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Natarajasana (Sanskrit: नटराजासन, romanized: Naṭarājāsana), Lord of the Dance Pose [1] or Dancer Pose [2] is a standing, balancing, back-bending asana in modern yoga as exercise. [1] It is derived from a pose in the classical Indian dance form Bharatnatyam, which is depicted in temple statues in the Nataraja Temple, Chidambaram.
The Yin Yoga form of the asana is named Swan Pose, while the Aerial yoga variant, supported in a hammock, is called Flying Pigeon Pose. The basic pose is described in the 20th century by two of Krishnamacharya 's pupils, Pattabhi Jois and B. K. S. Iyengar ; several other variants have been created.
Yoga Journal is a website and digital journal, formerly a print magazine, [3] on yoga as exercise founded in California in 1975 with the goal of combining the essence of traditional yoga with scientific understanding. It has produced live events and materials such as DVDs on yoga and related subjects.
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Another issue is the use that is made of a pose; the existence of a pose in medieval times is not proof that it was used in hatha yoga. For example, Natarajasana, the pose of Dancing Shiva, is depicted in 13th - 18th century Bharatnatyam dance statues of the Eastern Gopuram, Nataraja Temple, Chidambaram, implying, according to Ananda Bhavanani ...
Rodney Yee was born in 1957, the Chinese-American son of an Air Force Colonel, and spent his childhood on military bases in Altus, Oklahoma and Puerto Rico.He was a gymnast during his high school years and later became a ballet dancer, performing with the Oakland Ballet Company and the Matsuyama Ballet Company of Tokyo, Japan.
Kapotasana, Pigeon pose, not to be confused with Rajakapotasana, King Pigeon pose. Kapotasana (Sanskrit: कपोतासन; IAST: Kapotāsana) or Pigeon Pose [1] is a kneeling back-bending asana in modern yoga as exercise. Asanas based on One-legged King Pigeon pose, Rajakapotasana, [2] are also sometimes called "Pigeon".
The pose was unknown in hatha yoga until the 20th century Light on Yoga, but the pose appears in the 1896 Vyayama Dipika, a manual of gymnastics, so Norman Sjoman suggests that it was one of the poses adopted into modern yoga in Mysore by Krishnamacharya. The pose would then have been taken up by his pupils Pattabhi Jois and B. K. S. Iyengar. [4]
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