Iyengar Yoga Neck and Shoulders

IYENGAR YOGA
ASANA ALTERNATIVES:
The Neck and Shoulders

Copyright 2010 Lois Steinberg
All rights reserved. Any properly footnoted quotation of up to 500 words may be used without
permission. Longer quotations and photographs may not be reproduced or transmitted in any
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Publisher: Parvati Productions, LTD, www.geetasguide.com

Editor-in-chief: Bob Whittinghill
Photographs: Lois Steinberg, all photos shot with a DSLR Nikon D300, 35mm prime lens
Layout and cover design: Studio 2D Graphic Design, www.Studio2D.com
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ISBN: 0-9778585- 1-0

IYENGAR YOGA
ASANA ALTERNATIVES:
The Neck and Shoulders

Complete credit and gratitude to the teachings of
Yogacharya B.K.S. Iyengar, Geeta S. Iyengar, and Prashant S. Iyengar
Rarnamani Iyengar Memorial Yoga Institute
(Pune, India)
© 2000, Lois Steinberg

© 2010, second edition
www.geetasguide.com
This booklet is not intended to diagnose, treat, cure, or prevent any disease.
+ Many thanks to Nicole Faurant for modeling the poses. ~

Contents
Overview ..................................... . ...... . . .... ................. .. 1
FI GURE 1 ~Relaxed Standing Position .... . ... .. . ........ ... .................. 3
FIGURE 2 ~Supine "Shoulder" Savasana ............. ...... . .................. 6
FIGURE 3 tEo Head and Neck Supports for Supine Positions .. . ......... . ........ 9
FIGURE 4 ~Cross Bolsters ... . . ....... . . ...................... ... . ....... ... 10
FIGURE S ~ Shoulder Traction.... .. . . . . .. .. . .. .................. .. ..... ..... 13
FIGURE 6 ~Prone "Shoulder" Savasana .. ............. .................. ..... 14
FIGURE 7 ~Pavao Muktasana ........ ... ... . ................................ 15
FIGURE 8 ~ Parsva Pavan Muktasana ... .. ....................... ... .... ... ... 22
FIGURE 9 tEo Parivrtta Pavan Muktasana..... ......... . . . . ....... .............. 25

FIGURE IO~AdhoMukhaVirasana ..................... ......... ........... 26
FIGURE II ~ Parsva Adho Mukha Virasana ......................... .. ........ 29
FIGURE I2 ~ Supta Tadasana ............................ ........... . ... ..... 30
FIGURE 13 ~ Supta Tadasana with Traction ................ .... . . ... . ........ 31
FIGURE I 4 ~ Supta Urdhva Hastasana ....................................... 34
FIGURE IS ~Anantasana ....... . ..................... . ..... ..... . . . .... ..... 36
FIGURE I6 ~ Tadasana ...................................................... 39
FIGURE 17 ~ Ardha Parsva Hastasana ....................... ... . . ........... .42
FIGURE 18 ~ SalambaArdha Parsva Hastasana ...... .... . .... . .............. .43
FIGURE 19 ~ ViparitaArdha Hastasana ...................................... 44
FIGURE 20 ~ UrdhvaHastasana ......... ............ ... ... ...... ............ 46
FIGURE 21 tEo Baddha Anguliasana ..................... . ..... .. ..... .. ....... 53

FIGURE 22 ~ Urdhva Baddha Anguliasana ....... . . ........... . . .... . . . . ...... 56
FIGURE 23 if> Baddha Hastasana .. ........................................... 57

Fl G URE 24 if> Gomukhasana in Tadasana ..................................... 59
FIGURE 25 ~ Paschim Namaskarasana ....................................... 61
FIGURE 26 if> Chaturanga Dandasana .................. . . ...... ..... . ........ 63

FIGURE 27 tEo Bharadvajasana ............. . .................................. 67
FIGURE 28 if. Utthita Marichyasana ........................ .... .............. 72
iv lyengar Yoga Asana Alternatives: Tlze Neck and Shoulders

FIGURE 29 + Marichyasana 3 .. ................ . ................. ........... . 74
FIGURE 30 + Ardha Matsyendrasana 1 ......................... .... ..... ..... 77
FI GURE 31 + Pasasana .•..................................................... 78
FIGURE 32 +Rope l. .................. ........... .. . . . ..... . ..... . ......... 79
FIGURE 33 +Rope 2 .................................... . ........ .. ... . ..... 86
FIGURE 34 +Rope Neck Curvature .......................................... 88
FIGURE 35 +Platform Neck Curvature....................................... 92
FIGURE 36 +Trestle Neck Curvature .................. ....... ............... 95
FIGURE 37 +Stump ........................................................ 97
FIGURE 38 +Rope Neck Traction ........... . .................... .. ... . ..... 99
FIGURE 39 + Shoulder Jacket. ... ..... ........................... ... ... ... .. 100
FIGURE 40 + Adho Mukha Svanasana . .. .................................... 102
FIGURE 4I + Ardha Uttanasana ............. .......... ...... ............... . 112
FIG URE 42 + Uttanasana ................................................... 120
FIGURE 43 + Utthita Trikonasana ................................... .. ...... 124
FIGURE 44 + Utthita Parsvakonasana ....................................... 130
FIGURE 45 + Virabhadrasana II ................... .... ...................... 132
FIGURE 46 +Ardha Chandrasana ........... . . . ... ....... .. .... ............. 134
FIGURE 47 + Virabhadrasana I. ............. . . . ....... ... .. .. ............... 136
FIGURE 48 + Parsvottanasana ............................ . . .. ..... ......... 138
FIGURE 49 + Prasarita Padottanasana .................. .... ............ ... .. 139
FIGURE SO + Rope Sirsasana ............................................... 144
FIGURE 51+ Salamba Sirsasana I .............. . .................... . . . ..... 150
FIGURE 52 + Viparita Karani Sirsasana ..... .... .. ........................... 156
FIGURE 53+ Vasisthasana ..... . . . .......................................... 159
FIGURE 54 + Adho Mukha Yrksasana ................ .......... ............. 160
FIGURE 55+ Pincha Mayurasana ............. . ..... . . . ..................... 164
FIGURE 56 + Bhujangasana................. .............. ....... ........... 170
FIGURE 57 + Shalabasana .................................................. 17 1
Iyengar Yoga Asana Alternatives: Tize Neck and Shoulders v

FIGURE 58 ~ Paryankasana..... . . . ....... .................................. 172
FIGURE 59 ~ Purvottanasana ....... ... ~ ... .. ........................ ..... .. 173
FIGURE 60 ~ Urdhva Mukha Svanasana ................. ...... .............. 174
FIG URE 6 1 ~ Ustrasana .............. .... . ................. ...... .. .. . . . .. . 179
FIGURE 62 ~ Ardha Urdhva Dhanurasana .. .. . ... ......... .... .............. 182
FIGURE 63 ~ Urdhva Dwipada Dhanurasana ......... ....................... 186
FIGURE 64 ~Bench Dwipada Viparita Dandasana ........................... 195
FI GURE 65 ~ ChairViparitaDandasana . ........................... ......... 199
FIGURE 66 ~Platform, Plank, and Other Props for Dwipada

Viparita Dandasana ......... .. .. . ... ..... .. .......... . . ....... 206
FIGURE 67 tf'> Chatush Padasana ........ .......... ..... .... . ... ............ . 214
FIGURE 68 tf'> Salamba Sarvangasana ..... ............ . . .. ...... . ............ 216
FIGURE 69 ~ Niralamba Sarvangasana .............. ............. . . . ..... ... 225
FIGURE 70 ~ Halasana .......... ... .................. ... ...... ..... .... .... 229
FIGURE 71 ~ Setubandha Sarvangasana .... ............ .. .... ........ ....... 236
FIGURE 72 ~ Viparita Karani Sarvangasana .......... .... .................... 239
FIGURE 73 ~ Adho Mukha Swastikasana ................ ..... .... ........... 240
FIGURE 74 ~ Janu Sirsasana ... ...................... .... ..... .............. 241
FIGURE 75 ~ Triangamukaikapada Paschimottanasana .... .. ...... ........... 244
FIGURE 76 ~ Paschirnottanasana ................. ...................... . . .. 245
FIGURE 77 ~ Savasana ................. . .... ... .................. ... ....... 246
FIGURE 78 ~ Savasana Pranayama ...... .............. . ...... ............... 247
FIGU RE 79 ~Chair Trestle Pranayama .. ............................. ....... 248
FIGURE 80 ~ Swastikasana Pranayama ............... ... .. ......... ......... 250
APPENDIX ~ Neck and Shoulder Four Week Course .. . . . .... ......... . ...... 251
Overview
Over a two-year period I conducted a survey of my Positioning the head in the opposite rotation to the
yoga students regarding their health conditions. The classic pose, that is, looking down in trikonasana or
results revealed that the neck and shoulder region forward in twists, facilitates learning how to open
was the most common problem area of the body. the chest, lengthen the sternum, move the shoul-
The low back was the second most common area der blades into the back, and elongate the back of
for acute or chronic pain, and knees third. These the head and neck. This creates space between the
results are not surprising as the major joints of the shoulders, neck, and head, and promotes softness in
body suffer under our modern lifestyle. the fro nt of the neck whereby the flow of blood will
not be constricted. The student should then acquire
This work addresses postural, structural, functional,
the skill to maintain this softness when turning the
and connective tissue conditions of the neck and
head in the classic position.
shoulders and expands significantly on the first
edition. Yoga postures, or asanas, may be prac- This book is primarily intended for certified teach-
ticed despite weakness, acute or chronic pain of ers oflyengar Yoga, who may find it helpful to aid
these problematic areas. Asanas can be modified their students who need modified asanas because
to relieve muscular and neural pain related to the of neck and shoulder pains or other conditions in
neck and shoulders. Misalignment of the cervical the region of the upper body. Since the work pre-
vertebrae and their discs can cause pain down the sented here is rudimentary, less advanced students
arms to the fingertips as well as through the region of Iyengar Yoga may also use this book under the
of the shoulders. The pain can shoot, stab, tingle, guidance of a qualified teach er. Preferably, that
or numb. Muscles can be tensed to protect against teacher should study regularly at the Ramamani
pain, but ultimately the tension creates furth er Iyengar Memorial Yoga Institute or maintain an
imbalance. Ideally, the shoulders and neck should ongoing studentship with a knowledgeable teacher
b e rested in o ne or more variatio ns of savasana who does. The Iyengars persist in their efforts to
before commencement of regular and/ or remedial uncover and discover improved and innovative ways
asana practices. Resting the neck and shoulders in to address what ails the human race through the art
a passive pose may promote postural alignment as and science of yoga. Please bear in mind that this
well as healing of the affiicted areas. After resting second edition continues to be a work in progress
the muscles, more active but modified poses may and is not exhaustive of all the asana alternatives for
be performed without pain. the neck and shoulders.
Organic conditions in the region of the neck and The poses depicted in this book are generally grouped
shoulders may also be addressed using this book. together in familiar categories of supine, seated,
Experience in the application oflyengar Yoga thera-
peutics is required to improve organic function.
1
Organ vitality improves with optimal circulation, Some common conditions associated with the organs and areas
of the upper body include: (sinuses) allergies and obstructions,
which necessitates space in and around the area of (ears) Meniere's disease, ringing or tinnitus, blockages from
concern such that the organ can lengthen, twist, lack of fluid drainage, infectio n, or crystals; (eyes) glaucoma,
extend forward and backward, and invert. 1 For detached retina, cataract; (brain) tumors, embolisms, aneurisms,
fistulas, concussion, bruising as a result ofinjury; (esophagus)
example, when the thyroid gland is not functioning
gastroenteric reflux disease or GERD, Schlotzsky's ring- a
properly, the neck should be extended in a round narrowing that can cause difficulty swallowing; (larynx) vocal
and soft shape. When turning the head up in utthita dystonia-a neurological condition causing spasms; (lungs)
trikonasana or looking back over the shoulder in asthma, chronic obstructive pulmonary disease or COPD, sar-
coidosis; vertigo, hypo·/ hyperthyroidism, multinodular goiter,
spinal twists, the neck should not be tensed or
pituitary imbalances, and hiatal hernia. Use a search engine to
hard, and the front of the neck should not protrude. retrieve further information on these or other conditions.
Iyengar Yoga Asana Alternatives: The Neck and Shoulders

standing, inverted, backward and forward extension neck, and arm supports; these may be applied to all
poses. In order to use the poses in a sequence, thor- the supine poses which are not depicted here.
ough and current knowledge ofthe classic asanas as
The woman demonstrating the poses in this book
practiced in the Iyengar Yoga method is essential.
developed poor posture after an emotional trauma.
For the certified teachers, there is an outline of a Additionally, her neck and shoulders were injured
4-week short course included in this edition that from repetitive stress. Her theater work required con-
may be used as a guide to conduct an Iyengar Yoga stant lifting ofheavy garments to and from high racks.
class for students with neck and shoulder issues. Ultimately, she developed a shoulder impingement,
While most students may respond positively to each which conventional medicine treated by isolating
pose in the sequence, a student may present with the arm and prescribing physical therapy. Latetj she
other problems that might contraindicate practice was also diagnosed with severe degeneration of the
of a particular asana. The teacher has to be adept at cervical vertebrae discs. As her workload increased,
recognizing this and able to modify the pose further so did the dysfunction of her neck and shoulders.
or come up with an alternative posture that will As she could no longer practice asanas classically,
address that student's needs. she learned many asana alternatives and consented
to model the poses for this booklet. Not all of these
I started this short course, as well as one fo r the
poses were directly applicable to her particular prob-
low back and another for knees, to help my regular
lems. We added new poses to her practice based on
students address common problems. A second
how positively she responded to them during these
incentive for these courses was to keep the atten-
photo shoots. Her strength increased and her pain
dance in my weekly therapeutics class manageable,
subsided. Some of the inverted poses ( adho mukha
to enable m e to help students with very serious ail-
vrksasana and pincha mayurasana) continue to be
ments more effectively. The results were astounding.
challenging for her, but her practice of sirsasana
Students learned to help themselves and, unexpect-
and sarvangasana variations improved. Backbends
edly, brought newcomers who feared their pains
increased her range of shoulder movement. H er
might otherwise restrict them from attending an
tight hips, hamstrings, and dorsal spine continue to
introductory asana class. T hese novices learned
challenge her forward extensions. She desired, and
they could practice postures despite their condi-
was able, to return to classic asanas after practicing
tions and lessen, or perhaps even eradicate, pain.
these alternatives for some tim e.
Occasionally, some students were referred to the
therapeutics class because their problems required Teachers should note that many ofthe resting poses
more remedial attention. include the use of plate weights and/ or sandbags.
Check with the student to determine if the weight
In a previously published manual entitled Iyengar
is helpful. Many students desire the weight and may
Yoga T1zerapeutics, the supported supine poses supta
want more. However, some students find it irritat-
baddha konasana, supta virasana, supta swastikasana
ing. In these cases, do not use the weights. Placing
and matsyasana were portrayed. They are particu-
bolsters as weights may be helpful; even without
larly beneficial to recover from neck and shoulder
the application of weights, the poses will still be
pain. These poses not only help the student to relax
beneficial. As a teacher assisting a student, your
muscles that had been hurt and are sore or tender,
touch should be clear and firm when performing
but to build the student's confidence in yoga's many
adjustments. Do not stroke or massage the student,
benefits. In this edition, the supported supine pose,
as that can be disconcerting and does not give correct
cross-bolsters, is depicted to show the various head,
stimulus to the body and mind.
2 Iyengar Yoga Asatra Alternatives: Tire Neck and Shoulders

FIGURE 1 +Relaxed Standing Position
For teachers, these photos will not fully reveal the quality of this stu-
dent's physical and emotional conditions, but are presented here to
illustrate observation skills. Train yourself to observe your students
without judgment and, with more experience, you will begin to see
connections between your observations and students' presenting
conditions. The guided observation described here is focused on
the head, neck, shoulders and upper back. Teachers should practice
developing postural analysis skills with colleagues to build proficiency
at observing students. However, one-on-one sessions are essential
to foster thorough comprehension and a vicarious understanding of
conditions, especially when developing a specific sequence of poses
for a particular student.
A. FRONT VIEW. Observe the following:
... General tension. To what degree do the muscles of the jaw, fore-
head, neck, and shoulder girdle appear relaxed or tense? Nicole
appears relaxed.
'" Head/ neck. Is it centered, does the neck sway to one side? Nicole's
head and neck are to the left of her centerline.
'" Collarbones. Are they equal in width, do they recede or protrude?

If one collarbone significantly protrudes while the other is barely
visible, it may indicate scoliosis, a lateral deviation of the spine.
Nicole's right collarbone is more visible from each end, whereas
the left is more visible in the center as it recedes into the body on
each end.
'" Shoulders. Is one higher, lower, or narrower than the other? Are
the trapezius muscles of the upper back overdeveloped and sitting
high up to the neck? Nicole's left shoulder is wider and drops off
lower from the neck to the deltoid than the right. Her trapezius
sits a little high near her neck.
'" Arms. Do they hang evenly? Is one arm more forward than the
other? Do the biceps look contracted so that the elbows are bent?
Is there an even space between the arms and the torso? Nicole's
left arm is farther from her torso than her right. She stands heavier
on her left leg and her hips are to her right, which may contribute
to the unevenness ofher arms. The left arm is slightly closer to the
floor than the right.
'" Chest. Is it lifted or sinking? Is there a depression below the FIGURE IA

collarbones and/ or of the sternum? Nicole's chest is relatively
balanced.
Iyengar Yoga Asana Alternatives: The Neck and Shoulders 3

... Skin. Scrutinize the quality of the skin on the face. Does it have a
healthy glow; is it ruddy, pale, blotchy? How does the skin adhere
to the structure of the upper chest? Does it lift or hang? Nicole's
skin appears normal.
... Eyes. The eyes can reveal a great deal. B.K.S.lyengar often invokes
the old adage that they are the windows to the soul. How clear,
glassy, or watery are they? Are the whites of the eyes white or
do they have a yellow or red nature? A yellow streak across the
middle of the eyes may indicate a high concentration of bilirubin
in the blood indicating a benign liver condition called Gilbert's
disease. If the whites are fully yellow it may indicate a serious liver
condition such as hepatitis. The eyes may be red from a temporary
irritation, fatigue, low hemoglobin levels (anemia), or substance
abuse. Protruding and/ or puffy eyes may indicate a thyroid condi-
tion. A red to purple skin color around the eyes could be a sign of
a sleep disorder, depression, or a kidney imbalance. Nicole's eyes
appear healthy.
B. SIDE VIEW. Observe the following:
... Head/ body carriage. How does the posture appear? How does the
body carry the head? The side view reveals the manner in which the
body and head are positioned. Is the head balanced on the spine
or is it forward? Nicole's head is slightly forward.
... Neck. Do the cervical vertebrae naturally curve inward? Is the

curve exaggerated or reversed abnormally? Nicole's neck is shorter
at the posterior and longer at the anterior, but this difference is
not extreme.
... Shoulders. Are the shoulders square or rounded to the front?

Nicole's shoulders are rounded to the front.
... Upper back. Does the upper back appear to sink into the lower
back? Is the curve of the upper back slightly rounded, protruding
abnormally, or reversed inward? Does the upper back appear even
and parallel to the front or is it longer or shorter than the front?
Nicole's upper back is slightly flat, but relatively parallel to the
front.
... Arms. Observe how much the arms and hands extend fluidly to
the sides of the body. Are the hands forward of the body? How
much of a bend is there in th e elbows? A carrying angle is normal
for the arms to clear the body, but an excessive carrying angle may
be problematic for joint comfort. Nicole's upper arms hang in the
centerline of the side body, but the hands are forward.
FIGURE IB
4 Iyengar Yoga Asana Alternatives: Tlu Neck and Shoulders

C. BACK VIEW. Observe the following:
... H ead/ neck. Observe again if the head and neck are on center or
off to one side. Is there a connection between what you observed
in the front and what you notice in the back? Validating the front
view, Nicole's head and neck sit to the left of her centerline.
... Shoulders. How even does the shoulder girdle appear? Perhaps
the front chest showed a small depression on one side and there
is a corresponding protrusion on the back. The right appears to
be the "problem" shoulder for Nicole. It looks like it falls away
from the body.
... Spine/ thoracic. Is there a smooth curve of the spine outwards from
the body below the neck or are there deviations? Is there a thoracic
hyperkyphosis (dowager's hump), an abnormal protrusion of the
spine below the base of the neck? If so, is there fatty tissue around
that protrusion that appears soft or hard? Hardness indicates poor
circulatio n near the spine that has caused a calcification of the
tissue. Is there a lateral unevenness of the upper spine (scoliosis)?
Nicole's spine goes incorrectly forward, into her body, between
her shoulder blades. The spine appears flat. The vertebrae between
the shoulder blades are left of center, but the vertebrae below the
shoulder blades are right of center.
... Upper back. Pu:e the two quadrants of the upper back even? Does
the skin seem soft, hard, lifted, or sagging? Does the skin drop away
from the muscles of the upper back or adhere to them? Does the
trapezius appear to go in the direction of the waist or the neck?
The right quadrant ofNicole's back moves away from her body and
appears thicker, while the left goes in and appears thin and tense
with the skin drawn upward.
... Additionally, observe how the student walks across the room. Axe
the arms swinging freely or are they held into the body? How do
habits that you observed in the relaxed standing position relate to
or affect the gait?
FIGURE lC
Iyengar Yoga Asana Alternatives: Tire Neck and Shoulders 5

FIGURE 2 ~Supine "Shoulder" Savasana
This position needs an assistant to adjust the body (arms1 shoulders1

chest1 neck1 and head) 1 and to place and later remove weights. However1
encourage your students to be self-reliant. They can set up all props1
place the weights near to where the arms will be1 and let the assistant
know he/ she is ready for the adjustment and weights. The student lies
in savasana on a sticky mat. Ifdesired1 a blanket may be placed on the
sticky mat for the back1 especially if the body is honey. Support the
head and neck with a blanket (for more options, see figure 3). The
arms are also placed on blankets and positioned out to the sides1 so
that the hands are in line with the shoulders. The legs may be bent
and the shins may rest on the seat of a chair if there is also low back
pain (see The Low Back booklet). Otherwise1 the legs are extended.
The assistant should ask the stud ent if the low back and legs are com-
fortable because once the shoulders are adjusted, the legs should not
shift, which could incorrectly effect the adjustment. O ne shoulder at
a time1 the assistant adjusts the deltoid from fro nt to back, towards
the floor1 simultaneously lifting the bottom of the shoulder blade into
the back (figure 2a). Keep one hand on the deltoid to maintain the
adjustment and1 with the other hand1 roll the inner arm to the outer
arm and press the thumb side of the hand to the floor (figure 2b).
Next1 the assistant places her feet by the sides of the student's hips to
FIGURE 2A hold them in place1 then catches the upper back with bo th hands at
the same time and move the back ribs to the waist. Hold the thumbs
securely on the sides of the chest1 the fingers / palms o n the bo ttom
the shoulder blades to maintain them in1 and move the chest "out of"
FIGURE 2B FIGURE 2C
6 Iyengar Yoga Asana Altematives: Tlze Neck and Shoulders

the lower back in the direction of the head {figure 2c). It may take
some practice to get the correct feel for this adjustment. A heavy
bodied person may not seem to have been adjusted, but the student
may tell you in fact that they have felt the length come between the
chest and the low back. A light bodied person may move too much,
not receiving the correct adjustment because the whole body may
have shifted. Experience will teach the assistant when the appropriate
adjustment has been made.
If using plate weights, place sticky mats or pieces along the arms to
prevent them from slipping. Standing on the head side of the student,
place the weights (sandbags or plates), starting from the shoulder and
moving down the arm to the hand in a way that stabilizes the adj ust-
FIGURE2D
ment ofthe inner arms turning to the outer arms, the deltoids rolling to
the floor, and the shoulder blades coming into the back. More weight
covering the front of the chest will better release the muscles of the
upper back, but less toned students may not tolerate heavy weight.
Find out by aski ng if the weight is appropriate. Ask female students if
the weight disturbs the breasts and adjust if necessary. If using plate
weights, first angle the rim of the plate into the edge of the upper
part of the breast, then slightly push the breast towards the sternum
in order to maximize the weight on the upper quadrant of the front
chest without irritation (figure 2d). Place the opposite edge down
(figure 2e). If the weights do not reach all the way to the hands, use
sand bags (figure 2£) or smaller weights (figure 2g).
FIGURE 2E
FIGURE 2F FIGURE 2G
Iyengar Yoga Asana Alternatives: Tlu Neck and Shoulders 7

In lieu ofplate weights, use sand bags (figure 2h) or have two assistants
kneel on bolsters placed along the arms (figure 2i). ln the latter case,
the assistants should also press their hands to provide weight to the
student's shoulders and hands.
Alternatively, when the elbow is the presenting problem, align the

inner and outer elbows so that they are parallel. The assistant m ay
place a weight on the outer elbow corresponding to the small finger
side of the hand (figure 2j). The student should be able to tell if the
weight in this position is helpful and not irritating.
FIGURE2H FIGURE 21
FIGURE 2J
8 Tymgar Yoga Asana Altematives: T11e Neck and Shoulders

FIGURE 3 ~Head and Neck
Supports for Supine Positions
The assistant may adjust the student's shoulders and
arms as in the previous figures. The blanket should
be under both the head and neck (as shown in figure
2a), but not under the shoulders. 111is is the standard
use of a small, folded blanket to support the head
and neck, which is appropriate for most students.
In the case of a reverse cervical curve (the vertebrae
incorrectly curve to the back of the neck, sometimes
called a military neck), place a rolled blanket under
the back of the neck. An assistant can help lengthen
the neck by extending the base of the student's skull
away from the shoulders (figure 3a). When the neck
curvature is reversed and the space between the
vertebrae is compromised, greater comfort may be
FIGURE 3A
achieved by placing a rolled blanket behind the back
of the neck and a small folded blanket behind the
head (figure 3b). Two small folded blankets stag-
gered under the roll and head (figure 3c) may be
used for those who are serio usly compromised with
respect to space between the vertebrae. If a stronger
adjustment is required, the assistant can place the
balls ofher feet on the deltoids holding the back of
the head and the sides of the jaw, and provide trac-
FIGURE 3B FIGURE 3C
tion by pressing the feet and moving the head away
from the shoulders (figure 3d). The assistant will be
able to perceive, from this adjustment, the extent to
which the student's spine moves freely or not. The
head / neck support that works best for the student
in "Shoulder Savasana" may be used throughout the
practice in any of the supported supine poses.
FIGURE 3D
Iyengar Yoga Asana Altematives: The Neck and Shoulders 9

FIGURE 4 ~Cross Bolsters
This pose is a combination ofsetubandha sarvangasana and dwi pada

viparita dandasana. Depending on the needs of the student, the pose
is either more similar to the former, with the back of the head parallel
to floor, or to the latter, with the top of the head on the floor. For most
shoulder conditions the pose is approached similar to setubandha
sarvangasana. Place one bolster horizontally across the mat and a
second bolster vertical on top, crossed exactly in the middle. Lay
additional bolsters or blankets to the sides of the cross bolsters for
the arms so they are not dangling from the torso to the floor. Have
blanket support ready for the back of the head, as the need requires
(described in figure 3). Sit on the bolster close to its front. The feet are
on the floor with the knees bent. Buckle the tops of the thighs snug
with the belt buckle between the legs so the fronts of the thighs are
rolling evenly into the center. The upper thighs are belted to maintain
the fronts of the thighs turned in and the buttocks spread. Place the
FIGURE 4A
hands behind the buttocks on the bolster to lift the chest and lie back
(figure 4a). While going back, scoot the buttocks slightly forward to
avoid going too much towards the head side on the props (figure 4b).
It is easier to correct the position of the torso on the bolster by going
back towards the head then it is to go forward towards the feet once
you are lying down (figure 4c). The shoulders are not on the floor, the
abdomen should not protrude, and the legs should extend straight.
An unbroken curve should be felt (or seen by an assistant) from the
heels to the head. Then you know that the body is positioned correctly
on the bolsters. Adjust the blankets so the back of the head and neck
are supported parallel to the floor.
In the case of high blood pressure or excessive heat in the body,

extend the back of the head and neck more, and lower the jaw and the
bottom of the ears to the floor so the forehead is higher than the chin.
Extend the legs straight and place the arms to the sides on bolsters or
FIGURE 4B
FIGURE 4C
10 Iyengar Yoga A sana Alternatives: Th e Neck and Shoulders

blankets. If the arms are too low,
the deltoids will com e forward.
When the hands and arms are
level with the shoulders the del-
toids should more easily move
from front to back. The back chest
should feel lifted and move in the
direction of the waist and the
front chest should be expanded
towards the h ead. Exte nd the
calves to the heels and press the
fronts of the thighs towards the FIGURE 4D
floor to allow the abdomen to
lengthen and recede towards
the back. Continue to keep the
abdomen long and relaxed and
release the legs. Close the eyes
and rest. An assistant can place
weights on the hands to promote
relaxation (figure 4<:1). Ifthe shoul-
der problem is accompanied by
depression or anxiety, the head
is reclined back and the eyes are
open, looking up slightly above
their horizon line (figure 4e). For
thyroid conditio ns, the neck is FIGURE4E
supported so it is long, round,
and soft. The middle of the neck
should not protrude (figure 4f).
FIGURE 4F

Backache may arise in this pose, despite a lack of
previous history, simply due to poor posture. Ifthis is
the case, an assistant has the student bend the knees
and place the feet on the floor. She places a bolster
or blanket to support the student's feet higher when
she re-straightens her legs. 1he assistant adjusts the
students' shoulders and chest (figure 4g, described
in 2c). She lengthens the buttocks away from the
waist and widens them from the sacrum (figure 4h).
Complete this adjustment by rolling the fronts of
the thighs in (figure 4i). The student steps her fee t
on the support of the bolster (figure 4j) or blanket. FIGURE 4G
1his pose encourages a deep rest that benefits the
sh oulders when they have been tight and tensed
from injury and pain. It may be practiced after supta
baddha konasana, supta swastikasana, supta virasana,
matsyasana, and/ or supta swastikasana.
FIGURE4H
FIGURE 4I
FIGURE 4J
12 Iyengar Yoga A sana A lternatives: Tlze Neck and Shoulders

FIGURE 5 ~Shoulder Traction
Place the arms inside a rope as if putting them in

the sleeves of a coat. One part of the rope is draped
over the shoulders and another is horizontal across
the back. The assistant can "catch" the outer edges
of the collarbones near the deltoids and pull down
the bones more than the muscle (figure Sa). This
helps correct the structure of the upper back and
adjusts the trapezius into the back without hardness.
In another variation, the assistant crosses the rope
below the nape of the neck and directly pulls down
the trapezius (figure Sb). Change the cross of the
rope so both sides are drawn down evenly. This is
helpful for correcting hyperkyphosis. The rope, as
described here, may be used to assist the student in
prone, seated, and standing positions.
FIGURE SA FIGURE SB
Iyengar Yoga Asmw Alternatives: Tf1e Neck and Slwulders 13

FIGURE 6 ~Prone "Shoulder"
Savas ana
Lie face down on a sticky mat with a blanket opened

under the abdomen and hips so that the surface is
soft for the bones. Lift one leg at a time just enough
to turn the front of the thigh in and lengthen it to
the knee. The toes are turned in and heels out. If
there is a space between the ankles and the floor,
or if there is discomfort in the knee, place a rolled
FIGURE 6A
blanket underneath the ankles to fill that space and
support the shins. Place a small folded blanket, or
two, underneath the forehead so the nose is not
compressed and the back of the head is level with
the upper back. The back of the head should not be
lower than the shoulders. Bend the arms 90 degrees
at the elbows with the palms facing down in line
with the head and support them with bolsters or
blankets. The arms and hands should be level with
the upper back. If there is a gap at the armpits, add
rolled blankets under them so they are supported
FIGURE 6B (figure 6a). Extend the inner upper arm to the elbows
to expand the width of the shoulder girdle (figure
6b). This prone position may b e more appropriate
than supine shoulder savasana ifthe pain is the result
of whiplash (soft tissue neck injury) or when the
rhomboids (muscles that connect the inner edges
of the shoulder blades to the spine) are strained.
After some healing has occurred in the neck and
shoulders a stronger adjustment may be applied
to traction the muscle and bones into their correct
position. Two assistants are best for this variation.
Place a strap or rope on the shoulders (see figure Sa)
FIGURE 6C before the student lies prone. One assistant draws
the rope or strap to the waist, while the other places
her fingertips below the base of the occipital bone
and moves it away from the shoulders (figure 6c).
Ifonly one assistant is available, it is possible for her
to do both (figure 6d).
FIGURE 6D
14 Iyengar Yoga Asana Alternatives: Til e Neck and Shoulders

FIGURE 7 ~ PavanMuktasana
A pavan muktasana bench is ideal. Place a sticky mat

on the bench. Have support (a blanket or bolster)
under the buttocks and either one or two bolsters
under the torso. These supports vary according to
the size and flexibility of the body, but should result
in the torso being long and the spine extended in
its natural curve. To achieve this, the torso may
need to be inclined up, down, or horizontal and the
props modified accordingly. As with all supported
poses, effectiveness of the pose is not simply a matter
of how to place the props. A block may be placed at
the end of the bolster to prop up the blanket that
supports the head and arms (figure 7a). The hands
may hold the bench if the arms are too uncomfort-
able at the height of the shoulders or if more rest is FIGURE7A
desired. However, the arms should not simply drop,
causing the back to round. Gently hold the bench,
without gripping it, and keep the collarbones wide
(figure 7b, shown with buttocks on a bolster). To
further lengthen the sides of the body, place the
arms forward (figure 7c).
FIGURE 7B
FIGURE 7C
Iyengar Yoga Asana Alternatives: T11e Neck and Shoulders 15

To obtain a horizontal expansion of the sho ulders,
support the arms laterally on chairs (figure 7d),
halasana boxes (figure 7e), or tall stools (figure 7f)
with bolsters or blankets. Place rolled blankets under
the armpits ifthere is a gap between the support and
the armpits. To maintain the length of the torso from
its base, a weight may be placed first on the lower
back (figure 7g), then on the upper back (figure 7h),
for three minutes in each position.
FIGURE 7D
FIGURE 7F
FIGURE 7E
16 Tymgar Yoga Asana Alternatives: The Neck a1·1d Shoulders

To relieve a headache, a weight may be applied to
the back ofthe head. Arrange a rolled blanket on the
back of the neck so it is level to the back of the head.
Place a sticky piece over the blanket and back of the
head. Position a weight on the back of the head and
upper back (figure 7i). Check that the nose is free to
breathe-an extra blanket under the forehead may
be required if the nose gets compressed. Five minutes
is adequate time for this variation, but check on the
student's comfort level at two minutes.
FIGURE 7G
FIGURE 71
FIGURE 7H
Iye11gar Yoga Asm1a Alternatives: T11e Neck and Shoulders 17

Support the torso higher for those
who are stiff and/ or have hyper-
kyphosis. This angled position
may also reduce headache. A rope
may be placed around the top of
the thighs to provide traction for,
and length to, the torso. The rope
may be attached to a hook on a
rope wall (figure 7j) or the legs
of an assistant (figure 7k).
FIGURE 7}
FIGURE 7K
18 Tyengar Yoga A sana Alternatives: The Neck and Shoulders

As in the previous pose, prone savasana, assistants can traction the neck
and shoulders with straps attached to a hook on a rope wall (figure
71, shown with traction of the hips as well). If hooks are not available,
one assistant can steadily pull the straps to traction the student's hips,
while another manually moves the occiput and trapezius away from
each other (figures 7m and 7n).
FIGURE 7L FIGURE 7N
FIGURE7M

To narrow the back and open the
front chest more, the student can
hold ropes from behind (figure
7o) . If ropes are no t available, an
assistant can help the student to
reach the arms back with a strap to
the student's wrist (figure 7p). If
there is a problem of the ear, sinus,
or imbalance ofthe brain, the head
may be turned for a few minutes to
the right and to the left. Adjust the
head so that the ears are as parallel
to the floor as possible without
straining the neck. An assistant
can facilitate this by moving the
student's upper back to the waist
(shoulders level with each other)
with o ne hand, while the other
hand lengthens the outer side of
FIGURE 7 0 the student's head away from the
shoulders (figure 7q).
FIGURE 7 Q
For greater extension of the back

muscles, sit on the end of the
bench and bend forward placing
the hands on the floor (figure 7r).
H old the bench with the hands
using the arms to bring the torso
in to the bench (figure 7s). An
assistant may press her fists on
the lower back and drag it towards
the buttocks (figure 7t). The back
m uscles become more pliable in
this variation; the head and neck
can release to the floor.
When a pavan muktasana bench

FIGURE 7 P is not available, place two chairs
20 Iyengar Yoga Asana Alternatives: The Neck and Shoulders

on a sticky mat with their seats facing each other,
slightly apart. Lay a sticky mat across both seats. Set
a small folded blanket on one seat and a bolster in
front of the blanket going across b oth chairs. Posi-
tion another small folded blanket on the end of the
bolster. This is the basic set-up (figure 7u).
Experience in assisting a number of students in

pavan muktasana will develop a teacher's under-
standing ofhow to support the pose for a particular
student's needs. The torso should be extended with
the front chest broad and the back of the torso long
and narrow. Ultimately, the torso should be evenly
extended for the head, neck and shoulders to open,
release, and soften.
FIGURE 7T
FIGURE 7U
FIGURE 7S
Iyengar Yoga Asatra Alternatives: The Neck and Shoulders 21

FIGURE 8 ~ Parsva
Pavan Muktasana
Use the props as above to support
the torso. Have halasana boxes or
chairs with sufficient bolsters on
top to provide a surface to support
the torso angled to the side. When
going to the right side, press the
right hand with the elbow bent on
the side support and reach the left
arm to lengthen the left side of the
torso (figure 8a). Bend over the
support and rest the forehead on
the blanket with the back of the
head and neck extended (figure
8b) . A rope around the tops of
the thighs is depicted here but this
pose may be practiced without
the traction and with both arms
reaching forward (figure 8c). Ifthe
neck is not irritated, the head may
be turned to the side with the ears
FIGURE SA parallel to the floor (figures 8d and
8e). The arms may be extended to
the sides to create more space in
the shoulder girdle and neck. This
may help to open the ear canal and
sinuses, and improve circulation
in the head and neck. If the ear
or sinus is blocked on only one
side, that side should be placed
down on the support, parallel to
the floor, when going to the right
as well as the left.
FIGURE 8B

FIGURE 8C FIGURE 8E
FIGURE 8D
Iyengar Yoga A sana Altematives: The Neck and Shoulders 23

FIGURE 9A
FIGURE 9B

FIGURE 9 + Parivrtta Pavan
Muktasana
Have enough blanke ts on the end of the pavan
muktasana bench to adjust the height of the buttocks
slightly above knee level. If the student is short, add
blocks, a bolster, or blankets under the feet so that
they are not dangling. Sit sideways on the bench
with the right side of the hips facing the bolsters to
revolve to the right and place the left ear down. Add
enough bolsters and or blankets to support the torso FIGURE 9C
and head when turned to the side. The ears should
rest parallel to the floor (figure 9a). However, ifthe
neck is irritated or becomes hard, rest the forehead
(figure 9b) or turn the head in the opposite direc-
tion (figure 9c). Allow the spinal muscles to soften
and release away from the spine. Reach the left
arm to lengthen the left side of the spinal muscles.
Bend the right arm and press the hand near the
shoulder to rotate the chest from left to right. An
assistant places his left hand on the upper left leg
(at the hip) of the student to steady the hip back
and down, while placing his right hand to turn the
abdomen left to right (figure 9d). Then he places his
right hand on the student's left side of the mid-back
paraspinal muscles, the muscles next to the spine,
to help the student rotate the torso further (figure FIGURE 9D
9e). W hile working the arms to lengthen and turn
the torso in this manner, release and soften the head
and neck. Repeat the actions above, revolving the
torso to the left.
FIGURE 9E
lye11gar Yoga Asa11a Altematives: Tize Neck and Shoulders 25

FIGURE 10 ~ Adho Mukha Virasana
If neither a bench nor chairs are available for pavan

muktasana, adho mukha virasana may yield the same
positive results. However, the knees have to be able
to bend in this position without discomfort. On the
sticky mat, place a blanket for the shins and knees.
Place a folded blanket or bolster over the heels and
under the buttocks. Use bolsters and additional
blankets if needed for supporting the abdomen,
torso, arms, and forehead. Weights may be applied,
as described above, placed first on the lower back
(figure lOa), then the upper back (figure lOb).
FIGURE lOA
FIGURE lOB
26 lyengar Yoga Asm1a Altematives: 71u Neck a11d Shoulders

Instead of bolsters supporting
the torso and arms, a setubandha
bench or short stool may be used
to support the forehead, forearms,
and hands. The collarbones should
be wide and the eyes should be
parallel to the floor. As in pavan
muktasana, the arms can either
reach forward (figure lOc and
lOd) or to the sides (figure lOe),
be extended or relaxed (figure
!Of) , according to purpose or
need.
FIGURE lOC
FIGURE IOD
FIGURE IOE FIGURE !OF
Iyengar Yoga A sana Alternatives: Tlte Neck atid Shoulders 27

This pose may be done unsup-
ported, with the arms forward and
the hands cup-shaped to charge
the arms, lift the shoulders and
release the n eck (figure 1Og).
Place a blanket or block under
the head to lengthen the sternum
and anterior spine more forward
(figure lOh). This extension is
greater when a block is placed
under the sternum as well (figure FIGURE lOG
lOi).Join the knees and feet, reach
the arms back, and energetically
move the knees towards the feet
to alleviate discomfort in the base
ofthe neck (balasana, figure l Oj).
The shoulders are balanced and
are given relief by doing these
modifications after sirsasana I.
FIGURE IOH
FIGURE IOI
FIGURE IOJ

FIGURE 11 ~ Parsva
Adho Mukha Virasana
Set up the props as in adho mukha
virasana 1 but have the bolsters
(figure ll a) or bench (figure
11 b) to the side. Either the fore-
head or ear may rest depending
on the capacity or requirement.
Regardless, the neck should not
strai n. Refer to the directions in
figure 8 to go to the side in this
variation.
FIGURE llA
FIGURE llB
Iyengar Yoga Asana Altematives: TI1e Neck and Shoulders 29

FIGURE 12 ~ Supta
Tadasana
Lie on a sticky mat with the feet
at the wall and a blanket sup-
porting the head and neck. Place
a blanket under the back if it is
uncomfortable on the bones. Hold
the edges of the mat and roll the
inner upper arms out. With the
heels, hip width, on the wall, bend
the knees and scoot the buttocks
slightly closer to the wall (figure
12a). Press the heels into the wall
and straighten the knees without FIGURE 12A
lifting the buttocks to drag the
buttocks and trapezius towards
the wall. Hold the edges of the
mat with the arms straight. Use the
hands to press the mat towards the
wall turning the inner upper arms
out to lift the front chest towards
the head. Extend the inner heels
further into the wall and lengthen
the toes. Descend the inner knees
and groins. Roll the fronts of the
thighs in, spread the backs of the
thighs out. Press the outer legs to
the inner legs. Relax the abdomen
and facial muscles (figure 12b).
The wide stance of the feet pro- FIGURE 12B
vides a deeper sensitivity to the
actions and effects of the pose.
A second attempt may be made
with the big toes joined to repeat
the actions with the same desired
effects (figure 12c).Asoberfeeling
comes to the body and mind
as proper postural alignment is
achieved in this pose.
FIGURE 12C
30 Iyengar Yoga Asana Altematives: The Neck and Shoulders

FIGURE 13 ~ Supta Tadasana with Traction
The figures depict the placement of straps with the help of an assistant.
The student can ultimately learn to place the belts as described here,
however, it takes some coordination and experience to develop this
self-sufficiency. Have one standard length belt and one long belt, each
buckled into a circle. In lieu ofa long belt, buckle two belts together in
one big loop. Position the standard length belt around the shoulders
as ifputting on a jacket (figure 13a). Bring the belt under the armpits
and over the shoulders (figure 13b). Adjust the belt downwards over
the shoulders to tighten the slackness under the armpits (figure 13c).
Bring the belt from over the shoulders underneath the part that goes
across the back (figure 13d).
FIGURE 13A
FIGURE 13B FIGURE 13C
FIGURE 13D

Lift the belt so that it comes closer
to the sides of the neck (figure
13e)1 and then pull it down (figure
Bf). Thread the long belt through
that loop (figure 13g) and adjust
the length of this belt to reach the
ankles (figure l 3h). Sit down on a
sticky mat placed at the wall. You
can either put the feet inside the
loop1 o r for greater ease and effect1
press your feet into a slanting plank
or dowel rod that has been placed
through the end of the long loop.
Lie down in supta tadasana with
the feet hip-width1 the heels to
thewall/ plankand the back of the
head on a blanket. Turn the backs
FIGURE 13E of the hands to the flootj rolling
the inner upper arms out (figure
13i). This position provides trac-
tion to the shoulders-tighten the
belt if it does not. The trapezius
is drawn towards the waist and
the upper chest expands to the
head. The neck lengthens to the
head and the head lengthens away
from the neck creating space in the
cervical vertebrae. The abdomen
gets toned to the back of the body
and a quiet sensation comes to
the head.
FIGURE 13F
32 Iyengar Yoga A sana Alternatives: Tire Neck and Shoulders

FIGURE 13G FIGURE 13H
FIGURE 131
Iyerrgar Yoga Asana Altematives: Tire Neck and Shoulders 33

FIGURE 14 ~ Supta Urdhva
Hastasana
Lie down in supta tadasana (see figure 12) with a
belt placed around the forearms near the elbows.
The blanket supporting the head should be placed
lengthwise so the arms will be free to extend over-
head. Work the legs as described in figure 12, and
raise the arms perpendicular from the floor with
the palms facing each other (figure 14a). Extend the
elbows straight by pressing the arms into the belt.
Widen the collar bones, press the outer upper arms
to the floor and raise the inner shoulder blades to
the ceiling to open and spread the chest. Relax the
abdomen. Maintain these actions and extend the
arms overhead by the ears (figure 14b).lfthe arms
do not reach the floor, place blankets or a bolster
under the hands (figure 14c). Press the forearms
into the strap to turn the inner upper arms out and
the forearms in. Maintain the shoulders moving
away from the ears and extend the thumbs from
the shoulders. Lengthen the small fingers away
from the armpits. The back of the hands can turn
to the floor or support. Weights may be placed on
the palms to increase the intensity of the extension
FIGURE 14A
(figure 14d).
FIGURE 14B
34 Iymgar Yoga A sana Altematives: The Neck and Shoulders

FIGURE 14C
FIGURE 14D

FIGURE 15 ~ Anantasana
Tills intermediate stage of anantasana increases the range ofmotion of

the shoulder: it appears deceptively simple, but may be quite challeng-
ing. Tills pose may be attempted at the wall (figure l Sa), but is more
effective practiced on the floor because of its weight bearing nature.
Place a sticky mat on the floor. A blanket may be placed on top if the
body is honey. Lie face down on the mat and turn onto the right side.
Place the left hand on the floor in front ofthe body to steady the balance
and reach the right arm, with the palm facing the floor, over the head.
Join the feet and align the ankles, hips, shoulders, neck, head, elbow,
wrist, and hand on the same plane. Allow the head to rest on the right
arm. Extend the inner legs towards the feet and lengthen the armpit
to the elbow (figure l Sb) . Tills may be difficult, and there could be a
large gap between the armpit and the floor. If so, practice this exten-
sion regularly to improve. Steadily reach the armpit to the elbow and
the elbow to the wrist. Open the palm and press all the knuckle joints
on the floor. Lengthen the elbow away from the armpit and press the
outer armpit to the floor. Continue pressing the outer armpit to the
floor, then bend the elbow and support the head, just above the ear,
in the right palm. Cycle through these actions to open the shoulder
joint (figure l Sc) . Repeat on the other side.
FIGURE 15A
36 Iyengar Yoga Asana Alternat.ives: The Neck and Shoulders

Place a sticky mat on top of a platform or sturdy table with one or two blankets draped slightly over the
edge. Use more blankets ifboney. For scoliosis or other conditions that shorten one side of the upper
torso, lie on the side that is longer on the platform. Shift over the edge of the platform until the side ribs
curve down over the edge. Reach the lower hand to the floor for stability. Place a stool or bolster on the
floor near the platform if the floor is not within reach of the hand. Allow the side of the body to stretch
with gravity to the floor. Let the head and neck hang as well (figure lSd). An assistant places her hand on
the side of the hip to provide traction that increases the side extension (figure lSe).
FIGURE 15B
FIGURE 15C
Iyengar Yoga A sana Alternatives: The Neck and Shoulders 37

FIGURE 15D
FIGURE 15E
38 Iyengar Yoga A sana Alternatives: The Neck and Shoulders

FIGURE 16 + Tadasana
The following variations are to be practiced with the feet hip width. B.K.S. Iyengar has
taught that this spreads the intelligence so learning will take place. This pose may be
practiced with belts as in figure 13, with the heels inside the loop (figure l6a). A rope
or belt, with a weight can be placed over the shoulders like a jacket (figure l6b, shown
with 10 pounds). Place a strap, unbuckled, on the back, across the shoulders. Bring the
strap under the armpits, up the front of the chest, and drape them over the shoulders.
Hold the ends of the straps and cross them behind the back. Walk the hands up the
straps, as high as possible, and then pull them downwards to move the trapezius to the
waist and lift the chest (figure 16c).
Stand in tadasasna with the back to the wall. Step the heels slightly away from the wall
to allow room for the buttocks. The legs should be parallel to the wall, not slanting away.
Turn the palms out, 45 degrees from the hips. The backs of the arms and hands are flush
to the wall. Roll the inner arms out to lift and spread the chest (figure 16d). Maintain
the inner upper arms rolling out and roll the forearms in, to turn the palms of the hand
onto the wall (figure 16e). FIGURE 16C
FIGURE 16D
FIGURE 16A FIGURE 16B
Iyengar Yoga Asana Alternatives: T11e Neck a11d Shoulders 39

FIGURE 16E
Loop two straps through separate lower rope hooks, then cross and
buckle them. With the back at the wall, place the straps on the shoul-
ders, positioned so that ends of the straps can be pulled towards the
floor (figure 16£). Tighten the straps so that they traction the shoulders
and trapezius away from the neck while standing in tadasana with the
feet hip width (figure 16g). With the backs of the hands on the wall,
turn the upper arms out and lift the chest.
Turning the arms out first and then the forearms and hands in helps
to keep the shoulders back and down to the wall and creates space
to facilitate an extension of the neck. Buckle two belts around the FIGURE 16G
bar of a trestle. Stand with the back to the trestle, and hold the belts
as wide as possible without letting them slide on the bar. Bend the
knees to grasp the belts (figure 16h). Straighten the knees to tadasana
(figure 16i). The circumference of the belts will have to be adjusted
to the desired length for pulling the arms, shoulders, and trapezius
down. Lift, open, and spread the chest keeping the shoulders in this
downward traction.
Position two belts around the upper chest above the breasts. An
assistant places a play brick ( www.recronics.com) between the belts

FIGURE 16H FIGURE 161
and the spine (figures 16j and 16k). This support

promotes working the back uniformly and helps to
correct scoliosis. Many postures including standing
poses, adho mukha svanasana, salamba sirsasana,
pincha mayurasana, adho mukha virasana, and
forward bends, may be practiced with this play
brick on the back.
All of these variations of tadasana help to evenly

open the front chest and narrow the back chest.
Instead of digging the shoulder blades in, move the
outer edges of the shoulders back and spread the
skin between the inner shoulder blades. The skin
of the paraspinal muscles should move away from FIGURE 16} FIGURE 16K
the spine and the muscles should follow the skin.
The collar bones should be evenly spread and the
sternum lifted. The spine elongates and the carriage
is corrected. Hyperkyphosis and other abnormal
spinal curvatures can be overcome. This will promote
a natural curvature of the neck and normal head
position atop the spine.
Iyengar Yoga Asana Alternatives: TI1e Neck and Shoulders 41

FIGURE 17 + Ardha Parsva Hastasana
Stand in tadasana with the right side of the body facing a wall and the
feet hip-width. Place the right hand on the wall turned out 90 degrees
and extend the arm. Place the opposite hand on the hip. Open the
center of the palm and spread the fingers against the surface of the
wall. Broaden the heel of the hand. The joints of the fingers should
be flush on the wall. Press the inner edge of the thumb into the wall.
Similarly, the inner edges of each finger should press into the wall so
that the fingernails are parallel to the wall. Maintain these actions while
rolling the inner upper arm to the outer arm with the deltoid/ shoulder
down. Lift the triceps firmly onto the bone. Raise the small finger side
of the elbow joint (figure 17a). These actions will be felt in the arm
all the way to the sternum and upper back. Maintain the actions and
turn the fingers to point to the ceiling. An assistant may help keep the
student's inner elbow joint lifting as the hand is slowly turned until
the fingers are pointing up (figure 17b).1he hand should remain flush
to the wall. Continue to roll the inner upper arm out, but rotate the
forearm in from the outer elbow to the thumb (figure 17c).
FIGURE 17B
FIGURE 17A FIGURE 17C

FIGURE 18 ~ Salamba
Ardha Parsva Hastasana
This strong variation can adjust
imbalances in the shoulder and
elbow joints. Use any props avail-
able to support the upper arm.
The figure depicted here shows
a tall stool, two viparita karani
boxes, and a block. Use sticky
mats between the props so they
do not slip. Stand sideways to the
props and place the upper arm
and elbow on top of the support,
with the forearm unsupported.
The palm of the hand is on the
wall with the fingers pointing to
the floor. Roll the inner upper arm
out so the biceps faces the ceiling.
Optionally, and stronger yet, place
a rope with a weight slung through
it on the heel of the hand : a five
pound weight is depicted in figure
18. This pose looks intimidating,
but is well worth the effort for its
ability to correct imbalance of the
arm bo nes.
FIGURE 18

FIGURE 19 ~ ViparitaArdhaHastasana
Standing sideways to a wall, reach the hand nearest the wall behind you at the height of the hip (figure 19a),
waist.(fi.gure 19b), or shoulder (figure 19c). The grip of the hand fixes the arm position. A t RIMYI they
use the grill. Holding the outer corner of a wall or window is the best when no grill is available. However,
if no corner is available simply reach the hand back with the fingers extended. The opposite arm extends
behind the back and the fingers reach for the wall. If done at a rope wall, the hook or rope may be caught
with that opposite ann (figure l 9d). The ann along the wall should be positioned at a height that is not
irritating; start low and with improvement move the hand hjgher. A pulling sensation may develop if
th e bones and muscles are not ready for the height of the shoulder. In that case, lower the hand until the
sensation subsides. The arm should work without puJiing a tendon or ligament. The inner arm should be
flush to the wall and should not waiver. The deltoid rolls in from back to fro nt while simultaneously the
44 Tyengar Yoga Asana Alternatives: Tiu Neck and Shoulders

scapula works back and down. Spread the heel of
the hand and broaden the wrist. While the deltoid
and hand are fixed in position, lift the arm bones up.
An assistant can help to roll the student's deltoid
fro m back to fron t. This is helpful for rotator cuff
injuries. The heel of the hand might also be held to
the wall by an assistant (figure 19e) to stabilize the
arm from the hand to the shoulder. The assistant
can lift the forearm, near the elbow joint, to align
th e arm bones and balance the inner and outer
elbow (figure 19f).
FIGURE 19D
FIGURE 19E
FIGURE 19C FIGURE 19F
Iyengar Yoga Asar1a Alternatives: T11e Neck and Shoulders 45

FIGURE 20 ~ Urdhva Hastasana
Face the wall and stand in tadasana with the feet approximately one foot from the wall
and stepped apart hip width. Place the hands on the wall at the height and width of
the shoulders. Spread the fingers maximally with the wrists parallel to the floor. Point
the elbows down and bring them inwards while widening the clavicles and lifting the
sternum. Move the trapezius down and gaze softly forward (figure 20a). Maintaining
the integrity of the above actions slowly, in stages or one movement, according to
capacity, raise the hands up the wall until the elbows are straight (figure 20b). Extend
the arms fully; rest the forehead on the wall to keep the head quiet (figure 20c). Move
the shoulders, and triceps to the floor while raising the armpits and biceps up to the
ceiling. Turn the inner upper arms out and the forearms in. In addition to opening th~
shoulders, this pose may alleviate lymphedema in the collarbones, arms, and hands.
Build up the time in this pose to one minute for better drainage. If it is not possible to
hold the pose for the full minute, attempt three 20-second segments.
FIGURE 20A
46 lye11gar Yoga Asana Alternatives: The Neck and Shoulders

Urdhva hastasana may also be done sitting on a
halasana box or chair with the back to the wall. Use
a blanket or bolster under the buttocks to remove
the sluggishness of the legs for the torso to lift. The
backs of the hands are raised up the wall until the
arms are straight. The backs of the hands and the
arms should be flush to the wall. Move the triceps
and shoulders down and lift the biceps and armpits
up. An assistant can observe the difference in the
extension of the arms (figure 20d). Having observed
that, the assistant places her hands between the wall
and the upper arms, and holds the upper arms wilh
her thumbs near the biceps and elbows and her hands
fully catching hold of the triceps (figure 20e). Roll
the upper arms from inside out (the assistant's right
hand will turn clockwise and the left hand counter-
clockwise) while pressing the student's arms firmly
on the wall (figure 20f).
FIGURE 20E
FIGURE 20F
FIGURE 20D
lyengar Yoga Asana Alternatives: The Neck and Shoulders 47

The arms will be straight and evenly balanced, left

and right. The student maintains this extension
and balance while the assistant slowly releases the
adjustment (figure 20g). To increase the intensity
of opening the neck and shoulders, the assistant
places a dowel behind the head and in front of the
arms (figure 20h).
48 Iyengar Yoga Asarw Alternatives: Th e Neck and Shoulders

FIGURE 20I
1hread two straps through two hooks and belt them

evenly in a 12 inch loop. With the back to the wa111 FIGURE 20J
hold the belts with the hands. Lift the chest1 bend the
knees1 and lower the buttocks to the floor. Lengthen
the arms while engaging them into the shoulder
sockets (figure 20i). To intensify the pose1 lift the
feet offthe floor. An assistant holds the student's hips
and moves them towards the floor (figure 20j) to
deepen the intensity of the stretch and further open
the arms1 shoulderS1 and sides of the chest.
Iyengar Yoga Asmw Alternatives: The Neck atid Shoulders 49

A challenging reverse position of this pose (viparita
urdhva hastasana) may be attempted. Double the
upper ropes from two separate hooks. Stand side-
ways with the less intelligent arm nearest the rope
wall and hold the rope with the hand. Ifit is the left
arm first, reach the doubled rope furthest to the
left. The thumb points down and the palm faces
the floor (figure 20k). Turn away from the hand
holding the rope so that the back faces the wall.
Reach the right hand to catch the other doubled
rope (figure 201) with the thumb pointing down.
Extend the arms straight and lift the sides of the
chest (figure 20m).
FIGURE 20K
50 Iyengar Yoga A sana Alternatives: The N eck and Shoulders

FIGURE 20L FIGURE 20M
Iymgar Yoga Asana Alternatives: The Neck and Sho11lders 51

FIGURE 20N FIGURE 200
Step the feet back, bend the knees, and lower the buttocks
towards the floor. Adjust the feet forward or backward to
position the buttocks at the wall. Lower the head and roll
the deltoids in (figure 20n). Hold this position to your
maximum capacity for two to three repetitions. Roll the
deltoids in and move the triceps to the deltoids, then lift the
feet off the floor, and bring the thighs to the abdomen (figure
20o). This challenges the arm muscles without overstretch-
ing the ligaments and tendons. Holding this pose requires
strength, so attempt a·few repetitions with brief holds for
maximum benefit.
52 Iyengar Yoga Asana Altenratives: TI1e Neck and Shoulders

FIGURE 21 ~ BaddhaAnguliasana
Stand in tadasana with the feet hip width, the fingers

interlocked behind the back and the arms extended
straight. Reach the hands to the floor, lift the chest,
and move the trapezius to the waist (figure 21a). Press
the heels, move the thighs back, maintain the navel
towards the spine and the back chest lifted. Turn
the palms from inside out, by moving the thumb
towards the body and then down (figure 2lb).
Extend the inner arms to straighten the elbows and
lift the dorsal into the body. Open the chest more
by moving the back ribs forward without protrud-
ing the abdomen. Turn the hands out the opposite
direction. Straightening the elbows in this position
is difficult, but the attempt will increase the strength
in the triceps and biceps by bringing them firmly to
the bone. Make a second attempt by bending the
elbows, turning the palms out more (figure 2lc),
and then extend the arms straighter by firming the
triceps and lengthening the biceps (figure 2ld).
Hold for 10 to 30 seconds. Release the hands and
extend the arms straight in tadasana by rolling the
inner upper arms out and the forearms in. Move the
triceps to the bone and lengthen the biceps. Repeat,
changing the interlocking of the fingers.
Iyengar Yoga A sa~~ a Alternatives: The Neck and Shoulders 53

FIGURE 21C FIGURE 21D
54 Iyorgar Yoga Asana Altematives: The Neck and Shoulders

If it is difficult to straighten the elbows, sit on a
halasana box or chair with a blanket or bolster. Place
a chair or halasana box with a blanket or bolster on
top behind your seat. Press the palms turned out
behind you on the support (figure 2le). The resis-
tance of the support will increase the turning out of
the palms and the extension of the elbows.
Stand in tadasana with the back to a trestle or coun-

tertop. Interlock the fingers behind the back and place
them on top ofthe trestle. Roll the inner upper arms
out, lift the sternum, and extend the arms straight
(figure 2lf).lfthe arms are able to extend straight,
step forward about 6 inches, and squat to the floor
maintaining the heels on the floor. Lift the chest
and let the weight of the buttocks sink to the floor
to intensify the stretch (figure 2lg). This is a good
pose to practice instead of rope l when ropes are
not available.
FIGURE 21F
FIGURE 21E
FIGURE 21G
lyengar Yoga Asana Alternatives: Tize Neck and Shoulders 55

FIGURE 22 + Urdhva
Baddha Anguliasana
Stand in tadasana with the feet hip
width and interlock the fingers
in front. Touch the tips of the
thumbs to each other. Extend the
arms forward, parallel to the floor,
and turn the palms out. Keep the
thumbs together and the fingers
closely interlocked, especially
th e ring and small fingers, and
straighten the elbows. Widen the
collar bones evenly, move the
shoulders and trapezius down,
and lift the sides of the chest and
sternum. Take the outer shoulder
blades back by moving the upper
arms back in towards the body
(figure 22a). Work the elbows
straight in this intermediate stage
of the posture, as that challenge
will increase in the final position,
which follows. Press into the heels
and move the thighs back to avoid
digging the waist forward. Main-
tain the previous actions, and with
the sh oulders down, raise the
arms up with the elbows straight
(figure 22b). It is more impor-
tant to keep the elbows straight
and arms extended than to raise
the arms completely to vertical.
Extend the inner arms up to the
hands. Extend the knuckles to the
ceiling and open the centers ofthe
palms. Finn the small finger sides
of the hands to the floor and the
thumb sides to the ceiling. Move
the skin of the forearms into the FIGURE 22A FIGURE 22B
bones to maintain the extension
of the elbows.
56 lyengar Yoga Asana Alternatives: 11re Neck and Shoulders

FIGURE 23 ~ Baddha Hastasana
Stand in tadasana and reach the left hand behind the back to hold the
right upper arm from behind (figure 23a). Next, catch the right hand
to the left upper arm (figure 23b). If this is not possible, place straps
on the upper arms and reach the left hand to hold the strap on the
right upper arm (figure 23c) and the right hand to hold the strap on
the left upper arm (figure 23d). Move the upper arms and trapezius
down to lift the chest up. Hold this position for 10 to 30 seconds. Do
not simply release the arms, but actively extend them down to move
the trapezius further to th e waist (figure 23e). The movement of the
trapezius is increased after reaching the arms down actively. Repeat
catching the right hand to the left upper arm first.
FIGURE 23C
Tyettgar Yoga Asatta Altematives: T11e Neck m~d Shoulders 57

FIGURE 23D FIGURE 23E
58 Iyengar Yoga Asana Alternatives: T11e Neck atld Shoulders

FIGURE 24 ~ Gomukhasanain Tadasana
Stand in tadasana with the feet hip width. Reach the left hand up the back and grasp a
support such as a ledge or shelf, window grill (as at RIMYI), or upper rope. The hand
should be on the middle of the back with the wrist soft-if it goes to the side of the
spine, bring the hand lower on the back until it can be positioned on the spine. The
outer arm can also be held inside a support (figure 24a) or an assistant can hold the
elbow in. While holding the support you may bend the knees in an effort to bring the
hand higher up the back (figure 24b). The lower arm which reaches up the back is the
more difficult position. When repeating with the right hand from below it will seem
more challenging because it is usually the dominant, more muscular, arm. Maintain the
lift of the arm up the back and move away from the support (figure 24c).
FIGURE 24A
Tymgar Yoga Asarra Alter~~atives : The Neck arrd Shoulders 59

Raise the right arm up to urdhva hastasana, then
bend the elbow and catch the left hand. Catch all
the fingers, even the thumbs and small fingers. If
it is not possible to catch the hands, use a strap
(figure 24d). The right elbow should point up and
not touch the head. To facilitate this, place the arm
at the edge of a wall corner or door frame (figure
24e). An assistant holds both the elbows to keep
the lower arm pointing down and the raised arm
pointing up (figure 24f). Hold for l 0 to 30 seconds
each side and repeat up to three times. Repeat with
the right hand reaching up the back first.
FIGURE 24E
FIGURE 24D FIGURE 24F
60 Iyengar Yoga Asar-ra Alternatives: T11e Neck ar1d Shoulders

FIGURE 25 ~ Paschim Namaskarasana
An assistant can help position the hands. The student stands in tadasana
with the feet hip width. Extend the arms 45 degrees away from the
body with the palms turned out. Extend the biceps from the armpits
to the hands (figure 2Sa). Turn the palms back. The assistant stands
behind the student and reaches her arms inside the students' arms,
then catches the small finger sides of the hands (figure 2Sb). The
assistant should solicit the student for feedback regarding his/ her limit.
The assistant asks the student to take a deep inhalation to lift the
chest. On an exhalation the student, with the assistant's help, b rings
the hands together with the small fingers exactly on the center of the
spine (figures 2Sc and 2Sd). The inner rims of the hands should press
evenly, with the fingers together and the thumbs moving away from
the index fingers.
FIGURE 25A
FIGURE 25B FIGURE 25C FIGURE 25D

Draw the elbows back until the inner rims of the hands, the palms and
the fingers, can press evenly into each other or onto the block. Move
the elbows towards the hands. Roll the inner forearms up to the small
fingers (figure 2Se). For rotator cuffinjuries o r shoulder impingements,
roll the deltoids in and lift the triceps up to the deltoids. The intensity
of this pose is increased with a block positioned between the hands,
centered on the spine (figure 2Sf). Release the arms dynamically to
tadasana so that the top corners of the front of the upper chest are
able to lift more noticeably. This action imparts insight into the shape
of the chest for pranayama. If the pose is very difficult to achieve, and
no assistant is available, use a ledge, a hook on the rope wall, or trestle
to lift the hands up the back.
FIGURE 25F
FIGURE 25E
62 Iyengar Yoga Asana Alternatives: Tire Neck arrd Shoulders

FIGURE 26 ~ Chaturanga Dandasana
Place the hands on a wall at the height and width of the shoulders. Stand close enough
to the wall so the elbows are bent. Lift the heels of the hands away from the wall and
move the thumbs towards the floor. Press the inner rims of the thumbs onto the wall
then slowly move the heels of the hands back to the wall with the inner thumbs resisting
the movement. Each knuckle joint should be extended and flush to the walL Move the
inner edges of each finger into the wall until the fingernails are parallel to the wall. All
these actions open and spread the hands. Press the inner rims of the hands and bring the
elbows closer to each other. The outer elbows should face the floor. Adjust the shoulders
away from the ears1 and lift the sternum (figure 26a). The muscles of the arms are to be
engaged evenly onto the bones. A sense of strength is experienced. Step slightly further
from the wall. Elongate the torso with the circumference of the bottom rib cage in line
with the top of the pelvis. Raise the heels off the floor (figure 26b). Maintain the body
aligned in tadasana1 bend the elbows more to move closer to the wall (figure 26c). Repeat
to capacity going to and from the wall1 but not completely straightening the elbows in this
variation. This first phase builds arm strength to enable classic chaturanga dandasana. FIGURE 26A

Repeat the actions above, but with the hands placed
on a lower support such as a counter top o r trestle.
Place the hands at an angle on the edge ofthe support
so the fingers are pointing slightly up. A sticky mat
may be used so the hands don't slide. Although the
hands will not be flush on the support, open and
broaden the heels of the hands and spread the fingers
as above. Begin with the arms straight (figure 26d),
then bend the elbows with the upper arms moving
away from the shoulders and forearms moving
towards the hands. Maintain the elbows close into
the body, but not touching the torso (figure 26e).
Bend and straighten the arms. Repeat to capacity.
The hands may be placed on the height ofa platform

or the seat ofa chair against a wall for the next phase.
Adjust the position of the limbs and torso as above
starting with arms straight (figure 26f) then bending
the elbows (figure 26g).
The last phase before attempting classic chaturanga

dandasana is working at a 30 degree angle with the
fingers pointing forward or turned out 90 degrees.
As the angle of the body from the floor is decreased, FIGURE 26D
the hands may need to be turned out 90 degrees
to maintain the correct actions of the shoulders.
Use the support of a viparita dandasana bench (as
shown), step stool, or similar height. Spread the
fingers, open the palms, and widen the collarbones.
Spread and lengthen the sternum towards the chin.
Keep the back of the head and neck long and the
chin away from the chest (figure 26h). As before,
bend the elbows (figure 26i) and straighten them,
repeating according to capacity.
At first, chaturanga dandasana, may only be pos-

sible with wall support. Each time start from the
wall and attempt the next phase. Proceed along the
intermediate stages in this manner. Arm strengtl1 will
build intelligently this way and classic chaturanga
dandasana will be possible.
FIGURE 26E

FIGURE 26F FIGURE 26G
FIGU RE 26H FIGURE 261
Iyengar Yoga Asana Alternatives: Tile Neck and Shoulders 65

The actions of classic chaturanga
dandasana may be reali zed
without strain when lying prone
with a block across the pelvis
and another placed vertically
under the sternum (figure 26j).
As described above, spread the
hands on the floor next to the
upper chest. Strongly press the
index fingers and thumbs. Roll
the shoulders to the waist and FIGURE 26}
point the outer elbows back. Turn
the toes under and walk the feet
in. Lift the fronts of the thighs,
extend the calves to the heels, and
spread the upper calf muscles.
Charge the forearms back and
widen the diaphragm moving
it forward. Move the sternum
forward. Repeat the pose without
the sternum supported (figure
26k) . Blocks are placed under
the shoulders to strengthen the FIGURE 26K
shoulder girdle (figure 261). The
actions of chaturanga dandasana
are correctly practiced with these
various supports without losing
stamina. Building up strength
in the arms and shoulders, with
correct alignment of the torso,
will lead to maintaining the pose
with no support.
FIGURE 26L
66 Iyengar Yoga A sana Alternatives: Tile Neck and Shoulders

FIGURE 27 ~ Bharadvajasana
Sit backwards, with the legs stepped through a

backless chair, and a blanket or bolster under the
buttocks to remove inertia from the legs. The hips
should not be lower than the knees. Place the outer
edges of the heels against the inside of the chair's
back legs, and the outer thighs along the inner edge
ofthe backrest. Press these points of contact into the
structure of the chair to make a frame of the outer
body and lift the spine. Reach the arms behind the
back, with the palms facing the seat of the chair. Lift
the spine upright on its axis and move the outer
sides of the buttocks down to the floor. Ascend the
sternum and descend the trapezius to the waist. Roll
the inner upper arms out to initiate rotation of the
spine (figure 27a). Turning first to the right, place
FIGURE 27B
the left forearm on the backrest of the chair and the right hand on a
halasana box (figure 27b) or table. Move the left buttock bone back
and the right forward to preserve the rotation of the spine moving
upward from its base. On inhalations, lift the front, back, and sides of
the spine and create space between the vertebrae. On the exhalations,
turn more to move into that space. Continue to roll the inner upper
arms out, using the arms to turn and avoid making the muscles hard
on the back. Turn the spine to the right and turn the chest only as far
as the spine has revolved. Move the skin across the middle of the back
from right to left and allow the muscle to follow the skin. Avoid leading
the turn with the head. Remain with the chin in line to the sternum or
turn the head the opposite direction. Do several repetitions each side.
If the sternum is maximally lifted with the trapezius down, attempt to
turn the head in the direction of the twist on the last repetition. Move
the left ear forward and the right ear backward.
FIGURE 27A
Iyengar Yoga Asana Alternatives: Tile Neck and Shoulders 67

Both arms may be extended at
the height of the shoulders using
the support of a trestle and wall.
This simple variation encourages a
horizontal expansion of the chest
(figure 27c). Maintain the width
ofthe shoulders and height of the
spine and catch the back hand to
the seat of the chair from behind
and the front forearm on the back
rest of the chair (figure 27d ).
While maintaining the extension
of the spine, for a deeper rotation,
catch the hand further back along
the seat (figure 27e), and finally
to the back of the chair (figure
27f).
FIGURE 27C
FIGURE 27D FIGURE 27E FIGURE 27F
68 lyer1gar Yoga A sana Alternatives: J11e Neck and Shoulders

Sit sideways in the chair, holding the hands to the back of the chair. A rope, with
a weight attached, intensifies traction of the shoulders and may be done without
an assistant (figure 27g, shown with 10 pounds). A chair or halasana box may be
used for sitting with the side of the legs flush to a wall. Use a blanket, blocks, or
a bolster under the feet if they dangle above the floor. Place a bolster vertically
between the right side of the abdomen and the wall, up to the head. The bolster
imparts softness in the action of twisting, so the muscles don't overwork and
resist the actions, while lifting up and turning. When turning the torso first to
the right, turn the head to the left, to maximize softness of the throat, neck and
face (figure 27h). Do several repetitions on each side with the head turning in
the opposite direction of the twist. Placing the bolster horizontally at the height
of the abdomen, using a block for the head (figure 27i) widens the twist of the
abdomen, chest, and shoulders.
FIGURE 27G
FIGURE 27H FIGURE 27I
Iyengar Yoga Asana Alternatives: T11e Neck arzd Shoulders 69

Place a block between the outer thigh and the wall
and a bolster on top of it to support the spine ver-
tically from the floor and parallel to the wall. An
assistant uses a rope to adjust the collar bones (figures
27j and 27k) and/ or the trapezius at the nape of the
neck (figure 271). Review figure 4 for placement of
the rope. Crossing the rope near the nape ofthe neck
is very helpful to reduce hyperkyphosis. Instead of
a bolster, a block m ay be placed between the head
and the wall, with the head turned opposite the
direction of the twist. The ears should be parallel
to the wall (figure 27m) . Using her foot an assistant
keeps the student's outer hip back. At the same time
the assistant uses her hands to move the back ribs
in and the forward shoulder back (figure 27 n). A
block held between the knees creates a fram e of the
outer body and helps to maintain the hips, groins,
and knees parallel to each other (figure 27o) .
FIGURE 27}
FIGURE 27K FIGURE 2 7L
70 Iyengar Yoga A sana Altematives: The Neck and Shoulders

FIGURE 27N
FIGURE 2 7M
FIGURE 27 0
lyengar Yoga Asana Alternatives: The Neck and Sho11lders 71

FIGURE 28 ~ UtthitaMarichyasana
With the back facing the wall, stand first with the left leg approximately
two feet from the wall and the right leg bent at the knee with the foot
on the seat of a chair. The standing leg should be perpendicular to the
floor. Place the left hand to the right knee and the right hand on the
wall (figure 28a). Roll the inner upper arms out to initiate the rota-
tion of the torso and shoulders to the right. Lift the sternum up and
move the trapezius down. Reach the hand further back on the wall
to deepen the opening the shoulder and sternum. A rope with a plate
weight assists the downward traction of the shoulders and trapezius.
This variation has the side of the torso supported at the wall using a
halasana box for the raised leg foot, nearest the wall, and a quarter
round under the heel of the standing leg. Rest the forehead on the wall
to quiet the tension of the head and neck. Hold the hooks as leverage
to roll the inner upper arms out and revolve the torso (figure 28b).
The head may be turned opposite the direction of the rotation with a
block (or bolster as shown in bharadvajasana) to keep the spine and
ears parallel to the wall, enhancing the cervical spinal extension and
blood flow to the thyroid, ears, sinuses, eyes, and brain (figure 28c).
FIGURE 28A
72 Iyengar Yoga A sana Alternatives: Tile Neck and Shoulders

An assistant adjusts the ears parallel with one hand
on the side of the head above the ear and the other on
the opposite jaw (figure 28d) . The student should lift
the sternum to the wall and move the trapezius to the
waist. To help th e student maintain the ears parallel
while adjusting the trapezius, the assistant should
keep one hand on the side of the head, and with the
other hand, m ove the trapezius down (figure 28e). If
the student's trapezius rem ains down, the assistant
can adjust the student's shoulder back from the wall
(figure 28f) . The student can release the back arm
down while an assistant adjusts the shoulut:r further
back. The assistant interlocks her fingers and places
them over the student's collar bones with her right
forearm along the top chest and the left forearm
along the right side of the spine. The assistant's left
hip holds the students left hip in place and with the
forearms moves the whole right quadrant of the
shoulder girdle back (figure 28g ) .
FIGURE 28D
FIGURE 28E FIGURE 28F FIGURE 28G
Iyerrgar Yoga Asm1a Alterrratives: T11e Neck at1d Slwulders 73

FIGURE 29 ~
Marichyasana 3
Sit on a simhasana box with the
right side of the body at the wall,
the right knee bent, and the sole
of the foot on the bottom slant
of the box. Turn to the right firstj
reach the left hand to the hook
and the right hand to the back
outer edge of the box (figure 29a).
Rend the right elbow to widen the
chest. Release the right groin to
the floor and energetically move
that knee forward to turn the waist
and shoulders further. The back
hand may clasp a strap placed
around the box to intensify the
rotation of the shoulders (figure
29b) . Roll the inner upper arms
FIGURE 29A
out and move them down to lift
the chest and spine up. Turn the
spine and release the neck. Step
the extended leg foot to the edge
of the mat and move the outer
upper thigh in to the bone to bring
the back ribs in.
FIGURE 29B
74 Iyengar Yoga Asana Altematives: Th e Neck and Shoulders

An assistant can deepen this
action by placing one hand on
the student's back ribs to move the
chest forward. At the same time
the assistant can move the stu-
dent's shoulder back (figure 29c).
Compare the three to observe the
positive change in the student's
back, neck, and shoulders.
Sit on the simhasana box with

the strap on the box away from
the wall. If unable to cross the
left arm over to the outside of
the bent knee when turning to
the right, simply catch the left
forearm in front of the right shin
to turn (figure 29d). If crossing
the arm over is possible, deeper FIGURE 29C
rotation of the shoulders may be
achieved by placing a sticky mat
(preferably a sticky piece) on the
outer side of the bent knee. Cross
the arm over, roll the inner upper
arm to the outer upper arm, and
work to get the arm as low on
the outer thigh as possible (figure
29e). Place a rope under the bent
knee with the knot situated on the
outer side ofthe knee (figure 29f).
Bring the rope from the left side
of the knee, over the thigh, and
thread it through the knotted end
(figure 29g).
FIGURE 29D FIGURE 29F
FIGURE 29E FIGURE 29G
Iyengar Yoga Asana Alternatives: Tl1e Neck ar1d Shoulders 75

Bring this end back over the
front of the thigh, from right
to left (figure 29h), and wrap it
under the knee from left to right.
Continue to wrap until you run
out of rope and tuck the end in
(figure 29i). Cross the right arm
over the left leg, placing the arm
underneath the knot of the rope
(figure 29j). Roll the inner arms
out and move the right shoulder
blade towards the elbow. T he
arm is fixed lower on the outer
thigh enabling a greater rotation:
the right chest moves further FIGURE 29H FIGURE 29I
forward and the right shoulder
blade moves towards the elbow
(figure 29k) . These variations are
challenging, but deepen the twist,
providing a mobility and ope1mess
of the shoulders.
FIGURE 29J FIGURE 29K
76 Iyengar Yoga Asana Alternatives: Tize Neck and Shoulders

FIGURE 30 ~ Ardha Matsyendrasana 1
Starting with the right side of the torso at the wall, sit with the left foot under the buttock
and on top of the simhasana box with the knee on the floor. The left shin will be slanted
on the box. Bend the right knee up and cross it over the left leg, placing the foot on the
floor. Place a block between the right outer thigh and the wall to keep the shin upright
so the twist is narrow and o riginates at the base of the spine. Hold the hooks so that
the arms are extended and the chest and shoulders are broad (figure 30a). Maintain
the width of the chest; hold the hands on hooks closer in so the elbows bend to get
leverage to lift the sternum, move the trapezius down, and move the ribs from back to
front (figure 30b).
FIGURE 30B
FIGURE 30A
Iyengar Yoga Asmra Alternatives: Tl1c Neck and Shoulders 77

FIGURE 31 + Pasasana
With the right side of the body to the wall, squat with the heels up
on two quarter rounds, end to end, and the balls of the feet on the
floor. Place a block between the wall and the outer knee. Hold the
hands to the hooks or wall to start the rotation to the right (figure
3la). Maintain the position of the right hand while reaching the left
arm down the wall. Rotate the left upper arm from inside out and use
this leverage to turn the torso more (figure 3lb). An assistant helps
the student to get a deeper rotation by moving the student's back ribs
in (figure 3 l c). Move the left shoulder toward the elbow by rolling
the arm out (figures 3ld and 3le). Pasasana gives a deep twist to the
thoracic spine between the shoulder blades.
FIGURE 31C
FIGURE 31A FIGURE 31D
FIGURE 31E
FIGURE 31B
78 Iyengar Yoga Asatza Altematives: The Neck and Shoulders

FIGURE 32 ~Rope 1
For students with seriously chal-

lenged shoulder movement, start
with this gentle modification of
classic rope 1. Loop a set oflower
ropes through the upper ropes
from two separate hooks to extend
their length. Hold these long ropes
and step as far forward as the arms
and shoulders allow (figure 32a).
The feeling may be intense, but a
pulling or numb sensation should
not be tolerated, especially in the
wrist, elbow, or shoulder joints. In
these cases, try using ropes hung
from two hooks spaced further
apart (with a hook in-between,
figure 32b) . Progress from this
wider spacing of the ropes by
crossing them to contain the frame
of the shoulders, expand the front
chest, and lengthen the sternum
(figure 32c).
FIGURE 32A
FIGURE 32C
FIGURE 32B

The rope extensions may be doubled (figure 32d),
and then doubled again (figure 32e), to gradu-
ally work towards using the upper ropes without
extensions (figure 32f) . In all these variations face
the hands toward each other and step the feet hip-
width or wider ifvery inflexible in the hips and legs.
Tighten the fronts of the thighs so they are firm, and
roll them from outside in. Spread the backs of the
thighs from the inner to the outer legs. Move the
tops of the buttocks down towards the legs and the
middle buttocks horizontally into the body. These
actions of the legs and buttocks are essential for
maintaining the length of the lower back. Lift the
front of the pelvis. Raise the sides of the chest and
lift the chest forward, beyond the abdomen; the
abdomen should not protrude beyond the chest.
Lift the sternum and move the trapezius down to
the waist. Look forward or slightly up (figure 32g).
With diligent practice the head should be able to
look up without compressing the back of the neck
or shortening the spine at the lower back. The next
stage is lifting the heels up from the floor (figure
32h). Rather than hold the pose for a long time, do
three repetitions for 20 to 30 seconds. FIGURE 32D FIGURE 32E
FIGURE 32F FIGURE 32G FIGURE 32H
80 Iyengar Yoga Asana Alternatives: Th e Neck and Shoulders

Another fundamental rope 1 pose that increases the
horizontal expansion of the chest requires the space
of three upper rope hooks. Place the rope from the
hook furthest to the right (when facing away from
the wall, figure 32i) on the left upper arm. Place
a second rope from the hook furthest to the left
(figure 32j) on the right upper arm. The ropes will
be crossed behind the shoulders. Stand centered with
the middle hook, step away from the wall until there
is no slack in the ropes, lift the heels, extend the arms
to the sides, and turn the inner arms and palms out
(figure 32k). For large bodies, place two simhasana
boxes side-by-side. Step up on the simhasana boxes
and place the ropes as described. Place the soles of
the feet on the upper slant of the box with the heels
to the edge of the boxes (figure 321). This pose has
been nicknamed the "Titanic:'
FIGURE 321 FIGURE 32}
FIGURE 32K
FIGURE 32L
Tyengar Yoga Asana Alternatives: Tile Neck atJd Shoulders 81

To achieve additional breadth and lift of the chest, place the upper
ropes on the elbows with the forearms bent forward (figure 32m).
Work the legs and torso as described.
The next phase is lifting the heels up from the floor and moving the
torso forward, with the fronts of the thighs supported on the seat of a
chair. Turn the heels out to spread the backs of the thighs more. Repeat
the actions as described above. Ifpossible, look up without compress-
ing the back of the neck (figure 32n). An assistant places her foot on
the back rung of the chair to stabilize it. Placing a slanting plank with
the narrow edge across the middle of the shoulder blades (figure 32o)
she helps the student to lift the chest forward and up (figure 32p) . An
assistant stands on each side of the chair, stabilizing the chair with one
of each of their feet. Placing ropes under the students' armpits, they
lift the student's sides of the chest more (figure 32q). The next phase
is attempting the pose independent of the chair support following the
actions of the pose as described. The elbow joint or deltoid may hurt
without the support of the chair, especially those with a rotator cuff
injury. In this case, face the palms to the floor, bend the elbows and
point them up to the ceiling. Roll the deltoids from back to front (figure
32r). Then move the triceps forward to the deltoids to straighten the
elbows. Most students report that this resolves the problem of pain FIGURE 32M
in the elbows or deltoids possibly because this secures the ligaments
and tendons onto the bones.
FIGURE 32N FIGURE 320
82 Iyengar Yoga Asana Alternatives: Tlze Neck and Shoulders

FIGURE 32P FIGURE 32Q
FIGURE 32R
Iymgar Yoga Asana Alternatives: Tire Neck and Shoulders 83

Ultimately, the classic foot posi-
tion is with the heels on the wall.
To simulate this more challeng-
ing position, use a simhasana
box placed with the high end to
the wall. Holding the hands to
the ropes, slightly bend the torso
forward at the hips to step the
soles of the feet on the bottom
slant of the box (figure 32s).
Adjust the feet so that the small
toes and outer heels are lo the
edges of the box. Allowing the
arms to remain back, slowly move
the torso forward, lower the but-
tocks down, and lift the chest, to
come to the final position. Press
the heels back, lift the inner knees,
and look forward (figure 32t),
progressing to loolting up (figure
32u).
FIGURE 32S
FIGURE 32T FIGURE 32U
84 Tyengar Yoga Asana Alternatives: The Neck and Shoulders

Press the hands down on the ropes
towards the floor to achieve a
greater lift of the chest. Alterna-
tively, two simhasana boxes may
be used for a wider stance if the
lower back is compromised or the
student is heavy set (figure 32v).
An assistant holds the students
hands on the ropes and places
the ball of her foot on the back
between the shoulder blades
(figure 32w) to help the student
lift the chest (figure 32x).
FIGURE 32V
FIGURE 32W
FIGURE 32X
Tyengar Yoga Asana Alternatives: The Neck and Shoulders 85

FIGURE 33 ~Rope 2
Hold the handles of the ropes from two separate hooks. Stand with
the feet hip width and the toes up on the wall. Press the heels down,
lift the knees up, roll the fronts of the thighs in, and spread the backs
of the thighs out. Descend the tops of the buttocks and bring the
middle buttocks horizontally into the body. Move the sides of the
hips forward. Lift the pubis and navel. Raise the sides and front
of the chest up. Ascend the base of the sternum up and the top of
the sternum forward. Work the trapezius down (figure 33a). Press
the hands down on the handles of the ropes, bend the elbows, and
strongly lift the chest to begin arching back. An assistant places h er
fist against the dorsal/thoracic spine to support the student's back
(figures 33b and 33c).
FIGURE 33B
86 Iyengar Yoga Asana Alternatives: Th e Neck and Slroulders

Continue arching back from the head/ cervical and upper chest/ thoracic areas. Look
back without compressing the neck. Bend the elbows more to lift the back chest up
into the body, higher than the upper arms. The knees may bend slightly to deepen the
spinal curvature, to coil the spine into the body (figure 33d). In addition to curving
back with the previous stated actions, lift the back of the brain up to the front of the
brain to maintain space in the back of the neck. If dizziness occurs, discontinue going
further in the pose for the current practice session. Dizziness will not occur when the
correct actions ofbending back without compressing any part of the spine are applied.
Back bending should improve circulation in the spine, head, and brain. At first it is chal-
lenging to come upright correctly. Because it is easier, it is tempting to lift the head, sink
the chest, and throw the arms out to the sides to come out of the pose. However, these
actions reverse the beneficial effects of the pose as described. Do not lift the head to
come up. Keep the head back, the arms near the sides of the body, and the chest lifting.
Press the heels, move the sides of the hips and middle buttocks forward, and lift the
shoulder blades into the body to come upright. An assistant helps the student to come
up by placing her fist into the dorsal spine and lifting it up (figure 33e). Lift the head
last. The momentum created when doing repetitions, going back and forth in succes-
sion, will create lightness in coming up.

FIGURE 34 ~Rope Neck Curvature
Hold the knots of two lower ropes in one palm and

the opposite end of the ropes with the fingers or
thumb to check that they are of equal length (figure
34a) . Make sure that the upper rope is centered on
the hook and the knot is even to the floor (figure
34b, shown with the lower ropes looped through it).
Place one knot above the other (figure 34c) or the
knots side-by side (figure 34d). The former is best
used for those who are less capable of curving the
neck back. Loop the ropes through a single upper
rope so they are doubled around it. Bring the ropes
over the head and the knots to the base of the back
of the neck. Hold these ropes and step back, with
the feet hip width, until the ropes become taut
(figure 34e).
FIGURE 34C
FIGURE 34B FIGURE 34D
FIGURE 34A FIGURE 34E
88 Iyengar Yoga Asana Alternatives: The Neck atrd Shoulders

Continue to hold the ropes and arch back. Depending on the capac-
ity, size of the student, and the length of the ropes, the feet may walk
forward towards the wall while arching back. Bend the knees slightly
and strongly lift the thoracic/ dorsal spine up to the sternum. Lift the
sternum away from the spine. Lift the bottom of the shoulder blades
up into the body. Look back with the eyes (figure 34f). Release the
hands from the rope, behind the body, back and down to hold a dowel
rod provided by an assistant (figure 34g). The hands may be placed
wide on the dowel, with the palms facing the body, if the shoulders
are very stiff and resistant. Roll the inner upper arms out and lift the
chest/ sternum.
Iyengar Yoga Asarza Alternatives: The Neck and Shoulders 89

An assistant moves the dowel away from the student until the hands are on the same
plane as the shoulders (figure 34h). With increased shoulder mobility the hands can
move closer towards each other on the dowel (figure 34i). Interlock the hands behind
the back in baddha anguliasana, reaching them to the floor and lifting the chest. With
one hand an assistant places her fist into the thoracic/ dorsal spine of the student. She
should feel where the stiff part of the student's spine is and shift her fist on that point
(figure 34j). At the same time she places the heel of the opposite hand on the bottom
edge of the student's chin (figure 34k).
FIGURE 34] FIGURE 34K
90 lyengar Yoga Asana Alternatives: T11e Neck and Shoulders

Then she lifts the student's spine up to the ceiling
and lengthens the chin to the floor, simultaneously,
three to four times (figure 341). The student's hands
may also be placed on the backs of the thighs (figure
34m). To return to the upright position, hold the
ropes, press the heels, maintain the fronts of the
thighs rolling in, the backs of the thighs spreading
out, lift the chest, keep the head back, and come up
with a lifted chest. The head comes up last. Repeat
this pose three times. When the studentis very stiffin
the dorsal/ thoracic spine and sternum, and is ready
for deeper work, two assistants can adjust the student
in the pose. One assistant places a dowel rod with a
sticky piece on the end of it on the student's dorsal/
thoracic spine. The other places the heel ofher hand
on the bottom edge of the student's chin. She also
places her fingertips on the sternum informing the
student where she needs to lift the sternum. The
assistants coordinate moving the student's dorsal to
the ceiling and chin to the floor (figure 34n).
FIGURE 34L
FIGURE 34M FIGURE 34N

FIGURE 35 ~Platform Neck
Curvature
Place a sticky mat on a platform with two bolsters
on top, end to end, up to the edge of the platform.
Sit on the bolsters facing away from the front edge
of the platform with the feet on the bolster and the
knees bent. Place the hands behind the buttocks
on the bolster to lift the chest and lie back. Drape
the head and neck off the end of the bolster. Keep
the eyes open and look back. Straighten the legs;
place the backs of the hands on the platform. Roll
the inner upper arms out, tuck the shoulder blades
into the back, open and lift the chest to the ceiling.
Allow the head and neck to relax in this position
(figure 3Sa). With improvement, and various sup-
ports vertically along the back, the head and neck
extend further back and suspend down to the floor.
Support options include: a rolled blanket (figures
3Sb and 3Sc), rectangular folded blankets (figures
3Sd and 3Se), or two foam squares (figures 3Sf
and 3Sg).
FIGURE 35A

FIGURE 3SF FIGURE 35G
Standing on the platform, strad-

dling the student's waist, an assis-
tant adjusts the shoulders into
the back (figure 3Sh, described
in figure 2).
FIGURE 35H
Iymgar Yoga Asmra Alternatives: The Neck and Slrouldcrs 93

Standing by the student's head,
an assistant presses her deltoids
to the platform (figure 3Si), and
then places the heel of her hand
on her chin and presses it towards
the floor three to four times in
succession (figure 3Sj). The assis-
tant should be able to feel if the
students' entire spine is mobile
from the top to the bottom. If
no t, the student should re-adjust
her shoulders and chest and / or
move the back of the head slightly
onto the platform. A rope may be
draped over the chin with a weight
attached to it that hangs to the FIGURE 35I
floor (figure 3Sk, shown with a
21/ 2 p ound market weight).
FIGURE 35}
FIGURE 35K

FIGURE 36 ~Trestle Neck
Curvature
Place two stools on each side of a trestle. Lay a
double-folded sticky mat on top of the trestle up to1
or slightly over1 the edge of the beam. If available,
roll a dowel rod inside a sticky mat piece1 place it
on top of the beam aligned to the edge1 and lay a
blanket on top (figure 36a). The beam with a sticky
and blanket1 without the dowel1 is also effective. An
assistant should help the student get into the pose
in a steady and confident manner. Use the stool to
climb onto the beam and sit on top with one foot
on each stool (figures 36b, 36c, and 36d).
FIGURE 36B
FIGURE 36A
FIGURE 36C
FIGURE 36D
lyengar Yoga A sana Altematives: The Neck and Shoulders 95

Place the hands on the beam behind the back to lift the chest (figure
36e) and lie back with the head and neck hanging off the end. The
knees may remain bent with the hands holding the edges of the sticky
mat. An assistant adjusts the shoulder blades and trapezius to the waist
(figure 3Sf) and the chin towards the floor (figure 3Sg). Rest in this
position. If the student is confident, she can extend the legs straight,
interlock the hands o n the abdomen, and rest (figure 3Sh).
FIGURE 36E FIGURE 36F
96 Tyetrgar Yoga Asarra Alternatives: TI·re Neck and Shoulders

FIGURE 37 ~Stump
Position a stump on the floor against the platform,

orienting the long end of the top of the stump per-
pendicular to the platform. Place a sti cky piece on
top of the stump. Lay a sticky mat on the platform,
centered with the stump. Set a bolster horizontally
on the sticky mat about a hands distance fro m the
edge of the platform. The stump alone will be effec-
tive, although a play brick may be employed to
supplement the opening of the shoulders, chest,
and sternum. Sit on the bolster with the feet on the
platform, knees bent, and the hands behind the but-
tocks lifting the chest. An assistant places a play brick
on the student's back between the shoulder blades
on the dorsal / thoracic spine (figure 37a). Lift the
chest and shift the buttocks slightly forward to lie
back (figure 37b). The play brick and upper back land
on the stump. The assistant adjusts the trapezius to
the waist and positions the shoulders evenly around
the stump/ play brick (figure 37c).
FIGURE 37A
FIGURE 37B FIGURE 3 7 C
Iymgar Yoga Asana Alternatives: The Neck and Shoulders 97

Extend the legs straight. The palms
may press the front ofthe platform
to push the sternum open to the
head side (figure 37d). The assis-
tant may lengthen the student's
chin to the floor, as described
in the previous neck curvatures.
Place two blocks, the lowest
height, against the platform and
one end of the stump on top of
the blocks to increase the length
and opening of the chest (figure
37e). Add an additional bolster to
support the buttocks and increase
the curvature of the entire spine FIGURE 37D
(figure 37f).
FIGURE 37E
FIGURE 37F

FIGURE 38 ~Rope Neck Traction
Remove earrings as they may interfere with this pose. Adjust the upper
rope on the center of its hook. Loop a single lower rope through the
upper rope, evenly doubled around it. Place the doubled rope over
the head around the base of the skull. Holding the portion of the
rope around the head, step back until the rope is taut. Maintain the
heels on the floor, bend the knees and lower the buttocks to come to
a squatting position. The feet may have to step closer to the wall to
maintain the heels on the floor as the buttocks descend. The face is
parallel to the wall (figure 38a). Catch the lower rope with one hand
at a time (figure 38b). The lower rope may be held if squatting is dif-
ficult or there is fear. The student may release the hands to the floor
if capable of squatting with the heels on the ground (figure 38c) . The
traction will be superior when the hands are released and the body
weight descends with gravity. The ears may become covered by the
rope and feel plugged up temporarily. This will cease upon exiting the
pose. Hold the ropes around the head, lean back slightly into the rope,
and press the feet to straighten the knees and stand upright.
FIGURE 38A

FIGURE 39 ~Shoulder Jacket
Sit on a halasana box with a second halasana box

behind. Alternatively, sit backwards on a chair strad-
dling the legs outside of the chair; and have a second
chair behind with a blanket or bolster on top. An
assistant is necessary to put the belts on the stu-
dent's deltoids and upper arms. First the assistant
observes the student's shoulders from behind and
discerns the difference between the right and left
sides of the neck and outer shoulders. In figure 39a,
the shoulder is broader from the right side of the
neck to the outer shoulder and the right side of the
trapezium sits higher than the left. The student then
interlocks her hands behind her back. The assistant
places one strap on the upper arm at the deltoid. In
this student's case, the belt buckle is orientated so FIGURE 39B
that the tail of the belt is pulled tight from right to
left (figure 39b). This will "reel" the right shoulder
blade into the center and draw the neck to the center
as well. Pull the belt snug, but not to its tightest posi-
tion, until the second belt is placed. If the assistant
is unable to distinguish a difference in the shoulders
and neck, o rient the first belt placed on the deltoid
in one direction and the second belt placed on the
upper arm in the opposite direction. The pose will
still provide a benefit ofgetting the trapezius muscles
to soften and align the spinal column and shoulder
girdle in a balanced manner. Place the second belt
on the upper arms as high as possible (figure 39c). It

helps to have the student lift her arms slightly away
from the body to facilitate placement ofthe belt. For
this student, the belt buckle will be positioned the
same as the strap on the deltoids. Pull this belt tight
and re-tighten the belt on the deltoid. Sometimes the
belt slips forward or back. Position it slightly forward
ofthe top of the deltoid (figure 39d). Once the belts
are in position, unlock the hands and place them as
wide as possible on the support behind (figure 39e).
The hands and arms may become numb. However,
as the student effectively lifts the sides of the chest
up, moves the armpit chest forward and spreads the
front of the chest, the numbness subsides.
Another "jacket" helps align the rib cage and shoul-

ders, especially for those with scoliosis. For those
with stiff dorsal paraspinal muscles this area is soft-
ened. This pose can be done without an assistant.
Sit comfortably with a bolster support for the hands
to reach behind and lift the chest as above. Place
one belt above the breast and one below (figures
39f and 39g). FIGURE 39D
- :~ .~J
~ ~-sf'~
FIGURE 39E FIGURE 39G
FIGURE 39F
Iyengar Yoga Asana Alternatives: The Neck m1d Shoulders 101

FIGURE 40 ~ Adho Mukha Svanasana Maintain the rope/ blankets low while walking the feet back,
up the simhasana box, to the wall (figure 40b). Align the
Many variations of upper rope adho mukha svanasana may outer heels and small toes to the edge of the box. The heels
be practiced for deeply resting the arms, shoulders, and brain. can be up on the wall with the balls of the feet on the box if
'This particular support is also beneficial for addressing stiffness the legs and pelvis are too stiff to place them lower (figure
in the shoulders and/ or dorsal, as well as limited mobility in 40c). Reach the hands forward on the seat chair and rest the
the hamstrings and/ or pelvis. Tie a lower rope to two upper forehead on the bolster/ blanket (figure 40d). If the legs are
ropes. Position a simhasana box against the wall centered exceptionally stiff, position two simhasana boxes against the
between the upper ropes and place a chair in front of the wall, side-by-side, to maximize the opening of the legs by
box with its seat facing the wall. Lay a bolster and blanket stepping the feet further apart (figure 40e) . Press the heels
(or more if necessary) on the seat to support the head. Posi- back to move the fronts of the legs towards the wall. Lift the
tion one to two blankets over the lower rope to prevent the backs of the inner Lhighs up to the ceiling. Extend the sides
rope from digging uncomfortably into the body. Step up on of the chest and armpits forward. Move the shoulders and
the simhasana box and stand between the rope and the wall trapezius away from the ears. Lengthen the back of the head
pressing the hands down on the blanket/ rope to keep it low and neck away from the ears.
on the bottom of the pelvis/ tops of the thighs (figure 40a).
102 lyengar Yoga Asana Alternatives: The Neck m1d Shoulders

FIGURE 40C
FIGURE 40D FIGU RE 40E
Iyengar Yoga Asmra Alterncllives: The Neck and Shoulders 103

In addition to the props listed above1 add two hala-
sana boxes with bolsters on top to support the arms
laterally. Chairs with two bolsters may be used as well.
Have a third halasana box with a blanket to support
the forehead (figure 40f). The neck should not be
compressed (figure 40g). Extend the back of the
head and neck away from the shoulders and move
the trapezius to the waist. An assistant can adjust
the head1 neck1 and shoulders with her fingertips
moving the occiput and trapezius away from each
other (figure 40h). Before entering the pose1 place
a strap around the shoulders1 as in figure 131 ami
thread a long strap through the upper rope hooks.
Once the student is in the pose1 an assistant attaches
the long strap to the one on the shoulders and
tightens it to the appropriate slack (figures 40i and
40j1 shown with the forehead and arms resting on
a halasana box). Turn the head to the side and rest
the ear on the support1 attempting to get the ears
parallel to the floor (figure 40k). Repeat turning
the head to the opposite ear. End with the forehead
resting again. Sinus1 ear1 and brain conditions benefit
from this variation.
FIGURE 40F
FIGURE 40G
FIGURE 40H

FIGURE 40I FIGURE40K
FIGURE 40}

Utilize the lower rope when the
hands, wrists, elbows, and/ or
shoulders are not able to bear
weight, but the thighs/ hips are
relatively flexible. Always place
and remove the lower rope from
over the head. Do not step into
the rope. Have two blocks for the
hands and a bolster/ blanket for
the head. Place the rope at the
crease between the tops of the
Lhighs aml bottom of the pelvis. If
needed, lay blankets on the rope,
as above, so the rope does not cut
in on the legs. The rope should
remain taut when going into and
coming out of the pose. Reach
the arms forward to keep the rope
from slipping down the legs while
stepping the heels back onto the
wall. The balls of the feet are on
the floor. Place the hands on the
FIGURE 40L tallest height of the blocks and
rest the head on the bolster. Add
another bolster or blanket(s) on
top of the bolster if the head is not
supported. Do not force the head
down. 1he head support should
be built up enough to facilitate
the head releasing down (figure
401). Figure 401 depicts blocks
between the wall and the heels.
1his reduces the distance between
the hands and the feet and cor-
rects the angle of the pose when
FIGURE40M
106 Iyengar Yoga Asana A lternatives: Tl1e Neck and Shoulders

the rope is too long. Spread the
heels of the hands and extend the
fingers. Press the hands down on
the blocks to engage the arms.
Lift the forearm bones up to the
ceiling, especially near the elbow
joints. Roll the inner upper arms
out. Move the triceps to the floor
to tighten them onto the bones.
Lift the biceps to the ceiling to
spread them away from the bones.
Widen the collar bones. Extend
the armpits towards the blocks,
even moving the blocks forward,
and spread the middle armpits
horizontally towards the floor.
Actively engage the muscles ofthe
upper back. Open and spread the
sides ofthe chest. Avoid dropping
the bottom ribs to the floor- lift
them towards the ceiling until they
are in line with the pelvis. Spread
the ball mounds of the feet; press
the heels into the wall. Move the
FIGURE 40N
shins and thighs towards the wall
and lift the backs of the thighs to
the ceiling. Release the abdomen
so the navel elongates. Allow the
head to rest.
With improvement, the blocks

are lowered to the second height
(figure 40m), and then the lowest
height (figure 40n). Finally the
hands may be placed on the floor
(figure 40o).
FIGURE 400

If the shoulders are irritated, try
turning the palms out to enhance
the action ofrollingtheinnerupper
arms out (figure40p). This sets the
ligaments and tendons onto the
bones. If th e forearm bones are
not able to lift up to straighten
the elbows, place blocks under
the forearms. Turn the palms to
face each other while an assistant
rolls the forearms out (figure 40q) 1
and then face the palms down
again while the assistant holds the
forearms steady (figure 40r). The
student maintains the forearms
without the assistant (figure 40s).
She lifts the forearms up from the
blocks while rolling the forearms
in. An assistant places her feet on
the student's hands and lifts the
student's fo rearms up, near the
elbow joints (figure 40t).
FIGURE 40P
FIGURE40Q
108 lyengar Yoga Asana Alternatives: TI1e Neck and Shoulders

FIGURE 40R
FIGURE 40S
FIGURE 40T
Tyengar Yoga Asana Altematives: The Neck and Shoulders 109

The student maintains the fore-
arms and the assistant places her
hand on the dorsal/ thoracic spine
to adjust it inwards (figure 40u).
If necessary, place more blankets
on the rope to prevent the head
from hitting the floor with these
adjustments. Hold the thick edge
of a slanting plank with the fingers.
An assistant places one foot on the
plank and moves it away from the
student while placing one hand on
top of the other and pressing the
sacrum in and up to completely
elongate the spine (figure 40v).
Press the rope across the dorsal/ FIGURE 40U
thoracic to increase the opening
of the shoulders and release the
neck (figure 40w) .
FIGURE40V

FIGURE 40W
A very challenging adho muk.ha svanasana will

improve arm strength and flexibility. Kneel down
on a sticky mat at a wall. Place the hands on the
wall at the floor, with the fingers pointing up, and
the forearms on the floor. Maintain the forearms
on the floor, lift the knees up and straighten the
legs (figure 40x). Then lift the forearms off the floor
(figure 40y). Hold for as long as possible opening
the armpit chest.
FIGURE 40X
FIGURE 40Y
Tyengar Yoga Asana Altematives: 11ze Neck and Shoulders 111

FIGURE 41 ~ Ardha
Uttanasana
As with adho mukha svanasana,
variations of ardha uttanasana are
employed according to purpose
and the student's capacity/ flex-
ibility. If the hamstrings are resis-
tant to stretching, or in the case
of a h eadache, practice pavan
muktasana (see figure 7). If the
back is able to extend parallel to
th e fl oor, without rounding, it
is acceptable to practice ardha
uttanasana. Position two halasana
boxes, or chairs, side-by-side, in
front of the lower rope wall. Lay
two bolsters along the top of the
boxes and set a folded blanket in
the center on top of the joined
bolsters. Secure a lower rope on
the tops of the thighs. Step the
feet slightly wider than the hips
with the toes turned in and the
legs perpendicular from the floor.
This pose may be done without
the lower rope, but the traction it
provides increases the extension of
the spine. Place the hands on the
bolsters to support the torso while
bending forward. If, after bending
forward, the back rounds towards
the ceiling instead of remai ning
parallel to the floor, add another
blanket or additional bolsters to
raise the height of the support.
Rest the forehead on the blanket,
with the nose unobstructed. Rest
FIGURE 41A
the hands and forearms on the
bolsters with the elbows bent
(figure 4 la). Lengthen the inner
upper arms from the armpits to
the elbows.
11 2 Iyengar Yoga Asana Altematives: The Neck and Shoulders

For conditions of the sinuses, ears, eyes, and the
brain, turn the head to the side with the ears parallel
to the floor (figure 41 b). To initiate more length in
the torso and extension of the shoulders turn one
halasana box, with a bolster on top, lengthwise
from the body. Reach the arms forward and rest the
forehead (figure 41 c) . Challenge the shoulders and
trapezius by placing a block, middle height, on the
halasana box, under the chin, and reach the arms
forward (figure 4ld).
FIGURE 41B

Move the trapezius and shoulders towards the waist.
Roll the inner upper arms out, lengthen the sternum
to the chin, and the chin away from the sternum. To
increase the cervical curvature, turn the block to its
highest height. It may be difficult to reach the arms
forward with the elbows straight in this variation.
Bend the elbows and press the forearms on the box
to facilitate the actions of the pose (figure 41e).
Remove the block, bend forward more to place
the chin on the halasana box. Place the hands on
the front of the shins (figure 4lf). Hold the ropes
(from the twu huuks on either side of the supporting
rope) from behind, with the arms straight. Place the
chin, extending forward, on the halasana box with
a bolster and block to support the torso parallel to
FIGURE 41E the floor (figure 41g). An assistant adjusts the back
of the head and neck long; she places the fingertips
of one hand on the base of the skull and with her
other hand on the trapezius, moves these two areas
away from each other (figure 41h). Place a strap on
the arms above the wrists, reaching the arms straight
back. Press the arms into the strap. Support the
chin on the halasana box with a block. An assistant
places a rope behind the neck, below the occiput,
and gently pulls the head forward while the student
reaches the arms back (figure 40i). Using a higher
support, a tall stool, that provides a firm surface for
the chin, hold the hands half way down the legs of
the stool. An assistant places a rope with a weight
around the neck of the student (figure 41j, shown
with a Skg, 11 pound, market weight) and remains
FIGURE 41F nearby to quickly remove the weight if it is too
strong. The weight helps to lengthen the anterior
spine and allows the organs to suspend with gravity.
This is very beneficial for the heart.
FIGURE 41G

FIGURE 41J

Ardha uttanasana may be simply and actively per-
formed with the hands turned out on blocks at 90
degrees (figure 4lk). Roll the inner upper arms out1
widen the collar bones1 move the sternum and sides
of the ribs/ armpits forward. Strongly move the
trapezius to the waist. To avoid digging the waist
to the floor and hardening the kidneys1 slightly lift
the sides of the waist to the ceiling. The forehead
may rest on a chair with bolsters1 a halasana box1 or
a platform (figure 411) with the hands resting on the
shins. Rest in this positioni release the back of the
brain towards the forehead. This pose helps reduce
a heavy load on the brain. A similar effect may be
achieved with the buttocks against the wall and the
legs angled about a foot from the wall. Position the
seat of a chair facing the wall with as many bolsters/
FIGURE41K
blankets as necessary to support the forearms and
forehead without rounding the back (figure 4lm).
FIGURE 41L FIGURE 4IM
116 Iyengar Yoga Asmw Alternatives: Tl1e Neck a~~d Shoulders

Use a tabletop or a platform to
support the torso and arms com-
pletely. When using a platform,
place a wide setubandha bench
on top of the platform w ith a
sticky mat under the legs to keep
it from slipping. Align the legs
of the bench to the edge of the
platform. Place a sticky mat and
blanket, or more blankets for those
who are tall, on top of the bench.
Set a small folded blanket at the
end ofthe bench for the forehead.
Stand with the feet hip width in
front of the bench/ platform. For
those who are short, stand each
foot on a block for the tops of the
thighs to be at the same height as
the top of the bench. Press the
hands down on the bench, lift the
heels up, and lie the abdomen, FIGURE41N
chest, and forehead down on the
bench/blanket. Extend the heels
back down to the floor / blocks.
Reach the hands forward to the
hold the end of the bench. The
arms may b e bent. A weight is
placed on the lower back (figure
4ln), and then the upper back
(figure 4lo) for three minutes in
each position. This is an excellent
pose for relieving whiplash and
rhomboid pain.
FIGURE 410
Iyengar Yoga A sana Alternatives: Tile Neck and Shoulders 11 7

Stand facing the wall with the feet hip width. Place the palms shoulder
width on the wall at the height of the shoulders, or higher if stiff, with
the elbows bent. Turn the fingers slightly out (figure 41p). Without
shifting the fingers, lift the heels of the hands off the wall and move
the thumbs down the wall towards to the floor (figure 41q). Press
the inner edges of the thumbs into the wall and take the heels of the
hands back onto the wall (figure 41 r). Spread and activate the hands
so they are wide and each knuckle is on the wall. Move the elbows
closer towards each other, widen the collar bones, lift the chest, and
descend the trapezius towards the floor (figure 41s). Observe how the
muscles of the arms adhere to the bones from joint to joint. Maintain
the hands spreading on and pressing into the wall, step back, and
lower the shoulders towards the floor until the feet are hip width
under the hips. Align and extend the wrists, elbows, shoulders, waist,
and hips. The head should be in line with the upper arms (figure 41t). FIGURE 41Q
The head, neck, and shoulders tend to jam (figure 41u). Correct this
by maintaining the hands, roll the forearms in, the upper arms out,
widen the collar bones, move the trapezius to the waist, and the top
of the head towards the wall (figure 41 v).
FIGURE 41R
FIGURE 41P
11 8 Iyengar Yoga Asana Alternatives: Tlte Neck and Shoulders

FIGURE 41U
FIGURE 41S
FIGURE 41V
FIGURE 41T
Iyengar Yoga A sana Alternatives: Tire Neck and Shoulders 119

FIGURE 42 if'> Uttanasana
Place two halasana boxes about a foot apart with their short sides
near a wall. Lay a blanket atop each box. Lean the buttocks against
the wall, step the feet about 12 or so inches from the wall, either side
of the boxes. Bend forward and place the head between the boxes
resting the tops of the shoulders and the upper arms on top of the
boxes. Move the boxes closer to the head to completely support the
deltoids. The upper arms rest laterally and the forearms hang down
the sides of the boxes. Allow the head to hang completely (figure
42a). If capacity allows, the head will release further down when the
legs are perpendicular from the floor (figure 42b). An assistant uses
a rope horizontally across the lower thoracic spine to press the back
towards the floor (figure 42c) . She holds this position steadily for
10- 15 seconds, and repeats this pressure on the middle (figure 42d)
and then the upper thoracic spine (figure 42e). With the inner edges
ofher hands positioned around the outer sides of the upper chest, near
the deltoids, she draws the sides of the chest towards the floor (figure
42f). With the tips of one thumb and index finger, she moves the outer
sides of the neck at the juncture of the skull towards the floor (figure
42g). This process takes the spine inwards to the body, in a "coiling"
FIGURE 42B
manner. Circulation to the ears, eyes, and sinuses is enhanced. Brain
function improves; high blood pressure is normalized. A similar effect
may be achieved without supporting the shoulders. Step the feet hip
width and have blocks at the highest height (or more blocks ifneeded)
at the sides of the feet. Bend over to uttanasana, resting the backs of
the hands on the blocks (figure 42h). Bend the elbows to the sides
and release the head and neck.
FIGURE 42C
FIGURE 42A
120 Iyengar Yoga Asana Alternatives: The Neck arrd Shoulders

FIGURE 42F
FIGURE 42H
FIGURE 42G
Iyengar Yoga Asmw Alternatives: Tlu Neck and Shoulders 121

With the arms behind the back, place a strap on the forearms near the
wrist so that the arms are shoulder width. Stand in tadasana with the
feet hip width and bend forward to uttanasana. Reach the arms over
the head as far as possible. Extend the biceps towards the hands (figure
42i). Stand with the feet hip width facing the end of a trestle or post.
Turn sideways to avoid bumping the trestle and then extend forward
to uttanasana. Bend the knees to place the back as low as possible on
the trestle. The feet may have to step closer to the trestle and/ or wider
apart (figure 42j) . Maintain the position of the back against the trestle
when straightening the knees (figure 42k). Reach the arms overhead to
the beam of the trestle ( 421). An assistant may help to reach the arms
lower to the bar (figure 42m). Relax the head and neck completely while
extending the arms further away on the beam/ bar. 1his can be a great
relief to neck pain. Drape a double folded sticky mat over the edge of
a platform. Hold a lead dowel from behind, with the palms facing the
body. With the knees bent, turn sideways then extend forward and
straighten the knees to uttanasana with the shoulders o n top of the
platform and the head and neck dangling off. An assistant can help to
hold the dowel in place (figure 4ln) and extend the student's arms over
the head and onto the platform with the arms straight (figure 41o) .
Reach the arms away from the shoulders and the wrists towards the
platform. Let the head and neck hang down to the floor.
Release the dowel to come out of this posture (figure 4lp) . FIGURE 42}
FIGURE 421 FIGURE 42K

FIGURE 42L FIGURE42M
FIGURE 42N FIGURE 420 FIGURE 42P

FIGURE 43 + Utthita Trikonasana
Place the outer edge of the back leg foot against a
rope wall 1 aligning the arch with a lower rope hook.
Step the fo rward foot about 4 Y2 fee t from the wall1
and turn the foot and leg out 90 degrees. Align the
forward heel to the arch of the back foot. Hold the
back hand to the lower rope and1 without bending
th e elbow1 extend over to utthita trikonasana. Place
the bottom hand on a block with the fingers turned in
the direction of the toes. Extend both arms straight.
Look down so that the eyes and ears are parallel to the
floor and wall1 respectively. Elongate the back ofthe
head and neck away from the shoulders (figure 4 3a).
Roll the skin of the forearms from the outer elbows
in towards the thumbs. Maintain the action of the
forearms and turn the inner upper arms out. Move
the trapezius to the waist. Open the chest forward
FIGURE 43A
and turn it up to the ceiling. Move the paraspinal
muscles towards the spine. These actions will create
space between the head1 neck1 and shoulders. When
it is painful to raise the top arm up1 this extension
along the side of the body is superior to bending the
elbow and placing the hand on the hip. Less pain is
experienced and this modification is very good for
rotator cuff injuries. If no rope is available the arm
may simply reach along the side of the body (figure
43b). The head may have to look down in utthita
trikonasana for some time until the presenting
conditio n improves. When there is progress in the
alignment of the eyes1 ears1 back of the head and
neck1 opening of the shoulders and chest1 turn from
the back of the head and neck to align the chin with
the sternum and look forward. An assistant stands
behind the student's shoulders1 supporting her upper
back1 and rolls the deltoids from front to back (figure
FIGURE 43B
43c). Continue to roll the inner arms out1 turn the
chest to the ceiling and1 from the back of the head
and neck1 turn to look up (figure 43d).The assistant
holds the back of the student's head and neck long
to help her turn her head to look up (figure 43e).
Graduate to placing the wrist inside the upper rope1
starting with the head looking down (figure 43f).
Extensions to the ropes (see figure 32) may be neces-
sary if the top hand is not aligned over the sho ulder.
124 lyengar Yoga Asana Alternatives: Tlu Neck m1d Shoulders

FIGURE 43C FIGURE43D
FIGURE 43E
FIGURE 43F

Press the wrist strongly into the rope to tighten the
triceps onto the bone. When there is improvement,
turn the head to look up (figure 43g).
With the back foot to the wall, upper hand holding

the upper rope, lower hand on a block, and the chin
in line with the sternum, an assistant places a rolled
sticky mat behind the student's neck. He supports
the sticky mat in place with his torso, positions the
heels ofhis hands under the chin and on the raised
arm deltoid, and draws them apart to lengthen and
curve the neck back (figures 43h and 43i). All of
these variations ofutthita trikonasana are excellent
in relieving nerve damage from hyperkyphosis,
osteoarthritis, and bone spurs in the cervical ver-
tebrae. Numbness of the hands, arms, and/ or the
upper back will subside.
Align the upper arm and armpit flush against the

support of the outer corner of a wall. The lower
hand is reversed on a block, with the fingers pointing
to the back foot (figure 43j). Roll the in ner upper
arms out and move the chin away from the sternum.
In this variation the ligaments and tendons of the
shoulders and elbows are not irritated when the
top arm is raised.
FIGURE 43G
126 Iyengar Yoga Asana Alternatives: Tlte Neck and Sho11ldcrs

FIGURE 43H
FIGURE 43J
FIGURE 43I

Buckle a strap, in a wide loop, around the end of the
trestle, where the back leg foot will be placed. Support
the torso at the trestle, facing out, and place the back
foot against the leg of the trestle. Step the forward
foot inside the legs of a tall stool, with a blanket on
top; the leg and foot turned out 90 degrees. Hold
the strap with both hands from behind the back,
extend to utthita trikonasana, and rest the side ofthe
head on the stool. Walk the hands down the strap
until the elbows are straight. Use the leverage of the
hands on the strap to roll the inner upper arms out,
draw the trapezius to the waist and Lhe paraspinal
muscles to the spine (figure 43k). In this variation,
FIGURE 43K
the shoulders are actively engaged without any strain
on the head or neck. The torso lengthens and the
chest expands with the anus tractioned back along
the sides of the body. Block both feet inside the
trestle with bricks and/ or quarter rounds. Turn the
forward leg and foot out 90 degrees with the arch of
the foot on the quarter round. Bend over reaching
both arms overhead to hold the end of the trestle
witl1 the arms straight (figure 431). Elongate the sides
of the torso and lengthen the armpits and shoul-
ders. These two variations use the arms to provide
traction, but in opposite directions. Both develop
freedom for the spine to lengthen and create space
between the vertebrae. FIGURE43L
Face into the trestle with the feet blocked in. An
assistant places a rope or strap on the back to trac-
tion the student's shoulders to the waist (see figure
S). The student has her top hand on the trestle for
leverage to turn the chest up to the ceiling. The
bottom hand is reversed on a block so the fingers
point to the toes and the shoulders can roll back
and down towards the waist. Extra height for the
bottom hand may be used. Rest the head on top of
the trestle (figure 43m) or center the chin on the
side beam of the trestle. In either position, move
the sternum towards the chin.
With the back to the trestle and the feet blocked in,
raise the top arm up with the bottom hand on the
block. An assistant places a block in the top hand and
the student presses the block away (figure 43n). The
assistant then releases the block so that the student
FIGURE 43M
128 Iyengar Yoga Asana Alternatives: The Neck and Sho11lders

attempts on her own (figure 43o). Press the block up to the ceiling
and reach the block back behind the line of the torso. Lengthen the
armpit to the hand and broaden the upper chest.
Step the forward leg foot outside the end of the trestle with the back
leg foot inside to round the upper back on the end of the trestle. Hook
the top hand and arm behind the beam1 and the bottom hand on a
block. Align the chin to the sternum and move it away from the chest
(figure 43p). An assistant holds a sticky mat in place behind the neck
and against the end of the trestle. She takes the heel of her hand on
the chin of the student to move the head back1 curving the neck and
head (figure 43q).
FIGURE 43P
FIGURE 43N
FIGURE 43Q
FIGURE 430

FIGURE 44 + UtthitaParsvakonasana
As with utthita trikonasana, step the back foot against
a wall, hold a lower rope with the top hand, place
the lower hand on a block, and look towards the
floor (figure 44a). Turn the back of the head and
neck to look up (figure 44b). Press the wrist inside
the upper rope with the head looking down (figure
44c) . Turn the head to look up (figure 44d).
The back against a wall, the upper arm supported

at the corner of the wall, the lower hand reversed
on a block (figure 44e).
A trestle supports the back with the feet blocked in

and the lower hand on a block. Extend the top arm
forward, parallel to the floor, with the palm facing
the floor (figure 44f). Move the outer shoulder blade
and arm back towards the trestle. Carefully extend
the arm in the direction of its classical position,
maintaining the outer shoulder blade back (figure
44g) and draw it to the waist, when fully extending
the arm overhead by the ear (figure 44h). Move the
outer deltoid towards the side of the chest and the FIGURE 44A
inner deltoid towards the hand. Extending the arm
overhead in this manner avoids irritating certain
bicep capsule and rotator cuffinjuries. This variation
may also be performed without the trestle.

FIGURE 44F
FIGURE 44D
FIGURE 44G
FIGURE 44E
FIGURE44H
Iyengar Yoga Asana Alternatives: Tile Neck and Slloulders 131

FIGURE 45 ~ Virabhadrasana II
Place the back foot against the wall, and align its arch with the lower
rope hook. Hold the hand on the hook and bend the forward knee
maintaining the hand on the hook (figure 4Sa). Ascend th e sternum
and descend the trapezius. Roll the inner upper arms out and the
forearms in. Extend the armpits to the elbows. Turn from the back of
the head and neck to look at the forward hand. With the back foot at
wall and the forward leg and foot turned out in parsva hasta padasana,
interlock the hands behind the back, and reach them towards the floor.
Align the chin with the sternum. Lift the base of the sternum up and
the top of the sternum forward (figure 4Sb) . Bend the forward knee to
virabhadrasana II (figure 4Sc). Sustain the top ofthe sternum moving
forward and look up. While looking up, lift the back of the head slightly
so the back of the neck is not compressed (figure 4Sd).
Block the feet inside a trestle with the back supported. Turn the forward
leg out 90 degrees, with the arch of the foot on a quarter round. Reach
the arms sideways on top of the trestle. While bending the knee, resist
the back hand/ arm to maintain their original position and keep the
torso lifted (figure 4Se). The arm may shift slightly forward in the final
pose, but the resistance will provide maximum extension of the arm
and keep the torso lifted vertically. H ook the arms underneath the
trestle (figure 4Sf). Lift the sternum/ chest and move the trapezius
down. An assistant places her hands on the student's deltoids/ collar
bones to help roll the shoulders from front to back (figure 4Sg).
132 lyengar Yoga Asana Alternatives: Tize Neck and Shoulders

FIGURE 45E
FIGURE45C
FIGURE 45F
FIGURE 45D
FIGURE 45G

FIGURE 46 ~ Ardha Chandrasana
Step the standing leg approximately 2 1/2 feet from
a rope wall, and align its heel with the lower rope
hook. Hold the upper rope with the top hand, bend
the standing leg knee to place the lower hand on a
block and raise the back leg foot on the wall, on top
of the hook. Straighten the standing leg and make
sure it is perpendicular from the floor. Position
the wrist of the raised arm inside the upper rope,
shown with a rope extension (see figure 32) to align
the hand over the shoulder. The eyes and ears are
parallel to the floor and wall, respectively, with the
back of the head and neck elongated away from the
shoulders (figure 46a) . Roll the forearms in, the
inner upper arms out, and move the trapezius to
the waist. Forcefully press the raised wrist into the
upper rope to firm the triceps onto the bone and
extend the arms away from the shoulders. Turn the
chest to the ceiling. If possible, turn the back of the
head and neck to look up (figure 46b).
Support the back against a wall, aligning the raised

arm at its corner edge. The lower hand is on a block
FIGURE 46A
and the raised leg foot is supported on a tall stool and
viparita karani box (figure 46c) and stacked blankets

or blocks. Press the arms onto the
wall, move the front chest towards
the head, and the trapezius to the
waist. Press the lower hand on
the block to turn the chest to the
ceiling.
Support the back at the trestle,

bend the standing leg knee, place
the lower hand on a block (the
top arm may rest along the side of
the body) and raise the back leg
on the support of a tall stool and
box. Rest the head on a tall stool
and blanket (figure 46d, shown
with the lower hand inside a belt
looped through the side of the
trestle). Roll the inner upper arms FIGURE 46D
out and open the chest. Rest the
head and neck completely while
opening the chest. This supported
variation helps to slowly recover
energy when fatigued or conva-
lescing from an ilh1ess. Place the
standing foot near the inside leg
of the trestle, bend the knee and
place the lower hand on a block
outside the trestle. Raise the back
leg on top of a stool. Add more
height on the stool, ifnecessary, to
FIGURE 46E
bring the foot in line with the hip. If a tall stool is not available, the foot may be placed
on the beam of the trestle. Hook the upper arm around the beam for leverage to arch
the upper back on the end of the trestle, keeping the chin in line with the sternum. The
eyes sh ould look in the direction of the arch (figures 46e and 46f). Move the trapezius
to the waist and the sternum to the chin. In addition to opening the upper chest and
increasing the curvature of the neck, this variation elongates and increases circulation
to the thyroid, and is good for depression.
FIGURE46F
Iyerrgar Yoga Asmra Alternatives: The Neck and Shoulders 135

FIGURE 47 ~ Virabhadrasana I upper ropes may be used. If the lower back is compromised,
avoid this variation.
Holding the ceiling ropes (such as in the main hall at RIMYl)
is ideal for this variation. The vertical alignment of the wrists, If the shoulders are very tight, hold the handles of the upper
elbows, shoulders, waist, and prevents the shoulders from ropes from two separate hooks. Stand with the back foot
dropping backwards and down, sinking the chest into the against a rope wall centered with a hook. If necessary, add
low back. As most yoga centers do not have ceiling ropes, block(s) between the heel and wall to align the arms and
136 Iyengar Yoga Asarra Altematives: Tire Neck and Shoulders

torso perpendicular from the floor. Extend the arms up with the top of the sternum forward (figure 47a) . For those who
the elbows straight. Step the front leg forward and bend are more flexible, hold the hands higher up the ropes, from
the knee to a right angle. Place the outer sides of the hands a single hook, to extend the arms in line with the shoulders
inside the ropes with the palms facing each other. Using the and behind the line of the ears (figure 4 7b). An assistant
leverage of the ropes, extend the small fingers up, sharpen places a dowel between the back of the head and the upper
the forearms, descend the shoulders and triceps, and ascend arms and turns the inner upper arms out (figure 47c). The
the armpits and biceps. Roll the inner upper arms out and student maintains the adjustment (figure 47d).
the forearms in. Lift the base of the sternum up and move

FIGURE 48 ~ Parsvottanasana
With the back heel supported by the wall, step the

front leg forward about 4V2feet. Align the heel of the
front foot with the arch of the back foot. Place the
hands on the highest height of the blocks, directly
under the shoulders, turned out 90 degrees (figure
48a). Extend the fingers, press the palms, and lift
the weight of the arms off of the wrists. Roll the
forearms in and the upper arms out to widen the
collar bones. Move the trapezius to the waist and
the shoulders away from the ears. Press the back ribs
towards the front ribs to bring the armpit chest and
sternum forward. Look up without compressing the
back of the neck.
Support the back heel at the wall, centered with a

rope hook. Hold the ropes (on either side of that
center) from behind, bend forward, and straighten
the arms. An assistant places a block between the leg
and the sternum (figure 48b). The student extends
the sternum forward on the block, and looks forward
to encourage the curvature of the neck.
FIGURE 48A
FIGURE 48B

FIGURE 49 ~ Prasarita Padottanasana
Place a sticky mat on the corner of a platform or a

table of similar height (21 inches). Position three
bolsters on the mat, side by side, with the ends of
the bolsters to the edge of the platform. Roll two
blankets and set them on either side of the middle
bolster. Have a block in front of the center bolster
turned up to the second height to support one to
two small folded blankets for the forehead (figure
49a). Stand with the pubis flush to the end of the
middle bolster and step the legs about 4Ih feet wide.
Press the hands down on the bolster to lift the torso
up, and then extend forward onto the bolsters. Bend
the elbows out the sides with the palms face down
near the head. Rest the forehead on the blankets FIGURE 49A
(figure 49b).
Iyengar Yoga A sana Alternatives: Th e Neck and Sho11lders 139

Extend the armpits to the elbows to widen the
shoulder girdle. Use the leverage of the hands to
lengthen the front of the torso from the pubis to
the chin. Move the back of the head and neck away
from the shoulders and the shoulders towards the
waist. The spine moves inwards to the body. This is
very good for whiplash and thoracic disc injuries.
Maintain as much extension as possible between the
back of the head and the shoulders and move the
chin forward on the block. The block can be turned
to its highest height. Hold the block with the hands
for leverage to move the sternum tu the chin and the
shoulders to the waist (figure 49c). The pose may
also be done on a pavan muktasana bench (figu re
49d) or chairs (figure 49e). In the latter figure the
chair supporting the bolster for the pubis is turned
on its diagonal in order for the inner thighs to clear
the seat of the chair.
FIGURE 49C
140 lyengar Yoga Asana Altematives: The Neck and Shoulders

Block the feet inside a trestle, and
slip the torso between the bar and
the beam so that the pelvic bones
are supported on the bar of the
trestle. Place the forearms on a
stool in front of the trestle and
the chin on a block, turned up
to its second height, on the stool
(figure 49f). Press the forearms
on the stool to help lengthen the
sternum and chin forward. This
position helps correct the cervical
FIGURE 49F
curvature inwards.
Place the hands on the highest height of two blocks to achieve a concave position of
the dorsal thoracic spine ( 49g). Press the palms on the blocks and extend the fingers to
lift the arms up away from the wrists. Lift the outer edges of the shoulder blades to the
ceiling. Roll the forearms in and upper arms out to widen the collar bones. Press the
triceps onto the bones to move the shoulders back and down to the waist. Slightly lift
the sides of the waist to avoid digging it to the floor. Turn the palms out on the blocks
90 degrees to increase the rotation of the inner upper arms out (figure 49h). Lift the
inner arms up.
FIGURE 49G FIGURE49H
Iyengar Yoga Asana Altemativcs: TI1e Neck and Shoulders 141

FIGURE 49I FIGURE 49]
Position the hands on the floor, shoulder width, in

line with the feet. Open the palms and spread the
fingers. Press the hands, move the elbows towards
each other, and lift the upper arms and shoulders
upwards to release the head and neck downwards
(figure 49i). Instead of reaching the head to rest
on the floor, or supporting it with a block, lift the
shoulders up to allow the head to release towards
the floor, lengthening and softening the neck. Turn
the fingers to point back away from the head (figure
49j). Continue to work the hands, arms, and shoul-
ders. The chest comes closer to the legs and releases
the head and neck further. Maintain the hands in
this position, but move them slightly forward on
the mat, then lift the head, straighten the arms,
and look up (figure 49k). Use this hand position
to facilitate moving the top of the shoulder blades FIGURE 49K
towards the waist.
142 lyengar Yoga Asana Alternatives: Tl1e Neck and Shoulders

Stand with the back to the end of a trestle and step the legs about 41/2 feet apart. Bend forward and hold
the trestle with the hands, using the arms to bring the torso inwards. Release the head and neck to the
floor (figure 491). Bring the forehead inwards to the trestle to be on the back crown of the head. The head
does not have to touch the floor. Release the base of the skull to the floor. This improves the circulation
to the brain. Recede the eyes and ears inward to quiet the mind. Stand with the back to the rope wall,
the spine centered with a hook, and step the legs about 4V2 feet apart. Reach the hands to the floor. The
legs may shift forward; press the hands on the floor to bring the legs back to the wall. Bend the elbows
and bring the top of the head towards the floor. Hold the hook at the ground level and bring the head
towards the wall. Lengthen the back of the head and neck by bringing the forehead in towards the wall.
Release the base of the skull to the floor, and soften the facial muscles. If there are no hooks, an assistant
sits on a sticky mat and places her feet on the student's upper thighs to press them to the wall (figure 49m).
She places her hands o n the upper back to help the student bring the head, lower, and middle abdomen
closer to the wall (figure 49n). This adjustment releases the head and neck creating space and length in
the vertebrae. The dorsal/thoracic spine becomes more pliable.
FIGURE49M
FIGURE 49L
FIGURE 49N
Iyengar Yoga A sana Altem atives: The Neck ar1d Shoulders 143
FIGURE 50A FIGURE SOB FIGURE SOC
FIGURE 50~ Rope Sirsasana
Many students are familiar with and love to practice sirsasana hanging from the
wall ropes. While holding the elbows and hanging the arms in this posture may
be appropriate for certain practices, to improve the condition of the neck and
shoulders specific actions of the hands, arms, head, neck, and trapezius should
be accomplished.
Loop a lower rope through an upper rope (figure SOa) and thread the lower rope
knot through its opposite end to secure it. Bring the knot of this rope through
the upper rope of the neighboring hook (figure SOb) and fasten by knotting it
around itself (figure SOc). Double fold two blankets and place them, with the
thick edges facing each other, on the knots. If the groins are stiff have a three-fold
blanket handy to place across the upper thighs when going into the pose. H ave
a bolster or oblong folded blankets within reach if the head will be far from the
floor once in the pose. The head should not touch the floor; ifit does, tie a shorter
rope to the upper ropes or make a knot in one of the upper ropes to shorten it.
Standing between the ropes and the wall, hold the upper ropes. Do not attempt
to sit on the rope/blankets. Lean back on the rope/blankets and get leverage to
climb the feet up the wall (figu re SOd) and place them on the hooks. Walk the
FIGURE SOD
144 Tymgar Yoga Asana Alternatives: 71u Neck and Shoulders

FIGURE SOE FIGURE SOF
hands slightly higher up the ropes (figure SOe) and lift the back off
the rope to position it at the tail bone (figure sof). If necessary, place
the three-fold blanket across the th ighs to lessen the pressure of the
rope on the inner thighs. When climbing up, it is possible to have
the three-fold blanket as well as the rope in hand, and then place the
blanket across the thighs, unassisted. When coming into position, do
not bring the knees together inside the loop of the ropes; the ropes
should be between the torso and thighs to secure the legs.
Walk the feet higher up the wall, bend the knees to the sides (figure
SOg) 1 and bring the soles of the feet together. TI1e legs will be in baddha
konasana (figure SOh). Let the hands go from the rope, reach them
to the floor, and allow the torso to hang. Position the hands on the
floor turned out 90 degrees, with each of the arms forming a right
angle and the elbows pointing forward. If the arms are straight when
reaching the hands to the floor, use the bolster or blankets to support
the hands, so the arms form a right angle (figure SOi). Press the hands
down, bring the elbows closer to each other, roll the inner upper arms
out, widen the collar bones, and lift the shoulders away from the floor.
Look, and move the forehead, towards the wall. From the nape of
FIGURE SOG

FIGURE SOH FIGURE SOl
the neck, lift the trapezius to the waist (figure SOj). Continue to work the hands, arms,
shoulders, and trapezius, then slowly release the back of the head and neck towards the
floor (figure SOk). 'TI1ese actions will educate the muscles of the arms, neck, and upper
back to practice classical sirsasana without discomfort to the neck.
Extend the arms straight, laterally, with the fingers pointing out (figure SOl). Reach
the fingers away from the armpits. The shoulder girdle widens and creates a horizontal
expansion of the upper chest along with th e elongation of the torso and spine created
by the traction of rope sirsasana. TI1e opening of the armpits enhances circulation to the
lymphatic system. The forehead rests on a support to lengthen and arch the sternum
forward (figure SOm). In the latter figure, bolsters support the hands to the sides, as
they are unable to reach the floor. A large block with a blanket on top supports the
forehead.

FIGURE 50} FIGURE SOK
FIGURE SOL FIGURE SOM

Reach for the lower ropes, cross them behind the
back, thread the arms through the ropes, and position
them over the shoulders. Pull the opposite ends of
the lower ropes, attached to the hooks, to traction
the shoulders up to the waist (figure SOn).
To come down from rope sirsasana, reach the hands

to hold the ropes. Climb the hands higher up the
ropes, press the feet into the wall and move the
buttocks off of the wall (figure SOo). Straighten
the knees and take a breath (figure SOp). Walk the
feet down the wall to the floor. Continue to hold
the ropes and rest the forehead on the wall (figure
SOq) to equilibrate the blood pressure and heart
rate, which are reduced in this pose to the benefit
of the body.
FIGURE SON
FIGURE SOP
148 lyengar Yoga A sana Alternatives: Tl1e Neck and Shoulders

When no ropes are available, place two chairs on a sticky mat against a wall with
the seats facing each other about 6 inches apart. Place a folded sticky mat with
a blanket on top of each seat. Bend forward, place one hand on the seat of each
chair, and maneuver the neck between the seats so the head is below, and the
shoulders on top of, the seats of the chairs. It is possible to raise the legs up to
place the heels on the wall unassisted. An assistant helps the student raise one
leg up to the wall for the other leg to follow (see figure Slb). The shoulders are
supported on the seats of the chairs and the hands hold their edges (figure SOr).
Press the hands to lift the trapezius to the waist and release the head and neck
to the floor. Lift the sides of the torso and the legs. If stable and confident, bend
the arms to the sides and rest the backs of the hands on the seats (figure 50s).
Continue to lift the shoulders. Two viparita karani boxes may be set up in a similar
arrangement (figure SOt). It is easier to get up unassisted, as the boxes are lower
to the floor. This pose is contraindicated for those with thoracic hyperkyph osis
because the trapezius muscles will be incorrectly positioned on top of the chairs
due to the postural misalignment. The previous variations of rope sirsasana are
more appropriate and effective.
FIGURE 50Q
FIGURE 50R FIGURE 50S FIGURE SOT

FIGURE 51+ Salamba Sirsasana I
Kneel down in front of a sticky mat folded next to a wall. A blanket

may be placed on top of the sticky mat. Position the elbows shoulder
width on the mat, interlock the fingers, touch the tips of the thumbs,
and place the thumbs on top of the index fingers. The knuckles may
touch the wall. However, if the buttocks are ample, have a little space
between the wall and the fingers. Align the inner wrists over the outer
wrists and double check that the elbows are even and equidistant from
the center line ofthe body. Press the arms on the floor evenly from the
small fingers to the elbows. Point the fingertips laterally, to your left
and right, so that the fingers are parallel to each other. Don't grip the
fingers or tense the hands. Roll the forearms in and the upper arms
out. Each oftwo assistants places one foot near the wall at the student's
outer elbow to keep it steady, and threads a rope through the inner
upper arm on each shoulder. The student places the top of her head
on the floor and the back of the head against the palms of her hands
(figure Sl a). She lifts her knees, walks the feet in, lengthens the back
inner groins, releases the back of the head to the floor, softens her
face and takes a breath. She raises one leg for one of the assistants to
catch th e ankle and raise that leg to the wall (figure Slb). The other
leg follows up to the wall unassisted-the student may fall forward FIGURE 51A
FIGURE SIB
FIGURE SIC
150 lye~~gar Yoga Asana Alternatives: The Neck and Shoulders

if the assistants lift both legs. The assistants hold the ends
of the ropes separately in each hand. The rope should be on
the inner shoulder blade at the back and should not disturb
the breast at the front (figure S1c). Solicit feedback from the
student to determine ifthe two ropes are lifting evenly. Having
placed one foot near the wall at the student's elbow, one of the
assistants can step the free foot away from the wall to check
on, and give instruction to improve, the alignment of the
posture. Press the forearms down and lift the upper arms, the
sides of the chest, the buttocks, legs, and heels to the ceiling.
The buttocks lift up, off the wall. Separate the feet hip width
to roll the fronts of the thighs in and spread the backs of the
thjghs out. Lift the buttocks higher. Continue these actions
and rejoin the legs. Thirty seconds may be long enough of
a hold for those with neck issues and/ or fear- don't hold
a pose long if it is imbalanced or causing pain. When ready
to exit the pose, the assistants remove the ropes from the
shoulders. The student presses the forearms, lifts the upper
arms and shoulders on her own, and moves the buttocks to
the wall. The assistants can each place a hand o n the front
of the pelvis to hold it back towards the wall and keep the
student from falling forward (figure 51d). Come down with
straight legs. Lengthen the back inner groins and slowly lower
the legs (figure S1e). Curl the toes in to land on the balls of FIGURE SID
the feet. To come down lightly, the legs should descend more
slowly as the feet come closer to the floor. Mastering coming
down will teach going up independently. Rest in adho mukha
virasana (see figure 10) after all sirsasana variations.
FIGURE 5IE
Iyengar Yoga Asana Alternatives: Tite Neck and Shoulders 151

Place two dowels (metal are
depicted here, but wood may
be used) slightly narrower than
shoulder distance on the front
edge of the blanket with the oppo-
site ends on the wall, touching
each other. Place a sticky mat
or remnant on the wall to keep
the dowels from shifting. Reach
the arms around the dowels and
interlock the fingers, placing the
hands and forearms on LIJt: floor.
Position the back of the head in
the hands and the top of the head
on the floor. The dowels touch the
inner elbows and inner shoulders
(figure S lf). Repeat the actions
described above. Either bend the
knees and hop up or raise one leg
then the other to the wall. The FIGURE 51F
dowels will lift the shoulders; still
attempt to raise the shoulders off
the dowels (figure Slg). The pose
may be attempted without the
FIGURE 51G
heels supported at the wall. Place
the back of a chair against a wall
with a sticky mat folded on its seat.
Fold a sticky mat with a blanket on
top in front of the legs ofthe chair.
Place the dowels on the front edge
of the blanket, and their opposite
ends against the seat of the chair.
Practice the pose as described
above, but the legs will balance
independently (figure Slh) .
FIGURE 51H
152 Iye11gar Yoga Asana Alternatives: Il1e Neck and Shoulders

Blocks are stacked at the wall to move the dorsal/ thoracic spine into
the body and lift it up (figure Sli). The blocks are stacked according
to the distance of the dorsal from the floor. Props can be tested to
determine what configuration works best. With or without the support
of the wall, heavy metal dowels are placed on the forearms to aid them
pressing to the floor (figure Slj). Lift the upper arms and shoulders.
Review figure 13 to traction the shoulders with straps. It is possible

to do this pose unassisted, though, it may take som e trial and error to
arrive at the correct length ofthe strap to provide the traction necessary
to lift the shoulders. An assistant holds the end of the long loop while
the student goes into the pose (figure Slk). Bend the knees and take
the feet to the wall. In this position the assistant places the strap on the
FIGURE 51}
FIGURE SIK
lyengar Yoga Asmw Alternatives: The Neck mrd Shoulders 153

heels (figureS 11), and then the student straightens her knees. Repeat
the process if the strap needs to be adjusted to provide traction. The
pose may be done independently of the wall (figure Slm).
From sirsasana against th e wall, centered between two hooks, reach

the hands one by one, to hold the lower rope hooks (or ropes, if the
arms aren't long enough, figureS ln). Roll the inner arms out and open
the chest forward, away from the wall. The brain gets very balanced
and quiet. Double the upper ropes from two separate hooks, slip the
hands through the loops of the ropes and hold them from the outside.
Climb the feet up the wall. An assistant supports the shoulders to
lighten the body weight while climbing up (figure Slo). TI1e back of
the head, shoulders, buttocks, and heels, which are placed hip width,
are flush upon the wall. Maintain the outer shoulders on the wall,
turn the upper arms out, widen the collar bones, and open the chest
away from the wall. Roll the fronts of the thighs in, spread the backs
of the thighs out, lift the heels and allow the head and neck to release
towards the floor (figure Sl p) . To come out of the pose, simply let the
buttocks slide down the wall to the floor, folding forward at the hips
(figure Slq), and stand in tadasana with the feet hip width resting the
forehead on the wall to recover (see figure SOq) .
FIGURE 51L
FIGURE 51M FIGURE SIN

FIGURE 510
FIGURE 51P FIGURE 51Q.
Iyengar Yoga Asana Alternatives: The Neck a11d Shoulders ISS

FIGURE 52~ Viparita Karani Sirsasana
Place a stool or the back of a chair against a wall between a set of ropes. The depth of
the stool may not accommodate tall practitioners. Trial and error will determine if
additional blocks between the wall and stool are needed to increase the depth of the
space for the lower torso to rest on top of the stool. Set a sticky mat with a bolster or one
to two tri-folded blankets across the stool. Position the bolster or blankets as close as
possible to the front edge of the stool, away from the wall, so there is a gap between the
bolster and the wall. Similar to entering rope sirsasana (see figure SO), hold the handles
of the upper ropes, step the feet on the wall, above the stool, position the buttocks onto
the wall, and lower the back on the bolster/ blankets. The dorsal should curve back on
the front edge of the bolster and the buttocks are off the bolster's back end so that th ey
descend slightly towards the floor. One hand at a time, take hold of the lower ropes to
slowly bring the top of the head to the floor. Add blankets to support the top of the head
if it doesn't reach the floor. Continue to hold the lower ropes to lift the back chest up
towards the ceiling, and spread the upper chest and collar bones. Separate the legs hip
width and straighten the knees. Turn the fronts of the thighs in and spread the backs of
the thighs out. Soften the abdom en and facial muscles. Release the back of the head, ears,
and temples towards the floor to release mental and physical tension. Iffloor level hooks
are available, a belt may be attached to them on either side of the stool, across the upper
thighs, to hold the legs firmly to the wall. Alternatively, an assistant presses her hands
on the student's upper thighs to move them towards the wall (figure S2a). This traction
FIGURE 52A
156 Tyengar Yoga A sana Alternatives: Tire Neck and Shoulders

will relax the body further, quiet
the brain, and lighten, caLn, and
uplift the mind. Continue using
the ropes to lift the trapezius of
the upper back away from the
neck, and elongate the back of
the neck and head towards the
floor. Maintain this extension and
place a support under the forehead
to move it slightly back towards
the wall, resting the front crown of
the head on the support. The neck
is curved, but not compressed.
T he support depicted here is a
small foam pad (figure 52b), but
a folded head wrap may also be
used. Continue to hold the ropes
to open the chest and release the
head and neck. Figure 52c shows
the chair support with the legs FIGURE 52B
at a 90 degree angle, the knees
bent, and the feet on the wall. This
pose is more accessible for those
who are less flexible. The hands
may rest on the abdomen if the
position can be sustained without
effort. If the back of the neck is
shortened or compressed and
the trapezius is unable to move
in the direction of the shoulders,
practice twists (before doing this
pose) to improve the pliability
of these muscles for the spine to
curve inwards (see figures 27-31).
To exit the pose, hold the ropes,
bend the knees, press the feet onto
the wall, move the buttocks away
from the wall, and slide down to
the floor.
FIGURE 52C
Iyengar Yoga Asatw Alternatives: Tl1e Neck and Shoulders 157

Another variation of viparita
karani sirsasana is possible if the
knees are not able to straighten
with the buttocks to the wall. Place
the low end ofa viparita dandasana
bench against a wall. Position a
trestle over the bench parallel to
the wall. Fold a sticky mat on top
of the bench and another on the
bean1 ofthe trestle. Belt two straps
around the beam of the trestle-
one on either side of the sticky
mat. Set a folded sticky mat on
the floor in front of the bench
and place a blanket on top of it.
Have extra blankets ready to place
under and/ or behind the head if
needed. Sit on top of the bench
facing the trestle. Hold the straps
to lower the back on the bench
and the top of the h ead on the FIGURE 52D
blanket. Bend the knees over the
bean1 ofthe trestle. Reposition the
trestle closer to, or further away
from, the wall for the knees to
bend on the trestle in line to the
hips or slightly further towards
the wall. The buttocks may need
to have blankets under them for
the legs to bend at the knees and
rest at a 90 degree angle. Ifneeded,
add folded sticky mats under the
knees for the legs to rest com-
fortably. Place a sandbag on the
shins to provide traction on the
legs to release the spine towards
the head. Continue to hold the
straps to ascend the back chest
and open the front chest (figure
52d). Relax the abdomen, head,
and neck.
158 Tyengar Yoga Asana Alternatives: '1J1e Neck and Shoulders

FIGURE 53~
Vasisthasana
Position the long edge of a sticky
mat against a wall. Perform adho
mukha svanasana with the right
side of the body facing the wall
(figure S3a). Lift the left hand and
foot from the floor and balance on
the ride hand and foot with the
back on the wall. Join the inner
edges of the feet and raise the left
arm vertically along the wall. An
assistant uses her leg to support
the student's thighs back to the
wall, and lifts her hips to steady the FIGURE 53A
student against the support (figure
S3b). Extend the arms, spread
the chest, move the paraspinal
muscles towards the spine, and
lengthen the right side of the chest
towards the armpit. Repeat on the
other side. The arms are toned,
strengthened, and prepared for
more challenging arm balancing
poses.
FIGURE 53B
lyengar Yoga Asana Alternatives: The Neck arzd Shoulders 159

FIGURE 54 ifr' Adho
Mukha Vrksasana
On a sticky mat placed lengthwise
from a wall, position two slanting
planks, shoulder width apart, with
their short ends against the wall,
and their thick edges facing each
other. Place the heels ofthe hands
(turned out 90 degrees) about 5
inches from the wall, on the thick
edges of the planks. 1he fingertips
are on the floor. Two assistants
place ropes on the inner edges of
the shoulder blades to help lift
them up. The ropes should not
disturb the breasts. Press into the
fingers, lift the wrists energeti-
cally up from the planks, extend
the inner arms up, roll the upper
arms out, and lift the shoulders.
Continue the actions of the hands,
arms, and shoulders; then kick the
legs up to the wall (figure 54a).
Lengthen the sides of the chest.
Lift the legs so the weight is less
heavy on the hands, wrists, elbows,
and arms. Extend the calves and
tighten the knees. Separate the feet
hip width to roll the fronts of the
thighs out, and lift the buttocks.
Lift the heels, extend the inner
edges of the feet up to the ceiling
and the outer edges of the feet
towards the floor. Maintain the lift
of the buttocks, the backs of the
thighs spreading, and rejoin the
legs. Turning the palms out facili- FIGURE 54A
tates the extension of the inner
arms and secures the ligaments
and tendons of the rotator cuff.
160 Iyengar Yoga Asana Alternatives: Tire Neck and Shoulders

Place the hands, shoulder width, about a hands distance from the
wall with the fingers pointing forward. An assistant stands with her
back on the wall and her feet straddled outside the student's hands.
She places her arms around the student's waist and holds her hand
to her wrist in the student's abdomen. The assistant bends her knees
slightly to use the leverage of her body, and not her low back, to help
the student up into the pose (figure S4b). The student throws one leg
up, then the other, and separates her heels hip width. The assistant
holds and lifts the student's hips and centers her body, including her
head, with the student to help align the pose (figure S4c). Using her
legs, the assistant keeps the student's shoulders from dropping back
to the wall.
FIGURE 54C
FIGURE 54B
Iyengar Yoga Asana Alternatives: Tlu Neck and Shoulders 16 1

Position a belt on the forearms about
one inch below the elbows. Place the
palms about a hands distance from the
wall, turned out 45 degrees. After kicking
up, press the forearms into the belt.
Lengthen, and lift, the inner elbows
(figure S4d). This pose is beneficial for
those with an excessive carrying angle
of the elbows. To address imbalances in
the upper arms, the belt is placed about
one inch below the deltoids (figure S4e).
Press the upper arms into the strap.

Set the thin edge of one slanting plank
horizontal to a wall, about a hands dis-
tance away. Use a belt on the elbows if
they tend to bend. Place the heels of the
hands on the thick edge of the plank with
the fingertips pointing to the wall. Press
into the fingers more than the palms
and raise the wrists energetically up
from the slanting plank. Align the shoul-
ders over the hands and kick up (figure
S4f). Extend the inner arms and armpits
up to the ceiling. Turn the upper arms
out. Lift the shoulders, chest, buttocks,
legs, and feet. With these techniques the
arm bones and muscles bear the weight
instead of the wrist and elbow joints.
Place the hands shoulder width and

equidistant from an outer wall corner,
then kick up to the pose. Position the
heels hip width, evenly from the corner
(figure S4g). Press the inner edges of
the heels into and up the wall to lift
more powerfully. Coordinate lifting the
inner arms, inner shoulder blades, and
inner heels. Lightness in the shoulders
is experienced working at the corner
and brings awareness of the symmetry
of the position of the spine, buttocks,
and legs.
Iyengar Yoga Asatta Alternatives: The Neck ar1d Shoulders 163

FIGURE 55~ PinchaMayurasana
Stand with the feet hip width in front of a trestle

or table top. Hold the ends of a block, lengthwise,
between the wrists, and bend forward placing the
elbows shoulder width on the support with the
forearms perpendicular so that the arms form a
right angle. Extend the fingers up to the ceiling
(figure SSa, shown at a trestle). Roll the forearms
in and the upper arms out. This simple alternative
is a great preparation fo r the classic pose and does
not irritate the rotator cuff.
Place a sticky mat up to the wall. Position the fore-

arms on the floor near the wall with the elbows
shoulder width. Face the palms towards each other
and press the wrists into a block with the fingers
pointing towards the wall and the thumbs lifting to
the ceiling. Press the outer edges of the hands down.
Flex the wrists and extend the fingers away from the
block to press the wrists more firmly into the block
(figure SSb) . Continue to press the wrists andre-
extend the fingers towards the wall (figure SSe). As
in adho mukha vrksasana, an assistant stands behind
the student to help her up. The assistant places her
feet outside the student's elbows to maintain their
width. She uses her legs to move the student's shoul-
ders away from the wall. The student swings her legs
up to pincha mayurasana and places the heels hip
width on the wall. The assistant, centered with th e
FIGURE 55A
164 lyengar Yoga Asana Alternatives: T11c Neck and Shoulders

student to keep her aligned, continues to support her shoulders from Students learn pincha mayurasana at a wall with a
the wall and lifts her hips (figure SSd). Press the outer edges of the belt on the upper arms above the elbow joints and
hands and forearms to the floor and roll the inner upper arm s, and the index fingers and thumbs around a block with
the inner deltoids, out. Lift the sides of the chest. Turn the fronts of the palms facing the floor. This prop arrangement
the thighs in, spread the backs of the thighs out, and lift the buttocks. maintains alignment and action of the arms by pre-
Lift the heels and ankles to lessen the load on the upper body. In this venting the elbows from widening excessively and
variation, the deltoids can turn out m ore readily and the forearm bones the hands from collapsing in to the center line of the
can press more heavily to the floor, which m akes the pose accessible, pose. To enhance the pressure of the forearms, first
without pain, for those with rotator cuff injuries. turn the palms up to the ceiling with the small fingers
against the block (figure SSe). Press the forearms
strongly into the floor. Maintain this pressure and
slowly turn the forearms in and the palms to the
floor, with the thumbs and index fingers around
the block. Press the inner rims of the hands down.
Turn the upper arms out, and energetically m ove
the elbows towards the wall to lift the shoulders
(figure ssf).
FIGURE 55E
FIGURE 55D FIGU RE 55F
Iywgar Yoga Asana Alternatives: The Neck and Shoulders 165

Two assistants place ropes at the student's inner
shoulders to help her lift them. Kick up to the wall.
Separate the feet hip width, roll the fronts of the
thighs in, spread the backs of the thighs out, and lift
the buttocks. Maintain the buttocks lifting and join
the feet. Lift the outer deltoids to the hips. Move the
inner armpits away from the wall to open the chest
and widen the collar bones (figure SSg).
Wean the hands from the block by taking the index

fingers away from, and the thumbs closer to the edge
of, their contact with the block (figure 54h) . Maintain
the inner rims of the hands and wrists on the floor.
The head looks away from the wall to move the upper
thoracic spine towards the sternum. Lift the sternum
from the neck up to the abdomen. The armpits will
lift and open further from the wall (figure SSi). Look
to the wall only if the chest stays lifted. Roll a sticky
mat and place it under the elbows. A belt and block
may be used for the elbows and hands, respectively
(figure SSj). The shoulders lift and the armpits open
further with the elbows supported.
FIGURE SSG
FIGURE SSH
166 Tyengar Yoga Asarw Alternatives: TI1e Neck and Shoulders

FIGURE 55I FIGU RE 55}

Set the back of a chair against the wall on top of a
sticky mat. Kneel down in front of the chair. Hold
the hands onto the bottom of the front legs of the
chair with the small finger sides of the hands on
the floor. Position the forearms sho ulder wid th on
the floor, and the shoulders over the elbows. Two
assistants help steady the student after kicking up to
pinch a mayurasana (figure 55k). Press the forearms
powerfully into the floor to open the armpits and
chest. TI1e assistants help guide the student's heels
onto the wall. Lift the heels strongly up the wall
(figure 551) . Roll the fronts of the thighs in, spread
the backs of the thighs out; lift the buttocks and
sides of the chest. Move the sternum into the body
towards the wall, and the sides of the breast, and
inner armpits away from the wall.
Similar to adho mukha vrksasana, use an o uter

wall corner (figu re 55m ). Lift the inner heels to
extend the whole of the body up to the ceiling. TI1e
corner gives feedback regarding positional symmetry.
Note how this is easily o bserved in figure 55m.
FIGURE SSK
FIGURE SSL
168 lyengar Yoga Asana Alternatives: Tl1e Neck and Shoulders

FIGURE 55M FIGURE 55N
Using a block between the hands and a belt above

the elbows, as shown in figure 55£, go up to pincha
mayurasana. The student should maintain the actions
described above. One assistant holds the student's
thighs to prevent her from falling forward. A second
assistant places a rope across the student's forehead
above the eyebrows and lifts the student's forehead
up towards the ceiling with a slight pumping action
(figures 55n and 55o). This variation is excellent for
o pening up blocked sinuses and also stimulates the
thyroid glands.
FIGURE 550
Iyengar Yoga Asana Alternatives: Tl1e Neck and Shoulders 169

FIGURE 56+ Bhujangasana
Place a blanket on a sticky mat and lie face down.

One by one lift the legs just high enough from the
floor to roll the front of the thigh in and lengthen it
to the foot. Press the outer knees down, move the
buttocks towards the heels, and descend the tail bone
to the floor. Place the palms by the sides of the head
with the fingers pointing forwards. Point the outer
elbows back. Look forward, roll the shoulders back,
press the palms, and lift the chest until the forearms
come slightly up from the floor. Continue to press
the palms, point the outer elbows back, and lift the
sides of the chest (figure 56). Spread the paraspinal
muscles away from the spine and look forward. This
simple pose develops arm strength.
FIGURE 56
170 Tyengar Yoga Asana Alternatives: The Neck and Shoulders

FIGURE 57~ Shalabasana
Place a sticky mat on the floor with a blanket on top so the bones will be comfortable. Lie face down
on the blanket/ sticky mat. Position two blocks turned up to their second height under the upper front
chest and shoulders, and a third block, flat, under the forehead. Adjust a strap on the forearms near the
wrists behind the back so the arms are shoulder width or slightly narrower. Roll the fronts of the tllighs
in, spread the backs of the thighs out, and move the buttocks to the feet. Reach the arms back with the
palms facing each other (figure 57a). Repeat with only the forehead supported on the block turned up to
its second height (figure 57b). Lift the head, look forward and roll the shoulders back (figure 57 c). Spread
the paraspinal muscles away from the spine to keep the back broad despite the nature of the position. The
muscles of the back will strengthen without tension.
FIGURE 57A
FIGURE 57B
FIGURE 57C
Iyengar Yoga Asana Alternatives: The Neck ar1d Sho1dders 171

FIGURE 58 ~ Paryankasana
Place a blanket, folded to a rectangle, vertically on the front of a sticky

mat. Position two blocks, one vertical and another horizontal, in this
order, behind the blanket. Roll a dowel inside a blanket and have it
handy. Sit in virasana. Lie back with the forearms on the floor to lift
the chest and position the vertical block to support the dorsal/tho-
racic spine. Place the dowel/blanket under the base of the neck and
on top of the horizontal block. A weight m ay be placed on the thighs
to soften and release them towards the knees (figure 58) . Move the
shins towards the ankles. Pull the heels with the hands and press the
forearms onto the floor to lift the chest further and release the back
of the head and neck. The action of the arms and legs will help to lift
the chest and lengthen and soften the abdomen to the head. The brain
becom es quiet with the abdomen soft. The extension of the neck in
this position optimizes blood flow to the brain.
FIGURE 58
172 Iyengar Yoga Asana Alternatives: Tl1e Neck and Shoulders

FIGURE 59~ Purvottanasana
Position the back of a chair against a wall on top of

a sticky mat. Sit on the edge of the chair with the
hands on the chair seat pointing out to the sides
of the buttocks (figure S9a). Step the feet forward,
hip width, and press them down to lift the buttocks
up. Press the hands to lift the chest. Straighten the
knees and elbows, and look back (figure S9b). Roll
the inner upper arms out, move the trapezius to
the waist, lift the sternum and the sacrum. Slightly
lift the back of the head to elongate the back of the
neck. Arm muscles are strengthened and toned in
this pose.
FIGURE 59A
FIGURE 59B

FIGURE 60 ~ Urdhva Mukha
Svanasana
Roll a blanket along its rectangular end and place it
horizontally on the mat for the hands. Lie with the
abdomen on the mat, the heels of the hands and the
bottom of the rib cage on the blanket roll, and the
fingers on the floor. Turn the toes under, with the
feet hip width; walk them forward until the thighs are
off the floor. Extend the calves to the heels, roll the
fronts of the thighs in, spread the backs of the thighs
out, lift the inner knees to the ceiling, and move the
buttocks towards the heels. Look forward, roll the
deltoids from front to back, widen the collar bones,
and move the shoulders blades into the back. Press
the fingers and palms to lift the chest and straighten
the elbows (figure 60a). Press the inner rims of the
FIGURE 60A
hands and the fingertips (more than the heels ofthe
hands) to energetically lift the wrists up from the
hands. Roll the inner upper arms out and move the
triceps forward onto the bones to open the chest
forward and up. Extend the heels back from the
calves and the dorsal forward. The weight on the
wrists is decreased and the lift of the chest increased
with this support. Blocks for the hands may also be
used (figure 60b) for a similar purpose ofbearing less
weight on the wrists and learning to lift the arms to
lift the chest. Rolled bandages (figure 60c) or foam
slanting planks (figure 60d) may be placed under
the armpits to spread the chest more.
FIGURE 60B
174 Iywgar Yoga A sana Altem aUves: Tlu Neck and Shoulders
On top of a sticky mat, place a chair against a wall with the seat facing
out. Hold the sides of the back rest of the chair and bend slightly
forward to step two feet back from the chair with the feet hip width
(or wider to the edges of the mat if the legs and low back are stiff).
Bend the elbows, move the pelvis forward,lift the chest, and position
the fronts of the thighs onto the edge of the chair seat (figure 60e).
Extend the heels back while lifting the fronts of the thighs up higher
on the chair seat. Turn the fronts of the tl1ighs in. Roll the inner heels,
calves, backs of the knees and thighs out. Descend the top of the
buttocks to move it away from the waist. Spread the middle of the
buttocks, horizontally, inwards. Press the hands on the chair; point
the outer elbows towards the floor, lift the sternum, and arch back
with the eyes looking up. Using the chair lessens the weight borne
by the wrists, elbows, and shoulders for those who have joint pain
in the classic pose.
FIGURE 60C

176 Iyengar Yoga Asana Altematives: T11e Neck m-Jd Shoulders

Using a platform further minimizes the weight borne on the joints. Align one sticky mat
on a platform with one on the floor against the platform. Place the fingertips, pointing
forward, with the arms straight, shoulder width, about l 1/ 2 feet from the edge of the
platform. Position the fronts of the thighs on the edge of the platform with the balls of
the feet to the edges of the sticky mat and the heels lifted (figure 60f). The hands are
placed on blocks for additional lift of the chest and curvature of the upper back. Bend
the elbows back, descend the shoulders, ascend the chest, and look up (figure 60g). Set
two stacked bolsters horizontally up to the edge of a platform. Place the hands on top of
the bolsters and position the fronts of the thighs onto the sides of the bolsters. Step to
the edges of the mat with the heels up. Place the hands on the backs of the inner thighs,
rolling the arms from inside out, arch back, and look up (figure 60h). Use one bolster
for the thighs and step the feet further back from the platform to deepen the curve in
the dorsal/ thoracic spine (figure 60i). The head, neck, sternum, chest, and shoulders
curl back and open more. An assistant positions a slanting plank (with a sticky piece on
its edge to soften its contact) against the dorsal/ thoracic spine. She stabilizes the plank,
without pushing it inwards, for the student to lift and curl back, up and over the plank,
to open the sternum and lift the chest more (figure
60j). Another assistant places a block on the student's
sternum (figure 60k) so she can lift the sternum up
onto the block and further deepen the curve of the
dorsal/ thoracic/ cervical spine and sternum.
Iyengar Yoga Asana Alternatives: Tire Neck and Shoulders 177

Place a sticky mat in front of a viparita dandasana
bench as well as one on top. Position a slanting
plank horizontally on the apex of the bench. Set
the palms, turned out ninety degrees, on the ends
of the plank. Move the pelvis forward, extend the
arms straight, lift the chest, and look up. The thighs
are unsupported. With the toes turned under, roll
the fronts of the thighs in, spread the backs of the
thighs out, and lift the inner knees to extend the
legs straight. An assistant straddles the bench to
face the student, places a rope across her upper back
and threads the ends of the rope forward between
the inner upper arms and sides of the chest. She
lifts the chest forward and up with the rope (figure
601). Each of two assistants places a rope under
the armpit to lift the chest (figure 60m). Reverse
the palms, pointing the fingers to the toes (figure
60n). Turn the inner upper arms out and press the
triceps on the bones. Lift the sternum and front of
the chest further. FIGURE 60L
FIGURE 60N
FIGURE 60M

FIGURE 61 if'> Ustrasana
Double fold a sticky mat and set it against a rope wall between two
hooks. Place a rectangular folded blanket on top. Kneel on the shins
with the outer feet and knees aligned with the outer hips. Hold the
hooks with the elbows pointing down to the floor and lift the chest.
Press the small toe sides ofthe feet down onto the floor. Turn the inner
heels out, move the outer ankles in and press the fronts of the shins to
the floor, especially near the ankles. If there is a gap between the shins
and the floor, place a rolled blanket under the shins (figure 6la). Do
not roll the blanket more than needed to fill the gap. Otherwise, the FIGURE 6IA
weight is born e heavier on the knees which will incorrectly protrude
the abdomen. Spread the backs of the calves and move the outer shins to the floor.
Turn the skin of the outer knees to the inner knees. Roll the fronts of the thighs in and
spread the backs ofthe thighs out. Move the outer sides ofthe hips energetically forward
and inwards towards the navel. Lift the pubis, navel, sides of the chest, and base of the
sternum up. Open the top of the sternum forward. Using the leverage of the hands on
the hooks, arch the head, neck, and chest back. Move the trapezius to the waist (figure
61 b). Slightly lift the back of the head up to the ceiling to prevent compressing the back
of the neck. Do several repetitions for 10 to 20 seconds each. Dizziness may indicate
that the curvature is compressing the back of the neck. An assistant can support the
back of the student's head and neck with her hands (figure 6lc).
FIGURE 6IB FIGURE 6IC

FIGURE 6ID FIGURE 6IE
Place a sticky mat and blanket as above and position a halasana

box on the blanket about l 1/2 feet from the rope wall. Set a
folded sticky mat on top of the box with one to two bolsters
horizontally on top. More bolsters may be added, as needed,
to support the dorsal/ thoracic spine and head. Hold onto the
hooks to kneel down on the shins between the wall and the
halasana box. Step the shins apart inside and up to the sides
of the box. Hold the hooks to arch back over the support then
hook the arms over the bolster (figure 6ld). This variation
provides support for holding the pose up to five minutes,
passively opening the chest, sternum, neck, and shoulders
without strain. If the arms become numb rest the hands on
abdomen (figure 6le). The bolster may be placed vertically
if the lower back is uncomfortable (figure 6lf).

FIGURE 6IG
FIGURE 6IF
The pose may be done classically, but if the shoulders are stiff and
the hands are unable to reach the feet, place a bolster across the feet
and reach the hands to the bolster (figure 6lg), or use blocks for the
hands (figure 6lh) . Press the fingers / hands down onto the support,
lift the chest up, and move the armpits from back to front and up to
the ceiling.
FIGURE 61H

FIGURE 62 ~ Ardha Urdhva
D hanurasana
Face the back of a chair two feet from a wall with
a sticky mat over the back rest. A sandbag may be
placed on the front rung of the chair to steady it.
Stand between the chair and wallJ place the hands
on the back rest of the chair} and step the toes up
the wall with the balls of the feet and heels on the
floor the width ofthe hips. Slowly squat to place the
upper back against the backrest of the chair (figure
62a).Align the outer knees with the outer h.ipsJ pr~ss
the hands and feet to lift the chest up and over the
chair back} and look back (figure 62b). The sticky
mat helps to move the trapezius to the buttocks.
Lift the outer shins} roll the fronts of the thighs inJ
spread the backs of the thighs out} and move the
buttocks away from the waist. Relax the abdomen} FIGURE 62A
neck} head}and face. The hands push onto the back
rest of the chair to lengthen the sternum towards
the head. Reach the arms over the head with the
elbows straight and palms facing each other (figure
62c). Roll the inner upper arms out and widen the
collar bones. Bend the elbows and reach the hands
to catch hold of the outer edges of the seat of the
chair (figure 62d). Point the outer elbows up to the
ceiling. Roll the deltoids from the inner arm out.
Continue to work the legs as described maintaining
a soft abdomen and head. The support of the wall
enables the legs to remain aligned and steady. The
chair may be reversed with the seat up against the
wall. Repeat the above steps (figure 62e) with an
increased effort to maintain the alignment of the
legs. The arms will not be able to extend straight. FIGURE 62B
Instead place the palms on the wall and point the
outer elbows up to the ceiling (figure 62f). The hands
can still catch the seat of the chair (figure 62g). Place
a bolster horizontal across the backrest of the chair
and another vertical on top. Carefully lie back over
the bolsters without tipping them. Once situated on
top of the bolsters they will be steady. Interlock the
FIGURE 62C

hands and rest them on the abdomen (figure 62h).
The legs have to work as described previously. 'This
gentle back arch can be done by those who are very
stiff to increase the curvature of the dorsal/ thoracic
spine. To come up, press the feet into the floor with
the fronts ofthe legs rolling inwards, press the hands
on the back rest of the chair to lift the chest off of
the chair, and last, raise the head.
FIGURE 62D
FIGURE 62G
FIGURE 62E
FIGURE 62H
FIGURE 62F
lyengar Yoga A sana Alternatives: Tl1e Neck and Shoulders 183

The trestle, with its wide beam, is superior to the chair for
supporting this posture. Position the trestle parallel to a wall,
adjusting the distance of the trestle from the wall according
to how much the shoulders/ armpits can open. The feet are
hip width on the floor or a support such as a viparita karani
box if the body is of short stature (figure 62i). Come in
and out of the pose as described above using the chair. The
hands/ arms may press on the beam to open the chest and
lengthen the sternum. Bring the palms together in a prayer
position (figure 62j) then extend them over the head. Roll
the elbows inwards to the centerline of the body and reach
the small fingers onto the wall (figure 62k). Roll the udtoids
from the inner arms out. Continue to roll the deltoids out
and the elbows inward, separate the hands, and place them
on the wall. Walk the hands down the wall extending the
arms straight (figure 621). If the n eck is unable to curve
backward without compression, two assistants place a dowel
at the base ofthe neck to lengthen the neck as it curves back
(figure 62m).
Ardha urdhva dhanaurasana prepares the arms and legs for

the practice of urdhva dhanurasana.
FIGURE 62I
FIGURE 62} FIGURE 62K
184 Tyengar Yoga Asana Altemativcs: TI1c Neck and Shoulders

FIGURE 62L FIGURE62M
Iyengar Yoga Asana Alternatives: Tize Neck and Slzo1dders 185

FIGURE 63
D hanurasana
t,. Urdhva
Place a sticky mat lengthwise from

a wall with a halasana box on top
about two feet from the wall. Add
a folded sticky mat and bolster
across the top of the box. Stand
with the feet hip width on the far
side of the box, facing away from
the wall. Bend the knees, place the
hands on top of the bolster/ box,
and step the feet towards or away
from the box in order to lay the
upper back on top of the bolster
with the head back. Step the feet
under the knees so the shins are
perpendicular from the floor.
Reach the arms overhead and
place the palms on the wall. Walk
FIGURE 63A
the hands down as far as possible
until the elbows are straightened
(figure 63a). Press the feet, lift the
outer shins, roll the fronts of the
thighs in, and spread the backs of
the thighs out. Spread the hands,
press the palms on the wall, roll
the forearms in1 turn the upper
arms out, and extend the elbows
straight. Move the trapezius down
the back and the buttocks away
from the waist. Relax the abdomen
and soften the n eck, head, and
facial muscles. This variation of
urdhva dhanurasana is accessible
for those who are extremely stiff
in the shoulders and tight in the
chest. It is a good way to learn
FIGURE 63B
using the arms and legs to extend
the torso without compressing
the spine.
186 Iyengar Yoga Asar1a Alternatives: The Neck and Shoulders

Position the short end of a viparita dandasana bench at a wall. Place a
sticky mat against the front of the bench with a stool/half-size halasana
box on top. Set a folded sticky mat and bolster across the top of the
box. Squat down on the far side of the stool/box, facing away from
the wall, and lie back over the bolster. Reach the hands overhead to
hold the viparita dandasana bench. Align the outer edges of the feet,
knees, and hips. The feet can go wider if the body is stiff, but the inner
and outer knees should remain parallel to each other no matter how
wide the feet are (figure 63b). Two assistants place ropes at the inner
shoulder blades to help lift the student up and extend the arms straight
(figure 63c). Press the hands, lift the backs of the arms, and roll the
biceps out. Move the outer armpits forward and lift the sides of the
chest. The assistants lift the inner shoulder blades into the body and
towards the arms so the chest opens forward and up. The student may
lift up without assistants (figure 63d). In all backbend variations the
head, neck, and abdomen should be soft.
FIGURE 63C
FIGURE 63D

If the arms and shoulders are inflexible, place the
feet higher than the hands to lift the buttocks and
create weightlessness. This position helps to lift the
chest and move it forward, accessing the shoulders
and leading to straightening the arms. Place the
short end of a wide setubandha bench in front of a
platform with a sticky mat underneath to prevent it
from sliding. Position a sticky mat on the platform
in line with the bench. Sit on the platform facing
away from the bench and lie back so that the middle
of the back ch est is on the edge of the platform.
Bring the arms over the head and hold the hands
to the sides of the bench with the head back. Point
the outer elbows up to the ceiling. Align the outer
edges of the feet and knees with the hips. The feet
may be placed to the edges of the mat with the ilmer
and outer knees parallel to each other. It is possible
to do this variation unassisted (figure 63e). For
optimal support, three assistants are needed. One
FIGURE 63E stands on the platform and places a rope across
the middle buttocks; his knees legs hold her outer
knees in to lift her up (figure 63f). To lift the chest,
two assistants stand on the floor on either side of
the bench and place ropes on the inner shoulder
blades. These assistants each place one foot on the
bench to maintain the student's hands in place.
FIGURE 63F
FIGURE 63G
188 lyengar Yoga Asana Alternatives: The Neck and Shoulders

The assistants may also use their shins to bring the student's
forearms and elbows inwards (figure 63g). All three assistants
coordinate lifting the student (figure 63h). Lift the heels to
lift the bottom of the buttocks and walk the feet towards the
hands. Roll the fronts of the thighs in and spread the backs
of the thighs out. Press the hands to lift and extend the arms
straight. Roll the biceps out and lift the back of the arms.
Walk the feet further to the hands to lift the hips and chest
higher and bring the arms perpendicular to the floor with
the elbows straight. If competent1 this position may also be
done with the hands on the floor. The two assistants lifting
the student's shoulders also step their feet on her hands to
keep them on the floor (figure 63i).
Jyerrgar Yoga Asarra Alternatives: Tlu Neck arrd Shoulders 189

FIGURE 63K
FIGURE 63}
Place the short end of a sticky mat up against a wall

or platform. Set two blocks on the mat alongside
the platform, shoulder distance apart. Position the
blocks on their highest height and broad width to
encourage the arms to work. Arrange two more
blocks, oriented the same way, against the first set
ofblocks to create distance between the forearms
and the wall. This prop set up prevents the forearms
from jamming into the wall (making it difficult to
extend the arms straight) when the elbows are bent.
Stack two bolsters centered b etween the blocks
approximately one foot from the platform to support
the torso. Sit on the end of the bolsters furthest
away, and facing out, from the platform. Lie back
with the head hanging off the end of the bolsters
and place the palms on top of the blocks. Align the
feet and knees hip width, or wider. Press the feet
and move the buttocks towards the legs. Roll the
fronts of the thighs in and the backs of the thighs
out. Press the hands and use the bolster support to
move the back ribs towards the front chest, the front
chest towards the head, and the trapezius towards
the buttocks. Point the outer elbows up. Press the
FIGURE 63L

hands and feet to lift up and extend the arms straight. Lift the heels up
and walk them closer to the hands to raise the bottom of the buttocks
higher. If using a wall, two assistants place a rope on each shoulder as
described above (see figure 63c). An assistant standing on a platform
adjusts the student's chest further forward by placing a rope across
the student's shoulders/ upper back and lifting her forward onto her
arms to get them perpendicular from the floor and extended straight
at the elbows. A second assistant places a rope across the middle
buttocks to lift them and align the legs parallel to each other (figure
63j). Walk the feet in to further lift the buttocks and open the chest/
armpits towards the platform. The hands may also be placed on the
platform, using more height under the torso in order to lift up. Near
the platform, place a cube, viparita karani box, or any stable prop to
support two bolsters positioned vertically on top. If necessary, add
blocks under either side of the wood support so the ends of the bol-
sters do not sink to th e fl oor (figure 63k). Sit on the bolsters and lie
back with the feet and knees parallel to the outer hips or wider. Place
the hands on top of the platform. Press the feet and hands to lift up. FIGURE63M
Avoid moving towards the legs by lifting the backs
of the arms and legs towards the platform. Lift the
heels to raise the buttocks and step the feet closer to
the arms (figure 631, shown with three assistants).
The height and extension of the arms and chest is
beneficial for releasing and elongating the cervical
vertebrae.
Position the short end of a sticky mat between two

ropes against the wall. Approximately two feet from
the wall, place a stump on the mat with its lo ng
edge parallel to the wall. The stump may need to
be repositioned closer to or further from the wall
after the initial attempt of this variation. Add a sticky
mat piece on top of the stump. A play brick may also
be placed horizontally on top of the stump (figure
63m). H old the upper ropes, standing between the
stump and the wall. Bend the knees to squat down
and lay the upper back over the stump/ play brick.
Place the toes up to the wall with the feet and knees
hip width. The knees touch the wall and the bottom
of the shoulder blades are on the edge of stump that
is further away from the wall (figure 63n).
FIGURE 6 3N
Iyengar Yoga Asana Alternatives: 1l1e Neck and Shoulders 191

FIGURE 630 FIGURE 63P
An assistant accurately positions the stump/ play

brick and shoulders (figure 63o) . Interlock the
fingers and rest the hands on the abdomen. Two
assistants place a dowel under the collar bones to
slightly lift the top of the thoracic and base of the
cervical vertebrae, smoothly curling that area of the
spine while the student holds her hands to the lower
ropes or rests them on the abdomen (figure 63p).
Press the knees forward to the wall and lengthen
and coil the spine towards the head. Press the upper
arms out and deltoids down to raise the chest up.
Move the back ribs in to the body and lift the chest
to the ceiling.
As the capacity of the limbs to lift and open the chest

and lengthen the spine increases, the pose may be
done with the hands lower to the floor and with
the help of an assistant. Lie on the mat with the feet
and knees hip width or wider. Place the hands on
the front of the assistant's ankles. She can help to
FIGURE 63Q
lift the student up with a rope (figure 63q) or plank
192 Iyengar Yoga Asarra Alternatives: Tl1e Neck and Shoulders

(figure 63r) across the upper back. Two assistants,
each holding a rope at the inner sho ulder blade to
lift the arms and chest as above, step on the student's
hands to help press them to the floor ( 63s).
If dizziness or pressure in the head occurs, an assis-

tant lifts and supports the back of the head and neck
parallel to the floor (figure 63t). Two assistants lift the
shoulders w ith ropes. A third interlocks his fingers
behind the student's neck to lift the head and position
the top of the head on the wall (figure 63u). Blood
flow to the head will be stabilized and the mind is
pacified. Avoid doing urdhva dhanurasana if the
problem persists. Instead practice spinal twists (see
FIGURE 63R figures 27-31) and other poses that increase shoulder
flexibility and correct postural alignment.
FIGURE 63T
FIGURE 63S
FIGURE 63U
Iyet~gar Yoga Asana Alternatives: The Neck and Shoulders 193

Turn the palms out 90 degrees and place the hands on the ends of
a slanting plank, positioned with the thin edge facing the shoulders
(figure 63v). The biceps and deltoids will be able to turn out more
to avoid irritating rotator cuff injuries, biceps capsule inflammations,
and/ or other imbalances of the arms and shoulders. Place the fingers
pointing towards the feet with the heels ofthe hands on the thick edge
of the plank (figure 63w) to lift the back of the arms and alleviate pres-
sure on the wrists. Step the hands as close to each other as possible
on the slanting plank (figure 63x). The inner arms and backs of the
arms can lift more and the chest opens. Alternatively, for the wrists,
the hands may be placed on the second or highest height of blocks
at the wall. Position the heels of the hands on the front edges of the
blocks to extend the palms and fingers down the face of the blocks
(figure 63y, shown with assistants lifting the shoulders). Ultimately,
the armpits should align over the hands so the wrists are not bent
beyond a 90 degree angle.
FIGURE 63X
FIGURE 63V
FIGURE 63W FIGURE 63Y
194 Iyengar Yoga A sana Alternatives: Tlte Neck and Shoulders

FIGURE 64 ~Bench Dwipada Viparita Dandasana
Join the high ends of two viparita dandasana benches and place a sticky mat on each end. Position three
bolsters horizontally to fill the space between the benches- one between the benches and two more on
either end. Lay a blanket on the sticky mat that will be for the head and have additional blankets ready
to support the head if needed. Sit on the bolsters with the knees bent, and press the hands down behind
the hips to lift the chest and lie back. If necessary, an assistant supports the head and upper back to help
the student lie back. Place blankets under the head and neck (see figure 3 ). Extend the legs straight and
rest the hands on the abdomen so the arms do not go numb (figure 64a). Relax the abdomen and allow
the diaphragm to spread. To come out of the pose, bend the knees and use the hands to lift the chest to sit
up; an assistant supports the back of the head and neck (figure 64b). Ifan assistant is not available, bend
the knees and use the leverage of the hands to slide towards the feet; then use the hands to lift the chest
and sit upright. This variation ofviparita dandasana is a very gentle extension of the chest, shoulders, and
neck, particularly beneficial for people recovering from an injury or surgery in those areas. This simple
pose is also good for individuals with anxiety / fear, a compromised respiratory system, recovering from
abdominal surgery, and elderly yoga students.
FIGURE 64A
FIGURE 64B
Tyengar Yoga A sana Alternatives: The Neck and Shoulders 195

Fold a sticky mat and place it on
the apex of a viparita dandasana
bench. Lay a blanket on top of
the mat. Place ano ther mat in
front of the bench and position
a bolster horizontally against the
bench. Position another bolster on
top, standing on its edge against
the bench. Set another bolster
on the low end of the bench .
Sit on the bench, facing the low
FIGURE 64C
end, place the hands beside the
buttocks on the bench, lift the
chest and lie back. Position the
back of the neck and head on the
edge of the bolster. Extend the
legs straight with the lower legs
and feet supported by the bolster.
Interlock the fingers and rest the
hands on the abdomen (figure
64c). This variation is similar to
the one described above in that
it is a gentle extension of the FIGURE 64D
spine with the head positioned
nearer to the apex of the bench,
further from the floor. If the back
is comfortable, the legs may be
positioned lower with a blanket
underneath the feet (figure 64d).
When the student is more capable
of extending backward, position
the head closer to the floor using
one bolster (figure 64e). Extend
the arms over the head in baddha
hastasana to open the armpits and FIGURE 64E
shoulders. If the forearms do not
reach the floor, support them with
a bolster (figure 64f).
FIGURE 64F
196 Iyengar Yoga A sana Alternatives: Th e Neck and Shoulders

1he lower the head is positioned
to the floor, the more the cervical
vertebrae will lengthen. Support
the back of the head with a folded
blanket if there is any discomfort
(figure 64g). Reach the arms over
the head, bend the elbows and
hold the sides of the bench to
open the shoulders more actively.
An assistant presses the elbows
down onto the floor (figure 64h).
Support the spine with two, three
FIGURE 64G
folded blankets and the back ofthe
head with a small folded blanket
for a deeper curvature of the spine
(figure 64i). Support the dorsal
with a three folded blanket placed
horizontally. With the head on
or near the floor, support the
back of the head with a bolster
and cross the legs in swastikasana
(figure 64j). If the chest, shoul-
ders, and neck are open, blan-
kets may support the back of the
head. Extend the arms laterally in
FIGURE 64H line to the shoulders. Hold each
hand on the edge ofa stool (figure
64k). These last two variations are
restful, especially after practicing
more active, challenging poses.
To come down from the bench,
bend the knees, use the leverage
of the h ands to push the body
towards the head side, and slide
down onto the floor.
FIGURE 641
Iyengar Yoga Asana Alternatives: Th e Neck and Shoulders 197

FIGURE 64}
FIGURE 64K
198 Iyengar Yoga Asana Altematives: 71u Neck and Shoulders

FIGURE 65 ~Chair Dwipada
Viparita Dandasana
The following variations may be practiced individu-
ally or in succession. Position a chair with the seat
turned away from a wall about 1V2 feet from the
wall. Fold a sticky mat on the seat of the chair and
place a three-folded blanket down the middle of
the seat. Buckle a strap around the front legs of the
chair in a big loop. Set a bolster on the floor in front
of the chair, with the long side of the bolster parallel
to the chair. Place a small folded blanket on top of
the bolster. The blanket may not be necessary, but
once in the pose, it is easier to remove than to add
it. Sit backwards on the chair with the legs through
the back rest, the feet on the floor, and the knees
bent. Belt the tops of the thighs snuggly with the
belt buckle centered between the legs. This belt
position helps to maintain the fronts of the thighs
evenly rolling inwards (figure 6Sa). Press the hands
down on the back rest of the chair to lift the chest.
Scoot slightly forward to lie back on the seat of the
chair (figure 6Sb) with the head back, the hands on FIGURE 65A
the back rest of the chair, and the elbows bent below
the seat of the chair.
FIGURE 65B

Start with the bottom of the
shoulder blades on the edge of the
chair (figure 6Sc). The head does
not have to touch the bolster/
blanket support at first. Let the
head and n eck release towards
the floor without compressing
the back of the neck. Working
the legs and arms correctly will
help to lengthen the torso1 and
with time1 the head will naturally
come down to the support. Push
the hands on the back rest of the
chair to move the sternum to the FIGURE 65C
head1 the trapezius to the waist,
and lift the back ribs into the body.
Extend the legs straight pressing
the heels to the wall. The heels
may be placed on a block to avoid
low back discomfort (figure 6Sd).
Extend the calves to the heels and
descend the fronts of the thighs
down towards the floor. Roll the
fronts of the thighs in and spread
the backs of the thighs out. Press
the inner knees towards the floor.
Reach the arms over the head in
urdhva hastasana with the palms
facing each other (figure 6Se) .
FIGURE 65D
FIGURE 65E

Extend the thumbs to lengthen
the sides of the ribs nearest the
back chest, and the small fingers
to lengthen the sides of the ribs
nearest the front chest. Roll the
inner upper arms out and widen
the collar bones so there is space
between the arms and the neck.
Extend the arms and legs con-
tinuously with equal effort for
the torso to receive the benefit of
the stretch. Relax the abdomen,
neck, and head. An assistant helps
the student turn the upper arms
out (figure 6Sf). In figure 6Sg,
th e assist ant firmly h olds the
deltoid with one ha nd and turns
FIGURE 6SF it out while turning th e biceps
out and the triceps in with the
other hand to alleviate a shoulder
irritation that is stronger on one
side (figure 6Sg). Remove some
or all ofthe head support and shift
the thoracic spine to the edge of
the chair seat and the head lower
to the floor.
FIGURE 65G

Catch each elbow with the opposite hand to bring
the arms to urdhva baddha hastasana. Lift the head
above the forearms. Walk the hands towards the
deltoids and let the head rest on the forearms (figure
6Sh). The weight of the head moves the arms towards
the floor and opens the upper back chest further.
At the same time, the head and neck are supported
and completely comfortable. Bring the arms inside
the front legs of the chair to hold the hands onto
the outside of the back legs of the chair. The heels
may also be supported on top of a bolster (figure
6Si). Use the leverage of the hands on the legs of
FIGURE 65H
the chair to turn the deltoids and biceps out, the
triceps in, and open the chest. Release the head
and neck. Bend the knees and take the feet to the
floo r or place them on a bolster or blocks if they do
not reach. Reach the arms over the head towards
the floor and move the head as low to the floor as
possible without touching it. Go slowly to avoid
jamming the head and neck onto the floor. Place
the hands on the floor inside the loop of the strap
with the elbows bent and forearms perpendicular
to the floor (figure 6Sj). The knees may remain bent
with the feet on the floor. If the hands don't reach
the floor, support them with blankets or a bolster.
Press the hands down, roll the inner upper arms out,
lift them to the ceiling, and bring the outer elbows FIGURE 651
to point forward. An assistant rolls the deltoids and
upper arms out (figure 6Sk).
FIGURE 65J
202 lyengar Yoga Asana Alternatives: The Neck and Slroulders

If one deltoid/ upper arm is par-
ticularly problematic, the assis-
tant can roll that deltoid out and
the upper arm/ elbow in (figure
651).
FIGURE 65K
FIGURE 65L
Tyengar Yoga A sana Alternatives: The Neck and Shoulders 203

As the head moves lower to the
floor, place the heels higher than
the head on the tallest height of
the block, or higher. Catch hold
ofthe strap and walk the hands in,
as far as possible, towards the legs
of the chair (figure 6Sm). Look
towards the feet to lengthen the
anterior cervical vertebrae and
stretch the thyroid glands. An
assistant holds his hands on the
student's forearms, near the wrists,
to maintain th e direction of the
FIGURE 65M
upper arms (figure 6Sn). As the
student reaches for the legs of the
chair one arm at a time, an assis-
tant holds her wrist and elbow,
to bring that hand to grasp and
hold the leg of the chair (figure
65o, shown with both feet on
the floor). Once the hands are
holding the legs of the chair, an
assistant presses the forearms /
elbows towards the floor (figure
6Sp) . Lift the biceps and back
chest. Despite the intensity of this
variation, relax the abdomen and
facial muscles. The fro nt chest is
fully expanded and the anterior
cervical and thoracic vertebrae
FIGURE 65N
are lengthened.
FIGURE 650
204 Iyengar Yoga A sana A lternatives: T11e Neck and Shoulders

Lower the head completely to the
floor (or use blankets or bolsters
unde r the head and forearms)
and interlock the fingers behind
the head. Press the small fingers
down to lift the back chest up, and
the elbows down to lift the fro nt
chest up. An assistan t, with her
toes on the front of the student's
elbows, uses a rope behind her
upper back to lift the chest forward
and up (figure 6Sq). To come up,
bend the knees (if they are not
already bent) and place the feet on
the floor. Slide the buttocks onto
FIGURE 65P
the seat of the chair. Holding the
hands on the back rest, place the
elbows on the seat of the chair,
and be prepared to lift the head
up last. Use the leverage of the
elbows to begin to lift the chest
up, then the hands on the seat to
sit the torso up. Once the torso
is upright, lift the head. Hold the
back rest of the chair, sit erect,
and gaze forward. If backbends
are completed, twist gently to the
right and left in bharadvajasana to
release the back.
FIGURE 65Q
Iyengar Yoga Asana Alternatives: The Neck and Sho11lders 205

FIGURE 66 t~ Platform,
Plank, and Other Props
for Dwipada Viparita
Dandasana
Place a sticky mat on a platform
with one to three blankets on
top depending on how lean the
body is. Position the long side of
a wide setubandha bench against
the front of the platform centered
with the sticky mat/ blankets. Set
a bolster on the b ench with its
flat side across the front of the
platform. On each side of the
bench, place short stools or chairs.
Have a few extra blankets handy
if needed for the neck and/ or the
hands. Sit on the platform with
the back facing th e bench. With FIGURE 66A
bent knees, lie back so that the
upper back is supported on the
bolster. Straighten the legs and
relax the feet (wider than the hips)
to the edges ofthe mat. Extend the
arms laterally and rest the hands
on the stools at the height of the
shoulders. If necessary, add more
height under the hands to achieve
this. Additionally, roll a blanket
and place it behind the neck to
support and relax it (figure 66a).
This pose (platform dorsal curva-
ture) begins to curve the dorsal
spine in a restful manner and pre-
pares the back for deeper bending.
To come out of the pose, bend
the knees and slide back onto the
platform until the head is on top
of the platform. If an assistant is
available, bend the knees, as she
FIGURE 66B
supports the back ofthe head and
neck (see figure 64b). Turn to the
side and sit.

Drape a sticky mat with a blanket on top over the
edge of a platform. Add another blanket if the body
is lean. Position one to two bolsters, or a bolster and
folded blankets, on the floor perpendicular from the
platform. Sit on top ofthe blanket, 1V2 feet from the
edge of the platform, with the back facing the edge,
and the knees bent. Place a strap around the outer
edges of the feet, to keep them hip width. Use the
hands to lift the chest and lie back over the edge of
the platform. Begin with curving the dorsal thoracic
on the edge of the platform. It is difficult to move
back up onto the platform so take time to assess your
capacity to move further off. Step-by-step, slowly
slide the torso further off the edge of the platform
with the head moving towards the bolster/ blanket
support. Straighten the legs, and roll the fronts of FIGURE 66C
the thighs in and press them towards the platform.
Extend the calves to the heels and press the feet
outwards onto the strap to keep the toes pointing up.
An assistant may place a weight on the thighs but it
is possible to place the weight before going into the
pose without help. The weight lessens the effort of
the legs and increases the elongation and softening
of the abdomen, allowing the torso to lengthen. Use
the leverage ofthe hands on the front of the platfom1
to expand the front chest forward and lift the sides
and back of the chest to the ceiling (figure 66b).
With time, the body lengthens, and the head will
completely contact the support without jan1ffiing
the neck. lfthe arms feel numb, interlock the fingers
and rest the hands on the abdomen (figure 66c).
Reach the arms over the head, hold the elbows, and FIGURE 66D
place the forearms on the support in urdhva baddha
hastasana (figure 66d) . Press the forearms to lift the
back chest. Interlock the fingers behind the head
in the classic position of viparita dandasana. Point
the outer elbows forward, press the forearms down
to spread the front chest, and lift the trape~ius and
back ribs. An assistant helps the student with these
actions (figures 66e and 66£). Soften and elongate
the sides of the neck. With practice, the elasticity
of the spine increases and the head may be brought
closer, or completely onto the floor. An assistant is
needed to help the student come out of the pose,
described in platform dorsal curvature above.
FIGURE 66E
Iyengar Yoga Asana Alternatives: TI1e Neck and Shoulders 207

Position the short end of a wide setubandha bench
against the platform. Place a small blanket or foam
square on the bench about 6 inches from the plat-
form. Sit on the platfom1 facing away from the bench
with the knees bent. Lie back, place the top of the
head onto the bench (blanket/ foam), hold the hands
to the sides of the bench, bend the elbows, and move
them in towards the centerline ofthe body. Align the
outer edges ofthe knees and feet with the hips, or step
them wider apart. In figure 66g, two assistants are
ready with ropes to help the student. O ne is seated
on the setubandha bench in front of the student
guiding her outer elbows forward. The other is on
the platform straddling the student's legs to keep
her outer knees pointing up. Press the fee t to lift the
buttocks up from the platform. Simultaneously, press
the hands to lift the chest, and roll forward onto the
FIGURE 66F forehead. Press the forearms on the bench and the
eyebrows down onto the foam, to
lift the breast and buttocks. The
assistant on the platform lifts the
student's middle buttocks with
a rope while the other assistant
th reads the rope behind the neck
and through the upper arms
(figure 66h). She lifts the rope to
lengthen the neck (figure 66i).
While the student maintains the
length of her neck, the assistant
then presses the rope down onto
the back of the head (figure 66j).
With this leverage, the student
presses the brain down to lift the
breast and arches of the feet. Lift
the heels up, walk in towards the
head, and increase the height of
the buttocks and chest. A similar
position is achieved with a viparita
dandasana plank. Place a viparita
karani box against one end of the
plank for the feet and two or more
blocks at the other for the elbows.
In this depictio n the head is not
in contact with the support and
the assistants lift her upper back
and middle buttocks with ropes
FIGURE 66G (figure 66k).

FIGURE 661
FIGURE 66H
FIGURE 66} FIGURE 66K
Tyengar Yoga Asana Altematives: The Neck atrd Shoulders 209

Place a sticky mat on the floor and a block on top
positioned flat, with the short ends parallel to the
long edge of the mat. Sit on the mat in front of the
block and lie back over the block so that it is below
the bottom of the shoulder blades. Bend the knees
and hold the ankles to bring the feet closer to the
buttocks, with the feet and knees hip width. Place the
hands near the shoulders with the fingers pointing to
the feet. Press the feet and hands to lift the buttocks
and chest, placing the top of the head on the floor as
close to the feet as possible with the block touching
the back of the heau (figure 661). Press the palms
onto the floor and move the elbows closer to each
other. Lift the back ribs and move the chest forward. FIGURE 661
Walk the hands towards the block and hold it with
the palms: the forearms and small fingers on the
floor, and the thumbs pointing up. Press the palms
onto the block and descend the forearms to the
floor (figure 66m). Lift the shoulders and widen
the collar bones. Walk the feet in towards the head
and lift the buttocks higher. The head can come up
off the floor to move the chest forward with the
head looking towards the feet (figure 66n). Pump
the chest forward. The upper chest is broadened.
Firmly roll the inner deltoids out. This position
of the hands on the block keeps them wide while
maintaining the elbows closer towards each other.
This variation may be practiced with the feet on a
viparita karani box to facilitate a greater opening of
the chest (figure 66o). If it is difficult to lift up from FIGURE 66M
the floor and open the chest and shoulders, lie over
a viparita dandasana bench with the knees bent and
place the hands on the floor. Move the head down
to the floor, press the hands on the floor with the
fingers pointing towards the bench. Descend the feet
and lift the buttocks up to urdhva dhanurasana, to
achieve a good height of the hips, backs of the legs,
and chest. An assistant helps the student by sup-
porting her shoulders and upper back (figure 66p)
and lifting her up to urdhva dhanurasana (figure
66q). Maintain the lift of the backs of the thighs and
middle buttocks, and lower the head to the floor.
Interlock the fingers behind the head. An assistant
supports the student's outer elbows with her feet
and lifts the shoulders up (figure 66r).
FIGURE 66N
210 Iyengar Yoga Asa11a Alternatives: The Neck a11d Shoulders

FIGURE 660 FIGURE 66P
FIGURE 66Q
FIGURE 66R

A foam pad supports the front crown/ top of the
forehead with the head slightly looking back to the
bench (figure 66s). In this position, circulation to
the head and neck is balanced which benefits the
brain. Hold the hands to the outside of the bench
to maintain them as wide as the elbows (figure 66t).
Roll the outer elbows towards each other, press the
forearms, and continue to lift the buttocks and chest
up. Placing the hands wider than the elbows helps
to position the deltoids correctly and to lessen or
alleviate pain in the upper arms.
Place a sticky mat against a rope wall and position

a drum on its side across the middle of it. Position
a slanting plank on the floor in front of the drum
to prevent it from rolling away from the wall. Place
folded blankets across the top of the drum. Sit on
the drum facing the wall, with knees b ent, and
use the upper ropes with extensions on them to
lie back over the drum (figure 66u). Let the head
go back. If the cervical vertebrae are compressed,
place a blanket under the neck and head. The hands
may continue to hold the ropes, using their lever-
FIGURE 66S
age to lift the back chest into the body, move the
trapezius to the waist, lengthen the sternum to the
chin, and release the neck and head towards the
floor. Straighten the legs with the toes against the
wall and the balls of the feet and heels on the floor.
Slowly progress towards bringing the top of the
head onto the floor. An assistant places the heel of
his hand on the student's chin and presses it down
to descend the head. The front crown of the head is
on the floor (figure 66v). To exit the pose, bend the
knees, place the feet on the floor, and use the ropes
to sit upright. This position is a lively variation for
curving the cervical vertebrae and corrects kyphosis
while keeping the brain quiet.
FIGURE 66T
2 12 lyengar Yoga Asana A lternatives: The Neck and Shoulders

FIGURE 66U
FIGURE 66V
Iymgar Yoga A sana Alternatives: The Neck and Slroulders 2 13

FIGURE 67 ~ Chatush Padasana
Drape a sticky mat, with a blanket on top, over the edge of a platform.
Sit with the back facing the edge of the platform, the knees bent,
and the feet hip width. Lie back with the shoulders about 2 inches
from the edge of the platform and the head and neck hanging off the
platform. Hold the hands to the ankles, roll the upper arms out, and
move the trapezius to the waist. Press the feet and outer arms to lift
the buttocks and chest. Let the head and neck hang freely over the
edge of the platform (figure 67a). Lift the outer shins, roll the outer
knees and fronts of the thighs in, spread the backs of the thighs out,
and move the buttocks to the legs. At the same time move the shins
towards the chest. Widen the collar bones and turn the upper arms
further out, pressing them down to the platform to lift the back ribs
up. Spread the sternum. The student presses into a block held against
her sternum by an assistant (figure 67b). The head and neck elongate
without strain. Instead of a platform use a wide setubandha bench for
a similar effect. If unable to catch the ankles, hold the sides or legs
of the bench (figure 67c) or a strap around the bench (figure 67d).
Suspending the head and neck permits the pull of gravity to generate
space between the cervical vertebrae and uplifts the mind. Students
FIGURE 67A
with muscular upper arms and shoulders find this a good preparation
for salamba sarvangasana.
FIGURE 67C
FIGURE 67B
FIGURE 67D

Place two viparita dandasana benches side-by-side, with a four inch
space between them, and the low ends against a wall. Fold two sticky
mats and place one on each of the benches keeping the lowest three
rungs uncovered. Sit straddling the benches, facing away from the low
ends, knees bent, and feet on the floor. Lie back; when the shoulders
are down on the benches, let the head go between the two benches
to hang freely. Hold the rungs of the benches near the shoulders with
the fingers facing the shoulders, the elbows bent, and step one foot
up on each bench. Press the hands and feet to lift the buttocks and
back chest and come onto the tops of the shoulders (figure 67 e). Bear
down on the feet to pump the chest forward (figure 67f). Lengthen
the upper arms laterally along the bench. Extend the chin away from
the sternum and look towards the feet (figure 67g) . The feet are higher
than the hands in this variation, enabling the lifting of the buttocks
and the opening of the chest and sternum. The cervical vertebrae are
lengthened. This pose may also be named vrschikasana.
FIGURE 67G
FIGURE 67E
FIGURE 67F
lymgar Yoga A sana Alternatives: Tite Neck and Shoulders 215

FIGURE 68 ~ Salamba Sarvangasana
According to Light on Yoga, practicing salamba

sarvangasana, shoulder balance posture, yields posi-
tive effects on all of the body's systems. Recently,
B.K.S. Iyengar has stated that a daily ten minute hold
ofinverted poses is ideal for improving organic func-
tion.2 It takes three minutes for blood to circulate
once through the organs, and it is ideal to have three
revolutions of this cycle for achieving maximum
benefit from inversions. Holding inverted postures
for 10 minutes (one extra minute for working into
and coming to the end of the pose) maximizes
healthy circulation to the organs, and such a hold in
shoulder balance promotes circulation in the region
of the head, neck, shoulders, and upper chest.
Shoulder balance is classically practiced without

props, as shown in Light on Yoga. However, most
practitioners would feel strain in the neck after a
minute or two. Our current lifestyle habits (driving,
computing, prolonged sitting, wearing backpacks FIGURE 68A
on one shoulder, etc.) tend to create a forward head
carriage with stooped, uneven shoulders. Under the
guidance of a good teacher, it may be possible to do
salamba sarvangasana classically, but m ost students
are not able to sustain a balanced elongation of
the neck and lift of the shoulders, torso, and legs.
Fortunately, B.K.S. Iyengar has pioneered the use
of various supports for shoulder balance that are
now commonly used by students of his method.
The supports enable the student to balance more
easily on top of the shoulders and lift the back up,
facilitate correct arm and shoulder actions that
promote cervical extension, and make it possible
to hold the pose for five minutes or longer without
strain. The standard set-up requires three to four
firm blankets to support the shoulders and upper
arms, and a strap above the elbows to keep the arms
shoulder width. If the neck is not comfortable, or
the torso and buttocks are not able to lift, add more
blankets under the shoulders. When the blanket
height is increased, it may be difficult to come into
the pose, in which case, place a bolster or block under FIGURE 68B
2 Salarnba sirsasana, viparita dandasana, salamba sarvangasana,
halasana, and viparita karani sarvangasana are the basic inverted

poses practiced classically or supported.
216 Iyengar Yoga Asa11a Alternatives: T1u N eck and Shoulders

the buttocks to help "take off." Additionally, if the
breasts are large, wear a belt around the upper chest
to keep them from falling towards the face. The fol-
lowing variations are described and depicted when
these standard supports are insufficient.
Set a chair one foot from a wall, with the seat facing
out. Place a folded sticky mat on the seat ofthe chair
and position a bolster, horizontally, on the floor in
front of the chair. Depending on the thickness of
the bolster and the height of the student, additional
blankets may be needed: on top of the bolster, for
those ofshort stature, or on the seat of the chair, for
those who are tall or long in the torso. If blankets
are added on top of the bolster, position them with
the folded edges facing away from the chai r, in a
step-wise manner, approximately V2 inch towards
the chair so the shoulders don't slide off. Place a
folded blanket, in front of the bolster, on the floor
for the back of the head. Sit backwards on the chair
with the knees draped over the back rest. Hold the
FIGURE 68C back rest, look at the chest, lie back, and bring the
shoulders onto the bolster/ blankets. Rest the back
of the head on the blanket. Reach the arms inside
the front legs of the chair to hold the outside of the
back legs of the chair. Bend the knees and place the
feet hip width on the back rest of the chair. Press
the outer shoulders down, lift the sides of the chest
up, and raise the buttocks off the seat of the chair
(figure 68a). Roll the fronts of the thighs and outer
knees in. Spread the backs of the thighs out. Lift the
buttocks higher, move the front of the inner upper
thighs to the back of the thighs and soften the inner
groins. Move the sides of the hips forward towards
the front ofthe body and inward, wrapping the front
of the hips towards the navel. Lengthen the pubis.
Lift the sides of the chest further. Maintain these
actions and slowly lower the buttocks to the seat
of the chair with the tail bone lifting into the body
(figure 68b). One by one extend the legs straight,
lengthen the calves to the heels, and place the heels
on the wall (figure 68c). These actions maintain the
buttocks lifting towards the feet instead of sinking
down onto the chair. A slanting plank placed under
FIGURE 68D the buttocks, with the thin edge towards the waist,
h elps to maintain the tail b one moving into the
body (figure 68d).
Iyengar Yoga Asa~~a Alternatives: Tlu Neck and Shoulders 21 7

A bolster placed behind the legs, under the bottom
of the buttocks and resting on the back of the chair,
supp orts the legs and lifts the buttocks towards
the heels (figure 68e). This increases the comfort
of the pose and promotes a longer hold. Walk the
hands down the legs of the chair, as low as possible.
Roll the upper arms out. Lift the armpit chest,
back chest, inner shoulder blades, and spread and
lengthen the sternum. Extend the back of the head
away from the shoulders without compressing the
jaw or hardening the neck. Relax the bottom of
the ears and lower jaw towards the floor. Turn the
palms out, with the thumbs pointing towards the
floor (figure 68f) to increase both the turn of the
upper arms and the lift of the sides of the chest and
inner shoulder blades. To intensify the work of the
arms, remove the hands fro m the back legs of the
chair, bend the elbows and press the inner forearms
on the front legs of the chair (figure 68g). Lift the
sides and back of the chest, and open the sternum.
If the arms are unable to reach inside the legs of the FIGURE 68E
chair to catch the back legs, use a strap around the
back legs of the chair, or simply catch whatever part
of the chair is within reach from the outside (figure
68h). Roll a blanket and place it behind the back of
the head slightly above the base ofthe skull. A rolled
head wrap can also be placed between the skull and
blanket (figure 68i). Release the bottom of the ears,
the jaw, and relax the temples towards the floor. The
cervical vertebrae are lengthened, circulation is
enhanced to the region of the head, and the brain is
pacified and quiet. This variation is especially good
for osteoarthritis of the neck, and ear, and/ or sinus
conditions. Place a blanket, folded in thirds, on the
center of the bolster running along the neck and
between the shoulder blades to lengthen and lift the
lower cervical and upper thoracic vertebrae (figure
68j).Arolled bandage may also be used (figure 68k).
If possible insert the arms under the front rung of
the chair, hold the outside of the back legs, and lift
the sides and the back chest further.
FIGURE 68F
2 18 Iyengar Yoga Asmw Alternatives: The Neck atrd Shoulders
FIGURE 68C
FIGURE 68I
FIGURE 68G
FIGURE 68J
FIGURE 68H FIGURE 68K
Iyengar Yoga Asmw Alternatives: The Neck and Shoulders 219

Ifthis is not possible, position the bolster lengthwise
under the chair so that the rounded end ofthe bolster
supports the upper back. The arms may insert more
readily under the rung of the chair (figure 681).
Position two simhasana boxes side-by-side, with

the high ends at a rope wall, centered between
two ropes. Fold a sticky mat on top of the boxes
and two to three blankets with their thick folded
edges aligned to the front edge of the lower slant.
Hold the handles of the upper ropes, step one foot
at a time on the wall (figure 68m), and move the
buttocks towards the wall (figure 68n). Climb the
feet up, and move the shoulders closer to, the wall
(figure 68o). Slide the shoulders down to the front
edge ofthe boxi release the neck and head down the
slant (figure 68p). Lift the buttocks up in line to the
shoulders, knees, and ankles. With the arms straight,
continue to hold the ropes (figure 68q) or hold the
sides of the boxes (figure 68r). Lift the sides of the
chest, back, buttocks, legs, and heels. This variation
facilitates correct alignment of the shoulder girdle,
thoracic and cervical vertebrae. The height of the
shoulder support may be increased using four sticky FIGURE 68L
mats folded in quarters for firmness (figure 68s), a
modification that is excellent for the liver, heart,
lungs, thyroid glands, and brain.
FIGURE 68M
220 lyengar Yoga Asana Alternatives: TI1e Neck and Shoulders

FIGURE 68N FIGURE 680 FIGURE 68P
FIGURE68Q FIGURE 68R FIGURE 68S

FIGURE 68T FIGURE 68U
The pose may be supported with bolsters and blankets to maintain the
position with quiet softness. Figure 68t shows two bolsters horizontal
on the box, another bolster vertical on top and a double folded blanket
folded in thirds between the buttocks and bolster. A similar effect is
achieved with a chair on the platform to support the hips and legs,
and a bolster turned lengthwise underneath the chair for the shoul-
ders, as in figure 681. Additionally, p~ace a sandbag on the back rung
for confidence going into this pose without an assistant holding the
chair. Insert the arms underneath the front rung and hold the back
legs of the chair. The head and neck are completely suspended off the
platform (figure 68u).
Place a sticky mat on the floor with the folded edge of a blanket on top
about a foot from the short edge of the mat. Place a second blanket
on top of the first with its folded edge draped V:~. inch over the edge
of the first blanket. Stack 12 blankets in this reverse step pattern (use
less blankets if they are thick). Place a folded sticky mat on top of the
blankets about six inches from the front edge. Position a bolster on
the opposite side of the sticky mat to elevate the buttocks for entering
and exiting the pose with greater ease. Sit on the bolster facing away
from the folded edges and lie down with the head on the low end of
the reverse stepped blankets and the tops of the shoulders positioned
at the apex of the stack. Go to halasana to get high onto the tops of the FIGURE 68V
222 Iyengar Yoga Asana Altematives: The Neck and Slroulders

shoulders (use a chair for the feet
or halasana box for the legs if the
feet are unable to reach the floor,
or if ardha halasana will be prac-
ticed before or after this pose).
Walk the hands as close as possible
towards the shoulders to lift the
back chest. One at a time, raise
the legs to salamba sarvangasana
(figure 68v). Roll the fronts of the
inner thighs out; lift the buttocks,
and the sides of the chest. This
p osition is gentle for the shoul-
ders, lengthens the cervical verte-
brae, and improves circulation to
the brain. For those with a brain
condition, halasana, using these FIGURE 68W
props, is practiced before salamba
sarvangasana, because it promotes
a deep quietness in the brain (see
figure 70).
Using the set up described above,

place a trestle over, and a halasana
box in front of, the blanket set up.
Set one to two folded sticky mats
on the beam of the trestle and
another one on the halasana box
with a blanket on top. Belt two
straps around the beam of the
trestle- one on either side of the
sticky mat. Lie down, as described
above, and hold the straps or the
bar of the trestle to lift the legs
over the trestle (figure 68w) .
An assistant pushes the trestle FIGURE 68X
towards the student as she lifts
her body up and brings her legs
over the beam with the legs bent
90 degrees (figure 68x).
Iyengar Yoga AsmJa Alternatives: The Neck atrd Shoulders 223

FIGURE 68Y FIGURE 68Z
TI1e assistant continues to push the beam until the student's

hips are over her shoulders. TI1e student can tell the assistant
when the beam is in the correct position. Continue to use
the straps or bar to roll the upper arms out and get on the
tops of the shoulders. An assistant places a sandbag on the
lower shins to traction the legs towards the feet, which lifts
the torso and makes the body light. The assistant adjusts the
back of the head away from the shoulders and the lower jaw
towards the floor (figure 68y) . Ifstable and relaxed, bend and
widen the elbows out to the sides, aligned to the shoulders,
and rest the hands in line to the ears (figure 68z). The hands
may hold the bar or straps while straightening the legs (figure
68zz). Spread the backs of the thighs out on the trestle. Refer
to figure 70 to go directly to halasana after this pose.
FIGURE 68ZZ
224 Iyengar Yoga Asana Altematives: TI1e Neck and Shoulders

FIGURE 69 ~
Niralamba Sarvangasana
The variations depicted for niralamba sarvangasana
may also be applied to salamba sarvangasana.In niral-
amba sarvangasana, the thoracic and sacral spine lift
into the body, and upward, more so than in salamba
sarvangasana. This lift, especially when the posture
is supported, creates a lighter body. Although niral-
amba sarvangasana is classically practiced without
the support of the hands on the back, many of the
therapeutic variations described below include the
support of the arms to lift the back. The actions of
the arms in these supported variations optimize the
opening of the shoulders and the lengthening of the
neck. The support of the feet on the wall enables
the legs to come more forward over the head, creat-
ing the greater lift of the thoracic and sacral spine
characteristic of niralamba sarvangasana. FIGURE 69A FIGURE 69B
Place a belt on the upper arms above the elbows

and adjust it so that when the arms are straight
and pressing into the belt they are shoulder width
(figure 69a). Check that the measurement is accu-
rate by placing the loop of the belt on the upper
arms above the elbows, behind the back. Roll the
upper arms out, lift the sides of the chest, and the
sternum (figure 69b). Observe if the circulation in
the arms is restricted; if not, the circumference of
the belt is correct for helping to lift the back. This
is the standard set up for using the belt to lift the
back in shoulder balance.
Evenly stack four or more blankets on a sticky mat

with the folded edges about 6 inches from a wall.
Fold the mat half way up the blankets to "fix" the
position of the elbows but to allow movement in the
shoulders. Lie on the blankets with the shoulders
near the folded edge of the blankets and the head
and neck on the floor. The head is about one inch
from the wall. Hold the belt in the hand to place on
the arms later. It is possible to lift the feet to the wall
unassisted by pressing the hands by the sides of the
hips to get leverage to lift the legs up to the wall.
FIGURE 69C

However, entry into the pose is easier
with the help of an assistant who lifts
one of the student's legs by the ankle
to help her place her feet on the wall,
hip width (figures 69c, 69d, and 69e).
Place the belt on the arms above the
elbows, then interlock the fingers. With
the fingers interlocked, press the hands
towards the floor with the arms straight,
and come higher onto the tops of the
shoulders (figure 69f). Unlock the hands
and place them on the back. Walk the
hands towards the shoulders, with the
fingers parallel to the ribs, to lift the
chest. Maintain the lift of the chest and
turn the fingers up: the heels of the
hands are on the back so the wrists are
soft (figure 69g). Lengthen the triceps
and biceps towards the elbows. Press the
outer deltoids down. Lift the forearms
up towards the hands. Lift the back so
that it does not sink heavily onto the FIGURE 69D FIGURE 69E
hands. Lift the buttocks and legs up.
Extend the inner heels, turn the fronts
of the thighs in, and spread the backs
of the thighs out. Use the actions of the
arms and legs to lift the chest. Release
the bottoms of the ears towards the
floor and allow the back of the head
and neck to lengthen away from the
shoulders. Relax the jaw. In addition to
opening the neck and shoulders more,
this position is calming to the brain and
beneficial for the thyroid glands. If the
arms are able to work and maintain the
lift of the back, it is not necessary to use
a belt. The legs can remain hip width or
may be joined if the actions of the legs
and buttocks are maintained.
226 lyengar Yoga A sana Alternatives: T11e Neck and Shoulders

A bolster is positioned behind the blan-
kets to help lift the legs more easily up
to the wall. Place a three-folded sticky
mat between the shoulder blades (figure
69h). The outer deltoids can descend
and the inner shoulder blad es are able to
lift more. When the upper arms are light
and the elbows are floating off the floor
set a rolled sticky mat under the upper
arms near the elbows (figure 69i). Press
the upper arms and elbows downwards
to lift the forearms. A plank may also be
used under the elbows (figure 69j) . Lead
bars on the upper arms near the elbows
(figure 69k) are excellent to descend the
upper arms to ascend the chest.
Iyengar Yoga Asana Alternatives: The Neck and Sho11/ders 227

FIGURE 69L FIGURE 69M
Extend the arms straight back, with the backs of the hands on the
bolster. An assistant places a belt on the wrists, tightens it until the
small fingers are touching (figure 691), then places a weight on top of
the palms (figure 69m). Lift the sides and back of the chest further.
Place two belts on the upper arms in a "shoulder jacket" (see figure
39) and support the back with the hands (figure 69n). The shoulder
jacket addresses imbalances of the shoulder girdle and neck and, in
this inverted variation, with the shoulders bearing weight, the region
of the neck and shoulders can become more supple and strong.
FIGURE 69N
228 Iyengar Yoga A sana Alternatives: Tire Neck and Shoulders

FIGURE 70 ~ Halasana
Set a bolster on the floor in front of a viparita dandasana bench. If the

bolster is relatively flat, place two blankets on top with their folded
edges facing away from the bench and stepped inwards towards the
bench. Place a small folded blanket on the floor in front of the bolster.
Position a halasana box on the floor in front of the bolster. Sit on the
viparita dandasana bench facing the low end. Lie back; lower the
shoulders on top of the bolster, and the back of the head on the floor.
Holding the bench, lift the legs up and over the halasana box. The
height of the bench makes it easier to raise the legs over the halasana
box. If it is difficult to bring the legs to the box, an assistant stands
FIGURE 70A in front of the box to catch one of the student's ankles (figure 70a).
With one foot on the front of the halasana box between the student's
legs, an assistant may lift them slightly to length en them forward,
simultaneously pushing the box onto the fro nt of the student's hips
(figure 70b). She then lowers the thighs completely on top of the box
and helps the student to roll the fronts of her thighs inwards. The
legs and torso can relax in this position. The assistant sits behind the
student on the bench to help press the deltoids towards the bench
(figure 70c). This adjustment helps prevent the shoulders from slip-
ping off the bolster and enables the sides of the chest to lift and the
buttocks to rest towards the legs. If the student experiences anxiety
while inverted, an assistant, sitting on the bench from behind, places
her fingertips on the student's sternum, and strongly presses it inwards
and upwards towards the ceiling (figures 70d and 70e).
FIGURE 7 0B
FIGURE 7 0C FIGURE 70D
FIGURE 70E
Iyengar Yoga A sana Alternatives: The Neck m1d Shoulders 229

Place two bolsters side by side on a sticky mat next
to a halasana box. Positio n a blanket on the floor in
front of the bolsters under the box. Lie down with
the shoulders up to the edge of one of the bolsters
and the back of the head on the blanket. Press the
hands down by the sides of the hips to lift the body
up and place the legs on top of the box. An assistant
stands in front of the box with one foot on the box
for leverage as she reaches first for the student's
ankles, one at a time, and helps her lift her legs on
the box (figure 70f). She turns the fronts of the
thighs in so the muscles can rest comfortably on the
support (figure 70g). The assistant stands behind
FIGURE 70H
FIGURE 70F
FIGURE 70I
the student's back and adjusts her deltoids back, away from her head
(figure 70h). Holding her wrists, she gently, and briefly, lifts the arms
further up to adjust the shoulders (figure 70i). Holding the deltoids
back, one at a time, the assistant places wedges under the shoulder
blades (figure 70j). The student bends her elbows to the sides of the
shoulders and rests the backs of her hands on the floor besides the
box (figure 70k). The shoulder blades are balanced; the spine goes
inwards to the front of the body forming a deeper canal that corrects
imbalances of the spinal vertebrae and discs. The back of the head and
neck are extended and released. An assistant helps the student to exit
the pose gently, by holding her ankles fro m behind, and supporting
the student's back with her shin (figures 701and 70m).
FIGURE 70G
230 Iyengar Yoga Asana Alternatives: The Neck mtd Shoulders

FIGURE 70J FIGURE 7 0L
FIGU RE 7 0K FIGU RE7 0M

A halasana box placed in front of the bolster/ chair
set up shown in figure 68 makes an easy transition to
halasana, or back to salamba sarvangasana. Position
the box approximately two feet from the bolster so
the head does not bump it when going into salamba
sarvangasana. From sarvangasana, bend the knees on
the back rest of the chair, and hold the bottom of the
box to bring it up to the bolster (figure 70n). Hold
the bottom of the box when moving it to prevent it
from tipping over. However, hold the hands to the
chair to keep it stable when bringing the legs over
the box (figure 70o) . Rest the shins or the upper
thighs on the box, whichever is more comfortable.
Use the hands on the chair to readjust the tops of the
shoulders on the bolster. Ifconfident and steady, rest
the hands on the floor near the head, with the elbows FIGURE 70N
bent to the sides (figure 70p). A rolled bandage, three
fold blanket or sticky between the shoulder blades,
as well as a rolled blanket and head wrap under the
back of the head, (variations depicted in niralamba
sarvangasana) may be used in this pose.
FIGURE 700
FIGURE 70P

Halasana may also be practiced on the reverse stacked
blankets as described in figure 68, salamba sarvan-
gasana. Hold the straps on the beam of the trestle
or the bar to support the body while bringing the
legs over the box. The shins will rest on the box.
From behind, an assistant lifts the student's arms
up in an effort to bring her onto h er shoulders
(figure 70q). Bend the elbows out to the sides and
rest the arms. An assistant lengthens the student's
head and neck by placing his fingertips under the
skull and his thumbs on the lower jaw (figure 70r).
The student releases the bottom of the jaw and the
ears towards the floor to deeply rest the brain and
body (figure 70s).
FIGURE 70Q
FIGURE 70R
FIGURE 70S

Viparita chakrasana in halasana is an excellent prac-
tice for lengthening the neck. Lie down on the reverse
stacked blankets (figure 70t) . Press the palms down
on to the bolster by the sides of the hips to lift the
legs over the head (figure 70u). Continue to roll
backwards and bring the palms towards the head as
the feet come closer towards the floor (figure 70v).
Keep the chin tucked into the chest and press the
palms onto the blankets besides the head as the feet
are nearing th e floor (figure 70w) . When the feet
come in contact with the floor, simultaneously press
the palms to lift the head and shoulders up from the FIGURE 7 0T
blankets (figu re 70x). Straighten the arms and gaze
at the blankets to recover (figure 70y). Do not roll
forward; repeat by standing and starting again from
the lying position. Repeat to capacity. Those who are
strong in the upper body can practice this exhilarat-
ing variation for osteoarthritis of the neck.
FIGURE 7 0U
FIGURE 7 0V
234 Iyengar Yoga Asar1a A lternatives: T11e Neck ar1d Shoulders

FIGURE70W
FIGURE 70X
FIGURE 7 0Y

FIGURE 71 + Setubandha Sarvangasana
On a sticky mat place three sets of bolsters stacked in two's, six total, with two stacks placed together and
the third stack l 1/ 2 feet from the others. Set a double folded blanket on top of the group of four bolsters.
In front of these bolsters position two small folded blankets on the floor with additional blankets folded
lengthwise situated at their sides. Sit on the group offour bolsters facing the third stack. Place a strap around
the upper thighs and another around the ankles. Use the hands to lift the chest and lie back positioning the
dorsal thoracic around the edge of the bolsters and the back of the head and the arms (extended laterally
from the shoulders), on the blankets. Place the feet on the third stack ofbolsters. An assistant presses the
student's deltoids from front to back towards the floor (figure 7 l a). This soft support is gentle for the neck
and shoulders and for those who have arthritic conditions and / or are very inflexible.
FIGURE 71A
Place a viparita karani box against

the end of a wide setubandha
bench. Lay a double folded sticky
mat on top of the bench, draped
slightly over the box. Set a blanket
on top. Position a bolster on the
floor lengthwise from th e box,
and place a small folded blanket
on top of the bolster. Place two
more bolsters, one on each side of
the first bolster. Sit on the bench
FIGURE 71B
facing away from the box with the
knees bent. Secure a belt aro und
the upper thighs. Press the hands
down by the sides of the hips to
lift the chest and lie back with the
236 Tyengar Yoga Asa11a Alternatives: The Neck arrd Shoulders

dorsal thoracic curving on the box.
See figure 3 for various options to
support the head. Additionally a
"noodle" (a swimming pool float-
ing device) may be placed at the
base of the skull behind the neck
(figure 71 b) . Extend the arms
to the sides on the bolsters at a
45 degree angle from the body.
Extend the backs of the arms
towards the hands. Lift the back
of the ch est up and spread the FIGURE 71C
front of the chest. The arms may
also rest to the sides to expand the
width of the chest (figure 7 l c).
However, ifthe shoulders are very
stiff, the chest may sink inwards
to the body. In this case, remain
with the arms 45 degrees from
the b ody. Place a dowel behind
the neck an d the base of the
skull (figure 7 1d) . The firmness
of the dowel enhances the length
of cervical vertebrae. Position a
FIGURE 71D
blanket under the shoulders and
let the head go slightly back. An
assistant adjusts the back of the
head, neck, and jaw, away from
the shoulders. The chin is slightly
raised up (figure 71e), the head
is slightly back and the cervical
vertebrae lengthen (figure 7 lf).
Place a sticky mat on the floor with

a bolster positioned vertically near
the end of it. Horizontally posi-
tion a narrow setubandha bench
over the middle of the bolster. A
second bench is placed parallel
to this bench about 3 feet from
the bolster. Place a double folded
slicky mat, with a folded blanket
on top, on the middle of each
bench. Set a double folded blanket FIGURE 71E
in front of the bolster. Sit on the
bench that is over the bolster with

the feet on the floor. Press the
hands on the bench by the sides
of the hips to lift the chest and
simultaneously shift the buttocks
slightly forward towards the feet as
you lie back. Bring the shoulders
down to the bolster and the head
to the blanket. Step the heels on
the second bench, straightening
the legs. Bring the arms under
the bench and hold the far side
of the bench with an underhand
grip (figure 7 l g). Use the lever-
FIGURE 7IF
age of the hands on the bench to
effectively lift the back chest up
into the body and spread the front
of the chest. This action increases
the flexibility ofthe shoulders. An
assistant places another bolster
perpendicular to the end of the
first one. The student turns the
backs ofher hands onto the bolster
and the assistant places a strap
around her wrists (figure 7lh) and
a weight on the palms (figure 7 li).
FIGURE 7IG
The backward traction of the arms
is strong work for th e shoulders,
but the placement of the weight
lessens the necessary effort.
FIGURE 71H FIGURE 7 11
238 Iyargar Yoga Asana Alternatives: Tl1e Neck and Shoulders

FIGURE 72 + Viparita Karani
Sarvangasana
Place a halasana box on a sticky mat with a second
folded sticky mat and blanket on top of it. Stack two
bolsters along the front of the box. Place a blanket
in front of the bolsters and a blanket set up for the
head and neck as described in figure 3. Sit on one
end of the bolsters, lie back and bring the shins on
top of the box. The buttocks and low back are on the
bolsters, and the shoulders, head, and neck are on
the floor. An assistant places her hands on the stu-
dent's upper thighs to move the legs in the direction
FIGURE 72A
of the box (figure 72a). This pose is deeply restful
for the body and mind (figure 72b). The height of
the two bolsters helps to suspend the upper back
above the floor enabling the student to lift the back
chest into the body thereby softening the abdomen.
One bolster with blankets on top may also be used.
Weights are applied to the arms extended lateralJy
(figure 72c).
FIGURE 72B
FIGURE 72C
Iyengar Yoga A sana Alternatives: Tf1e Neck and Shoulders 239

FIGURE 73 ~ Adho
Mukha Swastikasana
Place a sticky mat in front of the
end of a trestle with a bolster on
it up against the trestle. Add a
blanket, or more than one if the
hips are stiff, on top ofthe bolster.
Thread a strap through the holes
at the base of the trestle (alterna-
tively use floor level rope hooks,
or lower rope hooks, though the
latter is not as effective). Posi-
tion a short box or s tep stool
one foot in front of the bolster.
Place a folded sticky mat and a
bolster on top of the stool. Sit in
swastikasan a on the bolster with
the back to the trestle. Place a
blanket between the shins and FIGURE 73A
feet. Position a bolster up against
the abdomen and buckle tl1e strap
around the bolster to hold it snug
into the body. Bend forward, rest
the head on the stool/bolster, and
reach the arms forward on the
bolster, shoulder width, with the
palms facing each other. Adjust
the height of the blanket on the
stool so that the eyes are paral-
lel to the floor (figure 73a). Set
a rolled blanket under the back
of the neck- the roll should be
level with the back of the head.
Place a sticky piece on top of the
blanket and back of the head. Posi-
tion a weight on the back of the
head, neck and shoulders (figure
73b). The weight on the shoulders
releases and softens the tension of
the head and neck. The abdomen
FIGURE 73B
and the eyes soften and pacify,
which cools, quiets, and balances
the b rain.
240 Iyengar Yoga Asana A lternatives: Tir e Neck and Shoulders

FIGURE74 +
Janu Sirsasana
Use the prop set up described in
adho mukha swastikasana. While
the effects are similar, the leg
position in janu sirsasana opens
the hips and groins differently,
more deeply affecting the move-
ment of the energy and breath.
The extended leg may step to the
outside of the box to increase this
effect (figure 74a) . The intercos-
tal muscles on each side of the
back gain greater length and the
mind and body become balanced.
The posture may be attempted
without the bolster held into the
abdomen, but soften the abdomen
so the brain remains quiet (figure
74b). FIGURE 74A
FIGURE 74B

Place a sticky mat on the floor and
set a bolster on top ofit, horizontal
to one end of the mat. Add one
or more blankets on top of the
bolster, according to the capacity
to bend forward. Set a narrow
setubandha bench with a sticky
mat and bolster on top at the
opposite end of the mat parallel
to the bolster. Sit on the bolster/
blanket(s), bending one knee to
the side in janu sirsasana. Posi-
tion a blanket under the thigh of
the bent knee so it does not float
above the floor unsupported. Rest
the forehead on the bench and
extend the arms laterally, holding
the ends of the bench with the
hands. A weight may be placed FIGURE 74C
on the upper back to soften the
intercostal muscles and move the
back ribs inwards (figure 74c).
The head is turned to the side to
address ear and sinus conditions
(figure 74d) .
FIGURE 74D
242 Iyengar Yoga AsarJa Alternatives: Tf1e Neck and Shoulders

Set one or more blocks for resting
the forehead with the eyes parallel
to the floor. Hold a slanting plank
across the ball of the foot. Bend
the elbows, widen them to the
sides, and place them on blocks to
support them at the height of the
shoulders. Lengthen the sides of
the torso forward; move the dorsal
inwards, sternum forward, and
the chin away from the sternum.
Descend the inner elbows into,
and ascend the outer elbows away
from, the blocks to evenly spread
the shoulders to the sides. Move
the back ribs further into the bod)'J
and extend the sternum fo rward
(figure 74e). In this variation
FIGURE 74E
the mind pacifies and the brain
balances. It is also corrective for
scoliosis of the upper back.

FIGURE 75 ~ Triangamukaikapada Paschimottanasana
Triangamukaikapada paschimottanasana is practiced as described in janu sirsasana.

Figure 7Sa depicts the pose with the weight on the back of the head and neck. Figure
7Sb depicts the variation with the weight on the upper back and the arms extended
along the narrow setubandha bench.
FIGURE 7 5A
FIGURE 75 B
244 lyengar Yoga Asana Alternatives: T11e Neck and Shoulders

FIGURE 76 ~ Paschimottanasana
Paschimottanasana is practiced with the set ups described in janu sirsasana. The legs are
wider than in the classic posture to facilitate horizontal expansion of the body (figure
76, shown with the bolster at the abdomen and weight to the back of the head).
FIGURE 76
Iyengar Yoga A sana Alternatives: Th e Neck and Shoulders 245

FIGURE 77 ~ Savasana
Loop a belt around the bar at one end of the trestle. Position a sticky mat, length wise,
underneath the trestle. Lie down in savasana on the mat. For those who are tall, step
the heels apart on the base of the trestle or lie with knees bent over a bolster. Place the
strap around the back of the head, slightly above the ears so that the head and neck are
extended away from the shoulders (figure 77a). A chair may be used for a similar effect.
Place the front legs of a chair on blocks with a sandbag on the front rung. Buckle a belt
around the back rest of the chair into a small loop. Without twisting the straps, fasten a
second belt through the small loop to support the head about one to two inches fro m
the floor (figure 77b). Release the bottom of the jaw, the bottoms of the ears, and the
temples to the floor. Suspending the head in this fashion creates lightness in the brain
and is deeply restful.
Repeat any of the prone or supine poses described in figures 2 and 4.
FIGURE 77A
FIGURE 77B

FIGURE 78 ~ Savasana Pranayama
Place a bolster (with a small folded blanket on top) along the short edge of a sticky mat.
Position two more bolsters at a 45 degree angle from each end of the first bolster. Set a
block on its long edge, at the second height centered with the blanket four to six inches
from the bolster. Have two weights nearby (figure 78a). Lie down on these props in
savasana with the block along the dorsal spine, between the shoulder blades, the head
on the blanket and the arms on the bolsters. An assistant adjusts the shoulders, head,
and neck (see figure 2) and places weights o n the shoulders (figure 78b). Turn the
upper arms out, tuck the shoulders into the back, lift the back chest and lengthen the
cervical vertebrae so a deep rest ensues. Observation of the breath can begin (refer to
Light on Pranayama).
FIGURE 78A
FIGURE 78B
Iymgar Yoga Asana Alternatives: The Neck and Shoulders 247

FIGURE 79 ~Chair Trestle Pranayama
Set a chair, with a small folded blanket on the seat, up against and facing
into a trestle. Sit on the chair facing away from the trestle, with the legs
straddling the back legs of the chair, and the back supported against the
trestle. Place the hands along the top of the beam. For those who are of
short stature, sit on enough blankets so that the arms are on the beam,
with the deltoids free to move from front to backj place blocks under
the feet so they are supported and not dangling to the floor. Lift the
chest, and extend the arms along the beam to spread the collar bones,
sternum, and sides of the chest. From the nape of the neck bring the
head down to jalandhara bandha (figure 79a). If there is discomfort
maintaining that position, place a rolled head wrap under the chin at
the top of the chest (figure 79b) . If the discomfort continues, remain
with the head upright for the breathing exercises. Regular practice of
salamba sirsasana and salarnba sarvangasana makes the neck strong
and supple, respectively, for practicing jalandhara bandha. Bend the
elbows behind the trestle to intensify the lift and expansion of the
chest (figure 79c). Hook the forearms under the beam or, if possible, F I GURE 79A
F I GURE 79B FI GURE 79C
248 Iyengar Yoga Asana Alternatives: Tile Neck and Shoulders

hold the bar with an underhand grip, to lift the chest further (figure
79d). For those who are differently mentally abled, sit with the legs
through the back of the chair with the outer edges of the feet on the
inside legs of the chair and the thighs touching the sides of the chair.
Place the outer edges of the heels against the inside of the chair's
back legs, and the outer thighs along the inner edge of the backrest.
Press these p oints of contact into the structure of the chair to make
a frame of the outer body. Keep the eyes open, gazing softly forward
(figure 79e). Tratakam (refer to Light on Pranayama), gazing at the
center between the eyebrows, is also practiced for these conditions as
well as anxiety (figure 79f). Ascending the torso creates space on the
vertical plane and mental alertness; spreading it creates space on the
horizontal plane and sharpens awareness in the consciousness. Posi-
tioning the back on the trestle with the arms supported is corrective
for those with scoliosis and imbalances of the upper chest, shoulders,
and neck. 1his position also stabilizes the nervous system.
FIGURE 7 9F
Iyengar Yoga Asa~1a Alternatives: TI1e Neck and Sho11lders 249

FIGURE 80 ~
Swastikasana Pranayama
Place a bolster against a wall on top of a sticky mat.
If necessary, additional blankets may be set on top
of the bolster to align the knees and hips to each
other. Place a blanket(s) between the knees and
feet to fill the gap between them; soften the groins
at the upper inner thighs and relax the legs towards
the floor. Wedge the sacrum into the wall, and allow
the natural shape of the lumbar to curve away from
the wall . Position the upper arms and shoulders
flush on the wall and the palms on the thighs. 1his
orientation of the palms enables beginners to relax
the arms while lifting and opening the torso without
tension on the brain; more experienced practitioners
can place the backs of the hands on the thighs. For
those with short arms place a three folded sticky
m at on the lap to supp ort the hands higher. The FIGURE 80A
mat also allows for a wider distance between the
hands, which is useful for pointing the fingers forward, an d moving
the elbows closer to the sides of the body. 1his facilitates widening the
collar bones and drawing the shoulders back and down. An assistant
presses on the student's shoulders as leverage to help her lift her chest
and sternum (figure 80a). If taking the head down causes d iscomfort,
use a rolled bandage between the chin and the upper chest to su pport
the head an d neck in jalan dhara bandha (figure 80b). Use the wall as a
teacher, and be attentive and sensitive to its feedback: o n inhalations,
maintain the upper arms and trapezius moving down the wall towards
the elbows; on exhalations, maintain the upper back at the wall to
sustain the lift of the anterior spi ne. Re-establish the position of the
torso if the upper body drifts away from the wall. The wall supports
those who are shaky and unsteady in the seated pranayama practices.
If the instability persists, practice only savasana pranayam a for some
time. Once stability is established, attempt sitting at the wall again
under the guidance ofa teacher who is able to observe and instruct you.
Practice pratilom a pranayama to balance the brain. This is especially
helpful for addressing brain injuries or after recovery from surgical
procedures involving the brain. Refer to Light on Pranayama for this
and other pranayama exercises, as well as detailed instructions on
swastikasana.
FIGURE SOB
250 Tyengar Yoga Asana Alternatives: Tile Neck and Shoulders

APPENDIX~ Neck and Shoulder Four Week Course
These two sequences are designed for students who need remedial practices for healing
conditions of the neck and shoulders. Each sequence is to be repeated for two weeks to
expand the students' learning and enhance the therapeutic effects of this practice. The
sequence may be taught as a weekly 90 minute course, individually or in group classes.
1he latter depends on the availability of props and assisting teachers, necessary for
adjusting students and placing weights. Refer to the figures for photographic depictions
and full instructions. The time for holding and/ or repeating each pose is listed.
Before presenting these sequences to students, teachers should practice each one to
become familiar with its rhythm, develop an understanding of its methodology, and
become sensitive to its effects. Observe your students and solicit feedback from them
regarding the impact of the individual postures as well as the sequence in total. After
some experience teaching these sequences you may (want to) alter them; supplement-
ing, complementing, and/ or interchanging specific asanas for others presented in his
manual. These changes should manifest your observations, consider student response,
and adhere to the principles of sequencing Iyengar yoga.
Iyengar Yoga Asana Alternatives: The Neck and Shoulders 25 1

Yoga Course for the Neck and Shoulders
Weeks 1 and2
1. Supine Savasana (figs. 2 and 3), 5 minutes
2. Prone Savasana (fig. 6), 5 minutes
3. Ardha Parsva Hastasana (fig. 17a, 90o only), 20 seconds/ 3 repetitions
4. Viparita Parsva Hastasana (fig. 19), 20 seconds/ 3 repetitions
5. Urdhva Hastasana (figs. 20a-20c), 30 seconds/ 3 repetitions
6. Urdhva Hastasana (figs. 20d- 20g), 30 seconds/ 3 repetitions
7. Rope 1 (fig. 32), 20 seconds/ 3 repetitions
8. Baddha Hastasana (fig. 23), 30 seconds
9. Shoulder Jacket (fig. 39f, straps on the chest, may be worn for next pose),
1 minute
10. Bharadvajasana (fig. 27), 20 seconds/ 3 repetitions
11. Utthita Marichyasana (fig. 28), 20 seconds/ 3 repetitions
12. Setubandha Sarvangasana (fig. 71), 5 minutes
13. Supine Savasana, 5 minutes
252 Iyengar Yoga Asana Alternatives: The N eck ar1d Shoulders

Yoga Course for the Neck and Shoulders
Weeks3and4
1. Supine Savasana (figs. 2 and 3), 5 minutes
2. Cross Bolsters (fig. 4 ), 5 minutes
3. Supta Tadasana (figs. 12 and 13), 5 minutes
4. Supta Urdhva H astasana (fig. 14), 1 minute
5. Ardha Parsva Hastasana (figs. 17a-c), 20 seconds/3 repetitions
6. Viparita Parsva Hastasana (fig. 19), 20 seconds/ 3 repetitions
7. Chaturanga Dandasana (fig. 28a- c), 3 repetitions
8. Rope 1 (fig. 32), 20 seconds/ 3 repetitions
9. Gomukhasana (fig. 24), 20 seconds/3 repetitions
10. Badhha Hastasana (fig. 23), 30 seconds
11. Bharadvajasana (fig. 27), 30 seconds/3 repetitions
12. Utthita Marichyasana (fig. 28 ), 30 seconds/3 repetitions
13. Shoulder Jacket (fig. 39e), 2 minutes
14. Neck Traction (fig. 38), 1 minute
15. Bhujangasana (fig. 56), 1 minute
16. Shalabhasana (fig. 57), 30 seconds/ 2 repetitions
17. Setubandha Sarvangasana (fig. 71), 5 minutes
lyengar Yoga Asar1a Alternatives: Tl1e Neck and Shoulders 253

Acknowledgments
I welcome the opportunity to note the generous time and commitment I received from
Nicole Faurant, gracious model, and Bob Whittinghill, editor extraordinaire, in the
course of completing this book. Steve Wiley, geek god, patiently created the ground-
work for my reluctant voyage into digital photography, enabling m e to bring this project
to fruition. Thanks to my beloved students, the assistants in the photos: Cherie Earl,
Ezzealdin Alhilou, Netta Sella, Roni Bernstein, Penny Hanna, Barry Chapman, Jessie
Norris, Jerry Chiprin, Jasper Van Halewyck, and to Matt Cohen for lighting. I am also
grateful to Caitlin O 'Connor and Kristine Vesly for editorial assistance.
254 Iyengar Yoga Asana Altematives: The Neck m1d Shoulders

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IYENGAR YOGA

The Neck and Shoulders

Publisher: Parvati Productions, LTD, www.geetasguide.com

ISBN: 0-9778585- 1-0

The Neck and Shoulders

© 2000, Lois Steinberg

+ Many thanks to Nicole Faurant for modeling the poses. ~

Overview ..................................... . ...... . . .... ................. .. 1

FI GURE 1 ~Relaxed Standing Position .... . ... .. . ........ ... .................. 3

FIGURE 2 ~Supine "Shoulder" Savasana ............. ...... . .................. 6

FIGURE 4 ~Cross Bolsters ... . . ....... . . ...................... ... . ....... ... 10

FIGURE S ~ Shoulder Traction.... .. . . . . .. .. . .. .................. .. ..... ..... 13

FIGURE 6 ~Prone "Shoulder" Savasana .. ............. .................. ..... 14

FIGURE 7 ~Pavao Muktasana ........ ... ... . ................................ 15

FIGURE 9 tEo Parivrtta Pavan Muktasana..... ......... . . . . ....... .............. 25

FIGURE II ~ Parsva Adho Mukha Virasana ......................... .. ........ 29

FIGURE I2 ~ Supta Tadasana ............................ ........... . ... ..... 30

FIGURE 13 ~ Supta Tadasana with Traction ................ .... . . ... . ........ 31

FIGURE I 4 ~ Supta Urdhva Hastasana ....................................... 34

FIGURE IS ~Anantasana ....... . ..................... . ..... ..... . . . .... ..... 36

FIGURE I6 ~ Tadasana ...................................................... 39

FIGURE 17 ~ Ardha Parsva Hastasana ....................... ... . . ........... .42

FIGURE 18 ~ SalambaArdha Parsva Hastasana ...... .... . .... . .............. .43

FIGURE 19 ~ ViparitaArdha Hastasana ...................................... 44

FIGURE 20 ~ UrdhvaHastasana ......... ............ ... ... ...... ............ 46

FIGURE 21 tEo Baddha Anguliasana ..................... . ..... .. ..... .. ....... 53

FIGURE 23 if> Baddha Hastasana .. ........................................... 57

FIGURE 25 ~ Paschim Namaskarasana ....................................... 61

FIGURE 26 if> Chaturanga Dandasana .................. . . ...... ..... . ........ 63

iv lyengar Yoga Asana Alternatives: Tlze Neck and Shoulders

FIGURE 30 + Ardha Matsyendrasana 1 ......................... .... ..... ..... 77

FI GURE 31 + Pasasana .•..................................................... 78

FIGURE 32 +Rope l. .................. ........... .. . . . ..... . ..... . ......... 79

FIGURE 33 +Rope 2 .................................... . ........ .. ... . ..... 86

FIGURE 34 +Rope Neck Curvature .......................................... 88

FIGURE 35 +Platform Neck Curvature....................................... 92

FIGURE 36 +Trestle Neck Curvature .................. ....... ............... 95

FIGURE 37 +Stump ........................................................ 97

FIGURE 38 +Rope Neck Traction ........... . .................... .. ... . ..... 99

FIGURE 40 + Adho Mukha Svanasana . .. .................................... 102

FIGURE 4I + Ardha Uttanasana ............. .......... ...... ............... . 112

FIG URE 42 + Uttanasana ................................................... 120

FIGURE 43 + Utthita Trikonasana ................................... .. ...... 124

FIGURE 44 + Utthita Parsvakonasana ....................................... 130

FIGURE 45 + Virabhadrasana II ................... .... ...................... 132

FIGURE 46 +Ardha Chandrasana ........... . . . ... ....... .. .... ............. 134

FIGURE 47 + Virabhadrasana I. ............. . . . ....... ... .. .. ............... 136

FIGURE 48 + Parsvottanasana ............................ . . .. ..... ......... 138

FIGURE 49 + Prasarita Padottanasana .................. .... ............ ... .. 139

FIGURE SO + Rope Sirsasana ............................................... 144

FIGURE 51+ Salamba Sirsasana I .............. . .................... . . . ..... 150

FIGURE 52 + Viparita Karani Sirsasana ..... .... .. ........................... 156

FIGURE 53+ Vasisthasana ..... . . . .......................................... 159

FIGURE 54 + Adho Mukha Yrksasana ................ .......... ............. 160

FIGURE 55+ Pincha Mayurasana ............. . ..... . . . ..................... 164

FIGURE 56 + Bhujangasana................. .............. ....... ........... 170

FIGURE 57 + Shalabasana .................................................. 17 1

Iyengar Yoga Asana Alternatives: Tize Neck and Shoulders v

FIGURE 59 ~ Purvottanasana ....... ... ~ ... .. ........................ ..... .. 173

FIGURE 60 ~ Urdhva Mukha Svanasana ................. ...... .............. 174