Marichyasana II (Pose Dedicated to the Sage Marichi II)

Knowing how and when to fold is the key to this complex forward bend.

By Roger Cole

In the Japanese practice of origami, the mundane act of folding paper becomes an art. The practice of yoga asanas is also an origami, but the medium we fold is the human body. In both arts, it's not the mere act of folding that brings life and beauty to the work; rather, it's the consciousness with which the folding is performed.

The origami master starts with a flat sheet, envisions the delicate final shape it will take, then applies one precise, crisp crease after another. Knowing just where to hold, bend, pull, and twist to produce flawless, expressive lines, she feels the medium yield under her touch. Completely absorbed in the process, she aims to merge herself, the piece she is creating, and the universe into an integrated harmonious whole, imbuing her artwork with a mysterious power to move those who encounter it and transforming not just the paper but herself as well.

You, the yoga master, similarly begin with your medium in its usual configuration, envision the intended form, then carefully, consciously align and fold yourself to manifest that form. You, too, feel your medium yield as you hold, bend, pull, and twist to produce clean lines, kink-free muscles, and healing pressure.

Since your medium is your body, it's natural for you to be transformed by your art—but your transformation is not just physical. Every movement of your body modifies the flow and intensity of consciousness; as you mindfully configure your body, the configuration also modifies your mind. When you get it just right, you feel body and mind merge blissfully with the infinite.

Shape of Things To Come
Like origami artists, yogis learn simple folds first to prepare for more difficult shapes that combine the basic actions. The forward bend Marichyasana II is a classic example of a complex asana made of several simple folds. One leg comes into a Half Lotus position; the other folds into a squat, then moves slightly aside so the trunk can bend forward. Finally, the arms form a garland, wrapping around the leg and the trunk. The full ensemble not only is beautiful to behold and peaceful to experience but also relieves tension in the back, shoulders, and hips, reaching places difficult to access in other poses.

To prepare for Marichyasana II, it helps to systematically practice each of its elementary movements in four other asanas: Baddha Konasana (Bound Angle Pose); a variation of Gomukhasana (Cow Face Pose); Marichyasana I; and Ardha Baddha Padma Paschimottanasana (Half-Bound Lotus Seated Forward Bend). Before starting this sequence, though, it's good to perform a few standing poses followed by Upavistha Konasana (Wide-Angle Seated Forward Bend) and Janu Sirsasana (Head-to-Knee Pose). These preliminaries will warm your body, awaken your nervous system, and ready your hips and back for deeper movement.

As you begin your practice, keep a few general cautions in mind. The Half Lotus position and poses that prepare for it, like Baddha Konasana and Gomukhasana, can be hard on your knees. If you feel any discomfort in these poses, immediately back out until the discomfort disappears. In that position, work on strongly rotating your thighbones outward.

Also, the seated forward bending poses can be hard on your lower back and sacroiliac joints. If you are somewhat stiff in the hips and hamstrings, elevate your pelvis on one or more folded blankets. You can tell how much elevation you need by feeling your lower back with your hand while sitting in the upright phase of each pose. If your lower back curves slightly in, you are fine; otherwise, you probably need more height. Finally, if you have significant problems in your lower back, sacroiliac joints, or knees, seek the advice of a qualified teacher before you proceed.

A Big Turnout
To place your foot in Half Lotus for Marichyasana II, you need a great deal of outward rotation of the thigh at the hip joint. Although Baddha Konasana is an apparently simple posture, it creates a surprisingly large amount of this rotation, which makes it a good place to start. As you smoothly round your trunk forward to complete the pose, you also prepare your back and neck for similar actions in Marichyasana II.

Sit on the floor (or on your folded blankets) with your legs straight out in front of you. Bend your knees to bring your heels about a foot from your pelvis, place the soles of your feet together, and lower your knees to the sides. Using both hands, firmly grip your right thigh and rotate it outward as strongly as you can, then do the same with the left. Next, grasp your inner ankles and rotate them firmly away from you. Without tipping the top of your pelvis back, continue this rotation and pull your ankles toward you, sliding your heels as close as possible to your perineum.

Before bending forward, it's important to properly position your pelvis and spine. To do this, place your hands on the floor beside your hips and press down, lifting some of your weight off your pelvis. At the same time, press your sitting bones back and roll the top rim of your pelvis forward enough to tilt your pelvis upright, draw your lower back in, and lift your spine. As you tilt and lift, allow your knees to fall farther down to the sides. (It's fine if the inner edges of the soles of your feet move apart as you do this.) Now set the full weight of your pelvis down and grip your feet with your hands.

To bend into the full pose, tilt the top of your pelvis forward as far as it will go, allowing your spine and trunk to follow in a neutral alignment at first. When your pelvis won't tilt any farther, allow your trunk to gradually round, first from its base, then higher and higher up, preserving some length in the front of your abdomen and chest as you progress so you create a long, smooth curve. If your head reaches the floor, rest on your forehead; if not, let your neck and head drop just far enough to form a natural continuation of the arc of your trunk. Remain there, breathing naturally, for a minute or more.

Back to the Fold
Just as an origami artist sometimes twists the paper while folding it, you will rotate your thighs outward at the hip joints while folding your hips into flexion in this next pose. The combination creates effects neither movement can do alone.

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