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.8 comments Add Your Own
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Shameless Plug: Enrollment for my 300-hour Training at Love Story Yoga in San Francisco, starting in February 2018 is open! Also, if you’re not listening to Yogaland… get with it. Listen here.
If you’re not a yoga teacher, you probably don’t understand the utter ridiculousness of our daily commute or schedule inefficiencies. Yes, we’re happy that we rarely sit at a desk for 8+ hours a day. And, sure, having weird times like from 2:00pm to 3:45pm off most days is nice (sort of). But, the reality for most teachers is that we’re hustling from here to there to teach our classes, sub other teacher’s classes, and (often) making ends meet by working a second job. Jumping from studio-to-studio and class-to-class can fray our nerves. This makes it difficult to settle in and be present for our students.
Over the years, I’ve acknowledged that, for most full-time teachers, this is an inherent part of the job. For me, I’ve acknowledged that 30+ weekends of the year, I will do something very similar: I’ll wake up before 5am, fly for hours before arriving in another city (usually in a different time-zone), commute to the studio and go straight into teaching a weekend workshop. I’ve learned to manage these realities more skillfully so that I’m as relaxed and focused as I possible.
I know that if I’m relaxed, focused, and prepared I’ll be present and I’ll teach a class that makes me feel good. These days, I have conscious strategy to settle in before class starts—even if only for a moment or two. Here are my four tips to check your head and make sure you’re ready to teach class.
Take a Moment to Observe Your Body, Breath, and Mood
Let’s face it, we bring ourselves into the yoga room when we teach. Yes, it would be nice to say, “I check myself, my ego, and my issues at the door.” But, the truth is that we usually don’t. Not completely, at least. So, pause for a moment before you teach—before you reach the studio if possible—and become aware of what is happening inside of you. If you’re unaware of what’s happening inside of you it’s more likely that your unconscious patterns will influence your class.
For me, the most common scenario where this plays out is when I’m jetlagged and fatigued. Usually, when I’m in this state I feel flat and I overcompensate by talking too much and making things unnecessarily complicated. Since becoming aware of this pattern, I’ve gotten better at realizing that I’m in a state where I’m likely to overcompensate to everyone’s detriment. Now, I can usually stave this off by relaxing and simplifying.
Focus on What You’ve Been Practicing Lately
I’m going to tell you something that most teachers won’t: my personal yoga practice is only vaguely similar to the classes I teach these days. I practice diligently. I have for a very long time. And, for the first 10-15 years of teaching my personal practice and my classes were nearly identical. I needed the time my personal practice provided me to prepare for my classes. Now, however, when my personal practice is too similar to my classes, it feels like I’m at work. I love my work. I love my practice. I just don’t love when my practice feels like my work. I did in the past. Now, I don’t.
These days, I focus on subtle details in my personal practice more than ever. For example, I might spend a couple of weeks in my personal practice figuring out how to decompress the superior/anterior part of my hip socket in every posture. I’m going to translate all this work into my public classes, but I’m going to do it subtly. I’m going to distill the key things I figure out in my personal practice into viable, easy-to-access instructions. I’m going to make whatever I’m doing in my personal practice a thematic and sequencing focus in my public classes. But, I’m also going to make sure that my public classes have a really solid, compelling flow that covers additional territory my personal practice may not.
So, here’s the bottom line: Your practice doesn’t dictate what you’re teaching, but it will inform what you’re teaching. We’re teaching an embodied practice and you need to be doing practices that keep you attentive to your body. As you develop your plan for class, begin with what has been resonating in your practice lately.
Have a Plan—Even if it’s just a Feeling or an Idea
Some teachers operate best with a clear, detailed plan for class. Other teachers are better with improvisation. Both models can work&emdash;and, usually, most teachers combine the two. Whether you’re a planner or a gunslinger, it is essential that you treat the class like a learning experience for your students and have an idea what you’d like your students to take away from their experience. Sure, you can leave yourself open to changing your plan, but have a theme, pace, and intention in mind before class begins.
Even better, make your classes part of a broader syllabus that reflects the body of work that you’re trying to teach as an educator. Creating a syllabus takes effort and time. But, it also helps you clarify your teaching objectives and builds confidence. Ultimately, having a plan&emdash;even if it’s just an idea or feeling that you want to communicate to your students&emdash;will make the experience of teaching easier and more effective.
Be a Good Host
Imagine that teaching a class is like hosting an event at your home where each participant has to pay $15-20 to participate. If you were the host of such an occasion you’d default to basic social protocol and be nice to everyone and introduce yourself. Remember to follow these basic rules for making people feel welcome in your presence when you teach. While you’re at it, do your best to learn your student’s names. Believe it or not, most students don’t feel terribly comfortable coming to a class if they don’t already know you.
Students are often intimidated and somewhat intrigued by the teacher. Spend your energy putting them at ease. Not only is this the reasonable and humane thing to do, it will help you settle and focus on the students who are in your classroom.7 comments Add Your Own
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Before we get to the post, a quick, shameless plug for my upcoming trainings. You can join me live at my 500-Hour Yoga Teacher Training in San Francisco, London, or Hong Kong. I also have three separate online teacher trainings, focusing on arm balances & inversions, sequencing, or anatomy.
Vinyasa yoga sequences contain much more hamstring stretching than strengthening. How can I modify my sequences to include more hamstring strengthening for my students and promote more safety and balance in this muscle group?
It’s true that vinyasa yoga sequences are heavily skewed toward stretching your hamstrings and rarely contain focused yoga to strengthen hamstrings work. You stretch your hamstrings in every Sun Salutation, Down Dog, Standing Forward Bend and most Standing Poses. That’s not to mention the intense opening that you get in postures like Hanumanasana, Reclined Leg Stretch, and most Seated Forward Bends.
There’s a psychological factor that often exacerbates this dynamic: many students push too hard and overstretch this muscle group due to the (often unconscious) internalized belief that more flexibility is always healthy and desirable. Unfortunately, this deeply ingrained mindset can lead to one of the most common and frustrating injuries for a yogi: hamstring tears.
So, what can you do to bring greater integrity to this muscle group while maintaining a dynamic flow practice? Let’s look at the essential anatomy of the hamstrings. Then, you’ll learn to take one simple step in your sequencing to bring greater harmony to these muscles.
YOGA TO STRENGTHEN HAMSTRINGS: THE ESSENTIAL ANATOMY
The hamstrings are a comprised of three muscles: the biceps femoris, semimembranosus, and semitendinosus. They run from the sitting bone down the back of the thigh before crossing the knee and attaching to the lower leg. Their primary job is to extend the hip and flex the knee.
The best ways to modify your sequencing is to incorporate specific hamstring strengthening postures into your flow. Assume that your vinyasa sequences already have enough hamstring openers and include more strengthening poses. If you prioritize hamstring strengthening and provide your students with variations, you can create a balance of hamstring flexibility and strength.
I incorporate all of the following postures in most of my classes to bring more awareness, support, and stability to these often overstretched tissues. It’s a good idea to repeat these postures a few times in class and make sure that you hold them long enough that you feel the muscles working.
Most variations of Natarajasana focus on opening the front body. In this version — which isn’t nearly as pretty, by the way — I want you to focus on engaging the hamstrings. It’s like a hybrid of Warrior III and Natarajasana. While standing in Tadasana with your core engaged, raise your right heel toward your sitting bone and move your thigh back. Keep your core intact and maintain the natural curves of your spine as begin. Once you’ve raised your leg, tilt your pelvis forward over your standing leg and lift your chest into a modest backbend.
Let’s face it: none of the postures in this yoga to strengthen hamstrings sequence are sexy. These are not big, flashy poses that are going to build your reputation in social media. They are, however, the postures that create stability and strength in an often-overlooked region of the body. To do this Hamstring Curl, simply come to Table Top position. Engage your abdominal core to keep your lower-back fixed (immobile). Keep your left knee bent 90 degrees, flex your foot and lift your thigh toward the ceiling. As you raise your thigh, bring your heel closer to your sitting bone. Do not allow your lower back to increase it’s curve. It’s okay to have a natural lumbar curve, but don’t allow your lower back to sink toward the floor. Feel your hamstrings working diligently as you breath deeply.
In backbends, we usually internally rotate the thighs. This version of Locust Pose is an exception. In this version, you will externally rotate the thighs and bring you inside of your feet together. This combination of actions strongly engages your hamstrings, adductors and external rotators. It’s an ideal strengthener that balances many of the muscles that tend to be overstretched in yoga. Since Locust Pose is low-range of motion pose, it’s permissible to internally rotate the thighs instead of externally rotating them. If this were a backbend with greater range of motion–like Bridge Pose–I wouldn’t recommend externally rotating and adducting the thighs. I would stick to the more common teaching of internally rotating the thighs and keeping the thighs parallel to each other.
Continuing down the road of highly-functional postures that are not glamorous in the least, we have another version of locust. This asymmetrical version of locust is unique in it’s ability to create diagonal strength in the back-body. Meaning, you strengthen one set of calves, hamstrings, and glutes, while strengthening the opposite paraspinal and shoulder muscles. Remember, this is how the body moves: in diagonal, rotational motions. This makes this Locust Variation one the organic, functional way to strengthen your hamstrings–and, the other muscles of your backbody.27 comments Add Your Own
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The Yoga Hustle (n.): A phase at the beginning of one’s teaching career or upon arrival in a new city; a period in which a yoga teacher takes on every possible class that his/her schedule will accommodate.
Thanks to Instagram, we have a clear image of the ‘leisurely yogi lifestyle’ that becoming a successful yoga teacher can yield. Never mind that the scantily clad beach asana photos in no way reflect the reality of daily life. Nevertheless, social media is actively shaping our collective vision of what being a yoga teacher looks like and giving us a false sense of the work involved.
Don’t fall for it, and certainly don’t quit your well-paying job and jump into teaching yoga with the hopes that it will lead you to life on the beach, free of responsibilities. If you are going to quit your job to become a yoga teacher, do so because you love to teach and want to share the practice, period. Because, you will most certainly go through a period of The Yoga Hustle and it looks something like this:
— Wake up at 6:30am to sit on your meditation cushion for a handful of minutes and get in a brief home practice before you rush out the door to teach the first of several classes that day.
— Between classes, zigzag across town to coffee-shop-nearest-next-class and buy an almond milk latte in hopes that it will help you drop into writing some social media posts. But with only 30 minutes until the next class, you get sucked into perusing not posting on Facebook/Instagram/Twitter, which only feeds your anxiety.
— Get home between 9:00 and 10:00pm with just enough energy to dig something out of the fridge and shower before you fall into bed comatose.
Why Do It?
Let me be clear: The Hustle is a very real phenomenon. It’s also a necessary part of becoming a full-time yoga teacher. This period demands your time, your energy, and your focus in order to sharpen your teaching blade and make your mark in the face of talented and plentiful competition. It is a right of passage that centralizes around one theme: Do Your Work.
If you make the – ahem – “economically sound” decision to become a full time yoga teacher, The Hustle is your chance to get your name out there and build a following. Making a living teaching yoga is a numbers game, and the one true key to success is a strong and consistent student base. Teaching as much as possible not only gives you exposure, it also provides an opportunity to try on different studios and different times of day to get a better sense of when and where feels like a good fit. In other words, it gives you a chance to find your people.
In order to survive, however, it is important to remain grounded in the purpose this period serves, to get clarity around your expectations and boundaries, and to become unrelenting in your commitment to self-care. Like we do with the mind through our yoga practice, we must learn to yoke The Hustle, for if left unrestrained, it can quickly become an all-consuming force that sends us headfirst into burnout.
The Burnout Phase
Burnout isn’t just an adjective. It is a real condition with real psycho-emotional and physiological effects. Those of us prone to “I can do everything” thinking (read: “Sure, I can teach more!”) are most susceptible, and we often don’t see it coming. For those of us in The Hustle, it often happens because we prioritize teaching and let self-care become a matter of “if there is extra time.” (There never is.) We wake up one day, haggard and foggy brained and coffee-dependent, and realize that we haven’t actually done our own practice in weeks – or even months. We start to teach go-to sequences because we don’t have the time or mental capacity to think about content, which quickly becomes boring. And then we start to resent our work.
If we let The Hustle take over our lives, burnout becomes inevitable. Just as simply, however, we can pull on the reigns and steer The Hustle to make it a manageable and even enjoyable experience.
Keys to Surviving – Business Tips for Yoga Teachers
1. Make a road map. If you enter The Hustle without a clear goal (read: exit strategy), you have no hope of escape; rather, you will run from studio to studio endlessly and grow weary in the process. Get clear on what you want to be doing one month, six months, one year from now, and make a plan of action to start you moving in that direction. Figure out how much on average you need to make per week to live comfortably. (Yes, yoga teacher, you need to behave like the sole proprietor you are and have a real notion of the financials of your small business.) Using that number as a baseline, write out your ideal schedule. Which of your current classes do you love? Which yield consistent turnout (i.e. revenue)? Which classes do you find draining? Figure out how far you are from both your target number and your ideal schedule. Over time, start to make shifts in this direction. Be sure to block out dedicated admin time in your week and don’t waiver when the tempting subbing opportunity shows up.
2. Be authentic in your teaching. Trying to do what others do the way they do it is draining and unsustainable in the long run. Get clear on your purpose and let that be what guides your teaching, in terms of content as well as context. In his trainings, Jason always asks students, “If you could teach one thing, what would this be?” The answer to this question is rarely “Handstand.” How do you want students to feel when they walk away from your classes? What take-away do you most want to share about the practice? The more you can stay connected to this, the more meaningful your teaching will feel. And don’t get distracted by the paths that your peers are taking; you are you and you have your own gifts to share.
3. Consistency will save your sanity. Another Jason-ism: Don’t be afraid to teach the same sequence all week – or all month! Teaching the same sequence saves you some brain space and it gives you the chance to refine the sequence over time. It also allows the students the opportunity to drill, to repeat, to learn. How novel.
4. Make time for self care. Time can’t be found. But you can choose to prioritize your health and well-being to avoid burnout. Create and commit to some easy non-negotiables that will help nourish and replenish you. Hike on Saturdays. Schedule a massage (and keep the appointment). Have a bedtime and stick to it. Do the things that feed your body, mind and soul — things that you enjoy doing – so that you have an easier time setting boundaries and saying no to things that aren’t serving you.
5. Be a student. Stay inspired. You are a yoga teacher now. Make your practice part of your job. Many of us become yoga teachers because we love to practice yoga – but like Jason always says, just because you like to eat food doesn’t mean you should open a restaurant. In other words, practicing yoga and teaching yoga are two very different experiences. It is this realization that sends most of us crashing into the burnout wall. Don’t let your practice fall by the wayside. You need to feed the fire that set you on this journey in the first place.
Mira Valeria is a San Francisco-based Yoga instructor and the founder of Santa Fe Thrive, an indoor cycling and yoga studio in Santa Fe, NM. She is a writer, translator and wanderlust polyglot. She is available for private lessons, workshops, teacher trainings and interpreting gigs around the globe.5 comments Add Your Own