Shoulder Kinematics in Yoga, Part I

By Ray and Chris from The Daily Banda

The shoulder is the most mobile joint in the body. It is a combination of several articulations: the glenohumeral, scapulothoracic, sternoclavicular, and acromioclavicular joints (click here to see these). Each of these contributes to shoulder and arm movement via a process known as joint “coupling.” For example, when you raise the arms over the head in Urdhva Hastasana, the clavicle pivots on the sternum (breastbone), the scapula rotates on the chest wall, and the head of the humerus moves within the shoulder joint. All of these work together simultaneously in what is known as scapulohumeral rhythm. In general, 60 degrees of this action comes from movement of the shoulder blade on the chest wall (scapulothoracic motion) and 120 degrees from the ball and socket of the shoulder (glenohumeral motion). During this process, the clavicle rotates on its long axis approximately 25 degrees and the humerus externally rotates about 45 degrees. Scapulohumeral rhythm is illustrated in the video below.

So we can see that the shoulder is a complex structure, with many factors contributing to movement, or potentially restricting it. It’s easier to understand a complex structure by breaking it down into its component parts and then reconstructing them into the whole. This gives a new understanding of their function. For the shoulder, we’ll begin by focusing on the skeletal anatomy of the glenohumeral joint.
Here’s the Anatomy
The glenohumeral joint comprises the humeral head and the glenoid fossa of the scapula, which together form a shallow ball and socket joint. The proximal humerus also has two protuberances to which the muscles of the rotator cuff attach. These are the greater and lesser tuberosities. To see the anatomy of the rotator cuff, click here. Another important structure of the scapula is the acromion process. This shelf-like projection of bone forms a roof over the top of the glenohumeral joint. It is also the attachment site for the deltoid and part of the trapezius. The subacromial bursa lies between the acromion and the proximal humerus (the humeral head and the greater tuberosity). It is a sac-like structure that facilitates gliding of the greater tuberosity and tendons of the supraspinatus and infraspinatus muscles on the undersurface of the acromion.

The greater tuberosity (1) The subacromial bursa (2) and acromion process (3)

This Brings Us To Subacromial Impingement . . .
When the arm is raised, either to the side or in front of the body, the greater tuberosity can “impinge” on the undersurface of the acromion, compressing the subacromial bursa and irritating the supraspinatus tendon. This is most likely to happen if the humerus is internally rotated. Externally rotating the upper arm bone draws the greater tuberosity out of the way of the acromion and aids to prevent impingement. The acromion comes in several different shapes, ranging from flat to curved, with curved acromions being associated with a greater incidence of subacromial impingement.

So What Does This Have To Do With Yoga . . .
The question has been raised as to whether persons with a curved acromion are limited in their ability to perform certain asanas. For example, the inference that appears to have entered the yogic nomenclature is that if you cannot bring your arms vertical in a pose like Urdhva Dhanurasana, you must have a curved (not a flat) acromion. This is incorrect. First, it is well-established through many studies that a curved acromion does not affect the functional range of motion of a healthy shoulder. People with curved acromions can raise their arms overhead just as far as those with a flat acromion. Second, it is impossible to tell the shape of someone’s acromion process by observing them in a yoga pose. Acromial morphology is something that is determined with a specialized X-ray.So to answer the question, “In a healthy shoulder, do curved acromions affect the ability to raise your arms overhead in a pose such as Urdhva Dhanurasana?” The answer is no. A curved acromion does not affect range of motion in a healthy shoulder and thus is not the reason why someone cannot bring their arms to vertical in Upward Facing Bow. There are many possible explanations for this limitation, including tightness in various muscles or ligaments about the shoulder, but a curved acromion is not one of them.
How Do We Prevent Impingement?Now let’s consider how this relates to actual practice. Particularly in Vinyasa, there is a tendency to do the same movement many times, which can lead to repetitive stress injury, such as inflammation of the subacromial bursa and supraspinatus tendon—“rotator cuff syndrome” in the orthopedic nomenclature.  You can help to avoid this by engaging the infraspinatus and teres minor muscles and, to a lesser extent, the posterior third of the deltoid. These muscles act to externally rotate the humerus and bring the greater tuberosity away from the undersurface of the acromion. We illustrate this movement here in Urdhva Hastasana. To read about the anatomy and to see this concept in action in Dog Pose and Full Arm Balance, click here.
Thanks for checking in. We’ll see you for the next post when we go over the muscles that move and stabilize the scapula. Be sure to download volume two of our free interactive eBook. Also, don’t forget to tell your friends about our blog and to visit us on Facebook for your free chakra poster.
Namasté,
Ray and Chris

How to Use the Adductor Muscles to Refine Downward Dog

By Ray and Chris on The Daily Bandha

Co-activation in Downward Facing Dog pose.

In our blog post, “Strong Thigh Muscles Benefit People with Knee Osteoarthritis,” we gave a tip for activating the tensor fascia lata in Downward Facing Dog. This synergizes the quadriceps for extending the knees, aids in flexing and internally rotating the hips, and helps to align the kneecaps to face forward. You can further refine alignment in this pose by using the adductors longus and brevis and their synergist, the pectineus. Co-activating these muscles and the TFL balances external and internal rotation of the femurs while at the same time synergizing hip flexion.

First the Anatomy . . .

The adductors longus and brevis originate from the superior and inferior pubic rami, respectively. The longus inserts onto the middle third of the linea aspera, a ridge of bone on the inside of the femur. The brevis inserts onto the upper third of this ridge. Both muscles act to adduct (draw the thighs together), flex, and externally rotate the hip joint. They also stabilize the pelvis.The pectineus originates from the pectin of the pubis and inserts onto the pectineal line on the inside of the femur, running from the lesser trochanter to the linea aspera. This muscle adducts, flexes, and externally rotates the hip and stabilizes the pelvis.
Here’s the Cue . . .

Adductors longus and brevis and the pectineus in Utkatasana.

Use Utkatasana to get the hang of isolating the proximal adductor group. Warm up with Surya Namaskara A (do several). Then move to Surya Namaskara B. When you take Utkatasana, on your exhalation, gently press the knees together to contract the adductors longus and brevis and the pectineus. Note how this action becomes progressively refined with each cycle and with each practice session. You should feel more stable in the pose.
Navasana can also be used to gain awareness of the proximal adductors. Squeeze the knees together and feel the muscles contract at the top insides of the thighs. This helps to flex the hips and stabilize the pose. If you’re new to Navasana, try one of the intermediate variations illustrated below and in the Yoga Mat Companion series.
Engaging the adductor group in Utkatasana and Navasana brings awareness and control of these muscles. Once you get a feel for this, contract them directly to refine alignment of the leg bones in Downward Facing Dog. You can apply this same principle in Urdhva Hastasana (Tadasana with the arms raised overhead) and other poses. Click here for details. This is an example of the concept of “portability” of the techniques between poses.
 

Adductors longus and brevis and the pectineus in Navasana.

Thanks for checking in. We’ll see you for the next post when we go over more details on nutation and stabilizing the pelvis in twists. Be sure to download volume two of our free interactive eBook. Also, don’t forget to tell your friends about our blog and to visit us on Facebook for your free chakra poster.Namasté,Ray and Chris

Satya, Biomechanics, and Yoga

By Ray and Chris from The Daily Bandha
“One who shows a high degree of right communication will not fail in his actions.” 
(T.K.V. Desikachar’s translation of Yoga Sutra II.36)

Patanjali’s Yoga Sutras have much practical wisdom that can be directly applied to life. In fact, evolution of a civilization (or its destruction) can usually be traced to satya (truthfulness) or asatya (untruthfulness). A similar dynamic exists for an individual’s personal evolution

Satya and asatya also have practical benefits and consequences for sustainable design of the practice and teaching of yoga, because truth and theory go hand in hand. Base your teaching on sound theory (satya) and the benefits will automatically manifest in your practice. By the same token, if your theory is based on falsehoods (asatya), the benefits won’t manifest. You can see examples of both satya and asatya in our posts on “The Importance of Theory” and “Strong Thigh Muscles Benefit People with Knee Osteoarthritis.”

Satya is also said to be “that which has no distortion.” Relating to yoga instruction, this means clarity of expression. Precise cues elicit a predictable response. Vague or distorted cues elicit confusion. And no matter what your personal style of communication, you can always benefit from knowing the biomechanical basis for what you’re teaching.

In my experience, the closer your instructions are to activities that students routinely do or can easily access, the more likely they will understand the techniques and benefit from the session. An example would be a cue for expanding the thorax to deepen the breath. If clearly communicated, this technique will work for most of your students (even if you don’t explain the science behind it). Understanding the anatomy and biomechanics, however, enables you to answer students’ questions about how the body works with direct and credible terminology. Knowing the science behind your instructions builds self-confidence as well as students’ confidence in you as a teacher.

Yoga works with the body and Western science has much wisdom about how the body works. Think of a combination lock in which a sequence of numbers is used to open the lock. The poses and breathing techniques work together in the same way. Combine them properly and the tumblers fall into place; this precipitates a cascade of beneficial physiological and biochemical changes, including an overall sense of well-being.

To quote Nicolai Bachman’s translation of Sutra II.36: “When established in truthfulness, one can be sure of the results of action.”

Now On To a Tip For Using the Wrist Flexors in Dog Pose . . .

Sometimes you hear an instruction to “lift the elbows” or “lift the wrists” in Dog Pose. Normally, lifting the elbow entails lifting the entire arm in front of you—forward flexion of the shoulder. This is done primarily through the action of the anterior (front) third of the deltoids. Engaging these muscles with the hands fixed on the mat lowers the elbows. To lift the wrists and elbows in Dog Pose, contract the wrist flexors. This stabilizes the wrists and, at the same time, strengthens these flexor muscles.

Here’s a Tip for Lifting and Stabilizing the Wrists . . .

Once you have balanced pronation and supination of the forearms, engage the wrist flexors by gently pressing the mounds at the base of the fingers into your mat. Then press the palmar surfaces of the fingers into the floor. Do not actually raise your palms off the mat during this technique. You will feel your wrists lift slightly.

Gently press the mounds at the base of the fingers into the mat.

Next, combine stabilizing the forearms, wrists, and hands with bringing the heels to the floor and stabilizing the feet. If you are practicing Vinyasa Flow, try activating the wrist flexors just before jumping. Feel how this action draws you forward, creating momentum for your jump through. Try this cue in a modified Child’s Pose to get a feel for it without weight on the hands. If you have discomfort in the wrists or hands, come out of the pose.

Here’s the Anatomy . . .

Several muscles contribute to flexing the wrist. These include the flexors carpi radialis and ulnaris, the palmaris longus, the flexors digitorum superficialis and profundus, and the flexor pollicis longus. The anatomy is somewhat complex, and it’s not necessary to memorize all of the details to benefit—just remember that these muscles all cross the wrist and thus can flex it.

And For Anatomy Buffs . . .

The flexors carpi radialis and ulnaris and the palmaris longus originate from the medial epicondyle on the inside of the elbow and cross the wrist. The flexor carpi radialis inserts onto the second and third metacarpal bases. The flexor carpi ulnaris inserts onto the pisiform and hamate bones and base of the fifth metacarpal. The palmaris longus inserts onto the flexor retinaculum and palmar aponeurosis.

The flexor digitorum superficialis has three heads: the humeral head originates from the medial epicondyle, the ulnar head originates from the coronoid process, and the radial head originates distal to the radial tuberosity. This muscle then branches out to insert onto the sides of the fingers at the middle phalanx. The flexor digitorum profundus originates from the proximal two thirds of the flexor surface of the ulna and the interosseous membrane. It inserts onto the palmar surface of the distal phalanges.

The flexor pollicis longus originates from the middle part of the anterior surface of the radius and the interosseous membrane and inserts onto the palmar surface of the distal phalanx of the thumb.

Thanks for stopping by. Be sure to download volume two of our free interactive eBook.  Also, don’t forget to tell your friends about our blog and to visit us on Facebook for your free chakra poster.

Namasté,

Ray and Chris

Subagh Kriya

A Kriya is a set of exercises creating a specific result. The following Kriya & meditation is a great way to harmonize yourself with the flow of prosperity. Often financial security is one of the most common areas of disharmony in our lives. Try it when abundance is seemingly avoiding you .

“To become rich and prosperous with wealth and values is to have the strength to come through. It means that transmissions from your brain, and the power of your intuition, can immediately tell you what to do. You will be in a position to change gears. If you need to go in reverse, you can go in reverse. If you need to go forward, you’ll go forward. This is a very old and simple system.”

“You should not do it more than 3 minutes when you are working during the day, or you will become too rich. I am not joking. Doing it for 11 minutes a day is more than enough. Doing it too much will be greed. It stimulates the mind, the moon center, and Jupiter.
– Yogi Bhajan

Part One

Position: The side of the hand along the pinky is called “Moon.” Hit the “moon” sides of hands together. The side of

the hand along the index finger is called “Jupiter.” I hit the Jupiter sides of my hands together. Alternate hitting the moon sides and the Jupiter sides. Hit hard.

Mantra: Chant “Har” keeping in rhythm with the Tantric Har CD if you have it.

Eyes: Look at the tip of your nose.

Part Two

Position: Stretch your arms up at 60 degrees. Spread the fingers wide open, they have to be totally stretched. Then cross your arms in front of your face, while keeping the arms absolutely straight. Left first, then right, going back to the starting position between each.

Mantra: Keep in rhythm with the Tantric Har tape, but do not chant this time.

Eyes: Eyes remain closed.

Part Three

Position: Make a tight fist around the ego/thumb, pressing it hard with your other fingers. With the arms at 60 degrees move the arms in small circles. Press the Id/Ego. Press hard. With each circle you make chant “God” from the navel. The circles must make the entire spine shake. Sometimes you’ll find you’re lifting yourself from the ground.

Mantra: The English word “God” has the same meaning as “Har”.

Eyes: Closed.

Part Four

Position: Bend your arms at the elbows, hands in front of you, palms facing in, towards the chest. The right hand is outside, the left hand is inside (they are not touching). The right hand moves up a few inches (approx. 6 inches), the left hand moves down (approx. 6 inches) and then both come back to the center and starting position.

Mantra: “Har haray haree wahay guroo” chanting from the navel. Then whisper the mantra strongly. Then whistle it.

Eyes: Closed.

Part Five

Position: Bring the arms in front of the chest. Bend the arms at the elbows, palms facing down, with the right arm over the left arm. (think I dreanm of Jeanie) Keep the arms steady and the spine straight. Breathe long and deep. Keep the arms parallel to the ground; don’t let them fall.

Eyes: Closed.

Breath: Breathe one breath per minute using this technique: 20 seconds to inhale, 20 seconds hold the breath, 20 seconds to exhale. Breathe consciously.

Comments:
“The exercises in this set must all be done for the same length of time – either 3, 5, 7 or 11 minutes each. By doing Subagh Kriya you can turn your misfortune into prosperity, fortune and good luck.”

Republished with permission © 1997 YB Teachings, LLC

What is a Chakra?

Quantum physics shows us that everything in the Universe is energy, light and sound vibrating at different speeds creating different effects. A Chakra is a center or wheel of energy that directly corresponds to, and is created and affected by, plexuses of nerves and glands. By balancing this energy, we can balance and heal nerve centers, body systems, the mind and eventually our world. Like a Chakra itself, our body, moves about in time and space on the planet; affecting everything and everyone. Just as everything and everyone affects us. How much depends a lot on how strong, healthy or balanced you and all your Chakras are.

 

THE MULDHARA/FIRST/ROOT/BASE CHAKRA

Emotionally and physically “based” at thee root of the spine (between the anus & sexual organs to be exact) this Chakra deals with feeling supported and secure. As our foundation, it represents earth energy, basic survival, tribalism and belonging. Self-acceptance or self-destruction: to be or not to be. On the physical level it governs the sacrum, lower rectum, spine, legs, gonads and general elimination. Emotionally it concerns attachment, fear and insecurity.

With an emotional or physical injury, real or perceived, energy often gets “stuck” in the first Chakra, the place of unconscious urges. When there’s too much energy that isn’t released we can be pre-occupied with status, material wealth or possessions. We can get stuck in greed, retaliation, jealousy, anger, bitterness, rigidity and have difficulty in letting go of the past. We can become “anal”.When life force is extremely sluggish in the Root Chakra it can lead to illnesses associated with this blocked or constipated energy such as irritable bowel syndrome, Crohn’s disease or colon Cancer. However, if we balance this Chakra by filling the physical body with Prana primarily through breath, and increasing blood flow to this area we can get grounded, centred, secure and loyal – to ourselves and others. We can have healthy elimination — of physical waste and negative thoughts.

So if you ever feel like life is a great effort, that you don’t fit in or perhaps you have constipation of mind or body or sexual issues, you may want to strengthen and/or release some first Chakra energy. Physically, mentally and spiritually.