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Sun Salutation Anatomy: Part 3
As per the previous two blogs on the sun salutation (geared towards the current teacher trainees), the anatomy behind the various poses is vast and often very confusing. So in this series of blogs I am giving you a very basic anatomical breakdown of the sun salutation.
5) URDHVA MUKHA SVANASANA - UPWARD FACING DOG
From Ashtang Namaskar or Chaturanga, we lift up into upward facing dog.
From Ashtang Namaskar you lower the hips down and flatten the body down to the ground. The feet are kept together or one foot apart (Iyengar has them one foot apart), the calf muscles contract to point the toes away taking the ankle into plantarflexion. The quadriceps contract to straighten the legs (extension). Next the palms press into the ground lifting the torso off the ground. The erector spinae muscles contract to extend the spine stretching the anterior portion of the trunk, the psoas and the abdominals. The glute max and minimus contract to extend the hips stretching the rectus femoris (which is a hip flexor). The triceps contract to keep the arms in extension and the middle trapezius and rhomboids again co-contract to draw the shoulders blades together (retraction) and lift the chest. In the final part of the pose, the upper trapezius contracts to extend the cervical spine so the eyes can gaze upwards. Urdhva Mukha meaning 'having the mouth upwards'.
TECHNIQUE:
Iyengar says to straighten the arms and keep the legs tight and straightened at the knees (but do not rest the knees on the floor). The weight of the body lies on the palms and toes only.
Iyengar also asks us to push the chest forward. When I teach I find the best way to achieve this is to keep the hands planted firmly and slide the thighs forward. This pushes the chest forward, retracting the rhomboids and middle trapezius or in other words, bringing the shoulder blades closer together.
Restrictions in Upward-Facing Dog Pose -
Anatomically, the biggest restriction in upward-facing dog often involves tightness in the rectus femoris (a hip flexor). This muscle stretches as the spine moves into extension (backbend). If tight, the rectus femoris can pull on the anterior rim of the pelvis, sometimes leading to anterior pelvic tilt (but not always). This tilt can create discomfort in the lower back by increasing the compression on the lumbar vertebrae and discs. If lower back pain is experienced due to this tight hip flexor, one solution is to bend the elbows and lower the torso slightly, reducing the degree of spinal extension. This modification can relieve the pull from the rectus femoris on the pelvis.
However, when you bend the elbows, it’s crucial to maintain the length of the spine. Over time, as flexibility improves, you’ll want to work toward fully extending the arms to achieve the classical expression of the pose.
Bending the Elbows: The Trade-Off -
While bending the elbows can alleviate lower back pressure, especially in cases of anterior pelvic tilt, it does create another biomechanical challenge. With bent elbows, the arms no longer provide full support for the torso, meaning the lower back muscles must work harder to maintain the lift. In this modified version of the pose, the lower back becomes the primary fulcrum, bearing more of the body’s weight and taking on the bulk of the load that would otherwise be supported by straight arms.
This isn’t necessarily problematic unless there’s weakness or injury in the lower back, such as post-pregnancy or after a back injury. In these cases, overloading the lumbar muscles could exacerbate discomfort or pain. Therefore, while bending the elbows may seem easier on the lower back initially, in certain contexts, it can add strain instead of reducing it.
Let’s Break Down the Fulcrum Thing 😏 -
In movement mechanics, a fulcrum refers to the point around which movement occurs, typically at a joint where two or more bones meet. Think of the elbow joint in a bicep curl: the elbow serves as the fulcrum (or axis), and the muscles crossing that joint apply the force to lift or resist the weight.
In upward-facing dog, the fulcrum is often the pelvis (specifically at the lumbo-pelvic junction), and the resistance is the upper body. When the arms are bent, the lower back muscles that connect to the pelvis must lift and support more of the body’s weight without the assistance of fully extended arms. Without this arm support, the lower back must act as the primary stabilizer and lifter, which can potentially strain these muscles if they are weak or fatigued.
In the full expression of the pose, when the arms are straight, they transfer much of the load off the pelvis, reducing strain on the lower back. This is why practicing upward dog with full arm extension is ideal, as it optimally distributes the load between the arms and the back. Still with me? 😊
Biomechanical Suggestions:
Engage the core and glutes: Activating the transverse abdominis and gluteal muscles can help stabilize the pelvis and reduce the likelihood of excessive anterior pelvic tilt.
Focus on scapular engagement: In upward-facing dog, the serratus anterior and rhomboids should help retract and depress the shoulder blades. Proper engagement here assists in taking load off the lower back and distributes it across the upper body.
Use props: For those with significant restrictions, using yoga blocks under the hands can reduce the intensity of the backbend while maintaining arm extension, providing support without overloading the lumbar spine.
Progressive loading: Gradually working on hip flexor flexibility (with poses like lunges) and spinal extension can allow for better access to the full version of upward dog over time without rushing into the deep backend.
My Take on Upward-Facing Dog: Traction Rather Than Compression
Usually, from Ashtang Namaskar, I ask students to drag their bodies forward without lifting their hands off the ground, almost like snaking the body forward. My intention here is to create the feeling of making space for the bones in the lower back. The idea is that I am working in traction rather than compression.
I then cue students to choose between Cobra or Upward-Facing Dog, or even a hybrid of the two. I encourage students to choose the variation that best accommodates their bodies on that day. I never tell students what I want them to do to gratify my ego. Instead, I encourage them to find what works best for them. This approach isn’t always popular, as many students don’t want to think—they just want to be told what to do. But unfortunately for them, I am not that teacher. I encourage each student, through meticulous self-awareness, to discover what works best for them.
Summary - From Ashtang Namaskar, I cue students to first flatten, then lengthen, and finally ask them to take Cobra or Upward-Facing Dog. In more Ashtanga or Vinyasa-style classes, you would typically move from Chaturanga straight into Upward-Facing Dog.
6) ADHO MUKHA SVANASANA - DOWNWARD FACING DOG
From the extension of the hips and spine (in uopward dog), we go into flexion of the hips and a neutral (ish) spine. The hands are kept in the same position as the hips are pushed towards the back of the room.
Starting with the foot position, the feet are hip width apart and the ankle is now in dorsi flexion (toes pointing up), this stretches the calf muscles of both legs. The quadriceps remain contracted keeping the legs in extension. The hips are flexed (rec femoris and psoas) so the opposite muscles are stretched. The opposite muscles of the hip flexors are the hip extensors (the hamstrings and gluteal muscles). The arms are flexed overhead to 180 degrees initiated by the anterior delotoids stretching the latissimus dorsi and pectoral muscles.
The tricep muscles contract to keep the arms straight and in extension. The middle trapezius and rhomboids prevent the upper back from rounding as they draw the scapula towards each other in retraction or adduction. The serratus anterior then works to slightly protract or abduct the scapula maintaining the integrity of the shoulder blades. The combined actions of the middle trapezius/rhomboids and serratus anterior keep the shoulder blades in neutral so they are not too close together or too far apart. The infraspinatus and teres minor (rotator cuffs) contract to rotate the shoulder away (external rotation).
The abdominals or core muscles contract to stabilise the spine. The deep stabilisers of the spine the multifidus also contract.
RESTRICTIONS:
There are many restrictions in downward facing dog. Starting with the lower body, tight calf muscles make it difficult to push the heels towards the ground. Tight hamstrings are the biggest restriction by far. The hamstrings attach to the ischial tuberosity's of the pelvis meaning that if the hamstrings are tight, they can pull on the pelvis and take your pelvis into a posterior tilt. This is not necessarily uncomfortable (as is an anterior tilt), but means you lose the natural curve of the spine.
The ischial tuberosity's below market in red.
Other common restrictions are tight lats and chest which makes keeping the arms in line with the spine very difficult. The remedy for this is of course, persevere with the pose.
Cautions for Back Pain and Sciatica
For those with tight calves, the inability to bring the heels closer to the ground can increase tension in the lower back, especially if the person compensates by rounding the spine. To avoid this, consider bending the knees slightly to maintain a more neutral spine while still working on ankle flexibility. The heels don’t need to press down—we often assume this reflects the perfect expression of the pose, but prioritizing it can cause more harm than good.
Remember, the sciatic nerve originates in the lumbar spine and travels down the back of the legs to the feet. Pushing the heels down in downward-facing dog can irritate the sciatic nerve, as the nerve is pulled from the 'caudal' end at the base of the spine. If you’re unfamiliar with or haven’t studied sciatic nerve anatomy—trust me. Bend your knees and avoid forcing your heels down in downward dog.
Lastly, to make this pose therapeutic for those who have suffered from, or are currently experiencing, sciatica, let your head hang or look forward toward your hands. The traditional Ashtanga yoga practice typically asks you to gaze at your navel, which pulls on the cranial end of the sciatic nerve. In many respects, the Ashtanga-style downward dog—with its narrow stance, heels down, and gaze toward the navel—can aggravate the sciatic nerve.
To avoid irritating this nerve (and trust me, you don’t want to), take a longer stance (feet further from the hands), bend the knees, keep the heels lifted, and gaze either between your hands, down to the floor, or toward your knees. This approach, while different from the traditional Ashtanga method, is much kinder to the sciatic nerve and offers relief to those dealing with sciatica.
Even outside of Ashtanga, students who feel tension in their lower back or legs can benefit from these modifications. Emphasizing spinal alignment and freedom of movement over forcing the heels down will create a safer, more sustainable practice for all students, especially those with sensitive sciatic nerves.
NEXT STEP -
From downward-facing dog, step forward into equestrian pose (see below). Once this pose is complete, step forward again, bringing your feet together into a forward fold. Alternatively, in the Ashtanga system or a Vinyasa class, you may look forward first and then float or jump forward, landing softly on your feet and arriving in a forward bend.
When I do the jump version, I tend to bend my knees as I jump forward, almost as if I’m coming into handstand. I want my arms to take the weight. The key when you jump is to lift your hips, as they are the center of mass. Don’t focus on lifting your feet—instead, lift your hips, and your legs will follow. Keep your core engaged throughout the movement, as it helps with control and keeps the jump light.
As you jump, think of your shoulders as your foundation, similar to a handstand. Engaging the shoulder girdle (specifically the serratus anterior and deltoids) ensures that your arms can support the movement. Maintaining this engagement prevents collapsing into the shoulders and keeps the jump smooth.
When landing, aim for a soft, controlled arrival by bending your knees slightly and using your arms to manage the impact. This keeps the movement fluid and prevents jarring your spine or knees when you land.
7) UTTANASNA - FORWARD BEND
From downward dog, you can either jump into a forward bend, or, in the more classical Hatha yoga route, take the lunge (as above) after downward dog, and then step forward from the lunge into the forward bend.
Some tips for the forward bend: Stretch your toes and feel grounded. Spread and engage the toes, as this helps activate the arches of the feet and contributes to a more stable foundation. I tend to shift my weight forward, back, left, and right until I feel balanced. Aim for an even distribution of weight between the balls of your feet and your heels, as this helps prevent strain on the lower back.
My breathing should be slow and predominantly nasal. I often tell my students to consciously relax their lower backs with each exhale. Elongating the exhale activates the parasympathetic nervous system, which helps the body relax deeper into the stretch. Create the sensation that gravity is gently stretching the spine and that you are surrendering to it, allowing for a natural lengthening and decompression of the spine.
As mentioned before, the hamstrings are the biggest restricting factor, so they will stretch the most. However, many people will also feel an equally intense stretch in the lumbar erectors. If you feel excessive tension in the hamstrings or lower back, bend your knees slightly. This will reduce strain and allow for more spinal lengthening while maintaining comfort in the pose.
8) ARDH CHANDRASANA - HALF MOON
From the standing forward bend, I take the classical Hatha yoga approach by reaching up towards the ceiling before gently bending backward into a standing backbend. I emphasize gentle because this is part of the Sun Salutation and comes at the start of the class, meaning the body is not very warm. I wouldn’t advise doing more than a gentle backbend at this early stage of the practice.
The key to this pose is to engage the leg muscles by pushing the heels into the ground and squeezing the glutes. Engaging the glutes prevents the hips from tilting anteriorly, which can make the pose feel awkward and uncomfortable in the lower back.
The major restrictions here are typically the abdominal and chest muscles, as well as the psoas and rectus femoris. These muscles can limit the range of motion in the backbend, so it’s important to move slowly and avoid pushing into discomfort.
The Anatomy again - pressing the heels into the ground contracs the calf muscles which stabilise the knees. The thighs are kept in extension by engaging the quadriceps. The hips are then pushed forward by squeezing the glute muscles.
The backbend starts at the lumbar or lower part of the spine which stretches the rec fem, psoas and abdominals. The extension of the spine then goes to the thoracic spine or middle spine by engaging the rhomboids and middle trapezius (retraction) stretching the pectorals and deltoids. The spinal extension finishes with the extension of the cervical spine or neck which stretches the sternocleidomastoid. This is achieved by contracting the upper trapezius which pulls the head back.
If the arms are kept overhead, the triceps engage to keep the arms straight and there is a stretch into the pectorals and lats. From half moon, make your way back to mountain to re-set your body and to slow your breathing down.
That is 1x Sun Salutation done.
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The Sun Salutation: A Journey Through Different Schools of Thought
The Sun Salutation, or Surya Namaskar, is a foundational practice in many schools of yoga. It is often described as a moving meditation, a way to align breath with movement and wake up the body, mind, and spirit. However, there are significant differences in how this sequence is practiced and taught across various yoga traditions, particularly between the Ashtanga method, the classical Hatha approach, and my personal way of teaching. These differences highlight not only the diversity within the practice but also serve as a reminder of the deeper philosophy of yoga—one that embraces flexibility and non-attachment.
Ashtanga Sun Salutation: Strength and Flow
In the Ashtanga tradition, the Sun Salutation is a dynamic, vigorous practice that links breath to movement through a set sequence of postures. There are two main variations: Surya Namaskar A and Surya Namaskar B, each involving a rhythmic flow that includes Chaturanga Dandasana (the yogic push-up) and Upward-Facing Dog. The focus is on building strength, stamina, and heat in the body, preparing it for the more intense postures that follow in the Ashtanga sequence.
Ashtanga’s version of Surya Namaskar tends to be fast-paced, with a strong emphasis on Vinyasa (the connection between breath and movement). The pace encourages jump-backs and jump-forwards, requiring significant upper body strength and flexibility. The method is structured and disciplined, often appealing to those who thrive on routine and challenge. However, the speed and intensity can sometimes make it inaccessible to beginners or individuals with physical limitations.
Classical Hatha Sun Salutation: Stability and Breath
In contrast, the classical Hatha Sun Salutation is more about slowing down, building stability, and focusing on the quality of the breath. The postures in classical Hatha are often held for longer periods, allowing students to experience the subtle aspects of each asana. There is less emphasis on dynamic transitions like Chaturanga and more focus on gentle backbends, forward folds, and lunges.
This version of Surya Namaskar tends to be gentler, making it more accessible to a wider range of practitioners, particularly beginners or those who are looking for a slower, more introspective practice. The breath is usually slower and more deliberate, and there is often a focus on pranayama (breathing techniques) within the sequence itself.
In my own teaching, I favor this approach, especially at the beginning of a class. I often encourage students to move mindfully, without pushing their bodies too far, too fast. The focus is on gradually warming up the body and using the breath to deepen the connection between mind and movement.
Vivekananda’s Wisdom: "All Streams Lead to Thee"
As Swami Vivekananda beautifully said, “All streams, differing as they appear to be, all lead to Thee.” This quote is a reminder that while there are many ways to approach yoga, all paths ultimately lead to the same destination—union with the Self, which is the essence of yoga. Whether you practice the fast-paced Ashtanga method or the slower, more meditative Hatha approach, the goal is the same: to create a deeper connection to the inner self, to cultivate awareness, and to grow in your practice.
Non-Attachment to Method: The Irony in Yoga Teaching
Ironically, many yoga teachers speak of non-attachment while simultaneously becoming attached to a specific method or way of doing things. In reality, being rigidly attached to one form or school of thought goes against the very essence of what yoga philosophy teaches—non-attachment. The Bhagavad Gita, one of yoga’s most revered texts, reminds us to act without attachment to the outcome. This concept extends to our physical practice as well; whether we are doing Sun Salutations in an Ashtanga class or in a Hatha class, we should not be so attached to one way that we lose sight of the bigger picture.
Every body is different, every mind is different, and every yoga journey is unique. What works for one student may not work for another, and as teachers and practitioners, we must remain flexible and open to adapting our practice to meet our individual needs on any given day. As I often remind my students, there is no one "right" way to practice Sun Salutations or yoga in general. The real magic happens when we let go of our need to control and instead tune in to the wisdom of our own bodies.
Conclusion: All Paths, One Destination
In the end, whether you practice the rigorous Ashtanga style or the slower classical Hatha approach—or even blend the two as I do—the essence of the practice is about cultivating awareness, presence, and compassion for ourselves. The Sun Salutation is not just about perfecting a sequence of movements; it's about using the body as a vehicle to deepen our connection to the breath, to the present moment, and ultimately to our inner selves.
By embracing a mindset of non-attachment, we allow ourselves to experience the practice in a more fluid, flexible way, free from the confines of rigid expectations. This approach not only reflects the true essence of yoga but also brings us closer to the unity and peace that all paths ultimately seek to uncover.
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Zahir Akram - Eternal Seeker
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