Folding yourself into more

I was recently inspired by the movie "Between the Folds", a documentary on the art of paper-folding (aka origami). Paper-folding is a unique art form in that it there is nothing added, and nothing taken away in the process of making the art. Every single origami work begins with a square sheet of paper. And by merely folding, unfolding, enfolding, that single piece of paper can take infinite forms and expressions, from sad-eyed gorillas to a man playing a violin, to abstract sculpture and creatures as varied as the folder can imagine. One of the folders in the film even explored what you could do even with a single fold in a sheet of paper. Even with that limitation, the possibilities were endless.

It seemed to me a perfect parallel to the art of yoga, another art form in which nothing is added or taken away in the process, and yet we emerge transformed.

In the Tantric vision of yoga, each of us is inherently purnatva, which is to say complete, whole, perfect. There is nothing outside of ourselves that we need, and there is nothing inside of ourselves that we need to get rid of. What's given is just what's given, like a blank piece of paper. And yet, the possibilities of a creative life of yoga are infinite, simply by folding, unfolding and enfolding the self we've been given.

Of course, there's no obligation to take the self we're given and make something more out of it. There's no obligation to step into the creative process of self. To take the analogy one step further, you could stay a square piece of paper your whole life, and maybe get a little creased and rumpled over time. Or you could step into the process of folding, engaging, and transforming your self into the form of your desire. This is to step into yoga.

I've loved playing with the image of folding in my practice, creasing my consciousness mindfully toward a vision of what I want to create. I've loved exploring how much I can create with a single fold, and when more complex folding techniques will give me a different result.

One way I've felt this is in working with the spirals of the arms: on the one hand, I think there's so much you can create with just the powerful ONE-FOLD of Muscle Energy in the arms, which evenly roots the head of the armbone back into the shoulder socket. In fact, you can create every pose, an infinity of poses, with that single fold. And yet, the spirals of the arms, two extra folds, add a depth of expression that is rich and wondrous.

Let's look at it:

PRINCIPLES:

• Open to Grace: Start with the assumption that you are inherently whole, complete, perfect. There is nothing you need to get or get rid of. Everything you need for your own fulfillment is already present in who you are. This attitude is reflected in the physical body by a posture of fullness, of inner expansion, and of length through the sides of the torso.
  
• Muscle Energy: The single-fold. I think of Muscle Energy as the initial creative act. In the upper body, it draws energy from the fingertips toward the active focal point, setting the head of the humerus directly back into the shoulder socket. When the shoulder is aligned in this way, it will have the greatest range of motion and the possibilities of what you could create in your body are infinite!
• Expanding Spiral: The spirals of the arms add another layer of folding to the process. They are truly refinements, and although you can do a lot with the single fold of Muscle Energy, these spirals add nuance, depth, richness. The expanding spiral always comes first, and in most planes this is created by spiraling the arms inward (toward the midline), so that the forearms roll inward. This widens the upper back. When the arms are in the overhead plane, the arms spiraling outward (away from the midline), so that the inner upper arms flow back, creates this expansion.
  
• Contracting Spiral: The contracting spiral creates a deepening engagement of the arm bones in the shoulder sockets and the shoulder blades onto the back. In most planes, it is created by the upper arms spinning externally; when the arms are in the overhead plane, it is created by the forearms spinning internally. In all poses, the forearms spin internally and the upper arms spin externally; always create the expanding spiral first.
  
• Organic Energy: This last principle is the final unfolding of your creation. Extend and stretch from the active focal point in all directions. At the end of the process, you find yourself transformed: the same self has become something MORE.

PRACTICE:

• Prasarita padottanasana (with hands clasped for a shoulder stretch): In all of the poses where the hands are clasped behind the back, a balanced flow of Muscular Energy will have the wrist joints straight (not flexed or extended). To create this, begin with an expansion on the inside, and then bend your elbows. With the elbows bent, hug the heels of the hands toward each other until the wrists are straight, and then draw energy from the hands up through the arms into the core of the pelvis. When this single fold is true, the upper arm bones will set back and the shoulder blades will lift toward the pelvis. To add the spirals of the arms, turn the forearms inward (so the index knuckles move closer together), and then spin the upper arms outward into that resistance. Then stretch the arms fully straight and extend from the pelvis in all directions.
• Surya namaskar: I practice surya namaskar with my elbows slightly wide in order to gain greater access to the alignment of the shoulders. Widening the elbows slightly helps make space in the side bodies, and as such will give room for the arm bones to set back. In addition, with the elbows slightly wide from the wrists, you can create more of an expanding spiral of the forearms, which means that you'll have greater access to the contracting spiral (and hence deeper integration). With the elbows wide, roll the forearms in to get more weight on the index finger knuckle. Then keep that knuckle pressing down as you spin the upper arms out. Play with this in caturanga and bhujangasana. In adho mukha svanasana, note that it's an overhead plane pose, so the upper arms must spin out first to create the expansion, and then keeping that re-anchor through the index knuckles by spinning the forearms in.
  
• Virabhadrasana 2, trikonasana: In the side plane, you'll know the spirals of the arms are balanced if the eye of the elbow is facing in the same direction as the crown of your head. This requires a huge external rotation in the upper arms, but it must be anchored into the strong resistance of the forearms spinning in.
  
• Vasistasana: This is also a side plane pose, but as it's weight-bearing in the arms, it's a little more challenging to get the spirals aligned. When you come into the pose, first check to make sure the wrist crease is parallel to the front of the mat. I often find that in the transition to the side plane, the hand rotates inward. Then expand into the fullness of yourself, and draw the upper arm back. You can rock this pose with that single fold. To add depth, spin the forearm in to anchor more powerfully through the index knuckle, and then externally rotate the upper arm (without losing the anchoring through the index knuckle!) until the eye of the elbow is pointing straight toward the top of your mat. Yes that far.
• Pinca mayurasana: In pinca mayurasana, a common tendency is for the upper arms to roll in too much, which can tweak the anterior deltoid. So a good practice is to work with a focus on the external rotation of the upper arms. In setting up for the pose, place your palms face up on either side of a block, so that the middle of the wrists are pressing up into the middle of the block. Starting with the palms face up emphasizes external rotation in the arms, and once you're in the pose (arms overhead), this will create a widening of the upper back. If you have a friend to practice with, have them stand so that they can press your thumb pads toward the floor with their big toe mounds. If you're practicing on your own, establish the external rotation in your arms, and then either stay with the palms face up or, (my favorite), flip the forearms in, so that you're holding the edges of the blocks. When the forearms spin in, it reconnects the shoulder blades flat on the back in a yummy way.
• Parsvakonasana: This is an overhead plane pose, but start with the arm extended at 90 degrees from your body (front plane), as it's easier to establish good alignment here. Lengthen the sides of your waist, then anchor the armbone back. Again, this single fold is powerful, and infinite possibilites arise from just this action. To add the spirals, spin the palm to face down (forearm in) and then externally rotate the upper arm so that it locks back into the shoulder socket (the palm will face toward the front of your mat if you exaggerate). Then keeping the armbone plugged evenly back into the shoulder socket, take the arm overhead. Lastly, spin the palm face down one more time.
• Parsvakonasana (bound form): The spirals of the arms are really important folds to do when binding, as they help make space for the bind (expanding spiral) as well as anchor the arm bone back in this more challenging position of the back plane (contracting spiral). Start with your top arm behind your back and the back of the palm in the small of your back. Inhale and expand on the inside into your fullness, then draw the upper arm back. To create an expanding spiral, spin the forearm in so that the pinky presses more into your back. That will help you create more length and space. Then keeping that, turn the whole upper arm out until the arm bone locks back into the shoulder socket. Then take the bind.
• Padangusta arm variations (eka pada rajakaptosana, dhanurasana, natarajasana): Do some thigh stretches before these backbends, and then we'll use the spirals to learn the padangusta grip for the overhead plane in backbends. In any of these poses, start by holding your foot from the outside (pinky toe side) with the palm face up. In this way, you'll begin with more of an external rotation in the arm. Expand and lift on the inside, and draw the armbone straight back into the shoulder socket. Oftentimes, students feel stuck in the shoulder when trying to rotate the arm from here to overhead, and this is an indication that there's not enough space for good integration. Creating an expanding spiral (forearm in) will help make more space, then reset the upper arm spinning externally, then swing the arm overhead.
  

Ganesha and the Grantas

That pain in my right wrist came back again recently, and as always it led me to slow down, deepen my understanding, and learn something new in order to deal with it.

Obstacles have a way of doing that. Anytime we come up against an obstacle, in our practice or in our lives, it can be an invitation to a deeper engagement. That's not to say that the obstacles we encounter are "blessings" (a wrist injury, or any hardship, is hard to see as a blessing), but they are always opportunities. When we're stopped in our tracks by something, we have to pause, slow down, look more carefully, and find a way to engage that is going to advance our practice and our lives.

This is the gift of Ganapti (aka Ganesha, or the one with the head of an elephant). He's often called the Remover of Obstacles, but I don't see him that way. He's an elephant. (Ever hear of the elephant in the room?) He's that thing that's in your way, that threatens to crowd everything else out. In my mind, it's not like Ganesha swoops down and removes obstacles in your path; rather, his story (which is our story) reminds us that when we choose to engage that which lies in our path, we will see it not just as an obstacle but as an opportunity.

His story (at least one of them) goes like this:

One day, Ganesha asks his friend Vyasa, a great sage, to tell him the story of the Mahabharata. Vyasa agrees, but says that if he's going to tell it Ganesha must write it down. Ganesha agrees, but then raises the challenge by saying that he'll write it down only if Vyasa can keep him interested. And Vyasa again raises the challenge, agreeing but saying that Ganesha must understand every word. And so Ganesha breaks off his tusk and uses it to write out the great epic of the Mahabharata.

To slow down Ganesha's process of comprehension, Vyasa throws in a host of grammatical tangles and plot twists and digressions. These are the grantas ("knots"), and if you've ever heard the Mahabharata told or attempted to read it, you know that it is indeed a knotted story. But each of these knots invites you to slow down, to look more carefully, to ask what more this might mean. They invite us to savor the story, and chewing on each teaching to reveal the sweetness that's there (it's not for nothing that Ganapati's trunk always reaches for the sweets in his hand).

In dealing with my wrist pain, I had to slow down and chew on some teachings in order to get a new revelation. My practice led me to work on the spirals of the arms, which I have often forgotten to engage because they can be so confusing and besides, I told myself, they are really refinements that aren't so important if you engage even Muscle and Organic Energy. Of course, I discovered that this was not the case. OK, understanding the spirals of the arms can seem as difficult as untangling the story of the Mahabharata, but they make all the difference.

PRINCIPLES:

• Open to Grace: Have the courage to see that whatever obstacle presents itself to you in your path, it can be an opportunity for you to create a deeper engagement. That kind of openness translates into the body as an inner expansion, including through the sides of the torso from the waistline all the way up through the sides of the throat. There's also a natural softening and release when you realize you don't have to remove the obstacle, you can only engage it.
  
• Muscle Energy: When you engage muscle energy in the arms, drawing from the tips of the fingers to the focal point, the upper arm bones will plug back (to the back plane) in the shoulder sockets. Remember that Muscle and Organic Energy are primary energy flows in the body, and so this engagement will stay constant even as you add the refinements of the spirals of the arms.
  
• Expanding Spiral: Here's where things get a little knotted, and it will require a deeper engagement and understanding to work with the spirals of the arms. The expanding spiral of the arms and shoulders creates a widening of the upper back, and so it always comes first (always make space before you contract). Most of the time this is created by rotating the arms internally. You'll feel this primarily by turning the forearms in, so that the palms face backward (the inner rotation of the upper arms would compromise the muscle energy of the arm bones into the shoulder socket). The exception to all of this is when the arms are in the overhead plane, where the expanding spiral is created by spinning the arms externally. Try it out just standing in tadasana, first with the arms by your sides, and then with the arms overhead, to feel the effects on the upper back of spiraling the arms. If this is confusing, don't worry. Stay with me; it's worth slowing down and taking the time to get this.
• Contracting Spiral: The contracting spiral of the arms and shoulders narrows the upper back, hugging the shoulder blades (in particular the bottom tips of the shoulder blades) more toward the midline, and driving the head of the humerus more deeply into the shoulder socket. In most of the planes of the arms, the contracting spiral is created by rotating the arms outward (this is particularly activated in the upper arms, as the forearms must stabilize in their inner rotation to maintain the expanding spiral). Again, there's an exception: when the arms are in the overhead plane, the forearms rotating in toward the midline will create the re-engagement through the upper back of a contracting spiral. All this is to say that, in all cases, the forearms rotate inward and the upper arms rotate outward. However, the order in which you engage these rotations depends on the plane of the arms. When the arms are overhead (like in downward-facing dog, handstand, forearm-stand, urdhva dhanurasana, etc.), the upper arms must spin out first in order to make space for the contracting spiral of the forearms spinning in. In all other planes (neutral, front, side, back), the forearms must turn in first in order to expand the upper back to make room for the contracting spiral of the upper arms spinning out. Are you with me?
• Organic Energy: Thankfully, return this basic energy flow of extending out from your core. You've done the work, and transmuted what may have seemed like a knotted process into a deepening engagement of the shoulder girdle. Now just stretch from the active focal point out through the limbs.
  

PRACTICE:

• Tadasana: Experiment with the spirals of the arms in their five planes (neutral, side, front, back, and overhead). Notice how when the forearms rotate in, the upper back expands in all planes except in the overhead plane, where this pattern is reversed. Similarly, you'll feel how when the upper arms spin out, the upper back contracts in all planes except in the overhead plane. Remember that in all of this, the spirals of the arms are refinements that come within the larger context of Opening to Grace, and Muscle and Organic Energy, so as you play with them, keep the lift in the side bodies and the engagement of the humerus back into the shoulder socket.
  
• Surya namaskar: Add the spirals of the arms as refinements in surya namaskar. Pay close attention in the transition from plank pose to caturanga: once you've engaged through the arms, bend your elbows slightly wide to the side as you rotate your forearms in. Your index knuckles will get heavier from this action. Keep them rooted into the floor as you externally rotate the upper arms and move into caturanga. In cobra pose, start with a fullness on the inside and a softness on the outside, then engage through the arms. As in caturanga, bend the elbows slightly out to the sides (without losing the engagement of the upper arms to the back plane!) to initiate the expanding spiral through the forearms, then keeping the index knuckles rooted, spin the upper arms out and stretch the pose.
• Test the spirals of your arms: To see which arm tends to spin more externally and which tends to spin more internally, try this: Bring your arms out in front of you palms face up, as if carrying a tray. Turn your right palm down keeping your left palm up. Then turn both hands the other way, left palm down and right palm up. Do this several times and notice if there's resistance in the muscles of the forearm when you move toward the external rotation (toward palm up). If so, that arm is more internally rotated. In an informal survey of Nerds, it was unanimously the case that the side where the forearm was more rotated inward (ie, resisted turning the palm face up) was the one that had more trouble in the wrist, elbow and shoulder.
  
• Prasarita padottanasana with shoulder stretch: When the hands are clasped behind the back, it's more natural to place the hand on top that corresponds to the forearm that is more internally rotated. Let me say that another way: the hand that's on top will naturally spiral in more because of the form of the pose, and so it will be more natural to place that hand on top. Notice if that's what you do when you clasp hands. Now bring the opposite hand on top. I've found that if you practice these clasps with the more externally rotated arm on top, it will help balance out the musculature through the arms and shoulders over time. Do the shoulder stretch this way. When you activate the spirals of the arms, to get the forearms to turn in more bend your elbows and widen them, pressing the index knuckles toward each other, then spin the upper arms out.
• Virabhadrasana 2, Trikonasana, Vasistasana: Both of these poses have the arms in the side plane. In this plane, you'll know the spirals of the arms are balanced when the eye of the elbow (the soft, inner part) is pointing in the same direction as the crown of your head (i.e. straight up in Vira 2). I find it hard to get that degree of spin without some resistance so try holding your forearm in with one hand while you externally rotate the upper arm.
• Parsvakonasana: This is an overhead plane pose, so it's a little trickier. One way to feel the spirals is to back out of the top arm so that the arm is pointing straight ahead (front plane) instead of overhead. Here, lengthen the side of the torso and draw in so that the upper arm moves back. Keeping that spiral the forearm in by pressing the index finger toward the floor, as if into some resistance; then rotate the upper arm out to get it more deeply integrated into the shoulder socket. With this action, now stretch the arm overhead. When the arm is in the overhead plane, you can re-activate the spirals, spinning the upper arm out first (so the palm faces back behind you) to widen the upper back, and then spinning the forearm in (so the palm faces the floor).
• Adho mukha svanasana: Again, we have the arms in the overhead plane, so the outer spiral of the upper arm must come first. But remember, before you engage the spirals, first soften and open, and then engage the arms to the back plane. For the expanding spiral, lift the inner upper arms toward the sky, and then re-anchor through the index knuckles into the earth to feel the shoulders connect more deeply on the back. Keeping those two spirals going, extend the pose.
• Adho mukha vrksasana: I found that working the spirals of the arms in handstand helped to keep my wrist clear. When you're up, just like in dog pose take the inner upper arms back, and keeping that action strong, press again through the index knuckles.
• Pinca mayurasana: This one is a great pose to play with the spirals, because you can change the foundation to emphasize one or the other. Try the pose with the palms face up (with your wrists pressing up into a block for extra stability). This emphasizes a strong external rotation of the upper arms. (If you have a practice buddy, have them press your thumb pads to the floor while you're in the pose to really feel this). If you start with your arms in this position, the external rotation of the upper arms will give a widening in the upper back once you're up (overhead plane). With that established, try flipping the palms back down or to hold the edges of the block to re-engage the shoulder girdle.
• Parsvakonasana bound: The bound poses can certainly feel tangled, but if you use the spirals of the arms you can get more space for the bind. Try it first in a prep pose, with the top hand just to the small of your back (back of your hand pressing up against your back). Here, lift through the side of the torso and then draw the upper arm back in the shoulder socket. Keep that as you work with the spirals. To get more of the expanding spiral, rotate the forearm in so that the pinky presses up against your back. Notice how you can get more length and space this way. Now spin the upper arm out to open the shoulder girdle back. Once you feel it in the prep pose, try the full bind.
• Eka pada rajakapotasana thigh stretch: If you do this pose with the back hand pressing down into the foot (fingertips forward and elbow to the sky), the spirals of the arms will help open the shoulder stretch even here. Press your index knuckle down into your foot, widening your elbow slightly to the side, then lift and open the upper arm out.
• Dhanurasana: I wasn't sure I'd ever like this pose again, as it would always pull on my wrist in an uncomfortable way. But it works! Hold your ankles with your feet flexed, and when you're up, press your index knuckles up against your ankles (that's expanding spiral) and then spin the upper arms out.
• Purvottanasana: You can try this pose with the fingertips pointing forward, to the sides, or back. My favorite is forward, because it gives me the greatest access to the expanding spiral (turning the forearms in toward the midline), which in turn gives me greatest access to the contracting spiral (lifting the inner upper arms and spinning them out), which just feels great.
• Setubandha: I figured out a new way to do this while playing with the spirals. Before going up, bend your elbows to the floor (fingertips point up, palms face in). Lift through your inner body and soften into the floor. Now root the upper arms down. Keeping that, turn the palms to face forward, as if pressing up against some resistance. The upper back will widen and you'll have greater access to opening the upper arms in external rotation. Now go up, keeping the palms face forward.
  
• Urdhva Dhanurasana: This was the pose that was the pose that was always hardest with the wrist injury, and it was where I really healed my wrist. Start by pressing to the top of your head and pause there to engage all of the principles. Plug the arm bones back through muscle energy before working on the spirals. When on top of your head, the arms are in the front plane, so spin the forearms in first, bringing the elbows slightly wide to access this more. Then keeping heavy through the index knuckles, rotate the upper arms out and go up. Once in the pose, the spirals are reversed. So to re-engage, draw the inner upper arms back, then keeping them moving back, re-anchor through the index knuckles. Oh this feels good.
• Sarvangasana: This pose requires a lot of power and opening in the upper back to get all of the vertebrae off the floor, and the spirals of the arms really help. Go to plow pose first, then clasp hands behind your back (place the hand on top that tends to outer spiral more, as we did in the earlier shoulder stretches). Bend your elbows into the floor, bringing your clasped hands up away from the floor. Once you have strong muscle energy, with the upper arms down, turn the forearms in (index knuckles toward each other) and the open the upper arms out. Notice how that helps to draw the bottom tips of the shoulder blades more to the midline. Curl your head back and then placing your hands on your back stretch up into the pose. If you find that any of your vertebrae are on the floor, go back to the clasped hand variation to re-engage the spirals and lift off.