In this episode
Show notes
Ujjayi breath is the thread that ties movement to breath, and Byron is back to talk smooth transitions, breathing, and pacing.
He explains how techniques like ujjayi breath can help connect movement and breath. Byron suggests that teachers use their voice effectively, starting classes with an introduction to ujjayi breath.
While sometimes challenging poses are included, Byron emphasizes the importance of moving smoothly between poses rather than just focusing on hard ones. He gives examples of tricky transitions, stressing the need to stay balanced and coordinated. Byron also talks about the importance of giving clear instructions during transitions to keep students focused.
Byron mentions that different teachers have their own way of giving instructions, but using basic steps can help everyone follow along. Overall, the goal is to create a stable and welcoming environment for all students during yoga practice. Finally, Byron explains the different parts of the breathing cycle to help deepen the connection with the practice.
Listen to the full episode for more details.
The IN Movement Podcast was formerly the Going Pro Yoga Podcast — and before that, the Yoga Teacher Evolution Podcast and the Rat Race Rebellion Podcast. Same mission, evolved name.
More like this
Read transcript Auto-generated
Sometimes I wonder if we regress as we get older or just we refuse to learn. We unlearn shit in a way. Yeah, like do can you save? Energy. You don't want to. You know, like my 4 year old. She's 8 now. My niece, one of them she just Youtubes since she was. 3 right? But maybe when she's older, she just forgets how to YouTube. I think the rational mind is like, no, it's going to be a different world.
She'll be swipe, swipe, swipe, swipe. Super articulate. Maybe. Maybe she regresses because wants to drink matcha and go out the window, you know, maybe and not have to deal with that could be and pretend that you don't know how to do it.
Could be. We're very simply complicated species where we just, we create a narrative to fit the perspective that we want to have and that's it. My perspective is I want to be simple. I don't want to have to learn how to record anything.
Yeah, well, that's a. Great segue into recording a podcast. Yeah, it is. Welcome to the Going Pro Yoga Podcast. If you love yoga as much as I do, then this podcast is for you. We talk all things yoga related for teachers in order to supplement and complement and even support after a 200 hour yoga teacher training.
Or if you've never done a training before, this podcast is all about just learning more about yoga in an authentic way. Together with Paul Tioto and Byron De Marseille, we put together this podcast to provide you with a free resource to learn more about yoga. Whether you want to share yoga or teach yoga or just practice yoga, this podcast is talking all things yoga related. And we're trying to talk from the teacher's perspective and also the students perspective to
make sure we get a full 360° angle on what yoga is all about and how it's evolved in the modern world. Welcome to our podcast, Welcome back to the Going Pro Yoga podcasts. We are on episode three of our series of mastering yoga sequencing and we got Byron back in the house. Hey, Byron.
Hey, how's it going? Oh man, I'm so I've been waiting to record a podcast for what seems like forever. It's been a few months. Yeah. Well, it's good to have you back. And then we have you back because you're the specialist for the topic today. Creating seamless transitions is what we're going to unpack a little bit to help support again, the mastering Yoga sequencing series that we're going through. So the last two episodes we talked with, Paul, if you haven't listened to them
already, episode one is about common mistakes and their solutions with regards to sequencing. So if you haven't listened to that, go check that out. Episode 2 is sequencing for everybody type, so learning different body types and how to actually sequence in queue in a Safeway for everybody. And then today we're talking about seamless transitions with Byron Damarsay.
So when it comes to seamless transitions, creating seamless transitions, what comes to mind for you? Well, I think. Or things to consider. What comes to mind is from a learning perspective is defining what a transition is and also saying or understanding that there's transitions. There's all types of transitions, like you're drinking a cup of tea right now and transitioning, putting it down and picking it up.
And we're also transitioning. Like when you were done talking, there was a transition to me talking and then I'm guessing soon enough will change again. So there's basically a transition happening all the time. So I think of relationships not meaning like it could be girlfriend, boyfriend, that type of relationship, husband, wife.
But I'm talking about your relationship to whatever you're doing in yoga. The breath has a lot to do with the transition and then the poses. So what's your relationship to the breath, Your perspective of the breath and then the breath's perspective to the pose?
OK, so I would actually, you know, to go dig deeper, be like there's more intelligence behind that with the breath. You are the breath, you know, you can go deeper into the ethereal realm to look into the relational aspects of that.
But just to keep it simple, start to breathe smoother, pay attention more to your breath, time that out with the the landing into a yoga pose and then the moving out of a yoga pose with a smooth breath. That's what I think of.
As a teacher, right? Think as a a leader of the classroom. Right, yeah. And then how, how to get there. So I'm then big on positive, negative, neutral or what you might call masculine, feminine and neutral and positive or masculine would represent how or sorry where we're going. So in this case, where we're going is we're going to the next pose, we're transitioning.
That's where we're going. That's what we're doing. How we're going to do it, that's more about like now where are we going to do that? How are we going to get him there? That would be the negative charge. And then the neutral charge just to bring it in is, since I'm brought it up, is more to about not trying to judge it as good or bad as you're doing it, just to practice it. So the negative charge would be, how are we going to go there? How are we going to get to the
next pose? We know we're going to the next pose, and we know we're going from warrior one to Chaturanga. We know we're going from warrior one to warrior 2. Whatever the next pose is, What is the strategy on how to get there? What do we need?
And what we need is we need lung capacity. We need to be able to slow the breath down. So there's tools in yoga like Ujai breath helps you to slow down your breath and tore this breath, breath slow through your nose, graze the back of your throat.
Once you increase your lung capacity or at least your capacity to breathe slower, then it gives you more time to focus on the transition, the movement in and the movement out. So it really has to do about the breath 1st, and then it comes into the physical body, right? Integration of muscles, alignment. And so if you do just breakdown alignment and poses and without the transitions, there's benefits to that. You're probably going to get really good at holding poses, and if you just do breath work
or focus on meditation, you're probably going to increase your ability to breathe in a way that'll support your transitions. But when you got to got to put them together at some point. So that's what the vinyasa practice is. Vinyasa is a transitional yoga practice. I teach a class called strong slow flow. You're a new Boo twice a week.
That's basically a slow vinyasa class. We hold poses and build strength as well. So that's constantly what I'm doing. I'm guiding from the moment they walk in there. I'm helping them understand that this is all about how we're doing, what we're doing and then how do I help them do that?
Well, a little bit of just saying what I just said, how are you doing what you're doing today? Think about that. And then also for me, I speak a little slower. Right, that's what I was gonna say. Pacing. Yeah, if I say inhale like like I just did, slowly inhale and exhale. And I set a cadence.
And if I stay consistent with that inhale, reach your arms up, exhale, forward, fold. This is a small example. Rather than inhale, reach up, exhale, forward, fold. I think you know you can be the more intimate the teacher is with their transitions, with their words, then it's going to reflect to the person more in alignment so they can move slowly into the transition. So pacing and speed of basically you're, you are the cadence for the room.
Yeah. All right, if you speak too quickly. If you punch syllables or words too quickly, then people might not actually be able to transition as smoothly, is what I'm kind of hearing, or they won't be able to connect with their breath, possibly as easily if you aren't as a teacher. Also it's not just about too fast though it's it's there's some intuition there because you you might need to punch a word right so that they can hear you inhale reach up, exhale forward fold.
So I'm already punching words right there in I'll reach up excel forward fold. Like people may not follow that very well but yes, certain certain times to in in the inflection increases so that people can follow you. You become an instrument. Your voice is an instrument.
It's basically that easy if you're guiding the class, and when I talk about guiding, I'm talking about the style where you're not demonstrating or you're walking around the room. You're paying attention to the five 1050 people.
Whatever you have, you're really paying attention to them and you're guiding them with your instrument, your voice. You're speaking slow, you're speaking fast, you're speaking loud, you're speaking quiet, you are cueing the inhale and the excel when it's needed. So I think that is the main key is to harness the power of your voice like an instrument and then in your own practice get really good at the transition.
So focus on your breath, focus on the movement and then put them together and have some sort of Ben yasa practice where you just you just practice that super and I would suggest go slow, it's easier to follow to really nail it if you go slow.
So how would you, what would you suggest to someone who's like, OK, well, like I want to be better at transitions. OK, so I'm focusing on the breath, pacing, you know, being attention to my tools, my voice. What are some likes?
What would you suggest, say, are some steps or something that they can do? You said practicing like their own practice to help like with those transitions. So like, I'm thinking and you can kind of input how you want, but like if they're like working on like small little sequences, like a couple poses, like three in a row and they're either practicing it in their own body first to be like, OK, how would I smoothly transition from this pose to this pose, to this pose
with the breath, with the cueing, with the alignment, the stability, this type of stuff. And then when you put it into practice in a classroom, it might actually translate a little bit in the same way. Is that would that be something that you would suggest? Or something.
I would suggest in the beginning of class. For example, you could start in a seated position and you can introduce what is the oh Jay breath. OK, this helps us breathe slower. Here's how it sounds great. Place one hand in your belly, one on your upper chest. Start to feel the breath enter through the throat. Feels like you're breathing through your throat. OK, so you've explained that now your breath is bigger than the movement.
When we start to synchronize our breath in our movements and we focus on the transitions, it's really important to know that the breath is usually bigger than the movement. So the inhale will initiate the movement. For example, let's start reaching our arms up on our inhales and then just relaxing the arms back down as you exhale, start to pay attention to that oh Jay breath as the inhale initiates reaching up. You keep breathing even once your arms are all the way up. You finish the breath.
Good. OK. And then as you exhale, you start moving your arms down. Well, even when your arms are down, you still need to exhale all the air out. And then you just repeat that. And you just do that for five or ten rounds.
Now you've added a movement, and then whatever your sequence starts to become after that, great, you come back to it eventually. Now we're going to come through 1/2 salutation. You're standing up into Dasana. Remember what we did earlier? Now inhale, reach your arms up.
Remember to complete that breath, and then exhale forward, Fold all the way down. You could even do it in a sun salutation at that point. Halfway lift, inhale. So the body, the human body is really intelligent when you start to bring it through patterns of mint.
Like we remember how to walk, you know, like we remember how to walk, we remember how to run, we remember how to ride a bike and a certain things we remember warrior one. Like I cannot do warrior one for a month and I do it and it's just like, Oh yeah, that's easy. So if you just plant the seeds and start slow, kind of build from the ground up, give them something beginner intermediate. And now all of a sudden they're applying it from down dog to plank to chutarunga to up dog to
down dog to lift your right leg up step forward, warrior one, wash. It gets a lot harder because there's more expenditure of energy happening, which means you're gonna have to breathe faster. At least your heart's pumping faster.
So you're gonna have to breathe either slower or you're gonna have to, you know, transitions are gonna get choppy, so it's going to take a while to really master it. If you go to a strong vinyasa class. So this actually gives you, it's kind of cool because you can keep measuring your progress and maybe one day you show up and you're like, oh wow, it's really easy Like all of a sudden.
I mean, that kind of happened for me at a certain point. Not easy. I'll sweat and I'll but I'll be like, yeah, I can match my breath to my movement really well. It's really hard to throw me off now. That's great. So what I'm hearing you say is basically you're creating almost building blocks in your class. Like if you're using, you're using the opening to, you know, an an opening of the yoga class, the beginning of your classes to set people up in many ways, but
set people up physically for more challenging physically postures. But if you set up the pace, the breath, the awareness of the space of the breath in the movement early, and like a seated posture of simple movements, then it's kind of like building blocks or stepping stones for parts of the class that are going to be more challenging to transition through.
But they've already done it in a simpler way. So it's almost like they've already started to walk before they started to run. Yes. Crawl, walk. Run. Crawl. One, Yeah. And I think there's another element here that's that's important to bring up. So the philosophical yoga behind this is focus and concentration dharana.
So there's Dorana techniques and you can dive into these. I mean, some people are going into the genre, the genre, the mind and these different techniques. And there's a whole sector of genre practices which are all about concentration of the mind and you can measure your progress and different thoughts or people gurus or whatever you want to call these people have different ways of of kind of approving your your next steps. So this is actually a gateway in
to a much deeper yogic experience. So there's that part of it. So to communicate some element of like this is part of yoga to be able to concentrate, to be able to focus, have that one point in mind. You don't have to go into the sutras, you don't need to go into that unless your audience wants that.
But just to know that this isn't just about the aesthetic look, because that that gives people the the thought of this is an aesthetic dance class where I'm just coordinating my breath to my movement. Why am I doing that, huh?
They'll wonder that in their mouth. I guess I'm doing that to look beautiful. It does look beautiful to when people are In Sync with their breath and their movements. You might call that graceful. I like to define grace as love and motion.
So you are being graceful, but to demystify that I think is important as well, so it doesn't become a choreographed experience. It stays in the yogic wisdom. That's great. Cool, amazing. So my next question is about what about like?
I mean, it might apply to be the same, but I'm thinking sequencing for like peak poses. I know your teaching style is not super peak Posey. What do you mean? You don't usually to a lot of obvious peak poses, but I'm sure you do a case. For Instagram, I do.
I do them. If it's a recorded class, you're like, OK, but again I don't know like transitioning to peak poses or to more challenging poses, there's obviously, you know, we talked about building blocks and kind of setting it up.
So at that stage it's going to be more of a challenging thing. Do you have any notes or thoughts on that area of class or that time of class that might be? The difference in the peak. Yeah, like a peak pose or a peak sequence or a peak standing series or something like this.
You could think of a challenging sequence. Depending on a person they may think of balancing sequences super hard. Another person might be get thrown off by a strength series and it was side planks and chaturangas and dolphin push ups and things like that might be like impossible. But I I think balance.
If you throw in like a it's kind of hard to balance on a breath cue. You know like if you're going from warrior one or Crescent to warrior 3. Inhale. Lift that back leg up first. Let's say inhale. Reach up. Crescent pose. Exhale, lean forward about halfway inhale floats your back foot off the ground.
Warrior three. And as you exhale stay for a few breaths. Something like that in and and then coordinating subtle cues within that Warrior 3. And you could do this on any pose. You could be a warrior one. But OK, you're let's just imagine. Take that.
So inhale, Crescent. Exhale. Lean forward. Halfway. Inhale. Lift your back foot off the ground. Now stay in warrior three. And as you exhale, draw the hands to your heart. Warrior 3. Still inhale. Reach your arms forward. Exhale.
Hands back to your heart. Wow, you're balancing on one leg. There's a lot of strength and you're moving your arms dynamically like that would be to me, like a peak flow transition sequence. I mean, you could take him in a handstand and you could do something from a handstand. Right, Right, right.
Inhale down, dog. Exhale. Float up into handstand. Good. Hold your handstand. Open your legs wide as you inhale. Exhale. Legs together, Scorpion, bend the knees. Open up your heart and exhale. Lower your chin. Down chin. Stand you.
I mean what? You know you could go crazy, right? I'd definitely. Have to be in this class. I know, but I think I just better discern. Child's pose. Yeah, child's pose. Inhale. Cat or cow? Exhale down, dog. Child's pose flow. Inhale.
Shift forward to plank. Exhale, drop the knees and lower down. I don't know. Whatever child's pose, you know, you can think of simple poses. That's more of the. Yeah, I like that question. But, you know, most people are just needing to focus on this super simple, just sit and reach your arms up and float them down. But then there's those people that are kind of like me and probably a little bit like you.
Like, I like to be thrown off and be like, gosh, that's hard. I almost look impossible. It's like going to the, you know, playing like an extremely high level of a video game before you're ready to even do it. But you're just like, I just want to see what it's like.
And part of you is like, I want to keep, OK, now I realize I'm not ready for that, but that's my goal. Yeah, let him know it's possible, but bring him back to the basics. Always. Always. That's that's really helpful. What about, I mean we kind of mentioned it, but like queuing with regards to transitions, like we kind of like briefly mentioned it. But do you have any thoughts on like the importance of queuing or alignment or maybe awareness of, I mean basically what I'm thinking is you kind of
mentioned it, but and I'll, I'll use my own words, but you kind of want to be with the class, you're kind of flowing, call it energetically or commutatively with the class. So you're paying attention to what they're doing and it's like a Symphony or like an orchestra. You're kind of like guiding them. And while you're guiding them using your breath, your pacing, all this stuff, you set it up early in class with my child's pose or seated, you know, hands
up these types of things. But you're queuing like movements and you're also queuing stability at the same time, right. So I would imagine that the certain this is what we talked about with Paul in previous episodes like when it comes to sequencing, you know the other side of the coin is queuing is just as important as sequencing because without queuing the sequencing doesn't actually have a lot of stability at the same time.
So do you have any thoughts on the queuing connection with this? Well, I think it just made me think about the pace and like a lot of classes that I used to go to in Los Angeles or anywhere in Sydney on places that I was traveling, you know, they most styles of Vinyasa are faster than my style, right? And I find it hard to really focus on the transitions and full in full stability in full.
Strength. Yeah, and just control. Yeah, control. That's a better word for it. I feel in control. It's like, I feel like I lose control when the teachers speeding up the class, I feel like they're not really mean. Maybe I'm wrong, but to me it just feels like a fraudulent experience because I'm like, there's no way you guys can cue that fast.
And also your practice is keeping up in a controlled manner as well, right? It feels like it feels like that more often than I was, probably why I choose to, to guide a little slower. But that being said, I think you can guide something slowly in the beginning and then mention like we are going to speed things up.
Maybe you only have a 16 minute class, for example, you got to move a little quicker, but you just let them know we're going to move a little quicker and do your best to to keep the transitions as smooth as possible. And that way they're not thinking in their heads like gosh, this is fast, this is I don't even how how am I going to do this, You know, they're asking me to do this.
It seems impossible. So I think it's more about just setting the tone. The cueing is important too, by just to remember that, you know, a lot of our yoga practice has to do with the mind and how do we disarm or neutralize the mind and the breath is the way to do that.
Other things are to help the mind feel safe. So it's not judging the experience or comparing itself to people around them or to their previous self or their future self, just be present. So if you can say a few things that help them just to remind them to be present, then the cueing you can kind of own that as your own style.
Yes, it helps to give some stability cues. Yes, it helps to be in rhythm of inhale and exhale, to breathe with the class. But I think everybody's going to have a slightly different strategy or personality of things that resonate with their own practice that will come through with their queuing. That's what I think.
OK, Yeah, that's great. Amazing. OK. So I think the the, the last thought that I'll throw in unless you have other ones that comes up for me is basically I'm, I'm imagining my class and I'm going to set up these building blocks at the beginning of class. Building blocks being I'm going to do transitions, but they're going to be smooth and easy and intentional. I'm going to almost talk about them using the breath and that gives an opportunity for everyone to be able to basically find those transitions
accessible. And then as the class moves on, I have the option to depending on the length of the class or the the difficulty of the class, it might become more challenging for people to maintain connection with some of those transitions. But that's OK you know, everyone's at different levels, but at least at the beginning, I've given everyone an opportunity and it helps to give people a chance to know like, oh cool, like this is where I I am and this is where I can go. But this is kind of where I can
improve, you know, like the at this point in class, like I'm having a hard time with the transitions, but I can see like you said, what's possible or OK. So next time I'm going to really focus on trying to maintain stability from this transition to this transition or something like this.
So basically what I'm saying is what I'm hearing from you is setting it up early allows students an opportunity to feel into these smooth transitions even if they don't have an advanced physical yoga practice which makes them feel probably accepted to be able to be there. And then even if the class gets more physically challenging or difficult because of for whatever reason, that's just your style as a teacher.
It'll still make them feel included, I feel, yeah. And and also the other the last thought that's coming up for me is because I didn't mention this at the beginning which I think is probably I should have is the four parts of the breath.
So if you don't understand that as a teacher that you have four parts of your breath, then go focus on that for a while in your own practice. That way you can communicate about it. So inhale is one part. Then the space between the inhale and the exhale called the cumbaca, which is retention, which is kind of like you're holding the breath but you're suspending the breath.
So that's when the movement gets suspended as well. Usually means it means that you're holding the movement, but you're kind of not holding it. You're it's kind of in this fluctuating state of like a hot air balloon. If you look at a blimp or a hot air balloon are they still ever?
Probably not. They're always floating. They're always moving. That's what Kumbakka is. So you inhale and you just suspend the breath there. As you do that, you actually suspend the movement. Maybe the arms are up now you've suspended that Are the arms still? Well, they move more like a hot air balloon in a way. They're probably a little bit of energy moving through them and then exhales the third part.
Then you take the next movement. Maybe the arms float down or you forward hold. The bottom of the XL is the 4th part. Kumbakka again, you hold the breath out. It's not being held. You float the breath out for just a couple seconds and that's what's really going to help the transition.
It's almost like each cycle of breath, which each cycle includes 4 parts, you get to reset and start again. So it gives, it gives the mind, it gets the mind structure of something to follow. Yeah, that's good. And if you, if you know, it's also beneficial to just cue inhale and exhale. If you're not quite there with your practice yet, it's also beneficial just to move with inhale and exhale and I'll talk about that.
But for those of you looking for more deeper understanding the four parts, if that's where it's at. Cool. Great. So we got a couple minutes left. Oh, there's one question I'm going to ask you that might turn into a bigger discussion.
So let's try to let's see what happens. Just talking about the breath, talking about in inhale and exhale and you know if you're a newer teacher, you're a teacher that's still kind of like learning, you know, there is a tendency to over cue the breath as you know.
And since we talked a lot about in this episode about cueing the breath and connecting to the breath, do you have any thoughts on the over cueing of the breath in respect to this conversation? I think it's something that you need to record yourself, listen to yourself, practice to yourself and your own voice and or you need to have feedback from people that are honest and direct and you need to be in a place of receiving that feedback so that you can see yourself outside of your own perspective.
Because over cueing is something we watch all the time happening in newer yoga teachers. Gosh, I mean, I I see it everywhere. It doesn't have to be a newer yoga teacher. It definitely happens in the newer teachers for sure, but it's something that'll stay with you forever if you don't correct it.
So yeah, I think it becomes logical at a certain point where you're like, oh, this makes sense to cue the breath and it doesn't make as much sense over here. And until that clicks for you, you just need to keep on having those those feedback moments. So, like, you know what I thought? Why did you, why did you queue right here? It seemed like unnecessary.
I don't really feel like there was a reason for that. If you're questioning why you did it, then there's probably a good reason that you're questioning it, all right? But if you're like, oh, I'm going to queue this, of course, here, because that makes a lot of sense.
And if you are just imitating what somebody else does, that's not a bad way to get started. But it you can't stay in the in the imitation phase forever. Start there if you need to, to get courage, and then start to question what you're imitating, that's that's that's about all I can really add to that.
That's good, though. That's a good segue. Actually, considering the next episode is going to be a lot about feedback. Nice and. Reflection of your sequences, which will be with Alyssa, actually, yeah. So Alyssa will come in for that.
So yeah, what a treat. So we'll wrap up this episode. I think we covered lots of good things, you know, talking about the breath, the connection, building blocks from the beginning of class casing to some level. Yeah. And and also like practicing in yourself with smaller little sequences, if you will.
You also said just at the end, like recording yourself is also a great way to get feedback, which I'm sure we'll talk more about in the next episode. But yeah, really helpful for me as well. So thank you. You're welcome, Do. You have any other final thoughts before we wrap up? Well, my final thoughts are that, you know, I'm, I'm constantly these days thinking about transitions also in everyday life.
Like, how are we going to close this conversation? For example, like, am I just going to keep talking endlessly and be nonsensical? Am I going to say something amazing and drop this knowledge bomb or you're just like, Oh my gosh, I'm going to Google that tomorrow and like write in journal about it? Or you know, should I have already finished? Am I second guessing myself?
Am I just rambling at this point? Should I hand it over to you? It's just like endless possibilities when it comes to transitions. And then all of a sudden you just realize that it's all about finding that perfect moment, which there's never a perfect moment. So you just have to make a decision and finally stop. There you have it.
What a great time to send Passover. Thank you. That's great. I think the last thing that you've mentioned already, which is to not judge yourself as well, like you just play with it when you do these transitions and you're learning how to do it in seamless way for yoga classes is like it's not going to be quote UN quote perfect. It's just going to be what it is and you just you do it again or maybe you do it different or maybe you do the same and don't judge yourself for it.
It's all good. Yeah. Yeah, exactly. Cool. All right, Great. So thanks so much, Byron. Glad to have you back. I'm sure you'll be back again soon. And thank you to all of you who have listened today. And if you haven't listened to those previous episodes, definitely encourage you to do that. And then TuneIn next week, as we're going to be having Alyssa Goldberg come into the podcast, and we're gonna be talking about feedback and reflection on your sequences, which is another way to progress your masturation,
masturation, your mastering of yoga sequences. Masturation. That's a word that it was. A. It was a close call, that word. Let's just say that I'm gonna need to look that one up. Is that a real word or is it just almost mastery of yoga?
Sequences is what we'll say. Mastery. Mastery, not Masturation. This is a 1 letter missing to make that a but. I'm going to transition. But if you were to, like, actually go masturbation, you might get a lot of clicks and listens on that one.
Right. We're not going to do that though. That's another episode. Different guest. Possibly, although we did do an episode on masturbation. Actually, I already did. That we did with Eric. With Eric. Exactly. Way back. Whence. Yeah, cool.
So thank you so much for listening. As always. We love your support. If you like this episode, you like previous episodes, and you haven't done it already, we'd love for you to give us a star review, an Apple podcast, or Spotify.
Just Scroll down on the main page of the podcast and just give us a star review. You can write something if you want. You also don't have to. It takes a few seconds, but it really helps us out to be able to spread this knowledge, this information to other Yogi's out there so we can just help make the world a better place.
Thank you so much. And we'll speak to you next week. Take care. All right. Before you go, let me just tell you about the going proyoga.com platform. So right now you can go to goingproyoga.com and check it out for free for seven days where you can actually learn more about yoga in the ways of alignment, cueing, sequencing, yoga, anatomy. So that if you've done a 200 hour teacher training and you want to continue to learn, practice and grow, this platform is definitely for you.
So I definitely suggest checking it out going proyoga.com right now. You can try it out for free for seven days.
