A few years ago, I taught teen yoga workshops for the library. They were a lot of fun and I really enjoyed sharing them with the community through the library. One of the best things, is that all programs through the library are open and accessible to all and are free of charge for the participants.
Fast forward to now. The teen librarian shared my name with the adult programming coordinator and voilà! through a generous self-help grant, I am now offering my Groove & Flow series through their online event portal (search for yoga in calendar). Here is the link to my online yoga video-library. Along with my classes, the library has been able to bring a fabulous online Qigong program with Dr. Ming Wu and Dr. Wei Li. Here is the link for the online Qigong video-library.
Along with the titled book in the photo, you will see a bent pipe cleaner with beads on it. That is a Breathing Stick. We make them in class with the students and they can make a second one to bring home with them to teach a family member or friend how to use it. How to use it: 1. Slide all the beads to one side on the bend. 2. Breathe in and slide the first bead to the hump in the pipe cleaner; 3. breathe out, slide the bead over the hump and to the other side. Breath as slowly as a turtle. Repeat 4 more times.
I just received my copy of Go Yogi!and I decided to jump right in and bring it to my kids yoga classes and let them help me review it. Well, I must say, the book received 100% favorable reviews from my students, ages 3-6! They loved it and the classes were super fun, were rich with content and the kids remained focused and interested throughout the whole class. The illustrations by John Smisson are super engaging and they tell the whole story, so words are not even necessary. The descriptions hold a lot of vital information, including how to get in and out of the poses, what the poses are good for, and many positive thoughts to keep young minds joyful and healthy. Because of this, the writing is mostly best addressed by an adult while the children read along. There are separate “grown-up” tips that are very useful especially for adults who are not yoga teachers which makes this book a great addition to classrooms, homes and yoga studios alike. I love the overall feel of the book with its muted colors, computer graphic illustrations and its mindful take on bringing yoga to kids.
I highly recommend this book as a feel good book full of positive affirmations, fun yoga poses and a very well crafted sequence that is very helpful for all children. It worked very well for kids ages 3-6 and with some modifications it worked equally well with kids as young as 15 months.
Full Disclosure: Jessica Kingsley Publishing sent me a copy of this book. All opinions are my own.
How I will use this book:
The following is a detailed description of the class I taught, weaving together the book with my knowledge of teaching yoga to children.
Right off the bat, I started out with that funny word yogiThe kids laugh when they hear that word. It’s great to use with kids and for comparison, I explain that just like someone who plays tennis is a tennis player, someone who surfs is a surfer, someone who dances tap is a tap dancer, a person who does yoga is a yogi. T’s what they call someone who practices yoga. Of course, the most popular word to use in yoga is namaste. The book describes it as meaning hello & goodbye; I add that it means thank you. Thank you from me to all of you; thank you from you to me; thank you from you to each other. It’s a beautiful, encompassing with a happy feeling, word. It is part of yoga in America. The kids know, that since I also throw in bits of flamenco into my yoga classes, that at the end of my classes, we say ¡Olé! ¡Namaste!
I ask them, “Why do we practice yoga?” Th e book tells us “yoga can help you feel healthy and happy” and with that we launch into our “I Am Happy, I am Good” meditation (link to previous post with meditation here) that I adapted from a meditation by Shakta Khalsa for Radiant Child Yoga.
The book points out it is best to practice in a space clear of toys and noise and we take a moment to notice that our yoga space is uncluttered, our mats are in order and it is as quiet as it can be (for a noisy child care center, that is!) I have a play list*, I use in the background, to create ambiance in our space, but I am always happy to practice in silence too with the kids. One of my major goals in bringing yoga to kids is for them to learn the difference between noise and silence in body, mind and energy.
At this point, I put the book on the floor so that my hands are free. The special yoga breathing exercise is well described and I add in “Sit up, criss-cross yoga sauce” and to have them try covering their mouths while they breathe. I demonstrated the sound of the oceanic breath so they could hear it for themselves and I did this while looking at each one them and timing my breathing with theirs, so we could flow our breath together.
Hello Mr. Sun (Singing-love me some Raffi!.…Oh, Mr. Sun, Sun, Mr. Golden Sun, Please shine down on me. Oh, Mr. Sun, Sun, Mr. Golden Sun, Hiding behind a tree. These little children are asking you, To please come out so we can play with you. Oh, Mr. Sun, Sun, Mr. Golden Sun. Please shine down on me.). Here I make up some qi gong-like movements for the kids to copy while we sing. Singing and moving is a moving meditation.
In a sing-songy voice:
*We reach up to the sky, Mountain pose. Feel strong and, steady and still.
*Breathe in, arms up reach up to the sun (tippy-toes)
*Dive down , splash, wooosh. You are a waterfall, flowing your water down to a river.
*Step one leg back and the other leg back. Now you are a plank over the quiet water. Strong and long. Sturdy. Hold your tummies up so the water does not splash it but do not touch the sky with your backside. Hold it for 5, 4, 3, 2, 1.
*Slowly the plank lowers down to the water. Float on your belly, on the river, bobbing on the waves. Breathe in-the wave swells; breathe out, the wave slides away. Repeat. Be like a bird (hero pose), silently sitting on the water, bobbing up and down, but not getting jostled or ruffled. Just quietly resting on the quietly moving water.
*Oh! A little snake pops its head out of the water. Palms by shoulders. Now, you are the snake. Breath in, lift up (into cobra pose), breath out, hisssssssss. Here comes a dog, to play in the water. Press up into Downward Facing Dog pose. Press into the earth with your hands and feet. Lift your happy puppy tail and feel how long your back feels. One leg up, wag your tail. Woof! Woof! Put it down. Switch feet; wag; Woof! Woof! Bring it down. One hand up. Lick you paw. Other side. We try one paw and one leg (opposite sides) just for fun.
*Settle down into child’s pose to feel calm and happy, totally relaxed. Find that wavy feeling of your breath, calming you and bringing your focus inwards.
Usually we call this pose child’s pose, but for today we will call it seed pose. You, little seed, nestled in the earth, nourished by the rain and the sun, slowly your roots start to grow down deep into the earth and you being to know. Slowly we rise up onto our knees, let the head come up last, as it finally presses through the dirt. Now add your arms. Reach them up to the sun, palms together. Feel your body; it is a strong, rooted stem. With a final push, step up with one leg and then the other. Your roots strongly planted in the ground. Your arms burst open and greet the sun “Hello Mr. Sun! Here I am!” palms open wide as we grasp the energy the warmth, the glow from the sun and pull it towards you, bringing your hands to your heart. Right hand over the heart, left hand on top, and just breath. Energy, happiness and trust-pull it right into your heart. Feel your beating heart. Take a few breaths and slow down the beating.
Tea Pot or Watering Can (Triangle pose): I’m a little tea pot short and stout, here is my handle here is my spout. When I get all steamed up, hear me shout! Just tip me over and pour me out”.
Feather Fingers is the perfect time for me to add some flamenco into class. Some cuerpo, braseo, floreo y taconeo! ¡Olé!
Barn Door had them tried the balance with no support and then had them hold onto a ledge to support their balance. Did they notice if it was easier or harder or them same for them when they held the ledge to when they did not? Try it again without.
Chair Pose: feel how strong this pose makes your legs feel. Feel the energy of a lightning bolt; then we shoot off, up, far however, kaboom!
Warrior 1,2,3…with the chant “I am brave (Warrior 1); I am bold (Warrior 2); My own power (get set up to launch into Warrior 3); I can hold! (Warrior 3).”
Balancing Boat builds strong tummy muscles! Rock-and-roll and come right back up to boat pose
Pebble/Child’s Pose: have them take the pose and then go to each one individually and help into the proper form. Do not press on their backs; gently guide them into the shape. Nice round back. Breathing in, feel your belly press against your legs as it gets round; breathing out, the belly softens and your gently drape over your legs.
Butterfly add in “Fly Like A Butterfly” sitting in butterfly pose: Fly like a butterfly, fly like a butterfly, fly like a butterfly up so high. Repeat; Put hands together and place by a cheek, in a sleep like position: Sleep like a butterfly, (switch hand to other cheek,) sleep like a butterfly (switch hands, get a little quieter), sleep like a butterfly (switch; quieter) through the night. Repeat.
Tick-Tock Hands: I replace slightly with drawing circles on each others backs (sit in a large circle, so everyone has a person in front of them.) Go in one direction, now the other. Helps with cross brain and a great sensory exercises.
Calming Candle: First we go back to a little rock and roll action, and then roll up and over.
Savasana: Noodle Test: Go around to each child and have them totally release the effort in their arm or legs, like a wet noodle. Gently pick up the limb(s) and wobble them to have the kids feel the total loosey-goosey feel.
Sit up, cross-cross; rub palms furiously together to create warmth. Take your warmed, tingly hands and place them right one over the heart, then the left one on top, catch the thumbs (a bird shadow puppet) and feel the energy form your hands going right into your body and give yourself a happy, loving, friendly hug. Now let the bird fly away and we say “Thank you! ¡Olé! ¡Namaste!”
This coloring book is full of positive affirmations and fun pictures to color.
Each 2-page layout has a great advice bubble and an accompanying picture to color. The pictures are all very emotive and capture the essence of the affirmations perfectly. The pictures are simple, allowing each one to be finished in a sitting, which is very satisfying. The flow of the lines is very pleasant and they add to the overall calming effect of the book.
Each page of this delightful book offers a mini-mindful moment including a progressive muscle relaxation script, yoga, visualization, a bubble thought exercise and gratitude pages along with a variety of other ways to connect mindfulness to your senses, functions, emotions, and activities such as dance, listening to music and exercise.
The book itself allows for lots of space to breathe and to express yourself creatively. I love how it touches on so many ways to experience mindfulness. This book offers both young and old coping skills to help calm anxiety and bring about peace of mind. Coloring is proven to be a great calming activity and is a great way for families to enjoy some quiet together time. I highly recommend this book for families, therapists, yoga classes (which is what I will be using it for) and for anyone else who wants to access their creativity and share calming strategies with children.
How I will use this book:
In my yoga/mindful movement classes, I love to offer many avenues to my students to absorb coping skills. This book will come in super handy when I need an activity that passively activates the still quiet place inside where peace abides and anxiety is dissipated.
Pictured above from top left: Two students strike a pose, Hurley School, Boston; Eve Costarelli (AKA Eva Lorca); Students learning palmas at St. Stephens after-school program, Boston, MA; Visual representations of flamenco; Antonio Tiriti and Eve performing at the Natick Farmer’s Market; Students performing the story of Ferdinand The Bull; Eve teaching how braseo to students of St. Stephen’s after-school program, Boston, MA; Eve and some students. (Thank you to Celebrity Series and Robert Torres for the pictures of Eve and St. Stephen’s)
I am a flamenco dancer. Through this dance, I communicate my kinship to the gypsies, a group of wanderers/nomads/pilgrims who migrated from Northern India during the 8th and 9th centuries. One route that they took was through Saudi Arabia and Northern Africa, before arriving in Spain through the Straits of Gibraltar. These gypsies were comprised of expert metal workers, animal tenders and entertainers. They arrived in Spain when the country was controlled by the Moors (made up of Arabs, Syrians and Berbers). In Spain, the gypsies mixed freely amongst the veritable melting pot of cultures. In Andalucía, a region in Southern Spain known as the birth place of flamenco, the gypsies found a land that suited them and found a sense of connection with the people who lived there: the Jews, the Moors and the Spaniards. The gypsies absorbed the diverse cultures around them: the music of the Moors, the songs of the Sephardic Jews and the dances of the Spaniards and then coupled with their heritage from India, they transformed the music, song and dance into the art of flamenco.
My journey to become a flamenco dancer has been a deeply personal artistic pursuit. I have found that the greatest joy of flamenco is discovering my interpretation and style within the art form. As a flamenco dancer, I possess the capacity for self-controlled passion and emotional expression which becomes the underlying energy which motivates me to dance. This is my life force, my soul, my chi, my prana. Duende, the passion and inspiration within, is the heart of the flamenco artist. It is the transfer of emotions across space. It is the energetic imprint of the raw emotion released as a result of a performer’s intense emotional involvement with the music, song and dance. It is in the sum the energy the dancer takes from the earth, drawing it up through the soles of their feet. It travels through the body electrifying the the base, the core, the heart and shines forth through the crown of her head.
It is in this sensation filled space that I find the connection between flamenco and yoga. I speculate that the gypsies created the movements in flamenco directly in correlation to the yoga body. The energy centers, the chakras, directly speaking to the emotional output of the artist. I believe that the gypsies brought with them an underlying understanding of yoga and that this physical, emotional and spiritual connection to the body was then naturally incorporated into flamenco’s expression. It is fascinating to teach flamenco under the label of mindfulness. I incorporate it (plus a smattering of other rhythmic and contemplative movement forms) into all of my youth yoga classes. I find that flamenco is a perfect addition as its many benefits go hand-in-hand with the benefits of yoga.
Flamenco and Yoga both:
Stimulate memory, thinking and retention
Increase the ability to focus, listen, observe and absorb
Strengthen the heart muscle, both physically and emotionally
Increase positive energy
Develop balance, flexibility and coordination
Strengthen confidence, patience and risk taking skills
Deepen sense of self
Expand world view
Help you get in touch with your emotions and give you a safe outlet for their release
Cultivate accessibility, adaptability and inclusivity
“When you want to plant a flower, you first need to till the soil, nourish it, plant the seeds, water it, and then sit back and wait to see the blossom….now in relation to the flamenco body. If you imagine that the soil line is at the hips, so your legs and your feet are the roots below the surface. The roots grow down and ground the dance to the earth. From the waist up is the blossom, growing from the soil line (which is your hips). This is the blossom. With good, strong roots, you then use the upper body to create the shapes and lines true to flamenco, building out of the hips and allowing the legs and feet to move separately.”
My favorite part about teaching is sharing my love of movement and making both the arts of flamenco and yoga accessible. Yoga is not one tangible thing. It is not movement; it is not breath; it is not meditation. What it is, is all of these things. Each of these elements leaves an energetic imprint, a vibrational frequency on the person, and that is the yoga. I love both yoga and flamenco in my life and I live to share them. With each personal exploration of my own energy’s movement, I teach. Yoga and flamenco are deeply connected to my soul, and I am constantly evolving. I choreograph the dance between effort and surrender. I find such joy in these sensations. All I want to do is to share them with my students.
(Included at the end is a classroom/home assignment: How to make a Happiness Collector)
Funded by both Dance In the Schools and Friends of Baldwin, I am thrilled to be back for my sixth year at the Maria Baldwin Elementary School, Cambridge, MA, teaching my own Always Be Dancing Adaptive Movement program with their amazing second grade classrooms. This year, they have three second-grade classrooms and I am able to see each group 5 times. Having this opportunity to grow each year with the students and staff is priceless. Also, I love seeing the past participants who are now in third, fourth or fifth grade. Whenever they see me, they jump into tree pose or even strike a flamenco pose (as I also integrate my program with flamenco). This school has great community spirit and I love the diversity and how it is celebrated.
Good Behavior In Yoga:
Good Behavior In Yoga Class:
I deliver the rules verbally, also pointing out that they can read along that there is a picture for each rule that shows what I am asking them to do. That way there are many ways to help them remember the rules.
I stay on my mat. This is so each child has personal space. We take a moment to look at our mats, the size, the color… I asked them to think of a color that makes them feel happy. Holding an imaginary Hula Hoop, we then cover our whole mat, including ourselves, with a bubble of this color. Inside our bubble we feel happy, good and safe.
I listen with my ears. That way they can hear the directions that are being given
I watch what my yoga teacher is doing. I remind them that I will most likely being doing what I am asking them to do, so if they watch me, they will always know what is being asked of them.
I try my best to do each yoga activity. Yoga is about trying, noticing, feeling. Just give things a try and if you need help…
If I need help, I can ask my yoga teacher. If one child needs an adaptation of an activity, we all do it. Its just something else to try!
If I need a break, I can take Child’s Pose or I can sit quietly on my mat. OK…a big one. I stop everything here and I go through and teach what I call the “three resting poses” First, I teach Child’s Pose, have everyone take a breath or two to feel this pose in their bodies. Then we roll forward onto our bellies, for Crocodile Pose, everyone needs belly-time! Once again a few breaths to feel the pose. Then we flip over onto our backs, and I teach Gingerbread Man Cookie Pose. This is the traditional savasana pose. Take our breaths. When we all sit back up, I ask them to think about which pose was the most restful for them because I will ask them later during class to do that pose.
I use a quiet voice. Enough said!
I keep my hands to myself. (OK this one should really be up by “staying on your mat” That will be on the updated poster!) Here I bring back the color bubble. Keep your hands to yourself. Do not pop anyone’s bubble….
After the rules (I only do this one time but I bring the board each week as a reminder, classes started with belly breathing. A great way to begin! I am a strong believer of breathing in and out through the nose, as an exhale with the mouth actually feels like a balloon that is losing air too fast (insert “balloon deflating too rapidly” sound here….FFFRRRAAPFT). I encourage breathing in through the nose, as if you are smelling a lovely flower and then letting the air gently leave through the nose on the exhale. It is more calming this way. Of course, there are two exceptions. If you have a cold/allergy or if you feel nervous and it makes you uncomfortable to breath that way.
One reason I bring yoga into classrooms is to help students and teachers that yoga is an accessible safe choice towards embodying self-control. Yoga is all about the self. Yoga is all about what it feels like inside your body. Only the individual knows what is feel like because no one else is inside another person’s being. The individual knows what is safe, what makes them feel good and how to calm themselves down. With increased self control, classrooms can flow more smoothly and teachers do not have to be noise/distraction monitors. For sure, yoga is not a cure-all, but it is one very accessible, adaptable and enjoyable tool for a person’s emotional intelligence tool kit.
Class begins with the ringing of the chime. Sometimes the best way to start class is form a relaxed and calm position to pave the way for better focused minds, bodies and energy. We inhale on the ring and allow the slow breath to release as we listen to the echo of the sound. Each child gets a turn. And with each chime, we focus our attention on the sound and on our breathing.
I will continue to use the bell as a way to bring back focus to the class. I want them to understand the difference between silent and noisy and stillness and movement. We all get a bit noisy, making silly sounds, talking, wiggling and then suddenly I ring the bell. The room quiets down. Of course, I made need to ring it again, but usually one ring is enough. Sometimes I play with the level intensity at which I ring the chime (loud vs soft), so they really have to be alert for its sound.
What is yoga?
relaxed & feeling good
stretch to become flexible
breathing to calm
Each class came up with similar responses, but the one I really liked was “getting flexible”. I love how it implies an opportunity for growth, for change. Just what yoga is about!
Jumping right into a short sequence:
Cow/Cat (adding moos and meows)
Downward Facing Dog (with barks)
Cobra (with hisses)
Child’s Pose (giving hand options to help the children figure out what feels best for them: under the forehead, fist-on-fist or hands by feet, palms up)
Now asking the students if doing that little bit of yoga make them feel calm/good/happy or like they were getting more flexible? I refer back to the word list they created and use them. I often throw in the question, “Is being able to touch your toes or do a backbend the only way to show that you are flexible? You might need to direct them away from more physical action descriptions for flexibility then someone can come up with alternative ways to be flexible (i.e. mind, energy)
One of my favorite yoga books and the one I have been using the longest is My Daddy Is a Pretzel by Baron Baptiste. It is a great kicking off point for basic yoga poses.
The kids think the title is hysterical and I immediately tell them to create their own version of a pretzel yoga pose: tie yourself up, twist and curl any which way.
What I have found is that the real focus of the book is in the varied types of jobs the children in the story say that their parents do each day. There is a gardener (tree), vet (downward facing dog), architect, (triangle), pilot (airplane), builder (bridge), farmer (plow), marine biologist (fish), works inAfrica (lion), baker (pretzel). These jobs open up our ability to talk about what these job’s actually mean you do and kids either know or can piece together these answers by looking at the accompanying pictures. To make my teaching fully inclusive and to make sure I can make any adaptation necessary, I teach going into and out of poses my own way, so I do not use the accompanying pose descriptions. That way I can adapt and grow each pose organically with the group, rather than follow a set path. At the end, of course, we get to try another “make-your-own” pretzel pose. Lots of laughs and then I offer up the resting pose choice. We take a short resting moment.
One of my favorite moving meditations is “Yogini Went To Sea”by Shakta Kaur Khalsa (for only $9.99 you can buy the album Happy through iTunes). Shakta is the first children’s yoga teacher I studied with and she taught me the invaluable lesson of allowing your self to grow with each experience and also, she recorded the only recorded yoga songs that I use in my classes!
Classroom/Home Assignment: Create a Happiness Collector.
A Happiness Collectoris a jar, bucket, basket or any other receptacle you choose where you put in small piece of paper that have on them written or drawn things that make you happy. These things can be anything that make you happy. They can be something that you did, that you saw or that you had done to you.
Choose your Happiness Collector
Every day take a moment to remember something that made you happy.
Write it down or draw it on a small piece of paper. Fold the paper.
Put it into your Happiness Collector.
Messages can be read whenever a bit of sunshine is needed, at the end of a week etc…
Children can be prompted with a phrase such as “I feel happy when I _________.
Book Review by Eve Costarelli: Thelma’s Tap Notes. A Step-by-Step Guide To Teaching Tap: Children’s Edition by Thelma Goldberg 2013
Theme: Non-Fiction. Instructional Manual for teaching tap dance to children ages 6-12.
Guiding Principles: Release, Relax, Rhythmic Progressions and Full Bodied Rhythm-Making (TM)
My dear friend, Thelma Goldberg, sent me a copy of her newly self-published book Thelma’s Tap Notes. A Step-by-Step Guide to Teaching Tap: Children’s Edition. This is a beautifully laid out manual and I love the catchy and useful sticky note style highlights throughout the book (I also received an accompanying sticky “Tap Notes” pad-which made it very easy for me to jot down my own notes as I went along the book.) Right from the very beginning, Thelma lays out exactly what her approach is to teaching tap to children ages 6-12 and she methodically breaks down her methods level-by-level.
I appreciate how Thelma refers to herself as a student as well as a teacher. I have had the pleasure of taking classes with Thelma, so I know first hand what a dedicated and enthusiastic student she is. I also have seen a number of her studios productions over the years and can equally say she is a committed, passionate teacher, choreographer and leader. Because of this, I can say that Thelma is deeply rooted and she never stops growing!
Thelma’s Tap Notes is guided by four principles: Release, Relax, Rhythmic Progressions and Full Bodied Rhythm-Making (TM). In the first part of the book, Levels, each age group: 6 & 7, 7 & 8, 8 & 9, 9-11, 10-12 is broken down into goals, review, musical rhythms, class outline, next step, combos, choreography ideas and improvisation activities. The second part of the book, Series, brings in more tap series needed for the growing dancer: Rudiment Series (courtesy of the Condos Brothers)-basically the ABC’s of tap dance; Double Heel Series-to execute clear and specific single sound movements; Shuffle Series-to get loose and increase crispness of sound; Slap and Flap Series-do I hear a challenge??; Paddle and Roll Series-a very advanced series needed for really good technique; Spank Series-to embody the principle of release; and Time Step Series-a series that spans classical steps through present day creations. Thelma gets into the nitty-gritty needed to develop dancers feet, musicality and expression. The closing of the manual brings in various tap dancers biographies, tying the deep seated tradition of jazz tap to its modernity. Thelma has created not only a clear, accessible teacher’s guide but a great reference manual for avid students and seasoned teachers. To note, I too am a children’s dance teacher (flamenco, tap and yoga), and I found that this guide will be a great addition to my practices of teaching-especially in helping me to lay down my own step-by-step approach. Bravo Thelma! Encore!
Thelma adds: I invite you and others to send me questions and comments so that I can continue to clarify my method in a way that helps other teachers understand my suggestions. Video support will be coming slowly to the website Thelma’s Tap Notes to demonstrate the ‘series’ exercises that are at the core of my approach.
Today’s yoga class explored the wonderful art of flamenco! I am a flamenco dancer. I teach children and adults (of all abilities) to dance flamenco. I created a flamenco performance/workshop for schools (PreK-High school), colleges, senior living facilities and many other community events such as Farmer’s Markets and festivals. This performance is called ¡Olé Flamenco! and it explores the gypsies, the art of flamenco, and diversity. Dance is a form of communication that can be shared by everyone, whether you know the exact steps or not. Dance helps people come together, share the joy of movement, build confidence and coordinaton and feel happy! If you would like to experience the art of flamenco, you can hire my guitar player and I to come to your party or event and we entertain you all!
Class began by my playing my castañuelas or castanets. I create beautiful, rhythmic music with my hands. Then I danced and played my castanets to a Sevillana, which is a folk dance from Spain that the gypsies flamencoized. I had everyone clapping their hands and shouting ¡Olé! while I danced!
We read a wonderful folktale from Spain called The Beautiful Butterfly. Ask your little yogini about it! They all loved it! It is a wonderful story of compassion, friendship and has a good funny catch at the end. With each page, we did yoga poses that flowed along with the story. The kids loved listening and were all so attentive and focused and I let them decide what poses we would do, choosing from the lines of the story.
We then did one of our favorite partner dances “Happy Jio” which is actually a moving meditation but to them it is just fun, fun fun!
I gave each child a flamenco fan, turned on a fiery flamenco song, and we all waved our fans like butterfly wings, stomped our feet and danced! danced! danced!
Halloween Yoga Comes to Mini Miracles Childcare Center:
Class started, as it always does, with the ringing of the chime, breath in, breath out.
Me: Where does a skeleton live before it is dead and is buried in the ground?
Them: In the ground, in a scary house, icky and gooey….In your body!
Me: That’s It!
We had a talk about how some things are scary like skeletons, zombies, ghosts and witches, but they are not real, so even though you feel scared by them, they are not real and cannot hurt you. At Halloween, it is fun to dress up in scary costumes, but it is also fun to dress up in non-scary ones, like Belle, Ariel, Superman and Elsa. Remember to respect other children’s’ feelings.Not everyone likes to be scared. Also remember, that even if you do feel scared, inside the costume is just a friend or a sibling or even a parent. Stay with your adult, do not run into the street and let your parent help choose the candy you can eat. Have a happy and safe Halloween!
Halloween Yoga Sequence for ages 15 Months+ All inclusive. Adapt as needed.
Happy Pumpkin Pose To Color
Happy Pumpkin: Easy pose with hands in Garuda Mudra at the heart center. Give yourself a heart hug as you breath in and out.
Twisting Ghost : While making a Woooooooooo sund like a ghost.
3. Mixing the Candy : Slow to Faster one direction. Stop. Repeat opposite direction.
4. Candy Bowl: This can be done with hands in the back for support. Also, lift one hand, reach in and say “Trick or treat” as you pull out a piece of candy. Switch Sides. Then try both. Try mixing the candy while in bowl pose. Throw hands up and say “Happy Halloween.”
5. I Am Happy, I AM Good Meditation: Sitting, criss-cross yoga sauce. Pointer fingers stretched out and using thumb to hold other fingers curled. I am happy; I am good. I am happy; I am good (Shake pointer fingers) A-E-I-O (finger tips together at the belly button) ; A-E-I-O (finger tips together by the heart) ; A-E-I-O (finger tips together by the forehead); U (hands reaching up to sky). Ha-ha-ha-ha (finger tips together by the forehead) ; He-he-he-he (finger tips together by the heart) ; Ho-ho-ho-ho(finger together at the belly button) ;Hooooooo (pronounced “who” hands reaching our by the knees). I have finger tips join as a brain gym activity.
6. Feel Your Heart Beat: Use Ride Your Bumpy Camel-up and down faster and faster, like a heart beat when you get scared. Then bring the tempo back down, to show resting heart rate.
7. Howling Wolf: Hooooooowwwwwoooooooo & Back Cat: Meoooowwwwwww
8. Haunted House: Lift one leg up for a chimney, swirl the ankle for the smoke coming out of the chimney. Switch sides.
9. Kick Away The Ghosts: We did it 8x.
10. Welcome Mat: Taking a rest mid class. Lay on your belly, rest head, eyes and energy. Listen to your heart and try to hear your heart beating. Can you slow it down? Do you notice how calm you feel? How Happy? How Safe? How strong?
11. Zombie: Rise up and find your inner zombie. Similar to mountain and up mountain pose. Skip the last one with the cut in 1/2, guts spilling out. But do say “arrrgggghhhh” and plod around on your mat a bit.
12. Crescent Moon:Can do it with breath.
13. Witch on a Broom (with hat), Witch Taking Flight & Flying Witch: “I am brave (Warrior I). I am bold (Warrior II). To our brooms, we take hold! (Warrior III)”
14. Eye In The Sky: Twinkle fingers. Big smile.
15. Owl: “whoooooooooooo” breath. Turn head side-to-side. Tuck arms in like wings.
16. Littlest Pumpkin in the Patch:
17. Tootsie Roll: The most calming!
18. Freeze Yoga Dance: Start out by leading them into poses and saying freeze to get them to hold the poses. Then let them do any poses they want and randomly stop the music. Then starting adding in suggestions, such as: Do a pose with one hand on the floor. Do a pose with your belly on the floor but not your feet. Make the smallest pose you can. The largest. And so on…
There are many different styles of arms, elongated and elegant; strong and sinuous. There is the classic style, lifting from the elbow or the modern style, with elbows bent and lowered first, riding tight to the body. Some arms are wild and unschooled. While still others are technical and calculated. All styles, when they are compatible with the dance, are authentic.
Your arms are never just your arms. They are an expression of your art. Next to facial expression, arms and hands are the most expressive element in flamenco dance. They capture attention as they create line, rhythm and feeling. They are the most difficult technique to master.
Learning to use your arms as part of your overall body line is of utmost importance, no matter what your style is. The arms must be extensions of the shoulders, chest, hips and legs. Arms held overhead are rarely held high enough and droopy arms are distracting and are definitely not flamenco!
To create the sweep for classic flamenco arms you must grow wings! Spread your back wide and lift your arms. Keep this image of wings as your back body spreads open to cradle the front body. As arms rise, shoulders must stay down and back. Not wrenched back, so that the shoulder blades pull in, but spread wide open to make the arms even longer than they already are. This is the key to the elegance and gypsy arrogance held in flamenco dance. Elbows must remain high throughout the movement as the shoulders remain down. Feel the the initial extension of your wings from deep within muscles between the shoulders. When you arrive at “T” position, shoulders must drop over the back of the rib cage. This will cause the front body, around the collar bones, to open wide, like a display case. There you will imagine that you are wearing a beautiful diamond necklace. This area is your display case, lift it up and display your necklace! Wear it proudly.
The arms must have energy all the way to the fingers; use Dynamic Tension. Feel your arms moving with the strength and unity of the whole shoulder girdle. Feel your arm pits are deep caverns with vaulted ceilings. You can create a small hollow opening inside as if to cradle a very ripe, very juicy apricot (do not squish it or drop it).
The passage of the arm must go through all the “stopping” points (3, 6, 9, 12 n clock face) and create the shape necessary at each point (ie Never just bring your arm up with out passing through: low “v” to “t” position to high “v” etc…). In low “v” & 6 o’clock, make sure you do not compress the arm pits.
Arms must always be controlled. Never throw them around as if you are directing air traffic. Arms are under constant tension. You can imagine from the torso to the wrists, as your arms rise, that an elastic band is pulling tights. Feel the tension, but do not show the tension. There is a buoyancy as they rise, like they are pushing through water. Keep the gently descending line from shoulders to elbow to wrist to finger tips. This picks up again as the arms pass through “T” position and then again the dynamic tension is created from the arms back into the body. Make sure your arms flow.
A little about hands:
Hand movement are very personal and your hands are an extension of your personality and the emotional content to your dance. They are the fine sable hairs at the end of a paint brush. They add flourish, punctuation and can pull energy into your field or press it away. They add the final important details to your dance. the hands move from the circling of the wrists. The wrist circles do not involve any other part of the arms-so pay attention to your elbows!
There are two hand movement styles:
Gypsy: The little finger leads the way in opening and closing the hand-like a fan opening and closing.
Classic: The middle finger leads.
Keep thumbs in as you turn your wrist.
SEQUENCE: palm, fingers, wrist, fingers
Bend wrists as much as possible. Bring your finger tips towards the very inside of the wrist before making the rotation. That is your accents point. The unfurling carries the rhythm till the next accent.