A few weeks ago, I brainstormed a list of 24 different ways to cue postures; from controlling the tone of one’s voice to the art of remaining silent. As part of this process, I also mapped out common expressions, including the most cliche yoga teaching cue.

I frequently hear it across gyms and studios, and is recognizable. I’m sure there are lots of people that would disagree with me but “if it is in your practice, then _______.” is by far the most cliche yoga teach cue. Perhaps it comes from something the put in the water at the majority of yoga teacher trainings?

Teachers use this instruction to tell students they can do the pose in one of a few ways. Sometimes these “modifications” vary greatly from the standard posture, transitioning from Prasarita-padottanasana (wide foot forward fold) to Sirsanasana (headstand) for example.

Designing a class is little like baking, in which each ingredient lends itself to the other ones. “If it is in your practice” unnecessarily invites a wildcard into the equation, particularly when it becomes a free for all. If the recipe calls for flour and people reach for the salt instead, it becomes problematic.

If the recipe calls for flour and people reach for the salt instead,
it becomes problematic.

Left to fend for themselves, students may look around the room for guidance.  When the class atmosphere is competative, students are tempted to emulate the most advanced varian of the posture, one that is well outside of their sensible range of ability. At this point, the risk of injury goes up and the deeper spirit of yoga is lost.

Finally, this cue removes the onus of teaching from the teacher and onto the student.  In my own classes, I want to impart a tangible skill or experience to the students, rather than leave them to figure out and risk injuring themselves. The teacher has a responsibility to be knowledgeable enough to safely guide students.

Fortunately, we can easily offset the pitfalls of the most cliche yoga teaching cue. We can restore the balance between student and teacher.  The solution is simple, explain “why”.  Rather than giving an open-ended invitation, put some parameters around it. Under what circumstances does a student choose option A over B? And under what circumstances shouldn’t they go with option B?  This is your moment to steer shy of pat expressions, shine as a teacher, and keep your students safe.

STUDENT TEACHING

As part of the Denver Yoga Underground’s program, trainees practice student teaching outside of the classroom and in the community.  Here is one notable example of how an entry level teacher navigated their first attempt at student teaching. As a prospective teacher, this article will teach you what it’s like to get stated teaching.

Q. What was your general impression of teaching yoga?  Highs and lows?

A. My overall impression of student teaching felt pretty good.  I’m starting to get more comfortable with “putting myself out there”.  I also received some good feedback from my student teaching partner Meghan. She said I conveyed a lot of confidence and a welcoming atmosphere.

Cueing poses still feel awkward, especially with people who are new.  I know what I want in my brain however it’s that does not always translate to my words.  I work to be clear and concise in my instructions and not overwhelm students with ambiguous instructions.

Q. Did you integrate any insights from the previous student teaching assignment?  What were they? 

A. I want to be genuine.  It is easy to get tangled up in the theory or cueing instructions and the class feels ‘stale’. Most recently, I’ve only been looking at a list of the asanas themselves and then describe based on my personal experience rather than the suggested cues in the manual.

Being genuine is necessary to capture the student’s attention and keep them engaged.  I can tell the difference when a teacher comes from their heart vs a route description.

Additionally, I have some structural challenges and study different variations. Everyone has a unique body, I want to be able to make everyone feel accepted and appropriately challenged, regardless of any physical limitations.

Finally, I work to create space or silence in the class. Students see themselves more clearly when there are fewer distractions. This is another reason to practice concise cues.

An ineffective class can result in a broken heart

I asked the students to go out and take some classes out in the community and report upon their experiences, both positive and negative.  Here is one student’s reflections on an ineffective class. Hopefully, this example will serve both yoga students and teachers alike:

As part of this exercise, I attended a vinyasa flow class. Normally I am drawn to vinyasa classes however this class turned into a cautionary tale rather than a source of enrichment. To me, it seemed like an ineffective class.

Observation number one. Upon retrospect, the teacher clearly overestimated the ability of the students, the first step of an ineffective class.  Almost everyone in the room was over fifty and new to yoga. The substitute teacher was young and looked pretty fit. I got the sense that he assumed everyone was more or less in the same shape as they were.  However, this was not to be the case. I’m glad everyone got out of there alive. 

Secondly, there really was no warm-up.  This was my next clue this would be an ineffective class. He started us in a standing position and he had us in warrior three within the first five poses.  Personally, I need time to work up to a posture like that. Apparently, I was not the only one. I saw others struggling as well. Their version of warrior three resembled a very crude version of someone partially hunched over to lift up a wide box while standing on one leg.  It was not pretty.

“Warrior three resembled a very crude version of someone partially hunched over to lift up a wide box while standing on one leg.” 

Thirdly, the pace of the class was very fast.  I barely had time to finish half of an inhale before we were onto the next exhale or chaturanga.  Why are we in such a hurry? The class was 60 minutes long regardless of how many poses you can pack into it.  I think it is more important to spend quality time in each of the poses than racing to try and do as many as possible. Less is more.

Fourthly, the sequence was needlessly complicated.  At one point, we did 14 successive postures on one side before only doing 12 on the second side. (I counted). It’s not surprising that the teacher missed a few poses on the second side given how complex the sequence was.

Like going as fast as possible (point number three) I’m not sure what the advantage is of doing so many poses on one side? I thought it made for an ineffective class. As a student, it felt like trying to digest 14 (or 12) different kinds of food all at once. Lemons, bulger, ham, cream cheese…. You get the point.  I literally had a stomach ache. Choreography took precedence over quality.

“Choreography took precedence over quality.”

As a prospective teacher, I learned a lot from going to this class.  When it’s my turn to stand in front of the room, I will keep everyone safe with the following. Firstly, tune into the level and needs of the students. Secondly, make time for a sufficient warm-up. Thirdly, move at a manageable pace.  Finally, emphasize the quality of a sequence rather than its complexity.