286 - Building Grace Into Your Movement

Yoga flow should feel like a dance, not just a series of poses. Grace is what makes the difference.

I define grace as the combination of strength and ease in movement. In this conversation, we explore the concept of building grace into your practice and classes and I offer some practices to help you and your students find more attuned and pleasurable flow. 

We also talk Flow School and Studio B as spaces to more deeply explore these ideas and practices. Join me there!

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The music for this episode is Threads by The Light Meeting.
Produced by: Grey Tanner

Transcript

Bonnie Weeks (she/her) (00:01.582)
Hello, my love. So welcome back to the podcast. Today, I wanna talk about how you build grace in a flow. And this can, of course, is directly related to our time on the mat. And I'm speaking to the physical practice of yoga. And...

you might end up finding some correlation between the time on the mat and real life because this is about the practice of paying attention and it shows up in the way that we move our bodies. But of course we know that the things that we feel in our body are sometimes in response to an emotion, to something, an experience that we are processing, to grief or love or frustration or

being in the middle of decision making, right? So we know that the body and the rest of ourselves that's like not the physical are very intertwined. And so this is the practice of paying attention and this is how we build grace in a flow. So I'm be speaking directly to the physical aspects of finding grace in flow, especially because...

A lot of people have come to my classes and, or watch me move both and say, this, this looks, and this feels like a yoga dance.

And what does that mean? So this is about that. And if you are interested in building grace in your flow, what does that mean? And how can you start to bring a different sort of awareness and attention to your own movement, to your own time on the mat? And how might that also ripple into your regular off the mat life, right?

Bonnie Weeks (she/her) (01:57.23)
And you know, even in this moment of saying your regular life or my regular life, like, I don't know, or your extraordinary life, your life where you wake up and you were stoked about the day, right? And we go through the waves of all the emotions. So just normal life. So let's have this be a conversation of two parts. One of them is going to be specific.

things that you can be really aware of in your movement as you are going through flow and as you are throwing together postures. This can be for you if you are a teacher, but also if you just are somebody who loves to practice yoga and regularly attend vinyasa yoga classes, classes that are focused on flow. Now, if you are very used to taking vinyasa yoga classes or power vinyasa yoga classes, a typical sequenced

class that might fall under that category might feel very different than what I'm doing. And how I teach flow and how I support teachers in creative sequencing and learning how to sequence and why, and having a solid understanding of why we're doing what we're doing. So some structure and also the freedom to break the mold of what is typically taught as a Vinyasa or Power Vinyasa class.

So with that said, there's oftentimes not a lot of sun salutations. So sun A's and sun B's and perhaps a standing warrior flow is often called is quite standard for a vinyasa class. Now there are pockets of studios and teachers who might teach not that way, not centered in that way around sun salutations. And I'm one of them and you might be one of them or practice with one of them. That's great, right?

We know that vinyasa has stemmed from ashtanga, which is very much rooted in sun A, sun Bs and in posture practice. Now ashtanga postures are held for five breaths. So it's said, you that you have this vinyasa, this connected postures, which the connected postures in ashtanga practice often end up being a sun A. But we are taking it and vinyasa then is giving us this opportunity to say a breath per posture, breath.

Bonnie Weeks (she/her) (04:15.986)
transition. Oftentimes it's just a breath on a posture which for me that doesn't work because depending on the transition between poses we are going to need to add breath and so that's going to be a big part of the feeling of flow and bringing some grace to the practice. So in Ashtanga the postures are often held for five full breaths.

And so it's linked by breath in that you're paying attention to your breath, but that's different than having one pose just melt into the next pose when your next breath comes. Now I'm not here for a big rush. And oftentimes if there is no breath given to transitions, it will feel like a rush from posture to posture. And oftentimes as teachers, we can get off, I want to say like off balance, off beat, off.

the cadence that actually fits with students because there's not enough time sometimes to breathe in between postures or there's too much time and not enough breath given or moving too fast or moving too slow. So pacing and breath incorporation is a whole skill to practice. So this is...

a vinyasa flow practice, but not in the typical vinyasa practice where it is focused on sun A. So I just wanna put that first. even if you're like, wanna bring these principles that I'm gonna share with you today, these kinds of ideas to a sun A practice or a sun B practice. And if you don't know what sun A or sun B is, then Google that shit. Okay.

So how do we bring more grace into our flow? How do we embody more of bringing our personality into it? Now, this is also very much in the vinyasa trend because there is lineages of yoga where you are very strict, like there's no spreading of fingers. Like you think of bringing your hands to your heart in prayer. There's different belief systems within yoga practices that you bring all your fingers together, your palms are pressed.

Bonnie Weeks (she/her) (06:30.784)
And that is how you bring your hands to your heart, where it can look very different in other practices of yoga of having your fingers spread. So even a small detail as that. And whether you lift your arms straight up and then go straight down so everything stays very square, or if you reach your arms up and out, or out and then up. And so there's some play with what is yoga.

as far as what is the physical practice and to me. So just have a baseline of understanding here. Yoga is any way we want to move our body, that any posture, any position our body can go in can be a yoga posture. We just might not know the name of it in Sanskrit. Sanskrit is a language that often is translated from literally like hand, foot, angle, side, lean.

bind, like these words are just translated from another language, so we just don't know the literal language of Sanskrit. So any posture, any body position can be a yoga posture, and that is not what anybody believes. And that the way for me, the emphasis on flow and on finding grace in your movement, then is this exploration of the spaces between the postures, and that we're not just in a practice that is about your

arms and legs and their positions and of course we have backward bends and we have forward folds so there's spine things and we have twists but the way that we get into and out of the postures and make it a full body experience of feeling that is where your practice of paying attention on the mat and how it feels is really important so with this we need some repetition

I've spoken highly of repetition and I feel like prolifically, but perhaps I need to speak on it more. And in flow school, I talk about a whole lot. So in a single class to have a lot of repetition and oftentimes vinyasa teachers stop at three passes through a particular sequence, but it's only on the third pass that we finally know what we're doing. So after the third pass, do it two more times.

Bonnie Weeks (she/her) (08:44.576)
and stop cueing it. Stop cueing what to do in each pose because you've already taught it six times, three per side, right? So then let people go through it another two times per side where you're calling out the postures or you're naming the breath or you're naming a couple of key cues so then people actually get to feel how to do it, not just what and where to go. And that's when they'll be able to tap into how to personalize it.

That's when you'll see people and you can see it in their bodies. As teachers, it's one of my favorite things. I'm like, I have given myself a job where I just get to watch bodies move and it is beautiful. It's beautiful. However it is you land, such a gift. It's truly such a gift. And so you can watch when people feel things, you can see where they feel stuck in things and what cues might be supportive for them.

So this is so much a practice of then getting to watch them and letting them repeat it long enough that then they can feel it. And so if you're interested in building grace in your flow and helping your students build grace in their flow, there's going to need to be some repetition, right? This is not a conversation about breath, but breath is definitely a part of this and speed. So breath and speed are part of this. But what

Do we want to do? So this is like the two parts, one of them being like the attention to things like in the flow itself. And then what do we do outside of our flow mat time that helps us bring grace into the practice. So let me also bring in loop in this definition for me. Power is the combination of grace and strength. So when I say this is a power class, this is a class where grace and strength get married, where we get to explore what that means individually.

and it doesn't have a one catch all response because we are each coming with our own bodies and our own abilities and our own desires of the day. So your power today can look like a different power from yesterday and tomorrow. So power to me is the combination of grace and strength. So how can we bring that to the practice and give people the opportunity to personalize their experience as they move through?

Bonnie Weeks (she/her) (11:00.32)
And where do we do it where it's not just stick figure land? Okay, so let's talk about that first. From stick figure land, oftentimes we can draw yoga poses as little stick figures. I love it, it's cute. Some people, some teachers make their class plans with stick figures and draw it out and seriously, it's like really adorable. I don't, I use words and I use a shorthand, but some people draw stick figures. So we can draw stick figures and say like, we're gonna go this pose, this pose.

this side, this side, right? So we can draw those out. And when it comes to bodies and when it comes to moving, we're not stick figures. We have this entire middle section, because the stick figure, it's stuck, right? It's stuck in one shape. And if we think of a pose practice, we want to bring this idea of a pose practice and then combine it with a flow practice. Let's teach the poses. So it's a stick figure practice first.

And then now let's melt all of the lines and combine it all together in this whole little beautiful ripple. So that's what we're going for. So stick figure land can happen first. And I love teaching just postures first in class so that people actually know what they are doing and how to do it. And then we release it a little bit as we move into flow practice. We're not just here at stick figures though, because we need a full body experience. This is very much about your torso, about...

the center of your body, everything that is connected to your spine, not just your arms and legs, not just your limbs. It's about the entire way that your body is connected to each other and the ripple, the roll, the combination of all of your body together as you go into and out of a pose, as you expand and contract.

as you lean in and lean out. It is a whole full body experience and we bring that full body experience into flow. That's where it transitions into a dance. So it's not just about moving your arms and legs and doing them separately, like just arms or just legs, but that we do arms and legs together and that we bring the spine as part of it. We bring our gaze as part of it. And it can be tricky to be like,

Bonnie Weeks (she/her) (13:23.534)
What the hell do you even mean, Bonnie? Right. This is where I want to prompt you to go get a week free in Studio B. So sign up for Studio B for my practice. So Studio B houses both my practice classes and flow school online. So flow school membership, there's classes for that. That's a different membership. So you can of course sign up for that. If you sign up for the flow school membership, you get the flow school, you get the teacher stuff where how do I teach?

teachers and guide them and do you want live some live sessions with me? That's all part of that membership or you can choose a membership where you practice yoga with me and do strength training, which I'm going to talk about as well. So you can do that and you get seven days free if you want to do the practice membership. Go try a peak flow class. If you're like, what the hell does this mean? Go try a peak flow class.

We are going to use our full body and I want to give you a couple things to think about and not to do all of them at once. Because sometimes if you try to blast yourself with so many different ideas, then it can feel really overwhelming. We're not here to be overwhelmed. We're here to do less better. So the next time you're in flow, I'm going to give you a couple prompts and maybe you can write them down. Maybe you keep them in mind.

and then try them on. Try on like one per class maybe, right? And see how that affects the way that you feel as you go through pose to pose to pose to transition to pose to transition and the way that you link things together, yeah? Okay, so our mission is to have more...

grace in our flow, have more feeling of grace. And grace to me is this place where it feels easeful, where you're feeling easy in it, but you feel almost like a sense of beauty. Like you are, like you're, you are poetry. That's what I'm just laughing at. I'm like, ah, this is so, this feels so corny, but like your body is poetry. You know, I so believe that.

Bonnie Weeks (she/her) (15:35.798)
Our bodies are something to celebrate and to move in a way that we feel sensual. This does not mean sexual, but sensual, like we feel things. We are alive. This is a practice of feeling alive and feeling buttery in our body.

And I want that. And I think all the literal death in my family this last year of grandparents and my mom and my cousin and a dog, I'm like, we are alive. Let us feel alive and buttery and juicy and sensual. I get to feel my senses here, okay? So when you're in flow next time and when you're going to class, invitation to...

pay attention to the way you use your elbows.

And I mean, when do you bend your arms and when do you straighten your arms? And as you're moving through poses, and this is gonna be connected to your shoulders, this is like elbows and shoulders, like how do you move your arms from posture to posture? And is there a way that you normally do it that feels kind of stick figure-ish where you're just going one and then another, it's like a straight line to a straight line or a bent to a bent.

And can you let there be an in-between? If you're going from a straight arm to a straight arm, can you swoop your arm through a bent elbow or circle with your shoulder into the next straight arm place? That will feel different. Again, we're going for this sensation of a yoga dance, of using our body not just as a stick figure drawing, even though we think stick figure drawings can be really cute, because

Bonnie Weeks (she/her) (17:28.322)
We're trying to put it into real bodies here, right? So where there's a straight arm to a straight arm position, how can you make that have a bent elbow or a circled shoulder somewhere in that? Example, if you're going from warrior two to extended side angle, or maybe we say even a reverse warrior two to an extended side angle or a reverse triangle,

to an extended side angle. Because if we go reverse triangle, our front leg is straight and then an extended side angle, we bend our front knee again. But both of those have straight-ish arms. Like our elbows are straight in both of those. So how can you move between those postures and circle your shoulder? You can circle it forward and then back or backwards and then forward. Do you sweep an arm across? How can you get a bent?

elbow experience in this, especially for your extended side angle, the arm is going to reach up and over your head, especially that arm, like the back arm in warrior two or reverse triangle, reverse warrior two. So play with that rather than just doing a straight arm to a straight arm. How do you go to straight arm through a bent arm to a straight arm? And then you're going to repeat this in all the postures and everywhere you go.

How do you play with circling your shoulders? How do you play with the bent and straight elbow? Because there's a lot of attention often brought to our legs. So let's bring this to our arms and to our upper body with our elbows and our shoulders. And how are we moving between postures and alternating what our arms and elbows are doing? Yeah? Okay.

That's a prompt for you. I'm going to give you just a couple because I don't want to overwhelm you. So that one, option number one. Option number two, what are your fingers doing? What are your fingers doing? And have you ever thought about your fingers in flow? Have you ever thought about what your fingers are, what the direction they're pointed? If Ashtanga brings fingers together and you're like, that's what you do, you have your hands together. And if we're saying,

Bonnie Weeks (she/her) (19:42.242)
We don't have to do that. We get to set that down. Then how are you using your fingers and flow, your fingers and your hands? And how are they part of the experience where you're reaching with your fingers and pulling in? Do you make fists ever? Do you open your hands? How does that bring something different to the experience when you allow yourself to play with your fingers and your hands in your posture, in your flow, in your transitions?

where it's not just about your arms or pointing your fingers in a certain way or bringing your hands together. There's not often a lot of cues, right? There's like to give specific cues about our fingers. They're not big movers. They're not moving our body very much if we just wiggle our fingers. However, when we pay attention to the way we use our hands and our fingers in flow, it is going to bring a different feeling. If you did an entire standing pose,

flow, right? Where you're not touching your hands on the ground at all. So it's a no hands flow. And you had fists the whole time and you did not open your hands and it was just fists. Try this, right? Create a little flow, flow through a little flow and have fists. How does that feel if your hands are in a fist versus if they are open? What happens if you alternate between those things in different postures? How does that feel?

How does it feel if you let your fingers have a little bit of ripple or you extend and reach out through them or you use your wrists as you move from pose to pose? That is going to bring a different experience of flow. So again, we're trying to find this dance element where we're finding this grace in our body, where we're embracing this beauty that our body gets to move like lucky us. Here we are awake again for this day, all right?

So play with your hands, play with your fingers. And part of this then is finding this push and pull, finding the opposites attract. So thinking about when you are in flow, how do you allow yourself, this is especially if you're somebody sequencing flow, if you're a teacher, how do you help students feel like this experience of getting big and small and something straight and then bent and something goes up and then down and then left and then right, letting the postures

Bonnie Weeks (she/her) (22:09.836)
breathe you because when our body is breathing, it's mimicking what's happening inside of us, right? What is happening in our lungs, which then is all the way down to our pelvic floor. Pelvic floor is part of our breathing, right? All the way up through our mouth, all the way around to the entire circumference of our body. And so what is happening so deeply as part of us is this breathing is expanding and contracting then can be mimicked on the outside. How do we bring this expansion and contraction where we are the wave?

And when we bring that into our sequencing, everything changes because our outsides are matching our insides. This is where it turns into this dance element. It is a tricky thing sometimes because it is a different way than the sequencing has been taught to us. So oftentimes we might stay just in an open hip position and we stay just in straight leg positions for a long time or just in bent leg positions. It is in the flow of it in the contracting and

expanding in the opposites, attracting where one and then the other and one and then the other and moving through that, that that is really going to make a big impact is push and this pull the waves coming up on shore and pulling back again, right? The crash and then recede. That's a little bit of nuance. Again, come to Flow School, Flow School membership, Flow School immersive in person. Shout out. Okay. Another thing you can think about is where is your gaze?

the way that we turn our head and look. Let's use reverse warrior. If you're in a reverse warrior too, your gaze could be looking up at the ceiling. You could also turn your gaze and look down at your back foot. Those are different experiences of the same body posture by where your eyes are. Where your eyes are, your face is gonna be turned a certain way, which also is going to affect your spine, which is also going to affect the way that it feels to go to the next posture.

If you're looking down and back in a reverse warrior, where you are gonna go next, maybe you'll want to look up. So again, playing with this opposites attract thing, where we're going push and pull, if we're looking down, how do we then look up in the next posture? If we're looking up in a posture, we probably wanna look down or forward or to the other side. And so it plays right into our sequencing of how do we make this feel like our body has been doing this? What else does it want? It probably wants to do something different.

Bonnie Weeks (she/her) (24:39.704)
So pay attention to where your gaze is. And especially if you're somebody who's practicing yoga, you're not in the sequencing, but you're in the class and there's no gaze cues. And even if there is, you get to play with this. I am so for people personalizing their practice and using the blueprint of what I am offering in class and then saying, I wonder what it'd be like if I looked down in this pose and then sideways in this pose and then up in this pose.

And you get to choose those things when you're in class. So play with that.

If you are a teacher, I want you to think about falling forward in design when you sequence. And this means that you're making each pose lead somewhere so that if it was deleted, let's say you have put together a 10 pose flow and you're going from all these 10 poses and then you start again, left side, right side, left side, right side. You're doing these 10 poses on each side and then it's alternating, right? What if you delete pose number seven?

Could you still get from pose six to eight? And if you deleted seven, then it didn't even matter? If that's the case, then it could be fun to make it matter. This is where it's exciting for me to create sequences saying, if I delete, I want it to be felt. If I delete pose seven,

that I'm like, gosh, like now I have to figure out how to cook from post six to post eight. Like, this is gonna be whole other flow now because I can't get from post six to post eight because I need post seven. That's where sequencing gets really fun. And that's where your transitions become a little bit of a...

Bonnie Weeks (she/her) (26:33.742)
a new experience and part of the experience of the class because students might have to learn something new as well. It might be something that is atypical and unexpected outside of maybe some regular yoga classes you get because you're making the flow fall forward in design. You had to fall from one pose and into the next and into the next like it matters because it does. So make the pose matter. For example,

if you are in a high lunch.

and you move from a high lunge to a wild thing. So you put a hand down, you flip it over, you flip your dog, your wild thing, there's different names for that. You go to wild thing and you step right back up in the same position with your foot at the top of the mat and you open up to warrior two. Question, does that wild thing help the flow fall forward by design? It does not.

because you can go from a high lunge to a warrior two and you do not need a wild thing. Now is wild thing fun? Yes, wild thing is one of my favorites. So then it's like, how do you use wild thing differently? And if you wanna get to warrior two.

but you want wild thing after a high lunge, then you gotta put some more poses in it. You're gonna go high lunge to wild thing. And now wild thing, you cannot step back up where your front foot just was because it was already there. If you wanted it to be there, then don't put wild thing in there, put wild thing somewhere else and just go high lunge to warrior two and keep doing some flow and eventually get to wild thing if that even works now. Does this make sense? So make each pose matter in the flow and see how that might

Bonnie Weeks (she/her) (28:21.716)
expand and encourage your own creativity in sequencing. And if you want more, join me in flow school membership or immersive. Okay. So these are some things for both teachers and practitioners. If you're going to be in the room, going through other people's flow where you're like, okay, elbows and shoulders and fingers and where's my gaze. And if I'm sequencing flow, how do I find this opposite tracks and finding push and pull and falling forward and that, and that

Breath is a part of this, right? This expansion and contraction and then we want to repeat things because then we start to really be able to explore how we want to move through it we can personalize it. So there's that side. And then there's like kind of this nerdy off the mat side is if we are looking for more control in our flow, if we're looking to bring more grace into our practice, then we got to do some other things. Number one is you got to get stronger. You got to get stronger because strength gives you

Freedom to move. Strength makes flow more fun. Because you have more choices. Because you know your body more. Because your body is literally more capable. It feels hella good to know that we have the opportunity and availability to choose where we want to go. You hearing me on that? That's physical, not so much more than physical. So get stronger. What do I have for you for that?

Join Studio B. I have just moved my Yoga Strong strength training program from a one-time purchase to part of the membership. I'm going to be building out, well, I have another month already. I just need to press publish on it. So I have another eight months, like there's nine months right now. So at this current moment, right? So there's three months there. There's three months of strength training that's directly related to a yoga class.

So I've taken a peak flow class and I have a specific way that you have to hit all the body positions. We're moving forward, back up, down, side to side, and we're twisting. So we're doing all the things a body can do in our peak flow classes. I'm taking those peak flows and saying, what strength training do we need in order to support this yoga flow class? So the yoga and the strength training are very directly related, which is hella cool and not a way I've ever seen anybody else do strength training. And the strength training.

Bonnie Weeks (she/her) (30:46.584)
hits all of the things that you need to hit in your body. We're doing all the leg things, we're doing arm things, we're doing like core isolation things, we're weaving it together for full body experiences. It is an awesome strength training program. So it's a month long, you have three workouts a week, and each month it's a different program and includes a yoga class with the flow that inspired the strength training program.

the warmups, the workouts, and then a bonus class mobility or restorative, something like that as well. So again, you get seven days free, you get a week free, you can come and try it out. Studio B, find it in the show notes. So come get stronger so you can build more grace and strength. Nerdy things. Next thing is do things out of your comfort zone.

And figure out what you're bad at. Like, what are you bad at? What feels really uncomfortable? Because we like to do things that we're good at.

And so we stay in the same patterns. And sometimes we need to do things that we're bad at, that make us feel a little cringy, that make us feel awkward because we don't know how to do it because it kind of want to be told what to do, but we want to be able to do it. And it makes us frustrated sometimes. And y'all, I definitely have those places for myself. So do some things that are out of your comfort zone. Go try something new. Take a new class.

Try to move your body in a new way. So learn something new specifically with your body that you have to move your body with and let yourself be bad at it and lean in. yourself be a learner. That is a way that you will continue to build grace in your flow is by finding those things that maybe you're not so good at and it helps you pay attention in a different way. Everything is related. Just go do that. And lastly, let yourself enjoy more.

Bonnie Weeks (she/her) (32:44.43)
Truly like, like how can you bring more pleasure to this? Like this is for funsies. You don't have to choose to do this right now. You don't have to choose to listen to this podcast right now and you are. So let yourself enjoy where you're at. How do you let it be pleasure? You know, sometimes I have moments where I'm frustrated with myself and I'm like, okay, Bonnie, like you can choose here. And sometimes I turn it into a mere moment and

I've talked about mirror work before here, but mirror work for me is so potent. This is where I'm I'm looking myself in the mirror. I'm like, okay, Bonnie, and then we have a little heart to heart. Bonnie and I have a heart to heart. said, okay, Bonnie, you have a choice here. You could choose to be hella frustrated about this and to be holding on and in the mood that you're in. And that's not helping you. And it's not helping anybody. Or you can do it different.

You could also choose this other path, but you get to choose here. We're one emotion different. We're one emotion away from having to be more enjoyable because things are going to suck sometimes. Things are going be hard. Things are going to be grief filled. Things are going to lay out, fillet you open and letting ourselves be in those places 100%. I'm not saying to sugar coat everything or rose colored glasses. fill your feelings and

let yourself enjoy it. So I'm not gonna blanket statement this for like every single thing in our life, right? But what happens if you go into a yoga class, if you go into a movement experience, I'm gonna speak directly to movement here for a sec and say, you know what? I know this is gonna be work, but I'm actually here to enjoy myself.

How would that change it? You're like, you know what?

Bonnie Weeks (she/her) (34:45.378)
however many chatarangas I choose to do or not is for pleasure. This is because it's lighting me up and turning me on and because my senses are like, hey, this is fun.

that changes the experience. That brings more grace into your flow. If power is this combination of strength and grace, part of your strength, right? This is part of being yoga strong. Part of your strength is being able to pay attention and be like, what do I want to bring to the moment? And how does that matter? Because it really does.

You get to choose. You get to choose. And strength is in our muscles. We know this. We know it's lifting heavy shit. Go join the Yoga Strong Strength Training Program. Go try that. And it's in the way of pay attention. It's the way we talk to ourselves. It's the way we give ourselves the opportunity to choose both on and off the mat. It is such a gift.

to be here with you, to watch you move if we're lucky enough to be in the same room together, to converse with you and learn next to you as a teacher, to guide you as a teacher, to host Float School, all of these things. None of us have to choose this. I don't have to choose to be here and fuck I am. It's so good.

We're so lucky. I am sending you so much grace for your day and in your flow.

Bonnie Weeks (she/her) (36:34.328)
Go have fun with your fingers. Go have fun with your fingers. What a sign off in your flow and you know, however you wanna have fun with your fingers. Loving you all.