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VIRAJA - Newsletter from Srivatsa Ramaswami - December 2013

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Warm Greetings! For 2014, I have three confirmed programs 200 hr TT program at LMU in July/Aug, two week program with Harmony Yoga UK in May/June and a week long program with Yoga Chicago in September. For more details and links to the Yoga schools
I may also be going to Chennai India end December 2013
Virajā
Viraja-- sans rajas and tamas too
My Guru Sri Kṛṣṇamācārya taught chanting and explained the mantras of Mahānārāyana Upaniṣad during my long years of study with him. He taught the Drāvida pātha of this upanishad. I had learnt chanting of the āndhra patha when I was about 12 years old from my father's teacher. Andhra patha is followed by Smārthas to which community I belong and Drāvida Pātha of this upaniṣad is learnt by Vaiṣnavas like my Guru. There are only a few differences between the two versions. Māhānārayana Upaniṣad contains some very important mantras that are used on a daily basis like the prānāyāma mantra, gāyatri āvāhana mantra, several sandhyā mantras and many popular mantras
Sri Kṛṣṇamācārya taught several darsanas or philosophies belonging to the vedas known as āstika darsanas--Yoga, Sāmkhya, vedānta and also nyāya. He also taught mimāmsa to more orthodox students. When he started teaching sāmkhya he mentioned that sāmkhya. yoga and vedānta were āstika darśanas. While we have numerous upanishads in the vedas belonging to the vedānta philosophy, where do we find the tenets of sāmkhya in the vedas.
He referred then to one mantra from the Mahānārāyana Upanishad which can also be found in a few other upaniṣads and other smritis. Succinct and poetic, my Guru used to chant this mantra as the opening prayer while teaching Sāmkhya which runs as follows
अजामेकां लोहित शुक्ल कृष्णां
बह्वीं प्रजां जनयतीं सरूपाम्।
अजोह्येको जुषमाणोनुशेते
जहात्येनां भुक्त भोगामजोन्यः॥
ajāmekāṁ lohita śukla kṛṣṇāṁ
bahvīṁ prajāṁ janayatīṁ sarūpām|
ajohyeko juṣamāṇonuśete
jahātyenāṁ bhukta bhogāmajonyaḥ ||
The mantra in tuṣtup meter (11 syllables per pāda or line) is both profound and poetic and forms the bedrock of the Sāmkhya philosophy. It refers to an entity without a birth(ajā), the prakṛti and with three characteristics represented by three colors, red, black and white. Even as it is unborn (ajā), it produces innumerable offsprings similar in nature (sarūpa) to itself. Then there is another unborn entity (aja) which enjoys or experiences all products of the first ajā or prakṛti. There is another entity which also has no birth (aja) which forsakes all contacts with the products of the fiirst ajā.
The above śloka is given a pictorial representation. The ajā with the three colors is represented as a huge tree and is said to represent the mula prakṛti. The essential constituents of this, represented by three colors actually refer to the three gunas viz, rajas the red, tamas the black and satva the white. This prakṛti tree produces many many fruits which also like the tree have the same essential three characteristics of satva, rajas and tamas. Then there in a bird sitting on a branch of the prakṛti tree and enjoys the fruit made of three gunas. This bird represents the badhha ātma, one representing the vast majority of the beings, especially human beings spending the entire lifetime in bondage with the prakṛti. Then there is another bird even as it sits on one of the branches, refuses to entertain itself with prakṛtic fruits, having experienced the prakriti already and has forsaken all interest in the fruits of prakṛtic tree.. This bird represents the liberated being (muktaātmā) in a state of kaivalya. In a nutshell this vedic śloka tells about the nature of prakṛti and the natures of the soul in bondage and the soul in a state of liberation
According to Sāmkhya the real nature of every being-whether in bondage or liberated is pure consciousness, unchanging and immortal. However due to wrong identification with prākṛtic body arising out of avidyā everyone wallows in prakriti forgetting one's true nature. Sāmkhya and also Yoga urge yogābhyāsi to strive to achieve Kaivalya. Sāmkhya gives the theoretical base and Yoga gives the road map and the necessary tools. The first step would be to reduce the rajas and tamas the red and black strands and make satva the prominent strain of the abhyāsi. It requires some consistent work, Yoga. By āsana and prānāyāma the yogabhyāsi is able to eliminate rajas and tamas making satva to manifest itself as the default characteristic. Thereafter one strengthens the satva with antaranga sādhana or internal practice. When the whole system—what one considers as oneself- made up of the three gunas, the five bhūtas and the ten indtiyas, is cleansed, it become useful for spiritual journey called apavarga. Yamaniyamas also help in the process by preventing the ingestion of rajas and tamas from the outside world.
So the preliminary aim of yoga is to make oneself highly sātvic. Hence old school yoga insisted on doing both āsanas and prānāyāma in tandem.
There is an interesting mantra in the Mahānārāyana Upaniṣad and also in a few other vedic texts called “ātma śuddhi” or Virajā mantras. Again it is a beautiful chant. It is prayer (it is also used as a ritual known as Virajā Homa) to rid oneself (or that one considers as oneself, the physical Self) of rajas and tamas and realize the effulgent Self.
Atma Suddhi Mantras (Self-Purification mantras)
प्राणापानव्यानोदानसमानामे शुध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।

वाङमनश्चक्षुश्रोत्रजिह्वाघ्राणरेतोबुद्ध्याकूतिस्सङ्कल्पामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा
शिरःपाणिपादपार्श्वपृष्टोधरशिश्ञोपस्थपायवोमे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
त्वक्चर्ममांसरुधिरमेधोस्थिमज्जामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
शब्दस्पर्शरूपरसगन्धामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
पृथिव्यप्तेजोवाय्वाकाशामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
अन्नमयप्राणमयमनोमयविज्ञानमयानन्दमयामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
विविट्यै स्वाहा
घषोत्काय स्वाहा
उत्तिष्ट पुरुष हरे लोहित पिङ्गळाक्षिदेहिदेहिददापयितामे शुद्ध्यन्तां ज्योतिरहं विरजाविपाप्मा भूयासंस्वाहा।
 स्वाहा

OM
prāṇāpānavyānodānasamānāme śuddhyantāṁ jyotirahaṁ virajāvipāpmā bhūyāsaṁ(g) svāhā |
vānġmanaścakṣuśśrotrajihvāghrāṇaretobuddhyākūtisaṁkalpāme śuddhyantāṁ jyotiraham virajāvipāpmā bhūyāsaṁ(g) svāhā |
śiraḥpāṇipādapārśvapṣṭhodarajaṁghaśiśnġopasthapāyavome śuddhyantāṁ jyotirahaṁ virajāvipāpmā bhūyāsaṁ(g) svāhā |
tvakcarmamāmsarudhiramedosthimajjāme śuddhyantāṁ jyotirahaṁ virajāvipāpmā bhūyāsaṁ(g) svāhā |śabdasparśarūparasagandhāme śuddhyantāṁ jyotirahaṁ virajāvipāpmā bhūyāsaṁ svāhā |
prthivyaptejovāyvākāśāme śuddhyantāṁ jyotirahaṁ virajāvipāpmā bhūyāsaṁ (g)svāhā |
annamayaprānamayamanomyaviġnānamayānandamayāme śuddhyantāṁ jyotirahaṁ
virajāvipāpmā bhūyāsaṁ svāhā |
viviṭyai svāhā|
ghaṣotkāya svāhā |
uttiṣṭha hare lohitapinġalākṣi dehi dehi dadapayitāme śuddhyantāṁ jyotirahaṁ
virajāvipāpmā bhūyāsaṁ(g) svāhā |
oṁ(gm)svāhā||

This prayer is for the purification of what one considers as oneself. Paraphrase hereunder
May the five prānas,
prāna, apāna, vyāna, udāna, samāna,
ten indriyas, speech, mind, eyes, ears, tongue, nose, viitality, intellect, intent and resolve,
then the ten parts of the body, head, arms, legs, sides, back, abdomen, thighs, generative organ, anus,
then seven humors, skin,dermis,muscles,blood, fat tissue, bone, marrow,
then the five sensations, sound, touch, form, taste, smell,
then the five gross elements, earth, water, fire (energy), air and ether
and then the five kośas, physical, physiological, mental, intellect and emotional systems be purified,
I (ātman) am the effulgent, may I be rid of rajas/diseases and sins (tamas)
I hail the Lord permeating everywhere, Hail the Lord the Creator
Oh great Lord (Hara), of golden hue and crimson eyes. Arise, keep blessing me with purity. I am the effulgent, may I be rid of Rajas and Tamas
Hail OM
The goal of yoga is firstly to tame raging rajas and the debilitating tamas. The Virajā (meaning without Rajas) mantra has the same goal. So this 2 minute chant can strengthen the yoga practice. Listen to the chant here
Here is the chanting tutorial thanks to my friend Josh Geidel
Some upaniṣads and purānas and smritis give a symbolic representation of Virajā
The Upanishads, focusing on describing the non-material aspects of the Supreme and spiritual truth, especially put emphasis on the great, impersonal Brahman effulgence.
Between the material universe and the brilliant effulgence of the Brahman is what is called the Virajā nadi or Virajā River. It separates the spiritual world and the material world. It is within the confines of the Virajā River that the material manifestation takes place.
The millions of universes in the material creation is on one side of this river , and on the other are the spiritual space and worlds that float within the Brahman effulgence. The Virajā River is a marginal position dividing the material and spiritual realms, and is thus not under the control of the material energy. When one wades through the preliminary yoga practice one is said to swim through Virajā River shedding the Rajas and the Tamas. After this one is satvic and is ready really ready for the spiritual world.
The mantras are also used in a final fire ritual when one takes to sanyas, renouncing family life and joins the fourth āśrama or sanyāsa āśrama in pursuit of the spiritual realm. The subject renounces every possession and attachment and the rajas and tamas associated with the earlier stages of life. It is known as virajā homa.
Patañjali uses the term apavarga for the process of roll back of the cittavrittis resulting in nirodha. A clear satvic mind goes through the process of apavarga. Sāmkhya Kārikā explicitly mentions the paths that may be taken by a satvic person, as detailed below
Those who follow dharma (order and law), who are wise (jnāna), who are dispassionate (virāga) and/or have siddhis (extraordinarily capable) are said to have a satva buddhi (intelect). Buddhi is like a plow (plough) used by a farmer to cultivate land. Buddhi is sharp when it is satvic. A sharp intellect prepares (adhyavasāya) the field of experience (kṣetra). However if and when it is tamasic it is the exact opposite, chaotic (adharma), non discriminating (ajnāna), addicted (rāga) and slavish (anaiśvarya). Yoga first makes one satvic. What do I do with a satvic mind? Yoga for kaivalya
I belong to this Universe
I am part of this Universe
In one part, Earth, the World

I love my world
I am a citizen of the world.
During nervous insomnious nights
I gaze at the skies for UFO.s
That may bring in aliens from
Other parts of my Universe
I want my world be free of aliens

I belong to this world
I am part of the world
In a part that is my country
I love my country
I do not let aliens
From other parts of the world
To settle in my country
Except when they are
Useful to my country

I belong to my country
I am part of my country
In a part called my Home.
I love my home.
I do not let strangers
Into my home
Nor let neighbors throw
Garbage into my home space

I belong to my home
I am part of my home.
An individual part of my family
I love my family
My spouse, my children
But I keep my space

I belong to my family
I am part of my family
An individual part
Separate and distinct
Sometimes I find it
Difficult to be part of the family
I look at so many people
Leave their family
Letting the spouse and kids
fend for themselves

I am alone by myself
Occupying about 3 cft of space
And about 140 lbs of matter
Out of this huge universe
I love myself
I take care of myself
Like everyone else
But still when some get sick
And depressed and feel pain
Even think of taking their lives
To spare themselves of the pain
So much one loves oneself
As I love myself

So I should know
Who I am with whom I am
In so much of Love

Then I read Yoga Sutras
Then pancha kosa vidya
Of Taittiriya Upanishads
Oh yes
I am not the physical Body
I can see and experience that
Because, I can not experience myself
I am not the physiological body
I am not the body of senses
Nor the subsystem of intellect
Nor the dominating ego

Because I am aware of all of them
I am not any part of whatsoever
I had considered to be myself
I am the one that is aware of all these

I know now that I am not
Any part of what I had
Thought to be myself
I am pure unwavering consciousness
The subject that
Experiences all
That is not I

I am free
Always free
Alak niranjan like
Every conscious being
I am no part of this universe
I do not belong to this Universe
...During early days of my studies with my Guru, one day as I was lying in savasana after an intense asana practice, Sri Krishnamacharya said something on these lines “You can run away from the world, you can go to the Himalayas and become a recluse. But you can not run away from yourself. You have to bring yourself under control and take charge of yourself. Yoga helps one achieve this, admirably”

Sincerely

VIDEO: Krishnamacharya fractured his hip. Refusing surgery, he treated himself and designed a course of practice that he could do in bed

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Just stumbled  across a stunning bit of footage released by KYM a few weeks back of Krishnamacharya aged 96 going through a  practice he devised to cope with a fractured hip.

Indomitable comes to mind

Only 77 views so far, can you believe it!

8 Minutes in Krishnamacharya practicing a little pranayama





from Yogacarya Krishnamacharya - The Purnacarya. Edited by Mala Srivatsan
The first biography of Krishnamacharya and probably still the best.


Shoulderstand 3:02


from the YouTube video notes

"At the age of 96, Krishnamacharya fractured his hip. Refusing surgery, he treated himself and designed a course of practice that he could do in bed. Krishnamacharya lived and taught in Chennai until he slipped into a coma and died in 1989, at one hundred years of age. His cognitive faculties remained sharp until his death; and he continued to teach and heal whenever the situation arose".  

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from other biographies concerning the hip fracture.....

from The Yoga of the Yogi. Kausthub Desikachar
(My least favourite 'biography' of Krishnamacharya)



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from health Healing and Beyond TKV Desikachar




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from Krishnamacharya His Life and teachings by AG Mohan
(My favourite Biography of Krishnamacharya thus far)



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Photo: Indra Devi teaching Marilyn Monroe Yoga 1960 ALSO Indra Devi in Mysore

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Indra Devi teaching Marilyn Monroe

I just came across the picture above of Indra Devi teaching Marilyn Monroe Yoga ( thank you Agnieszka for posting it this morning), I'd seen the Marilyn yoga pictures before (see the Eric Shaw link below) and knew of course that Indra Devi had taught in Hollywood, Greta Garbo, Gloria Swenson etc. but hadn't come across direct evidence of her actually teaching Marilyn. Nice picture. 

Eric Shaw mentions that the first pictures we have of Marilyn Monroe practicing yoga are from 1948, the one above seems to have been from Nov 1960.

See the complete Marilyn Yoga photo's at Eric Shaw's website
"The first evidence of her practice appears near the time of her first acting contract (’46).  Of the 21 pictures below, the 5 stark black-and-white ones in the same white outfit are from a set of promotional photos sent out  in 1948.

Orienting these pictures in local yoga history, they appeared the same year Krishnamacharya‘s student, Indra Devi  open a yoga studio on LA’s Sunset Boulevard.  (She arrived in ’47 after a brief trip to Shanghai. Devi had been in India in ’46, teaching yoga and writing her first book).

Devi soon had Olivia de Haviland, Ruth St. Denis, Gloria Swanson, Elizabeth Arden, Greta Garbo and other famous players in LA’s movie-making community as devotees". Eric Shaw

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I hunted around my blog for a link to an earlier post on Indra Devi but only came across the draft below that I'd intended to put up for her birthday. 

Better late than never.

Here's indra Devi in a picture taken on krishnamacharya's 100th Birthday Celebration and below an account of her early years in Mysore being taught by Krishnamacharya in 1937.





In Mysore Yoga Shala from A portrait of the First Lady of Yoga

"One time a friend staying with the couple suddenly started experiencing heart trouble. Indra recalled how Indian yoga masters demonstrated their healing methods and concentrated all her thoughts on curing her ill friend. He recovered, but the following day she herself experienced chest pains and had to stay in bed. A local doctor diagnosed her with heart failure, but the prescribed treatment did not help. European doctors proved helpless, too. She thus spent the subsequent four years rocking back and forth between getting better and worse.

A friend of hers, who himself studied yoga for many years, said: “You applied a yoga method. Why won’t you discuss your illness with yogis? This would be logical.”

Indra heeded his advice and came to the legendary guru Sri Tirumalai Krishnamacharya. She decided to take a course in yoga to recover and adopt a healthy lifestyle, but the guru looked her up and down with an ironic glance and said that yoga was for Indian men only. Indeed, only young Kshatriyas studied at the Mysore Yoga Shala in 1937.

“It would be impossible for me to take on a woman, especially a foreign one. It cannot be done,” the guru insisted. “He could work miracles, such as stop his heart and turn the lights on and off at a distance. But he could not get rid of me,” Indra Devi said. Yet, Krishnamacharya did relent after Maharaja of Mysore interfered by putting in a word for Indra. Indra was admitted to the yoga shale, but Krishnamacharya was not going to take it easy on her. The diplomat’s wife had to comply with strict discipline and observe a strict diet, avoiding any “dead” products, including not just meat but also white sugar, flour, rice, and preserves. Root vegetables, such as potato, onion and carrot, were also excluded. She was allowed to eat only whatever the sun shined on. The students got up before dawn, and they had to go to bed before 9 at night. It was also forbidden to use a stove to warm oneself up. “I have no special classes for women,” Krishnamacharya told her right off the bat; she had to keep up with the male students.

Things were very difficult for Indra at first, but, little by little, she got used to everything, losing weight and completely recovering from her strange disease. Appreciating her zeal, Krishnamacharya began working with her individually.

“He said I was ready to move on to the next stage of training. The next day he asked me to come earlier and locked the door. He sat on the floor and began to show me special secret exercises to control my breathing and told me to write everything down,” Indra Devi recalled.

In 1938 she became the first foreign woman among dedicated yogis. When Krishnamacharya learned that her husband was to be transferred to China, he called her again: “You are now leaving us, you will teach yoga. You can do it, and you will do it.”

Indra thought this was unbelievable: as a newly dedicated yogi, she could not grasp that she, too, would be a guru one day. In India, however, people don’t argue with their teachers. On a ship to China she realised that, for the first time ever she no longer wants to dance, wear jewellery and expensive clothes. It was then that she put on a light sari, which became the only clothing she recognised hereafter".

from Indra Devi's Legacy

"Movements in yoga are harmonious, slow, soft, plastic, relaxed, always conscious, and require a permanent and active mental participation. The whole work rests on the dialectic tension-relaxation. It's important to stimulate, turn elastic, tonify, to make oneself conscious of limbs, superficial and deep muscles, joints, and spine, achieving a gradual and progressive limb decontraction, loosening and relaxation.

"Nonviolence is one of the keys of yoga, and we should begin it by ourselves. Learning to recognize and respect our own peculiar rhythm and working on that base is essential".

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Below from Yoga Journal
Krishnamacharya's legacy By Fernando Pagés Ruiz ( the section on Indra Devi )


'Even as Krishnamacharya taught the young men and boys at the Mysore Palace, his public demonstrations attracted a more diverse audience. He enjoyed the challenge of presenting yoga to people of different backgrounds. On the frequent tours he called "propaganda trips," he introduced yoga to British soldiers, Muslim maharajas, and Indians of all religious beliefs. Krishnamacharya stressed that yoga could serve any creed and adjusted his approach to respect each student's faith. But while he bridged cultural, religious, and class differences, Krishnamacharya's attitude toward women remained patriarchal. Fate, however, played a trick on him: The first student to bring his yoga onto the world stage applied for instruction in a sari. And she was a Westerner to boot!

The woman, who became known as Indra Devi (she was born Zhenia Labunskaia, in pre-Soviet Latvia), was a friend of the Mysore royal family. After seeing one of Krishnamacharya's demonstrations, she asked for instruction. At first, Krishnamacharya refused to teach her. He told her that his school accepted neither foreigners nor women. But Devi persisted, persuading the Maharaja to prevail on his Brahmin. Reluctantly, Krishnamacharya started her lessons, subjecting her to strict dietary guidelines and a difficult schedule aimed at breaking her resolve. She met every challenge Krishnamacharya imposed, eventually becoming his good friend as well as an exemplary pupil.

After a year-long apprenticeship, Krishnamacharya instructed Devi to become a yoga teacher. He asked her to bring a notebook, then spent several days dictating lessons on yoga instruction, diet, and pranayama. Drawing from this teaching, Devi eventually wrote the first best-selling book on hatha yoga, Forever Young, Forever Healthy. Over the years after her studies with Krishnamacharya, Devi founded the first school of yoga in Shanghai, China, where Madame Chiang Kai-Shek became her student. Eventually, by convincing Soviet leaders that yoga was not a religion, she even opened the doors to yoga in the Soviet Union, where it had been illegal. In 1947 she moved to the United States. Living in Hollywood, she became known as the "First Lady of Yoga," attracting celebrity students like Marilyn Monroe, Elizabeth Arden, Greta Garbo, and Gloria Swanson. Thanks to Devi, Krishnamacharya's yoga enjoyed its first international vogue.

Although she studied with Krishnamacharya during the Mysore period, the yoga Indra Devi came to teach bears little resemblance to Jois's Ashtanga Vinyasa. Foreshadowing the highly individualized yoga he would further develop in later years, Krishnamacharya taught Devi in a gentler fashion, accommodating but challenging her physical limitations.

Devi retained this gentle tone in her teaching. Though her style didn't employ vinyasa, she used Krishnamacharya's principles of sequencing so that her classes expressed a deliberate journey, beginning with standing postures, progressing toward a central asana followed by complementary poses, then concluding with relaxation. As with Jois, Krishnamacharya taught her to combine pranayama and asana. Students in her lineage still perform each posture with prescribed breathing techniques.

Devi added a devotional aspect to her work, which she calls Sai Yoga. The main pose of each class includes an invocation, so that the fulcrum of each practice involves a meditation in the form of an ecumenical prayer. Although she developed this concept on her own, it may have been present in embryonic form in the teachings she received from Krishnamacharya. In his later life, Krishnamacharya also recommended devotional chanting within asana practice'.

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And in Indra Devi's own words, written in 1966, an account of her year in Mysore with Krishnamacharya from Yoga the technique of Health and Happiness ( a huge thank you yet again to my friend Ryan Leier for passing this text along to me)







Chapter four is Indra Devi outlining  the origins of Yoga




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Book review: Teaching Yoga, Teaching Asana based on the Ashtanga Primary Series by Melanie Cooper.

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Melanie Cooper  (website http://melaniecooper.co.uk) got in touch recently and I  asked if I'd be interested in reviewing her book Teaching Yoga Adjusting Asana. Melanie teaches in London, runs the Ashtanga self-practice 'Mysore' class each morning at the Life centre in Islington, London. We've never met but I had recently come across the book on Amazon, 'soon to be published', I'd put it on my wish list to have a closer look when it actually came out, I'd hoped for an Amazon LOOK INSIDE.

I've mentioned Amazon twice but it was actually Yogamatters (www.yogamatters.com) who ended up sending me a copy, so if your in the UK and would like a copy, here's the book on Yogamatters website. Yogamatters carry a wide range of stock, if you get the chance to make it up to their warehouse/shop, you'll be there for hours, browsing through their bookshelves, I was ( see my earlier post Inside Yogamatters UK Shop. Biggest yoga Bookshop in the UK?).

You should go, you really should because you can't seem to browse this book online, no preview on Yogamatters, no' Look Inside', as yet, on Amazon.

You get the cover...



and the brief outline from the publisher...

Leading yoga teacher trainer Melanie Cooper brings you the essential 
handbook for teaching yoga and adjusting asana (yoga poses). 

The first part explores fundamentals of teaching in a simple, clear, accessible way. Melanie covers how to teach crucial concepts such as breath, bandha and drishti, as well as more general topics including injuries, ethics and the spiritual aspects of yoga. 

In the second part of the book there are helpful techniques for deepening common yoga postures and a complete guide to hands-on adjustment for the Ashtanga Primary Series. 

With a wealth of information, clear writing, and fresh, detailed 
photography, this is an invaluable resource for qualified yoga teachers, 
student teachers, and yoga students who want to take their practice to 
the next level.

Author: Melanie Cooper
Ringbound
Pages 244
£16.99

UPDATE
According to Amazon.com   
9.1 x 6.5 x 0.7 inches
weight 1.2 pounds
$22.54

in English, Amazon.uk and Yogamatters
23.2 x 16.6 x 1.8 cm
350g
£16.99 
but also offered on Amazon for £12.00 inc. postage

And that's it, oh wait, a little bio about Melanie herself.

Melanie Cooper has been teaching yoga for 16 years, and training yoga teachers for eight years. She divides her time between London and Goa, practicing and teaching yoga. She currently runs the morning ashtanga self practice at The Life Centre in Islington and runs an annual teacher training at Brahmani Yoga in Goa, She has practiced and assisted at Ashtanga Yoga London for many years, and has also studied with Sri K. Pattabhi Jois. Melanie lives in North London.

Before I part with £16.99 I want to have a flick through a book, sit in the aisles and have a read..... I miss bookshops.

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Anybody remember the recent Ashtanga opening chant  article on Elephant Journal that seemed to be 'liked' and linked to all over fb earlier this month?

That was Melanie Cooper


and it there's a companion piece.

The Ashtanga Closing Chant - Elephant Journal

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So lets have a look inside, here's the contents, some surprises...



So far so good, straight forward teacher training material here, and it should be Melanie is an experienced teacher trainer. It's all clearly laid out with an intro to each section, 'Benefits', 'How to teach' it etc. If you were just beginning to teach and were looking for good clear explanations of these topics or more importantly how to communicate them without getting carried away, without saying too little too much and losing your students then this could be your teaching manual, it's ring bound too.

But now it gets, curious, Sanskrit count for Primary Series, a long section with pictures on deepening the Primary series and a long section on adjustments for Primary series. 

This is a teacher training manual based on Ashtanga. 



And that's curious because Ashtangi's don't do Teacher Training's (or do they), traditionally you keep going to Mysore, India in the hope that Sharath might give you the nod and then you can teach (although I believe there is money involved).

I've never really understood how that works, if Sharath says you can teach do you then just go and teach without any other training? No adjustments training ( Ashtangi's love to adjust), nothing on actually communicating the practice. Is it just assumed that you'll be able to teach Ashtanga? 

Doesn't Sharath teach a few small workshops in Mysore for authorised Ashtanga teachers now?

I guess, in general, to be invited to teach by Sharath, you would have been practicing for seven to ten years, most likely at a shala and have been assisted/adjusted yourself throughout that time, you would have noticed what goes on in the Shala, watched your teacher, been on some workshops perhaps and watched those teachers too. You would have lived and breathed Ashtanga, studied your yoga Sutras, talked for hours about bandhas and Ujjayi, honed your yamas and niyamas...... And of course if your lucky you would have been offered a teaching assistant gig and received hands on training from an experienced Ashtanga teacher.

Melanie comments on this actually in the Introduction

"Before I go any further I want to state clearly that this is not about Ashtanga Yoga as it is traditionally taught in Mysore, and I'm not trying to give 'the correct Mysore point of view'. I have the utmost respect for Pattabhi Jois and Sharath and their teaching methods...... I do not pretend to speck for them and they have not endorsed this book.

I think that there is no doubt about the authenticity and integrity of Pattabhi Jois and Sharath. their teaching method has produced some of the most accomplished, knowledgable and sincere yoga practitioners around today, but the reality facing most new yoga teachers is that most of their classes are in gyms where it is not possible to teach in the Mysore style. Most of these classes are only one hour long and are open to all levels. Most of the students are practicing only once or twice a week. In this situation a new way of teaching Ashtanga has emerged - a general led class - and this is what teaching yoga, Adjusting Asana is about. But it is my hope that this book will be useful to many different categories of yoga practitioner". 

On a side note, I can almost imagine Pattabhi Jois saying something similar on his first day teaching Yoga at the Sanskrit college, on why his presentation of Ashtanga was a little different from his teacher Krishnamacharya's presentation.

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How useful is this book, should you buy it?

"...But it is my hope that this book will be useful to many different categories of yoga practitioner". 

Whether your planning on teaching or not the book outlines, and in bullet points, many tricky concepts, bandhas, breathing, drishti, useful for the beginner perhaps and for anyone trying to explain these concepts in a way that works, by just saying enough. There is an good section on injuries and how to avoid them as well as onovercoming them, there's a section too on teaching the spiritual/philosophical aspect of the practice.

Drishti

There is a section on the sanskrit count, handy if you've just come out of a led class, got confused in a few places but would like to go again next Friday, you can brush up.

Sanskrit Count 

Sanskrit Count  

I really liked this section on 'Deepening the Primary series', warm up exercises. I often include some extra Vinyasa Krama postures into my own Ashtanga practice at home to give myself a little extra work where necessary. There's also a section on some ideas for Workshops see the Contents screenshots above p169

'Deepening the Primary series'


The Adjustment section 

This may well be one of the main reasons for your buying the book, it gets joint billing with Teaching yoga. 

Teaching Yoga 
Adjusting Asana

Before getting into the actual adjustments there are suggestions for trying them out on a friend, an old student perhaps, starting with simple corrections etc. Melanie outlines the types of adjustments , corrections, guidance, adjustments and which kind of students to use which type of adjustments on. There's are sections on when to adjust, safety considerations etc. 

It's still problematic though isn't it. When I attended Manjus' teacher training course in Crete, there was a demonstration by Manju, then we were put into groups led by somebody who had already taken a course, all working ashtanga teachers actually. We would try the adjustments on each other, describe how they felt, get guidance form our more experienced group leader. Kristina would be working the room along with Manju, available for advice, suggestions, the slapping of hands and re demoing the assist. We would revisit the same assists the the next day and again the next, constantly re enforcing the teaching. Actually the assists too were mostly different from what I've found in this book, something to come back to in another post perhaps as I look more closely and try them out.

A book is no substitute for that. I imagine it's assumed that you would be attending an Adjustment workshop, perhaps one that Melanie takes herself, that this book is seen more as an accompanying manual to a course.

For the student it's nice to understand why your teacher is adjusting you in the way that they are, especially as there isn't a lot of verbal communication in a shala, this section would act as a good reminder too. For the home Ashtangi it gives us a way of looking at our own asana, we can use it to imagine what a teacher might be seeing, looking out for if they were there in our home shala. 



 Conclusions?

 It's a good book, a lot of work gone into it, it's smart, you'd find a lot of stuff in here that you would use, whether your just starting teaching, going to a shala or practicing at home.

And best of all you can discuss/argue for hours it's basic premiss and whether Ashtanga should be taught in this way, the future of Ashtanga, whether it can survive in the gym scene or up against the gym scene for that matter....  or if everything beautiful about this practice becomes diluted and loses it's value.
Melanie is clearly an Ashtanga practitioner who loves her practice and devoted to it's communication. It's clear from reading her book that she believes Ashtanga can be taught in gyms and stay relevant and of value to those who come for practice however many times a week that may be.

BUT if Ashtanga can make the transition into gyms wouldn't this make it even harder for the smaller more traditional, Ashtanga six days a week, shalas to survive?
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Melanie Cooper's website
http://melaniecooper.co.uk


Update on the Solo Chakra Bandhasana in a month challenge end of 2nd week.

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Tuesday tapas Update
Relates to the one month to chakra bhandasana project

Another update/progress report on One month Chakra Bhandasana challenge - Missed the boat?

and here
Backbends - Progress report One month to Chakra Bhandasana challenge plus 108 drop backs.

and here, the original post
Chakra Bhandasana - Grab heels in a month backbend challenge

If you remember, this project came about from seeing this video by Jen René Peg Mulqueen and Michael Joel Hall.


Watching this back I'm thinking, Michael isn't dropping back any closer than I am here


I think I might even be coming in a little deeper...


and yet he's still managing to reach in and grab his legs....although with a little help


My plan is to face the wall and rock forward and use that in place of Peg and friend

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In the second part of the video Peg drops back to a full yoga block then spider walks her fingers towards her ankles and grabs them that way.


I've been working on dropping back much closer to the wall, looks like I'm still a couple of inches out...perhaps (wishful thinking she has a wider block than the books I'm using). I'm slightly amused by the part of my movie below where I put my feet nice and close to the block but by the time I've actually dropped back I've somehow shuffled them forward to where they are in this picture





Solo Chakra Bhandasana - Peg Mulqueen

So this is the end of the second week, two more to go. I ordered a full yoga block so more work on that this coming week and perhaps the facing the wall experiment.

Pattabhi Jois' Pranayama in Lino Miele's 'Ashtanga Yoga'. Clearer layout and practice sheets.

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Pattabhi Jois' Ashtanga Pranayama as found in Lino Miele's book, 'Ashtanga Yoga'.
Pattabhi Jois
Unlike the asana vinyasa descriptions, I've tended to find the presentation of the Pranayama instructions in Lino's book confusing and difficult to follow. I've been meaning to lay them out in a clearer, step-by-step, easer to follow form for years.

This was intended for my own use but thought I might as well share it with anyone else interested.

See the Pranayama page at the top of the blog for more on pranayama and different variations of the Ashtanga pranayama sequence, Derek Ireland's CD is my favourite.

My own Pranayama practice tends to be just as I was taught by Srivatsa Ramaswami, based on the use of a pranayama mantra.... but I still like to explore, especially the different variations of the Ashtanga pranayama sequence.

Print out practice sheets at bottom of post.
(please let me know if you pick up on any errors)

NOTES: Lino relates Pattabhi Jois talking about building up to 20 and 30 second kumbhaka's (breath retentions) here, this is a gradual process and should be undertaken over several months however easy it may seem at first (it's gets more challenging after a number of repetitions/rounds, as well as kumbhaka after both inhalation and exhalation). Start with 2 second kumbhaka's build upto five over a week (or four) and settle there for a month or so before adding on a second at a time. 

Pattabhi Jois mentions engaging Jalandhara bandha for the puraka kumbhaka ( after inhalation) , engage the neck lock fully and then swallow at the end of the inhalation.

In my own pranayama practice I include a 20 second kumbhaka after the inhalation while mentally reciting the pranayama mantra (see my pranayama page). My kumbhaka after exhalation is five seconds. I tend to do, 20, 40 or 80 rounds. Personally I've never felt the need to go beyond that.

If you have high blood pressure or any other condition that concerns you it is of course wise to discuss a pranayama practice with a knowledgable doctor.

Here's one interesting article to be going on with (another article/study may of course refute every point made).

Nisshesha rechaka pranayama offers benefits through brief intermittent hypoxia
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3361916/

Krishnamacharya (Pattabhi Jois' teacher) teaching pranayama

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The First Pranayama 
(Recaka-Kumbhaka- pranayama or Puraka-kumbhaka-pranayama

Sit in padmasana making spinal chord erect, 
expanding the chest 
sit facing the east.

--------------------------------------------------------------------------------
Preparation

Part I
Inhale (puraka) and exhale (recaka) both nostrils - slowly, fully

remember your teacher, your own personal God

Part II ( with bandhas)
Do full Puraka and full Recaka

afterwards one must do  mulabandha and Uddiyanabandha

maintain bandhas
-----------------------------------------------------------------------------------

Part III (with Kumbhaka)
Again do a slow and full (dirgha) Puraka and Recaka.

Then one must do Kumbhaka (retaining the breath) for as long as comfortable.

Recaka (exhalation) with Kumbhaka
Slowly Puraka
Slowly Recaka
Kumbhaka (20 seconds)

repeat three times

Puraka (inhalation) with kumbhaka (engage jalandhara bandha)

Slowly Puraka
kumbhaka (30 seconds)
slowly Recaka

repeat three times

Part IV 
reckaka and puraka (without kumbhaka

repeat five times

NB: In this pranayama if the recaka- kumbhaka is done for 20 seconds then puraka kumbhaka is done for 30 seconds i.e. 2:3 ratio

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The second pranayama 
Puraka-Recaka-pranayama (kumbhaka after both recaka and puraka)
--------------------------------------------------------------------------------
Preparation

Part I
Inhale (puraka) and exhale (recaka) both nostrils - slowly, fully

remember your teacher, your own personal God

Part II ( with bandhas)
Do full Puraka and full Recaka

afterwards one must do  mulabandha and Uddiyanabandha

maintain bandhas
-----------------------------------------------------------------------------------

Part III
slowly puraka
kumbhaka (as many seconds as comfortable)
recaka (slowly, comfortably)
kumbhaka

puraka- kumbhaka
recaka- kumbhaka

repeat three times

puraka-kumbhaka
recaka-kumbhaka

Part IV reckaka and puraka (without kumbhaka

slowly puraka
slowly recaka

repeat five times

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The Third pranayama
(nadi shodana)


Krishnamacharya
Samavrtti and Visamavrtti pranayama or Anuloma and Viloma pranayama
--------------------------------------
Preparation
Inhale through both nostrils

Do sankha-mudra ?
(does he mean vishnu mudra below, the usual mudra for nadi shodana)

close right nostril (with tip of thumb high up on nostril), exhale left nostril
----------------------------------------------
Part 1 - Samavritti pranayama

close left, inhale right
Kumbhaka 
( as many seconds as is comfortable)

close right, exhale left
kumbhaka 
(same length as in recaka-kumbhaka above)

inhale left- kumbhaka
(Same period of time)

exhale right - kumbhaka

inhale right - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale right - kumbhaka

inhale right  - kumbhaka

exhale left  - kumbhaka
---------------------
moving into
 Part II Visamavrtti pranayama

inhale right - kumbhaka
.
exhale right - kumbhaka

inhale right - kumbhaka

exhale right - kumbhaka

inhale right - kumbhaka

exhale right - kumbhaka

inhale right - kumbhaka

switch
.
exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

finish with...
exhale right - kumbhaka

inhale right

exhale left

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= 26 Recaka-Kumbhaka and puraka-kumbhaka
same number of both

bandhas as proscribed in first three pranayamas
One can increase the number of seconds by practice

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Bhastrika pranayama
(Bellows breath)

Sit in padmasana in erect position

inhale (fully), 
tighten Mulabandha, draw up diaphragm (uddiyanabandha)

5x long, slow, full inhalation and exhalation

full inhalation
hold feet (which are in padmasana ) such that the heels press both sides of navel

Krishnamacharya ( you could hold the feet from the front)
exhale rapidly and inhale rapidly ( like a bellows pressed by a smith)


When you feel tired or exhausted

exhale fully
then
inhale fully
kumbhaka ( as long as is comfortable)

exhale slowly
inhale deeply

Repeat bhastrika

When you feel tired or exhausted

exhale fully
then
inhale fully
kumbhaka ( as long as is comfortable)

Repeat bhastrika

When you feel tired or exhausted

exhale fully
then
inhale fully
kumbhaka ( as long as is comfortable)

after this, (the third time)

exhale
inhale


Practice sheets







Here are the original instructions from Lino Miele's book Ashtanga Yoga from which the instructions above are taken.






Lino's first book seems to be increasingly difficult to find (but see his website link below) however, Lino's new book, The Yoga of Breath covers Primary to 3rd series series and with much more besides. I'm assuming it contains this same treatment of pranayama.

The book is now available in Italian and English.
from Lino's website http://www.linomiele.com



This book is the result of Lino's more than 20 years of passionate Ashtanga yoga practice and the fruit of 10 years of profound research into the vinyasa method under the guidance of his guru, Sri K. Pattabhi Jois. The 1st through 4th series are illustrated and explained in the vinyasa context. Approximately 360 pages with more than 200 photos Pages: 364 

and here on Amazon.com

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See also 
My Pranayama page inc. Srivatsa Ramaswami/Krishnamacharya approach as well as Tim Miller's presentation of the Ashtanga Pranayama sequence
http://grimmly2007.blogspot.co.uk/p/pranayama.html

My post on Derek Ireland Ashtanga Led Primary CD and Pranayama CD
http://grimmly2007.blogspot.co.uk/2012/04/derek-ireland-ashtanga-led-primary-cd.html

My post on Manju Jois' pranayama videos- Pranayama techniques
http://grimmly2007.blogspot.co.uk/2013/08/manju-pranayama-techniques-and-some.html

My Preview / Review : David Garrigues' Vayu Siddhi, Pranayama DVD/book set
http://grimmly2007.blogspot.co.uk/2013/06/preview-review-david-garrigues-vayu.html

My post on Manju Jois' pranayama videos- Pranayama techniques
http://grimmly2007.blogspot.co.uk/2013/08/manju-pranayama-techniques-and-some.html

An introduction to pranayama from Sharath
http://www.youtube.com/watch?v=NrKOGElIeUw

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Pattabhi Jois leading Richard Freeman in pranayama

David Garrigues’ workshop in London -The razor’s edge: a balance of opposites

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My friend Rachel attended David Garrigues workshop in London last week, I'd completely missed that he was coming, knew about Ulm but not London. Rachel is a Saxophonist, composer, improvisor as well as an Ashtangi and I think we got to know each other through my Vintage Sax Blog rather than this one. I asked her if she fancied doing a guest post on David's workshop and after sleeping on it here's what she sent me, I love it. I've added a little about Rachel at the end ( catch her playing in London, dates on her website) as well as a few other related links.

Guest post: The razor’s edge: a balance of opposites 
by Rachel Musson


David Garrigues at Bay Yoga Berkhamsted last weekend

There was nothing terribly unfamiliar about David Garrigues’ workshop this weekend at Bay Yoga Berkhamsted. Anyone who, like me, has play-stop-played through some of David’s online asana kitchens, or read his enthusiastic blog posts would have recognized the man who chirpily strode into Berkhamsted town hall as the same David. What was unfamiliar to me (alert for nerds – look away now - I’m a through my own personal experience kind of person, I’m an ashtanga newishbie and I’ve no grand insight into breath counts or that sort of mullarkey), however, was a subtle change in my actions over the course of the weekend. Let me be clear about two things: I don’t ever write blog posts and I never ask questions in yoga workshops. Ever. And yet, as I write this now, I’m surprised to feel a strong pull to follow up Anthony’s suggestion for a guest blog post, and with a similar sense of surprise I watched myself write on the asana kitchen question sheet on Sunday morning, ‘I’ve never tried chakrasana and don’t know where to start.’

A theme that seemed to crop up and resonate for me throughout the weekend was a theme of opposites. They were everywhere, and David their master. From talking about triangle (feel the femur bone push up into the hip socket and ‘whoosh’ the energy travels down the leg into the floor) to gravity: no sooner had he implored us to be ‘low riders’ (as in car) and feel the magnetic pull of the earth he was urging us to resist the pull and lift up and out. We were held for some time in downward dog and talked through feeling the opposing pulls of apana vayu and prana vayu.  And, on a few occasions, were urged to find that place of stability that lies between the danger inherent in a pose and the place of a kind of lethargic comfort. I’m paraphrasing here (am I correct in remembering him call it ‘the razor’s edge’?), and you’ll also have to imagine a few meaningful gestures – hands shaking in the air, the urgency of his voice increasing: this is evidently an important point.

The event was marvellously hosted by Cathy Haworth of Bay Yoga, Berkhamsted, in a great space in Berkhamsted Town Hall or in the yoga studio depending on the size of the groups. I attended four of the five weekend workshops (not including the extra Mysore session and teachers’ adjustment workshop). I was a bit disappointed that other commitments meant I missed the mulah bandha talk and the ‘chai and chat session’ (See Kevin's blog post David Garrigues comes to the provinces.). But the surya namaskar and jumping workshop, a primary series broken down workshop, led primary and the asana kitchen all lived up to expectations (and mine were high). There was enough of an introduction to pranayama to make me want to purchase his Viyu Siddhi but, of course, all three copies (that he began his European tour with only three copies of his most recent publication is perhaps evidence of how refreshingly uncommercial the whole event was) sold out before I knew they were there. The asana kitchen led us to look at a few different poses in depth – triangle, side angle, down dog – these all being taken from requests by workshop attendees. And the best thing was that David truly wanted us to get it. So how did I make my start with chakrasana? With a bank of blocks to throw myself back off of…and when my single tier didn’t work and second tier…and when my second tier didn’t work David looked decidedly despondent before brightening and telling me to keep trying.

There were more opposites… In schools we talk of ‘scaffolding’ learning – moving someone to a point just beyond where they are able to get to on their own – holding them in their learning process.  Of course, David’s adjustments served that purpose. They, too, presenting an opposite – a firm and hearty push in the right direction combined with a sense of safety and care. And the size of the group meant these were relatively plentiful. But another and perhaps more subtle scaffolding was David’s presence. And present he was. There was no cursory sweeping of the gaze across the room. He met and held our eye contact, sought it out, was there with us. Through a paradoxically judgment-free expectation that we would put our all into our practice with him over the weekend (it felt to me a demanding led primary!) yet at the same time holding the space with compassion and huge warmth he modeled how to approach our practice beyond Berkhamsted Town Hall.  The warm toughness isn’t an unfamiliar combination. It’s something I’m fortunate to have experienced in a similar approach to teaching from my own super teacher Charlie Taylor-Rugman. It’s a convincing push to make the practice my own and a demonstration of how to achieve this over a long-term commitment (“you’re all practicing these poses every day, right?” was said on more than one occasion with a smile.) Of course, two people doesn’t a scientific study make, but at some point over the weekend I was led to ponder whether this is what Pattabhi Jois has passed on, along with the system, the practice that David was so eager to share with us this weekend: a spirit…an approach to practicing that becomes an approach to living. This is what, more often than not, eludes me, but attracts me to continue. The ability to hold myself in this practice at that edge between fierce determination and a gentle tenderness is something that was scaffolded for me this weekend. That’s where we were all held for a couple of days. That’s how I came to ask a question in a yoga workshop. That’s how I came to answer Anthony’s suggestion of a guest post. I’m still feeling the fleeting sense of freedom of inhabiting that space somewhere between full-on determination and a softness that saps. A fun space, a fearless space, and a space that has a peculiar way of generating its own energy. To paraphrase again, ‘when two forces balance each other out a space opens up.’ It was a very nice space, that, while it lasted.
Rachel Musson

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"Musson screams and wails like a drunken ghost", Jakob Baekgaard, All About Jazz

Rachel is a saxophonist, improviser and composer living in London, UK.

Rachel is one of six composer/improvisers picked to work on the Sound and Music Portfolio improvisation residency in Cornwall in 2014 with Steve Beresford.

She is involved with a variety of improvisation-based projects, one of which, a trio featuring Liam Noble and Mark Sanders has just released an album on Babel Label. Rachel is also working on a trio project with Danish saxophonist Julie Kjaer and cellist Hannah Marshall, and a duo with bassist Olie Brice. She is a member of clarinetist Alex Ward’s new quintet, Atmospheric Disturbance, a large improvising free jazz band led by Eddie Prevost, and Loz Speyer’s Inner Space Music (with Chris Biscoe, Olie Brice and Simon Roth).

She has also written for and recorded with her own band, Skein, which released a highly acclaimed album on F-IRE Records at the end of 2010. She was picked by BBC Jazz on Three to perform at Cheltenham Jazz Festival last year, and in the same year was nominated for a London Jazz Award. She has performed with Alcyona Mick, Han Bennink, Liam Noble, Gail Brand, Eddie Prevost, Olie Brice, Federico Ughi, Mary Halvorson, John Russell, Adam Linson, Sebastian Rochford, among many others.


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LINKS

Rachel Musson
http://www.rachelmusson.com


David Garrigues

Charlie Taylor-Rugman

Also the day Rachel missed on Kevin's 'Journey of my practice' Blog
David Garrigues comes to the provinces

David's upcoming schedule in Europe ( so you don't miss anything like I just did)

Event: 35 Hour Germany In-depth Study
Dates: November 16th-November 22nd, 2013
Location: Frankfurt, Germany
Website: http://www.ashtanga-yoga-frankfurt.de/ashtanga-yoga.html (click here)
Study Type: In-depth Study
Email: contact@privateyogainstitute.de

Event: Yoga Shala Neu-Ulm
Dates: November 22nd-November 24th, 2013
Location: Ulm, Germany
Website: http://janoschs-turnstunde.tumblr.com/ (click here)
Study Type: Weekend Workshop
Email: workshopinulm@gmail.com

Event: Ashtanga Yoga School Amsterdam
Dates: November 28th-December 2nd, 2013
Location: Amsterdam, Netherlands
Website: http://www.astanga.nl/home.html (click here)
Study Type: Mysore Intensive
Email: claudia@astanga.nl

Event: Ashtanga Yoga School Moscow
Dates: December 4th-December 8th, 2013
Location: Moscow, Russia
Website: http://www.ashtanga.su/workshop/david_garrigues_2013.html (click here)
Study Type: Mysore plus workshop (40 hour immersion of Primary Series)
Email: 0020308@gmail.com

- See more at: http://www.davidgarrigues.com/schedule.html#sthash.u4QBit1f.dpuf

Towards Chakra Bandhasana in a month project, a slice of brilliance from Michael Joel Hall. 'tag' this blog

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See this last update for the reasons behind all this.
http://grimmly2007.blogspot.co.uk/2013/11/update-on-solo-chakra-bhandasana-in.html

My fb friend Michael Joel Hall posted a video on my feed yesterday, thankfully he's uploaded it to youtube so I can share it.

Love that he did this, thank you Michael for encouragement, support, friendship and the shared tapas.

Michael you may remember was at the beginning of this video with Peg Mulqueen and...

and who is that with you guys, doing all the hard work of holding Michael upright while Peg and Michael get the glory? Just heard, that would be Jen René doing all the hard work and receiving none of the glory.




Here's his video, a stack of yoga bricks ( wouldn't be surprised if Jen René stacked the bricks too), I think he mentioned that this idea originally came from his teacher David Garrigues



and here's my attempt this morning  fishing out whatever I could find in place of bricks...I have two and a sponge block thing that arrived yesterday.


think I'm at my limit for now, need to hang out here for a week , work on some long stays.

See how the feet still shuffle away..


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Peg and Michael are running a Ashtanga and Surfing retreat in Costa Rica, here are the details from Peg's blog.
http://pegmulqueen.com/about/yoga-and-surf-retreat/

Costa Rica Retreat

the osa peninsula in costa rica

March 8 – 15th

as featured in Yoga Journal (June, 2012)




online registration hereyoga and surf retreat


 Join Michael Joel Hall and Peg Mulqueen, March 8-15 2014 as we pack and head to an enchanted and secluded forest on the Osa Peninsula of Costa Rica for a week of inspiration, adventure, yoga, and surf.
 What you can look forward to …
Welcome each day with an Ashtanga, Mysore style practice (open to ALL levels) -with led classes and exploratory classes including Yin yoga and Improv sessions, various afternoons.
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During your retreat, all your meals are included. Prepared on site with an emphasis on fresh organic produce, expect daily local specialties deliciously prepared by resident chefs.
Don’t forget to take time for yourself – indulge in a spa treatment, lounge poolside, or enjoy some mellow moments solo, or in the company of friends – both new and familiar.
Surf lessons available as well as Canopy tours, Zip lining, Horseback Riding and nature tours.  These are no included in package price but can be booked directly once you arrive.
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Of course, naps will be highly encouraged!

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Two posts today, take a look at my post on Sharath from earlier this morning.

Sharath discussion on Ishvara, Japa Mantra Religion, God at Sunday Conference in Mysore

Sharath discussion on Ishvara, Japa Mantra Religion, God at Sunday Conference in Mysore

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image from http://joisyoga.com
I thought this was an interesting discussion/exchange with Sharath on Ishvara, Japa Mantra Religion, God etc. the whole shebang   at Sunday Conference in Mysore, picking up on questions five and eight here as they seem to go together well.  


I'm particularly interested in this as japa mantra is something Ramaswami encourages at the the end of practice after pratyahara, pranayama and of course your asana ( perhaps a shorter asana practice in the evening with more time for pranayama and  japa. I've also been including manta in my actual asana practice recently, it started with a kind of loving kindness mantra 'May I (she,he,they, Ramaswami, all living beings etc,) be safe, may I be well, may I be peaceful, may I be happy (different line of the mantra on each inhalation and exhalation throughout the practice) now I'm constructing mantra's based on Lamrim meditation, a different, meditation for each day, the asana practice as a kind of carrier for the mantra, it's an interesting approach.

The transcript is from Suzy's Mysore blog

Question 5
With surrendering to Ishvara, who is Ishvara?

Sharath– Ishvara is the existence, the nature, the energy who is making this world work.

Student– but how do we surrender to that energy?

Sharath– in your practice, by following yama and niyama. If you follow that, that means you are surrendering. Humans gave the name god to god. Humans see god as human. Tigers see god as tiger. Birds see god as a big bird, bigger than him. God means some energy, which is running this, the whole show.

How do you feel that? through your yoga practice. You have to apply yama and niyama to get to proper meaning, to understand what yoga is. If you follow that your mind gets very calm. If you follow ahimsa your mind gets very calm, there is no conflict with anyone.

Why everyone talks about spirituality? They need something to stop themselves to do bad things. So they go to a teacher, a master, he will guide you. If teacher says go and do anything, smoke cigarettes, go to party… he is spoiling you. It’s all fake the joy you are getting from outside. You have to get inner joy. When you get there’s nothing like that. Everything looks different. Everything looks joyful for you.

Now you want to see the internet, Facebook, Twitter, what this guy is doing… But instead if you sit for 15 minutes and try to understand how to bring inner joy. Do japa (mantra repetition) for 15 minutes, take one mantra – any mantra you want, chant it at home. Then you will see how this thing will change. Don’t think anything, just do japa.

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Question 8
If a person doesn’t have a religion, how do they go about seeking a mantra?

Sharath– you have to have something. What is your taste? You can’t say I don’t believe in that supreme energy, you have to believe in one.

Student– it’s not so much not believing in one, it’s just not having a preference.

Sharath– you should have one. How old are you?

Student– 24.

Sharath– [laughs] see this is the problem. Later, when you get wiser the things change. When I was practising 23 years back I was just bending my body. But when I got wiser then I realised that yoga is beyond asanas. Many things I had to discover. Maybe in ten years you will know.

Part of svadhyaya (self-study) is getting connected to one god. We have to believe in someone otherwise we won’t exist. Your mother, your father can be your god. Your teacher, your guru can be your god. You can feel that energy through your mother or your guru. Do you believe in this practice, what you’re doing?

Student– yes.

Sharath– so that belief can be god.
Someone asked me long back, in the old shala… my grandmother gave me a ring. I was wearing that ring. I was wearing here [indicates ring finger] so many people thought I was married. So one lady asked me, “are you married?”. I said, “yes”. “So where is your wife?”, I replied, “yoga is my wife” [laughs]. I was so involved in yoga. Your first wife is your practice.

Student– is your wife jealous?

Sharath– no, otherwise I wouldn’t be here.
But sometimes we can see something different in our teacher. Many people believed Guruji as their god. They felt some energy through him. Once I had back pain lifting too many students. My challenge from day one was practice and helping. When you lift students your body becomes stiff. I got this pain in my lower back. And everyday Guruji used to make me catch in back-bending here [indicates mid-thigh]. So I told my grandfather, “I can’t do today”. My grandfather he said, “just do it, just breathe”. He made me catch and after that all the pain was gone. That day it was a totally meditative practice.

That was the energy that he had within him.

That energy only comes from a proper sadhana (spiritual practice). Yogasadhana is not easy, it takes a lot of sacrifice. To master something you have to leave many things. If you are forced to do something it won’t be the same. When you like to do some work it is totally different. When you do something willingly the energy is totally different. And sometimes you need that push from your teacher.
We see many attitudes here also. When a student comes and thinks he knows everything, he wants to prove that. I say I have to learn so many things still. It doesn’t end. The person who knows everything he doesn’t say he knows everything.

You can only experience yoga through your practice. If I eat masala dosa that doesn’t mean you have relished masala dosa. You have to go and eat. Yoga is also like that. You have to do it.

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Sharath's conferences are also being transcribed on Linda Mansion's Me and My Yoga Blog
http://meandmyyoga.wordpress.com/2013/11/17/conference-10-11-2013/

See also here photography here
http://lindajanssonphotography.wordpress.com

Review: Feetup headstand prop, hmmmmmmmm

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I  often get asked to review things on this blog, there was the underwear for men that makes your bottom looks... fuller, plumper? I don't know actually, never really understood the concept, or whether to feel flattered or offended at being asked, I passed on that one.

Books of course and if it seems relevant to the blog, my own interests or something I suspect readers of the blog might be interested in I'll say yes. Melanie Cooper's book for example that I reviewed last week.

I seem to be getting a more of these start up projects lately, the most recent being to promote a book project to raise $20,000 to publish a book on a series of emails between two friends, the email's however have already been written! Perhaps I'm missing something. Supposedly they want to raise the money to format the book and tidy it up the for publication and perhaps make an audio version. I don't get it self publishing is free or a couple of hundred if you your ego wants something glossier and musicians have been using garageband to produce whole albums, an audio book is easy there's even a podcast button.  I didn't like the reference to 'their careers as spiritual teachers' so passed on that one too.

Yoga Documentaries I'm more happy to support, this one for example looks interesting, a Yoga Documentary called Part and Parcel, BNS Iyengar is in it and they are seeking funds for post production.

http://www.pinknamaste.com/Part&ParcelDocumentary.html

I mention all this because in this instance I actually got in contact with Yogamatters and asked them if they would like me to review their Feetup headstand stool.


I'd seen an interesting review of the product by Genny Wilkinson-Priest (http://www.healthista.com/body/think-you-cant-do-a-headstand/)

"The new Feet Up is aimed at yogis who cannot lift into a headstand or hold one by themselves. But it looks like a grown-up’s potty and my 3-year old kept dragging it into the bathroom"

I wondered if it might actually help students of Vinyasa Krama yoga who struggle with headstand.

Krishnamacharya stressed to Ramaswami the importance of headstand and in Vinyasa krama we have myriad movement while inverted, still, I wanted to try it first before suggesting it, before recommending it.

It arrived ready made up in a huge box and without instructions, just a postcard. Now that might be because I was just reviewing in, if you were buying it new then perhaps it would arrive differently. Just heard that it arrives as a flatpack and you put it together, it looks a little Ikea actually, easy to put together I'm sure. Mine is probably a demo version from The Yoga show. I had it delivered to work and had to bring it home on the bike, tricky.


UPDATE
Took 5-10 minutes to disassemble, easy



Turns out there is a nice manual booklet on Yogamatters website
http://www.yogamatters.com/cmscontent/documents/Files/feetup_booklet.pdf



First thing, it IS sturdy, well made, really don't think it's going to break on you although I do wonder, worry about what happens if you tip over to the side with your head stuck down the hole, have there been tests? Ouch.
german site http://www.feetup.de/startseite.html

I'm seriously worried about that actually, strikes me you could break your neck. Happy to be reassured on this.


I have to say I hated it the first time I tried it, I didn't like the feeling of the blood rushing to my head, my wife tried it too and thought she was going to get a nosebleed. I didn't like the way it was pressing down into the shoulders or rather my shoulders down into it, perhaps you get used to it. I tried it for a week and still haven't gotten used to it

So I  stuck with it all week, trying it everyday and I have to say I still don't like it, still can't get on with it. Perhaps in regular headstand having the arms at the same level as the head it affects the blood flow differently, equalises it somehow. I spend forty minutes in headstands sometimes, doing the full Vinyasa krama Inverted sequence and never get a headache. In the feet up it's just your head sticking down below perhaps that's why I get that feeling that my head is about to explode that I don't find with regular headstands.

I managed to practice some of the vinyasa krama movements in it, the arms were in the way but then you can also hold onto the legs which would move your elbows out of the way. Here's a short vinyasa Krama Inversions practice on the feetup.


Still, many seem to love it, there is a popular feet up Facebook page with people posting pictures of their feet up all over the place, saw one up the side of a mountain.



Putting personal feelings to one side, does it work?

I actually do think it is something every studio, and why not every teacher, should have or at least could use. It is easier to get up into headstand and I imagine if you've never been able to get into headstand then you probably would in no time with the feetup stool. So for the teacher you might be able to build confidence in your student and then after a few times move them on to regular headstands. It could bring about the breakthrough.

At £99.00 it's expensive, can't recommend anyone parts with that kind of money for home use when my own feeling is that you only use it in the beginning to gain confidence to actually get up into headstand and then wean yourself off it. Find a teacher, a school that has one and go there for a couple of weeks.

So apologies to Yogamatters but thank you for letting me try it, personally it's not for me and I'll be sticking with regular headstands...
but that doesn't mean it might not suit somebody else. I strongly recommend you try it for yourself before buying, and you might love it.

here's the link to the feet up page on Yogamatters website
http://www.yogamatters.com/product/717/prfeet/feetup-headstand-yoga-stool.html

Oh I did find another use for it...


See the latest Chakra bandhasana in a month challenge update post


this too perhaps


UPDATE
just found this feet up workshop video on Youtube

http://youtu.be/QgaiKGGpV5c

 And this one which scared the hell out of me from The Yoga Show

  

'El Guru' Newspaper article on my upcoming workshop and TV clip of the studio and interview with Oscar Montero

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I mentioned a short while back that I would be teaching a workshop, my first at Yoga Centro Victoria  in Leon, Spain this weekend, this is at the invitation of Oscar Montero  an experienced yoga teacher there who has practiced Vinyasa Krama with me over the last year or two. It says something I think of the love and trust Oscar's students must have for him that the Workshop filled up pretty much within a week and for somebody who has never taught workshops before. Where we originally discussed a workshop of twenty Oscar has had to increase it to thirty.

I was apprehensive in the beginning, almost said no but then had an excellent Vinyasa Krama class with another student that very evening and decided to accept the invitation. Ramaswami taught me Vinyasa Krama just as he was taught by his own teacher for 33 years, Krishnamacharya. Ramaswami continues to travel and teach this method because he feels much of Krishnamacharya's approach to yoga is not being communicated...., there's an obligation there, to pass it along in turn, I probably don't do enough.

Also on Ramaswami's teacher training we studied Krishnamacharya's early works, I remember working through Krishnamacharya's Yoga Makaranda line by line with him in the classroom and then asana by asana in the practice room. I've tried to continue that exploration of these and other early works of Krishnamacharya on this blog and in my practice.

I came to yoga through Ashtanga and over the last few years I've sought to argue for a consistency in Krishnamacharya's teaching, to find the Vinyasa Krama in Ashtanga, the Ashtanga in Vinyasa Krama and I 've come to the conclusion there was no early and late period, no 'Kehre' ( turn). Krishnamacharya was teaching both Vinyasa Krama and Ashtanga back in the 1930's in Mysore, in fact these days I fail to see clearly the distinction between the two. If we watch the 1938 Black and White movie of Krishnamacharya, his family and also Iyengar demonstrating we see Krishnamacharya practicing the shoulder and headstand sequences of Vinyasa Krama, we see Iyengar demonstrating an approach more familiar to Ashtanga, both approaches are consistent with each other.

It's true that Ashtanga tends to be more fixed in general although open for adaptation when and where necessary and perhaps it's often practiced faster than it was originally taught or intended but it can be slowed down and more often than not the standing and finishing postures are practiced more slowly and many of the finishing postures have longer stays in them. And in Vinyasa Krama, once we have learned the sequence, Ramaswami encourages us to build a practice made up of several subroutines and sequences, perhaps because of my Ashtanga roots my Vinyasa Krama practices more often than not end up looking like Ashtanga. Even if we change our practice daily there's still an intuitive Ashtanga shape to it, for me anyway.

So the workshop I will be presenting in Leon will be looking at Krishnamacharya life and early work through a discussion on Friday (I'm no expert of course, no historian but I've spent sometime exploring this area at least) . On Saturday morning we will explore the practice that Krishnamacharya himself presents in his books Yoga Makaranda and Yogasanagalu, (his 'Ashtanga books'), for me in these works he offers options for practice, vinyasa, long stays that we can explore, breathing options, variations of postures, options that we can bring into our Ashtanga or Vinyasa Krama practice or any other yoga practice we may have.

The primary postures of Yoga Makaranda rearranged into Ashtanga Primary Series order 

In the afternoon session we practice a more Vinyasa Krama approach but hopefully seeing how the early work flows through the later teaching as well as bringing in pranayama, pratyahara, the meditation limbs, the integrated practice Ramaswami encourages, as did his teacher.

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An article just came out on the upcoming workshop in Leon's local paper, Diario de Leon. I'm a little embarrassed, uncomfortabe with the G word and it's a little too glowing perhaps but the sentiment is kind, thank you Pilar Infiesta for writing it, I hope I get to thank you in person on the workshop. My wife M. loves it of course, though refuses to call me 'eminent yogi' (disrespectful student), she does however want to put El Guru on my mat in diamante.

Here's an 'English' version via Bing of the article.


Here's a Link to the online edition 

and the online tradition translated into 'Binglish'

Yoga Guru comes Leon

The discloser's most popular yoga in the world, Anthony Grim Hall, whose blog has reached the million and a half viewers in five years on the Internet, teaches in Leon his first face-to-face workshop this coming 13th and 14th of December at the the request of one of his admirers, the yoga teacher Oscar Montero, of the Victoria Centre. Born 50 years ago in Singapore, this British resident exemplifies perfectly 'love is the power'. Until 2007 he was devoted to repairing wind instruments, especially saxophones. The theft of seven instruments was the straw that plunged him into a personal crisis that decided to leave in the library. As a gourmet, he there tasted his first book of yoga, and discovered a  6,000-year-old discipline born in the Vedic culture of India as a method to balance body, mind and soul. Interested, he swallow many more volumes on the subject, slimming his body from 94 kilos.

The passionate Asana practice was reporting him unprecedented flexibility, great concentration and lung capacity. A gradual progress that he decided to share on the network through dozens of videos collecting faithfully and without embellishments the efforts of a humble person who has become a great Yogi. In one of his 'tastings' proved the teachings of Tirumalai Krishnamacharya (1888-1989), considered one of the great masters of the history, pioneer in opening the knowledge of this discipline to all without distinction as to sex, race, and creed, and rehabilitate the importance which yoga enjoyed in the past. Krishnamacharya's ability to cripple the heart beat stunned the world. Hall has recovered and reported his texts, and has become a reference for publishers and manufacturers who ask to test their products in the field of yoga before launching them on the market.

The architect of the visit of this eminence to León, Oscar Montero, acknowledges that he feels "very excited and deeply grateful"to Anthony Hall, a person who is dedicated to practice, study, investigation and sharing everything that has to do with yoga, selfless, from a non-professional perspective. Oscar met him a year ago in London, when he sent him an e-mail, he accepted him without hesitation as his first student. He believes that "If Krishanamacharya is the father of modern yoga, Anthony is one of the most influential people on the Internet in regard to his teaching". His blog has served as a constant motivation.

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Yoga TV Leon - Interview with Oscar Montero



And here's the studio I'll be teaching in and my friend Oscar. I can't tell you how delighted I was to see this, a class practicing Vinyasa Krama. Some of the movements, the subroutines thatI taught to Oscar that Ramaswami taught to me, the same movements Krishnamacharya taught to him. I was so excited about it I sent the video link to Ramaswami, to show him this practice is alive and well. Actually Oscar also practiced with Ramaswami , at his most recent visit to the UK.



Below is a transcription of the interview as well as a translation by Bing. I've tried to tweak the binglish to make it easier, think it's just about understandable.

If you see yourself in the video, and are coming to the workshop I look forward to meeting you and hope I can justify the faith Oscar has in me through his invition.



Transcription in Spanish and English 
( the English translation is by Bing with some very minor tweaking by me)

 00:35
 Las principales diferencias entre el yoga y la mayoría de los deportes y otras técnicas corporales, es que en yoga se busca estimular todas las partes del cuerpo, hacer infinidad de movimientos y evitar que sea un patrón repetitivo de movimientos como puede ser pasear, correr o nadar  y así estimular todas las partes por igual, con armonía, para que se oxigenen todas las partes del cuerpo. Mientras llegue la sangre, en el yoga se dice que habrá salud, cuando en una parte del cuerpo no llegue la sangre no habrá salud. Otra diferencia importante es que en yoga se hace    con la respiración consciente, lenta y profunda y en todo momento se está consciente de la respiración de manera que la mente se va tranquilizando.

The main differences between yoga and most sports and other body techniques, is that yoga seeks to stimulate all parts of the body, makeing an infinite number of movements and prevent it from being a repeating pattern of movements as it can be with walking, running, or swimming and thus encourage all parts alike, with harmony, in order to oxygenate all body parts. Where reaches the blood, yoga says that there will be health, where one part of the body does not get (fresh) blood there will be no health. Another important difference is that in yoga one becomes conscious, through slow and deep breathing and at all times one is aware of breathing so that the mind is getting calm.


 01:25
Qué es el yoga?
El yoga se dice que es un sarvanga sadhana, sarvanga significa todas las partes. Y es un sistema que busca que el cuerpo, la mente y todos los órganos funcionen perfectamente. Es un sistema para la salud que está pensado desde hace cientos de años y busca el desarrollo del sistema músculo esquelético, la salud de los órganos internos y una mente tranquila.

What´s yoga?
Yoga it is said is a sarvanga sadhana, sarvanga means all parts. And it is a system that looks for body, mind and all organs to function perfectly. It is a system for health which is designed  from hundreds of years ago and looks for the development of the muscle- skeletal system, the health of internal organs and a calm mind.


2:00
Cómo se realizan las posturas?
Las posturas se trabajan con el vinyasa. Vinyasa significa sincronizar movimiento y respiración. Este es el sistema que yo sigo. Se trata de que los movimientos que sean expansivos se hagan con la inhalación y los movimientos que sean de compresión se hagan con la exhalación. De esta manera vas tomando control de la respiración y a la vez facilitas el trabajo del cuerpo en profundidad, el trabajo de los músculos…

How are the positions done?
The positions are worked with the vinyasa. Vinyasa means to synchronize movement and breathing. This is the system that I follow. It is that movements that are expansive take on inhalation and movements that are compression are done with exhalation. This way you're taking control of the breath and at the same time provide in depthbody work, the work of the muscles...

2:28
Hay posturas más importantes?
Hay como dos tipos de posturas, unas que buscan el trabajo global de todo el cuerpo, y luego unas principales, que son las más importantes, que son las consideradas invertidas. Invertidas son porque la cabeza se sitúa por debajo de la pelvis. El efecto beneficioso se consigue cuanto mayor tiempo estás en las posturas. Estas posturas se trabajan a diario y es en las que más tiempo se permanece. Lo que tratan estas posturas es invertir el efecto de la gravedad sobre todos los tejidos, que acaban siempre descolgándose, y perdiendo el tono. Con las posturas invertidas lo que conseguimos es que vuelvan todos los tejidos, especialmente los órganos internos a coger el tono.

Are there any important positions?
There are two types of positions, some which seek the global work of the whole body, the most important are considered inverted. They are inverted because the head is below the pelvis. The beneficial effect is achieved with much more time are in the positions. These positions are worked daily and with  longer stays. These positions seek is to reverse the effect of gravity on all tissues, which have just always be alienated, and losing tone. With the inverted postures, what we get is to return all tissues, especially the internal organs to take the tone.

3:18
Componentes para una buena práctica
Estos componentes que hemos hablado son las asanas, las posturas y a partir de ahí hacemos otro trabajo que se realiza sentado, donde el cuerpo lo que busca es no molestar, estar tranquilo, en una postura cómoda. Son ejercicios de limpieza, por ejemplo de las vías respiratorias, a continuación se hacen unos ejercicios de pranayama donde lo que se busca es el control de la respiración con las distintas fases que tiene. En un texto muy importante de yoga se dice que si tú quieres controlar la mente tienes que controlar la respiración. Por lo tanto hacemos un trabajo muy consciente para que la respiración sea lenta, profunda y muy suave.

Components for a good practice
These components that we talked about before are asanas, postures, and starting from there other work that is done while sitting, seeking to be quiet in a comfortable posture. They are cleaning, for example, the respiratory tract, then some pranayama exercises where what is sought is the control of breath with the different phases. A very important yoga text says that if you want to control the mind you have to control the breathing. Therefore we make a very conscious work to make breathing slow, deep, and very soft.

4:00
 Cómo sabemos que la meditación funciona?
Esto es como por ejemplo cuando necesitamos hacer un trabajo intelectual de  mucha exigencia; necesitamos estar muy concentrados. La meditación es un estado de atención dónde ya no hay distracciones. Para ello la mente necesita un estado de lucidez que se llama. Si nosotros por ejemplo estamos muy inquietos no vamos a conseguir concentrarnos, los pensamientos nos van a invadir  constantemente. Y si por ejemplo estamos cansado o con sueño pues al final nos vamos a cansar y no vamos a poder concentrarnos. Entonces de lo que se trata de la práctica es seguir todo un proceso para eliminar esta inquietud mental y también eliminar el posible cansancio, de esta manera, la mente, en ese estado de lucidez es más fácil controlarla.

Do we know that the meditation works?
This is like for example when you need to do much demanding intellectual work; We need to be very concentrated. Meditation is a State of attention where there are no distractions. For this purpose the mind needs a State of lucidity. If we for example are very worried we won't get concentrated, thoughts will invade constantly. And if for example we are tired or sleepy we are not going to be able to concentrate. Then what is the practice is to follow is a process to remove this mental restlessness and also eliminating possible fatigue, in this way, the mind, in that State of lucidity is easier to control.


New poster Krishnamacharya's Yoga Makaranda asana in Ashtanga Primary Series order

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I added a screenshot of this poster to my previous post but have now put up the original pdf on my googledocs page, it should blow up quite large should anyone wish to get it printed out.


Downloadable pdf version - higher resolution 

First thing to say about it is that this is NOT the order the asana are found in Krishnamacharya's 1934 book Yoga Makaranda.... but not far off.

See my free downloads page for links to Yoga Makarnda parts I and II

Krishnamacharya starts of with descriptions of the asana that are involved in the transitions in and out of postures, the same postures that make up the Surynamaska. However Krishnamacharya, as far as we can tell,  does not seem to have taught the Sun salutation as a separate entity other than the version with mantras (see this post). In the mantra version of the sun salutation each stage of the salutation is held with kumbhaka while a mantra praising the health giving benefits of the sun are mentally chanted, it also includes a full prostration. Indra Devi mentions that Krishnamacharya taught her the mantra version in the 30's.

Sun salutations where in 'vogue' in India at the time, Shrimant Balasahib Rajah of Aundh  published 'The Ten Point Way to Health in 1928 (1938 English translation)

See these earlier posts
Balasahib's 'original' 1928 Suya Namaskar , sun salutation
More on the 'original' Sun salutation of 1928

The Ten Point Way to Health by Shrimant Balasahib Rajah of Aundh
Sun salutations seem to have been considered an almost stand alone exercise regime, Krishnamacharya appears to have been uncomfortable with that and perhaps this is the reason he only seems to have taught the mantra version. On the first page of yoga Makaranda he writes...

"One cannot have such a trivial attitude as expecting immediate benefits in auspicious matters like yogabhyasa, worship, sandhya vandanam (salutation to the sun) or chanting of mantras as though one were a labourer who does one hour of work and expects immediate payment. They should not lament that they have not received even one paisa for all the time spent on this. When this pattern of thinking begins, we enter a phase of deterioration day by day".  
T. Krishnamacharya. Yoga makaranda p1

There are some extra variations of postures included in Yoga Makaranda, I've trimmed those out for this project and some of the other variations we are familiar with from Ashtanga Primary are not mentioned in Yoga Makaranda Part I but are included in Part II, especially the some of the inishing postures.

Krishnamacharya treats many of the Primary asana we're familiar with from Ashtanga but then moves on to some of the more advanced postures, marichyasana appears there as does trikonasana. But then Pattabhi Jois, Krishnamacharya's student at this time,  as late as the 1980's seems to have introduced the reverse twists in the triangle postures only once a student had become more proficient. Once they had completed Primary series for example the postures would then be inserted in their regular position. Krishnamacharya may have had something similar in mind with his ordering or the asana descriptions in his book.

It's important to stress that Krishnamacharya did not seem to advocate a fixed sequence, this poster then makes sense only as a guideline, a framework...... signposts perhaps. Or more significantly for me, as a way for Ashtangis to approach Krishnamacharya's early text and see what he has to offer us as options in our approach to our own asana practice. We can continue to seek new postures, new series or perhaps explore more fully those we have, explore the breathing options, the longer stays... not necessarily in all postures in each practice but perhaps choosing a different asana each practice to explore more fully.

There seems to be an intuitive structure to Ashtanga practice doesn't there? Or is that just my own familiarity with the series speaking, standing, triangle, standing on one leg, seated, supine, inversions, seated meditative postures. And asana with in theses 'types' of postures seem to generally progress logically one from the other, perhaps a couple here or there could be switched around but generally I get the feeling that this is probably the framework that Krishnamacharya would have used.

Why do I say that? Because there are certain postures that Krishnamacharya stressed should be practiced everyday, tadasana, trikonasana, paschimottanasana, maha mudra/janu sirsasana, badha konasana, sarvangasana, sisrsasana, badhapadmasana, plus there were postures that were considered preparation and counter postures that Krishnamacharya stressed, put them together and we begin to see the Ashtanga Primary series.

We see it even more explicitly in Krishnamacharya's 1941 book Yogasanagalu, in a table where the postures are listed in primary, middle and proficient groups, the order of the list for primary is uncannily close to the Ashtanga primary series we have now. The list of middle postures is close to our current 2nd series but the proficient  group just seems to be a random list of asana.




Download full table here https://drive.google.com/?pli=1&authuser=0#my-drive

Pattabhi Jois' genius seems to have been to more formally nail down Primary and 2nd series and then order the rest of the more challenging postures into Advanced A and B then later 3rd, 4th. 5th and 6th.

There are arguments of course for and against the idea of a fixed sequence but truth be told Ashtanga isn't perhaps as fixed as is generally thought, it's always been open to adaption, whether due to injuries, proficiency, strengths and weaknesses, bringing in extra postures to help with personally challenging asana, switching to half primary half second or just up to navasana if short on time or even just the surynamaskaras. And then there are those days when we want to focus on a particular area of our body and so really milk those postures for all they offer us and merely pass through some of the other postures. Do we ever treat every posture in an Ashtanga series equally? Maybe, when Sharath  might be watching, one of the best arguments for Mysore perhaps.

Vinyasa Krama too, arguable the most adaptive of approaches to practice, has a frameworks, certain key asana we're encouraged to include everyday, asana that follow a logical progression, a general ordering of sequences. In Vinyasa Krama we might change our practice everyday but so too in Ashtanga where we might practice Primary one day second series the next, alternating the series throughout the week. Manju Jois didn't seem keen on only practicing Primary only on Fridays once we had progressed to second or third series.

This is just a beginning, as well as exploring the breath in asana, bringing pranayama into the asana practice as it were Krishnamacharya also appears to be exploring pratyahara and meditation through his use of Chakra focus. It's less explicit Something I hope to explore here in the future.

There does seem to have been a focus on asana for health and well being in Krishnamacharya's later teaching but here in these early days he seems to have seen asana practice as a carrier for all the Ashtanga limbs. Krishnamacharya's asana practice was never only about health and fitness it was, in my reading, always a spiritual practice and this is something we still find in his later teaching.

*

I made up the poster for the first session of my upcoming workshop allowing me to look at the options Krishnamacharya offered while keeping the familiar Ashtanga framework, make it easier for those attending ( don't worry I won't make anyone hold anything for ten minutes). I also made an instruction booklet, trimming down the instructions for asana from Yoga Makaranda, stripping those dense paragraphs into a clear layout of instruction. The booklet is finished but I need to play around with the format a little more before uploading it to google docs but here's a taste of it below.

Is it a good idea to make such a booklet available? I've struggled with this. I'd much rather everyone read and studied the full Yoga Makaranda but perhaps for those who find it forbidding this may be a way in to the full text.

Paschimottanasana is a key description because so many of the other seated asana direct you to follow the paschimottanasana instructions.

The book is in epub ibooks mode




Only Supta padangusthasana appears in the poster but Krishnamacharya included in Yoga Makaranda
Supta Parsvangushtasana







NB: Asana Instructions taken from 

Yoga Makaranda
or
Yoga Saram (The Essence of Yoga)
First Part
Sri T. Krishnamacharya
Mysore Samasthan Acharya
(Written in Kannada)
Tamil Translation by Sri C.M.V. Krishnamacharya (with the assistance of Sri S. Ranganathadesikacharya)
Kannada Edition 1934 Madurai C.M.V. Press Tamil Edition 1938”

Straight leg jump though's reappearance

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A good old fashioned jump through post, feels like old times.


So I lost my straight legged jump through about six months ago back during the Kidney stones sage. Switched to a more delicate crossed leg Sharath style jump through.

And I was happy with that until stumbled across an old video of mine from a while back jumping through with straight legs and liked it, that little flick through, the tilt of your head as you try to work out how it's possible.

I remember my dear departed Dad telling me he'd watch Jumbo Jets take off and still hold his breath, just stand there in awe that such a massive chunk of metal could get off the ground...and he worked as an Air frame  and engines engineer at Heathrow Airport for over thirty years. he's take the ruddy things apart bolt by bolt and put them together again and still he had no idea how they got off the ground, he knew the theory but still that wonder.

Dad and I back in 2006 (pre yoga)

Feel a little like that about the straight leg jump through.

So I tried to get it back but perhaps I was trying too hard, my timing off all the different elements crashing up against each other but it would be clunky, clumsy, lacking in elegance


But hey, it came back, just like that.

Perhaps because I've been sick for a couple of days and feel only half with it, practicing to sweat out as much of this bug before Friday as possible, a little lighter, a little airy...



That's the straight leg jump through singing 'Remember me'
In a piece of music I haven't been able to get out of my head recently ,Dido’s Lament: When I am Laid in Earth” from Dido and Aeneas, by Henry Purcell


Perhaps it'll be gone again tomorrow

Another story about my father. Whenever I used to fly anywhere ( and I used to have all those cheap flights), just as were about to step on the plane there he'd be at the plane door and you'd know he'd checked the plane over himself. One trip I looked out the window and there he was walking slightly to the right and in front of the plane as it began to taxi. He had his earphones plugged into the side of the plane talking to the pilot and as he held the chord it looked to the world as if my mighty father was pulling that big hunk of metal along all by himself. Me, I was nudging the stranger next to me and pointing out the winder ' That's my Dad, that's my dad that is".

Guest post: FROM YOGA SCEPTIC TO AVID NOVICE - Also, off to Leon for my workshop

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Packing here ( and last minute prep) for my workshop in Spain this weekend, heading off straight from work tomorrow to a hotel by the airport then an early flight the following morning. A talk on Krishnamacharya Friday evening, Krishnamacharya approach to asana workshop Saturday morning and in the afternoon a Vinyasa Krama workshop. Sunday I think I get to explore the beautiful city of Leon then on Monday another class or two (Q and A/workshop) I think and the chance to sit in on my friend Oscar's Vinyasa Krama class,

So I'm away for a few days, until Tuesday in fact. While I am away here's a guest post that I'm quite proud of bringing about. A good friend of mine told me this story a short while back, she's the 'kind pharmacist friend and Yoga enthusiast' mentioned in the story. I asked her to try and persuade the person involved to share the story here and here it is. Thank you so much for sharing it.

***



 FROM
                                  YOGA SCEPTIC
                                                                      TO
                                                                                     AVID NOVICE

For some 3 years, I had been enduring the excruciating pains from my back originating from the region between L4 & L5, hampering my daily mobility. I have sought a multitude of cures, ranging from physiotherapy, acupuncture, chiropractic and medication. Pain-killers and pain-relieving gels became instead my daily must-haves. In my last visit to the Orthopaedic surgeon early in March this year, desperation finally succumbed me to the dictate of an operation to be performed in December 2013.

While in London in mid-2013, a kind pharmacist friend, a Yoga enthusiast herself, told my wife of the goodness of Yoga for general health well-being and perhaps Yoga could even be the answer to my long suffering. Until then, I was a Yoga Sceptic. In the past, I regarded Yoga as not a good enough exercise for man, effeminate, too gentle and too benign on muscles to toughen. Through this good soul, I was introduced to a Senior Yoga Instructor. She gave me the first set of Yoga exercises followed by Myo-fascia massage. The immediate effect was scintillating. I at once felt that my body was stretched backed to proper coordinates, feeling less stiffness and less twisted up. I could walk a little longer before pain set in. However, relief wore off the next day.  Following the advice of the Yoga Instructor, I faithfully kept up with the daily Yoga exercise and the weekly Myo-fascia massage. Soon after, a turning point began to be noticeably felt. The relief from pain and stiffness, seemed momentarily at the outset, began to straddle over a longer and longer period.

Three months later, I was back in Singapore and returned to face the Orthopaedic Surgeon.  Lo and behold, my current MRI shows that between L4 and L5, some sign of healing is taking place.  The nerves and blood vessels are back in their proper canal showing less of a crushing by the degenerating soft tissues. I walked away with the happiest verdict in life – NO OPERATION is necessary at this stage unless further degeneration sets in!

This whole episode drives me to the full and humble acceptance of the SOFT POWER OF YOGA AND ITS HEALING and now I am an AVID NOVICE, rigorously and conscientiously practising Yoga every evening before retiring, to allow the body after exercise, an opportunity to heal during restful sleep.  The path is firmly set towards a fuller recovery. Complete recovery will be a bonus as my problem is one of ageing and degeneration. But now, each morning I get up with joy and hope to welcome a new day without scrambling for pain-killers and gel!.

My heartfelt thanks must go to both our pharmacist friend and my Yoga Instructor, who is very sincere in stretching out her helping hand, with a strong conviction in what she does.



I'm on the teaching list for Yoga Rainbow Festival in Turkey next May

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Back from a wonderful, really wonderful, weekend sharing Krishnamacharya with the warm, generous,  Students of Yoga Centuro Victoria in Leon, Spain. Hundreds of photo's to go through before I have a post (or two or three or eight) but until then.... I just saw that the teaching list for the Yoga Rainbow Festival in beautiful Cirali Turkey next may has been released, yep, that'll be me, next gig.

More from this link


Yoga Synergy with Simon Birg Olivier (Australia)
Vinyasa Krama with Anthony Grim Hall (UK)
Shivananda yoga with Madhavan Munusamy (India)
Kurma and Tri Yoga with Oleg Flow (USA)
Durga Yoga with Dearbhla Kelly (Ireland, USA)
Interactive Acrobatic Yoga with Brian Yuen & Lorrie Shepard (USA)
Yoga108 with Mikhail Baranov (Russia)
Dhirendra Brahmachari yoga with Leonid Gartsenstein (Moldova)
Yoga Nidra with Past Life Regression & Shakti Power Yoga108 with Ilya Zhuravlev (Russia)
Shadow Yoga with Andrey Rozhnov (Ukraine)
Iyengar Yoga with Tatyana Tolochkova (Auroville, India)
Yin-yoga bu Paul Grilley with Maria Vorobyova (Moscow)
Ashtanga Hatha & Raja yoga with Roman Rokotyol (Ukraine)
Yoga-therapy with Artem Frolov (Russia)
Kirtan, Thai massage, Contact Improvisation!


This is what I'll be presenting, pretty much along the lines of what I was trying to do in Leon last weekend. Click on the links for bio's and class outlines for all the other teachers below.



So what do we have in beautiful Cirali, Turkey at the beginning of May next year, well….




Some Krishnamacharya classes from me (UK), Yoga Makranda Primary and Vinyasa krama























Photo Journal of giving my first Krishnamacharya Workshop in Leon, Spain last Weekend.

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I really have no idea of how to begin writing about the workshop I just gave at Yoga Centuro Victoria http://www.centrovictoria.com  in Leon, Spain. Perhaps a photo overview to begin with then look a little more closely at certain parts of the workshop in future posts.

For me, this being my first, it was the perfect opportunity, Oscar is a friend, he's had Vinyasa Krama lessons with me as well as with Ramaswami, I'd recently seen a video of him teaching a Vinyasa Krama class although the gym calls it integral. Everyone on the course was warm and generous, trying everything I threw at them, and also were very forgiving. I'm sure I'd approach the whole thing differently in any future workshop, try and tidy parts up, nail things down, try harder to make things easier for everyone to understand. I spoke too fast, got too excited, carried away at times.... I could go on, but we muddled through.

Arriving at the studio

The beautiful practice space in the centre of Leon

Wonderful batik of Krishnamacharya

Claudia's book....nest to David Swenson's : )
 Friday lecture on Krishnamacharya. As everyone came in there was a slideshow of pictures from the recent transformations yoga exhibition to give context to the stories and 'yoga superheroes' Krishnamacharya grew up with. Followed this with the 1938 video of Krishnamacharya.

Krishnamacharya 1938
followed by a Q and A that went on for an hour and a half or so, thank you everyone for all the questions
Questions on jumping back already
Loved how everyone helped lay out the mats for the following morning.
33 mats +1
my mat
Saturday morning session was to look at the approach to Ashtanga Primary postures in Krishnamacharya's Yoga Makaranda
but first some Vinyasa krama movements to introduce Krishnamacharya's slow breathing 
...and Kumbhaka's (breath retention)

Next we looked at krishnamacharya's treatment of the movements that make up the sun salutation, the long stays in each posture

Tadasana
the 'puraka kumbaka' after the inhalation and straightening of the back in  uttanasana
Long'ish stay in chatauranga dandasana
Puraka kumbhaka again in  Urdhvamukhasvanasana
Long stay in Adhomukhasvanasana and a chance to look at bandhas
bandha work in maha mudra
mini savasana
Jump back work, straight leg option
jump through workshop
Jump back in stages
End of the first session, pranayama. nice shot of the one of the excellent t-shirt pilar designed and gave to me, Thank you so much Pilar, I love them
Surya Bheda pranayama no kumbhaka
chandra bheda
After lunch together sitting on blankets in the middle of the studio ( does anyone have a picture they can pass  me through fb perhaps?

Second session, Vinyasa krama. We began with tadasana sequence focussing on the backbend arm movements before moving on to part of Bow sequence.

'Modelling' Bow sequence while Oscar described my movements
Vajrasana. this was followed by a look at getting the hips forward for back bending, ustrasana
part of Asymmetric sequence, a look at using the whole body to bind
Marichiyasana D
Akarna dhanurasana
badha padmasana
binding badha padmasana
Inversions demonstration
trying out the leg movements in headstand, same as those in the 1938 krishnamacharya movie
Shoulderstand demo and the other Krishnamacharya t-shirt Pilar designed  
Wonderful walking around and seeing everyone trying out these movements with slow, slow breathing that Ramaswami taught to me.
Savasana
Questions before Pranayama, nadi shodana with pranayama mantra on kumbhaka ( anyone have pictures?)
Pratyahara- Shanmukhamudra 
Below, savasana with Ramaswami chanting


Q and A went on for a couple of hours, people leaving, small group pictures with those of us left at the end
More to come on this I'm sure

Thank you again to Oscar for inviting me and doing all the hard work of translating, to Oscar's beautiful wife Maria for taking care of me, Martine and Vilma for putting the whole thing in perspective and to everyone who attended the workshop and were so kind and forgiving in this my first attempt at trying something like this.

I hope to come back again someday and do it all again or even better, as I know many of you would like,  persuade Ramaswami to come next time and share so much more. I only scratch at the surface of Krishnamacharya's teaching. Ramaswami of course would say that so does he.

***

See yesterdays post for news of the Yoga rainbow festival that I'll be teaching at in the first week of May next year.

"...the fruit of my endeavours will be commensurate with the intensity of my self-effort". When asanas become doable Also Kumbhaka

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"And the wise seeker knows: the fruit of my endeavours will be commensurate with the intensity of my self-effort, and neither fate nor a god can ordain it otherwise"The Yoga Vasistha section II chapter 7 8

http://www.flickr.com/photos/ulri/31644060/

I was reminded of this recently on hearing a friend nailed her tic tac, and it also made me think of another friend recently who dropped back but then came back up again for the first time and of yet another friend who bound Marichiyasana D for the first time. All had been working on these for a considerable time, in some cases years.

On the Leon workshop last weekend,  I was asked something along the lines of whether there was a posture I couldn't do, or was that in the interview? Either way, my answer was 'no, there wasn't a posture that I didn't think I could do'. That sounds a little arrogant right, but god when I started Ashtanga I though most postures would be beyond a man of my age and flexibility... but then I finally touched my toes and then managed to keep the backs of my knees on the floor in paschimottanasana and then bound in Ardhabaddha padmasana. I bound too in Marchi D and then dropped back and came up again. I touched my toes in kapotasana and then my heels and even took my ankles.... and from  the air. And on it went, each posture I thought I'd never do finally become doable, approachable, such that I began to believe that yes, perhaps anything could be achieved... with work, within the Ashtanga and Vinyasa Krama Syllabuses anyway (although kandasana has been stubborn and I still haven't grabbed my heels in chakorasana).

What does this teach us.... how do we justify this work we put into our asana practice....

Perseverance? Self belief? Patience?

Faith?

"And the wise seeker knows: the fruit of my endeavours will be commensurate with the intensity of my self-effort, and neither fate nor a god can ordain it otherwise".

What else is possible?

Is loving kindness possible? If I can love you, stranger, as much as my beloved. If I can love you, enemy, as much as my revered teacher......

Is knowing the self possible, transcending the self approachable? Can I see, know, that I am not this or that or that, nor that, nor that, nor that,....24 tatva times not that....

Oscar and I talked about yoga and health and how that aspect of yoga did not concern me as much as perhaps it should (although I appreciate good health and fitness as a byproduct). I mentioned that Krishnamacharya had mentioned, as a benefit of a posture, I forget which, that it was good for overcoming leprosy........

An asana that can overcome leprosy?

Do we believe that?

Is that possible?

And yet there is leprosy of the body and leprosy of the mind, of the body it's merely another disease, 'Hansen's disease' is another name for it and it's caused by the bacteria Mycobacterium leprae and Mycobacterium lepromatosis. But of the mind.... if I have Hansen's disease and look at you and see reflected in your face, fear, disgust, if I see leprosy there then that perhaps is what I have and that is who I am, who I see in the morning in the window pane.

But if through my practice, my asana practice, my pranayama practice, my pratyahara practice, my meditation practices and yamas/niyamas..... if through my practice I can disassociate myself from my body, from the experiences of the senses, the perception of self..... not that, not that, 24 times not that then perhaps I do overcome leporosy, and all that is left is a body with the bacteria Mycobacterium leprae and Mycobacterium lepromatosis with which I am familiar.

Perhaps this asana, if I stay long enough, if the integrity of my breath maintained, my kumbhaka then perhaps it can can overcome leprosy, perhaps that is possible.

Perhaps it is possible to know god or the absence of god..... one asana at a time.


Appendix - Why Kumbhaka

Bhusunda continued:
If one practises kumbhaka (suspension of breath) after exhaling the prana to a distance farther from where the apana rises (the twelve fingerbreadth distance), he is not subject to sorrow any more. 
Or, if one is able to see the space within oneself where the inhaled breath turns into the impulse for exhalation, he is not born again. 

By seeing where the praga and the apana terminate their motions and by holding fast to that state of peace, one is not subject to sorrow again.

If one keenly observes the place and the exact moment at which the prana is consumed by the apana, he does not grieve. 

Or, if one keenly observes the place and the exact moment at which the apana is consumed by prana, his mind does not arise again. 

Therefore,
behold that place and that moment at which prana is consumed by apana and apana is consumed by prana inside and outside the body.

For that precise moment at which the prana has ceased to move and the apana has not begun to move, there arises a kumbhaka which is effortless: the wise regard that as an important state. 

When there is effortless suspension of breath, it is the supreme state. 
This is the self, it is pure infinite consciousness. 

He who reaches this does not grieve.

I contemplate that infinite consciousness which is the indwelling presence in the prana but which is neither with prana nor other than prana. 

I contemplate that infinite consciousness which is the indwelling presence in the apana but which is neither with apana nor other than apana. 

That which IS after the prana and the apana have ceased to be and which is in the middle between prana and apana - I contemplate that infinite consciousness. I contemplate that consciousness which is the prana of prana, which is the life of life, which alone is responsible for the preservation of the body; which is the mind of the mind, the intelligence in the intellect, the reality in the egosense. 
I salute that consciousness in which all things abide, from which they emerge, which is all and everywhere and which is all in all and eternal; which is the purifier of all and whose vision is most meritorious. 

I salute that consciousness in which prana ceases to move but apana does not arise and which dwells in the space in front (or at the root) of the nose. 

I salute the consciousness which is the source for both prana and apana, which is the energy in both prana and apana and which enables the senses to function. 

I salute that consciousness which is in fact the essence of the internal and the external kumbhakas, which is the only goal of the contemplation of prana, which enables the prana to function and which is the cause of all causes. 

I take refuge in that supreme being.


Krishnamacharya Practice Video, oscar and I Practicing Vinyasa Krama and Krishnamacharya's Ashtanga from Yoga Makaranda.

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The beautiful practice space ofYoga Centro Victoria
On the Monday after the Krishnamacharya workshop I gave in Leon last weekend http://grimmly2007.blogspot.co.uk/2013/12/photo-journal-of-my-first.html , Oscar and I had the chance to practice together, just the two of us, in the beautiful Yoga Centro Victoria studio.

Below, Oscar's slideshow of the workshop

Oscar practiced Vinyasa Krama and I practiced the Primary asana group of postures as described by Krishnamacharya in his Yoga Makaranda (minus, for example,  the ten minute stay in chaturanga dandasana).

Our practice took a little over two and a half hours, at one point Oscar remembered he had to renew the parking ticket and had to run off. A mix up with the camera meant we only recorded about half an hour, plenty I'm sure you'll agree.

Lot of practice that day, practicing with Oscar in the morning then, after walking around Leon on my own playing tourist, I went back to take Oscar's Vinyasa Krama/Integral class followed by his Ashtanga class. Came outside afterwards after the third practice of the day to find it was a full moon, Oops.
Taking Oscar's Ashtanga class, in Spanish so looking around to check I'm following OK.
Taking Oscar's Vinyasa krama/ Integral class.
Strange watching this, from the outside as it were, I've been practicing this way for some time now, with the long slow breathing, the kumbhaka's the longer stays but watching back it seems even slower (thus the second speeded up version). I like it though and want to continue exploring these asana descriptions in practice..... what was Krishnamacharya up to in his exploration of kumbhaka in asana (see previous post).

Here's the video then at actual speed ( trying to upload the hi def version to Youtube), followed by the speeded up version and below that some screenshots in case you don't have time to watch the video, and lets face it, watching paint dry comes to mind (wonderful way to practice though).

NB: you don't HAVE to practice it this slow, find a pace that feels appropriate
















Appendix

Below, trimmed down instructions for paschimottanasana from Krishnamacharya's Yoga Makaranda






HD version of Krishnamacharya Ashtanga and Vinyasa Krama practice - Why so slow

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I managed to upload the HD version of the video I posted yesterday, I'm posting it again because it's been playing on my mind, I was a little shocked watching it back. Oscar mentioned in a comment that in the speeded up x4  version I posted yesterday he's moving quickly but it looks as if I'm practicing at regular speed. I am practicing excruciatingly slowly, if not for Oscar the video would be unwatchable, like watching grass grow or paint dry.....

And yet it doesn't feel that slow when I'm practicing, I mean, I know it's slow but I'm stunned watching this back how slow it actually is. It makes Oscar's Vinyasa Krama look brisk. I thought it would have been nice to have one of Oscar's Ashtangi's practicing along with us in the middle.

Why is it so slow?

Krishnamacharya writes about long slow breathing, like the pouring of oil, he writes about full breathing, my inhalations are around 8-10 seconds, I try to keep my exhalations the same.
Krishnamacharya includes 2-5 second Kumbhaka (breath retention) in his asana descriptions, if the head is up in a posture or perhaps before going into a posture then more often than not there's puraka kumbhaka, if the head is down then rechaka kumbhaka. In the second version of dandasana with which the video opens I'm employing puraka kumbhaka, holding the breath in for around five seconds. In the book krishnamacharya seems to include coming up out of forward bending postures for the full inhalations.

Krishnamacharya's asana practice becomes a pranayama practice.

Krishnamacharya describes full vinyasa in the Yoga Makaranda descriptions, so there's a coming back to standing, that makes sense to me in such a slow practice, I want to stretch the posture out with the vinyasa after staying so long. It's intense, the kumbhaka certainly keeps you warm

What to make of this, who would want to practice this slowly, it's limiting. If you only have an hour you won't get through many asana (not necessarily a bad thing, practice half a series). The full practice took around two and a half hours and I had to cut back on my pranayama but then perhaps there had been enough pranayama in the asana practice already, perhaps half an hour of nadi shodana,  rounds it off nicely. Krishnamacharya includes a chakra focus in asana in Yoga makaranda that I'm only just beginning to explore so perhaps a little Japa meditation to close and I'm good to go. Three hours? Cut back a few asana to bring it down to two?

Watching this I wonder if anyone else would want to practice this way and yet I feel strongly somebody at least should. I've been exploring it off and on ( more and more on recently) for a year and a half, I'm settling in to it. This is such an intense practice and shouldn't be buried away in an old text, a museum piece, it should be a living tradition.

Did Krishnamacharya actually practice like this himself, we know he only had an hour lesson with the boys of the Mysore palace, it's unlikely it was this slow, Vinyasa Krama as we can see is faster, again perhaps because of the time limitations of a lesson. In the 1938 demonstration the asana flow into one another but then that was a demonstration.

But surely he must have practiced this slowly, at least for a time, otherwise why write Yoga Makaranda in this way, why want to share the practice in this way. Yoga Makaranda was Krishnamacharya's first book, as far as he knew it might have been the only book he would publish and there is at times a non compromising attitude to the text.

Watching this back I feel ever more strongly that Mark Singleton is mistaken regarding the influence of western gymnastics on Krishnamacharya's practice. It's not the international fitness movement influencing Krishnamacharya here but traditional pranayama practice brought into asana, surely it's that which most characterises this approach to practice.

Below is the Youtube description.

Video Description
Oscar and I practicing alone in his studio Yoga Centro Victoria in Leon, Spain, recorded on my Krishnamacharya workshop last weekend. Oscar is on the left practicing Vinyasa Krama along the lines of that taught to Ramaswami in the 1950's-80's. I'm on the right practicing excruciatingly slowly employing kumbhaka's (breath retention) following the asana instructions found for the Primary group of asana in Krishnamacharya's 1934-38 'Mysore book' Yoga Makaranda, written while Krishnamacharya was teaching the young Pattabhi Jois. The Video is of part of the seated section of our practice.


Ashtanga Vinyasa Count - suspending the count

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The Count
I've bumped up against the 'count' a couple of times this week ( and this post is in no way intended as a criticism, more supplimentary). I seem to have a different view on it than many, I'm sure I just picked it up from somewhere so let me know if reading this you remember somebody, Richard Freeman perhaps saying something similar (and if you can find me quotes even better).

The count, I'm referring to is of course the vinyasa count that we find in Pattabhi Jois' book Yoga Mala but we also find it in Krishnamacharya's Yoga Makaranda, in fact Pattabhi Jois' style of writing Yoga Mala asana descriptions seems to be based on the approach of Krishnamacharya.

The vinyasa count often seems to be presented as fixed, I used to think of it as the tyranny of the count. Not necessarily a bad thing though as there's a tendency in the beginning to faff about in our practice, the count can keep us focused.

However, something interesting happens half way through the count.....it's suspended.

You follow the vinyasa to the posture then the count is put on hold while you stay in the posture for five, perhaps, eight, perhaps ten breaths, even  fifteen or twenty-five depending on the posture, and also when you were taught the practice and who from. Back in the day there was supposedly ten breaths in the seated postures, that seems to have been dropped to eight and then five. I liked practicing with Manju, he doesn't seem to count the breaths while in the posture which allows me to take three long slow breaths where perhaps others in the room are taking five quicker ones.

So the count can be suspended.....

The count appears to be there to indicate the relationship between the movement and the stage of the breath, it can go so far as to indicate the inhalation and the exhalation, odd numbers seem to be inhalation, even numbers exhalation. In krishnamacharya that might also give a clue to the kumbhaka (breath retention), puraka kumbhaka often after inhalation when the head is up, rechaka kumbhaka often after the exhalation when the head is down.

But Krishnamacharya often talks about practicing kumbhaka's at different points of the posture's vinyasa suggesting that the count might be suspended at different places to spend more time on the breath. I've highlighted one example below, where jumping through to dandasana the count is suspended to engage in puraka kumbhaka.

"Extend the legs out forward and sit down. Practise sitting like this with the rear part of the body either between the two hands or 4 angulas in front of the hands. It is better to learn the abhyasa krama from a guru. In this sthiti, push the chest forward, do puraka kumbhaka and gaze steadily at the tip of the nose". yoga makaranda - Krishnamacharya

"Then, doing puraka and with only the strength of the arms, jump the legs between the hands without allowing them to touch the floor, and stretch out the legs. Then press the hands to the floor on either side of the hips, straighten the chest and waist, lower the head a little, draw the anus up tightly, lift the lower abdomen and hold firmly, and sit erect, slowly doing rechaka and puraka as much as possible; this constitutes the 7th vinyasa". Yoga Mala - Jois

Jois refers to this suspension of the count, dandasana, as the seventh vinyasa. So there's a suspension of the count at the 7th vinyasa  and also at the the 9th, the asana proper.

"Then, doing puraka slowly, then rechaka, straighten both legs, and place the head between the knees; this is the 9th vinyasa and the state of the asana. While in the state, do puraka and rechaka slowly and deeply, as much as possible". Yoga mala - Jois

Actually for me, every stage of the vinyasa is an asana, we have to make up those 84, 000 asanas somehow, Krishnamacharya even treats each stage of the surynamaskara as an individual asana, each gets a full description

Dandasana is perhaps an obvious example, but in Yoga Makaranda we find several examples of this, hunt through your Yoga Mala and see if you can find examples there too. What your looking for are places in the vinyasa count where it's suggested one takes extra breaths, look at kukkutasana perhaps, baddha konasana, anything?

This doesn't strike me as new or controversial, we all need to adjust our practice especially as we are learning new postures or working with challenging ones. What's important I think is the attitude we take, do we try and rush into the posture sacrificing our breath to keep up with the count (and the rest of the class) or do we take the time we need suspending the count to work into our postures with the integrity of each inhalation and exhalation maintained before picking the count back up on the appropriate inhalation or exhalation.

In my own practice with my old knee injury I need to take extra breaths folding my left leg in and out of lotus or baddha konasana. I take extra breaths but not quick ones while trying to rush into the posture. I tend to suspend the count but not the integrity of the breath. So I will stop the count, and take two or three extra breaths, long full deep inhalations and exhalations linking my movements as I work my leg deeper into half lotus....Once there I'll pick up the count again.

You might wish to do the same as you work your way into marichiyasana D, suspend the count and then take a couple of formalised breaths as you work yourself deeper into the bind, once there take your five breaths or even perhaps one good one if your in a led class and wanting to catch up then pick up the count along with everyone else.

Much better than trying to wrench yourself into a posture to keep up with the group.

Lets look at Paschimottanasana in the texts as many of the later asana get referred back to the vinyasa count for this one.

Pattabhi Jois in Yoga Mala

PASCHIMATTANASANA

Sharath demonstrating in the later editions of the book

There are sixteen vinyasas to this asana. The 9th is its state (see figures).
METHOD
To begin, follow the first Surya Namaskara through the 6th vinyasa. Then, doing puraka and with only the strength of the arms, jump the legs between the hands without allowing them to touch the floor, and stretch out the legs. Then press the hands to the floor on either side of the hips, straighten the chest and waist, lower the head a little, draw the anus up tightly, lift the lower abdomen and hold firmly, and sit erect, slowly doing rechaka and puraka as much as possible; this constitutes the 7th vinyasa. Next, doing rechaka, grasp and hold the upper parts of the feet; this is the 8th vinyasa (as your practice becomes firm, you should be able to lock your hands behind your feet). Then, doing puraka slowly, then rechaka, straighten both legs, and place the head between the knees;
this is the 9th vinyasa and the state of the asana. While in the state, do puraka and rechaka slowly and deeply, as much as possible. Then, slowly doing puraka, lift only the head; this is the 10th vinyasa. Next, doing rechaka and then puraka, let go of the feet, press the hands to the floor, bend the legs, and lift the entire body up off the floor merely with the strength of the arms; this is the 11th vinyasa. The remaining vinyasas are the same as those for the Surya Namaskara.

There are three types of Paschimattanasana: 1) holding the big toes and touching the nose to the knees; 2) holding on to either side of the feet and touching the nose to the knees; and 3) locking the hand and wrist beyond the feet, and touching the chin to the knee. All three types should be practiced, as each is useful.

BENEFITS
The practice of this asana helps the stomach to become slender by dissolving its fat. It also increases jathara agni [the fire of hunger], helps food to digest well, and strengthens the organs of the digestive systems ( jir-nanga kosha). In addition, it cures weakness in the hands and legs resulting from a loss of appetite and low digestive fire, as well as indolence and giddiness stemming from an aberration in the liver, and gas problems in the stomach".


....and here's Krishnamacharya from Yoga Makaranda (1934) While in Mysore and teaching the young Pattabhi Jois

Pascimattanasana or Pascimottanasana


This asana has many kramas. Of these the first form has 16 vinyasas. Just doing the asana sthiti by sitting in the same spot without doing these vinyasas will not yield the complete benefits mentioned in the yoga sastras. This rule applies to all asanas.

The first three vinyasas are exactly as for uttanasana. The 4th vinyasa is caturanga dandasana, the 5th vinyasa is urdhvamukhasvanasana, the 6th vinyasa is adhomukhasvanasana. Practise these following the earlier instructions. In the 6th vinyasa, doing puraka kumbhaka, jump and arrive at the 7th vinyasa. That is, from adhomukhasvanasana sthiti, jump forward and move both legs between the arms without allowing the legs to touch the floor. Extend the legs out forward and sit down. Practise sitting like this with the rear part of the body either between the two hands or 4 angulas in front of the hands. It is better to learn the abhyasa krama from a guru. In this sthiti, push the chest forward, do puraka kumbhaka and gaze steadily at the tip of the nose. After this extend both arms out towards the feet (the legs are already extended in front). Clasp the big toes of the feet tightly with the first three fingers (thumb, index, middle) of the hands such that the left hand holds the left big toe and the right hand holds the right big toe. Do not raise the knees even slightly. Then, pull in the stomach while doing recaka, lower the head and press the face down onto the knee. The knees should not rise from the ground in this sthiti either. This is the 9th vinyasa. This is called pascimottanasana. In the beginning, everybody will find it very difficult. The nerves in the back, the thighs and the backs of the knees will feel as though they are being fiercely pulled and this will be extremely painful. The pain will remain for 8 days. After this, the pulling on the nerves will release and it will be possible to do the asana without any problem. This pascimottanasana has many forms. After first practising this asana with the face pressed onto the knee, practise it with the chin placed on the knee and then eventually with it placed 3 angulas below the knee on the calf. In the 10th vinyasa raise the head. In the 11th vinyasa, keeping the hands firmly pressed on the ground, raise the entire body o the ground and balance it in the air without touching the ground. The 11th vinyasa is called uthpluthi. The 12th vinyasa is caturanga dandasana. The 13th is urdhvamukhasvanasana. The 14th is adhomukhasvanasana. The 15th is the first vinyasa of uttanasana. The 16th vinyasa is the 2nd vinyasa of uttanasana. Afterwards, return to samasthiti. You should learn the intricacies of this vinyasa only from a guru.

Benefit: This will cure all diseases related to the stomach.
This asana can be done on the floor or on a mat according to the capabilities of one’s body. Learn some of the other forms of pascimottanasana krama by studying the pictures carefully. Pregnant women should not do this asana. But this can be done up to the third month of pregnancy. For men, there are no restrictions to practising this asana. If this is practised every day without fail for 15 minutes, all the bad diseases of the stomach will be removed.

****

ON THE SAME PAGE

PS. Seems like it was a good conference from Sharath in Mysore yesterday, see these two posts for conference reports, hoping somebody recorded and will transcribe this one, curious about his actual wording.


"Swadhyaya means self-study, but not in terms of studying on our own but rather to dig deeper and enquire beyond asana practice and see how the physical practice is connected to the spiritual. The teacher, Sharath said, will teach you for 2 hours in the morning but after that you need to go home and continue your practice (non-physical) for the rest of the day. You need to look at your mind (introspection) and do research and read lots of yogic books. Reading these books brings a lot of knowledge. The student should put in the effort to acquire knowledge – but many students do not. Instead they socialize on the Internet, hang at the Coconut stand or other places. But it’s only if you put in the extra effort to go beyond the 2 hours of asana that you will go deeper in yoga. Asana practice calms the mind but only by continuing the effort to practice all the limbs of Ashtanga yoga and do research into yourself and ancient yoga texts will make you see how your practice is connected to the spiritual side".

"
Spirituality has nothing to do with religion. Religions started often like this. You believe someone else’s experience instead of finding it inside of yourself."

And Suzy's typically extensive treatment just in
Conference – Kriya Yoga – 22nd December 2013

*

Now if Sharath would only let me practice this slowly and take my kumbhaka's.....and take bookings this late

PPS
Running late for practice and started to rush M's sandwich/wrap (feta, sundries tomato, kalamata olives, spicy pesto, gem lettuce) but then remembered that this yoga is supposed to follow us through out the day both before and after our practice (Kriya Yoga, thank you Sharath for the reminder) , slowed back down, tied the bow around her wrap on the breath with the integrity of loving intact, it's Christmas, don't skimp on the loving'.


Saw a post yesterday about whether buddhists celebrate Christmas, everyday they celebrate Christmas, loving Kindness, generosity, giving... what tradition doesn't.

Happy Holidays.

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