How to Teach Half Pigeon Pose (Eka Pada Rajakapotasana) for Safety, Alignment & Sequencing
Aug 15, 2025
Half Pigeon Pose is one of the most recognized hip openers in modern yoga — but it’s also one of the most misunderstood. While the shape can look peaceful from the outside, many students experience discomfort, instability, or even pain in the pose.
If you teach yoga, it’s essential to know how to cue Half Pigeon Pose for safety, offer meaningful variations, and sequence your classes in a way that supports your students physically and energetically.
In this guide, you’ll learn:
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Key alignment principles for Half Pigeon Pose
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Common mistakes and how to fix them
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How to use it in sequencing for different class styles
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Safe alternatives for different needs
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When not to teach it
And if you want deeper somatic and philosophical approaches to teaching poses like this, you’ll find them in my paid newsletter for yoga teachers — where I share my most powerful teaching cues and class themes.
Alignment Basics for Half Pigeon Pose
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Front leg: Shin angled forward, with the knee well-supported. Avoid forcing the shin to be parallel to the front edge of the mat as that m causes strain in the knee or hip.
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Back leg: Extended straight behind you, with toes pointing back and the leg in line with the hip.
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Pelvis: Aim for level hips, supported by props if needed. Use a block, folded blanket, or bolster under the front hip.
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Spine: Lengthen through the crown of the head in an upright variation, or extend forward with a long spine in the folded variation.
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Breath: Keep the breath steady and unforced, using it to signal safety to the nervous system.
Common Mistakes & How to Fix Them
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Collapsed front knee → Cue students to flex the front foot to protect the knee.
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Uneven hips / front hip lifted → Offer a prop under the hip so the pelvis feels supported.
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Back leg angling out → Realign the back leg so it extends straight from the hip.
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Students “sinking” into joints → Encourage gentle muscular engagement to create stability.
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Treating props as “only if needed” → Normalize props as part of the setup from the start.
Variations & Their Purposes
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Supported Half Pigeon: Bolster under the front hip and/or torso → increases stability, reduces knee strain, and promotes nervous system relaxation.
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Reclined Figure Four: Best for those with knee, hip, or lower back pain. Provides similar hip opening without weight bearing.
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Seated Ankle-to-Knee (Fire Log): Good alternative for students who can’t come to the floor easily.
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Restorative Pigeon: Bolster under chest, props under both hips → more grounding, less intensity.
When Not to Teach Half Pigeon
Avoid Half Pigeon if your student has:
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Acute knee or hip injury
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Recent hip surgery
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Significant sciatica symptoms aggravated by hip flexion or rotation
In these cases, opt for Reclined Figure Four or Seated Ankle-to-Knee instead.
How to Use Half Pigeon in Sequencing
Half Pigeon Pose works best toward the middle or end of class once the hips are warm.
Example Vinyasa Sequence Toward Half Pigeon
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Child’s Pose → grounding and breath awareness
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Cat-Cow → mobilize spine
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Low Lunge (Anjaneyasana) → open hip flexors
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Lizard Pose → deeper hip opening
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Downward Facing Dog → reset and lengthen spine
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Half Pigeon Pose → supported version first, then deeper variation
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Seated Forward Fold → neutralize hips and spine
Adapting Half Pigeon for Different Class Styles
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Vinyasa Flow: Transition from Downward Dog, cueing breath-to-movement.
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Yin Yoga: Hold for 3–5 minutes, emphasizing prop support and breath.
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Restorative Yoga: Fully supported version with bolsters and blankets.
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Power Yoga: Use it as an active stretch between strength sequences.
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Gentle Yoga: Reclined Figure Four as the main hip opener.
Final Teaching Tips
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Always cue the easiest version first so students feel empowered to choose.
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Example: “Let’s start with the supported version so your hips and knees feel safe. If you’d like to explore a deeper variation, you can ease into it from here.”
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Normalize props as a standard setup, not a fallback.
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Remind students that depth is not the goal — stability is.
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