“I don’t meditate.”
“I don’t do yoga.”
“Meditation and yoga are for New Age, magical thinkers who are out of touch with reality and have too much time on their hands.”
These might have been some of my own personal excuses I made to the person that was dragging me to my first yoga class more than 20 years ago. She didn’t listen to me. And, really, why should she have listened? I was wrong on all counts. At the time, it was unclear just how profoundly wrong I was. Time would tell a different story.
So, what was my deal? Well, it was simple: I didn’t understand anything about meditation or yoga. So, my mind made up an incorrect story based on very little information. If this sounds familiar, it’s because we all do it from time to time. One of the many problems with this hard-headed tendency is that we cut ourselves off from experiences that can be incredibly valuable to us—like yoga and meditation.
If we fast-forward two decades to the present moment, I do meditate and I do practice yoga. Both are inextricable elements of my life. If you’re familiar with my classes or online content, you already know that I practice yoga. It’s possible, however, that you don’t know that I meditate. I do. Here’s why.
Why I Meditate
There are countless modern articles that extol the physical, mental, and emotional benefits of meditation. Arguably the entire tradition of yoga would not exist without meditation. Personally, I meditate for three reasons—any other positive side effects of my sitting practice are an added bonus:
1) Sometimes my life feels like a run-on sentence and my meditation practice gives me much needed punctuation. Like everyone else I know, I jump from one thing to another thing in a seemingly endless series of minor events. My meditation practice helps me press the pause button in my life. It helps curb my neurotic impulse to plow through every moment of my life without registering any of them.
2) My meditation practice helps me bear witness to the sensations of my body, the thoughts of my mind, and the feeling of my breath. All of these things are genuinely interesting to me. I’ve always been curious about the human condition and my meditation practice gives me a live glimpse into the phenomenon.
3) My meditation practice balances my active practice by providing me with a complementary physical experience. I like to work intensely in my body. But, I also like the sensory experience of being still. Working intensely and being still both provide physical feedback loops that I use to focus my attention. For me, they’re an inseparable pair.
5 Common Excuses for not Meditating—and why MOST of them are weak
Excuse #1, “My mind isn’t still.”
Counterpoint: Your mind is never going to be still. Never. And, whoever gave you that impression didn’t meditate either. Instead, when you meditate, you’re going to simply observe the activity of your mind so that you can witness your thoughts with greater objectivity. Your mind will still be active because you’re still alive. But, when you meditate consistently, your mind’s activity (usually) settles just enough that there is a lessening of pressure around your thoughts.
Excuse #2, “I don’t have time.”
Counterpoint: You actually do have time, you’re just in the habit of doing other things with your time. And, honestly, you may not be able to make time for meditation every day of your life. Life can get away from us once in a while. However, sitting for 10 minutes a few times a week is plausible for nearly everyone.
Excuse #3, “Meditation is for New Age, magical thinkers who are out of touch with reality and have too much time on their hands.”
Counterpoint: What kind of a person would think this?!?!
Excuse #4, “I can’t sit still.”
Counterpoint: Honestly, this is someone of sound and able body saying, “I can’t move.” Yes, you can. You can sit still. You might be lousy at sitting still. Sitting still might drive you crazy. But, you can sit still. In fact, this makes me think that you might need some practice sitting still. But, wait, how can one practice sitting still??? Oh, that’s right.
Excuse #5, “I don’t know how to meditate.”
Counterpoint: This is NOT lame. This is legitimate. Like so many other things in life, it’s helpful to have some guidance when you’re starting something new—or, trying to stay consistent. If this is your excuse, you’re in luck. I have answers for you below.
How to Start Meditating: Yoga and Meditation Tips for People Who Don’t Meditate
There are countless resources on meditation online, in books, and in local communities. Here are a few resources that you may find helpful.
#1. I’ve released a program on Yogaglo.com called, “I Don’t Meditate.” Clearly, this program was the inspiration for the title of this blog and my recent podcast on Yogaland with Andrea Ferretti. The program consists of 6, 10-minute meditations. You can learn more about the Yogaglo program, here. And, if you haven’t listed to the podcast, please check it out here. Yogaglo has additional meditation classes from exceptional teachers like Sally Kempton, Harshada Wagner, and more.
#2. Jack Kornfield and other meditation teachers at Spirit Rock in Woodacre, CA and the Insight Meditation Society in Barre, MA, are exceptional resources. Jack—and many of the other teachers at Spirit Rock—offer podcasts, guided meditation, and dharma talks that will provide you with endless guidance along the path of meditation.
#3. Local dharma teachers or groups in your area can provide you with guidance and community. Not everyone will have access to a local community of meditators. However, many do. You may even consider driving to a meditation center or sitting group once a month if you live further away. These communities provide support and inspiration that can be invaluable.
I hope that these resources will get you sitting, taking inventory of yourself, and making sure that you don’t make the mistake that I made of saying that you “don’t meditate.”6 comments Add Your Own
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Nearly six years ago, my daughter Sofia-Rose was born. She brought me happiness I could have never imagined. She also obliterated my home practice beyond all recognition for more than a year.
Before she was born, I was so hopped-up on adrenaline, oxytocin, and optimism (not always my strength) that I didn’t think her birth would change my practice. In fact, I was delusional enough to think that her birth would inspire even greater dedication to my practice. I thought her presence would be my shot at a complete renewal, a total overhaul in which nothing could get between my mat and me.
Yes, I love her to the point that it makes me tremble. Yes, parenting has taught me more about patience, breath, and love than the rest of my life combined. No, I wouldn’t trade her for the world. But did my practice stay the same? [email protected]#l no! Not even close. My asana practice crumbled to a shell of its former self and I grew a Dad-bod like you wouldn’t believe. Even more to the point of this post, my teaching temporarily suffered with these changes. Now, it’s better than ever since I have more life experience to draw on (and I’ll share some of the yoga teaching tips I learned below). But, I didn’t see this at the time.
Everyone goes through different chapters in life. Everyone faces curveballs. And, like a good curveball, you usually don’t see them coming. Being a yoga practitioner and yoga teacher doesn’t inoculate you from life. It just provides you with insight and skills that help you manage the complexity of the human condition.
Since we all face unforeseen circumstances from time to time that affect our practice and teaching, it’s important to know how to stay honest and authentic in your teaching when your life gets (even more) complicated.
Here are some practical yoga teaching tips to work with:
1. Don’t Press Too Hard
When baseball players are in a slump, they sometimes perpetuate it further by pressing—or, becoming overly eager to make something happen. This undermines their ability to relax and respond to the game in a skillful way. I’ve noticed the same thing in myself at times. When my teaching becomes stale, I often overcompensate by trying too hard. I get too wordy, too complicated, and too hurried.
If you’re going through a challenging phase in your teaching, try this tip instead: Step back slightly and let the practice shine. Minimize the impulse to overdo and trust that the practice itself will be enough for your students.
2. Be Transparent Without Being Overly-Indulgent
Never make class about you and what you’re going through. After all, the students are paying you—you’re not paying them for group therapy. At the same time, it’s nice to be relatively transparent and to acknowledge what’s happening in your life (at least in limited doses). Students appreciate the reminder that you’re a real, flesh and blood person—and, that yoga is a practical, accessible practice for everyone (at all times). It’s likely that many of your students have experienced what you’re currently going through and this may help them connect to your teaching even more deeply.
3. Don’t Radically Change Your Class or Teaching Style
It’s important to be consistent with your students. When teachers go through a significant transition in their lives, they sometimes make abrupt stylistic changes to their teaching. While it’s important to be relatively transparent, it’s also essential to provide a consistent experience for your students. If you’re a teaching a vinyasa class, don’t randomly teach a Yin or restorative class because you’re tired or overwhelmed. Sure, you can play with the pace, but be responsive to your students and provide them with the class that they came for.
4. Practice – Even If It Looks Very Different Now
My practice was shorter, milder, less frequent, and less focused for 18-months or so after Sofia was born. But I still practiced. I still connected to my breath and did the occasional Sun Salutation. I still did some shoulder and hip openers most evenings. I also made sure to have one slightly more intense practice each week. Instead of being attached to the way you were practicing before the curveball came across your plate, do whatever you can to survive the storm—and do your best to savor it.17 comments Add Your Own
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A conversation about manual yoga adjustments (also called “hands-on assists) in yoga is long overdue. For the past five years in my workshops, trainings, and weekly classes, I’ve been advocating for a paradigm shift: I believe that yoga teachers need to stop acting like stretching machines and exerting leverage on students’ bodies to intensify or “enhance” a stretch.
Why? The answer is simple: This is a mechanically flawed approach to working with bodies and it results in countless avoidable injuries.
I’ve seen plenty of anecdotal evidence of this – and, if you’re a yoga teacher, I’m sure you have, too. During my trainings and workshops I ask students to raise their hand if they’ve been injured during a manual adjustment. There has never been a group where less than forty percent of students have raised their hand. I think you’ll agree that this is too much. As a community, we can drastically lower this number.
I’m not saying that experienced teachers shouldn’t provide appropriate manual feedback. I’m still an advocate for manual yoga adjustments—or, what I usually call them, “manual cues.”(Listen to this week’s Yogaland podcast to hear me talk about this more.) There is nothing better in class than receiving an excellent manual cue. The body falls into place and the nervous system relaxes. Unfortunately, the opposite is also true. There’s nothing worse than receiving a poor or inappropriate adjustment—the body strains, the breath tightens, and the nervous system becomes agitated.
A good yoga adjustment skillfully communicates the actions of the pose to your body so that your body understands the posture more clearly. A bad adjustment is invasive and misguided. During lousy adjustments, the teacher is either working with a lack of experience and information or an abundance of ego.
So what is the paradigm shift I’m talking about here? First, I ask that teachers stop exerting leverage on the part of the student’s body that is moving. Instead, provide increased grounding and stability to the part of the student’s body that is fixed. Let’s take Wide-Legged Seated Forward Bend (UpavisthaKonasana) as an example. In this pose, the pelvis and spine rotate forward over the thighbones—they are the “moving” parts of the pose.The thighbones root down into the ground—they are the “fixed” part of the pose. Do not add leverage to the pelvis and spine. Instead, press down on the thighbones. Grounding the student’s thighs will allow the pelvis and spine to release further into the pose without the vulnerability that comes from adding direct pressure onto the pelvis and spine. This is just one of countless examples.
Another component of this paradigm shift is to view manual cues the same way we view verbal cues. Manual cues—like verbal cues—simply communicate the actions of the pose to the student. The idea is to use your hands to communicate directly to the student’s body so he or she has a better understanding of the pose. The idea is not to use your hands to press a student further into the pose. You are not a stretching machine that is doing the pose to the student.
Here are 10 more ideas for honing our approach to manual yoga adjustments during yoga class:
First, a note about ethical considerations
While this is a huge topic for discussion in a teacher-training program, it’s outside the scope of this article. So, let me just say that teachers should never touch students inappropriately. Period. (To hear my wife, Andrea, talk about ending sexual misconduct in the yoga world, listen to episode 94 of Yogaland.)
1. Observe Before You Adjust
You’ll get pretty busy during class: you’ll be sequencing, verbalizing, adjusting, observing group dynamics, managing the clock, adjusting the tempo, and so on. It can be challenging to simply pause and patiently see a student’s body clearly. Instead, you might notice the most obvious element of a student’s pose and set your sights on giving an adjustment that involves leverage. However, it is important to observe your students before you dive in. This pause will not only help you more accurately assess the room, it will help you become grounded before you attempt to steady someone else.
2. Put Fires Out First
As you assess the room, look for dangerous or uncomfortable postures. Adjust these folks before you walk around and offer a “deepening” adjustment to someone who doesn’t actually need any help. It’s more important that all of your students are working safely than deepening someone’s backbend.
3. Create Steadiness, Not Intensity
Aim to help your students find greater steadiness, ease, and integrity in their postures. Instead of trying to increase range of motion, figure out how you can help them feel more grounded and balanced. Adjustments that increase intensity can be dangerous—especially if the student is not grounded. Unfortunately, many teachers want their students to have “breakthroughs” in their class since these experiences can build an attachment to the teacher. These types of egocentric adjustments often contribute to injuries.
4. Stabilize the Foundation
One of the best ways to adjust your students is by helping them create balanced, stable contact with the floor. If a student’s postural foundation is off, the rest of their body will have to work even harder to maintain equilibrium. Their effort will be inefficiently distributed, creating unnecessary tension throughout the body.
5. Help Them Find their Stride
It is common for students to have a stride that is too long or too short. Helping students size their stride correctly can be one of the most thorough stabilizing adjustments.
6. Know Your Student Before Deepening A Pose
Most students are near their maximum range of motion (at least in the short term) before their teacher adjusts them. This means that your students are already at their edge before you give them any manual cues. Your student is already at a stress point and any additional motion in the posture should be mild. There’s a fine line between deepening the pose and creating an injury. A very fine line.
It’s much safer and more skillful to work with a student that you know well. And, remember our earlier point: You’re not a stretching machine—don’t exert force on the part of the student’s body that is already moving in the posture. Simply use your hands to create more stability and grounding so they can release deeper into the pose on their own.
7. Take Your Time
No one likes a rushed adjustment. Hasty yoga adjustments are unsettling to the mind, body and nervous system. Take your time adjusting your students and surrender to the fact that people aren’t going to get touched 800 times in class. Fewer good adjustments are always preferable to more mediocre adjustments.
8. Observe How Your Students Respond
Sometimes when you adjust a student, you will feel them melt into the new position with comfort and relief. Other times, you will feel the student’s body resist by flinching or tensing. Sometimes a student may not want additional intensity or they’re protecting themselves because they’re nursing an injury. It’s important to observe your student’s breath and physical signals when you give them an adjustment. Sensing and responding to these signals is essential for developing skillful touch.
9. Complement Your Manual Cues with Verbal Cues
In most manual adjustments, you can only guide one or two actions of the posture at a time. To enhance your student’s pose, offer a verbal cue that complements the manual cue. Let’s say you’re adjusting your student in Revolved Triangle by stabilizing their hips while lengthening and rotating their spine in the twist. You can verbally cue them to reach through their back leg and ground their outer foot.
10. Ask the Correct Questions
Don’t ask your students if an adjustment feels good! You won’t always get candid feedback since very few students will feel comfortable telling you that they don’t feel good in the adjustment. Instead, ask your students, “Do you want more intensity, less intensity, or the same intensity?” You don’t have to ask this question every time you make an adjustment. But, if you’re going to ask them if the adjustment is working for them, this is the best way to go about it.11 comments Add Your Own
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As we discussed in Part I of this series, the ability to give clear, compelling verbal cues is one of the most distinguishing characteristics of a good teacher. If you haven’t read Part I, which examines the most common cueing errors we all make, take a moment and read it here. Like all skills, you can significantly improve your verbal cues for yoga class with a clear strategy and a little practice.
To up your verbal cueing game, you’ll want to minimize the various pitfalls that all teachers encounter. Then start to include the following verbal cueing techniques when you’re giving instructions. These tips will dramatically enhance your students’ classroom experience.
Tips for Improving Verbal Cueing for Yoga Teachers
Do you remember how confusing it was to be a beginner? How you suddenly couldn’t discern your right from your left? How you didn’t know which way was up and which way was down? Providing landmarks (such as the wall, the windows, the clock) when you give instructions helps spatially orient your students and minimize this confusion. Providing landmarks that describe which direction the student is moving, rather than just telling them to turn a specific direction is hugely beneficial.
For example, think about instructing twists. Your students’ bodies are so tied up, overlapped, and crisscrossed that their left is on their right and their right is on their left. Instead of saying, “Turn your torso to the right,” tell your students to “Rotate your torso toward the windows (or, whatever conspicuous landmark is to the right of your students).” Something as simple as instructing your students to “Reach your fingers toward the ceiling,” will improve the quality of your students’ action compared to telling them to “Reach your fingers up.”
It’s not enough to provide good verbal cues. You also need to give students time to process and respond to them. This means providing time and space between each cue. The best way to do this is to simply take a breath between every instruction you provide.
If your directions are clear and you provide enough space between each one, your students will be able to follow along. If, however, you give 15 instructions in a row with no breath or pause between, your students will be lost. Bottom line: Always provide time for your students to digest your words before blazing ahead.
What you do not instruct in class, allows what you do instruct to have greater impact.
Don’t tell your students everything you know about each pose. Some teachers, your author included, are tempted to fill every second of class with instruction, precaution, lore, personal revelation, and more. After all, there are few moments when we have a captive audience for an hour and a half.
But this is yoga class, not a storytelling seminar, so don’t overcrowd your students or compete with yourself. Stick to an average of three instructions per pose. You can use more instructions to get them into the pose, but once they are in the asana, be judicious. If these instructions are related to each other, richly descriptive, and relevant to the overall theme of the class, they will give your students plenty to work with while allowing them to have their own experience.
Give Instructions in Pairs
I was terrible at math, but when I think about good verbal cues the topic of Algebra comes to mind. Specifically, the process of keeping equations balanced. The teaching of yoga is rooted in the process of establishing and maintaining a sense of equilibrium. In yoga, we call this “sama” which loosely translates to equanimity. One of the most effective ways to facilitate the experience of equilibrium in a pose is to give your students instructions in complementary pairs. The best way to get a feel for this is through some examples.
If someone is in Warrior II and you’re asking them to “deepen” their pose by lowering their front thigh further, complement this instruction by asking them to engage and lift their back thigh. This helps keep both halves of their pose balanced. Another example in Downward Facing Dog would be telling your students to stretch their inner heels down and while also asking them to lift their inner thighs. Again, you’re simply taking two parts of the same continuum and instructing them to move in opposite ways.
Use Your Students’ Names
As a yoga student yourself, you are well aware that everyone spaces out in class once in a while. Truthfully, whose eyes don’t glaze over after 90 minutes of impersonal and generalized instruction? Make your teaching more skillful and intimate by using your students’ names. Instead of repeating the same tired instructions, look at your students, and help them clarify, expand, or deepen their poses by relating to them directly. Try saying, “Jeff, please bend your front knee more deeply” or “Lauren, relax your neck and soften your jaw.”
Personalizing instructions is not only a good way to take care of your students, it is the best way to make your communication direct and relevant. The added bonus is that everyone else in the room who needs to relax his or her neck will probably follow suit. Of course, you should use a soft, encouraging tone when you use names so that people don’t feel like they are being singled out or scolded.
Vary Your Communication Style
Different students learn different ways. Also, different students resonate will different types of instruction. Some will hear you when you give straightforward, direct commands like “Press the top of your femurs back.” Others will hear you more clearly when you provide an image or an analogy to articulate an instruction. Some students will only engage when you share a personal story that highlights a teaching. Don’t force yourself to use a style of language that doesn’t resonate with you, but do your best to vary your language and style of delivery so that more students can learn from you.3 comments Add Your Own
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The ability to give clear, concise, and compelling verbal cues for yoga poses is one of the most distinguishing factors of a good yoga teacher. For all the time that we dedicate to doing bigger, harder postures and projecting our prowess across the social media space, most of us could spend a little more time honing our verbal craft. Students want to hear your words. Students want to understand your words. Students want to digest your instructions and learn from them. And, the reality is that being a good verbal communicator is hard. It takes practice. It takes strategy. And, like the subject of this post, it takes a willingness to look at the most common errors that we make and learn from them.
Look, we all make mistakes. We all speak redundantly, we all flub our words at times, and we all make up weird words that don’t exist on occasion. I think I said “hamstringossity” the other day. Seriously.
With a brave heart, let’s take a look at the most common instructional errors that we all make. Let’s start to clean up these warts and then, in the Part II of this post, we’ll look at The Easiest Ways to Immediately Improve Your Communication.
Here are the most common mistakes that we all make from time-to-time while giving verbal cues for yoga poses:
Not Speaking Loudly Enough
I know it’s obvious, but few things are more uncomfortable for students than being unable to hear their teacher’s instructions. It’s not only annoying, it’s unsettling.
There are three things to consider that impede your students’ ability to hear you: First, music that’s played too loud. Second, students are often in Down Dog or forward bends which turns their body away from you. And third, that sometimes you will not be facing your all of your students while you walk around the room and assist.
Dropping Your Voice Off a Cliff
What I call “dropping your voice off a cliff” comes from the paradox of speaking loudly enough that everyone can hear you while trying to keep a calm, quiet, soothing demeanor. What I mean by “dropping your voice off a cliff” is making the last word or two of an instructional sentence too quiet relative to the rest of the sentence. Our voice drops from full volume to low volume because we’re trying to soften the feel of an instruction. So we do something like this, “INHALE, LENGTHEN YOUR TORSO FORWARD INTO ARDHA UTTANASANA; EXHALE STEP BACK INTO downward-facing dog.” We change volume too much and the end of the sentence disappears. This is one of the many things I try to clean up about my delivery in all of my classes.
Compare these two phrases: “Step back into Downward-Facing Dog,” and, “Step back into Downward-Facing Dog??” Written the first way, it’s a clear command. Written the second way it’s a question. You know exactly what I’m talking about. Right. Right? Phrasing commands as questions is a pretty common vocal inflection that we can all do without.
Adding Filler Words
I do it. You do it. We all add filler words—often unconsciously. I was teaching a 200-hr yoga teacher training in Japan and, despite my inability to speak Japanese, I heard the phrase “et to” so many times during peer teaching sessions that I asked the interpreter what it means. She said, “It doesn’t mean anything, it’s similar to saying ‘like’ or ‘uh’ in English.” Filler words and phrases such as “like,” “good,” “yes” and “uh” are omnipresent in the classroom. Notice what your filler words are and, uh, like, practice not using them!
Lacking a Declarative Instruction by “ing-ing” Your Students to Death
Listen to this set of instructions: “Inhaling, stretching your arms overhead; exhaling, forward bending; inhaling lifting half-way up; exhaling stepping back to Downward-Facing Dog.” I could go on and on and there would be nowhere to put a period because there is no specific call to action. Using “ing” is fine, but constant usage creates a run-on sentence. Be mindful of your phrasing and don’t be afraid to come to a conclusion and add a period. Instead, try “Inhaling, stretch your arms overhead. Exhaling, forward bend.”
Crowding Your Students Ears
When you give an instruction you also need to give your students enough time and space to complete the instruction. When there is a constant stream of instructions your students don’t have time to do what you’re asking them to do. Remember to take a breath or two after each cue and allow your students to integrate the information.
Using Passive Voice
It’s generally preferable to use active voice because it’s more direct and conveys more certainty to the listener. Active voice is the subject of a sentence does an action (denoted by a verb).
Passive voice is when the subject is acted upon by the verb. Passive voice is wordier and harder for the listener to decipher the meaning of the sentence. I notice that people tend to use passive voice when they uncomfortable being direct.
Here’s an example of passive voice: “The action of the iliotibial band is to assist in knee extension and provide some external rotation force.” Notice the phrases, “the action of the …” and “…is to assist.” These are passive, unnecessary phrases that don’t help our students. Instead, the sentiment could be expressed like this: “The iliotibial band helps extend and externally rotate the knee.” This phrase is more simple, clear and direct.
Again, we all make mistakes. But, we owe it to our yoga students to refine the craft of verbal cueing yoga poses. Becoming aware of your errors is the first step. The second step is to focus on the six components of making your verbal cues more accurate, concise, and digestible. We’ll tackle this in Part II of this series.5 comments Add Your Own