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.

Almost all of the people I’ve taught Yoga one-on-one encountered difficulties when it came to taking up a regular practice. They all had personalized (tailored to their needs and abilities) and short (20 minutes at most) practices. I suggested they try to find a regular time in the day for their practices and that they try to practice a few times a week. Still, it was difficult for them to find a place for the practice in their daily routines.

They all came to Yoga and to me of their own free will. They all invested time, effort and money in coming to private lessons. They all came back for more lessons. When they didn’t practice they ended up with a self-inflicted feeling of guilt. One person even said to me something like “I didn’t do my home work”.

Resistance to Change

People usually take on Yoga when they want to change something. People who come to one-on-one Yoga are usually seeking deeper – inviting substantial change into their lives.

Change starts as a confrontation with unknown elements that are appealing. But like most relationships, initial appeals are replaced with a lesser reality. You come to a Yoga teacher seeking enlightenment, you leave with a practice. A practice may be interesting for a few times – but then it loses some of it’s charm. Now instead of enlightenment you have a boring and repetitive practice. You also have a family and a job and worries … and amidst all this you need to make room for a boring practice.

This is the subtle workings of resistance to change. Change always meets resistance. If you are experiencing resistance – then you are probably in change.

… But You Are Practicing

The resistance to change cannot be removed – it is a natural and inevitable force. The feelings of guilt are redundant and can be resolved.

All of the students that came back for more lessons and who had guilt-trips about not practicing were constantly thinking about Yoga. They wanted to do their practices. Wanting to practice is a practice. Wanting to practice should always be the first “posture” in any practice sequence.

Wanting to practice means there is something inside you, a deep craving, reaching out to your awareness. Recognizing it replaces your attention from guilt & resistance into motivation & practice. It is so much better to move towards something you want then to escape something that weighs you down.

This is true both for beginners and advanced practitioners. If all you can today is want-to-practice, remember to see the wonder in that. It may not get you on the practice mat today, but if you let it it can be a rewarding practice.

Tip: It is OK to just go stand and look at your Yoga mat. It is OK to stand by it for a few minutes. It is OK to just lie down on it for a minute or two.

This illustration says:

• on inhale raise your arms
• on exhale bring your arms forward and raise one leg up
• on inhale bring raise your arms again and return the leg to the floor
• repeat this 8 times alternating between the two legs (so each leg will be raised a total of 4 times, but alternating).
• on the 9th exhale bring your arms back alongside your body

A shorthand, generic version of this illustration may be:

As we explored in the sequence explanation – it would be up to you to decide how to perform this sequence: (1) alternate between sides using the entire sequence – including a return to the starting position; (2) alternate just the legs and then come back to the starting position – as described above.

Finally, see if you can you tell the difference between the two illustrations above and this next illustration:

This illustration describes a sequence without alternation. Each leg is lowered and raised 4 times consecutively. So there is a total of 8 lifts but on each leg separately. This variation may be more physically challenging – because there is a longer consecutive effort for each leg.

This illustration says:

• on inhale raise your arms
• on exhale bend forward
• on inhale come back up
• on the exhale lower the arms back down alongside the body.
• repeat this 4 times on one side and then 4 times on the other side (this is an assymetric posture done once with the right foot forward and then with the left foot forward.

A variation of this sequence might look something like:

This illustration says:

• on inhale raise your arms
• on exhale bend forward
• on inhale come back up
• repeat this (just the bending forward and coming up) 4 times
• then, on the 5th exhale lower the arms back down alongside the body.
• repeat this entire sequence once on each side.

This 2nd variation can be more physically intense – because the forward bend is repeated consecutively without returning to a arm-restfing starting position every time. Sometimes, when writing a sequence with no specific person in mind, like I would do for publishing on this website, I will opt to use the first variation – which is more generic. In these cases it is up to the reader/practitioner to choose how to perform the practice.

I feel it’s important to note that illustrations are not to be used to study asana. Asana have many variations and modifications that can be utilized for different people, needs and circumstances. These details and qualities are not adequately represented in illustrations. Study asans with a Yoga teacher. The illustrations are merely maps to remember practice sequences.

With that said, let’s have a look at a simple illustration for a very simple sequence:

This illustration says:

• on inhale raise your arms above your head
• on exhale lower them back down
• repeat this 4 times.

A core idea in my teaching tradition is that at the heart of Yoga is a practitioner (rather then a practice). I was given an extensive set of practice tools which can be methodically applied in many forms and variations. As a teacher I make choices about which tools are best suitable for a student. Group teaching is a setting that requires compromise, an average choice that caters to the needs of a group of individuals. One-on-one teaching is a setting in which tools are selected and tailored specifically for the needs of one individual. It gives me an opportunity to get familiar with a student, to develop a practice over a period of time and to respond to the ever-changing life settings into which Yoga practices are introduced.

Ultimately, when teaching one-on-one, my intention is to provide a student with a practice that can be introduced into day-to-day life. This may take on different meanings and forms for different people – but it is the best way to go deeper into Yoga and experience reflections of practice in life.

Usually, the first few sessions are dedicated to acquiring basic skills of breath and movement – which are the basics of practice. From the end of the first session a student is given a daily practice – usually a short and accessible practice. As basic skills are acquired, I get better acquainted with a student, a student gets better acquainted with me and with Yoga and I am able to offer a relevant practice. For some people one practice is enough, other people may require two options (for example: a short practice for weekdays and a longer practice for weekends).

The first few sessions are most effective when they are close together – to sustain a substantial learning experience. Then a student is free to explore. Some people come back after a few weeks for a review and possible modification of the process. Some people don’t come back for months (some people don’t come back at all). Some people stay in touch via phone or email. Sometimes I refer people to a Yoga teacher near their homes for additional support.

It is up to a student to choose Yoga, to maintain a practice, to constantly seek inspiration and new knowledge.

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.

If you are seeking for help from a Yoga teacher then they should meet you on your own ground, as you are. A teacher should adapt the teachings so they reach you.

There are no preconditions

No preconditions means that a teachers accepts you as you are, with your personality, views and culture.

No preconditions means that there is no standard method. How can a teacher help you by forcing a uniform model on you? Is this a sign of respect to you?

No preconditions means that a teacher accepts your situation however difficult it may be and regardless of any differences between you.

No preconditions means that there is always hope – a living force which tells you that things are never blocked. A teacher will remind you that by embracing things as they are, hope will arise and bring about change.

No preconditions means that a teachers accepts you as you are and doesn’t tell you that you are wrong only because your opinions differ.

Comment: a relationship is a mutual experience, no preconditions applies to both sides. Come with an open heart to a teacher that greets you with an open heart.

What are the qualities of a good student?

A good student is one who is inquisitive and is searching….
A good student will have pertinent questions… and this will bring out the best in the teacher… It is up to him to learn about all the aspects of himself through the teacher.

Patience is a must. Patience is where we do not change track, irrespective of whether something happens or not, after our efforts. Patience is [also] one of the most precious qualities a teacher should have.

A good student manifests his trust in the teacher. Trust and confidence develop gradually in the relationship…

Respect and faith are essential qualities because they help a student to find his center. This is a mysterious effect of the correct relationship: the divine aspect in the teacher will reveal the divine aspect in the student.

What are the qualifies of a good teacher?

A teacher is someone who can recognize the potentials in a person and aid him in developing them. A potential is a predisposition which may not develop if certain elements are lacking… We in India believe that there is some sort of continuity and that the potentials of any person are influenced by past actions… Some things need to be done to open the way for their [potentials] development… [the teacher] will help the student learn how to use the right techniques, in the appropriate manner and at the right rhythm. He will adapt the teaching in order to respect temperament, age, health, way of life and all other factors, in such a way that the least possible conflict is caused, both to the student and his environment.

The teacher must meditate on the student in order to discover his positive features and to find the best way of removing the obstacles which prevent their development. The primary concern should be for the well-being of the student above all other considerations, and if the teacher does not have the necessary resources he should advise him [the student] to go elsewhere, in order to get the best out of the gifts which God has given to him. This means being open, humble and realistic.

Observation is one of the foremost requirements for teaching. If a teacher is just distributing technical information without observing the people who are receiving it, he will fall short of the real goal. Teaching should be like meditation, where the teacher’s focus is on the student.

A good teacher encourages independence. Dependency, loss of freedom on the part of the student, is undesirable. It is a negative result and avoiding it is a constant challenge to any teacher… Unfortunately, there are teachers who seemingly prefer that their students remain dependent.

Mutual respect is indispensable in the student teacher relationship. Without respect it is impossible for a teacher to help a student in his quest. This means taking full into account his beliefs, ideas and possibilities, understanding his lifestyle, family situation, and so on – on factor whatsoever should be rejected …Without this approach we can make mistakes. Being faced with a problem is like being in a maze; the mind creates a labyrinth around the problem and one of the worst things that a teacher can do is to take the student by the hand and show him the exit… sometimes the student is very happy in his labyrinth.

… A teacher should always look after his own personal discipline … The efforts he makes to evolve, and to see more clearly, are the best preparation for his teaching and a mark of respect for the students.

A teacher should also be accessible, able to listen to the student’s problems with an understanding ear… a teacher should know how to facilitate communication and this will inspire confidence.

[A teacher] should be an example. However, his example should not go beyond his true capacities. No one can learn from a teacher who over-stretches himself.

Continuity of learning is the basis of teaching, and any teacher who loses the will to learn, loses at the same time the capacity to teach … the guarantee of the depth of his teaching is the desire to learn, to constantly search beyond what has already been understood.

It took some years to come across a teacher to whom I could relate and a teacher I felt could relate not only to me as a person but also to my Western Psychology. There are many teachers around who are willing to teach you, but I wonder if they are asking you to be as they are rather then respecting who you are

If we interpret Yoga just by looking at the form an Easterner is adopting and then trying to match ourselves to that form, we’re misunderstanding Yoga.

“For me the breath really is the tool which allows you to understand what’s happening on the mental level and what’s happening on the emotional level, and it also allows you to measure what’s happening on a physical level”

“Life must always go on and Yoga is not about an escape from life. Yoga’s about a way of dealing with life more effectively; to be able to involve oneself with one’s family, one’s friends, one’s social commitments, one’s job and at the same time maintain one’s center.”