – they are practiced after asana sequences and have opposite qualities. They reduce excessive effects so that they don’t carry over from one sequence to another. They give us an opportunity to approach all parts of a practice with a consistent freshness and readiness. They make it possible to gradually build up intensity throughout a practice without wearing ourselves down or tiring along the way.

Opposite Qualities

Here are some example of opposing practice qualities:

1. Direction – counter postures will usually be in an opposite direction. For example after a sequence of back bends you may use a counter-posture that includes forward bending (and vice versa).
2. Soft – counter postures are usually performed with less intensity then the postures they are countering.
3. Specific – counter postures can be directed at specific areas that may or are likely to carry tension or excess effort (while primary postures tend to involve many areas if not the entire body). The lower back is a common example of areas that may require caring attention. Another typical example, more common amongst men then women,  are the shoulders and shoulder-blades.
4. Dynamic & Static – if the counter posture is compensating for a dynamic sequence then it needs to be static (and vice versa).
5. Symmetry – counter postures will usually be symmetrical so that effort is distributed equally between the two sides of the body (this is especially true after asymmetrical posture – where restoring symmetry is a key role of counter postures).

Adding Counter Postures to a Practice Sequence

Introducing counter-postures in a practice sequence is part of the art of sequence building and is best done on an individual basis. However here are some useful ideas to keep in mind:

1. Personalized – though there are postures that are well known and frequently used as counter-postures, it is useful to remember that what constitutes a posture or a counter posture can vary amongst practitioners and practice settings. An intense posture for one practitioner may be a counter-posture for another. A posture may be practiced as a primary posture in a morning-practice (when the body is still stiff) and then as a counter-posture in an evening practice (when the body is more flexible and dynamic).
2. Counter-POSTURES -  are first and foremost postures. The same posture can be included in a practice sequence more then once once as both a primary-posture and a counter-posture.
3. Counter First -  a practitioner should be able to perform counter-postures before attempting the postures for which they compensate. This is an invaluable lesson for safe and effective practice (on-the-mat and off-the-mat) If you want to practice a certain posture – first make sure you can do it’s counter-postures.
4. Single/Plural – a counter-practice may be used after a single asana or after a sequence of asanas. A counter-practice may also include a single counter-posture or a sequence of counter-postures – depending on the length and intensity of the sequence it is compensating for and on the needs of the practitioner.
5. Duration – a counter-posture (or sequence) needs to be approximately one-third the number of breaths of the practice it is compensating for. For example, if a practice sequence is 18 breaths long, it’s counter-sequence should be 6 breaths long. This is assuming that breathing is incorporated into your asana practice.
6. Preparation & Transition – counter-postures can also be used for gradually preparing and building up to more demanding asana and for transitions between asana sequences.
7. Practice Sequence – counter-postures can be used to create mild and accessible practice sequences -here is an example of one such sequence.

Following are a few basic example of counter-postures in context.

Example1: Standing Forward Bends

A standing sequence which combines symmetrical and asymmetrical standing forward bending postures is followed by Cakravakasana:

Some of the “counter” qualities are:

• It includes back-bends (opposite direction to the forward bends in the practice).
• A stable kneeling position which anchors the legs and feet in fixed positions.
• Which makes it possible to focus on movement primarily in and throughout the spine.
• Soft movement (very little weight bearing on the back, nor on the arms – if done properly).
• It has both mild dynamic and static qualities.

Example2: Leg Lifts

A lying sequence focused on single and double leg lifts (which, if you look carefully, have forward bending qualities) is followed by Dvipada Pitham:

Some of the “counter” qualities are:

• It includes back-bends – opposite direction to the dominant forward bends in the practice.
• It provides knee movement to counter the static knee position in the practice .
• It provides neck movement to counter the static knee position in the practice.
• It provides upper-back movement to counter the static upper back position in the practice.
• It provides weight-bearing movement in the legs to counter the gravity-pulling effects in the practice.

If, for example, each asana in the sequence was performed 4 times: [ 4 x Right + 4 x Left + 4 x Both = 12 breaths ] – then the counter posture should be repeated 4 to 6 times.

Example3: Back Bends

A back-bending practice sequence is followed by Apanasana:

Some of the “counter” qualities are:

• It anchors the spine (especially the upper back and shoulders) to the floor.
• It provides gentle forward-bending quality in the lower back to counter to the intense back bending efforts of the practice.
• It provides gentle hip-movement to counter the static hip position in the practice.
• It utilizes gravity instead of the resistance to it required by the practice.
• It gently compresses the abdomen (apana) to counter the expansion in the chest (prana) during the practice.

If, for example, each asana in the sequence was performed 4 times: [ 4x 4 variations = 16 breaths ] – then the counter posture should be repeated 6 to 8 times.

Example4: Extensive Sitting

The physical qualities of extended seated practices such as Pranayama or Meditation are often overlooked – yet they too require counter-postures. In this case two relatively dynamic postures counter the static seated position:

Some of the “counter” qualities are:

• It provides stretching movement in the extremities – arms and legs.
• It provides gentle and relaxing movement in the lower back.
• It provides long range movement in the shoulders.
• It provides movement in the hips.
• It provides movement in the neck.
• It you’ve been practicing pranayama it also provides an opportunity for gentle ujjayi breathing supported by opening movement.

More about this sequence here.

I will start this conversation of bandha with a less known and less popular but very useful bandha – Jihva Bandha – the tongue lock. Jihwa bandha is performed by placing the tongue on the roof (upper palette) of the mouth. It’s that simple. It has an immediate and gratifying side-effect of silence – it’s hard to talk with Jivha bandha in place – so if you are a teacher it’s a great way to start a class It becomes an interesting and sometimes challenging focus when you try to hold it in place during an entire practice. It demands attenion on focus – you’ll be able to perform any posture regardless of the position of your tongue – so it is entirely a practice of mind.

The effects of Jihva bandha are described in it’s more extreme form of Kechari in the “Hatha Yoga Pradipika” chapter 3 sutras 32 – 41. In the practice of Kechari the tongue is lenghtened so that it can reach deeper into the physical mouth and where there is an energetic “hot-spot” – where there flows a divine nectar “Soma” of concentrated life-energy. The tongue is lenghthened by stretching it, shaking it and gradually cutting the tissue beneath it which keeps it in place!

I don’t recommdne Kechari – but I highly recommend adding Jihva bandha to your practice.

One of the assymetric postures in my practice is Janusirsana – an assymetric forward bend in which one leg is folded in and the other streched straight. I practice each side and then a similar symmetric posture (Pascimatanasana) in which both legs are stretched straight. Here is a simplified version of this sequence:

Assymetric postures are an opportunity to observe differences between two sides of the body. In a seated posture sequence like this you may observe differences in leg stretches, in hip movement, in the lower back, etc. My spine feels the same on both sides but sometimes I experience a tension in my lower back on the left side. Stiffness in my lower back sometimes translates into stiffness in my shoulders. My right hip feels more open and dynamic then my left hip. My left leg is more stretchy then my right leg.

Having a symmetric posture following the assymetric sequence is good practice. For the body it recreates a sense of center and balance between the two sides. But what is more interesting to me is what happens in the mind. If I was present and observant in the assymetric practices – then I sometimes also find I am curious to see how the two will come together. How will the tension in my left-lower-back, my stretchy right leg and less stretchy left leg come together? The symmetric posture then becomes an experience of integration.

For me, it isn’t usually a comprehensible/analytical understanding (that would take me out of the experience itself) – but an appreciation of how the body is naturally capable of bringing it all together into a fluid and integrated movement. It is a reminder to me that my body is more then my mind can comprehend and that without my mind I wouldn’t be able to appreciate my body.

Fortunately a few simple movements can go a long way to relieve stresses and help in a transition from stillness to movement. Two postures are all it takes to stretch the arms & legs, bend the back and gradually and safely restore movement. It takes at most a minute or two and is a great gift to the body.

Clicking on an image/animation will lead to more details and guidance on each of the postures.

If you can make the time for it you may wish to explore an extended version of this sequence, your body will be grateful for it.

As with any practice (short or long, soft or intense…) it is beneficial to take a few minutes to settle and arrive before beginning the practice, and a few minutes to settle and absorb at the end. Observing before and after the practice may, over time, give you some indication of it’s effects on you. You can find more ideas on how to approach a practice by reading about taking your first steps in yoga.

Clicking on an image/animation will lead to more details and guidance on each of the postures.

Savasana is an opportunity to let the body settle and to observe. It is often introduced at the end of an Asana practice to close the practice by letting the breath and body settle and to observe changes in body, breath, consciousness, energy, feelings… to give the body an opportunity to absorb and communicate.

Savasana may seem like “an easy posture” – and physically it is (though there are therapeutic situations in which it is inaccessible). The challenge Savasana offers is to remain present and attentive – in this sense it is almost a trap. During pratice the mind is reasonably occupied – coordinating movement, keeping balance, breathing, sustaining effort, etc. In Savasana the mind is relieved from it’s responsibilities and left with nothing to do and tends to wander. My teacher often reminds us that Savasana is a “rest from practice, not from life”.

Still, despite it’s seeming simplicity, there are some physical qualities to look for when practicing Savasana:

• Neck placement – keep your neck long by keeping the chin tucked in.
• Arm placement – find a position in which your arms and shoulders relaxed. Explore by moving your arms further and closer to your body until you find a restful position.
• Hand placement – make sure your palms are facing up and that your fingers are relaxed.
• Lower Back – if the lower back is sensitive or strained (sometimes as a result of the practice itself), releasing the area around it can lead (though actually it’s revealing) discomfort or pain. As a result there can be a tendency to keep the lower back tense. If you encounter discomfort in your lower (or any other area of the body for that matter), place you attention softly on it, keep breathing and try to slowly and gradually sink into relaxation.
• Legs – remember to release the legs, it’s simple, but also easy to forget.
• Small Places – let the head weigh down, release your facial muscles, let the eyelids fall & close lightly, release the tongue in your mouth. Let your consciousness explore your body and gently release what can be released.

Remember to also let your breath relax. If it is still demanding and rushed, try to witness as it gradually relaxes. I have found that the breath settles quicker when attention is placed on it, otherwise it can take much longer, the mind wanders until suddenly it finds the breath settled.

• Find a starting seated position that is good for you. If your flexibility is limited you can sit on a chair – that will be excellent for the intents of this practice.
• If you are sitting on the floor – bend your knees.
• Find a correct placement for your arms.

When you have a comfortable seated position. Take a few minutes to practice just the movement of the arms together with directional breathing (the movement is similar to what we did when we introduced the idea of movement and directional breathing, except that now it is in a seated position). Remember – inhale is a downward movement of the breath, exhale is an upward movement of the breath.

We begin the forward bend from the arms raised position – this means that we have just finished inhaling (and raising the arms). Therefor, the forward bend begins on an exhale. The exhale begins in the abdomen – and so does the movement. The first part of the back to bend is therefor the lower back – while the rest of the back and the arms remains stretched straight. Then as the movement of the breath progresses UP the back – so does the movement. When the lower back can no longer bend, movement begins in the mid-back, then the upper back and finally the neck – as the weight of the head pulls it down.

Coming back up is a reverse process – but with one important difference. Going down, you were assisted by gravity, going up you will be moving against it – it will require more effort. We come up on the inhale. The inhale begins in the chest – and so does the movement. First to move are the arms – and when they come up parallel to the head (in your correct arm placement), the head begins joins the movement. Then the upper back begins to straighten. As the inhale moves DOWN the back – so does the movement. Only after the mid-back has straightened, and the breath has filled the chest, movement finally reaches the lower back.

You may want to combine the two movements – raising & lowering of the arms and bending forward into one sequence. This gives the arms and back a chance to rest – maintaining a soft quality of practice. The sequence (demonstrated in the animation below) is 2 breaths long. You can repeat it numerous times.

Bending in this way works the back effectively. It fulfills what my teachers describe as “a little movement in many places, instead of a lot of movement in only a few places”. If practiced effectively it has potential for improving both both flexibility and strength. It is supported by the breath and it develops breathing stamina. The directional breathing together with the directional movement activates the energetic system – opening up even more options and variations of practice.

The explanation about directional breathing focused on the torso – the chest and abdominal area where breathing takes place. Now let’s take a step back and see it in play when looking at the entire body. The following animation is an overlay of the torso movement on a stick-figure of the entire body (the arms have been removed for the sake of clarity, they will soon be reintroduced). The blue dot indicates the focus of movement along the back during the breathing cycle.

You can again see the core idea of directional breathing: (1) inhale begins in the chest and moves down to the diaphragm and then to the abdominal area; (2) exhale begins in the abdominal area and then moves up through the diaphragm and ends in the chest. You may want to revisit the details of this wave movement by re-reading directional-breathing.

Inhale is a top-down movement. Exhale is a bottom-up movement.

Now we will remove the torso, leave the blue dot to remind us where breath-movement is taking place in the spine and introduce a simple movement of the arms. The point of this exercise is simply to stay focused on the directional movement of the breath while performing a simple coordinated physical movement.

You may experience some friction in the mind – there may seem to be a contradiction. When the arms move up the breath moves down, when the arms move down the breath moves up. If you experience this confusion, stop moving the arms. Be still and focus again just on the directional breathing, then when you are ready try again to move the arms.

There is one last exercise you can do when you feel you have made this connection. Try reversing the relationship between breath and movement – raise your arms as you exhale and then lower them as you inhale. How does that feel?

One type of reflex is known as kneejerk – this is what doctors test when they hit you below the knee with a small hammer, causing your leg to flex. You can experience this reflex in action by jumping down from a chair. The reflex is activated when you land on the floor, and it prevents you from buckling at the knees – it automatically kicks in to stabilize you.

Such reflexes are engaged a lot in athletic activities. In jogging the kneejerk reflex happens thousands of times in a short period of time. This kind of repetitive activity shortens the muscles and as a result reduces flexibility. The muscles adapt and change – as if they are expecting this kind of sudden impact.

In physical Yoga practices you can consciously choose to reduce or increase the effects of such reflexes. If your practice is dominated by fast & dynamic movements then you are frequently triggering such reflexes and increasing their effect. If your practice is dominated by soft movement and static postures then you are avoiding reflex triggers. Soft and slow movement is better suited for Yoga practices aimed at length and flexibility (it also works wonders for strength – but that is a different story).

Some people have a tendency to approach their physical limitations by pushing harder, as if trying to gain momentum that will hurl them over & beyond their limitations. This is physically ineffective because reflexes kick in and counter their efforts. But there is another subtle aspect to this kind of practice – what takes place in the mind? In the mind this is an attack – an act of violence. Ironically, the reflexes make it a useless act of violence! Even more ironically, when the violence is ineffective it makes way for stubbornness – in an endless self-defeating cycle.

Some of the most substantial changes in my physical abilities came about when I applied & refined softness in my practice. Softness has been a key and recurring theme for all of my one-on-one students. It is an idea I often touch on when teaching group classes as well, though it is more difficult to get across in group-settings. Softness is a great way to introduce Ahimsa (non-violence) into your practice, it is a quality that will serve you off-the-mat as well as on-the-mat and it can take you to surprising places.

Try bending forward. If, like many people, your flexibility is limited, then you may find it difficult to reach the floor. If your legs are straight – then the stretch in your legs is at the expense of stretching your back – your are giving priority to a peripheral stretch. If  you want to change that and provide your back & spine with more range of movement and stretch – then bend your knees.

You can also experience this explicitly in seated forward bends. Many people have a hard time just sitting straight, not to mention actually bending forward. Again, bend your knees and discover a whole new range of movement.

When I began practicing Yoga I could not sit on the floor with my legs straight and back erect. I practiced for  years with my legs (and arms!!) straight which led to frustration and no change or improvement in my practice. Then when I began studying with my teacher, I was given this simple and remarkable piece of advice, in the spirit of viniyoga, which changed my practice (and me) forever.

As a Yoga teacher, I have experienced that the greatest obstacle students face in embracing and applying this idea is a stubborn ego. People have been told for too long (since elementary school gym class) by too many people (play-Yoga teachers included) that this is they way to do it. People are pursuing an external image of how they want to stretch rather then practicing with respect to their present condition. Bend your knees.