A Cyndi Lee Sequence, Deconstructed
Combining asana and Tibetan Buddhism, the founder of OM Yoga Center gives us a glimpse into how she sequences slow flow vinyasa classes with a contemplative touch.
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The great yoga master B.K.S. Iyengar once said, “I’ve spent the last 75 years of my life exploring what happens to my sternum when I press my big toe down.” There is so much in this statement that it has fed my yoga practice for years. He was telling us that all of our actions have results, and as yogis, our practice is to pay attention to this cause-and-effect relationship. When the action and the result come together in a harmonious way, we have an experience of yoga—or what Mr. Iyengar called integration.
Asana is the perfect vehicle for embodying this philosophy. When I sequence a series of poses or the full arc of a class, I think about how much our actions matter. I also aim to integrate the practice of vinyasa, defined as “to place in a special way,” with the practice of mindfulness—defined as “a conscious placing of the mind.” Being aware of how you place your body, and mind, on sensations that arise and dissolve will help you evolve your practice from exercise to experience; from separation to integration.
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Infusing this perspective into asana practice can happen in the granular actions that make up the poses. In this sequence, we are exploring the difference between position and action by looking at how and where we initiate small essential actions and how they compose basic, as well as more complex, poses. Once you understand the body mechanics, you can begin to recognize that these actions and relationships are everywhere in asana. Instead of focusing on positions, we are focusing on how these positions come together through the application of specific repetitive actions throughout a class.
For example, how you organize your legs in the familiar movements of Surya Namaskar (Sun Salutation) will inform how your legs work in more complicated poses. For example, when a Downward-Facing Dog Split (Adho Mukha Svanasana, variation) is done with special care—when you initiate this action by lifting from the top of the thigh—it can be the seed for a future Handstand (Addho Mukha Vrksasana). If you don’t think about the results of our actions, you might try to do a Handstand by flinging your legs up in the air. This kind of working from momentum generally leads to frustration and drama and rarely to success. Working with specificity and understanding cause and effect also helps us have agency in practice and life, and reduces our human tendencies to grasp and react.
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To avoid those tendencies, I like to establish landmarks throughout class, from beginning to end. In this sequence, I do this by exploring the dynamic movement pairings found in asana practice: inhalation and exhalation, pressing down to go up, tucking and tilting, reaching forward and back, internal and external rotation of the arms and legs. All of these relationships can be investigated within the movement of a vinyasa class. No need to stop the flow and belabor the work. We make tactile self-adjustments that create imprints that are referenced throughout the arc of the class, which becomes a conversation between mind and body. This approach goes all the way through the class until the very end, when finally we simply lie down, let go, and trust the practice.
Arriving
1. THUNDERBOLT POSE (VAJRASANA)
Sit in Vajrasana with palms down on your thighs (landmark relationship #1). Close your eyes and find your breath. Begin to organize the breath into sama vritti, inhaling and exhaling for equal length (e.g. 5 counts in, 5 counts out). When you feel settled, open your eyes. Lift your arms up and side bend to the right, then to the left. Twist to the right and then to the left. Interlace your fingers behind your back and lift your chest in a small back bend, then release your arms and hug yourself. Repeat this simple warm-up trying to match the up and open movements with an inhale and the down or closed movements with an exhale. This becomes sama vritti in motion.
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SURYA NAMASKAR A (SNA)
Now we take that sense of arrival into action. Here we focus on the arms and legs, which are considered the organs of action in asana practice. It is worthwhile getting precise about how you organize your limbs, and specific with how you move them through space, so your arms and legs can truly o er a container of strength, which then allows for the vibrant fluidity of the spine and inner organs. This familiar standing warm-up moves the spine by alternating forward and backward bending actions.
Landmarks Established During Surya Namaskar A
- The front of the thighs (quadriceps) should always energetically move toward the thigh bones (femurs) and the backs of the thighs (hamstrings).
- The actions of the arms and legs is always initiated from the roots of the arms and legs.
- The dynamic pairing of forward and back: When you step forward, think about reaching back with the opposite leg.
- Press down to go up.
2. DOWNWARD-FACING DOG POSE (ADHO MUKHA SVANASANA)
Stay for 5 breaths.
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SURYA NAMASKAR A (SNA)
3. DOWNWARD-FACING DOG POSE VARIATION, WITH HEELS UP AND DOWN
Repeat 3 times.
Lift your heels and sitting bones. Then lower, trying to keep your sitting bones as high as they were, as if your legs were growing longer (landmark 4).
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SURYA NAMASKAR A (SNA)
4. WALKING MEDITATION FROM DOWN DOG TO FRONT OF MAT
Take your time.
STAY MINDFUL
Notice how the careful placement of your feet affects your spine and your breath.
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SURYA NAMASKAR A (SNA)
5. STANDING FORWARD BEND (UTTANASANA)
Stay for 3-5 breaths.
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SURYA NAMASKAR A (SNA)
6. MOUNTAIN POSE (TADASANA)
Stay for 3 breaths.
Feel your feet reaching down and your head reaching up (landmark 4).
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SURYA NAMASKAR A (SNA)
7. UPWARD SALUTE (URDHVA HASTASANA)
On an inhalation
Lift your arms, initiating the action from the tops of the arms, not your extremities (hands and fingers) (landmark 2).
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SURYA NAMASKAR A (SNA)
8. STANDING FORWARD BEND
On an exhalation
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SURYA NAMASKAR A (SNA)
9. LOW LUNGE (ANJANEYASANA)
On an inhalation
Try to do 2 things at once: step your right leg back as you bend your left knee. This will help you smoothly arrive in the middle of your lunge (landmark 3).
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SURYA NAMASKAR A (SNA)
10. DOWNWARD-FACING DOG POSE
On an exhalation
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SURYA NAMASKAR A (SNA)
11. PLANK POSE
Stay for 1 breath.
Reach your sternum forward and your heels back, keeping your throat open as you lower down (landmark 3).
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SURYA NAMASKAR A (SNA)
12. (SIDE PLANK POSE) VASISTHASANANA VARIATION
Inhale to open, stay for 2-5 breaths
Press down with your feet and bottom hand to lift up (landmark 4).
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SURYA NAMASKAR A (SNA)
13. KNEES CHEST CHIN
From Plank, lower on an exhalation.
Press down your index fingers to lift the fronts of your armpits (landmark 4).
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SURYA NAMASKAR A (SNA)
14. COBRA POSE ( BHUJANGASANA VARIATION)
On an inhalation
Keep your bottom ribs on the ground and press the tops of your toes down to lift your chest (landmark 4).
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SURYA NAMASKAR A (SNA)
15. DOWNWARD-FACING DOG POSE VARIATION, WITH HAND ON THIGH
Stay for 2-3 breaths.
Press.a palm into the front of your right thigh, energetically moving it toward the back of your thigh (landmark 3). Notice your spine grow longer.
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SURYA NAMASKAR A (SNA)
16. LOW LUNGE VARIATION, WITH HAND ON THIGH
Step on an exhalation, stay for 2-3 breaths.
As you step the opposite leg forward, keep reaching through the back leg and foot (landmark 3).
Repeat with the opposite leg; instead of Down Dog with your hand on your thigh, do Down Dog Split, lifting from the root (or top) of the leg—where your palm was.
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SURYA NAMASKAR A (SNA)
17, STANDING FORWARD BEND
Step on and exhalation, fold on an exhalation.
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SURYA NAMASKAR A (SNA)
18. UPWARD SALUTE
On an inhalation
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SURYA NAMASKAR A (SNA)
19. MOUNTAIN POSE
On an exhalation
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STANDING EXPLORATIONS
Begin to isolate and explore landmark relationships and how to initiate actions (e.g. rotations). The sequence here helps to imprint dynamic relationships within a vinyasa sequence.
20. DOWNWARD-FACING DOG POSE
Inhale arms up; walk to Down Dog; stay for 3 breaths.
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STANDING EXPLORATIONS
21. LOW LUNGE VARIATION, WITH HAND ON THIGH
Step back on an exhalation, stay for 2-3 breaths.
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STANDING EXPLORATIONS
22. HIGH LUNGE
Press down to go up on an inhalation.
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STANDING EXPLORATIONS
23. WARRIOR POSE II (VIRABHADRASANA II) DON’T VARIATION
Open on an exhalation, play for 2-3 breaths
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STANDING EXPLORATIONS
24. WARRIOR POSE II VARIATION, WITH HAND ON THIGH
Stay for 2-3 breaths
With landmark 1 in place, your spine is supported, with space in your lower back.
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STANDING EXPLORATIONS
25. WARRIOR POSE II VARIATION, WITH ROTATION OF THE ARMS
Rotate on an inhalation, rotate back on an exhalation
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STANDING EXPLORATIONS
26. STANDING LEG ROTATION EXERCISE #1
Repeat a few times.
Externally rotate your right leg from the root of the limb (landmark 1).
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STANDING EXPLORATIONS
27. STANDING LEG ROTATION EXERCISE #2
Repeat a few times
Your right leg stays put; the rest of your body opens, to illustrate pelvic rotation.
REPEAT opposite side.
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STANDING INTEGRATIONS
Here, integrate some of the isolated imprints we explored above, plus layer on landmarks, action initiation, and dynamic pairings in complex poses.
28. CHAIR POSE (UTKATASANA) TO STANDING LEG LIFT
Inhale to Chair, exhale to Standing Leg Lift
Press one leg down; lift up the other (landmark 4).
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STANDING INTEGRATIONS
29. FIGURE 4
Stay here for 2-3 breaths
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STANDING INTEGRATIONS
30 FIGURE 4 VARIATION, WITH A TWIST
Twist on an exhalation, lengthen spine on an inhalation
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STANDING INTEGRATIONS
31. HALF MOON POSE (ARDHA CHANDRASANA)
Inhale forward, stay for 2-3 breaths
This is a big expression of Standing Leg Rotation #2 (landmark 1). Many mistakenly think the top leg is externally rotated, but it hasn’t moved from Mountain Pose alignment, even though it’s in the air. It’s the bottom leg that is externally rotated. (Just look at the relationship of the thigh, or femur, to the pelvis.)
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STANDING INTEGRATIONS
32. EAGLE POSE (GARUDASANA) VARIATION, WITH A FOLD AND A BLOCK
Take your time.
COUNTER BALANCE
This pose counters Half Moon and Figure 4 with a twist. It widens the back body and is a great prep for the upcoming back- bending sequence.
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BACKBENDS & INVERSIONS
Now we can use the floor as a prop for helping us further integrate action initiation and understanding the correct alignment of the pelvis in relationship to the thighs (femurs). You’ll also see how your legs and arms can support your spine.
33. HERO POSE VARIATION, WITH WRIST OPENING
Circle your wrists in both directions 5 times.
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BACKBENDS & INVERSIONS
34. STAFF POSE (DANDASANA) VARIATION, WITH ROLL DOWN
Breathe smoothly as you roll down.
Press your palms on the fronts of your thighs (landmark 1). See if you can roll down without letting your feet pop up. Think of your front body moving into your back body.
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BACKBENDS & INVERSIONS
35. BRIDGE POSE (SETU BANDHA SARVANGASANA)
Stay for 10 breaths.
Press down with your shoulders, hands, and feet to go up from the belly button (exploring the dynamic pairing of tucking and tilt- ing and landmark 4). Many people get confused and try to lift up by tucking the pelvis and leading with the tailbone. But you cannot create a back- bending shape in the spine by tucking the pelvis. If you do tuck, you’ll create external rotation in the thighs, which makes it impossible to properly use your legs.
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BACKBENDS & INVERSIONS
36. CAMEL POSE (USTRASANA) VARIATION, WITH BLOCKS
Stay for 3-5 breaths; inhale to come out; repeat 3 times
Press your toes down to lift your chest. Also, moving the fronts of your thighs to the backs of your thighs and NOT letting your pelvis tuck under will support and protect your back (landmark 1). This is what we discovered in the yoga “don’t.”
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BACKBENDS & INVERSIONS
37. SUPINE TWIST VARIATION, WITH A BOLSTER AND BLOCK
Exhale to twist, inhale back to center; repeat 8 times each side
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BACKBENDS & INVERSIONS
38. LEGS-UP-THE-WALL POSE (VIPARITA KARANI) VARIATION, WITH AN INVISIBLE WALL
Stay here for 1-5 minutes; 10 breaths or 1 minute
Apply landmark 4, moving down to go up. Press your shoulders, arms, and palms down to open your chest. Come out through Bridge on the block—one foot at a time. Feel the very moment each foot touches.
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TRUST THE PRACTICE
The Sanskrit word for practice is sadhana, which I interpret as faith. In this part of the practice, we can have faith in the process of yoga. Remembering Mr. Iyengar’s words, we can simply relax and be curious about the results of our actions. This teaches us that we don’t have to control everything; we really can let go and trust this beautiful practice.
39. CONSTRUCTIVE REST
Hug your favorite subject (yourself) and rest here for 1-2 minutes; switch arms and repeat
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TRUST THE PRACTICE
40. CORPSE POSE (SAVASANA) VARIATION, WITH A BOLSTER
Rest here for 10 minutes
A bolster on your thighs grounds them (landmark 1). Here the added weight of the bolster also helps to enhance apana, the downward- moving energy that is related to letting go.
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TRUST THE PRACTICE
41. EASY POSE (SUKHASANA)
Sit in meditation for 5-10 minutes
In meditation, keep your eyes open, gaze downward, and breath natural. Do not manipulate your breath as you would in pranayama. Consciously place your mind on the sensation of your breath. When you notice that your mind has strayed—which will happen and is totally fine—gently, but firmly, replace your mind on the feeling of the breath. This is not about holding any particular state of mind; it is about waking up, letting go, and coming back.
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LEARN MORE
Take Cyndi’s thoughtful and fun six-week online course, Slow Flow: Sustainable Vinyasa Yoga for Life, at yogajournal.com/slowflow.