Kathryn Budig breaks down the components of this advanced arm balance then wraps it all together with how-to instructions for getting into this elusive peak pose.
Move with confidence into Flying Pigeon with these step-by-step prep poses from YJLIVE presenter Kathryn Budig. Want more yoga inspiration, practice and pose tips? Take our 21-Day Yoga Challenge, graduate and get a chance to be on YJ’s cover!
Flying Pigeon is one of those poses that will stand out in my memory forever. I was in shock the first time I saw a teacher demonstrate this arm balance. She was effortless, and shockingly tiny for such a seemingly powerful pose. I knew it had to be mine. I proceeded to try with zero success and left baffled.
With time, practice, and fantastic teachers, I eventually wrapped my brain around the mechanics of the posture and now love it. Mastering an advanced asana like this one isn’t as simple as just doing the pose—you have to understand the different components needed to turn it into a whole. In the following sequence, I’ve broken down the core work needed to maintain the pose, ways to open and strengthen the hip (since this is such a massive opener), and a pose to challenge balance as it is a low-flying posture. Then I’ll wrap it all up with the full burrito—how to tackle the peak pose itself.
Enjoy and be patient. Remember that working any of these preps will only make you stronger, just accept that your body will deliver exactly what it can and should be doing in this moment.
Clean design, which reinforces the sense of visual cleaning of an apartment by Cadi Arquitetura
Architects: Cadi Arquitetura
Location: R. João Matte Sobrinho, Brazil
Year: 2016
Area: 1.539 ft²/ 143 m²
Photo courtesy: Cristiano Bauce
Description:
“Before moving to Lajeado, in Rio Grande do Sul, mother and daughter lived in a large house with a backyard, in Santa Cruz do Sul. Despite the choice of an apartment as a new home, the matriarch did not want to give up the entrance of light and the presence of green for the new home. That is why the project integrated the social area creating a great light and airy environment.
Even offering plenty of natural light, it needed to bring a little more green into apartament. The solution found was to line the wall that starts in the entrance hall and ends in the kitchen with a wallpaper that in addition to the vibrant emerald green color, stamped with several palm leaves and creates the feeling of jungle inside the house.
In addition, organization was the key word of the project. At the customer’s request, exposed utensils, niches, shelves and any exposed furniture were prohibited in the project. And the kitchen of the apartment, which was totally open, did not please much.
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To solve the question of the kitchen very exposed, a slat of wood brought privacy and delimited the spaces better. The high kitchen countertop also helped with this, and it also provided support for a table where the family dines from day to day.
We bet on the joinery with clean design, which reinforces the sense of visual cleaning. This minimalist aesthetic is present throughout the project, which is marked by the neutral base, enclosed spaces and few objects of decoration.”
Inclusivity Training: 4 Ways Teachers Can Hurt Students with Language
You may quickly pick up on outdated alignment cues, but what about common words and phrases that inherently single out gender, ability, race, socioeconomic status, or age? Learn how to realign your language in yoga class.
Sign up now for Yoga Journal’s new online course Inclusivity Training for Yoga: Building Community with Compassion for an introduction to the skills and tools you need as a teacher and as a student. In this class, you’ll learn how to better identify student needs, make compassionate and inclusive language choices, gracefully offer pose alternatives, give appropriate assists, reach out to neighboring communities, and expand and diversify your classes.
As yoga teachers and students, we quickly pick up on alignment cues that make no sense or promote misconceptions about anatomy (think about doing Triangle Pose “between two panes of glass”), but we may not be as fast to catch common words and phrases that inherently single out, or exclude, gender, ability, race, socioeconomic status, or age. Here are four ways teachers may be inadvertently hurting their students and suggestions for how to realign language in class. Make yoga synonymous with ahimsa, or non-harming, so all students feel welcomed and included.
4 Common Language Misalignments in Yoga
#1: Pose value assumptions: “Now to move into the full pose…” and “The full expression of this posture is…”
Suggestion: Instead of placing more value on some versions of a posture over others, try using language like, “Another variation of this posture can be…,” or, “If you want to try another version…”
A great way to reveal the unintentional and hidden biases we bring with us to our yoga classes is to reflect on our personal relationship to the practice. Notice if you place a hierarchy on certain poses. Are some “better” than others? Do you use language that describes a posture as the full expression? If so, what message does this send to the practitioner who may never achieve that form? The more we reflect on our own practice, the more we will become aware of the language and lenses we use with our students.
#2: Body image assumptions: “This posture is a great way to get rid of your belly fat.” and “Let’s shed those holiday pounds.”
Suggestion: Be conscious of the language you use when talking about yoga and the body. Notice if you tend to project your relationship with body image and yoga onto your students. Stay focused on what the posture is doing in the moment with the bodies you have in front of you. Try language that does not focus on losing weight or altering the bodies of your students. Our relationships with our bodies can be deeply personal, and as teachers it is our responsibility to not make decisions about how our students’ bodies should look. Also, always be aware of who is in your class. Notice if you place more value on certain body types when talking about physical yoga postures.
#3: Gender assumptions: “Men typically have tighter hips than women in this pose.” and “Men have stronger upper bodies than women.”
Suggestion: Stay away from making body and gender generalizations, especially if you are not certain about the gender identity of your students. For example, do you assume someone can’t get into a hip-opening pose based on the way they look? Or do you talk in terms of just two genders? Also, notice if your assumptions privilege a certain gender over others. An easy way to become more aware about the gender identity of your students is by including a question about preferred pronouns on your student information sheet.
#4: I’ll never get it right
Have you ever caught yourself thinking: “It seems like no matter what, I am going to get it wrong.” Or if you are a yoga teacher, “I have too many students to be able to cater to each individual need.” Or “This is yoga. I don’t have to be concerned about inclusivity and diversity because we are all one.”?
Suggestion: Just like your yoga practice probably did not happen overnight, the ways in which you teach and the language you use won’t evolve instantly either. This takes practice, too! You are not expected to get it right the first time, but you are expected to move from a place of compassion and love yourself throughout the process.
The definition of yoga is simply to join, to yoke, and to unite. If yoga teachers truly believe in the sacred teachings of yoga, then they should be open to reflecting on ways to be more inclusive through our practice, words, and teachings, uniting students with language that builds trust and safety within our yoga classes. Above all, be mindful of your assumptions and get to know your students—why they are there; where they come from; and what practices are best for them.
The family house is located in steep terrain on a narrow land in a densely built-up part of town. Have these conditions determine the first architectural constraints. On the one hand, this place offers a panoramic view of the city, on the other hand view of the green, tranquil gardens and fruit trees. The house is artfully fitted into the hillside, so that it fully utilizes the possibilities of the space.
Thanks to setting the house away from the street front, the space was created for a small garden overlooking the city. The height difference between the street level and the first floor is used for carport, covered with greenery. This has managed to create one continuous space, which continues from the front garden to the rear garden. Thanks to the glass walls on both sides of the house is the room visually connected and green becomes part of the interior.
Another practical feature is the second floor overhangs that provide cover and allow both terraces and seating outside in any weather. Besides overhangs serve as an effective shielding of the glazed surfaces so that they do not overheat the interior in the summer.
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A center of daily life is the living room with original fireplace. The client had a clear idea of the spatial structuring of the interior, which is timeless, airy and pleasant. On the first floor there is a living room, kitchen and dining room, and the whole space is naturally connected with the view of the front and rear green garden. On the second floor there are bedrooms, two children’s rooms with city views and a master bedroom overlooking the garden. At the top level of the house there is another roof garden with panoramic views of the city, which you can access along the small private home office. Staircase is another significant feature of this house, it stretches from the bottom up, and instead the railings practical furniture cubes are used.
Architecture of the house arose naturally. The basis was the spatial concept of the interior and the possibility of lighting and height possibilities of the property must have been also taken into account. The result is a timeless home that directly radiates peace and comfortable family life.
You’d think that people
Would’ve had enough of silly love songs
But I look around me
And I see it isn’t so
Some people want to fill the world
With silly love songs
And what’s wrong with that?
I’d like to know
Cause here I go again
I love you
I love you
I love you
I love you
(I love you)
I can’t explain
The feeling’s plain to me
Now can’t you see?
(I love you)
Ah, she gave me more
She gave it all to me
Now can’t you see?
What’s wrong with that?
I need to know
Cause here I go again
I love you
I love you
Love doesn’t come in a minute
Sometimes it doesn’t come at all
I only know that when I’m in it
It isn’t silly
Love isn’t silly
Love isn’t silly at all
How can I tell you about my loved one?
How can I tell you about my loved one?
(I love you)
How can I tell you about my loved one?
(I love you)
How can I tell you about my loved one?
I love you
I love you
I love you
(I can’t explain, the feeling’s plain to me, say, can’t you see?)
I love you
(Ah, he gave me more, he gave it all to me, say, can’t you see?)
I love you (I can’t explain, the feeling’s plain to me, say, can’t you see?)
(How can I tell you about my loved one?)
I love you
(Ah, he gave me more, he gave it all to me, say, can’t you see?) (How can I tell you about my loved one?)
I love you
(I can’t explain, the feeling’s plain to me, say, can’t you see?)
(How can I tell you about my loved one?)
I love you
(Ah, he gave me more, he gave it all to me, say, can’t you see?) (How can I tell you about my loved one?)
You’d think that people
Would’ve had enough of silly love songs
But I look around me
And I see it isn’t so
Oh, no
Some people want to fill the world
With silly love songs
And what’s wrong with that?
「地底下本為大蓄水庫，如何善用我們的地下水庫（making better use of our largest reservoir）是聯合國教科文組織的研究所提出之本世紀蓄水空間新思維。」屏東科技大學工學院長丁澈士長久來關注地下水庫的利用，這幾年，屏東縣政府在來義、萬巒與新埤鄉交界，開挖大潮州地下水人工補注湖，便成為一項重要的觀察指標。
[Verse 1]
Stuck inside these four walls
Sent inside forever
Never seeing no one nice again
Like you, mama
You, mama
You
[Segue]
[Verse 2]
If I ever get out of here
Thought of giving it all away
To a registered charity
All I need is a pint a day
If I ever get out of here
If we ever get out of here
[Segue]
[Verse 3]
Well, the rain exploded with a mighty crash
As we fell into the sun
And the first one said to the second one there
“I hope you’re having fun"
[Hook]
Band on the run
Band on the run
And the jailer man and Sailor Sam
Were searching everyone
For the band on the run
Band on the run
For the band on the run
Band on the run
[Verse 4]
Well, the undertaker drew a heavy sigh
Seeing no one else had come
And a bell was ringing in the Village Square
For the rabbits on the run
[Hook]
Band on the run
Band on the run
And the jailer man and Sailor Sam
Were searching everyone
For the band on the run
Band on the run
Yeah, the band on the run
Band on the run
Band on the run
Band on the run
[Verse 5]
Well, the night was falling as the desert world
Began to settle down
In the town they’re searching for us everywhere
But we never will be found
[Hook]
Band on the run
Band on the run
And the County Judge, who held a grudge
Will search forevermore
For the band on the run
Band on the run
Band on the run
Band on the run
Hey, Jude, don’t make it bad
Take a sad song and make it better
Remember to let her into your heart
Then you can start to make it better
Hey, Jude, don’t be afraid
You were made to go out and get her
The minute you let her under your skin
Then you begin to make it better
And anytime you feel the pain
Hey, Jude, refrain
Don’t carry the world upon your shoulders
For well you know that it’s a fool
Who plays it cool
By making his world a little colder
Da da da da da da da da da
Hey, Jude, don’t let me down
You have found her, now go and get her
Remember to let her into your heart
Then you can start to make it better
So let it out and let it in, hey Jude, begin
You’re waiting for someone to perform with
And don’t you know that it’s just you,hey Jude you’ll do
The movement you need is on your shoulder
Da da da da da da da da da
Hey, Jude, don’t make it bad
Take a sad song and make it better
Remember to let her under your skin
Then you begin to make it better…
Saturday 26 August 2017 07.00 BSTLast modified on Saturday 26 August 2017 07.36 BST
Adam Arnesson, 27, is not your usual milk producer. For starters, he doesn’t have any dairy cattle. Our first photo opportunity is in the middle of one of his fields of oats.
Until last year all these oats went into animal feed, either sold or fed to the sheep, pigs and cows he rears on his organic farm in Örebro county, central Sweden.
With the support of Swedish drinks company Oatly, they are now being used to produce an oat milk drink – tapping into the growing market for dairy alternatives across the country.
Livestock still provides most of the income of the 80ha farm Arnesson runs in partnership with his parents. But he wants that to change.
“The natural thing for us would be to increase our livestock numbers, but I don’t want a factory,” he says. “The number of animals has to be emotionally right so I know each of them.”
Instead, Arnesson wants to grow more protein crops, such as oats, and sell them for human consumption rather than for feeding to livestock to produce meat and dairy.
The rearing of livestock and meat consumption accounts for 14.5% of global greenhouse gas (GHG) emissions. Alongside carbon emissions from deforestation (for pasture or crops to feed animals), the livestock sector is also the single biggest human-related source of methane (from cattle) and nitrous oxide emissions (from fertiliser and manure), two particularly potent greenhouse gases.
On current trends, by 2050 we will be growing more crops to feed directly to animals than ourselves. Even small shifts to feeding crops to humans instead of livestock would lead to significant increases in food availability.
One company promoting itself heavily on the back of its claim to be tackling this issue has been Oatly. It has been causing controversy – and has even been the target of legal action from a Swedish dairy trade group – with its outspoken attacks on the dairy sector and its related climate emissions.
Ditch the cows, drink oat milk and save the planet, has been the gist of its marketing messaging, which has included a promotional video of CEO Toni Petersson singing “Wow, no cow’ in a field of oats.
Petersson says the company is just “telling people what the science tells us about the need to consume more plant-based foods”.
Arnesson’s drink was branded as “Gammeldags Hafvredryck” (Swedish for old-fashioned oat drink) because of his use of a less commonly grown oat variety. Photograph: Tom Levitt for the Guardian
The Swedish Food Agency – while it highlights the benefit of grazing animals for producing a “rich agricultural landscape” in the country – warns people against consuming too many dairy products, due to the climate impact of methane gas emissions from cows.
However, Arnesson says many farmers in Sweden believe Oatly is demonising dairy farmers.
“I had a lot of arguments on social media with other farmers, because I thought what Oatly was doing could bring better opportunities to our sector,” says Arnesson, who decided to contact the company in 2015 to see if they could help him switch away from livestock.
For Oatly, the timing was ideal. It buys its oats from a wholesaler as it says it does not have the scale to mill and process itself, but saw Arnesson as an opportunity to demonstrate how it could help transition farmers away from livestock farming.
By late 2016, Arnesson had his own limited edition range of Oatly-branded oat milk complete with a national video campaign.
“Quite a lot of farmers had a bad image and perhaps even hated us,” says Cecilia Sjöholm, head of communications at Oatly. “But we’re very much pro-farmer.” Petersson adds: “We want to be a catalyst company. We can help farmers move away from animals to plant production.”
So far, Arnesson says, he has faced little hostility from his neighbours for collaborating with Oatly. “It was kind of surprising but other dairy farmers have been to my [farm] shop and like the oat milk. One came and said he likes cow’s milk and oats too. It’s a Swedish thing to eat oats. The anger is not as strong as it seems on Facebook.”
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The company played upon the heritage of oats in the Swedish diet by branding Arnesson’s limited edition range as “Gammeldags Hafvredryck” (Swedish for old-fashioned oat drink) because of his use of a less commonly grown oat variety.
After the first year of producing oats, analysis by researchers at the Swedish University of Agricultural Sciences found that Arnesson’s farm was producing double the amount of calories for human consumption per hectare and had halved the climate impact of each calorie produced.
At present, Arnesson admits that growing the oats for milk is only viable with Oatly’s support of a guaranteed market. But with the growth of the company – it produced 28m litres of oat milk in 2016 and plans to have a capacity of 100m by 2020 – he hopes that changes in the near future.
“I don’t want to take pride from having a tractor or producing 10 tonnes of wheat or a sow with 10 piglets, but in feeding and preserving the planet – that is one of the big things I want as a farmer to be involved in changing,” says Arnesson.
Oatly said it plans to work with three more farmers to demonstrate the environmental benefits of switching from livestock to more crop production. But Arnesson says livestock farmers need government support in order to do so in large numbers.
“Converting to growing oats won’t be viable for everyone and not for those dairy farmers that have built up a large farm business. But we need to start talking about farming in a different way. About the opportunities and not just the problems,” he says.
Since you’re here …
… we have a small favour to ask. More people are reading the Guardian than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help. The Guardian’s independent, investigative journalism takes a lot of time, money and hard work to produce. But we do it because we believe our perspective matters – because it might well be your perspective, too.
I appreciate there not being a paywall: it is more democratic for the media to be available for all and not a commodity to be purchased by a few. I’m happy to make a contribution so others with less means still have access to information.Thomasine F-R.
If everyone who reads our reporting, who likes it, helps to support it, our future would be much more secure.
In my healing journey and learning to attain the breath awareness, I become aware of the reality that all the creatures of the world are breathing the same breath. Take action, here and now. From my physical being to the every corner of this out of balance’s planet.
《 Paul McCartney – While My Guitar Gently Weeps (06:32) 》
[Verse 1]
I look at you all see the love there that’s sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps
[Verse 2]
I don’t know why nobody told you
How to unfold your love
I don’t know how someone controlled you
They bought and sold you
[Verse 3]
I look at the world and I notice it’s turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps
[Verse 4]
I don’t know how you were diverted
You were perverted too
I don’t know how you were inverted
No one alerted you
[Verse 5]
I look at you all see the love there that’s sleeping
While my guitar gently weeps
Look at you all
Still my guitar gently weeps
[Verse 1: Paul McCartney and Michael Jackson]
Say Say Say
What you want
But don’t play games
With my affection
Take take take
What you need
But don’t leave me
With no direction
[Hook 1: Michael Jackson]
All alone
I sit home by the phone
Waiting for you, baby
Through the years
How can you stand to hear
My pleading for you
You know I’m crying
Oo oo oo oo oo
[Verse 2: Paul McCartney and Michael Jackson]
Go go go
Where you want
But don’t leave me
Here forever
You you you stay away
So long girl, I see you never
[Hook 2: Michael Jackson]
What can I do, girl
To get through to you
Cause I love you baby
Standing here
Baptized in all my tears
Baby through the years
You know I’m crying
Oo oo oo oo oo
(Say, say, say…)
[Bridge: Paul McCartney and Michael Jackson]
You never ever worry
And you never shed a tear
You’re saying that my love ain’t real
Just look at my face these tears ain’t drying
[Verse 3: Paul McCartney]
You you you
Can never say
That I’m not the one
Who really loves you
I pray pray pray, everyday
That you’ll see things
Girl like I do
[Hook 2: Michael]
What can I do, girl
To get through to you
Cause I love you baby
Standing here
Baptized in all my tears
Baby through the years
You know I’m crying
Oo oo oo oo oo
There were rules you never told me, never came up with a plan
All the stories that you sold me didn’t help me understand
But I had to get it worked out, had nobody who could help
So then in the end it turned out that I had to do it by myself
Life’s a game, rags from riches
Dogs and bitches hunt for fame
Difficult to know which way to turn
Lay the blame on the snitches
Wicked witches fan the flame
Careful what you touch in case you burn
Queenie eye, Queenie eye, who’s got the ball?
I haven’t got it, it isn’t in my pocket
O-U-T spells out (out), that’s out (out)
Without a shadow of a doubt
‘Cause you’ve been putting it about (about)
Hear the people shout
Hear the people shout
Play the game, take your chances
Every dance is much the same
Doesn’t matter which of them you choose
Never blame circumstances
If romances seldom came
Never pick a fight you’re gonna lose
(Refrain)
It’s a long way to the finish
When you’ve never been before
I was nervous, but I did it
Now I’m going back for more
Architecture of the house arose naturally. The basis was the spatial concept of the interior and the possibility of lighting and height possibilities of the property must have been also taken into account. The result is a timeless home that directly radiates peace and comfortable family life.
【◎心靈研磨坊 – 曼陀羅藏(Ⅲ)◎】 
【容大千量】