Sometimes life makes you open new doors where spectacular things a waiting.
That happend to us when we found out that our mainteacher could not come to Sweden for this summers Teacher Training.
In short notice we had to find someone who could conduct the training. We didn´t just found someone. We found a very experienced and popular Yoga Teacher Training Teacher.
Therefore we proudly present:
RYT 200 CERTIFIED YOGA TEACHER TRAINING COURSE WITH NOAH MCKENNA
About Noah McKenna
My journey into Yoga began in with regular Iyengar Yoga classes in my hometown of Adelaide. Right away I dropped all competitive sports having found the form of physicality which made me feel just right. During the first trip to India in 1995 began a traditional practice of Ashtanga Vinyasa in an old monastery in Mysore. Though it was when I started a regular daily meditation and pranayama routine in 2003 that I became grounded in Yoga, able to reliably produce a balanced state of mind. From 1989 it took me 10 years of Asana practice before I felt comfortable to start teaching classes I considered worthwhile for students, I was fortunate to have many talented teachers.
The teacher training will be held in English in the studio of WinWin Yoga. It starts 2 of July 2018 and will be conducted 6 days a week for four weeks.
WHEN: 2-28 July, 2018. Six days a week.
WHERE: WinWin Yoga, Uppsala
PRICE: 32 000 SEK
INCLUDES: Lunch is included.
REGISTRATION: For more information and registration email or call
018-418 24 80
Training Course with Noah McKenna
This teacher training program is internationally accredited and recognised as valid qualification for Yoga Alliance RYT 200 Registration. Successful completion of the course requires 90% attendance, completion of all written assignments and the attempt to teach a 90 minute class.
The combination of 180 contact hours together with co-ordinated home study and practice (prerequisite reading, report, Asana and Pranayama practice) make this course exceed greatly the minimum requirements.
Amanda Maria Stjernström
Yoga is a way for me to listen within. To respect my body, staying open and being curious. My own yoga practice is often dynamic and challenging as a way to transform and channel my high energy states into presence. I like to test my limits without aggression and to challenge my fears with softness and awareness. I did my second teacher training with Noah, and continued with him for my third. Since then I’ve been assisting and working with Noah for 2 years. I know his teaching approach very well and also use parts of it in my own classes.
The morning 2 hour Asana classes explore the progression from guided practice to self practice and are also used basis for the. We will use three phases during the course. The first will also be used for the teaching exercises to give an all inclusive beginners standard. The poses chosen are simple and essential and the technique is performed in an easy way.
In phase one the components of Sukhashanti style asana will be explored. How to move or hold the body, where to place the eye gaze and which internal adjustments to make. Connecting movement with breath and when to experience the stillness of the pose. The Sukhashanti sequences use Vinyasa to allow the practitioner to have complete confidence in themselves.
The aim of phase one is to move the student into deep self practice. Beginning with a fully lead classes we will learn the practice one breath and one movement at a time. Building day by day we will lengthen the sequence and gradually transition to traditional style self practice by week two.
The purpose of this sequence is not to develop the difficulty of the practice but rather to become grounded in the quality of practice. We will focus on alignment and symmetry, both within the poses and in the transitions between poses. Teaching this sequence opens up the possibility of making yoga practice accessible to the uninitiated. The modifications allow for a deep and comforting experience. This is yoga you can teach to your own mother.
This first phase uses a teaching sequence which I have developed since 2003. Its the poses which I chose to make Yoga Asana accessible to students while being able to communicate the magic of practice. It uses hypnotic suggestion and includes visual cues to keep the teacher central in the experience of the students through narration and demonstration. It is designed to allows the teacher to establish a geometric dynamic in the class and be free to mobilise and contact the students for adjustments and support.
Phase two is for your personal practice development. The poses are much more challenging, exciting and fun. This is the time to examine and learn the Sukhashanti approach to safely explore the depths of your ability.
Culminating in week four Phase three develops your ideal Asana form. Drawing from the anatomical information and the philosophy of Yoga practice we can make informed and reasonable choices to make Yoga safe and sustainable. For some aspects this means achieving transformative aspirational goals and perhaps more importantly to manage and protect the challenging areas and allow healing.
Often Lauded As The Special Terrain Of Hatha Yoga.
By gradually lengthening the breath we can slow down the heart rate and eventually the brains metabolic rate evoking a profound state of relaxation. Pranayama gives us the tools to reprogram our bodies response to stress with a direct feedback system. This ancient art is inseparable from meditation and yet is much more approachable for lay practitioners.
Noah has practiced pranayama regularly for over 10 years and reduced his breath rate during practice to below 1 breath per minute. By combining the effects of pranayama with meditation the Sukhashanti method was born. This style of practice has made sense of what is often a neglected area of yoga practice.
Sukhashanti style pranayama uses a systematic method beginning with guided practice and then moving to self practice. In this manner every individual will be able to find their own level of depth. From an already established path to progress requires simply to place one step in front of another. Having covered the core concepts of the seated posture, the use of hand positions, the breathing techniques and the correct way to focus the mind in concert with the breath we will progress to pranayama proper with retention and gradually establish self practice.
The Jewel In The Crown.
For this most important practice we will take the seated position developed in Asana and bring about steadiness of the body. Then use the Pranayama techniques to make the breath even and minimal and begin to calm and soothe the mind. From this base we will begin to learn Dharuna (concentration) using Sukhashanti Method of taking many points of focus for short periods. Lengthening the period of concentration and keeping the point of focus fixed brings us to Dhyana (absorbtion). Samadhi arises out of awareness which focuses in on itself, it is a natural consequence of practice.
Meditation can be difficult and is commonly misunderstood. Most yoga teachers either embellish or avoid this most vital and fundamental aspect of yoga. To clarify and lay the path we will study Patanjalis Yoga Sutras. Without Philosophy Yoga can be misguided and even dangerous. Without practice Philosphy can be dry and theoretical. Through Meditation liberation is possible in a way that Asana and Pranayama rarely achieve.
The process will begin with fully guided practice and gradually develop to self practice. The Sukhashanti approach uses shifting points of focus, gradually covering the layers of manifest consciousness. Eventually we identify consciousness iteself as the source.
Understanding Anatomy Enables A Way To See Bodies Vitally Important To A Yoga Teacher.
In our own practice we develop a keen intuitive understanding of our bodies, yet without the language to communicate this knowledge teaching can be frustrating. To teach yoga well verbal communication must be consistent with physical demonstration. The basic terms of anatomy describe the positioning and movement of the human form in three dimensional space. With clarity and consistency teachers will develop the self-confidence that comes from knowing rather than guessing.
The limitations of the body must be respected for progress in asana. To understand the basis of these physical limitations anatomy provides the answers. Bones, muscles and tissues have various inherent properties relevant to physical strength and flexibility. In fact the riddle of the many and varied asana can be comprehended by knowing which areas of the body are being targeted by the different poses. By studying the articulations of the body the different types of movements possible can be understood.
With his background as a chiropractor coupled with a bachelors degree in anatomy, physiology and neurology Noah is uniquely qualified to teach anatomy for yoga teachers. He presents this subject with a therapeutic view in mind drawing from years of practice and clinical experience. This workshop has distilled the essentials into an interesting and interactive package.
The word tradition gets used a lot as a pedestal but its much happier when breathed into life. Any philosophical examination of the system of yoga does well to include Patanjali’s Yoga Sutra. For this module will read and chant the first two chapters of this two thousand year old Text.
The Samadhi Pada deals with the concepts that describe the structure of our own consciousness. Patanjali describes the nature of the mind and the soul and explains how Yoga works through the mind to “see the soul”. Sadhana Pada describes Yoga practice. Here Patanjali discuss meditation practice as an antidote to suffering and then the eight limbs.
This text examines the nature of the our existence. It is a practical manual discussing Yoga in terms of the quality of the state of mind. To relate to the text it is necessary to have some experience with meditation practice. And in turn the theory may be used as an aid to achieving self practice of meditation.
This has become one of my absolute favourite subjects to teach when discussed in the context of Yoga practice and also the teaching environment. We will compare different interpretations of the original Sanskrit. But even better its the live discussion so necessary to absorb the content.
Ethics and the Art of Teaching
This program has been designed to gain the skill, knowledge and experience required to be an informed and confident teacher of Hatha Yoga. Ethics is applied Philosophy and here lies the link between practice and exposition. Its the knowledge of the meaning of Yoga hand in hand with the experience of self-practice and the skill to communicate with others. The right tools and the right experience allows us to be authentic teachers.
The landmark performance during the course is to deliver a 1.5 hour Asana class which is safe and effective. Ask any experienced teacher and they will tell you that teaching beginners is generally the most challenging task. Sukhashanti Yoga uses a set sequence designed for its accessibility to the lay public and gives the teacher the language and clarity to express the teaching verbally. Together with clear and noncompetitive demonstration and the ability to read and adjust the students poses. The result is a well defined form which could be taught to your own mother or anyone.
The energy which we require to perform the action of teaching is often even with the best of intensions misguided. For example it is a common mistake to presume that while demonstrating a pose for a class the more we push our own body the greater the understanding of the students will be. And so in a class teachers often strain and injure themselves trying too hard and overdoing poses in an attempt to inspire the students. Sadly this frustrates the teacher and provides no benefit to the students at all, they will not notice if you can force your shoulder blades down an extra centimetre.
Hence the need for applied ethics in teacher student situations. To protect both the student and the teacher. A little bit of wisdom goes along way. Having a clear idea of what we are trying to accomplish in a yoga class is the first step in adopting the right attitude to teaching. Without this road map our passions can carry us away to a place where we cant remember why we teach. Is it just because we love the control of the group energy? Do we do it because we need the money? Or is Teaching simply a natural expression of who and what we are shared compassionately with others in a non competitive environment.
As we gain confidence and become familiar with being the voice and the source of the practice the challenge is to deliver longer sequences with more continuity. One of the main goals of this TTC is to learn to teach Asana in a led practice format and these daily afternoon sessions devote more than double the time usually allotted in a TTC.
Teaching just like public speaking has a performance side which people usually either love or hate, the Sukhashanti method provides the essential skills to be able to lead a class and enough experience to become familiar with the role.
These afternoon sessions offer a chance to examine and dissect the poses and the links between. We will examine alignment principles, adjustments and modifications to deepen the palette of tones and textures allowing us to adapt our teaching to suit individual needs. The poses will be demonstrated and explained then practiced.
On the other hand this class is like a theatrical production. There is a lot of drama involved in teaching. The exploration of feeling fake and eventually feeling authentic. Its like standing in a hall of mirrors to imagine how we are perceived by many people at once. Eventually we can just give in, its easiest to be ourselves. With a base of familiarity we can also create layers of persona to relate the excitement and calmness of embodied yoga.
Beginning with baby steps we will teach single poses to one other person. Building day by day we will introduce more poses and longer sequences. Also each day we repeat the material from the previous day gradually bridging the gaps until the whole practice becomes seamless.
The beauty of this format lies in the repetition and consistency of the method. Because the afternoons mirror the morning practice sequence we have a double opportunity to absorb the system. I have found that this arrangement allows everyone to quickly digest the practice and to practice from memory unassisted. Creativity and the ability to improvise are really the final test of an individuals ability to be comfortable and at ease with teaching. Having overcome personal fears and doubts its time to have fun.