June 30, 2025 • 16 mins
Not all backbends are the same & that might sound obvious at first, but I can’t tell you how many classes I’ve been in, or even taught in my early years, where backbends were treated as one interchangeable category. Whether it was Cobra, Bow, Wheel, or Camel, I was taught to prepare the body in the same way, taught a sequence full of them, and assumed students would be able to do all of them safely.
Today, we’re going to talk about the differences, plus alternative ways to help your students prepare for specific backbends without just simply backbending…
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Monica (00:00):
Not all back bends are the same, and that might sound
obvious at first, but I can'ttell you how many classes I've
been in or even taught in myearly years where back bends
were treated as oneinterchangeable category,
whether it was Cobra Bow.
Wheel or camel, I was taught toprepare the body in the same
(00:21):
way, taught a sequence full ofthem and assume students would
be able to do all of themsafely.
Today we're gonna talk about thedifferences plus alternative
ways to help your studentsprepare for specific back bends
without just back bending.
Welcome to the EssentialConversations for Yoga Teachers
(00:43):
Podcast with me.
I'm Monica Bright and I've beenteaching yoga and running my
yoga business for over a decade.
This is the podcast for you.
If you are a yoga teacher,you're looking for support.
You love to be in conversation,and you're a lifelong student.
(01:04):
In this podcast, I'll share withyou.
My life as a yoga teacher, thelessons I've learned, my process
for building my business andhelpful ideas, tools, strategies
and systems I use and you canuse so that your business
thrives.
We'll cover a diverse range oftopics that will help you,
(01:26):
whether you're just starting outor you've got years under your
belt and you wanna dive deep andset yourself up for success.
I am so glad you're here.
Listen, I don't take myself tooseriously, so expect to hear
some laughs along the way.
Now let's do this together.
(01:49):
Welcome back to the podcast.
I'm Monica, and I'm so gladyou're here.
Here is where we get real aboutyoga's role in helping students
with conditions and injuries andwhat you can do to help them
find relief while they're inyour classes.
Today we're diving into a topicthat may challenge how you think
(02:10):
about sequencing and teachingspinal extension, and that's the
point.
Not all back bins are the same.
It might sound obvious at first,but I can't tell you how many
classes I've been in or eventaught in my early years where
back bins were treated as oneinterchangeable category,
(02:30):
whether it was Cobra, Bo Wheel,Camel or even King Pigeon, I was
taught to prepare the body inthe same way, taught a sequence
full of them and assumedstudents would be able to do all
of them safely.
But the truth is, while theseposes all involve spinal
(02:50):
extension, the movement demandsacross the shoulders, hip, the
abdominals and the nervoussystem vary widely.
And if we don't understand thosedifferences.
We may be unintentionallysetting our students up for
discomfort and maybe eveninjury.
First, let me define what I meanwhen I say back bend as.
(03:13):
A back bend is a yoga posturethat involves spinal extension,
which means the front bodylengthens and opens while the
spine moves into a backwardarched shape.
This generally increases theangle between the front of the
torso and the legs and can bepaired with chest expansion and
(03:34):
hip extension.
But here's where we get intotrouble.
We categorize all of thesepostures under back bends as if
they're biomechanicallyidentical and they're not.
Let's look at some examples.
First is bridge pose.
It requires spinal extension,some hip extension and shoulder
(03:55):
extension where the arms reachback and not up and overhead.
Then there's wheel pose.
It requires spinal extension,hip extension, and shoulder
flexion.
Here, the arms reach overhead,which is a different positioning
than in bridge.
Think about camel pose.
(04:16):
It requires spinal extension,hip extension, and shoulder
extension.
If the hands are on the heels,then think about upward facing
dog, which requires spinalextension, hip extension, some
shoulder extension, wristextension, and an active
posterior chain.
(04:38):
And finally, bow pose, whichrequires spinal extension, hip
extension, shoulder extension,and internal rotation when
holding the outside of theankles.
Knee flexion and quad and glutecoordination.
You can imagine the differences,right?
These poses have very differentmovement demands, yet they're
(05:01):
often sequenced back to back orprepped with the same handful of
poses.
So let's hone in on theshoulders because this is one of
the most commonly misunderstooddifferences.
Shoulder extension is when thearms move behind the body, like
in bridge pose, camel pose, orupward facing dog with a hand
(05:24):
slightly behind the torso.
Shoulder flexion is when thearms move overhead, like in
wheel pose, or say king pigeonor king dancer, where the arms
are reaching up and back.
The muscles required and thecommon limitations are different
and shoulder flexion.
(05:44):
You need good movement of thelats, pecs, and Terry's major,
as well as strength and controlin the upper back.
And rotator cuff muscles thatsurround the scapula in shoulder
extension, tightness in thepecs, anterior deltoids or
biceps could contribute tolimited movement.
(06:05):
If a student struggles in bridgepose with their arms reaching
under them, it's not necessarilya good sign that they'll be
ready for wheel pose.
They may lack the flexion neededfor that overhead reach, even if
they're strong in extension.
So if you're teaching wheel orking pitching, which requires
shoulder flexion and you'reprepping with locust or bridge.
(06:30):
Which use shoulder extension.
These may be useful for thespine and hips, but not for the
shoulder mobility that thoseposes will demand.
I'm gonna say it again, so let'sjust slow down.
Imagine it while I say it.
If you're teaching wheel or kingpigeon or king dancer, which
(06:53):
require shoulder flexion, armsoverhead, and you're prepping
with locust or bridge, which useshoulder extension arms behind
the torso.
This may be useful for the spineand hips, but not for the
shoulder mobility that WheelKing, pigeon or king Dancer
(07:16):
require.
Now let's talk sequencing.
Imagine you're planning a classthat builds to wheel pose common
prep poses might include.
Cobra, locust Bridge and UpwardFacing Dog.
But here's the issue.
Cobra's closed chain, whichmeans the hands are connected to
(07:37):
the floor and it doesn't requireoverhead.
Shoulder flexion.
Bridge also doesn't prep.
For shoulder flexion, it workson shoulder extension and locus
strengthens the back body, whichis great, but the arms are often
either by the sides or inextension.
None of these adequately preparethe shoulder joint for flexion
(08:01):
the wrist joint for extensionwith load or thoracic mobility
needed for wheel.
A better prep sequence mightinclude.
Puppy dog pose to prepareshoulder flexion with spinal
extension.
Wall assisted handstandvariations to safely explore
(08:22):
overhead, arm strength and wristextension with load.
Forearm plank with scapularmovement and control to bring
awareness to its movementsupported bridge with arms
overhead to practice shoulderflexion in a supported
orientation and quad and hipflex are opening for preparing
(08:45):
the lower body.
Now, compare that.
To sequencing for camel pose,which also involves spinal and
hip extension, but with the armsreaching backward, not overhead
for camel, your prep mightinclude low lunges with a chest
(09:05):
expansion.
Think fingers interlaced behindyou to encourage shoulder
extension.
Prone chest openers, like halfbow or a quad stretch, to
prepare the shoulders forextension and stretch anterior
hips and the quads and acrossthe chest.
Think about tricepsstrengthening and biceps
(09:28):
stretching to encourage theexternal rotation and extension
required to hold the heels incamel pose, and finally.
Ankle or foot mobility,especially if students reach for
their heels.
This is often missed oroverlooked.
Can you spend time stretchingthe toes and the soles of the
(09:50):
feet so that when you get tocamel pose and offer the
variation to tuck the toes tobring the heels closer?
Students are already preparedfor the demands of this
movement.
Another thing that's rarelydiscussed in back bend
sequencing is the nervous systemload.
Back bends are inherentlystimulating, and for many
(10:14):
students, they can feelexposing, vulnerable or
emotionally intense.
This is especially true fortrauma survivors or people with
a highly activated sympatheticnervous system.
When you're sequencing backbends, give students choice.
(10:35):
Different entry points, use ofprops, and even permission to
skip.
I recently taught a class and Isaid at the top, we're going to
explore back bending becausestudents are at different phases
of their personal lives wherethey may not be very open to
opening on the frontline.
(10:55):
And it's important to honor thatyou should pair intense spinal
extension with neutralizingshapes.
My favorite is a neutral spineand stillness, as well as slower
transitions that include a focuson the breath.
Be mindful and avoid long heldpassive back bends early on in
(11:18):
class.
Most bodies are not prepared forthis, and it can be very off-put
and extreme.
And finally, cue internalawareness.
You could say notice the pace ofyour breath and how it moves
through your ribs.
Or you may say, acknowledge themovement of your rib cage with
each breath cycle.
(11:40):
Remember, safety and backbending isn't just physical.
I would argue that it's moreemotional and nervous system
triggering as well.
Here are a few sequencingconsiderations that often get
overlooked, but can completelychange how your back bend focus
(12:00):
classes feel.
One, you could train spinalextension at different levels of
the spine.
Not all students extend evenlythrough their thoracic and
lumbar spine.
Think about adding targetedmobility and strength.
If you have access to a foamroller, try thoracic foam
rolling to help with awareness,massage and opening through the
(12:24):
thoracic spine or prone thoraciclifts.
Cue students to place theirhands behind their head or
overhead and lift their chestfrom their mat and you could
incorporate side lying spinalextensions for segmental
awareness throughout the spine.
Next, you could address hipflexor and quad tension with
(12:46):
control.
Don't just rely on stretching.
Use active lunges, you couldinclude pulses, essential quad
loading, think step downs.
So have your students stand onone block, bend the standing
knee and tap the opposite heeldown on the mat with control of
(13:06):
course, and bridge with a blockbetween the knees and a slow
five count for intentional andcontrolled lifting.
Thirdly, think about usingeccentric loading on the
posterior chain.
Slow lowering from bridge or loCobra can strengthen and build
(13:27):
resilience in the tissues usedin back bends.
And fourth, integrate lateraland rotational spinal movement
earlier and throughout class,it's always important to include
a variety of spinal movements.
Practicing rotation can supporthealthier extensions by giving
the spine more space movementand a feeling of overall
(13:52):
fluidity.
So here's the takeaway.
Okay.
Just because one pose is a backbend doesn't mean it prepares
you for another back bend.
As yoga teachers, we must havean inherent understanding of
what each pose asks of the bodyand prepare for that with care,
(14:12):
some creativity and respect forindividual variation.
If you wanna go deeper into howto sequence for spinal
extension, shoulder mobility,pain sensitive students, and
nervous system safety.
This is exactly what I mentoryoga teachers on.
I'm currently working with ateacher who's working deeper on
(14:34):
her sequencing, and she's movingfrom putting poses together to
understanding the effects on thebody and sequencing with
intention.
That's very different whetherit's to prep the body or to
recover and regulate the nervoussystem or to sequence and
include movements that may nothave posed names, but they get
(14:56):
your intended job done.
You don't need to memorize everyjoint direction of movement to
be effective.
You just need to understand howto support the students in front
of you, and that's what I helpteachers do, if you wanna
inquire about working with me,let's jump on a strategy call
and discuss your current needsand ways I can help you right
(15:19):
now.
Understanding anatomy,biomechanics, and the effects
yoga Asana have on the bodyhelps you help your students.
It's so important for us to havethis conversation so that you
remember that students of allshapes, sizes, alignment, and
abilities come to your classes.
And you can serve them all.
(15:41):
You know that my goal is for youto love the yoga teaching life,
and it's important to understandmovement and the issues that
students come to your classeswith.
In the meantime, subscribe tothe podcast so you're always in
the know when a new episodedrops, and share it with another
yoga teacher who you think wouldlove to be in on these
(16:02):
conversations.
and thank you for helping tospread the word about this
podcast.
Alright, that's it for now.
Bye.
Not all back bends are the same, and that might sound
obvious at first, but I can'ttell you how many classes I've
been in or even taught in myearly years where back bends
were treated as oneinterchangeable category,
whether it was Cobra Bow.
Wheel or camel, I was taught toprepare the body in the same
(00:21):
way, taught a sequence full ofthem and assume students would
be able to do all of themsafely.
Today we're gonna talk about thedifferences plus alternative
ways to help your studentsprepare for specific back bends
without just back bending.
Welcome to the EssentialConversations for Yoga Teachers
(00:43):
Podcast with me.
I'm Monica Bright and I've beenteaching yoga and running my
yoga business for over a decade.
This is the podcast for you.
If you are a yoga teacher,you're looking for support.
You love to be in conversation,and you're a lifelong student.
(01:04):
In this podcast, I'll share withyou.
My life as a yoga teacher, thelessons I've learned, my process
for building my business andhelpful ideas, tools, strategies
and systems I use and you canuse so that your business
thrives.
We'll cover a diverse range oftopics that will help you,
(01:26):
whether you're just starting outor you've got years under your
belt and you wanna dive deep andset yourself up for success.
I am so glad you're here.
Listen, I don't take myself tooseriously, so expect to hear
some laughs along the way.
Now let's do this together.
(01:49):
Welcome back to the podcast.
I'm Monica, and I'm so gladyou're here.
Here is where we get real aboutyoga's role in helping students
with conditions and injuries andwhat you can do to help them
find relief while they're inyour classes.
Today we're diving into a topicthat may challenge how you think
(02:10):
about sequencing and teachingspinal extension, and that's the
point.
Not all back bins are the same.
It might sound obvious at first,but I can't tell you how many
classes I've been in or eventaught in my early years where
back bins were treated as oneinterchangeable category,
(02:30):
whether it was Cobra, Bo Wheel,Camel or even King Pigeon, I was
taught to prepare the body inthe same way, taught a sequence
full of them and assumedstudents would be able to do all
of them safely.
But the truth is, while theseposes all involve spinal
(02:50):
extension, the movement demandsacross the shoulders, hip, the
abdominals and the nervoussystem vary widely.
And if we don't understand thosedifferences.
We may be unintentionallysetting our students up for
discomfort and maybe eveninjury.
First, let me define what I meanwhen I say back bend as.
(03:13):
A back bend is a yoga posturethat involves spinal extension,
which means the front bodylengthens and opens while the
spine moves into a backwardarched shape.
This generally increases theangle between the front of the
torso and the legs and can bepaired with chest expansion and
(03:34):
hip extension.
But here's where we get intotrouble.
We categorize all of thesepostures under back bends as if
they're biomechanicallyidentical and they're not.
Let's look at some examples.
First is bridge pose.
It requires spinal extension,some hip extension and shoulder
(03:55):
extension where the arms reachback and not up and overhead.
Then there's wheel pose.
It requires spinal extension,hip extension, and shoulder
flexion.
Here, the arms reach overhead,which is a different positioning
than in bridge.
Think about camel pose.
(04:16):
It requires spinal extension,hip extension, and shoulder
extension.
If the hands are on the heels,then think about upward facing
dog, which requires spinalextension, hip extension, some
shoulder extension, wristextension, and an active
posterior chain.
(04:38):
And finally, bow pose, whichrequires spinal extension, hip
extension, shoulder extension,and internal rotation when
holding the outside of theankles.
Knee flexion and quad and glutecoordination.
You can imagine the differences,right?
These poses have very differentmovement demands, yet they're
(05:01):
often sequenced back to back orprepped with the same handful of
poses.
So let's hone in on theshoulders because this is one of
the most commonly misunderstooddifferences.
Shoulder extension is when thearms move behind the body, like
in bridge pose, camel pose, orupward facing dog with a hand
(05:24):
slightly behind the torso.
Shoulder flexion is when thearms move overhead, like in
wheel pose, or say king pigeonor king dancer, where the arms
are reaching up and back.
The muscles required and thecommon limitations are different
and shoulder flexion.
(05:44):
You need good movement of thelats, pecs, and Terry's major,
as well as strength and controlin the upper back.
And rotator cuff muscles thatsurround the scapula in shoulder
extension, tightness in thepecs, anterior deltoids or
biceps could contribute tolimited movement.
(06:05):
If a student struggles in bridgepose with their arms reaching
under them, it's not necessarilya good sign that they'll be
ready for wheel pose.
They may lack the flexion neededfor that overhead reach, even if
they're strong in extension.
So if you're teaching wheel orking pitching, which requires
shoulder flexion and you'reprepping with locust or bridge.
(06:30):
Which use shoulder extension.
These may be useful for thespine and hips, but not for the
shoulder mobility that thoseposes will demand.
I'm gonna say it again, so let'sjust slow down.
Imagine it while I say it.
If you're teaching wheel or kingpigeon or king dancer, which
(06:53):
require shoulder flexion, armsoverhead, and you're prepping
with locust or bridge, which useshoulder extension arms behind
the torso.
This may be useful for the spineand hips, but not for the
shoulder mobility that WheelKing, pigeon or king Dancer
(07:16):
require.
Now let's talk sequencing.
Imagine you're planning a classthat builds to wheel pose common
prep poses might include.
Cobra, locust Bridge and UpwardFacing Dog.
But here's the issue.
Cobra's closed chain, whichmeans the hands are connected to
(07:37):
the floor and it doesn't requireoverhead.
Shoulder flexion.
Bridge also doesn't prep.
For shoulder flexion, it workson shoulder extension and locus
strengthens the back body, whichis great, but the arms are often
either by the sides or inextension.
None of these adequately preparethe shoulder joint for flexion
(08:01):
the wrist joint for extensionwith load or thoracic mobility
needed for wheel.
A better prep sequence mightinclude.
Puppy dog pose to prepareshoulder flexion with spinal
extension.
Wall assisted handstandvariations to safely explore
(08:22):
overhead, arm strength and wristextension with load.
Forearm plank with scapularmovement and control to bring
awareness to its movementsupported bridge with arms
overhead to practice shoulderflexion in a supported
orientation and quad and hipflex are opening for preparing
(08:45):
the lower body.
Now, compare that.
To sequencing for camel pose,which also involves spinal and
hip extension, but with the armsreaching backward, not overhead
for camel, your prep mightinclude low lunges with a chest
(09:05):
expansion.
Think fingers interlaced behindyou to encourage shoulder
extension.
Prone chest openers, like halfbow or a quad stretch, to
prepare the shoulders forextension and stretch anterior
hips and the quads and acrossthe chest.
Think about tricepsstrengthening and biceps
(09:28):
stretching to encourage theexternal rotation and extension
required to hold the heels incamel pose, and finally.
Ankle or foot mobility,especially if students reach for
their heels.
This is often missed oroverlooked.
Can you spend time stretchingthe toes and the soles of the
(09:50):
feet so that when you get tocamel pose and offer the
variation to tuck the toes tobring the heels closer?
Students are already preparedfor the demands of this
movement.
Another thing that's rarelydiscussed in back bend
sequencing is the nervous systemload.
Back bends are inherentlystimulating, and for many
(10:14):
students, they can feelexposing, vulnerable or
emotionally intense.
This is especially true fortrauma survivors or people with
a highly activated sympatheticnervous system.
When you're sequencing backbends, give students choice.
(10:35):
Different entry points, use ofprops, and even permission to
skip.
I recently taught a class and Isaid at the top, we're going to
explore back bending becausestudents are at different phases
of their personal lives wherethey may not be very open to
opening on the frontline.
(10:55):
And it's important to honor thatyou should pair intense spinal
extension with neutralizingshapes.
My favorite is a neutral spineand stillness, as well as slower
transitions that include a focuson the breath.
Be mindful and avoid long heldpassive back bends early on in
(11:18):
class.
Most bodies are not prepared forthis, and it can be very off-put
and extreme.
And finally, cue internalawareness.
You could say notice the pace ofyour breath and how it moves
through your ribs.
Or you may say, acknowledge themovement of your rib cage with
each breath cycle.
(11:40):
Remember, safety and backbending isn't just physical.
I would argue that it's moreemotional and nervous system
triggering as well.
Here are a few sequencingconsiderations that often get
overlooked, but can completelychange how your back bend focus
(12:00):
classes feel.
One, you could train spinalextension at different levels of
the spine.
Not all students extend evenlythrough their thoracic and
lumbar spine.
Think about adding targetedmobility and strength.
If you have access to a foamroller, try thoracic foam
rolling to help with awareness,massage and opening through the
(12:24):
thoracic spine or prone thoraciclifts.
Cue students to place theirhands behind their head or
overhead and lift their chestfrom their mat and you could
incorporate side lying spinalextensions for segmental
awareness throughout the spine.
Next, you could address hipflexor and quad tension with
(12:46):
control.
Don't just rely on stretching.
Use active lunges, you couldinclude pulses, essential quad
loading, think step downs.
So have your students stand onone block, bend the standing
knee and tap the opposite heeldown on the mat with control of
(13:06):
course, and bridge with a blockbetween the knees and a slow
five count for intentional andcontrolled lifting.
Thirdly, think about usingeccentric loading on the
posterior chain.
Slow lowering from bridge or loCobra can strengthen and build
(13:27):
resilience in the tissues usedin back bends.
And fourth, integrate lateraland rotational spinal movement
earlier and throughout class,it's always important to include
a variety of spinal movements.
Practicing rotation can supporthealthier extensions by giving
the spine more space movementand a feeling of overall
(13:52):
fluidity.
So here's the takeaway.
Okay.
Just because one pose is a backbend doesn't mean it prepares
you for another back bend.
As yoga teachers, we must havean inherent understanding of
what each pose asks of the bodyand prepare for that with care,
(14:12):
some creativity and respect forindividual variation.
If you wanna go deeper into howto sequence for spinal
extension, shoulder mobility,pain sensitive students, and
nervous system safety.
This is exactly what I mentoryoga teachers on.
I'm currently working with ateacher who's working deeper on
(14:34):
her sequencing, and she's movingfrom putting poses together to
understanding the effects on thebody and sequencing with
intention.
That's very different whetherit's to prep the body or to
recover and regulate the nervoussystem or to sequence and
include movements that may nothave posed names, but they get
(14:56):
your intended job done.
You don't need to memorize everyjoint direction of movement to
be effective.
You just need to understand howto support the students in front
of you, and that's what I helpteachers do, if you wanna
inquire about working with me,let's jump on a strategy call
and discuss your current needsand ways I can help you right
(15:19):
now.
Understanding anatomy,biomechanics, and the effects
yoga Asana have on the bodyhelps you help your students.
It's so important for us to havethis conversation so that you
remember that students of allshapes, sizes, alignment, and
abilities come to your classes.
And you can serve them all.
(15:41):
You know that my goal is for youto love the yoga teaching life,
and it's important to understandmovement and the issues that
students come to your classeswith.
In the meantime, subscribe tothe podcast so you're always in
the know when a new episodedrops, and share it with another
yoga teacher who you think wouldlove to be in on these
(16:02):
conversations.
and thank you for helping tospread the word about this
podcast.
Alright, that's it for now.
Bye.
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