NESTA Sport Yoga flashcards
NESTA Sport Yoga · Build recall with a focused review session.
32 cards. Read the term and the definition here. The deck at the top of this page is optional.
- Eight limbs of yoga
- Patanjali's eight-part path: yama, niyama, asana, pranayama, pratyahara, dharana, dhyana, samadhi. Asana is only the third limb; the rest address ethics, breath, and mental training.
- Yamas and niyamas
- The yamas are five social restraints such as non-harming and truthfulness; the niyamas are five personal observances such as contentment and self-study. Together they form yoga's ethical foundation.
- Vinyasa meaning
- Sanskrit for arrangement or placement; in modern practice it means linking postures in a flowing sequence synchronized with breath, usually one movement per inhale or exhale.
- Citta vritti nirodha
- Patanjali's definition of yoga: stilling the fluctuations of the mind. It frames yoga as a mental discipline, with physical postures serving as preparation rather than the goal.
- Sport yoga definition
- A modern hybrid that keeps breath-linked vinyasa flow while emphasizing athletic goals such as strength, mobility, and recovery. It borrows classical structure but not classical renunciation.
- Four paths of yoga
- Karma (action), bhakti (devotion), jnana (knowledge), and raja (meditation). Teachers use these to source class themes and to explain yoga's breadth beyond physical postures.
- Three cue types
- Verbal cues use words, visual cues use demonstration, and tactile cues use hands-on contact. Tactile cueing requires explicit consent and stays within scope of practice.
- Cue sequencing order
- Cue the base of support first, then the joint stack, then the action. Students can only refine alignment after the foundation is stable and understood.
- Breath-cue pairing rule
- Inhale cues expansion, lifting, or lengthening; exhale cues folding, twisting, or grounding. Pairing breath with movement mechanics makes transitions smoother and more sustainable.
- Mirror-side demonstration
- Facing the class and demonstrating on the side that mirrors students, while naming left and right from the student's perspective rather than your own.
- Chaturanga transition sequence
- The standard vinyasa: plank, low push-up, upward-facing, downward-facing. Teach the transition itself, since most strain happens between postures rather than in them.
- Parallel modification options
- Offering option A and option B side by side lets students self-select difficulty without feeling corrected. It preserves autonomy and keeps mixed-level classes coherent.
- Cue pacing rule
- Keep each cue to one or two sentences and leave two to three breaths of silence between instructions. Over-cueing prevents students from processing and feeling the movement.
- Three planes of motion
- Sagittal for flexion and extension, frontal for abduction and adduction, transverse for rotation. Most asanas combine all three planes simultaneously.
- Forward fold load
- Forward folds load the lumbar spine; cue hinging at the hip crease with a soft knee bend to shift stretch toward the hamstrings and reduce spinal strain.
- Chaturanga shoulder load
- Chaturanga places high demand on the anterior shoulder. Keep elbows over wrists and shoulders above elbows to limit anterior capsule strain and protect the joint.
- Flexion plus rotation risk
- Combining spinal flexion with rotation under load stresses discs and posterior structures. Avoid deep loaded twists at end range, particularly while flexed.
- Wrist extension load
- Plank and downward-facing dog load the wrist near ninety degrees of extension. Offer fist or forearm variations for students with wrist sensitivity or prior injury.
- Inversion screening
- Screen for uncontrolled hypertension, glaucoma, and recent neck injury before headstand or shoulderstand, since inversions raise intracranial and intraocular pressure.
- Diaphragmatic breathing effect
- Slow diaphragmatic breathing increases vagal tone and lowers resting heart rate. Rapid breathing does the opposite, so match pranayama style to the class intention.
- Contraindication screening
- A structured conversation about injuries and conditions, not a diagnosis. Ask, note, modify, and refer out when symptoms suggest medical evaluation.
- Peak-pose arc
- Class structure: warm-up, sun salutations, standing sequence building toward the peak, peak pose, counterpose, cool-down, and savasana. Each stage prepares the next.
- Warm-up duration rule
- Allow five to ten minutes of mobility and breath work before loading end-range positions. Cold tissues tolerate less range and are more prone to strain.
- Counterpose principle
- Follow a strong backbend with a gentle forward fold, and deep flexion with extension. Counterposes balance the direction of load within a sequence.
- Sixty-minute class budget
- Roughly eight to ten minutes warm-up, thirty to thirty-five minutes main sequence, eight to ten minutes cool-down, and five minutes savasana.
- Single-theme rule
- Set one theme or intention in the first three minutes, echo it once mid-class, and return to it at close. Multiple themes dilute the class's coherence.
- Savasana minimum
- At least three to five minutes in a sixty-minute class. Rest allows parasympathetic downshift and consolidates the nervous system effect of practice.
- Voice projection mechanics
- Cue on your own exhale, project from the diaphragm, and vary volume and pace to signal intensity changes. This preserves vocal stamina across multiple classes.
- Hands-on consent script
- Name the assist, ask permission, offer an opt-out, and never assist the neck or push to end range. Consent is requested each time, not assumed once.
- Scope-of-practice language
- Use phrases like notice, explore, and if it feels right instead of this fixes or this cures. Language signals that yoga complements rather than replaces medical care.
- Incident response order
- Stop class, assess the student, call emergency services if needed, document facts objectively, and notify your insurer and employer. Document before memory fades.
- Inclusive cueing
- Cue function and sensation, such as feeling a stretch in the back of the leg, rather than body shape or appearance. This reduces comparison and body-image pressure.