Chromatic Practicum: Final Video

YOUR FINAL CLASS

You now have the opportunity to insert your layering postures into your class. If you have a particular style of teaching that you want to use you may, otherwise you may use the vinyasa style sequence and structure that you learned at the beginning of this course.

You will not be graded on the style of class but the sequence does need to make sense – you cannot teach a restorative, Nidra or yin style with peak actions or engagements, it would go against the very foundation of those styles.

We suggest you use the vinyasa structure that was memorized and provided for you but again this is ultimately your choice, and we are happy to support you so long as the chromatic structure of layering postures are within the sequence.

KEY NOTE: BE SURE TO HAVE A VISUAL DEMONSTRATION FOR THE PEAK POSTURE WITH A STEP BY STEP BREAK DOWN AND AT LEAST 1 ALTERNATIVE OPTIONS TO ACCOMMODATE MULTI LEVEL STUDENTS. THIS MAY INCLUDE ADDING A PROP OR SIMPLY MODIFYING THE POSE.

By visual demonstration, you literally tell the students to pause their practice and watch you for a moment so they can see the step by step break down, AND most importantly watch how you implement the Peak Action or Engagement.

Chromatic Practicum Preparation #2

Layering Postures Video

Your next step in preparation for your final is to teach the structure of your sequence without the style – meaning just the layering postures. Practice teaching your 5-7 layering postures, exploring what your PTL-Phrase will be and work on becoming dialed in and comfortable with your verbal cues. Once you feel ready, submit your video to your mentor for review in the quiz that follows this lesson. Your mentor will support you with feedback to prepare you for your final class.

Chromatic Practicum Preparation #1

Submit Your Written Sequence

STEP 1: Create your sequence in written format and submit to your mentor for review. Your mentor will work with you to refine your sequence. We HIGHLY recommend keeping this simple and straight forward, this is not the time for experimental overly intellectualized debatable anatomy. Keep it intelligent AKA simple and obvious as to how the Physical through line applies directly to the peak posture. Upon approval from your mentor you may continue to step 2, a video of you teaching your layering postures, the full explanation is in the next lesson of this course. Do not get started on this prior to approval as your sequence may end up changing.

We are excited to see your final sequence, have fun creating it!

Chromatic Pillars Part 2

Community Simple Challenge

While this is not mandatory, I have a challenge for you.

You have likely heard me share before how I met one of my best friends who handed me the book Wisdom of the Peaceful Warrior? In case you haven’t heard this story, this is the book that suggested I try yoga, so needless to say, it changed my life.

I met Julia on a beach at sunset. She was alone, I was alone and there was tons of beach for us to be by ourselves. I had every reason not to say hello, after all I came there to be by myself, and it was obvious that she did too. I felt drawn to say hello, but that would require walking toward her which would then create a lot of awkward time of her knowing I was going to say hello. Everything was going through my head as I was deciding: “what if she just wants to be alone?”,”she’s gonna think I am one of THOSE guys”, “what the heck am I going to say?” “there is no reason to have a conversation, we have nothing to talk about.” I walked down to the water and put my feet in and stared out at the sunset and remembered that just earlier that day I was speaking to the universe and saying “I am so lonely, please bring someone into my life”. I then heard a different voice smack me over the head and say “you can ask for something but if you don’t step toward it nothing is every going to happen”. It was that sentence that gave me the courage to walk over and stumble over my words. Julia had been crying but I was too caught up in my insecurities of saying “hello” that I didn’t even notice. It wasn’t until years later when I heard her side of the story that I learned that she was crying.

It wasn’t a smooth conversation at all but then she asked “do you play guitar?”…I had no idea where that came from,
“yes! how did you know that?”. She laughed and reminded me of my necklace which had a stone in the shape of a guitar pick on it. I felt like an idiot.
“I just moved in with a lady here who’s son plays guitar. He’s heading to Boston next week to start school at Berklee College of Music” she said
“Is her son’s name Matt? by chance?”
“YES!” she said
“I am the one driving him there, he’s a good friend of mine, and that’s where I went to school”

The conversation flowed naturally after that bumpy start. To this day I consider Julia one of my best friends, mentors and accountability buddy. I hate her half the time because she keeps me in check, always making sure to challenge my comfort zone, and ALWAYS shaking up my perspective. Honestly I don’t know where I would be if I hadn’t taken that step into the conversation that day.

My challenge to you is to find someone in the training, either in the facebook group or in your small group that you resonated with and reach out to them personally letting them know you enjoyed what they had to share in the training and that you would like to stay connected in the future. This might have already happened naturally for you however sometimes it requires an extra bit of courage on our part to step toward something or someone even though it may not work out. The worst thing that can happen in this case is you don’t stay in touch – which would put you right where you are now, so there is nothing to lose only something to potentially gain.

Chromatic H.E.A.R.T Pt 2

Chromatic Sequencing Tutoring Session

Clarifying Chromatic Intention

There is much in this session that you will find supportive and useful. Thank you everyone that participated live to facilitate the conversations that allow us to further develop our understanding of the Chromatic System and Intention. I suggest taking notes while watching, but you can also enjoy the notes from trainee Jenna who kindly submitted hers for all of us to benefit from.

Session Notes (taken by Jenna Short)

Chromatic Sequencing
NOTES
Review of where everyone is in the course
Target stretch– The muscle group that you are lengthening throughout the entire class. A muscle group that you are Lengthening over again that can attribute to a peak pose.
Not just focus on what is stretching because its really only one piece of the puzzle and doesn’t increase body awareness. Stretching is done through passive non-action. Its also important, however it doesn’t really teach properception. No neurological thought to action connection.
Neuromuscular connections are formed when we think about activating a muscle and the feedback from the muscle comes back up to the brain saying it has happened. What happens when we activate muscles intentionally you gain more body awareness as a result of that.
Important element of the 300hr training is that just like you are stretching through out a class to gain access to a peak pose, you can also strengthen a muscle throughout to gain access to a peak pose. Which is the Peak Engagement. 
PEAK IS NOT THE IMPORTANT PART OF THE PUZZLE. It is the body and muscle awareness to gain access to the pose. The peak posture is the RESULT of your body awareness. The peak is designed in-order to support that process.
The approach of body awareness over flexibility. The main focus on creating Chromatic yoga. There is more possibilities and potential when we go deeper into activation and movement based. ACTION & REFLECTION.
Actions… and reflect upon it. The ability to take what you’ve learned off the mat as well.
Engage the muscle, And educate on what you should be feeling. To have the body awareness to know whether or not it is engaging for you. Just as in life. You take actions and need to know if your actions are producing results..
If we do something and it fails, to say you fail isn’t the focus. What are the actions that you took that lead to the failure or results.
If the results aren’t yielding what I’m wanting, you don’t change You, you need to change the ACTIONS.
To create the neurological circuit from Action to Sensation. You then empower the student to be able to reflect on their own actions to know if this serves me or not. To gain the ability to empower you to make the right decisions for you and to provide the space to be able to reflect upon the experience that they have had based on the actions they have taken.
  • You may not be their best “asana” teacher
  • But you provided them the space of self reflection
  • And they will remember you for it
Sharon-
Fundamental and Balancing Actions
When you’re fighting against gravity. If gravity is assisting you in stretching you need to oppose it. Gravity and the weight of your body makes it easier.
FULL WHEEL- gravity is pushing you down, hard to stretch abs, so you want to use your back muscles against gravity to.
Standing Split, The up leg has to activate glutes and hamstrings against gravity
Peak of hamstrings
Top leg is Fundamental
Bottom Leg is balancing
Helps students increase the depth of the posture
You would use both throughout the sequence
Balancing action – Engaging a muscle that is lengthened
  • Opposing, Against gravity
Fundamental action – Engaging a muscle that is already short
  • Already happening just need to encasing it
Heidi-
How to incorporate all of this into my classes I’m already teaching
  • Add in one element at a time to understand it in your own sequencing and you will start to understand it in their bodies and then your creativity will start to flow
  • The idea of having the peak is to wrap your mind around the concept and gives direction to the class whether or not you get there or not.
Don’t dumb down your teaching for who is in the room. Honor that, teach true to you and bring your class up to you. Everyone walks in wanting to achieve, A peak posture helps the ego stay on board. But ultimately the peak gives us a path to walk upon. If you offer an incredible experience but never get to the top of the mountain they will still remember an incredible experience. If you offer a powerful experience it doesn’t matter if you get to the peak pose or not. For the to understand how it is applicable to their yoga practice. That what’s more important. The peak is our way of organizing the experience for people.
You want to get your students to get the cue without you saying it. To know the engagement by way of the fact that you have said it so many times

King Pigeon September Class

Using A PTL Phrase

Advanced Structure for Sequencing

Physical Through-Line (PTL)

A Physical through is like a theme of a book – a message that keeps repeating until the conclusion. Make a choice for your physical through line, of all the muscles that are required to strengthen and stretch, choose one of each that you feel will provide the greatest access to the peak posture. This is challenging for most teachers – once you understand all that is required its hard to limit the focus to one muscle group to strengthen and one to stretch.

Action Cues:

Consider you PTL, how will you get your students to engage the muscle or move their bones accordingly? Brainstorm the myriad of ways you could – write them down and place them under the category of action cues.

PTL Phrase

Select the action cue that has the greatest revelatory power to give students an AHA moment in their practice, and repeat this throughout your class.The goal – the phrase triggers immediate awareness and action in your students bodies. 

Layering Your PTL-Phrase:

Practice your speaking your PTL-Phrase in your selected layering postures. How would you say it from each elemental standpoint. 

3 Types of Learning

1.Auditory: The student who learns best from verbal cues is an auditory learner. 

2.Visual: The student who learns best from “Demonstration”, “Active Demonstration” or a“visual reference” is a visual Learner

3.Kinesthetic: The student who learns best from hands on adjustments, assists, or a “Kinesthetic Touch” is a Kinesthetic learner.

To unveil and ignite the potential of our students we must honor the individual ways that people learn. Observe how your students are picking up information and integrating it. If you have a short time to get an alignment cue into each body in the room it is beneficial to know who is not going to respond to your verbal delivery. This way you will have the opportunity to give a “visual reference” (definition below) or one of the 3 kinesthetic teachings.

OCTOBER IMMERSION LIVESTREAM CLASSES

OCTOBER IMMERSION LIVESTREAM CLASSES

October Immersion

THE BREAKTHROUGH!

Welcome to the October Immersion: THE BREAKTHROUGH

The Breakthrough was born out of the teachings of Anugraha which means Revelation. We all have the power within us to experience an opening, an aha, an awakening to what we previously did not know or understand. This is the foundation of this immersion. 

when I was in the earlier part of my career I decided to take another teacher training to expand my practice, and on day one my teacher asked “In your physical practice what would you like to work on for the next year?”

That was strange! no one ever asked what I wanted to work on for a whole year. I chose hip openers because at that time I struggled with doing postures like pigeon pose without having knee pain, my hips were just LOCKED UP.

I wanted to learn how to do postures like lotus, leg over the head, and the fun looking arm balances that required such hip flexibility.

For the next 16 months I studied the hips both intellectually and physically.

For the October Immersion, titled “The Breakthrough” you will be learning hip opening practices to help increase your range of motion, flexibility and strength which will grant you access to some pretty cool arm balances. YES you will learn arm balance techniques to build strength and confidence as well!

There is one posture in particular that was requested – one that I NEVER TAUGHT Online before, so this is incredibly exciting. I will leave this as a surprise for now.

Please click here to join the Class Pass community facebook group!

 

NEXT LIVE CLASS: EXCLUSIVELY FOR MEMBERS!

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ALL JULY EVENTS

July Classes Take Place every Monday, Tuesday, Thursday & Saturday at 12p EST and will appear below during and after livestream events

 IMMERSION PRACTICE #1

(12 pm EST) Livestream October 3, 2020 

IMMERSION PRACTICE #3

Livestream October 8, 2020

IMMERSION PRACTICE #5

Livestream October 13, 2020

IMMERSION PRACTICE #7

Livestream October 17, 2020

IMMERSION PRACTICE #9

Livestream October 22, 2020

IMMERSION PRACTICE #11

Livestream October 27, 2020

IMMERSION PRACTIVE #2

Livestream October 6, 2020

IMMERSION PRACTICE #4

Livestream October 10, 2020

 IMMERSION PRACTICE #6

Livestream October 15, 2020

IMMERSION PRACTICE #8

Livestream October 20, 2020

IMMERSION PRACTICE #10

Livestream October 24, 2020

 IMMERSION PRACTICE #12

Livestream October 29, 2020

boundless freedom

  • 12 YOGA CLASSES
  • SHOULDER BIOMECHANICS
  • TANTRIK YOGA TEACHINGS
  • 4 POST CLASS MEDITATIONS
  • 12 PEAK POSTURES
  • SALE Price:$98 

BIRDS OF PARADISE

  • 12 YOGA CLASSES
  • 4 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 12 PEAK POSTURES
  • 12 YOGA SUTRA THEMES
  • SALE Price:$98

BEST STARTER PACKAGE

  • 6 YOGA CLASSES
  • 2 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 6 PEAK POSTURES
  • 6 YOGA SUTRA THEMES
  • SALE Price:$78

JOURNEY TO BLISS

  • 12 YOGA CLASSES
  • 4 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 12 PEAK POSTURES
  • 12 YOGA SUTRA THEMES
  • SALE Price:$98

KING PIGEON & HANUMAN

  • 12 YOGA CLASSES
  • 4 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 12 PEAK POSTURES
  • 12 YOGA SUTRA THEMES
  • SALE Price:$98

JOURNEY TO THE HEART

  • 12 YOGA CLASSES
  • 4 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 12 PEAK POSTURES
  • 12 YOGA SUTRA THEMES
  • SALE Price:$128

BACK, NECK & SHOULDERS

  • 12 YOGA CLASSES
  • 4 GUIDED MEDITATIONS
  • LIVETIME ACCCESS TO ALL
  • 12 PEAK POSTURES
  • 12 YOGA SUTRA THEMES
  • SALE Price:$128

Get in touch!

Chromatic: Rigor of Mastery

The Rigor Of Mastery

Mastery is a concept that is often mistaken for perfectionism. Mastery is far from perfect it is more a way of being than it is a result. Anyone who is masterful at something embraces the rigor of its challenges and doesn’t give up or walk away form it when they get bored, or feel defeated. It’s more the action of staying disciplined in the approach or PRACTICE.

We can say we have mastered something when we will never forget it – just like riding a bike. That doesn’t mean that you can’t develop your bike riding techniques or learn different styles of riding, but once mastered you will always be able to balance on the bike so long as your body is physically capable. Just like language – If you sort of learn the language you will forget it rapidly. If you have immersed your self in that language and used it even in times when you frustratingly couldn’t find the right words to express yourself, than you will have a certain level of mastery that will stay with you forever. Yes of course if you don’t use it you will lose it to a degree but it always comes back fairly quickly.

As a musician I had so many aspirations with my guitar playing. I had so much I wanted to work on so I practiced a little of this, a little of that, a little of something else, and I mastered nothing. It wasn’t until the final year or two of my professional career that I buckled down and focused on one thing at a time. In that last stretch of practicing I developed the most and the fasted I had with exception of the first year perhaps which I spent buried in the guitar all day long. In that last year I limited my study to 3 guitar solos. I studied 5 seconds of each solo for about 1 hour a day. I slowed down the music to about half the speed in order to really work out every movement of my fingers – I was determined to get inside the musicians experience and play it as if I was them. This was intense but incredibly special. I didn’t settle, I was relentless. Had I began that approach earlier my life would look differently right now as I am sure I wouldn’t have transitioned away from it.

However it was the PERFECT timing because in that year I was also beginning my yoga practice and without realizing it I was applying the same concept to my physical body – one bone, one muscle at a time, watching videos of my teachers, reading book, studying my body form the inside out.

Once I transitioned to teaching I took the same approach – still not quite realizing what I was doing until later on when I began teaching teacher trainings and I noticed the major difference between the vast majority of students that kept things surface level, and those select few that were relentless even in the face of their own internal struggles. It was frustrating at first because I didn’t understand why everyone didn’t see the difference. Later I realized not everyone has the same intention for teaching or practicing yoga that others do. Not everyone is seeking their highest potential, or better yet not everyone is willing to step into the fire of transformation for their unknown potential. The fear of the unknown is stronger than the excitement of possibility.

You have a real opportunity to step into your potential given the depth of study that you are putting in throughout this training. You have not been offered a surface level “feel good” vacation from reality style training – you are being asked to immerse and transform the way you understand your body and mind and your ability to communicate it. Keep in mind where you are going and keep stepping, be relentless about your potential, so when you do take that vacation you will be able to relax fully knowing that you put the fullness of your heart into this experience.

Lots of love and strength to you!

Matt

The Airline Peak Postures

AIR LINE: PEAK POSTURES

  • Half Camel
  • Camel
  • Bowe
  • Dancer
  • Wild Thing
  • Twisted Monkey 2
  • Scorpion
  • Revolved Bound Half Moon (grabbing foot behind like dancer pose)

AIR LINE: Muscles & Actions

JOINTS OF THE AIRLINE

  1. The Spine
  2. Hips
  3. Scapulocostal Joint (shoulder blades)
  4. Gleno-Humeral Joint (shoulder)
  5. Elbow
  6. Radial Ulnar (Forearm)
  7. Wrist
  8. Fingers
  9. Knee

AIR LINE: THE 3 PRIMARY ACTIONS

  1. Retraction or Scapula
  2. Extension of the Spine
  3. Rotation of the Spine

ALL ACTIONS OF THE AIR LINE

  1. SPINE: EXTENSION, ROTATION, LATTERAL FLEXION
  2. HIPS: EXTENSION, ABDUCTION
  3. SHOULDER BLADES: RETRACTION, DEPRESSION, ELEVATION
  4. SHOULDERS: EXTENSION, EXTERNAL ROTATION,
  5. ELBOWS: FLEXION
  6. FOREARM: SUPINATION
  7. WRISTS & FINGERS: EXTENSION

MUSCLES OF THE AIR LINE

Retraction of Shoulder Blades

  • Rhomboid major
  • Rhomboid Minor
  • Middle Fibers of the Trapezius

Extension of Shoulder

  • Posterior Deltoids

Latteral Rotation of the Shoulder

  • Infraspinatus
  • Teres Minor

Extension of Spine

  • Extensors of the spine (lots of back muscles!)
  • Quadratus Lumborum

Spinal Rotation

  • Deep rotators of the Spine

Extension of the Hip

  1. Gluteus Maximus
  2. Hamstrings
  3. Adductor Magnus

Flexion of the Knee

  1. Quadriceps

Flexion of the Elbow

  1. Biceps

Supination

  1. Supinator
  2. Biceps

Extension of wrist and fingers

  1. Extensor digitorum
  2. Extensor Policis Brevis

The Air Line: Muscles & Actions (37min)

AIR LINE: Muscles & Actions

JOINTS OF THE AIRLINE

  1. The Spine
  2. Hips
  3. Scapulocostal Joint (shoulder blades)
  4. Gleno-Humeral Joint (shoulder)
  5. Elbow
  6. Radial Ulnar (Forearm)
  7. Wrist
  8. Fingers
  9. Knee

AIR LINE: THE 3 PRIMARY ACTIONS

  1. Retraction or Scapula
  2. Extension of the Spine
  3. Rotation of the Spine

ALL ACTIONS OF THE AIR LINE

  1. SPINE: EXTENSION, ROTATION, LATTERAL FLEXION
  2. HIPS: EXTENSION, ABDUCTION
  3. SHOULDER BLADES: RETRACTION, DEPRESSION, ELEVATION
  4. SHOULDERS: EXTENSION, EXTERNAL ROTATION,
  5. ELBOWS: FLEXION
  6. FOREARM: SUPINATION
  7. WRISTS & FINGERS: EXTENSION

MUSCLES OF THE AIR LINE

Retraction of Shoulder Blades

  • Rhomboid major
  • Rhomboid Minor
  • Middle Fibers of the Trapezius

Extension of Shoulder

  • Posterior Deltoids

Latteral Rotation of the Shoulder

  • Infraspinatus
  • Teres Minor

Extension of Spine

  • Extensors of the spine (lots of back muscles!)
  • Quadratus Lumborum

Spinal Rotation

  • Deep rotators of the Spine

Extension of the Hip

  1. Gluteus Maximus
  2. Hamstrings
  3. Adductor Magnus

Flexion of the Knee

  1. Quadriceps

Flexion of the Elbow

  1. Biceps

Supination

  1. Supinator
  2. Biceps

Extension of wrist and fingers

  1. Extensor digitorum
  2. Extensor Policis Brevis

Elements of Voice: Implementing the Elements (7min)

Implement The Elements of Voice

Now you understand the elements and have had some practice with them, its time to really implement them into your teaching. The following exercise may be redone several times as a practice to develop your proficiency in your voice. Before submitting your video I highly recommend completing steps 1-4, until you shake off the nervousness, break through your blockages, and start finding your authentic YET versatile range of voice. Remember “comfortable” is not the same as authentic. Comfortable is a result of repetitious practice – Authenticity is your willingness to show up entirely as yourself. WE ALL have ALL the elements within us, and they look and sound different from each other, that’s what makes us unique. Discovering our blocks within any given element gives us the chance to uncover what’s underneath it all, its usually way deeper than we would expect.

  1. Create a new sequence using a Peak Pose, Peak Action, 5-7 Layering Postures.
  2. Teach your Layering postures and film it (15-20min maximum)
  3. Listen back and observe your use of the Elements – write down time markers where you shift to a new element.
  4. Write down which element you think you struggle with the most
  5. Share the video and time markers in the Quiz to follow, so your mentor can watch and listen.
  6. Note for you mentor which element you feel most challenged with and why

 

Triangle Flow Sequence Breakdown (5min)

Triangle Flow with Amanda Lee (63min)

Triangle Slow Flow with Amanda Lee

Amanda Lee, Chromatic Teacher, offers an incredibly clear physical through line through this class for Triangle pose. Pay close attention – what are the target stretch(s) and what is the peak engagement? Is her Peak Engagement a fundamental or balancing action?

Instagram: @amandalee.108

Peak Action: When to use Fundamental vs Balancing Action (18min)

When to Use Fundamental Vs Balancing Action

Fundamental Action is used to increase range of motion of the posture while balancing action is used to stabilize or decrease range of motion. In the case of Full Wheel – an activation of the buttocks or back muscles is going to increase the range of motion – so these are fundamental actions. Activating the Abdominals would be a balancing action – it limits range of motion.

The Rule of thumb

Fundamental Action: Use this when the flexibility of the posture is inhibited by gravity. In other words when gravity is making it challenging to access full range of motion such as the case for full wheel, you would want to use an activation of the muscles that create the shape, or increase its range of motion.

Balancing Action: Use this when gravity is increasing the flexibility of the posture – such as hanumanasana (splits) or something more simple like triangle.

If the weight of gravity makes it easier than resist gravity (balancing action) in order to avoid over stretching. If the weight of gravity is making it harder, typically when rising up away from the ground than use a fundamental action to access the appropriate muscles to get into the posture..

Remember Rules of thumb can be broken, this is just a simple guideline.

Triangle Flow with Amanda Lee

Lets take a look back at Amanda Lee’s class – she chose triangle pose as the peak posture, with a peak engagement and target stretch of the adductors. This was intelligent because the the weight of gravity already pulls the torso downward – so she chose a BALANCING Action to decrease risk of injury. AT THE SAME TIME this is smart because in order to increase the health and range of motion of a muscle you need to strengthen it through range of motion. So creating a facilitated stretch of the adductors – balancing action- both minimizes risk and increases range of motion in the long run.

Shake Your Chakras Sequence Break Down

Shake Your Chakras! (Upper chakra work)

Physical Through-Line – Simplified Technique: Internal rotation at the glenohumeral joint, then retraction of the scapula

Layering Postures:
Cactus arms downwards
Platter arms in (internal rotation) & out (retraction)
Hands clasped behind back in Forward fold
Hands clasped behind back in low lunge (wrap to side of the hip)
Humble warrior
Fist bump in chair pose (rounded spine) Then arch to retract
Bound Side angle
Half Bound half moon
Bound reverse Birds of paradise

Target Stretch: Adductor group
Layering Postures:
Low lunge
Humble warrior with open hips
Utthita Hasta Padangusthasana B Variation with bent knee and pelvic tilts
Malasana Squat
Goddess pose (with twist)
Side Angle pose
Lizard Pose

Shake Your Chakras with Beau Campbell


Shake Your Chakras! (Upper chakra work)

Class presented by Beau Campbell, Chromatic Leader, Mentor, and founder of Yogarina Flow

In this class Beau shares with us a simplified technique – two peak actions that she links together as a technique that is then applied to the peak pose. As you practice, write down what you think the two actions are AND what you believe are her layering postures.

The Fire Line: Peak Postures

FIRE LINE: PEAK POSES

Rather than list out a number of peak postures for this I wanted to give you a bit more space to think so I provided you with posture categories for peak pose suggestion. The Major ones are anything that requires anterior core (abdominals) activation.

Think: What postures have one or more of the following rounded back, twist, protraction of scapula. These are the primary actions of the Fire Line.

FIRE LINE: THE 3 PRIMARY ACTIONS

  1. Protraction or Scapula
  2. Flexion of the Spine
  3. Rotation of the Spine

FIRE LINE: Muscles & Actions

JOINTS OF THE FIRE LINE

  1. The Spine
  2. Hips
  3. Scapulocostal Joint (shoulder blades)
  4. Glens-Humeral Joint (shoulder)
  5. Elbow
  6. Radial Ulnar (Forearm)
  7. Wrist
  8. Fingers

ALL ACTIONS OF THE FIRE LINE

  1. SPINE: FLEXION, ROTATION, LATTERAL FLEXION
  2. HIPS: FLEXION, ADDUCTION
  3. SHOULDER BLADES: PROTRACTION
  4. SHOULDERS: FLEXION, HORIZONTAL ADDUCTION
  5. ELBOWS: EXTENSION
  6. FOREARM: PRONATION
  7. WRISTS & FINGERS: FLEXION

MUSCLES OF THE FIRE LINE

Protraction of Shoulder Blades

  • Serratus Anterior

Horizontal Flexion

  • Pectoralis Major

Flexion of Shoulder

  • Anterior Deltoids

Flexion of Spine

  • Rectus abdominis
  • Internal & External Obliques
  • Psoas Major

Spinal Rotation

  • Internal & External Obliques

Posterior Tilt & Flexion of the Hip

  1. 3 SUPERFICIAL ABDOMINALS: Rectus, Internal & External Obliques
  2. Hip Flexors: Iliopsoas, rectus femoris, pectinieus

Adduction of Hips

  1. Adductor Longus
  2. Adductor Brevis
  3. Adductor Magnus
  4. Gracillis
  5. Pectineus

The Fire Line: Muscles & Actions

FIRE LINE: Muscles & Actions

JOINTS OF THE FIRE LINE

  1. The Spine
  2. Hips
  3. Scapulocostal Joint (shoulder blades)
  4. Glens-Humeral Joint (shoulder)
  5. Elbow
  6. Radial Ulnar (Forearm)
  7. Wrist
  8. Fingers

FIRE LINE: THE 3 PRIMARY ACTIONS

  1. Protraction or Scapula
  2. Flexion of the Spine
  3. Rotation of the Spine

ALL ACTIONS OF THE FIRE LINE

  1. SPINE: FLEXION, ROTATION, LATTERAL FLEXION
  2. HIPS: FLEXION, ADDUCTION
  3. SHOULDER BLADES: PROTRACTION
  4. SHOULDERS: FLEXION, HORIZONTAL ADDUCTION
  5. ELBOWS: EXTENSION
  6. FOREARM: PRONATION
  7. WRISTS & FINGERS: FLEXION

MUSCLES OF THE FIRE LINE

Protraction of Shoulder Blades

  • Serratus Anterior

Horizontal Flexion

  • Pectoralis Major

Flexion of Shoulder

  • Anterior Deltoids

Flexion of Spine

  • Rectus abdominis
  • Internal & External Obliques
  • Psoas Major

Spinal Rotation

  • Internal & External Obliques

Posterior Tilt & Flexion of the Hip

  1. 3 SUPERFICIAL ABDOMINALS: Rectus, Internal & External Obliques
  2. Hip Flexors: Iliopsoas, rectus femoris, pectinieus

Adduction of Hips

  1. Adductor Longus
  2. Adductor Brevis
  3. Adductor Magnus
  4. Gracillis
  5. Pectineus

Elements of Voice: Air

THE ELEMENTS OF VOICE: Air

The Element of Air is an excellent element for opening a class, cutting the intensity of fire, celebrating success moments, or any time you want to bring a light hearted, joyful feeling into the classroom. Personally this element challenges me, I tend toward earth and Fire, and so my work is to remind myself that life itself is a gift. Amongst the challenges, highs and lows and everything we experience in life I try to remind myself that life is a privilege, and ultimately at the high level I want to enjoy the time that I have in this body. For some of you this element might come more easily, you tend to laugh easily, have a more light hearted mentality, you love to have fun. That said Air is a more unstable element than earth – an earth type person is more predictable emotionally, where as an air person might experience the extreme highs an lows in a short period of time. So while people who tend toward air might be quick to laugh, they also might be quick to cry and move through emotions rapidly. Earth and Water people might dwell on something for days, months or years. Fire people might be unpredictable as well, charismatic and passionate in one moment and angry and yelling in another moment.

Air is a celebratory element when it is in balance. Out of balance and it can be worrisome or anxious energy. In the voice you will hear a high pitch, more rapid speech, quicker cadences, less space, more upward rising melodies. Air brings a smile to our face, think of how light and free air is compared to the heaviness of the earth element.

When is it appropriate?

I like to start classes and welcome students in Air most days. Depending on the vibe of the room or the experience I offer I will sometimes bring air back in when I am saying good by. I bring air in through the middle of the class while walking students into the fire of challenge so as not to loose the ultimate purpose for the challenge itself. It’s also great to use as a celebration after a challenging experience – this is the natural thing to do when excited “YES, YOU DID IT!”, but sometimes students are still caught up in the past – “what can I do better?”. So its important to remind them that small steps are important to celebrate – there will never by a finish line in life.

How To Practice Air

In my years of teaching the elements of voice, air tends to be the hardest to practice for those that it doesn’t come naturally to. The tendency is to put on the “fake nice” or “fake excited” voice. For air to be genuine, like all the other elements, it must be FELT from the inside out.

  1. I suggest first observing yourself in conversations – notice when you are in the element of Air, notice how it feels inside when you are there. Also notice if you try to fake the element in certain circumstances, sometimes we do this to please others or out of respect to others. WHEN it’s genuine really take note of this because this feeling is what you want to gain access to.
  2. The next step is way more challenging – can you intentionally shift into the energy that you feel when in the element of air. Can you find gratitude, joy or celebration within yourself?
  3. Once you have shifted – which may take a long time at first, then speak and try and sustain the element of air for a few sentences. You will know when you are there.

Clarifying Physical Through-lines

Chromatic Balancing Vs Fundamental Action

Eccentric Vs Concentric Engagement

These two engagements refer to an activation of a muscle through movement. The major difference is if the muscles is lengthening or shortening. In either case the muscle is activated.

Concentric: This is the activation of a muscle while shortening – for example if you pick up a dumbbell and bend your elbow to pull the dumbbell toward your shoulder – this movement occurs due to the activation AND shortening of the biceps.

Eccentric: This is the activation of a muscle while it is lengthening – for example lowering the dumbbell back down slowly – to slow down the movement the bicep is activating while it is lengthening.

Balancing Vs Fundamental Action

Both of these actions refer to isometric engagements – NO movement is occurring, a static posture with activation of muscles.

Fundamental Action: An engagement of the muscular system that creates the joint relationships of the given posture. Picture the pose without gravity or the ground, to create and sustain the posture would require an activation of the muscles that create the joint alignments. For example warrior 2 the front knee is bent. The muscles that bend the knee joint are the hamstrings. An isometric engagement of the hamstrings would be called a fundamental action.

Balancing Action: The opposite of fundamental, balancing action is an engagement of the muscles in the opposing direction of the joint relationships. 

there is one more isometric engagement that I did not mention in the video.

Supporting Action: This is an isometric muscular engagement that supports the stability of the body in a neutral position. Activating muscles while the joints are in so called anatomical resting neutral “supports” and stabilizes the structure – it will be rare that you will use this term.

The Fire Line Practice: Mayurasana

The Fire Line For Mayurasana

This posture includes 3 major fire line actions – Flexion of the Spine, Adduction of the Arms (squeezing in) and protraction of the scapula. The major muscles for those actions respectively – The Abdominals (Rectus abdominis, External & Internal Obliques), the Pectorals Major, and The Serratus Anterior.

Power Yoga With Chris

Power Yoga with Chromatic Leader: Chris Sinnclaire

Chromatic Leader Chris Sinnclaire teaches multiple styles of yoga but was first 500 hour trained in Power Yoga. His experience as a fitness trainer allowed him to apply his anatomy knowledge to teaching yoga. For much time he struggled to figure out how to bring the physical through lines of peak action or engagement into his yoga classes as his trainings never included these elements. Target stretch is already embedded into power yoga sequencing so that wasn’t an issue. I asked Chris to consider how he trains his clients in the gym: does he go in and have them do a little of everything each session or does he focus on strengthening a specific muscle group each time. Of course there is a focus each time, even if there are exercises with full body participation there is still an area of the body that he is targeting on certain days. Once he could see the similarities between Chromatic structure and weight trainings he was able to bring it in to his power yoga classes.

Chris is a big fan of contrast teaching so more often than not he includes equal and opposite peak actions or engagements. Can you spot what his peak action(s) are? what are the layering postures?

Chromatic Masterful Verbal Cuing

Masterful Verbal Cues

What sets master level teachers apart from most yoga teachers is their willingness to find ways to accurately deliver information to students that is both comprehensible and easily integrated into the bodies and minds of the students. If you can take a complex system like the body, mind, or universe and break it down into small pieces, in order to effectively transmit it to your students with utmost clarity, you will have the greatest ability to ignite the fire of transformation for your students. Of course, they still have to make the choice to step into the fire, but this is not your concern. Your concern is providing the most effective means of communicating the subject you are sharing. This section is mainly focused on the physical aspects of the asana practice. However, when you follow the template you will be taking them beyond the body.

Technique Template: B.A.S.E

B.A.S.E is a template for delivering techniques and actions into the body. You will use this primarily in your layering postures for the Physical Through-line, or any other action that you are cuing students toward within a posture that is held. Practice applying these to your peak pose, and all of the postures in which you are layering your peak engagement or action.

  1. Breath & Foundation 
  2. Action
  3. Sensation 
  4. Education

Mapping Your Verbal Cues

Written Assignment

Take a sequence you have already created – work through each of the layering postures to map out the 4 part verbal cue structure (BASE).

  1. How are you going to cue them to be aware of their breath and/or foundation? write it out
  2. How are you going to get them to activate the muscle or do the action for your peak engagement/action? remember “from where, toward where”
  3. How will you ask them to self reflect on the sensational experience of activating or moving?
  4. How will you educate them?

Don’t over think this, get creative for the sake of expanding your verbal cue vocabulary but no need to get too fancy or complex

Video Assignment

Once your verbal cues are mapped out – practice teaching them for each layering pose in the sequence. Submit a teaching video of each layering posture – verbally say your mapping cues in each posture.

  1. no transitions needed – just get into each of your layering posture and say the action
  2. keep it simple – less is more, dont over complicate this – literally get into the posture on video and say your mapping cue out loud

Example: if you’re layering poses were High Lunge, Warrior 2, and Side Angle

  1. Get into high lunge and say “from your right sit bone press down into your right heal until your feel your buttocks engage, this muscle is called your Gluteus maximus”
  2. Get into warrior 2 and say “from your right sit bone press down into your right heal until your feel your buttocks engage, this muscle is called your Gluteus maximus”
  3. Get into Side Angle and Say “from your right sit bone press down into your right heal until your feel your buttocks engage, this muscle is called your Gluteus maximus”

Why? there is a big difference between writing it down and actually saying it. This will bring the theory to life and help you solidify the your understanding of how to apply B.A.S.E

Remember: HOW YOU SAY THE PHRASE MATTERS – I SUGGEST THE ELEMENT OF FIRE TO CAPTIVATE THE ATTENTION OF YOUR STUDENTS

Chromatic Sequence Swapping (17min)

Sequence Swapping

The Concept is quite simple – at the beginning of Chromatic I offered you a memorized sequence teaching you a

  1. Warm up
  2. Sun A
  3. Sun B
  4. Standing Sequence
  5. Peak Posture

The Chromatic Layering structure that you learned pulls out the key points in a yoga class that you will be sure to insert so that the peak posture is more accessible to the student and they have developed a new understanding of their body. All we need to do now is make a decision of where to insert the layering postures. This likely requires you to omit certain poses from the sequence in order to keep the class time to 1 hour. Also, some postures will be unecessary if your peak posture differs significantly from the peak pose in the memorized sequence.

Create a sequence, then follow the video guidelines in order to assess where you will put your layering postures for both the target stretch and peak action/enegagements. Please note any postures that you will need to omit – if you have any trouble remembering the memorized sequence feel free to go back in the chromatic course and rewatch those videos, or refer to your stick figures.

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