A good friend of mine, and fellow Ashtanga yogi Shannon Hansen Cook, recently asked me to write about the dynamics of the first really challenging posture encountered in Primary Series (PS) or Yoga Chikitsa — Uttitha Hasta Padangusthasana (UHP) or extended hand to big toe pose (photos 1, 2, 3 and 4). This is a gnarly pose that can strike fear in the hearts of the most dedicated practitioners, as it requires all aspects of the internal and external forms to be spot-on to execute with any real degree of success. In the upcoming post, I’d like to break it down into segments, and hopefully offer some insight into how to work toward making peace with this beast.
If you’re honoring your Ashtanga practice rather than rushing through it, by the time you get to UHP, you should have a good feel for the internal dynamics of breath, bandha, mudra, and drishti. You should have developed sufficient strength, flexibility, and body control to begin the practice of this truly demanding pose. However, even if you’ve done everything like it’s designed, there are still significant hurdles to overcome.
At this point, it’s important to let everyone know this was originally considered a more advanced pose and wasn’t a required piece of the standing sequence before advancing to seated postures. In fact, significant practice of seated poses was accomplished prior to the introduction of this posture into the standing sequence. It’s clear the supine version — Supta Hasta Padangusthasana (SHP, photo 5, 6, and 7) is far easier to execute and is very beneficial to practice BEFORE attempting UHP, giving each practitioner time to explore the energetic dynamics before the balance element is required. However, that’s not the way it’s done in today’s Ashtanga world, and unless your willing to go retro and take my advice or the advice of another old-school practitioner, then you must meet this bitch head on.
UHP is considered the first “gateway” pose of Primary Series by modern Ashtangis. Gateway meaning an asana milestone, that when adequately mastered, allows one to overcome certain physical/emotional/spiritual obstacles that can impede progress in the series.
The first essential ingredient of practice is the ability to balance effectively on one foot. If you happen to find this aspect particularly challenging, there are a couple of easier poses to work with that will establish firm grounding and stability on one leg. The first is Vrksasana or tree pose (photo 8) a fairly straightforward balancing pose that’s not officially part of the PS sequence, but is often used as a modification for Ardha Baddha Padmottanasana or bound half lotus forward fold (photo 9), which is actually the next pose in the standing sequence after UHP. Vrksasana builds lower body core strength and stability and requires a steady eye and focus to achieve with any degree of success. Another great prep pose for UHP is Ardha Chandrasana or half moon pose (photo 10) which takes the balance and stability achieved in Vrksasana to a level right below what’s required for UHP. If you wish to do “side work” or strength building work outside the Ashtanga system, then I would recommend kettlebell swings or one-legged squats commonly known as pistols. If you can do several pistols, then be assured a lack of strength and stability is NOT holding you back in UHP.
The next essential ingredient is adequate hamstring, hip flexor, and inner thigh flexibility which one should be close to after practicing the sun salutations and standing sequence — up to UHP — for some time. If lack of flexibility is preventing you from mastering UHP, then I would recommend a consistent Yin Yoga practice around 1-2X/week, which includes approximately 5 minute holds of Upavishta Konasana or seated wide angle forward fold (photo 11), shorter holds of the first 2 phases of SHP, and 3-5 minute holds of a low lunge (photo 12), or Hanumanasana or full forward split pose (photo 13). The second phase of UHP (photo 2) has a very similar dynamic to the Ashtanga version of Uttitha Trikonasana or triangle pose (photo 14) — with an added balance element which makes it far more challenging — and adequate mastery of triangle goes a long way toward gaining the flexibility and internal dynamic awareness of this positioning.
*Note- when grasping the big toe in Yoga postures, a very specific hand position- a variation of Kubera Mudra (photo 15)- is used. Mudras are "seals" that complete circuits of energy/prana and are used in asana or pranayama practice as a way to intensify or more highly focus the subtle internal dynamics therein.
Another major sticking point for UHP is that of mental stability or focus, which is much higher for this pose than any encountered up to this point, and for many practitioners, is likely the most demanding pose in this regard in the entire Primary Series. Interesting that it’s now considered the first pose of Primary.
* Note — the name Primary Series often creates confusion for many in that it can seem to imply “simplicity” or “beginning,” when in fact the term “foundational” is more accurate. Primary Series is very demanding, it could be the only series of the Ashtanga sequencing you ever practice, but it creates a very solid and necessary foundation for the series that follow. *
The key ingredient to gaining the mental stability required for UHP comes in the efficient practice of the internal dynamics of Ashtanga Yoga — breath and bandha control, mudra, and in particular DRISHTI or gaze point focus. Holding a steady gaze — for this pose it’s straight ahead across the tip of the nose; experienced practitioners who are steady in UHP, the gaze point in phase 2 shifts to the side or Parsva Drishti across the shoulder and down toward the floor (photo 2) — is critical to maintaining balance and stability. Wondering eyes will certainly throw you off balance, as this pose requires every bit of stability you can muster. Focusing in this manner also allows another critical component — confidence — to flower, as thoughts of lack or inadequacy drift through our consciousness in a way that has little to no lasting effect, rather than forming attachment as a centerpiece of our self image. This is the art of meditation in motion, and is developed to a very high degree in the practice of UHP, setting the stage for deepening awareness throughout the rest of the series.
Regardless of if you’re a dedicated Ashtanga practitioner or not, the development of this pose will help you make tremendous strides toward achieving many of Patanjali’s Eight Limbs of Yoga. It’s at once truly demanding but accessible, and intensely physical while demonstrating many of Yoga’s more subtle aspects simultaneously. A fantastic pose to add to your growing bag of tricks.
Namaste
Philip Clift
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