Lesson Four • Ardha Chandrasana

The Upper Lateral Line:
Criss Crossing Coordination

Lateral line in the trunk:

Looking above the hip we see the upper half of the lateral line— two sets of musculature that create a basket weave of support and energy distribution— the internal and external obliques, and the internal and external intercostals. The overall design of this basket weave section of the lateral line serves another purpose as well. As Tom Meyer’s describes, “The series of ‘X’s or the basket weave that characterizes the LL in the trunk and neck are perfectly situated to modulate and brake these rotatory movements. Therefore, the woven structure of the LL in the trunk can be seen as partial arcs of spirals that are used like springs and shock absorbers to smooth out the complexities of walking. In this way, we can see the slanted direction of the intercostals as acting almost like a watch spring, storing up potential energy when the rib cage is twisted one way, releasing it into kinetic energy as the rib cage rotates in the other direction. We have found interesting results treating the intercostals primarily as muscles of walking rather than as muscles of breathing”. So the basket weave formation of the lateral line is the key to its capacity to store and release energy. One implication of this is that it’s not only natural, but a necessity, to have a little ‘swagger’ when you walk. Without it, you lose the efficiency of walking, the transference of energy through the body, the storing and releasing capacity of the lateral line. This could also be good motivation to keep breathing during our balancing postures, as science implies that the muscles of balance are also the muscles of the breathing— which is good advice as it is all too easy to hold our breath when we are trying to balance.

External & Internal Obliques:

The external obliques are the largest of these upper lateral line players, attaching to the sternum, as well as the external surfaces of the lower 8 ribs, and then integrating with the linea alba (the connective tissue in the center of the abdomen), and down iliac crest and pubis. If you put your hands in imaginary vest pockets on the sides of your ribs you would be mimicking the placement of the external obliques.

The internal obliques run perpendicular to the diagonal line of the external obliques and occupy a smaller, more interior, space. This muscle attaches to the lower border of the last 3-4 ribs, as well as the ilium and pubis. At the front and back of the body, the internal obliques merge into the strong connective tissue of the thoraco-lumbar fascia, as well as the aponeurosis of the abdominal region. If you were to put your right hand in your vest pocket, and then your left hand into that hand like another pocket, you would be mimicking the relationship of the internal and external obliques.

Intercostals:

The intercostals, found between each rib, form a remarkable criss-cross pattern of musculature, comprising both internal and external intercostals. These muscles play a vital role in expanding and contracting the ribs, creating the necessary space for the lungs to breathe. When you take a deep breath, feeling the ribs lift laterally, it is the intercostals that orchestrate this essential movement, facilitating smooth and efficient respiration.

Splenius Capitis & Sternocleidomastiod:

The sternocleidomastoid (SCM) and splenius capitis are the top two muscles of our lateral line. Both of these muscles have strong anchor points on our axial skeleton, the splenius capitis to the spine itself and the SCM to the sternum and clavicle. This allows them to be strong supporting muscles for the ever present weight and balancing act of our head over our shoulders. Head forward position, though, as we saw in previous sections, exponentially increases the weight of our head, forcing these two muscles to recruit the muscles of our arm lines, creating a downward spiral of soreness and injury. For this reason it can be important to ‘scoop’ the arms forward or out to the side when using them in balance postures, in order to restore the balance of your lateral line and shoulders, allowing the SCM and splenius capitis to regain their position as the primary balancers of our head position.

Summary & Reflection

This section illuminates the intricacies of the lower and upper lateral lines, integral components of our body's musculature. Tracing the lateral line from the Fibularis longus muscle at the ankle through the IT Band and Gluteus Medius to the upper body's internal and external obliques and intercostals, it reveals a criss-cross coordination crucial for walking efficiency and energy transfer. The basket weave formation of the upper lateral line serves as a mechanism to modulate and smooth rotatory movements, emphasizing its role in energy storage and release during walking. The section also explores the functions of external and internal obliques, intercostals, and the key roles of sternocleidomastoid and splenius capitis in maintaining balance during head movements.

Delve into the lateral line of your body, which connects muscles along the sides of your shin, thigh, hips, ribs, and neck. How does this lateral line contribute to your overall balance and energy distribution? Can you recall an experience of the lateral line's engagement, perhaps in the Floating Tree pose?

---

Ardha Chandrasana

Anatomy in Motion

Ardha Chandrasana is often regarded as the most challenging level 1 balance pose due to its demand for open and stacked hips. This adjustment shifts the center of gravity backward, potentially destabilizing students as they seek balance. However, there's a helpful technique to navigate this: by firmly grounding the big toe of the supporting foot, the risk of falling backward is minimized. This approach centers the focus downwards, preventing excessive hip flexion and external rotation. Anchoring the big toe not only fortifies the foot's arch but also enhances balance and encourages the activation of the deep front line. As a result, there's a sense of buoyancy and limb-to-core integration, allowing the entire body to synergize for a stable yet effortless execution of the pose.

Setup

(Same as Virabhadrasana III Set-Up)

Many individuals transition into this pose from a Virabhadrasana II stance, which already places them in significant external hip rotation. Instead, we'll begin with our hips squared, not open. From a balancing lunge, similar to the setup for Virabhadrasana III, we'll externally rotate only to the extent accessible with one foot grounded. This approach might yield entirely different outcomes!

From Virabhadrasana I, bring hands to hips and shift weight into front leg, elevating back heel. Make sure most of the weight is in the heel of the standing leg to support the knee.

Exhale, Hinge minimally from the hips as the back leg floats up into a miniature Virabhadrasana III.  Notice the sensation of strength and support through the back of the leg and hip.

Primary movement (External Hip rotation)

Inhale Press into the grounded foot to create space in all the joints, use this strength to reach lifted foot and crown of head long (option to spiral slightly toward the grounded leg).

Release arm of the standing leg from the hips, pointing down

Exhale Push into the grounded big toe to slowly initiate the opening of the hips.  Keep bottom leg soft and supple with the weight in the heel so there is no pressure in the patella tendon.

Allow the lowered arm to float forward and up in proportion to the lift of the back leg, both for balance and overall deep core integration.

Note: It is essential that the big toe stay anchored the entire time.  As the hips open, only go as far as the big toe allows.  Think of this whole pose as centering around the big toe - everything we do in the rest of the body is only to encourage and challenge the work of the big toe and the support it provides to the rest of the body, namely the deep core and spiral line.

Repeat steps 1 & 2, spiraling into  and away from the grounded leg.  Notice a sense of support crossing over the back of the hips from the grounded leg into the floating leg.

As you arrive in the posture, all the top arm to unfurl upwards.

Note on Arm Variations

Reaching Arm Forward and Up- The most accessible arm Variation- The bottom arm reaches forward and up, lifting towards the ear as the top arm stays on the hip or reaches back. Notice how the how the arm and leg can reach apart to create space across the  whole body.

“T” Arms- T ‘arms’ are a classic approach to Ardha Chandrasana Arms, and can be a culminating position from the previous arm method. When in the full T expression of the arms, notice how the head, lifted foot, and arms reach at the 4 cardinal directions creating expansion through the whole body.  Note:  Hypermobile bodies should be careful, as this can encourage the hips into much deeper external rotation, putting pressure on the hip sockets.