To release from this pose, on
exhalation bring your gaze back to the floor (if its not already), lower the left leg back down to the floor and return to Warrior II.
Not exact matches
With each inhalation, slightly lift and lengthen the torso, and with each
exhalation extend your torso and try to
bring it a little bit closer to the legs without rounding your back.
Simply
bring your awareness to the sensations of your natural inhalations and
exhalations.
After you observe how it feels to relax your hand for few breaths, try to
bring the same feeling to your
exhalation (as if you were deflating), and then linger at the end of the
exhalation for a second or two, whatever feels comfortable.
Bringing your full attention to keeping your inhalations and
exhalations the same length occupies your mind, giving it a much need break from its usual hum of activity.
Use an inhalation to
bring your left leg back to center, and on an
exhalation release to Tadasana.
But most of us walk around the world breathing unconsciously, unaware of the cyclical nature of the inhalations and
exhalations that
bring us from dawn'til dusk.
Once you've established each of these physical positions,
bring your attention to the movement of your breath — the inhalations and
exhalations — noticing its effects throughout your body.
Bring both knees to the chest on
exhalation and, clasp your hands around them.
To exit the pose
bring your hands onto your back again, lift back into Sarvangasana with an
exhalation, then roll down onto your back, or simply roll out of the pose on an
exhalation.
Bring your hands to the floor on either side of the right foot, and on an
exhalation, step your left foot forward to meet your right.
Upon
exhalation; bend down at the hips and
bring your arms to the floor next to each foot or rest your hands on the back of the ankles.
· Lymphatic Yoga motions: neck motion — slowly lift your chin to the ceiling and look up, while inhaling slowly;
bring it down, on a slow
exhalation and look at the heart (Repeat 3X).
Stay here for five breaths and on your last
exhalation,
bring the hands down.
On an
exhalation, slowly release from the pose and relax for a few breaths by
bringing the forehead down to the floor.
With your arms by your sides and palms facing down, push your hands against the floor; on an
exhalation, contract your belly,
bring your knees toward your torso, curl your torso into a loose ball, and lift your feet off the floor.
On your next
exhalation, slide one hand past your ear to cup the back of your head,
bringing your weight onto your forearm.
This show may not offer any big new revelations about the nature of the circle, but it
brings together a magnificent, occasionally mad cornucopia of rounded works, from the London Underground sign from Oval station to magical pieces of Zen Buddhist calligraphy, created during a single
exhalation of breath; from Marcel Duchamp's Anaemic Cinema, a whirling «psychedelic» animated film from 1925, to Chicago artist Theaster Gates's A Complicated Relationship between Heaven and Earth, in which a stuffed goat on a tricycle, originally used in Masonic ceremonies, runs noisily round a circular railway track.