Words That Move Us: Rethinking Yoga Cues

Since words have a power that surpasses all thought, from words alone come direct realisation. Just as one who is asleep is woken by sound, so one in ignorance is enlightened only by words.

sabdasakteracintyatvâcchabdãdevaparoksadhih I prasuptah puruso yadvacchabdenaivavabuddhyate – Sadācārānusandhānam (Advaita Vedanta 19)

Over a thousand years ago, Advaita Vedānta recognised something modern movement science is rediscovering: language does not merely describe experience, it shapes it.

Teacher or Instructor?

Language literally shapes our world. The words you choose as a teacher will shape your students’ minds and bodies - please do not underestimate their power. The way you choose your language will differentiate you as a teacher, from an instructor. When you are planning your class, think about what kind of mood and energy you want to create, what your themes are and what your own students’ particular needs are and choose your language to support a unique experience for them.

For example, pre-formatted, mechanical cues like "shoulders back, eyes forward" may produce an alignment that looks similar to a yoga pose. In reality, they give students only a tiny part of the story. It's a bit like giving someone a photograph of a beautiful place and leading them to believe they have experienced it, without realising they could actually go there.

Our choice of words shapes the experience we create. It determines how authentic, inclusive and democratic the learning environment becomes, inviting students to explore their own experience of their bodies rather than conform to a predetermined image. An instructor repeats scripted, pre-formatted language. A teacher continually evolves their language, refining it to communicate the essence of what they are teaching in a way that is meaningful, responsive and appropriate to the individuals in the room.

Guideline: If every teacher says it, that’s a very good reason not to say it, because by the time it has become a mechanical, one-size-fits-all cue, it has lost its meaning.

Common Cues to Retire

Here are a few yoga cues that are outdated and no longer helpful. That is not to say that they they are wrong or useless. It's because language and movement science have evolved, and now we have more skilful, accurate, and functional ways to talk about movement and the body.

Please note: there is no language that is forbidden, and sometimes some of these may be appropriate. Use your own judgment, bearing in mind the benefit of your words to your students.

Cue to be retired	Reason	What it does to the body	Alternative
Square your hips (or most geometrical imagery)/ Imagine headlamps on the front of your pelvis, shining forward	Square suggests a geometrical shape. There are no geometrical shapes in the body, and a straight, 'square' pelvis is impossible for many people and uncomfortable for most people.	Creates rigidity as the body tries to make itself into a straight line. Can make people feel they are doing the pose incorrectly.	Wrap the back hip towards the front. Wrap the buttock forwards. Draw the back hip forward. Roll the front hip back. Orientate your pelvis towards the front of the mat. It's a forward-facing pose.
Spinal column	A column suggests a long, straight, rigid structure, whereas the spine is an S-shape chain that moves sequentially.	Introduces the image of a rigid column and loses the intelligence and movement of the spine.	Say 'spine' or 'vertical axis'. Reference sequential movement and “snake’ or “wave” like movement
Drop your belly (in cat/cow)	Invites collapse rather than balanced spinal extension.	Can collapse the lower back and create an imbalance of load through the spine.	Draw the hips back and up. Take the chest forward and up. If needed, bring the front of the body closer to the back of the body or draw the lower ribs up towards the spine.
Flat back / straight spine	The back is neither flat nor straight.	Introduces rigidity and reduces sensitivity to the actual shape of the spine, with implications for posture.	Neutral spine. Sense the front and the back as the same length (For half lift) Lift your chest forward and up and come halfway up, then fold back in. Alternatively, rise until you can feel all of your back muscles engage, then exhale and fold back in.
Shoulders up, back and down	Often becomes a mindless cue rather than describing the intended action.	Can encourage automatic positioning instead of mindful, embodied movement.	Cue the intention instead: more freedom across the chest, more room for the breath and softness in the shoulders. For example, draw the shoulders towards the ears, feel the shoulder blades slide up the back, bring the collarbones back, then allow the shoulders to soften down.
Engage your core / navel to spine	'Engage your core' is vague. 'Navel to spine' creates effort around one area rather than coordinated support.When alignment is functional, the core naturally responds in the appropriate way.	Students often tense the abdominal muscles rather than creating balanced support through the torso.	Hug towards the spine. Draw the front of the body towards the back of the body. Lengthen along the front of the spine and draw in towards the centre. For the pelvic floor, draw the sitting bones together, hug the hips towards the midline and lift from the back to the front of the pelvic floor.
Lift your kneecaps	Many people do not understand the cue or its purpose.	Often isolates the base of the quadriceps rather than creating balanced engagement through the whole thigh.	Hug the thigh muscles to the femur./ surround the femur with the thight muscles. Move the femur (thigh bone) back. Slightly bend the knees to feel the thighs engage, then straighten only as far as you can maintain that strength.

Language Refinements

The words we choose shape the movement experience. Where there is a less forceful, more descriptive or more embodied alternative, consider whether it communicates your intention more clearly.

Cue / Language	Why reconsider it?	Alternative
Push your hands into the earth	'Push' can encourage unnecessary force.	Press • Sink • Grow through • Reach through
Push your hips into the air	'Push' often creates excess effort.	Raise • Float • Lift • Elevate • Unfold
Pull your leg towards you	'Pull' can become forceful.	Draw • Bring • Encourage
Pull on your right knee	Pulling can encourage strain.	Create some resistance • Magnetise your hand and knee together • Propel
Twist your body	The spine rotates sequentially rather than as one block.	Starting at the lower abdomen, twist towards the right. Let the ribs and chest follow in the wake of the movement from the belly.Wrap the belly around towards the right, allow the ribs, chest and shoulders to follow.Rotate the body around the axis of the spine.
Try to go a bit further	Can encourage striving.	On your next exhale, see if your body is ready to release into the pose.The next breath might take you away from the pose a bit; it might invite you deeper in.Listen to the resistance. Enter into a dialogue with your body and ask if it wants to release more into the pose.
Do this for me / I want you to...	Encourages teacher-pleasing.	Please… • Now… • Let's… if it feels OK for you.

 

Cues to Avoid with Complete Beginners

Avoid metaphorical or specialist language until students understand what it refers to.

Avoid	Instead say…
Heart space	Heart • Chest • Breastbone
Hands to heart	Bring your palms together in front of your heart/ chest
Your centre	The midline • The imaginary midline of the body
Root to rise	Press your feet down and take the bounce back from the ground to help you rise up
The earth	The floor • The ground
Turn inside	Direct your awareness inward, starting with the breath.

 

Guiding Principle

Pre-formatted, mechanical cues may produce something that looks like a yoga pose, but thoughtful language helps students understand and experience the movement for themselves. Continually refining your language creates a more authentic, inclusive and democratic learning environment.

Words Awaken Understanding

The ancient authors of Advaita Vedānta understood that words awaken understanding. As yoga teachers, our voice is far more than a way of giving instructions. It is the audible expression of our embodied practice. I often think of the voice as the seventh limb of the body (after the arms, legs, head and tail); it’s how we reach out and touch other people. Every cue is an invitation to experience ourselves differently. When we continually refine our language, we create learning environments that are more authentic, more inclusive and more democratic.