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AG Mohan's presentation of Krishnamacharya's legacy and teaching
Transcript
Krishnamacharya was unique in many ways — as a master of yoga, as a teacher, as an Ayurvedic physician and as a scholar.
In the West, Krishnamacharya is mostly known for his contribution to the revival of the more physically oriented disciplines and practices of hatha yoga. Therefore, he is often referred to as “the father of modern yoga.”
The notion that Krishnamacharya practiced and taught yoga that was somehow “new” or “modern” is primarily due to the many distortions or misunderstandings about the link between the physical practices of hatha yoga and the meditational practices of raja yoga. He was the conservator of the ancient teachings of raja yoga.
As a master of yoga and a great scholar, he practiced and linked the physical practices of hatha yoga with the mental states of samadhi described in the Yoga Sutras of Patanjali. Let us listen to the great master on what is yoga.
Krishnamacharya: Yoga is an awareness, a type of knowing. Yoga will end in awareness. Yoga is arresting the fluctuations of the mind as said in the Yoga Sutras (of Patanjali): citta vritti nirodha. When the mind is without any movement, maybe for a quarter of an hour, or even quarter of a minute, you will realize that yoga is of the nature of infinite awareness, infinite knowing. There is no other object there.”
During my interview of Krishnamacharya in 1988, he continued to expand on his personal experience of this yogic state of samadhi.
This state of samadhi — the pinnacle of sustained mental focus and the goal of classical yoga — can be reached through pranayama. Krishnamacharya used to say that pranayama is critical among the eight limbs of yoga. The practice of pranayama is preceded by the practice of the mudras and the practice of asanas. These are truly amazing photos of the great master.
In addition to his mastery of asanas, Krishnamacharya was able to bring the involuntary functions of the body — like the heartbeat — under voluntary control.
He was not only a master of yoga but also had titles equivalent to doctoral degrees in all the six Vedic darshanas.
Krishnamacharya taught yoga for nearly seven decades. He started teaching yoga under the patronage of the Maharaja of Mysore in the 1930s. Indra Devi, B.K.S. Iyengar, and Pattabhi Jois studied with him during this period.
What was Krishnamacharya teaching during the 1930s? The silent film from 1938 contains the yoga practice of Krishnamacharya, his wife and children, and B.K.S. Iyengar, who was also the brother of his wife.
An analysis of this 1938 video will reveal that Krishnamacharya’s teaching was based on this principle — “Teach what is appropriate for each individual.”
Video of Krishnamacharya’s children – 5 to 7 years old
The notion that Krishnamacharya practiced and taught yoga that was somehow “new” or “modern” is primarily due to the many distortions or misunderstandings about the link between the physical practices of hatha yoga and the meditational practices of raja yoga. He was the conservator of the ancient teachings of raja yoga.
As a master of yoga and a great scholar, he practiced and linked the physical practices of hatha yoga with the mental states of samadhi described in the Yoga Sutras of Patanjali. Let us listen to the great master on what is yoga.
Krishnamacharya: Yoga is an awareness, a type of knowing. Yoga will end in awareness. Yoga is arresting the fluctuations of the mind as said in the Yoga Sutras (of Patanjali): citta vritti nirodha. When the mind is without any movement, maybe for a quarter of an hour, or even quarter of a minute, you will realize that yoga is of the nature of infinite awareness, infinite knowing. There is no other object there.”
During my interview of Krishnamacharya in 1988, he continued to expand on his personal experience of this yogic state of samadhi.
This state of samadhi — the pinnacle of sustained mental focus and the goal of classical yoga — can be reached through pranayama. Krishnamacharya used to say that pranayama is critical among the eight limbs of yoga. The practice of pranayama is preceded by the practice of the mudras and the practice of asanas. These are truly amazing photos of the great master.
In addition to his mastery of asanas, Krishnamacharya was able to bring the involuntary functions of the body — like the heartbeat — under voluntary control.
He was not only a master of yoga but also had titles equivalent to doctoral degrees in all the six Vedic darshanas.
Krishnamacharya taught yoga for nearly seven decades. He started teaching yoga under the patronage of the Maharaja of Mysore in the 1930s. Indra Devi, B.K.S. Iyengar, and Pattabhi Jois studied with him during this period.
What was Krishnamacharya teaching during the 1930s? The silent film from 1938 contains the yoga practice of Krishnamacharya, his wife and children, and B.K.S. Iyengar, who was also the brother of his wife.
An analysis of this 1938 video will reveal that Krishnamacharya’s teaching was based on this principle — “Teach what is appropriate for each individual.”
Video of Krishnamacharya’s children – 5 to 7 years old
He taught jumping asanas to his children, who were 5 to 7 years old.
In an interview, B. K. S. Iyengar recalled that Krishnamacharya taught vigorous jumping movements to him.
B.K.S. Iyengar: “Well, you know it is very difficult for a boy of 14-15 years to analyze what my Guruji was teaching, what type of yoga was teaching, or something like that, you know? Well, I can say it’s like a drill system to a very great extent… So, naturally my Guruji must have thought that for these martial people, like martial art, yoga has to become a martial art to train them. So there were vigorous, rigorous movements what you call today ‘vinyasa,’ which is jumping movements from asana to asana which you have seen in my 1938 film. So, that was the way he was teaching.”
Let’s see that.
In an interview, B. K. S. Iyengar recalled that Krishnamacharya taught vigorous jumping movements to him.
B.K.S. Iyengar: “Well, you know it is very difficult for a boy of 14-15 years to analyze what my Guruji was teaching, what type of yoga was teaching, or something like that, you know? Well, I can say it’s like a drill system to a very great extent… So, naturally my Guruji must have thought that for these martial people, like martial art, yoga has to become a martial art to train them. So there were vigorous, rigorous movements what you call today ‘vinyasa,’ which is jumping movements from asana to asana which you have seen in my 1938 film. So, that was the way he was teaching.”
Let’s see that.
Video of Iyengar – 20 years old
Video of Krishnamacharya’s wife – 24 years old
Video of Krishnamacharya’s wife – 24 years old
The Acharya taught differently to his wife to strengthen the organs in the lower abdomen. Although his wife and Iyengar were almost the same age, Krishnamacharya taught them very differently. He did not teach deep backbends to his wife.
Video of Krishnamacharya – 50 years old
Video of Krishnamacharya – 50 years old
Now, watch the practice of Krishnamacharya when he was 50 years old. Although it appears as if he is doing just head stand, he was actually practicing the viparita karani mudra, which involves long, deep breathing and suspension of breath and bandhas with mental focus.
Krishnamacharya wrote a book called Yoga Makaranda in 1934. Part I of this book was published by the then-Maharaja of Mysore. Part II was not published. This is the file cover of the original type written manuscript of Part II. His son, Desikachar, and myself had classes together on some texts like the Yoga Sutras. During the 1970s, we reflected on and attempted to edit this manuscript but its publication did not come to fruition.
In Yoga Makaranda Part II, the Acharya not only details the methodology for each asana but also cautions against the use of force in the practice of asana.
Currently, there are several misconceptions and confusions regarding the teaching of the Acharya. There is a notion, for instance, that he was innovating his teachings over a period of time. He did not. He always taught what was appropriate for each individual. The purpose and the capability of the person determined the practice. He always designed the practice depending on the person and the purpose.
To a question on “Should the asana practice be done fast and why not?”, Krishnamacharya replied that fast movements, and in turn, fast breathing will disturb the flow of prana and will result in imbalances. Slow movements with long inhale and exhale will help with proper prana flow and mental focus.
His personal practice was always with long deep breathing and mental focus. Observe the position of his head, the lower abdomen and his mental focus. He was always concentrated on the inner alignment through breath.
According to Krishnamacharya, practice and knowledge must always go together. He used to say, practice without right knowledge of theory is blind. This is also because without right knowledge, one can mindfully do a wrong practice.
He also did not mix up yoga and religion. As a Vaishnavite, he kept the wooden sandals of his religious guru. He did not keep the sandals of his yoga guru, Ramamohana Brahmachari, and never asked his students to pay homage to his Vaishnavite lineage or the padukas.
There is only one yoga, the Yoga Sutras of Patanjali. This is also known as raja yoga. Hatha yoga, laya yoga, and mantra yoga each have four steps. They involve the practice of some of the eight limbs of the Yoga Sutras, like the yamas and niyamas. They merge into the sixth limb of yoga, dharana, which leads to samadhi. Krishnamacharya with his depth of knowledge and practice was clear about these connections.
In the 1930s, Krishnamacharya tried to resolve the prevailing confusions among the then-yoga luminaries. He later recalled:
“In 1933 through 1937, some people were talking about different varieties of yoga, like hatha yoga, raja yoga, and kundalini yoga. Some said that the kriyas were the most important, and that that was (true) yoga. I was in the yoga school in Mysore, under the patronage of the king. I wrote letters to well-known yoga teachers like Paramahamsa Yogananda, Kuvalayananda, and Yogindra, saying that we should have a meeting and resolve such confusion. Eventually, however, no meeting took place and nothing came out of the correspondence.”
Currently, the confusions have become manifold with the addition of brands, labels, traditions, and lineages.
The goal of the physical practices of hatha yoga is to lead to the mental states of samadhi described in the Yoga Sutras. Absence of knowledge of the connections and the practice has resulted in many confusions and distortions. The discernment that Krishnamacharya spoke of so many decades ago is even more important now.
On November 18th, we celebrate his 125th birth anniversary. I vividly remember this day, 25 years ago on his 100th birthday, as I was the convener of his centenary celebrations. Krishnamacharya would have been extremely happy that his tireless perseverance in propagating yoga has resulted in millions of people now practicing yoga around the world. He would want all of us to carry on the ancient and authentic teachings of yoga as they have been conveyed to us by the sages.
Krishnamacharya wrote a book called Yoga Makaranda in 1934. Part I of this book was published by the then-Maharaja of Mysore. Part II was not published. This is the file cover of the original type written manuscript of Part II. His son, Desikachar, and myself had classes together on some texts like the Yoga Sutras. During the 1970s, we reflected on and attempted to edit this manuscript but its publication did not come to fruition.
In Yoga Makaranda Part II, the Acharya not only details the methodology for each asana but also cautions against the use of force in the practice of asana.
Currently, there are several misconceptions and confusions regarding the teaching of the Acharya. There is a notion, for instance, that he was innovating his teachings over a period of time. He did not. He always taught what was appropriate for each individual. The purpose and the capability of the person determined the practice. He always designed the practice depending on the person and the purpose.
To a question on “Should the asana practice be done fast and why not?”, Krishnamacharya replied that fast movements, and in turn, fast breathing will disturb the flow of prana and will result in imbalances. Slow movements with long inhale and exhale will help with proper prana flow and mental focus.
His personal practice was always with long deep breathing and mental focus. Observe the position of his head, the lower abdomen and his mental focus. He was always concentrated on the inner alignment through breath.
According to Krishnamacharya, practice and knowledge must always go together. He used to say, practice without right knowledge of theory is blind. This is also because without right knowledge, one can mindfully do a wrong practice.
He also did not mix up yoga and religion. As a Vaishnavite, he kept the wooden sandals of his religious guru. He did not keep the sandals of his yoga guru, Ramamohana Brahmachari, and never asked his students to pay homage to his Vaishnavite lineage or the padukas.
There is only one yoga, the Yoga Sutras of Patanjali. This is also known as raja yoga. Hatha yoga, laya yoga, and mantra yoga each have four steps. They involve the practice of some of the eight limbs of the Yoga Sutras, like the yamas and niyamas. They merge into the sixth limb of yoga, dharana, which leads to samadhi. Krishnamacharya with his depth of knowledge and practice was clear about these connections.
In the 1930s, Krishnamacharya tried to resolve the prevailing confusions among the then-yoga luminaries. He later recalled:
“In 1933 through 1937, some people were talking about different varieties of yoga, like hatha yoga, raja yoga, and kundalini yoga. Some said that the kriyas were the most important, and that that was (true) yoga. I was in the yoga school in Mysore, under the patronage of the king. I wrote letters to well-known yoga teachers like Paramahamsa Yogananda, Kuvalayananda, and Yogindra, saying that we should have a meeting and resolve such confusion. Eventually, however, no meeting took place and nothing came out of the correspondence.”
Currently, the confusions have become manifold with the addition of brands, labels, traditions, and lineages.
The goal of the physical practices of hatha yoga is to lead to the mental states of samadhi described in the Yoga Sutras. Absence of knowledge of the connections and the practice has resulted in many confusions and distortions. The discernment that Krishnamacharya spoke of so many decades ago is even more important now.
On November 18th, we celebrate his 125th birth anniversary. I vividly remember this day, 25 years ago on his 100th birthday, as I was the convener of his centenary celebrations. Krishnamacharya would have been extremely happy that his tireless perseverance in propagating yoga has resulted in millions of people now practicing yoga around the world. He would want all of us to carry on the ancient and authentic teachings of yoga as they have been conveyed to us by the sages.
Let the message not be lost.
To download Yoga Makaranda (Part II), click here.
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James Mallinson : From Tapas to Hard Yoga: The History of the Āsanas of Haṭha Yoga
From Tapas to Hard Yoga: The History of the Āsanas of Haṭha Yoga
James Mallinson, School of Oriental and African Studies, London
Session Chair: Debra Diamond, Freer and Sackler Galleries
Yoga and Visual Culture: An Interdisciplinary Symposium
James Mallinson, School of Oriental and African Studies, London
Session Chair: Debra Diamond, Freer and Sackler Galleries
Yoga and Visual Culture: An Interdisciplinary Symposium
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On 'teaching' workshops and retreats - I actually haven't the foggiest idea how Sharath runs a Mysore class, I really don't.
A friend commented today on my upcoming retreat in Spain that she hoped I would point out to everyone that I "...actually haven't the foggiest idea how Sharath runs a Mysore class".
She has a point...
![]()
I've never been to Mysore, India.
I've very rarely been to a Mysore room in fact. Let me see, I've been to two Sunday Mysore sessions at Ashtanga Yoga London five or six years ago and then there was a 'teacher training' week with Manju in Crete which was a mix of led and Mysore sessions as well as adjustment clinics. I did attend an extra Mysore class with Kristina before leaving Crete plus I went to another led with Manju at Stillpoint Yoga. Oh and I had a week, or was it half a week, of led classes with Richard Freeman a couple of years back. I think that's the sum total of my Ashtanga Mysore and Led class experience.
As far as Vinyasa Krama goes, I had four days with Steve of Harmony Yoga before attending Ramaswami's five week Vinyasa Krama teacher training course at LMU in California.
Oh and there was the other weekend with Norman Sjoman.
Have I missed anything?
Nope, I think that's it, that's all.
To be fair I haven't actually said I'm running a Sharath style Mysore session, quite the opposite actually. The five day retreat in question, that I'm presenting in Spain this Easter, is basically concerned with exploring and developing a home Ashtanga practice.
There are four Led classes, one on Krishnamacharya's 'original' approach, as suggested in his 1934 book Yoga Makaranda. The next is on the Ashtanga presented in Pattabhi Jois' Yoga Mala of the 1950's. The third is probably the 1974 original syllabus given to Nancy Gilgoff and David Williams and/or Manju Jois' approach to teaching Ashtanga. The fourth was originally intended to be a led class in the style of the Led classes Sharath presents on his World tours. There is ONE Mysore self practice session on the final day.
The idea for this Mysore session is that attendees can do their own practice and take whatever approach they wish. It might be how they currently practice, or perhaps some influence from one or more of the led classes that I'll be presenting might creep in along with the 'problem' asana workshops and Vinyasa krama classes. They might slow their breathing and take appropriate, short kumbhaka's (breath retention) in certain asana in line with Krishnamacharya's original Yoga Makaranda approach or perhaps stay in postures "doing puraka and rechecka (inhalation and exhalation) as much as possible" in keeping with Pattabhi Jois' Yoga Mala. Or they might like to practice full vinyasa in line with the earlier practice including the 1974 syllabus or take fewer, shorter breaths as on Sharath's tour dates, DVD and CD. They might like to go straight into pranayama and chanting or meditation or even pull out a copy of the yoga Sutras and study it at the end of their practice.
The idea is to present options for practice rather than to say this is how Ashtanga is practiced here, this is in keeping with my view of developing and exploring one's own home practice.
I'm actually still deciding on the order of led classes. I'm tempted to put the 'Sharath's Led' third and have Manju's approach fourth. I see Manju as slowing the practice back down somewhat, a going back to the earlier presentation of his father, taking a more flexible approach ( in certain ways) to practice perhaps, as well as reintegrating Pranayama and chanting. I actually like this idea better.
Perhaps it's not appropriate to have a 'Sharath led class' at all. I thought if I didn't include him it would seem dismissive and besides I practiced with Sharath's DVD every day for months. It was what allowed me make the move from David Swenson's short form to the full Ashtanga Primary series. Sharath takes the practice so fast on his DVD (although it doesn't seem it) that I could do the full practice in 60 minutes before work. At the time 60 minutes was all the commitment to the practice I was prepared to make. Later I went back to Sharath's presentation of the practice and practiced for a month or so with a recording of his led Primary from Jois Yoga a few years back. Although I've practiced with most of the other major DVD's out there I probably practiced with Sharath's the longest. besides it's a very attractive and popular presentation of the practice, it would be amiss of me not to include it.
but again...
I actually haven't the foggiest idea how Sharath runs a Mysore class, I really don't.
I suspect however that you don't get to explore kumbhaka if you so wish, or take long slow inhalations and exhalations of eight to ten seconds each in some or all asana and vinyasas. I'm guessing that you don't get to take longer stays or add in maha mudra say before Janu Sirsasana for five minutes a side or take a twenty even forty minute headstand in his room. I'm assuming you don't get to bring in Vinyasa Krama modifications to postures, not because your injured necessarily but just because you feel like it that morning or feel your body could do with it, or perhaps extensions that may or may not be 2nd or Advanced series postures you've not been given. My understanding is that you don't get to go straight into pranayama after finishing or meditation, chanting. Any or all of which you'll be welcome to do on the final day mysore session on my Easter retreat.
Perhaps it's not possible to have a Mysore room practice like that, this is the reason I want to present the workshop, just to see, an experiment. Can you have a room full of people doing self -practice together, the practice they do at home in a shared room, whatever that may be.
Personally I find it an exciting idea.
I don't know if I'm at all qualified to present this. Not sure blogging about practice qualifies you for anything. While I was a teacher for many years, a TA at University, a School teacher, English teacher and teacher trainer in Japan it feels somewhat remote from sharing my yoga practice. I certainly don't like the idea of 'master classes' that's for sure, sounds pretentious in English and inappropriate, I don't know about in Spanish, 'mini workshops' are better, feels more like I'm exploring the subject matter just as much as anyone else in the room.
It's an exploration and development of home practice retreat. I've only been practicing for just coming up to seven years but that has been mostly twice a day, seven days a week ( was never really one for moon days). I taught myself the practice from books and DVDs, I worked out how to jump back and through (straight legged, crossed legged, full lotus...), drop back and come up again, get into Marichiyasana D, pasasana, grab my heels from the air in kapotasana and later my ankles, tic tack, (just), one then two legs behind my head, go down and come up in karandavasana... I taught myself Primary series, intermediate, Advanced A and Advanced B all at home all by myself and without any adjustments or assisting.... and without any injuries other than a bruised toe.
But it's still only seven years, that's not long and I certainly can't say my own practice is perfect or even that refined, I just get on the mat every day.
And of course there's this
AsanaJournal: Do you believe that an Ashtanga Vinyasa teacher has to be either certified or authorised? Is the qualification an assurance of “good and proper teaching”?
Manju: Yoga is a lifelong practice; it is never ending. You don’t need a certificate; you need experience and confidence. That’s all you need, not a piece of paper.
To be honest, although it's great fun, rewarding and quite fascinating, I'm not sure about all this 'teaching', these workshops, I'm not even comfortable calling it teaching but the deal I made to myself was that if somebody asked I'd say yes and somehow that made me feel less guilty about not going out of my way to teach after taking Ramaswami's TT course. Originally the Easter Retreat was going to be all of Ramaswami's vinyasa Krama routines but I was asked to do Ashtanga instead and got quite excited about the idea of presenting these 'options' available for practice. Plus I believe Vinyasa Krama can be helpful for an Ashtanga practice. I find the distinctions between Ashtanga and Vinyasa Krama drop away somewhat when you slow your ashtanga down and take a slightly more flexible approach to it.
And it's only for a short while, after moving to Japan in May I can go back to my own self practice with a feeling of giri (obligation) paid... somewhat..... it's not is it, it never is.
It just struck me that if anyone comes to this retreat in Spain they will probably be Spanish.
En realidad no tengo la más remota idea de cómo funciona una clase Sharath Mysore, realmente no lo sé.
That's from google translate, hope it's not too awful.
![]()
She has a point...
I've never been to Mysore, India.
I've very rarely been to a Mysore room in fact. Let me see, I've been to two Sunday Mysore sessions at Ashtanga Yoga London five or six years ago and then there was a 'teacher training' week with Manju in Crete which was a mix of led and Mysore sessions as well as adjustment clinics. I did attend an extra Mysore class with Kristina before leaving Crete plus I went to another led with Manju at Stillpoint Yoga. Oh and I had a week, or was it half a week, of led classes with Richard Freeman a couple of years back. I think that's the sum total of my Ashtanga Mysore and Led class experience.
As far as Vinyasa Krama goes, I had four days with Steve of Harmony Yoga before attending Ramaswami's five week Vinyasa Krama teacher training course at LMU in California.
Oh and there was the other weekend with Norman Sjoman.
Have I missed anything?
Nope, I think that's it, that's all.
To be fair I haven't actually said I'm running a Sharath style Mysore session, quite the opposite actually. The five day retreat in question, that I'm presenting in Spain this Easter, is basically concerned with exploring and developing a home Ashtanga practice.
There are four Led classes, one on Krishnamacharya's 'original' approach, as suggested in his 1934 book Yoga Makaranda. The next is on the Ashtanga presented in Pattabhi Jois' Yoga Mala of the 1950's. The third is probably the 1974 original syllabus given to Nancy Gilgoff and David Williams and/or Manju Jois' approach to teaching Ashtanga. The fourth was originally intended to be a led class in the style of the Led classes Sharath presents on his World tours. There is ONE Mysore self practice session on the final day.
The idea for this Mysore session is that attendees can do their own practice and take whatever approach they wish. It might be how they currently practice, or perhaps some influence from one or more of the led classes that I'll be presenting might creep in along with the 'problem' asana workshops and Vinyasa krama classes. They might slow their breathing and take appropriate, short kumbhaka's (breath retention) in certain asana in line with Krishnamacharya's original Yoga Makaranda approach or perhaps stay in postures "doing puraka and rechecka (inhalation and exhalation) as much as possible" in keeping with Pattabhi Jois' Yoga Mala. Or they might like to practice full vinyasa in line with the earlier practice including the 1974 syllabus or take fewer, shorter breaths as on Sharath's tour dates, DVD and CD. They might like to go straight into pranayama and chanting or meditation or even pull out a copy of the yoga Sutras and study it at the end of their practice.
The idea is to present options for practice rather than to say this is how Ashtanga is practiced here, this is in keeping with my view of developing and exploring one's own home practice.
I'm actually still deciding on the order of led classes. I'm tempted to put the 'Sharath's Led' third and have Manju's approach fourth. I see Manju as slowing the practice back down somewhat, a going back to the earlier presentation of his father, taking a more flexible approach ( in certain ways) to practice perhaps, as well as reintegrating Pranayama and chanting. I actually like this idea better.
Perhaps it's not appropriate to have a 'Sharath led class' at all. I thought if I didn't include him it would seem dismissive and besides I practiced with Sharath's DVD every day for months. It was what allowed me make the move from David Swenson's short form to the full Ashtanga Primary series. Sharath takes the practice so fast on his DVD (although it doesn't seem it) that I could do the full practice in 60 minutes before work. At the time 60 minutes was all the commitment to the practice I was prepared to make. Later I went back to Sharath's presentation of the practice and practiced for a month or so with a recording of his led Primary from Jois Yoga a few years back. Although I've practiced with most of the other major DVD's out there I probably practiced with Sharath's the longest. besides it's a very attractive and popular presentation of the practice, it would be amiss of me not to include it.
but again...
I actually haven't the foggiest idea how Sharath runs a Mysore class, I really don't.
I suspect however that you don't get to explore kumbhaka if you so wish, or take long slow inhalations and exhalations of eight to ten seconds each in some or all asana and vinyasas. I'm guessing that you don't get to take longer stays or add in maha mudra say before Janu Sirsasana for five minutes a side or take a twenty even forty minute headstand in his room. I'm assuming you don't get to bring in Vinyasa Krama modifications to postures, not because your injured necessarily but just because you feel like it that morning or feel your body could do with it, or perhaps extensions that may or may not be 2nd or Advanced series postures you've not been given. My understanding is that you don't get to go straight into pranayama after finishing or meditation, chanting. Any or all of which you'll be welcome to do on the final day mysore session on my Easter retreat.
Perhaps it's not possible to have a Mysore room practice like that, this is the reason I want to present the workshop, just to see, an experiment. Can you have a room full of people doing self -practice together, the practice they do at home in a shared room, whatever that may be.
Personally I find it an exciting idea.
I don't know if I'm at all qualified to present this. Not sure blogging about practice qualifies you for anything. While I was a teacher for many years, a TA at University, a School teacher, English teacher and teacher trainer in Japan it feels somewhat remote from sharing my yoga practice. I certainly don't like the idea of 'master classes' that's for sure, sounds pretentious in English and inappropriate, I don't know about in Spanish, 'mini workshops' are better, feels more like I'm exploring the subject matter just as much as anyone else in the room.
It's an exploration and development of home practice retreat. I've only been practicing for just coming up to seven years but that has been mostly twice a day, seven days a week ( was never really one for moon days). I taught myself the practice from books and DVDs, I worked out how to jump back and through (straight legged, crossed legged, full lotus...), drop back and come up again, get into Marichiyasana D, pasasana, grab my heels from the air in kapotasana and later my ankles, tic tack, (just), one then two legs behind my head, go down and come up in karandavasana... I taught myself Primary series, intermediate, Advanced A and Advanced B all at home all by myself and without any adjustments or assisting.... and without any injuries other than a bruised toe.
But it's still only seven years, that's not long and I certainly can't say my own practice is perfect or even that refined, I just get on the mat every day.
And of course there's this
AsanaJournal: Do you believe that an Ashtanga Vinyasa teacher has to be either certified or authorised? Is the qualification an assurance of “good and proper teaching”?
Manju: Yoga is a lifelong practice; it is never ending. You don’t need a certificate; you need experience and confidence. That’s all you need, not a piece of paper.
To be honest, although it's great fun, rewarding and quite fascinating, I'm not sure about all this 'teaching', these workshops, I'm not even comfortable calling it teaching but the deal I made to myself was that if somebody asked I'd say yes and somehow that made me feel less guilty about not going out of my way to teach after taking Ramaswami's TT course. Originally the Easter Retreat was going to be all of Ramaswami's vinyasa Krama routines but I was asked to do Ashtanga instead and got quite excited about the idea of presenting these 'options' available for practice. Plus I believe Vinyasa Krama can be helpful for an Ashtanga practice. I find the distinctions between Ashtanga and Vinyasa Krama drop away somewhat when you slow your ashtanga down and take a slightly more flexible approach to it.
And it's only for a short while, after moving to Japan in May I can go back to my own self practice with a feeling of giri (obligation) paid... somewhat..... it's not is it, it never is.
It just struck me that if anyone comes to this retreat in Spain they will probably be Spanish.
En realidad no tengo la más remota idea de cómo funciona una clase Sharath Mysore, realmente no lo sé.
That's from google translate, hope it's not too awful.
A note on the change of blog title.
A reminder to myself
Overcoming asana, individual asana and the challenges they present but also our ....obsession/fixation with asana and with asana centred systems of yoga practice. Overcoming the attention on distinctions, imagined or not, between this method, lineage, approach to asana practice or that. Overcoming the over identification with one style of practice or personage. Overcoming discrimination in favour of discernment. Overcoming asana and rather... exploring, investigating, practising our yoga in what ever form it manifests itself in us....at home.
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Ashtanga practice as a vehicle for Krishnamachaya's ten yama and 10 niyama from Yoga Makaranda
One of the benefits I find of having a relatively fixed sequence practice like Ashtanga is how it can works as a carrier, a vehicle, in this case for the yama niyama, which then seem to reverberate through our day once we step off the mat.
UPDATE: I was just sent this which relates perhaps to this post somewhat.
"I remember meeting Krishnamacharya (Guruji’s guru) when I was 12. I was a bit too young to form an impression. I remember having to wait out side to see him – like going to the Vatican to meet the Pope! Well it wasn’t fancy like that. It was a very old house. He was a very simple man. They had a very different lifestyle to now. Always doing japa and chanting mantras. Guruji was the same – he was always chanting mantras or the Upanishads, even when teaching, even when helping me in back bending"! Sharath. Mysore Conference report 16.2.14 from New memories blog
And come to think of it I remember Manju working the room on the TT at Kristina Karitinou's shala in Rethymno Crete, working the room adjusting here assisting there, chanting softly to himself all the while.
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Krishnamacharya lists the yama niyama ( guidelines rather than commandments) in his book
Yoga Makaranda (1934)
"Yoga consists of eight angas which are yama, niyama, asana, pranayama, pratyahara, dharana, dhyana and samadhi.
2.1 Yama and Niyama
Ahimsa, satya, asteya, brahmacharya, kshama, dhrthi, daya, arjavam, mitahara and sauca— these ten are called yama.
1. To never harm anybody through mind, speech or action is ahimsa.
2. To always speak the truth with good intentions and through that be of use
to all living beings is satya.
3. To not usurp other people’s wealth through mind, speech or action is called
asteya.
4. To not waste your viryam (potency ) by any means is called brahmacharyam.
5. To not change the state of your mind irrespective of whether you get the expected benefits of your actions or not is kshama (equanimity).
6. Whatever hurdles arise to your happiness or welfare, to continue to under- take with mental steadfastness and courage whatever work that has to be done is dhrthi.
7. Be it enemy, friend, stranger (an alien or somebody you are unconnected to or indifferent to) or relative, to behave towards all with the same good intentions without differentiation is daya.
8. To keep the state of mind honest (on the straight path) is arjavam.
9. To use half the stomach for food and to keep the other half in equal parts
for water and for air flow (vayu sancharam) is mitahara.
10. To maintain cleanliness internally and externally is sauca.
To not hoard money is called asanchayam and this is also a yama. To perform good deeds without fear is a yama.
from Krishnamacharya Yoga Makaranda
NIYAMA
Tapas, santosha, asthikya, daana, isvara puja, siddhanta vakya sravana, hri, mathi, japa, homam— these ten are called niyama.
1. Cold and hot, joy and sorrow, adoration and aversion — to maintain a steady state of mind when encountering these and to follow the dharma of your caste is tapas.
2. The sorrows and pleasure that result from any occurrences due to variations of time and place — to accept these with a peaceful, contented mind is santosha.
3. To have definite belief that for all the fourteen worlds, there is one para- matma who protects these worlds and to be sure that without him, this diverse universe could not have come into existence, and to make up your mind to find and know (realize) this paramatma is asthikya.
4. To give away your earnings (earned honestly) to good causes without any reason and without expecting any returns is daana.
5. To worship one’s chosen deity in the proper manner according to the vedas is isvara puja.
6. For the purpose of establishing sanatana dharma, to study the vedas, the vedanta, smrti, the puranas and ithihasas, to do vedic study and recitation of these, to understand the functioning of various dharmas, and to listen to the discourses of great sages is siddhanta vakya sravana.
7. If you have strayed with one of the three — your body, possessions or spirit — out of ignorance, to inform the elders about this without hiding it, to feel remorse and promise never to repeat it, and to be humble in one’s mind is hri (modesty).
8. Following one’s path as specified by the sastras and while doing this to visualize with one-pointed mind the divine auspicious form of one’s chosen deity and to perform dhyana on this deity is mathi.
9. To properly chant the great mantras learned under the guidance of one’s guru with correct intonation, metre and rhythm and with understanding of their meaning is japa.
10. Nitya naimitika kaamya are the three types of srouta smarta karmas (pre- scribed or recorded vedic rites and rituals). Leaving aside the kaamya karma (action or rite performed with a self-interested motive or with a view towards desired results), to perform the nitya naimitika karmas (nitya karma is a constant or continuous rite or action, naimitika is a regularly recurring or periodic rite or action) at the proper time in order to please the devatas, and after reciting all the mantras to put the havis (rice) in the fire as described in the sastras is homam.
from Krishnamacharya Yoga Makaranda
In an earlier post I described how I occasionally like to bring Japa (repeating mantra(s) meditation) into my asana practice, using the practice as a vehical.
It might be a regular mantra, EG. OM HREEM NAMAH SHIVAYA, repeated on every inhalation and every exhalation or perhaps, and my favourite, loving kindness mantras, May I/he/she/they/all be happy, May I/he/she/they/all be well, May I/he/she/they/all be safe, may I/he/she/they/all be peaceful.
We can repeat one of the loving kindness mantras on each inhalation and exhalation in an asana and it's vinyasa.
Another option I like is the Tibetan Lamrim, it's possible to turn the stages of lamrim meditation into mantras. We repeat one mantra on each breath of an asana and allow the the reflections to seep through the practice.
Yama Nyama can be approached in a similar way, repeating them mentally on each inhalation and exhalation of an asana and it's vinyasa.
Some options...
Stick with one of the yamas or niyamas for the whole practice ( a good way to learn them all first time around).
Mentally chant all the yamas for one practice, the niyama the following days practice, alternate them.
Mentally chant the Loving Kindness mantras through the Sury's and standing sequence, then the yamas through whichever series or sequence you're practicing that day then the niyamas through finishing.
We just need to chant the name of the particular yama or niyama through the practice, there's no need to repeat the 'meaning' although I like to take a few minutes before practice reflecting on the on it, kind of setting it up if you like. Krishnamacharya's presentation can act as a starting point as you allow them to find their own relevance to you personally. You're not trying to memorise the meaning here and then recall that meaning through the practice, it's more like a koan perhaps, allow it to... percolate.
In our practice we just repeat the mantra, we can reflect on them in our practice if we wish of course or we can just let such reflection pass across our minds and choose to sit with them in our meditation practice.
I turned them all into a little pdf booklet and have uploaded it to googledocs, they look like this..
![]()
https://drive.google.com/file/d/0B7JXC_g3qGlWSWl1YXhaZ0UySTg/edit?usp=sharing
You could of course make up your own using your own preferred presentation, Aranya is worth a look and is my favourite presentation of the yoga Sutras
Yoga Philosophy of Patanjali: Containing His Yoga Aphorisms with Vyasa's Commentary in Sanskrit and a Translation with Annotations Including Many Suggestions for the Practice of Yoga Paperback
by Swami Hariharananda Aranya
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UPDATE: I was just sent this which relates perhaps to this post somewhat.
"I remember meeting Krishnamacharya (Guruji’s guru) when I was 12. I was a bit too young to form an impression. I remember having to wait out side to see him – like going to the Vatican to meet the Pope! Well it wasn’t fancy like that. It was a very old house. He was a very simple man. They had a very different lifestyle to now. Always doing japa and chanting mantras. Guruji was the same – he was always chanting mantras or the Upanishads, even when teaching, even when helping me in back bending"! Sharath. Mysore Conference report 16.2.14 from New memories blog
And come to think of it I remember Manju working the room on the TT at Kristina Karitinou's shala in Rethymno Crete, working the room adjusting here assisting there, chanting softly to himself all the while.
Below is Krishnamacharya's presentation of Yama Niyama but first here's wikipedia, presenting the traditional ten yama and ten niyama as well as the five of each found in Patanjali's yoga sutras.
Krishnamacharya lists the yama niyama ( guidelines rather than commandments) in his book
Yoga Makaranda (1934)
"Yoga consists of eight angas which are yama, niyama, asana, pranayama, pratyahara, dharana, dhyana and samadhi.
2.1 Yama and Niyama
YAMA
1. To never harm anybody through mind, speech or action is ahimsa.
2. To always speak the truth with good intentions and through that be of use
to all living beings is satya.
3. To not usurp other people’s wealth through mind, speech or action is called
asteya.
4. To not waste your viryam (potency ) by any means is called brahmacharyam.
5. To not change the state of your mind irrespective of whether you get the expected benefits of your actions or not is kshama (equanimity).
6. Whatever hurdles arise to your happiness or welfare, to continue to under- take with mental steadfastness and courage whatever work that has to be done is dhrthi.
7. Be it enemy, friend, stranger (an alien or somebody you are unconnected to or indifferent to) or relative, to behave towards all with the same good intentions without differentiation is daya.
8. To keep the state of mind honest (on the straight path) is arjavam.
9. To use half the stomach for food and to keep the other half in equal parts
for water and for air flow (vayu sancharam) is mitahara.
10. To maintain cleanliness internally and externally is sauca.
To not hoard money is called asanchayam and this is also a yama. To perform good deeds without fear is a yama.
from Krishnamacharya Yoga Makaranda
****
NIYAMA
1. Cold and hot, joy and sorrow, adoration and aversion — to maintain a steady state of mind when encountering these and to follow the dharma of your caste is tapas.
2. The sorrows and pleasure that result from any occurrences due to variations of time and place — to accept these with a peaceful, contented mind is santosha.
3. To have definite belief that for all the fourteen worlds, there is one para- matma who protects these worlds and to be sure that without him, this diverse universe could not have come into existence, and to make up your mind to find and know (realize) this paramatma is asthikya.
4. To give away your earnings (earned honestly) to good causes without any reason and without expecting any returns is daana.
5. To worship one’s chosen deity in the proper manner according to the vedas is isvara puja.
6. For the purpose of establishing sanatana dharma, to study the vedas, the vedanta, smrti, the puranas and ithihasas, to do vedic study and recitation of these, to understand the functioning of various dharmas, and to listen to the discourses of great sages is siddhanta vakya sravana.
7. If you have strayed with one of the three — your body, possessions or spirit — out of ignorance, to inform the elders about this without hiding it, to feel remorse and promise never to repeat it, and to be humble in one’s mind is hri (modesty).
8. Following one’s path as specified by the sastras and while doing this to visualize with one-pointed mind the divine auspicious form of one’s chosen deity and to perform dhyana on this deity is mathi.
9. To properly chant the great mantras learned under the guidance of one’s guru with correct intonation, metre and rhythm and with understanding of their meaning is japa.
10. Nitya naimitika kaamya are the three types of srouta smarta karmas (pre- scribed or recorded vedic rites and rituals). Leaving aside the kaamya karma (action or rite performed with a self-interested motive or with a view towards desired results), to perform the nitya naimitika karmas (nitya karma is a constant or continuous rite or action, naimitika is a regularly recurring or periodic rite or action) at the proper time in order to please the devatas, and after reciting all the mantras to put the havis (rice) in the fire as described in the sastras is homam.
from Krishnamacharya Yoga Makaranda
*********
It might be a regular mantra, EG. OM HREEM NAMAH SHIVAYA, repeated on every inhalation and every exhalation or perhaps, and my favourite, loving kindness mantras, May I/he/she/they/all be happy, May I/he/she/they/all be well, May I/he/she/they/all be safe, may I/he/she/they/all be peaceful.
We can repeat one of the loving kindness mantras on each inhalation and exhalation in an asana and it's vinyasa.
Another option I like is the Tibetan Lamrim, it's possible to turn the stages of lamrim meditation into mantras. We repeat one mantra on each breath of an asana and allow the the reflections to seep through the practice.
Yama Nyama can be approached in a similar way, repeating them mentally on each inhalation and exhalation of an asana and it's vinyasa.
Some options...
Stick with one of the yamas or niyamas for the whole practice ( a good way to learn them all first time around).
Mentally chant all the yamas for one practice, the niyama the following days practice, alternate them.
Mentally chant the Loving Kindness mantras through the Sury's and standing sequence, then the yamas through whichever series or sequence you're practicing that day then the niyamas through finishing.
We just need to chant the name of the particular yama or niyama through the practice, there's no need to repeat the 'meaning' although I like to take a few minutes before practice reflecting on the on it, kind of setting it up if you like. Krishnamacharya's presentation can act as a starting point as you allow them to find their own relevance to you personally. You're not trying to memorise the meaning here and then recall that meaning through the practice, it's more like a koan perhaps, allow it to... percolate.
In our practice we just repeat the mantra, we can reflect on them in our practice if we wish of course or we can just let such reflection pass across our minds and choose to sit with them in our meditation practice.
I turned them all into a little pdf booklet and have uploaded it to googledocs, they look like this..
https://drive.google.com/file/d/0B7JXC_g3qGlWSWl1YXhaZ0UySTg/edit?usp=sharing
You could of course make up your own using your own preferred presentation, Aranya is worth a look and is my favourite presentation of the yoga Sutras
Yoga Philosophy of Patanjali: Containing His Yoga Aphorisms with Vyasa's Commentary in Sanskrit and a Translation with Annotations Including Many Suggestions for the Practice of Yoga Paperback
by Swami Hariharananda Aranya
Or perhaps you might prefer something along the lines of this treatment by Donna Farhi
(Excerpted from Yoga Mind, Body & Spirit: A Return to Wholeness)
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Clifford Sweatte VIDEO: Pattabhi Jois' led Intermediate series Ashtanga 1989 Larger class, Mixed ages and abilities from Clifford Sweatte
UPDATE: This is priceless, just practiced along to it and there's more... intimacy here than in any of the other Pattabhi Jois Led video's I can think of. This must be what it was like to be in a Led with him.... minus the terror that he's coming to you next to adjust you. Perhaps because most of the other videos we have are of either demonstrations or large class, big halls full of Ashtangi's. Here we have a nice size class of mixed ages and abilities and Pattabhi Jois is working the room. He had me in Kapo for what felt like ten minutes as he seemed to adjust everyone in the room....twice ( OK it just felt like twice). He seems to be well miked up and you can hear him give gentle words of encouragement and/or share a joke, I think he told Tim Miller to smile at one point in Yoga Nidrasana. He'll also barks across the room if you have your legs the wrong way round. Every now and again the heating seems to cut in and that affects the sound but it's only for a couple of minutes.
Couple of things I noticed during practice, I think we did three A's five B's, he cuts to the series after Parsvottanasana. There was an eight count in Krounchasana and again in Ustrasana.... after that I was on survival mode and barely remember a thing, probably due to that 'ten' minute kapo.
Thank you Clifford Sweatte for sharing this with us.
Can anyone identify anyone else in the videos?
About Clifford Sweatte from his website http://www.pranaairways.com
Check out Clifford's gallery, some great pictures of a very young Manju Jois adjusting
Intermediate Ashtanga Yoga Practice taught by Sri K. Pattabhi Jois with practitioners Clifford Sweatte, Chuck Miller, Richard Freeman and Tim Miller in Solana Beach, CA November, 1989
Can anyone identify anyone else?
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John Scott workshop videos ( Tel Aviv 2012) plus "The Vinyasa Count, how did the Vinyasa Count come to mainstream Ashtanga?"
This is looking like being John Scott week.
A friend just sent me her Guest post review of a workshop John Scott conducted/presented in Oxford a few months ago. I remember my friend being very undecided as to whether to go or not as at the time as she hadn't been given the full Primary series, check back tomorrow to see how she found it in her review.
Until then here are some workshop video's from Tel Aviv 2012 that should give you a taste of John's workshops, I think he starts one in Hong Kong tomorrow ( Monday).
I'm trying to decide if I can squeeze one in before I move back to Japan in May, there's one in Brighton in March and another in Oxford in April. Perhaps if my Sax sells and depending whether I decide to ship stuff back to Japan or just turn up with my copy of Aranya's Patanjali, a manduka and change of shorts, "Hi honey I'm home".
John Scott is also going to be at Stillpointyoga in London as part of their 'Spring gathering event
http://www.stillpointyogalondon.com/spring-gathering/
I'm a big fan of Scott Johnson and Stillpointyoga by the way, you might remember I caught a Manju Jois led there last year. See this post.
Manju's Led Primary at Stillpoint Yoga Yesterday
So I posted on John's new ashtanga App last week and I've just unlocked a couple of extras IE. In App purchases ( as if there isn't enough in the App already) and come across a fifteen page article, a transcript actually, of one of his classes at Stillpointyoga, London called 'Windows on a practice' . It's fascinating stuff, had to check that this was all one class. More on that latter in the week as I need to type out some quotes, said it was going to be John Scott week.
here's the link to info on John's Ashtanga App
http://johnscottyogaapps.com/home/
It has this great quote on the vinyasa method ( more on this later in the week).
"The Vinyasa Count, how did the Vinyasa Count come to mainstream Ashtanga?"
"So what happened... In the early days of practice at the Lakshmipuram Shala (the original Mysore Self-Practice), we didn't know what Guruji was saying or meaning when he directed to us "Catvari!". We thought "Catvari" meant 'jump back', because Guruji would say "catvari - jump back". So we took that translation as 'jump back'. We took 'Panca' as upward facing dog. We took 'Sat' as downward facing dog, 'sapta' as jump through - We thought 'Sapta' meant jump through!
It took us to Wake UP! To begin listening! To realise Guruji was actually counting in Sanskrit -4,5,6,7.
So it took a little student research to start the enquiry into Vinyasa. What did vinyasa actually mean.
Guruji called vinyasa "Counted Method" .
When my good friend Lino Miele was in France and witnessed Guruji counting the whole class through as One, he saw it all come together, and he took this counting on as a research project to document the Vinyasa. Lucy and I became involved with Lino's project and became very much part of Lino's book. From that point onwards I made it my focus to learn Guruji's Vinyasa Count.
In Guruji's own book 'Yoga Mala' referring to the practice as a mala, a garland of postures, he refers to every posture having a 'State' and every state or 'Asana' has a specific number of counted vinyasa to enter and exit all choreographed to the Breath.
"The Vinyasa are all like beads, Choreographed breath/body movements, all to be counted and meditated on and it is the students requirement to learn this Counted method as a mantra for their own personal practice"
John Scott, Winter, 2013 Stillpointyoga London
Oh and while your clicking around, visit John's Facebook page ( think this is new too) there's a video posted that goes well with the quote above on vinyasa. It's of a previous Hong Kong workshop a mysore class where John is assisting some 2nd and 3rd series postures but also counting (this is Mysore not led), so not just assisting in the state of the asana but counting the vinyasa in and out of the asana, Interesting stuff. this link might take you straight to the video
https://www.facebook.com/photo.php?v=4548193716070&set=vb.1628134792&type=2&theater
 |
| Assisting nakrasana in Hong Kong, counting the vinyasa in and out of the state of the Asana. |
A friend just sent me her Guest post review of a workshop John Scott conducted/presented in Oxford a few months ago. I remember my friend being very undecided as to whether to go or not as at the time as she hadn't been given the full Primary series, check back tomorrow to see how she found it in her review.
Until then here are some workshop video's from Tel Aviv 2012 that should give you a taste of John's workshops, I think he starts one in Hong Kong tomorrow ( Monday).
I'm trying to decide if I can squeeze one in before I move back to Japan in May, there's one in Brighton in March and another in Oxford in April. Perhaps if my Sax sells and depending whether I decide to ship stuff back to Japan or just turn up with my copy of Aranya's Patanjali, a manduka and change of shorts, "Hi honey I'm home".
 |
| New house in Osaka, Japan, thank you to Satori and her Mum |
 |
| M. was there with Okasan yesterday dusting and cleaning and getting it ready to move in, thank you to them too |
 |
| Hmmmm, what to do with the big space downstair...... |
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| My job for the next three months. |
John Scott is also going to be at Stillpointyoga in London as part of their 'Spring gathering event
http://www.stillpointyogalondon.com/spring-gathering/
I'm a big fan of Scott Johnson and Stillpointyoga by the way, you might remember I caught a Manju Jois led there last year. See this post.
Manju's Led Primary at Stillpoint Yoga Yesterday
So I posted on John's new ashtanga App last week and I've just unlocked a couple of extras IE. In App purchases ( as if there isn't enough in the App already) and come across a fifteen page article, a transcript actually, of one of his classes at Stillpointyoga, London called 'Windows on a practice' . It's fascinating stuff, had to check that this was all one class. More on that latter in the week as I need to type out some quotes, said it was going to be John Scott week.
here's the link to info on John's Ashtanga App
http://johnscottyogaapps.com/home/
It has this great quote on the vinyasa method ( more on this later in the week).
"The Vinyasa Count, how did the Vinyasa Count come to mainstream Ashtanga?"
"So what happened... In the early days of practice at the Lakshmipuram Shala (the original Mysore Self-Practice), we didn't know what Guruji was saying or meaning when he directed to us "Catvari!". We thought "Catvari" meant 'jump back', because Guruji would say "catvari - jump back". So we took that translation as 'jump back'. We took 'Panca' as upward facing dog. We took 'Sat' as downward facing dog, 'sapta' as jump through - We thought 'Sapta' meant jump through!
It took us to Wake UP! To begin listening! To realise Guruji was actually counting in Sanskrit -4,5,6,7.
So it took a little student research to start the enquiry into Vinyasa. What did vinyasa actually mean.
Guruji called vinyasa "Counted Method" .
When my good friend Lino Miele was in France and witnessed Guruji counting the whole class through as One, he saw it all come together, and he took this counting on as a research project to document the Vinyasa. Lucy and I became involved with Lino's project and became very much part of Lino's book. From that point onwards I made it my focus to learn Guruji's Vinyasa Count.
In Guruji's own book 'Yoga Mala' referring to the practice as a mala, a garland of postures, he refers to every posture having a 'State' and every state or 'Asana' has a specific number of counted vinyasa to enter and exit all choreographed to the Breath.
"The Vinyasa are all like beads, Choreographed breath/body movements, all to be counted and meditated on and it is the students requirement to learn this Counted method as a mantra for their own personal practice"
John Scott, Winter, 2013 Stillpointyoga London
Oh and while your clicking around, visit John's Facebook page ( think this is new too) there's a video posted that goes well with the quote above on vinyasa. It's of a previous Hong Kong workshop a mysore class where John is assisting some 2nd and 3rd series postures but also counting (this is Mysore not led), so not just assisting in the state of the asana but counting the vinyasa in and out of the asana, Interesting stuff. this link might take you straight to the video
https://www.facebook.com/photo.php?v=4548193716070&set=vb.1628134792&type=2&theater
Here's the info of the Brighton workshop, to give an idea of the kind of ground he covers.
WORKSHOP 1: STRUCTURE/CHIKITSA/THE GROUNDING SERIES (theory and technique practice class)
Chikitsa, or the Primary Series as it is commonly known, is the beginning series of yoga asana. The intention of this series is to restore health to the 'BodyMind' and it is therefore the 'Grounding Series Introducing Tristana' (the three stabilising techniques/focuses of Astanga Vinyasa Yoga). In this introductory workshop John will present an 'overview' of Astanga Vinyasa Yoga, a 'specific view' of Tristana, and maybe in the process the group will be able to adjust their own 'points of view' or 'view points' and thus arrive in 'Embodied Mindfulness'.
Date: Saturday 29 March
Time: 10-12pm
Venue: Knoyle Hall
WORKSHOP 2: 2:46 sthira-sukham-asanam INCREASING STAVA/BRINGING CLARITY AND LIGHT (practice class)
Through the practice of Vinyasa and Asana, Tamas (darkness, indifference) and Rajas (passion, activity) are balanced and reduced bringing about the conditions for Satva (purity, goodness) to increase. In this class John will present a Counted Primary Series, bringing together the whole group as One Breath Body Mind, synchronously flowing as One Consciousness...A Movement Meditation.
Date: Saturday 29 March
Time: 1-3pm
Venue: Knoyle Hall
WORKSHOP 3: 1:12 abhyasa vairagyabhyam tannirodhah LETTING GO/HAVING NO ATTACHMENT TO THE OUTCOME (practice class)
Through the vinyasa series one learns that no one asana or sequence is better or worse, easy or difficult. Once again, John will present a counted class - at the point of practice when the 'class mind' is clear (depending on the level of students) John will introduce elements of the Second Series.
Date: Sunday 30 March
Time: 10-12pm
Venue: Knoyle Hall
WORKSHOP 4: BANDHA/EMBODYING MINDFULNESS (theory and technique practice class)
As health and balance returns and the student of yoga progresses, the purpose of asana shifts to preparing 'BodyMind' for the practice of Pranayama and Meditation. In the final session of the weekend John will present the basics and initial steps to Pranaayama, Pratyahara, Dhrana and Dhyana.
Date: Sunday 30th March
Time: 1-3pm
Venue: Knoyle Hall
COST FOR FULL WEEKEND OF FOUR WORKSHOPS £150. Book here
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My five day Ashtanga and Vinyasa krama Retreat over Easter, pictures of the space and latest details, schedule etc.
Confirmed the space for the Five day Krishnamacharya, Ashtanga and Vinyasa Krama Retreat in Spain over Easter (17-21 April), some nice pictures below
See my earlier post for some details
as well as this one.
Latest details and schedule down below.
Hope you can make it.
Antes de partir hacia Japón, Anthony nos visitará de nuevo para que podamos disfrutar juntos de una Pascua verdaderamente yóguica.
Al ser consciente de todas las dificultades con las cuales nos podríamos encontrar al practicar en casa, el propósito de Anthony será el de ayudarnos a ser autosuficientes dentro de la práctica personal o, en sus propias palabras Overcoming Asana at home (Superando la Asana en casa) que, en realidad, es el nuevo título de su ya famoso blog.
El taller está creado para todos los niveles. Si eres un profesional experimentado o un principiante, podrás descubrir nuevos enfoques en la creación de una práctica personalizada que se adapta perfectamente a nuestros vehículos ‘karmáticos’ (estructura mental/corporal).
Nuestro objetivo es crear un entorno libre de estrés y muy positivo donde, durante 5 días, podamos disfrutar todos de una práctica de yoga equilibrada e integrada, compartir experiencias, reír y estar presentes; en otras palabras, convertirnos en una pequeña comunidad de exploradores espirituales.
La idea original era la de mostrar el desarrollo de Ashtanga, partiendo desde Krishnamacharya a través de Pattabhi Jois para presentar la práctica; una exploración de la tradición Krishnamacharya - los orígenes de Ashtanga; el Ashtanga actual; la Vinyasa Krama más tardía de Krishnamacharya y cómo ésta apoya Ashtanga y también los estilos emparentados de Vinyasa Yoga.
El taller de Ashtanga se divide en cinco ‘mini talleres' (mañanas) formado por unas clases dirigidas que representan las diferentes aproximaciones a la práctica de Ashtanga desde la perspectiva histórica, seguidas por las ‘clínicas de técnica’.
Por las tardes trataremos de desarrollar una caja de herramientas de opciones para adaptar y modificar nuestra práctica por si surgiese la necesidad o el deseo, dedicándonos a la práctica de Vinyasa Krama y/o Vinyasa Yoga, Pranayama y meditación.
Programacion:
1dia. 18.00 - 20.30 - La Primera Serie de Krishnamacharya.
Taller vinyasas en Ashtanga.
21.00 - cena
2dia. 9.00 - 12.00 - El Yoga Mala de Pattabhi Jois.
Taller torsiones en Ashtanga.
12.30 - comida
14.00 - 17.00 - siesta/paseo en la naturaleza/
preguntas & respuestas sobre la practica
17.30 - 20.30 - Vinyasa Yoga, Pranayama, Meditacion.
21.00 - cena
3dia. 9.00 - 12.00 - La Primera Serie - programa original de 1974.
Taller flexiones hacia atras en Ashtanga.
12.30 - comida
14.00 - 17.00 - siesta/paseo en la naturaleza/
preguntas & respuestas sobre la practica
17.30 - 20.30 - Vinyasa Krama, Pranayama, Meditacion.
21.00 - cena
4dia. 9.00 - 12.00 - El Ashtanga de Manju Jois.
Taller Modificaciones en Ashtanga.
12.30 - comida
14.00 - 17.00 - siesta/paseo en la naturaleza/
preguntas & respuestas sobre la practica
17.30 - 20.30 - Vinyasa Yoga, Pranayama, Meditacion.
21.00 - cena
5dia. 9.00 - 12.00 - El Ashtanga Contemporanea de Sharath Jois.
Practica libre estilo Mysore.
12.30 - comida
14.00 - 17.00 - siesta/paseo en la naturaleza/
preguntas & respuestas sobre la practica.
Precio 290 € - Alojamiento, comidas y 8 masterclasses de lo mejor yoga que hay.
La programacion es subjecto de cambio.
Para reservar tu plaza es necesario pagar la mitad del importe total.
Mas informacion: 667 815 377.
https://www.facebook.com/living.yogavlc
Para cualquier pregunta no dudéis en poneros en contacto con nosotros, estaremos más que encantados de saber de vosotros.
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ENGLISH INFORMATION:
Before leaving for Japan, Anthony will pay us one more visit so we can enjoy together a truly yogic Easter.
Being aware of all the difficulties one might encounter when practicing at home, Anthony will aim to help you become self sufficient within your personal practice or, in his own words “overcoming asana at home” – this is actually the new title of his now famous blog.
The workshop is open to all levels. If you are either an experienced practitioner or a newbie you might discover fresh approaches in creating a personalized practice that can fit perfectly your karmatic vehicles (mental/body structure).
Our aim is to create a stress free and highly positive background where during 5 days we can all enjoy a balanced and integrated yoga practice, share experiences, laugh and be present, in other words to become a small community of spiritual explorers.
The original idea was to show the development of Ashtanga, coming out of Krishnamacharya through Pattabhi Jois to present practice; an exploration of the Krishnamacharya tradition - the origins of Ashtanga, current Ashtanga, Krishnamacharya's later Vinyasa krama and how it supports Ashtanga and also the sibling styles of Vinyasa Yoga.
The actual Ashtanga workshop is divided up into five 'mini workshops' (mornings) made up of led classes representing different historical approaches to Ashtanga practice followed by 'technique' clinics. The evenings we will seek to develop a tool chest of options for adapting and modifying our practice should the need or desire arise and will be dedicated to the practice of Vinyasa Krama and/or Vinyasa Yoga, Pranayama and meditation.
For any questions feel free to contact us, we will be more than happy to hear from you. Contact
The first practice will look to the origins of the Ashtanga vinyasa practice as we know it now, in Krishnamacharya's yoga Makaranda (1934). Krishnamacharya was Pattabhi Jois' teacher. We will explore some of the longer stays and interesting use of breath. We'll usekrishnamacharya's approach as a way of introducing aspects of the practice to those who are new to Ashtanga but in many ways this might be thought of as the most advanced version of the practice.
In the second morning practice we will move forward to the 1950's and look at Ashtanga Vinyasa as found in Pattabhi Jois' Yoga Mala focusing on the long, slow breathing in postures indicated by the text as well as a continuation of the full vinyasa found in Krishnamacharya.
The third mornings practice will introduce the 1974 syllabus and and look to later developments in Ashtanga, through the 80's up to present day. Full primary series Ashtanga in 90 minutes or less, there will be a focus on conserving energy and efficiency.
In the fourth day we'll look at Manju Jois's presentation of Ashtanga. For me Manju's presentation of the practice captures the best of all periods. The breath is long and full, we do our best at the postures we struggle with but then move forward. Manju's presentation is filled with options, we can breath more slowly, introduce full or half vinyasa, keep our eyes open with drishti or closed, also, modifications of postures if necessary. There is perhaps less of a separation between Primary and the first half at least of 2nd series ( me may explore some of the easier backbends of 2nd series). Manju's practice is an integrated practice, the asana followed by pranayama and meditation, possibly even a chanting option.
The final morning's practice will be a free mysore self-practice where there is the option to take your practice in whatever manner you wish, there could be twenty-two different versions of Ashtanga Vinyasa in the room, for me that's an exciting thought.
1day . 18.00 - 20.30 - The First Series of Krishnamacharya .
Workshop Ashtanga vinyasa .
21.00 - Dinner
2Day . 9.00 - 12.00 - The Mala Yoga Pattabhi Jois .
Twists in Ashtanga Workshop .
12.30 - food
14.00 - 17.00 - nap / walk outdoors /
Questions & Answers practice
17.30 - 20.30 - Vinyasa Yoga, Pranayama , Meditation .
21.00 - Dinner
3Day . 9.00 - 12.00 - The First Series - 1974 original program .
Workshop on Ashtanga backbends .
12.30 - food
14.00 - 17.00 - nap / walk outdoors /
Questions & Answers practice
17.30 - 20.30 - Vinyasa Krama , Pranayama , Meditation .
21.00 - Dinner
4Day . 9.00 - 12.00 - Manju Jois Ashtanga .
Changes in Ashtanga Workshop .
12.30 - food
14.00 - 17.00 - nap / walk outdoors /
Questions & Answers practice
17.30 - 20.30 - Vinyasa Yoga, Pranayama , Meditation .
21.00 - Dinner
5Day . 9.00 - 12.00 - The Sharath Jois Ashtanga Contemporanea .
Free practice Mysore style.
12.30 - food
14.00 - 17.00 - nap / walk outdoors /
Questions & Answers practice.
Price € 290 - Accommodation, meals and 8 masterclasses best yoga there .
I also have a workshop coming up in Ulm, Germany at the beginning of April as well as the yoga rainbow festival at the beginning of May, here are the links.
My next workshop is 'Exploring Krishnamacharya with Anthony 'Grimmly' Hall in Ulm 5th- 6th April 2014 (Ulm)
and then the Yoga Rainbow festival in Turkey 3-9 May, 2014
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Review/Workshop notes from John Scott's Oxford Workshop Dec 2013
As promised from yesterday's post
"A friend just sent me her Guest post review of a workshop John Scott conducted/presented in Oxford a few months ago. I remember my friend being very undecided as to whether to go or not as at the time as she hadn't been given the full Primary series, check back tomorrow to see how she found it in her review."
See her review/workshop notes below. Thank you for sharing your impressions.
I had the opportunity to attend John Scott’s workshops a few months ago. I was hesitant to sign up initially, as I have yet to learn the whole series. However, my teacher who always speaks very highly of John encouraged me to go. The weekend consisted of a led primary, 2 Mysore sessions and 2 technique classes.
Led Primary
I was most looking forward to the led primary, and it was really wonderful. John led us through a counted primary practice. He was humorous, light and encouraging, and really brought the whole group together as one. Unsurprisingly, there was much laughter during the session and he has quite a lovely manner in his teaching.
I can’t remember all that’s said (am still a fairly newbie). He encouraged us to bend the knees when entering some standing poses, such as Padangustasana, Padahastana and Prasarita Padottanasana. We were told to bend our knees to lower the sense of gravity, to find the foundation and then raise the centre of gravity by straightening the legs with the centre of gravity directly over the foundation.
We explored the action and reaction in the poses. For eg, in Parivrtta Trikonasana (the first side), press down into the left hand, and feel right shoulder open up, and extend back through the right hip and out through the crown of the head.
In upward dog, he commented people tend to lift the head by lifting from the neck muscles. He wanted us to work the ‘armpits bandha’. Hands glue to the floor, draw the armpits back towards the navel, feel the heart lifts, and the neck comes free, and head up. This way, we get into the heart chakra by working the armpits, and feeling the chest coming through the pose.
In the trini position of surya namaskar, hands glue to the floor (no spider hands!), press through the hands, lift the heart, draw the navel in, pull armpits back towards the navel. It’s the armpits projecting us forward, not lifting the spine. Knees slightly bend if needed.
Garbha pindasana – remember that primary curve, going back to the womb, stay round and keep the head in, look in and roll from the navel
Mysore sessions
I have only ever been to my regular teacher for Mysore class, so I found the thought of Mysore sessions with other teachers quite daunting. However I was soon put to ease. We were divided into smaller groups and were quite spoiled as John had 2 other teachers assisting, so there were lots of assistants/adjustments given.
He really wanted us to learn our count, so we were encouraged to count our Surya Namaskars in Sanskrit and was also put to test – we could be stopped during the practice and was asked the name of the poses which we were in, and also the ‘state of vinyasas’. Luckily, I know my Kukkutasana and Baddha Konasana, however, I'm very rusty with the count!
Technique classes
The technique classes weren’t what I expected. Before the workshops, I was thinking of asana related technique workshops, or ‘how to’ workshops – eg how to jump through, how to jump back, how to nail that titibhasana/bhujapidasana/headstand etc etc..
Instead, John talked us through ways of practice. He focused on the practice as a whole unit and not asana orientated. The practice is the unit, from Samasthiti to Savasana.
The practice, as the late Sri K. Pattabhi Jois called it, is a counted practice. The practice is a moving meditation, and the technique is the counted method, counted in Sanskrit, the language of yoga. He suggested to us to learn the counted method - to go through a journey from speaking them, to whispering them, to thinking them and eventually the method, the mantra becomes part of us. When it becomes part of us, we don’t even have to think it, we just ‘hear’ it and we hear the vinyasas. This helps us to focus and keep out the difficult thoughts.
He didn’t exactly say we have to practice full vinyasas, however, he mentioned every asana starts from zero and ends with zero. Each asana is a flower, and what links each asana is the number of breath movement. There are a number of transitions into the positions, and when we’re in the positions, we focus on the 5 breaths. That’s one full vinyasa, every asana has a full vinyasa.
When we do half vinyasa, we’re going from flower to flower and not focusing on the journey.
During one session, we as a group, progressed through Surya Namaskars, some standing poses, and then to some Second Series poses. We joined him in counting out loud in Sanskrit, and in full vinyasas. That was quite challenging - the co-ordination of count, breath and movement, but was fun to do as a group.
John also talked of yoga off the mat. Is the yoga working for us? Are we focusing too much on the body? Are we feeling the balance, are we feeling friendly, compassionate, centred, focused and able to negotiate through difficult time? Are we able to set an example to others, inspiring others to take up yoga?
Some food for thought there.
I came back from John’s workshops feeling really inspired and loving the practice more and more. Although I don’t know any of the practitioners before the workshops, I feel we were all connected together through the love for the practice, and that was something quite special. John has presented to us a very dedicated approach to practice, and we were encouraged to explore it ourselves. I found myself reading my Yoga Mala as soon as I get home, starting to learn the count and the name of the poses. I’m loving the journey.
 |
| Possibly the first Ashtanga book I bought and going back to it this week, still perhaps the best for outlining the vinyasa |
GUEST POST from a good friend
I had the opportunity to attend John Scott’s workshops a few months ago. I was hesitant to sign up initially, as I have yet to learn the whole series. However, my teacher who always speaks very highly of John encouraged me to go. The weekend consisted of a led primary, 2 Mysore sessions and 2 technique classes.
Led Primary
I was most looking forward to the led primary, and it was really wonderful. John led us through a counted primary practice. He was humorous, light and encouraging, and really brought the whole group together as one. Unsurprisingly, there was much laughter during the session and he has quite a lovely manner in his teaching.
I can’t remember all that’s said (am still a fairly newbie). He encouraged us to bend the knees when entering some standing poses, such as Padangustasana, Padahastana and Prasarita Padottanasana. We were told to bend our knees to lower the sense of gravity, to find the foundation and then raise the centre of gravity by straightening the legs with the centre of gravity directly over the foundation.
We explored the action and reaction in the poses. For eg, in Parivrtta Trikonasana (the first side), press down into the left hand, and feel right shoulder open up, and extend back through the right hip and out through the crown of the head.
In upward dog, he commented people tend to lift the head by lifting from the neck muscles. He wanted us to work the ‘armpits bandha’. Hands glue to the floor, draw the armpits back towards the navel, feel the heart lifts, and the neck comes free, and head up. This way, we get into the heart chakra by working the armpits, and feeling the chest coming through the pose.
In the trini position of surya namaskar, hands glue to the floor (no spider hands!), press through the hands, lift the heart, draw the navel in, pull armpits back towards the navel. It’s the armpits projecting us forward, not lifting the spine. Knees slightly bend if needed.
Garbha pindasana – remember that primary curve, going back to the womb, stay round and keep the head in, look in and roll from the navel
Mysore sessions
I have only ever been to my regular teacher for Mysore class, so I found the thought of Mysore sessions with other teachers quite daunting. However I was soon put to ease. We were divided into smaller groups and were quite spoiled as John had 2 other teachers assisting, so there were lots of assistants/adjustments given.
He really wanted us to learn our count, so we were encouraged to count our Surya Namaskars in Sanskrit and was also put to test – we could be stopped during the practice and was asked the name of the poses which we were in, and also the ‘state of vinyasas’. Luckily, I know my Kukkutasana and Baddha Konasana, however, I'm very rusty with the count!
Technique classes
The technique classes weren’t what I expected. Before the workshops, I was thinking of asana related technique workshops, or ‘how to’ workshops – eg how to jump through, how to jump back, how to nail that titibhasana/bhujapidasana/headstand etc etc..
Instead, John talked us through ways of practice. He focused on the practice as a whole unit and not asana orientated. The practice is the unit, from Samasthiti to Savasana.
The practice, as the late Sri K. Pattabhi Jois called it, is a counted practice. The practice is a moving meditation, and the technique is the counted method, counted in Sanskrit, the language of yoga. He suggested to us to learn the counted method - to go through a journey from speaking them, to whispering them, to thinking them and eventually the method, the mantra becomes part of us. When it becomes part of us, we don’t even have to think it, we just ‘hear’ it and we hear the vinyasas. This helps us to focus and keep out the difficult thoughts.
He didn’t exactly say we have to practice full vinyasas, however, he mentioned every asana starts from zero and ends with zero. Each asana is a flower, and what links each asana is the number of breath movement. There are a number of transitions into the positions, and when we’re in the positions, we focus on the 5 breaths. That’s one full vinyasa, every asana has a full vinyasa.
When we do half vinyasa, we’re going from flower to flower and not focusing on the journey.
During one session, we as a group, progressed through Surya Namaskars, some standing poses, and then to some Second Series poses. We joined him in counting out loud in Sanskrit, and in full vinyasas. That was quite challenging - the co-ordination of count, breath and movement, but was fun to do as a group.
John also talked of yoga off the mat. Is the yoga working for us? Are we focusing too much on the body? Are we feeling the balance, are we feeling friendly, compassionate, centred, focused and able to negotiate through difficult time? Are we able to set an example to others, inspiring others to take up yoga?
Some food for thought there.
I came back from John’s workshops feeling really inspired and loving the practice more and more. Although I don’t know any of the practitioners before the workshops, I feel we were all connected together through the love for the practice, and that was something quite special. John has presented to us a very dedicated approach to practice, and we were encouraged to explore it ourselves. I found myself reading my Yoga Mala as soon as I get home, starting to learn the count and the name of the poses. I’m loving the journey.
******
If this has got you interested in John's teaching check out his new Ashtanga App with it's led practice 9using screenshots to allow for optional information panels) based on his video it's full of all kinds of extras but there are also a couple of in app purchases. I highly recommend the 15 page article 'Windows on a practice', this is a transcript of one of John Scott's classes held at Stillpoint Yoga Winter 2013, so around the same time as the workshop my friend attended in Oxford.
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One approach to learning the Ashtanga Sanskrit Vinyasa Count..... Sanskrit Numbers and Vinyasa chart with states of asana indicated plus 'meaning of asana'
"The Vinyasa Count, how did the Vinyasa Count come to mainstream Ashtanga?"
"So what happened... In the early days of practice at the Lakshmipuram Shala (the original Mysore Self-Practice), we didn't know what Guruji was saying or meaning when he directed to us "Catvari!". We thought "Catvari" meant 'jump back', because Guruji would say "catvari - jump back". So we took that translation as 'jump back'. We took 'Panca' as upward facing dog. We took 'Sat' as downward facing dog, 'sapta' as jump through - We thought 'Sapta' meant jump through!
It took us to Wake UP! To begin listening! To realise Guruji was actually counting in Sanskrit -4,5,6,7.
So it took a little student research to start the enquiry into Vinyasa. What did vinyasa actually mean.
Guruji called vinyasa "Counted Method" .
When my good friend Lino Miele was in France and witnessed Guruji counting the whole class through as One, he saw it all come together, and he took this counting on as a research project to document the Vinyasa. Lucy and I became involved with Lino's project and became very much part of Lino's book. From that point onwards I made it my focus to learn Guruji's Vinyasa Count.
In Guruji's own book 'Yoga Mala' referring to the practice as a mala, a garland of postures, he refers to every posture having a 'State' and every state or 'Asana' has a specific number of counted vinyasa to enter and exit all choreographed to the Breath.
"The Vinyasa are all like beads, Choreographed breath/body movements, all to be counted and meditated on and it is the students requirement to learn this Counted method as a mantra for their own personal practice"
John Scott, Winter, 2013 Stillpointyoga London
So it doesn't matter whether we ever intend to present a Led Ashtanga Vinyasa class in Sanskrit it can be rewarding in and of itself. If nothing else there is no surer way to stop our faffing about than trying to stay on count.
A note about staying on count. The vinyasa count does not mean we have to rush in and out of a posture, wrenching our leg quickly into half padmasana for Marichiyasana D, so as to to keep up with the rest of the class. The count doesn't actually count each and every breath, there are 'official' extra inhalations and/or exhalations built in, found/taken throughout the practice, this means that we can ourselves choose take extra breaths to get in and out of a posture, paying attention to our breath as we do so, keeping it long and full as long as we pick up the vinyasa count at the right place, at the right vinyasa.
Example. In Marichiyasana D we jump through on SUPTA inhale and are then supposed to bind in the posture before exhaling ASTAU into the state of the asana, staying for five breaths. There is no reason that I can think of why we can't step through, take two or three extra breaths as we bind into the posture and then, when we are ready, exhale into the state of the asana mentally chanting Astau. It may mean we are behind everyone else in a led room, they may be on their third or fourth breath count, that's OK we take just the one breath in the posture and then come out with everyone else. At home we can take our time to bind and take the full five breaths, or perhaps just three if we like to keep them long.
So here's an approach to learning the count.
One Approach to learning the Ashtanga Vinyasa Count.
The count here is based on John Scott and Lino Mile's books, Lino lists the count nice and clearly but John Scott seems to go into more detail about each vinyasa as well as the extra inhalations and exhalations in a more detail while still keeping it concise and clear. Full vinyasa is a wonderful practice, I don't find it any more exhausting than half Vinyasa and if time is a concern just do half primary one day the second half the next. Practicing full vinyasa helps make sense of half vinyasa. I have a post to come that goes into more details of how we go from one to the other. this should of course not be considered authoritative there is no final authority on this other than the systems own internal logic, the relationship between that and our own practice. There may well be some discrepancies between this and the version taught by other senior teachers, whether it be Manju, Sharath or the certified, authorised (whatever list) and unauthorised teachers. These discrepancies/differences should be a source of interest rather than conflict. Feel free to point out any discrepancies between this and Sharath in comments, I am myself exploring variations in the count between Krishnamacharya, Pattabhi Jois, Manju Jois Lino Miele/John Scott and Sharath for my upcoming Easter retreat.
1. First learn to count up to thirty in Sanskrit ( see the table below), actually, up to twenty-two will do you for most of the vinyasa. In fact, start with 1-9, that will allow you to work through Surynamaskara A.
1 = ekam
2 = dve
3 = trīṇi
4 = catvāri
5 = pañca
6 = ṣaṭ
7 = sapta
8 = aṣṭau
9 = nava
Then, for a week of practice, mentally count yourself through all of your Sury's A and B.
Notice how we tend to go up on the inhale and down on the exhale, this is obvious perhaps but it will help locate us in our count, it's like GPS Also we generally tend to inhale on odd numbers and exhale on even, more GPS
ekam - Inhaling, arms go UP
dve - Exhaling we fold over DOWN
trīṇi - Inhaling we flatten the back effectively coming UP
catvāri - Exhaling we jump back to Chatauranga ( kind of DOWN )
pañca - Inhaling we come through and UP
ṣaṭ - Exhaling, backside comes up and we effectively fold in to look at the navel (DOWN)
sapta - We jump our feet to our hands and Inhaling flatten the back as in DVE so UP
aṣṭau - Exhaling we fold over as in TRINI so DOWN
nava - Inhaling the arms come back UP
This is the end of the vinyasa, we drop our arms back down to Samastith, it's not counted.
3. Learn the number of vinyasas for each posture as well as the state of the asana ( see the table below) often these are the same.This is the end of the vinyasa, we drop our arms back down to Samastith, it's not counted.
EG. Ardha Baddha Padmottānāsana to Marichiyasana C all have 22 * vinyasa, each with the actual state of the asana being 8 and 15 (representing both sides of the asana).
4. We know the Sanskrit count now, we just need to know on which count we have to be for the actually state of the asana.
We know how to count our way through our vinyasa ( from our Surynamaskara practice) and we know the state of the asana we want to be in, any discrepancy means there has to be an extra breath or part of a breath thrown in somewhere.
EG. In the Prasarita's we want to be in the state of the asana for TRINI, Jumping the legs apart is EKAM (inhale) but if we fold straight over then we would be in the state of the asana on DVE not TRINI, that means there has to be an extra vinyasa in there. DVE (exhale) would be folding over and putting our hands on the floor. We can't fold in on the exhalation so there must be another extra inhalation, there is and it's not counted, we look up, flatten the back and then TRINI (exhale) our head towards the mat and take our five long full breaths.
HALF VINYASA: Below is the full vinyasa count, half vinyasa is a short-cut version of the practice but the full count is still implied. If we choose to do a half vinyasa practice we might not come all the way back to standing samastithi after the some/all of the seated postures, only going back as far as Adho mukha svanasana (downward facing dog). Despite this we would still begin the next count on SUPTA as we step or jump through for the next seated posture just as if we had gone all the way back to standing and back.... we're kind of pretending. Learning the number for the state of the asana helps us to understand where the short cuts of contemporary half vinyasa Ashtanga are.
5. Work in groups, so just learn the vinyasa and state for the standing sequence for a week, then the next week add on postures up to navasana, the following week work up to the end of primary and finally add on finishing.
6. Explore a couple of tricky vinyasa outside of your regular practice, just running through the count, perhaps in the evening, so you don't disrupt your practice too much.
A book will help. John Scotts Ashtanga Yoga book is probably the best for outlining the vinyasas and explaining what happens as clearly concisely as possible, but Sharath's book works well too, it'll help you work it out at least. Both have a clear quick to check presentation for those practices when you still working it out and need to check. Pattabhi Jois' own Yoga Mala will make it even clearer away from the mat.
This is also an excellent Vinyasa Count resource ( among other things) by Dr. Ronald Steiner and team http://www.ashtangayoga.info/practice/
7. Practice along to some led CD's and DVD's. these help but really you have to work it out yourself. John Scott's New app is good for this. Sharath's CD is excellent, just the postures and the count, no explanation, Maju's DVD is of a led where every body repeats manju's count, excellent.
Counting In Sanskrit
1 = ekam
2 = dve
3 = trīṇi
4 = catvāri
5 = pañca
6 = ṣaṭ
7 = sapta
8 = aṣṭau
9 = nava
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
18 = aṣṭadaśa
19 = ekonavimśatiḥ
20 = vimśatiḥ
21 = ekāvimśatiḥ
22 = dvāvimśatiḥ
23 = trayovimśatiḥ
24 = caturvimśatiḥ
25 = pañcavimśatiḥ
26 = ṣoḍavimśatiḥ;
27 = saptavimśatiḥ
28 = aṣṭovimśatiḥ
Sanskrit Numbers from here ashtangayoga.info
2 = dve
3 = trīṇi
4 = catvāri
5 = pañca
6 = ṣaṭ
7 = sapta
8 = aṣṭau
9 = nava
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
18 = aṣṭadaśa
19 = ekonavimśatiḥ
20 = vimśatiḥ
21 = ekāvimśatiḥ
22 = dvāvimśatiḥ
23 = trayovimśatiḥ
24 = caturvimśatiḥ
25 = pañcavimśatiḥ
26 = ṣoḍavimśatiḥ;
27 = saptavimśatiḥ
28 = aṣṭovimśatiḥ
Sanskrit Numbers from here ashtangayoga.info
Ashtanga Vinyasa Count Primary Series
CODE
First number followed by * is the number of vinyasas
The numbers after the star are the states of the asana
So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of
Jānuśīrṣāsanahave have 22 vinyasa each and that the states of the asana for each versions are 8 and 15 ( IE. Both sides)I've grouped asana that have the same vinyasa/state code to aid in memorising.
STANDING SEQUENCE
Sūryanamaskāra A = 9 vinyasa B = 17 vinyasa
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Pādāngusthāsana 3 * 2
Pāda Hastāsana 3 * 2
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Uthitta Trikoṇāsana A and B 5 * 2 , 4
Uthitta Pārśvakonāsana A and B 5 * 2 , 4
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Prasārita Pādottānāsana A and D 5 * 3
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Pārśvottānāsana 5 * 2 , 4
Utthita Hasta Pādāṅguṣṭhāsana 14 * 2 , 4 , 7 , 11 , 14
Ardha Baddha Padmottānāsana 9 * 2 + 7
Utkatāsana 13 * 7
Vīrabhdrāsana 16 * 7 , 8 , 9 , 10
PRIMARY SERIES
Paścimattānāsana 16 * 9
Purvottānāsana 15 * 8
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Ardha Baddha Padma Paścimattānāsana 22 * 8 , 15
Tiryañgmukha Ekapāda Paścimattānāsana 22 * 8 , 15
Jānuśīrṣāsana A - C 22 * 8 , 15
Marīcāsana A and B 22 * 8 , 15
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Marīcāsana C and D 18 * 7 , 12
Nāvāsana 13 * 7
Bhujapīḍāsana 15 * 7 , 8
Kūrmāsana 16 * 7
Supta Kūrmāsana 16 * 8
Garbha Piṇḍāsana 15 * 8
Kukkutasana 15 * 9
Baddha Konāsana 15 * 8
Upaviṣṭha Konāsana 15 * 8 , 9
Supta Konāsana 16 * 8
Supta Pādāñguṣṭhāsana 28 * 9 , 11 , 17 , 19
Ubhyaya Pādāñguṣṭhāsana 15 * 9
ūrdhva Mukha Paścimattānāsana 16 * 10
Setu Bandhāsana 15 * 9
FINISHING SEQUENCE
ūrdhva Dhanurāsana 15 * 9
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Salaṁbā Sarvāṅgāsana 13 * 8
Halāsana 13 * 8
Karṇapīḍāsana 13 * 8
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ūrdhva Padmāsana 13 * 9
Piṇḍāsana 13 * 9
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Matsyāsana 14 * 8
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Uttāna Pādāsana 13 * 8
śīrṣāsana 13 * 8
Baddha Padmāsana 13 * 8
----------------------------------------
Yoga mudra 14 * 9
Padmasana 13 * 8
Uth Pluthi 14 * 8
A note on Drishti
Pattabhi Jois doesn't talk about drishti much in yoga mala, nor does Krishnamacharya, mostly nasagra drishti [the gaze on the tip of the nose] or broomadhya drishti [the gaze between the eyebrows] is implied. however Pattabhi jois does have this to say in relation to the 7th vinyasa of Surynamaskara B that holds for his whole system. Manju Jois says nasagra drishti is a kind of default drishti but that we are also free to close out eyes.
"SECOND SURYA NAMASKARA, 7TH VINYASA
This is the method for the first Surya Namaskara, which is often practiced while chanting mantras. For this, meditation is very important, as are the drishti, or gazing places, which include: nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows] for the 1st vinyasa; nasagra dristri for the 2nd vinyasa; the gaze between the eyebrows for the 3rd vinyasa— in other words, for the odd-numbered vinyasas, the gaze should be focused between the eyebrows and, for the even- numbered ones, the gaze should be on the tip of the nose. In addition, for the even-numbered vinyasas, rechaka should be performed and, for the odd, one should do puraka. On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead. A sadhaka [spiritual aspirant] should learn it with patience".
Pattabhi Jois Yoga Mala 1999 p46
A note on breathing.
The breath is long and full and slow, "...like the pouring of oil". We seek to feel the breath at the back of the throat, the slightest of constrictions to make the soft hissing sound or the sound of waves. Some refer to it as ujjayi breathing others argue ( Sharath in particular) that it's not ujjayi because ujjayi implies kumbhaka (retaining the breath in or out) and thus is a pranayama. It's argued that there is no kumbhaka in Pattabhi Jois' Ashtanga vinyasa therefore it should only be referred to as 'breathing with sound'. Krishnamacharya however, Pattabhi Jois' teacher/guru, employed the appropriate kumbhaka in most asana and it could be argued that there is always the hint of a kumbhaka between the inhalation and exhalation and the exhalation, the slight pause between the stages of the breath, like throwing a tennis ball in the air there's a moment where it seems to hover before dropping back into your hand. Either way the breathing is long and slow and full.
During the count in the state of the asana there is free breathing, Krishnamacharya wrote about inhaling and exhaling ( long full and slow) as much as possible. In most seated postures the teacher leading the count will tend to count to five ( it used to be ten supposedly and then eight, now it's five). You can take five short breaths in this time depending on the speed of the count or, as I like to do, three long, slow, full breaths.
Remembering the names of the asana
Writing a blog helps
So does knowing what the different parts of the name means
Sanskrit Asana
Sūryanamaskāra
sūrya = sun
namaskāra = salutation
Pādāngusthāsana
pādāngusth = big toe
āsana = posture
Pāda Hastāsana
pāda = foot
hasta = hand
Uthitta Trikoṇāsana
uthitta = extended
tri = three
koṇa = angle
Uthitta Pārśvakonāsana
uthitta = extended
pārśva = to the side
kona = angle
Prasārita Pādottānāsana
prasārita = spread out
pāda = foot
uttānā = intense stretch
Pārśvottānāsana
pārśva = to the side
Utthita Hasta Pādāṅguṣṭhāsana
utthita = extended
hasta = hand
pādāṅguṣṭha = big toe
Ardha Baddha Padmottānāsana
ardha = half
baddha = bound
padma = lotus
Utkatāsana - Vīrabhdrāsana
utkata = fierce / powerful
vīra = hero
Paścimattānāsana
paścima = west
Purvottānāsana
purva = east / front
Ardha Baddha Padma Paścimattānāsana
ardha = half
baddha = bound
padma = lotus
paścima = west
uttāna = intense
Tiryañgmukha Ekapāda Paścimattānāsana
tiriañg = transverse
mukha = face
ekapāda = one foot/leg
paścima = west
uttāna = intense
Jānuśīrṣāsana
jānu = knee
śīrṣa = head
Marīcāsana
marīchy = sage Marichy
son of Brahma
Nāvāsana
nāva = boat
Bhujapīḍāsana
bhuja = arm / shoulder
pīḍa = pressure
Kūrmāsana,
kūrma = tortoise
Supta = sleeping
Garbha Piṇḍāsana
garbha = womb
piṇḍa = fetus
Kukkutasana
kukka + cock
Baddha Konāsana
baddha = bound
kona = angle
Upaviṣṭha Konāsana
upaviṣṭha = seated
kona = angle
Supta Konāsana
supta = sleeping
kona = angle
Supta Pādāñguṣṭhāsana
supta = sleeping
pādāñguṣṭha = big toe
Ubhyaya Pādāñguṣṭhāsana
ubhyaya = sleeping
pādāñguṣṭha = big toe
ūrdhva Mukha Paścimattānāsana
ūrdhva = upward
mukha = face
paścima = west
uttāna = intense
Setu Bandhāsana
setu = bridge
bandha = lock / seal / completion
ūrdhva Dhanurāsana
ūrdhva = upward
dhanurasana = bow
Salaṁbā Sarvāṅgāsana
salaṁbā = supported
sarvāṅga = all limbs
Halāsana
hala = plough
Karṇapīḍāsana
karṇa = ear
pīḍa = pressure
ūrdhva Padmāsana
ūrdhva = upward
padma = lotus
Piṇḍāsana
piṇḍa = womb
Matsyāsana
matsy = fish
Uttāna Pādāsana
uttāna = intense
pādā = feet
śīrṣāsana
śīrṣa = head
Baddha Padmāsana
baddha = bound
padma = lotus
Uth Pluthi 14 vinyasa
pluthi = jump / lift
NOTE: As far as we can tell Krishnamacharya developed the vinyasa count, it may have been a way to manage a large class of young boys or it may be something he inherited from his own teacher or perhaps a lost text, we'll probably never know. He did appear to drop the count in his later years however Ramaswami told me that although Krishnamacharya would link together postures if he was teaching one posture on it's own then it would begin and end from standing or perhaps a seated samastithi, perhaps the count was always implied in his teaching.
Does focusing on the count distract from the breath, not necessarily, after a while the count disappears into the background, it is perhaps the horizon of the breath.
↧
Vinyasa Krama speeded up / Ashtanga slowed down
Here's my friend Oscar Montero of Yoga Centro Victoria, Leon, Spain demonstrating his Vinyasa Krama practice. This is where I taught my first Krishnamacharya workshop last year. I miss Oscar, his students and practicing in this room
Mi práctica de ashtanga (ocho partes) vinyasa (creatividad) karma (inteligencia) yoga (aquietar la mente).
My ashtanga (eight parts) vinyasa (creativity) karma (intelligence) yoga (quiet mind).
I asked oscar how long it took in real time.
"I did 1 to 3 breaths in each asana, that took 15-30 seconds
I was a little rush than usually, worse breath so, normally I breath slower, i think because the camera I was less concentrated, and the perfect timing because the battery was finished just after dharana"
To get an idea of the regular pace of Oscar's practice here we are practicing together after the workshop. Unfortunately there were problems with the recording and we only managed to rescue 20 minutes. If the above video is of Vinyasa Krama speeded up, my practice on the right is an extreme slowing down of Ashtanga. This is my interpretation of Krishnamacharya 'original' Ashtanga approach as described in his 1934 book Yoga Makaranada, long slow inhalations and exhalations, Kumbhaka's ( retaining the breath in or out) and longer stays.
Oscar just told me that he shot the first video with the imotion HD App.
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| https://itunes.apple.com/gb/app/imotion-hd/id421365625?mt=8 |
My upcoming workshops
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March 2014 Newsletter from Srivatsa Ramaswami-Programs
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| picture by BarryWadsworth |
For me the asana aspect of the course gives me a greater understanding of the possibilities of asana, it puts the asana I practice in Ashtanga each morning into context ( I practice vinyasa Krama in the evenings), showing me related asana, those in the shadows around the ones we practice everyday in Ashtanga.... these are the modifications, the extensions, the alternatives, options that Krishnamacharya and Pattabhi Jois had in their tool chest when they needed to respond to a students practice. Manju Jois says his father would give asana outside the different series to students who were struggling with a series posture. Ramaswami's approach to asana reflects that long slow inhalation and exhalation that Krishnamacharya presented way back in 1934 in Yoga Makaranda, at the time he was teaching the young Pattabhi Jois. A slow practice isn't a later development, it's 'original' practice, Pattabhi Jois would talk in interviews of long slow inhalations and exhalations of 10, 15, even 20 seconds. Manju would talk of his father's long stays in asana. All of this can be explored with Ramaswami in the long morning asana classes as well as looking closely both in the practice room and classroom at the asana in Krishnamacharya's Yoga Makaranda as well as the approach to asana taught in his later years both are i Believe consistent with each other,
But that is just the asana, Ramaswami presents a month long Pranayama course as well as meditation practice that becomes ever more integrated with the asana practice as the course progresses. An integrated yoga practice is the goal of the whole program. And then there is Ramaswami's in depth presentation of the yoga Sutras, working through the text sutra by sutra, of the works of his teacher of over 30 years Krishnamacharya and the chanting Ramaswami's wonderful chanting, an aspect of practice I came to love despite myself.
Ramaswami is teaching his TT course again this summer at LMU in Los Angeles I HIGHLY recommend it whatever theapproach to practice your coming from
***
March 2014 Newsletter from Srivatsa Ramaswami-Programs
Hello Friends.
Still in Chennai, looks like I may have to stay for about 8 more weeks. I had to request and obtain a postponement of my workshop scheduled early April at Anada Asram NY to Oct/Nov 2014. It is getting quite warm already. I met and talked to several senior student teachers of Krishnamacharya lineage here in Chennai. Nice interaction with a very knowledgeable group
PROGRAMS
Some ten years ago when I started making somewhat feeble attempts to teach Yoga in the United States, I was able to get a few weekend programs, an odd talk here a chat there. Because the Vinyasakrama asana I studied with my guru appeared to be different from the mainstream yoga, rarely anyone paid attention or took serious interest. Some even pointed out that what I taught was so different from how several of Sri Krishnamacharya's well known students were teaching and may have wondered if what I taught was my own thing.
So I started looking for opportunities to teach the vinyasakrama asana system I learnt from my Guru for almost 30 years. Fortunately my good friend David Hurwitz introduced me to Dr Chris Chapple of Loyola Marymount University. When Dr Chapple suggested I could teach a weekend program at the University, I took courage to write to him that I was interested in a longer program so that I would be able to present the vinyasakrama fully as I studied with my Guru. I suggested to him a four week long 60 hour Vinyasakrama asana course. I was surprised to find that he was agreeable to the idea and the program was set to start about 6 months later at Loyola Marymount University. At that time I had also completed writing the book “Complete Book of Vinyasa Yoga” and I was awaiting the publication of the book. Since I had been teaching earlier in India and my initial experience in USA was patchy, I had decided to publish the book with those 150+ asanas and 700+ vinyasas in ten major sequences so that people would be aware of Krishnamacharya's range of asana practice the nuances of breathing in asanas which appeared to be absent in the general yoga stream including in the teaching of famous Krishnamacharya students.. I used the book for reference and did the complete program in 4 weeks. We had a full class. Then we repeated the program the next year and at that time the University made it into a Certificate program. Those who successfully completed the program would get a certificate from the University.
A year later some friends suggested that I should register with Yoga Alliance as many who studied with me would like to have some recognition from the fledgling Yoga Alliance. Fortunately for me again my friend David Hurwitz talked to some of his friends and I was able to register as 500 hour experienced teacher through grandfathering.
Soon after there was a suggestion that instead of the 60 hour program I could offer a 200 hour Teacher Training Program in Vinyasakrama, I decided to use this opportunity to offer a comprehensive program of what I consider as the core of Krishnamacharya's teaching. I thought that since only asanas are offered as yoga in most places I thought of offering a wide range of subjects taught by my Guru as part of yoga.
So the Teacher training Program I started offering had almost 10 subjects. There is the 60 hour asana program following the vinyaskrama. It has 10 major sequences Three standing ones, tadasana, trikonasana, and eka pada asanas. Each of the major sequences has many individual asanas each having its own vinyasas. For instance in Trikonasana, there is the uttita trikonasana with a number of vinyasas, then uttita parsvakonasana, parsvottanasana and then virbhadrasana. In a similar fashion each major sequence will have many logically linked asana subroutines and each asana subroutine having a number of vinyasas. The other major sequences would be seated ones, the asymmetric sequence consisting of asana subroutines like Marichyasana, ardha padmasana, triyanmukha ekapadasana, krounchasana, ekapada sirshasana, bharadvajasana matsyendrasana and others. And each asana will have its own set of vinyasas, and each subroutine linked to the next in a seamless way..All movements are to be done with accompanying synchronized breathing a hallmark of Krishnamacharya's vinyasakrama system. Two lying down sequences-- the supine and prone--contain more than 150 vinyasas which also contain asanas as Sarvangasana, dhanurasana subroutines. Then there are two seated sequences one of them is Vajrasana and contains siblings as virasana and others. Padmasana with a variety of vinyasas is the other seated sequence. There is also the viparitakarani mudra the classic headstand with a number of variations. Paschimatanasana with its vinyasas and counter poses and as mentioned the one legged tapasvin poses like bhagiratasana and durvasasana complete the major sequences.
Then the program contains a 20 hour section on visesha inyassas in which unique sequences like suryanamaskara, ding namaskara the variations of Vasishtasana are taught. In this section the parameters for developing an individual home practice is usually gone into. Thus 80 hours or 40% of the total time is spent on learning various asanas and vinyasas.
The program has a 20 hour slot on pranayama. Pranayama was included as a must practice by Sri Krishnamacharya. A variety of pranayama methods so also the mantra pranayama are taught in this program. What is important is that participants are encouraged to practice pranyama daily. Usually everyone settles down to do a maximum 80 rounds of pranayama during one sitting taking about 40 to 45 minutes. Pranayama is seldom taught in contemporary yoga. Though it appears to be a boring practice when compared to the exciting asana practice, the benefit one gets by doing pranayama is substantial. The mind slowly settles down and it is interesting to find how the mind likes pranayama. Many participants are able to regularly do even 80 rounds of pranayama in one sitting consistently day after day. Usually the comprehensive viloma ujjayi pranayama is practiced due to its greater reach
There is a 20 hour slot for mantras and meditation. Participants learn to chant some important mantras and also are taught meditation as per the yoga sutras. One highlight is the combining the one hour vedic chant of suryanamaskara interspersed with suryanamaskara following the 12 step vinyasakrama. Participants learn to chant a few mantras like the pranayama mantra atma suddhi mantra and others.
There is a 20 hour study of the yogasutras where the text is gone through sutra by sutra. Yoga philosophy or Raja yoga is an important text for yogis. Additionally there is a five hour slot to chant the yoga sutras. Participants can continue to practice with the tutorials for chanting available on my YouTube channel
There is also a twenty hour program titled “Sri Krishnamacharya's works” in which two of his texts “Nathamuni's Yoga Rahasya” and “Yoga makaranda” are gone through in detail. I felt at the time I designed the program that it is better to study directly Krishnamacharya's teachings. We go through both the texts line by line with explanations and discussions. Even though I was nervous in the beginning this is one of the most popular course in the program
There is a 10 hour program on Yoga for Internal Organs. It is based on Sri Krishnamacharya's teaching on the internal kosas, the vital internal organs. Yoga contains a few unique but powerful procedures, asansas and vinyasas, pranayama, meditation, the kriyas, the mudras and of course a unique yoga philosophy. This course is an attempt to look at Yoga from the health benefits it confers through these astonishing procedures.
There is a five hour slot on teaching methodology. Two programs for 15 hours are conducted by guest faculty, viz., Yoga Business and Anatomy& Physiology. I teach the other 185 hours.
I offer this program every summer at Loyola Maryount University in Los Angeles, California. So far 111 people have completed the program to teach yoga.
Here is the list of graduate teachers
Since the program is registered with Yoga Alliance these graduates have the option to register with Yoga Alliance as Yoga teachers.
Here is the link for the program, if you are your friends may be interested to register for this program offered this summer
Here is the schedule for the upcoming program in July/august 2014
For details of these and other upcoming workshops please refer to
I have also been teaching an abridged version of vinyaskrama, a 25 hour program called core vinyasakrama program in which the focus is to teach about 300 important vinyasas from the ten sequences. I have been teaching this at Suddha Weixler's Chicago Yoga Center for close to 10years, once a year. This year I plan to teach this program at Ryan Leier's One Yoga at Saskatoon, Canada in May, then Steve Brandon's Harmony Yoga in London and then of course at Suddha's Chicago Yoga Center in May/June
I have also been teaching individual subjects like Yoga Sutras, Samkhya Karika, Hatayogapradipika, Upanishads like Mandukya, Taittiriya and several upanishad vidyas. I also offer yoga for health/therapy program titled Yoga for and physiology of Internal Organs
For details of these and other workshops please refer to
I have had the wonderful opportunity to study for a very long time with a great compassionate and knowledgeable soul, Sri Krishnamacharya. I consider that I was fortunate to study and practice this wonderful subject. I am also thankful for all those people who helped me to teach Yoga to such wonderful participants. Yoga has something to offer to each and every human being. It is nourishing, enriching. It is trnasformative at many levels, physical, physiological,emotional, intellectual and with an attainable spiritual goal.
With best wishes
Sincerely
Srivatsa Ramaswami
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Yoga Therapy with Dr.G.Mohan Amsterdam 2014, interesting looking classes
I was sent this link this morning regarding AG Mohn's son, an interesting workshop, a little different. Found it so interesting to read through that I thought I'd share the whole thing. you can register on this link to Anneke Sips' Yoga and Mental Health page
http://annekesips.com/yoga-mental-health/dr-mohan-amsterdam-2014/
Anneke is a Yoga practitioner and teacher from The Netherlands, also a social psychiatric nurse (RN)
[AMSTERDAM]
http://annekesips.com/yoga-mental-health/dr-mohan-amsterdam-2014/
Anneke is a Yoga practitioner and teacher from The Netherlands, also a social psychiatric nurse (RN)
Dr. Ganesh Mohan – Amsterdam 2014
Yoga Therapy with Dr.G.Mohan
[The Amsterdam - Copenhagen connection]This workshop with dr. Mohan is designed to provide access for those who desire to practice, experience and study in the authentic tradition of Professor T Krishnamacharya. The workshop will be based around a variety of practices with supporting discussions and is suitable for ALL and especially interesting for the ones working in the field of mental health care or yoga therapists (or you want to become one).Yoga is a powerful tool in facilitating transformation. If you are a yoga teacher or a serious yoga student these workshops will offer you understanding about the deep layers of traditional philosophy of Yoga too – as taught by the legendary 20th century yogi Sri T.Krishnamacharya.Some of his students include his son T.K.V. Desikachar, B.K.S. Iyengar, K.Pattabhi Join and A.G.Mohan.During this workshop we will work as a group to introduce, investigate and reflect on different tools of yoga and learn about it’s therapeutic qualities. To promote collaboration and networking we include the bi-annual network meeting in the workshop series.
[AMSTERDAM]
WED. MAY 14th 2014
19:00 – 21:00h Evening talk: The Teaching of Sri T Krishnamacharya in Yoga Therapy.
19:00 – 21:00h Evening talk: The Teaching of Sri T Krishnamacharya in Yoga Therapy.
How yoga can support or complement modern therapy? Where is the overlap between yoga and for example the mindfulness-based practices we see nowadays or other mind/ body-work practices? The teachings of Sri T Krishnamacharya are particularly helpful in this context; we will discuss specific elements and big-picture concepts from his teaching that will be useful to us today.
THUR. MAY 15th 2014
10.00h – 13.00h Yoga and Ayurveda as Therapy
10.00h – 13.00h Yoga and Ayurveda as Therapy
Why and how can yoga support or complement modern therapy? What is Ayurveda? In this workshop, we will introduce the foundations of Yoga and Ayurveda as a therapy, and discuss examples of how their tools can weave together effectively to restore health and well-being
14.00h -17.00h Developing a Personal Yoga Practice
Our yoga practice is not complete until it is personal. We are all different in body and mind, and thus our practice too has to be different. Krishnamacharya held the fundamental principle that teachings had to be modified for the student. The ultimate expression of this principle lies in the personal practice of yoga— yoga that is tailored to our needs, expectations, and limitations; to our age, fitness, occupation, to our body and mind. We will explore the principles that make this possible, with practical examples that you can take home.
19.00h – 21.00h Vedic Chanting
The Vedas are one of the most ancient texts preserved intact today. They form the basis for most of Indian philosophy and psychology, including yoga. The chanting of the Vedas has gained some popularity today, and many are interested in learning it. Can everyone do Vedic chanting? Is it necessary for all to do it? What are the rules of Vedic chanting, and what is the psychology underlying them? What are the benefits that one should look for from Vedic chanting? These and other related questions will be addressed in this workshop along with practices.
FRI. MAY 16th 2014
10.00h – 13.00h The Role of Āsana in Yoga Therapy
10.00h – 13.00h The Role of Āsana in Yoga Therapy
Asana (postures) is the most popular face of yoga today. Its physical nature makes it easy for people to practice it. The other limbs of yoga are less accessible to most practitioners, as they are more abstract, less tangible. But, classical yoga is fundamentally about the mind. The Yogasutras speak very little about asana. Other classical yoga texts like the Hathayogapradipika say some more, but even in them, the amount of information available is limited. What role does asana play in the path of classical yoga and Yoga Therapy? This workshop will address this core issue with an authentic, practical and therapeutic approach.
14.00h – 17.00h Anger Management
What is anger? Is anger always harmful? Why do we lose ourselves to it? How can we control anger? Can we be without anger entirely? How is anger connected with other emotions? How can we avoid anger affecting our health? This workshop will present and discuss practical tools to deal with anger. The tools are based on the ancient psychology of yoga, derived from the yoga sutras — the classical text on yoga.
19.00h – 21.00h Breath & Well-being: Pranayama as foundation for therapeutic yoga
The value of good breathing in maintaining well-being is increasingly validated by science. Of course, the practice of breath control, in the form of pranayama, has been a part of yoga for millenia. A key practice in both hatha yoga (physical yoga) texts and the raja yoga (meditative yoga) texts, the breath is the key bridge between body and mind. In this workshop, we will draw upon classical sources, as well as the profound teachings of the yogi Sri T Krishnamacharya, to understand and practice working with out own breath effectively for physical and mental well-being.
SAT. MAY 17th 2014
10.00h – 14.00h Yoga & Mental Health Sangha+
10.00h – 14.00h Yoga & Mental Health Sangha+
Twice a year The House of Love (I*) organizes a Sangha (network-meeting) for everyone interested in the subject Yoga & Mental Health. This is the first Sangha+ ‘PLUS’ meeting, which means there is a special guest. This will be Ganesh Mohan. Everyone is welcome. The goals are to meet eachother in person. Make yoga study personal, work together, network, inspire and get inspired. The first hour: Introduction of persons who are present and generation of questions and case studies for discussion. Followed by a three-hour interactive workshop: The Yoga of Positive Well-Being, and the Yamas and Niyamas.
*I met people from different professional fields/ disciplines and yoga lineages, but we all had in common that we agreed that yoga could be complementary to existing (talk-) therapy in Mental Health care.
[COPENHAGEN]
SUN. MAY 18th 2014
9.00h – 12.00h Introduction to Yoga Therapy and Mental Health“Just as various medicine and other measures area prescribed by physicians for curing the illnesses of those who are unwell, the revered Patanjali – in his sutras – has made clear various methods to heal the illnesses of the body through the practice of the limbs of yoga. Sri T Krishnamacharya Yogavalli Sutra 1.34”
What is yoga therapy? The essence of Classical Yoga is the process of bringing the mind under complete control. Yoga is a practical path to tranquility, mental balance and clarity. This is impossible without bodily health and well-being. Ill health is the greatest barrier to a tranquil mind. The scope of yoga is vast and offers valuable, unique, effective and rational methods and practices to regain and enhance health in body and tranquility of mind.13.30h – 16.30h Yoga and Ayurveda as TherapyMany people are seeking alternatives approaches and complementary treatments to the medical health care system. Ayurveda is an ancient science of traditional Indian medicine and approach to health. Health is influenced by our state of body and mind, breathing, diet, lifestyle and environment. This workshop will introduce the foundations of Yoga and Ayurveda as therapy. We will discuss each of these and review the tools that Yoga and Ayurveda offer to heal illness and restore wellbeing.17.00 – 19.00h Yoga for Emotional Well-BeingWe all long for lasting happiness and peace of mind. But, not only to external life events disturb us, we are also troubled from within by the flux of emotions in our mind. None of us are free from anger, fear and worry. Yoga is an ancient science that has stood the test of time and helps us to understand how our minds work. It offers powerful tools to reduce unwanted, negative emotions, and that turn the nature of our minds towards fulfillment and stability. In this workshop, we will first go over what the Yoga Classical texts say about the emotions and then explore the practical techniques to keep mental balance.MON. MAY 19th 2014
17.00h – 21.00h Mindfulness in Yoga – Let Me Not Be UnhappyThe core problem that Samkhya*, Yoga and other ancient Indian philosophies deal with is to provide an answer to our unhappiness. The stated goal of Yoga is to obtain freedom from all unhappiness. Buddhism also shares the same fundamental purpose. Does this not appear to be a negative presentation? Why not make happiness the goal? We use many words and concepts – pleasure, happiness, success, fulfillment and so on. What do these words mean to us? While mindfulness is very much in vogue, many perceive Yoga and mindfulness as separate philosophies and practices. Is mindfulness different from the yoga path?* Samkhya is one of the six orthodox philosophical systems of which yoga is also one. (The Sanskrit term for philosophy is darsana from dirsti, literally meaning a ‘seeing’, vision of truth’, or ‘view point’). Samakhya is closely associated with Yoga, but there are minor differences between the two.TUES. MAY 20th 2014
17.00h – 21.00h Prāṇa & Prāṇāyāma – The Yoga YājñavalkyaThe Yoga Yājñavalkya is one of the most important texts on yoga, yet it is often neglected. Other classical texts like the Hatha Yoga Pradipika have borrowed many verses form the Yoga Yājñavalkya. Among these other yoga texts, the Yoga Yājñavalkya is the most organized presentation, dealing with the eight limbs of Yoga in order. A unique feature of this text is the extensive discussion of Prāṇāyāma in as many as a hundred verses, which is the theme of this workshop.
During the day it’s possible to book privates.About Dr. Ganesh Mohan: The greatest influence on yoga in modern times was undoubtedly the legendary 20th century yogi, Sri T. Krishnamacharya – a master of yoga, scholar of all Indian philosophies and a healer of repute. A. G. Mohan was a personal student of Sri T. Krishnamacharya for 18 years. Ganesh Mohan, son of A. G. Mohan and Indra Mohan, was trained from childhood in yoga and other related areas such as Vedic chanting. He is a doctor, formally trained in both modern medicine and Ayurveda. Ganesh is one of my wonderful teachers in Yoga. He creates understanding about the deep layers of traditional philosophy of Yoga in a joyful and humble way.
He is an advisor to the International Association of Yoga Therapy (IAYT) in the USA and the Australian Association of Yoga Therapists (AAYT) in Australia. Ganesh is the co-author of the Mohans’ book Yoga Therapy (Shambhala Publications, 2004) and Krishnamacharya: His Life and Teachings (Shambhala Publications, 2010).He is deeply interested in the profound wisdom of the Yogasutras of Patanjali, which he continues to study and teach. He is well-versed in other related areas of traditional studies such as Vedic chanting. His work in therapeutic yoga centers around the world employing the most relevant methods from ancient and modern healthcare.The Mohans are based in Chennai, India, where they continue to practice, study and teach. They offer in-depth studies on yoga philosophy, yoga psychology and yoga therapy in locations across the world under the name of Svastha Yoga and Ayurveda. For more information on the Mohans and their work, please visit www.svastha.net.
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Slowed down (just a little) 2nd series led from Pattabhi Jois
This is a great idea, my friend Dmitry Baryshnikov has slowed down Pattabhi Jois' Led 2nd to give a little more time for the breath as well as to get in and out of postures.
Youtube he says also includes this option.
I used to do something like this when I was transcribing Sax solo's, there were programs back then and of course now we have apps ( Amazing Slow Downer) that will slow something down and yet not affect the pitch.
I'd considered doing something like this myself but never got around to it, thank you Dimitry. Will practice along with it tomorrow.
Youtube he says also includes this option.
I used to do something like this when I was transcribing Sax solo's, there were programs back then and of course now we have apps ( Amazing Slow Downer) that will slow something down and yet not affect the pitch.
I'd considered doing something like this myself but never got around to it, thank you Dimitry. Will practice along with it tomorrow.
After practicing with this demo video for some time I diceded to try it in a little bit slower pace to have more time in each posture. It's 1.25 times slower than original.
Also you can use Youtube built-in speed feature (you can turn it on with Test Tube in the footer of Youtube).
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DRISHTI: Overview of Drishtis indicated for the Surynamaskaras by the different authors resp. Instructors ALSO Krishnamacharya's Gaze.
"Tristhana: This means the three places of attention or action: posture, breathing system and looking place. These three are very important for yoga practice, and cover three levels of purification: the body, nervous system and mind. They are always performed in conjunction with each other". KPJAYI
Bobbie did mention that Pattabhi Jois doesn't have anything to say about Drishti and that it came about in the later research. It's true that here isn't much in Yoga Mala (see below I've listed all usage) but that doesn't mean he wasn't necessarily directing the gaze in his teaching, I should ask Manju next time and perhaps you can ask Nancy and David if you take a workshop with them. There is an important passage on drishti in Yoga Mala under surynamaskara. This is from my earlier post on learning the Vinyasa Count.
A note on Drishti
Pattabhi Jois doesn't talk about drishti much in yoga mala, nor does Krishnamacharya, mostly nasagra drishti [the gaze on the tip of the nose] or broomadhya drishti [the gaze between the eyebrows] is implied. however Pattabhi jois does have this to say in relation to the 7th vinyasa of Surynamaskara B that holds for his whole system. Manju Jois says nasagra drishti is a kind of default drishti but that we are also free to close out eyes.
"SECOND SURYA NAMASKARA, 7TH VINYASA
This is the method for the first Surya Namaskara, which is often practiced while chanting mantras. For this, meditation is very important, as are the drishti, or gazing places, which include: nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows] for the 1st vinyasa; nasagra dristri for the 2nd vinyasa; the gaze between the eyebrows for the 3rd vinyasa— in other words, for the odd-numbered vinyasas, the gaze should be focused between the eyebrows and, for the even- numbered ones, the gaze should be on the tip of the nose. In addition, for the even-numbered vinyasas, rechaka should be performed and, for the odd, one should do puraka. On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead. A sadhaka [spiritual aspirant] should learn it with patience".
Pattabhi Jois Yoga Mala 1999 p46
A few more quotes from Pattabhi Jois on Drishti, gaze and looking after the krishnamacharya yoga Makaranda section below.
Krishnamacharya too of course mentioned drishti in his descriptions of asana in Yoga Makaranda, mostly nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows]. Manju Jois refers to nasagra and broomadhya drishti as default drishti, he also offers the suggestion/recommendation/option of just closing the eyes, encouraging you to "try it".
Thank you to Matthias Schmidt for getting in touch last night with a couple of corrections to my recent Vinyasa Count Sheets post. he pointed out a couple of errors ( that I've now put right). I'd referred to Marichiyasana D in one example when I was clearly writing about B. In the Prasarita's I'd written prasaritta padothanasana A and D when it should have been A to D, and in Uthita hasta Padangusthasana I'd missed out the 9th state of the asana. Thank you again Mathias for pointing those out.
I mentioned to Mathias that the reason I had produced the vinyasa Sheets yesterday was that I was working on a comparison between Krishnamacharya, Pattabhi Jois and Sharath's presentation of the vinyasa count.
Matthias came right back with " Oh I explored something like that with Drishti" and then sent it too me, here it is. We seem to share a particular kind of madness, Matthias has excellent Excel skills to go with his. Matthias actually collected the data and produced excel sheets for the full primary series a few years back but looking at it again now he saw that several of the instructors mentioned had changed their descriptions. He reviewed and edited the Surynamaskara section and said it was 'safe' to share this at least.
"What you may want to do, and what's totally fine with me, is to use the first sun salutation already as an example for the different approach to drishti. And - as I said in a previous mail - I don't really think that it matters. As long as one is consistent in ones own practice. Of course there is a difference in Surya A if you use the thumbs or the the third eye in dve or nasagrai, urdhva or broomadhya on pancha (actually, one of my teachers claims that Richard Freeman strongly advises against the use of broomadhya in pancha, because it makes one too mental) - but at the end of the day, I guess that it's the consistency of the approach that leads to the mditative experience.
Looking very briefly at your link, I also found it interesting that Krishnamacharya indicated the third eye as the "standard" drishti, whereas for Patthabi Jois it seems to be nasagrai. The different appraoches already start on that level". Matthias
Overview of Drishtis indicated for the Surynamaskaras by the different authors resp. Instructors
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| Terminology |
"I just got around to also check Petri's book on the general chapter on drishti, and I scanned the two pages for you, as your book is currently travelling. On the second page, interestingly, he mentions a drishti that he does not show on the first page - and that no one else (to my memory) mentions, the "down on the floor" drishti." Matthias
See my review of Petri's excellent and useful book here
UPDATED. BOOK REVIEW: Petri Räisänen's 'Definitive Primary Series Practice Manual'
I've just remembered that Petri shows the count for both full and half vinyasa in his book.
And while we're at it here's Krishnamacharya on Drishti/Gaze from yoga makaranda Parts I and II
Krishnamacharya on Drishti
from Krishnamacharya’s Yoga Makaranda
“When I explain the rules of yogasana, if the position of the head has not been specified, then keep the head in jalandara bandha. Similarly, if it does not specify where to place the gaze, then the gaze should be directed towards the midbrow. If the position of the hands has not been specified, then the hands should be kept as in siddhasana. Whenever there is a krama where some part of the body has to be held with the hand, and the placement of the hand has not been described, hold the relevant part of the body with the first three fingers of the hand (including the thumb). Make sure to remember this.
When practising the asanas, it is important to do both the right and left sides. First practise the right side and then the left side. If you don’t do this, the strength of yoga will not reach all parts of the body”. p26
YOga makaranda parts I and II can be downloaded from my Free Download page
http://grimmly2007.blogspot.co.uk/p/free-downloads.html
Some times googledocs can be a little choosy about the browsers it works with, if you have trouble downloading try a different browser, all documents are available for download whatever it tells you.
Krishnamacharya on Drishti, the gaze
I've included asana descriptions only up to the point in which Krishnamacharya mentions the gaze ( in Yoga Makaranda parts I and II, gaze is mentioned (or translated rather than gaze).
I've highlighted in Bold where drishti is mentioned. As we can see it's nearly always at the tip of the nose or between the eyebrows.
1 Uttanasana (Figure 4.1, 4.2, 4.3, 4.4, 4.5, 4.6, 4.7)
Following the rules for tadasana (yogasana samasthiti krama) (Figure 4.1, 4.2), stand erect. Afterwards, while exhaling the breath out slowly, bend the upper part of the body (that is, the part above the hip) little by little and place the palms down by the legs. The knees must not be even slightly bent. Raise the head upwards and fix the gaze on the tip of the nose…..
8 Pascimattanasana or Pascimottanasana (Figure 4.19 — 4.28)
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…
17 Utthitahasta Padangushtasana (Figure 4.49, 4.50, 4.51)
First, push the chest forward and stand erect with equal balance. While standing this way, make sure that the head, neck, back, hips, arms and legs are aligned properly and gaze at the tip of the nose.
18 Baddhapadmasana (Figure 4.52, 4.53, 4.54, 4.55)
Place the right foot on top of the left thigh and the left foot on top of the right thigh. Take the hands behind the back and tightly clasp the big toe of the right foot with the first three fingers of the right hand and tightly clasp the big toe of the left foot with the first three fingers of the left hand.
Press the chin firmly against the chest. Keep the gaze fixed on the midbrow. Sit down, keeping the rest of the body straight. This has the name baddhapad- masana. This asana must be repeated on the other side (that is, first place the left foot on top of the right thigh and then the right foot on top of the left thigh) in order to exercise both sides of the body.
This has 16 vinyasas. The 8th and 9th vinyasas are the asana sthiti. The other vinyasas are like pascimottanasana. Study the pictures (Figures 4.52, 4.53) and learn how to keep the gaze. In this asana, one must do puraka kumbhaka. Only in yoga mudra sthiti should one do recaka. This sthiti consists of two forms — so study the pictures (Figures 4.54, 4.55) carefully.
26 Niralamba Sarvangasana (Figure 4.70)
This has 14 vinyasas. The 8th vinyasa is the asana sthiti. The form depicted in the picture is the 8th vinyasa. This is niralamba sarvangasana paristhiti. In order to get to this sthiti, slowly raise the arms and legs either together or one-by- one in the 7th vinyasa . Do only recaka at this time. Never do puraka kumbhaka.
At this time the chin should be pressed against the chest. The gaze should be fixed on the midbrow
27 Ekapada Sirsasana (Figure 4.71, 4.72)
This has two forms: dakshina ekapada sirsasana and vama ekapada sirsasana. Both these forms together have 18 vinyasas. The first picture depicts dakshina ekapada sirsasana and the second picture vama ekapada sirsasana. The 7th and 12th vinyasas are the asana sthitis of these dierent forms. For this asana, you need to do sama svasauchvasam (same ratio breathing). In the 7th vinyasa, the left leg, and in the 12th vinyasa the right leg, should be extended and kept straight from the thigh to the heel. No part should be bent.
Keep the hands as shown in the picture. In this sthiti one needs to do equal ra- tio breathing. When the hands are joined together in ekapada sirsasana paristhiti, one must do puraka kumbhaka. One must never do recaka.
While doing the 7th and the 12th vinyasas, the head must be raised and the gaze must be fixed at the midbrow.
32 Bhairavasana (Figure 4.78)
This has 20 vinyasas. The 8th and the 14th vinyasas are the right and left side asana sthitis.
From the 1st until the 7th vinyasa, follow the method for ekapada sirsasana. In the 8th vinyasa, instead of keeping the hands at the muladhara cakra (as in ekapada sirsasana), hug both arms together tightly as seen in the picture and lie down looking upwards. While remaining here, do puraka kumbhaka, raise the neck upwards and gaze at the midbrow.
33 Cakorasana (Figure 4.79)
This has 20 vinyasas. This is from the Kapila Matham.
After observing that this follows the form of flight of the cakora bird, this came to be called cakorasana. In the Dhyana Bindu Upanishad, Parameshwara advises Parvati that “There are as many asanas as there are living beings in the world”. We readers must always remember this. The 8th and 14th vinyasas are this asana’s sthitis. The 7th and the 13th vinyasas are like the 7th and the 13th vinyasas of ekapada sirsasana. In the 8th and the 14th vinyasas, press the palms of the hand firmly into the ground, do puraka kumbhaka, raise the body 6 angulas o the ground and hold it there. Carefully study the picture where this is demonstrated. Keep the gaze fixed on the midbrow. The other vinyasas are like those of bhairavasana.
34 Skandasana (Figure 4.80, 4.81)
This has 20 vinyasas. The 8th and the 14th vinaysas show the asana sthiti. The other vinaysas are exactly as for cakorasana. In pascimottanasana, we hold the big toes with the fingers of the hands as we place the face down on the knees. In this asana, instead of doing that, extend the arms out further forward, clasp the hands together in the manner of prayer, slowly bend the body forward and place the face down in front of the kneecap. You must do recaka in this sthiti. The gaze must be fixed on the midbrow.
35 Durvasasana (Figure 4.82)
This has 20 vinyasas. The 8th vinyasa is right-side durvasasana and the 14th vinyasa is left-side durvasasana. In the 7th and the 13th vinyasas stay in ekapada sirsasana sthiti. From there, in the 8th and the 14th vinyasas, get up and stand. Study the picture carefully. While remaining in this asana sthiti, the leg that is being supported on the ground must not be even slightly bent and must be held straight. Keep the gaze fixed at the middle of the nose.
37 Trivikramasana (Figure 4.85)
This has 7 vinyasas. From the 1st to the 5th vinyasas and then the 7th vinyasa, practise following those for utthita hasta padangushtasana. Practise the 2nd and 7th vinyasas as shown in the picture (study it carefully) and remain in these positions. The 2nd vinyasa is the right-side trivikramasana sthiti. The 6th vinyasa as shown is the left-side trivikramasana sthiti. The picture shown here only demonstrates the left-side trivikramasana. It is important that equal recaka and puraka kumbhaka must be carefully observed while practising this asana. Keep the gaze fixed on the midbrow.
38 Gandabherundasana (Figure 4.86, 4.87)
This has 10 vinyasas. The 6th and 7th vinyasas show the asana sthiti. The first picture shows the 6th vinyasa and the second picture shows the 7th. In the
4th vinyasa, come to caturanga dandasana sthiti and in the 5th vinyasa proceed to viparita salabasana sthiti. In the 6th vinyasa, spread the arms out wide, keeping them straight like a stick (like a wire) as shown in the picture. Take the soles of both feet and place them next to the ears such that the heels touch the arms and keep them there.
Next, do the 7th vinyasa as shown in the second picture. This is called supta ganda bherundasana. In this asana sthiti and in the preliminary positions, do equal recaka puraka kumbhaka. Keep the gaze fixed on the midbrow.
from Yoga Makaranda ‘Part II’
26. PINCA MAYURASANA
Technique:
1. Kneel on the ground. Now place the forearms on the ground in front parallel to each other and about 12 inches apart. The elbows should be about 12 inches in front of the knees. The palms with fingers stretched and close together should be touching the ground. 2. Raise the head. Lift the knees slightly from the ground. Inhale deeply, hold the breath, jump and take the legs above, so that the body is balanced on the forearms. Spread the legs. The legs are bent backward so that the leg is in the form of a bow.
3. Cross the legs as in Padmasana. Take one or two deep breaths. There should be no retention of breath. The eyes should gaze at the midpoint of the eye brows.
31. ARDHA MATSYENDRASANA - Section A.
Technique:
Sit erect, with both legs stretched in front.
Bend one leg, say the right, at the knees, and place the foot of the right leg on the left
thigh, so that the heel of the right foot is as near the naval as possible. The tendency of the stretched leg to twist to the left should be resisted. The foot of the left leg should be perpendicular to the ground. The knees should not be more than 12 inches apart.
3. Exhale slowly, and twist the trunk to the left, keeping the spine erect. Take the left hand behind the back so that the fingers of the left hand may catch hold of the right leg at the shin, just above the ankle.
Twist the head to the left so that the chin is above the left shoulder.
The right hand is stretched and the outside of the left foot is caught hold of by the
palm of the right hand. The fingers of the right hand should touch the sole of the left foot. In this position the shoulder blades and right arms will be in a straight line.
6. The eyes should gaze at the tip of the nose in the case of married people. In the case of those who are unmarried the gaze may be to the midpoint of the eyebrows.
35. BADDHA PADMASANA
This asana is the counter pose to the ARDHA MATSYENDRASANA - Section A, and should be done immediately after that asana.
Technique:
1. Sit upright, with both legs stretched in front. Bend one of the legs, say the right, at the knee and place the foot on the left thigh as high as possible. The heel should be as near the navel as possible. Now bend the left leg at the knee and place the left foot on the right thigh as high as possible, and the heel as near the navel as possible. The knees should be as close as possible and touch the ground.
2. Take the left arm around the back and catch hold of the toes of the left foot by the right hand. Next, take the right hand behind the back and catch hold of the toes of the right foot by the fingers of the right hand.
Note: Which hand is taken round first is important. In the position described above, it will be observed that the LEFT leg is crossed over the right leg, and it is the LEFT arm that is taken round the round back first, to catch hold of the toes. When the asana is repeated on the other side, the right leg will be over the left leg and right arm will be taken round the back first.
3. Chin lock, chest forward. In the case of those who are married, the gaze should be to the tip of the nose, and in the case of the others the gaze should be to the midpoint of the eyebrows.
8. YONI MUDRA or SAMBAVI MUDRA or SHANMUKHI MUDRA
This mudra is so called, as in it, the JNANA INDRIYAS are sealed up. These are the external organs of sight, hearing, smell, taste, and speech, the ears, eyes, nose, and mouth. Technique:
1. Sit in any one of the sitting postures - PADMASANA, SVASTIKASANA, VAJRASANA etc. Spine erect, shoulders in line.
2. Place the thumbs to close the openings of the ears, the first and second fingers on the closed eyelids, the first finger above the eyeball and the second finger below the eyeball, the pressure should be light, the ring fingers at the side of the nostrils but without closing them, and the little fingers at the outer corners of the closed lips. The upper arms should be horizontal and in line with the shoulders. Chest should be raised and the stomach drawn in. Note: In the beginning of the practice, it is enough if the thumbs close the ear holds; at the next stage of the practice, the small flaps over the ear holds, Tragees (?), should be pressed over the ear holds by the thumbs; and at the stage of advanced practice, the lobes of the ear should be folded over the flaps and both pressed over the ear holds by the thumbs, so as effectively to exclude all external noise.
The mudra should preferably be done in a dark room. The room should be pleasant and cool and sweet smelling. A few incense sticks may be kept burning. One should sit facing in such a manner that at the end of the Mudra, when the eyes are slowly opened, cool breeze lays on the eyes.
Pranayama siddhi is to be attained before starting on the practice of this mudra.
The order in which the fingers are placed on the various organs is given below. First ears holes are closed, then the first and second fingers placed gently on the closed eyelids, then the ring fingers on the sides of the nostrils, and lastly the little fingers at the corners of the mouth. The eyes should internally gaze at a point midway between the eyebrows, and imagine and concentrate on a spot of light there.
5. Take long deep breaths, with hissing sound in the throat.
Note: During the first week practice for a minute, the second week for two minutes and slowly raise the duration to a maximum of five minutes. More than this period of 5 minutes can be practiced only by recluses, it is not for those in ordinary life.
There is also a variation of this mudra where the fingers are not used for closing the organs to exclude external stimuli, but this is for advanced students.
It gives additional benefit if the eyes are washed before the exercise with a slightly warm lotion made of water in which a very small crystal of refined camphor is dissolved.
4. The fingers are removed in the reverse order. First the little fingers then the ring fingers then the first and second fingers and last the thumbs. The eyes are very slowly opened, the internal gaze brought down to gaze at the tip of the nose, and the gaze slowly raised to the middle distance and then to the level as the eyes are fully opened. As mentioned in the second note under step 2, it should be arranged for cool breeze to play on the open eyes at this time. It is important that there should be no abrupt opening of the eyes, as this is extremely harmful.
DHYANA or MEDITATION
This forms the seventh step in ASHTANGA YOGA. It has advisedly been placed thus, as a proper practice. Progress and benefit in this step is ensured only by systematically following the previous steps: YAMA, NIYAMA, ASANA, PRANAYAMA, etc.
It is futile to attempt the practice of DHYANA without first strengthening the JNANA- INDRIYAS or higher organs of perception which are to be used in this practice. In its turn the strengthening of the higher organs of perception requires a healthy body capable of proper circulation of rich blood and pure air in these organs and of healthy nerves. This can be achieved only by the regular and systematic practice of asana, PRANAYAMA, wholesome and bland food (SATVIC FOOD) taken in moderation, proper frame of mind (NIYAMA), proper practices in physical cleanliness (YAMA), and preservation of vitality (BRAHMACARYA).
When once a fair proficiency has been attained in asana and pranayama, the aspirant to dhyana has to regulate the time to be spent on each and choose the particular asanas and pranayama which will have the most effect in strengthening the higher organs and centres of perception and thus aid him in attaining dhyana.
The best asanas to choose for this purpose are SIRSHASANA and SARVANGASANA. These are to be done with proper regulated breathing and with bandhas. The eyes should be kept closed and the eye balls rolled as if they are gazing at the space between the eyebrows. It is enough if 16 to 24 rounds of each are done at each sitting.
As DHYANA is practiced in one of the following sitting postures, these asanas should also be practiced, to strengthen the muscles that come into play in keeping these postures steady. The eyes are kept closed and the eyeballs turned internally to gaze at the space between the eyebrows. If the eyes are kept open, the gaze is directed to the tip of the nose. It is enough if 12 rounds of each asana is done.
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Ramaswami on Drishti in krishnamacharya's later teaching
How is Drishti used in Vinyasa Krama?
Drishti is mentioned in many of Pattabhi Jois works, but for all those years I've been studied with Krishnamacharya, he never mentioned about Drishti. He never mentioned about it. Only thing he will say, whenever you do Trataka you gaze at the lamp, and then internalize it. That's about all. But whether you must look at the toe, and all that I find, that kind of thing he never mentioned. Keep your head down, and your eyes closed. Most of the time our eyes are closed, we are following the breath. Most of the asanas you keep the eyes closed and work with the breath. Concentrate on breath, except in standing poses. When you are doing Paschimottanasana, you better have your eyes closed, so that you will be able to focus on the breath and the bandhas. Everything is happening inside, you don't need to keep your eyes open. Wild Yogi Magazine interview
These quotes use either drishti, gaze or look
Drishti quotes
The method for doing the Surya Namaskara has been described in various ways by various people. We cannot categorically state which is correct, but when we reflect on the science of yoga, we see that the tradition of the Surya Namaskara follows, in the main, the method of vinyasa, or breathing and movement system, the movements of rechaka, or exhalation, puraka, or inhalation, and meditation. According to the yoga shastra, this tradition includes: vinyasa; rechaka and puraka; dhyana [meditation]; drishti [sight, or gazing place]; and the bandhas [muscle contractions, or locks]. And this alone is the method which should be followed when learning the Surya Namaskara, as yogis declare from experience. Indeed, the Sun Salutations done without following the rules mentioned above are little more than exercise, and not true Surya Namaskara.
SECOND SURYA NAMASKARA, 7TH VINYASA
This is the method for the first Surya Namaskara, which is often practiced while chanting mantras. For this, meditation is very important, as are the drishti, or gazing places, which include: nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows] for the 1st vinyasa; nasagra dristri for the 2nd vinyasa; the gaze between the eyebrows for the 3rd vinyasa—in other words, for the odd-numbered vinyasas, the gaze should be focused between the eyebrows and, for the even-numbered ones, the gaze should be on the tip of the nose. In addition, for the even- numbered vinyasas, rechaka should be performed and, for the odd, one should do puraka. On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead. A sadhaka [spiritual aspirant] should learn it with patience.
Those who practice the Surya Namaskara in accordance with scriptural rules must never forget to be
mindful of the drishti, bandhas, dhyana, rechaka, and puraka, as discussed earlier.
Gaze quotes
3. UTTHITA TRIKONASANA
Then, turn the left foot to the left, and doing rechaka, reach down and take hold of the big toe, gaze at the tip of the raised hand, and do puraka and rechaka as much as possible; this is the 4th vinyasa.
4. UTTHITA PARSHVAKONASANA
Then, doing rechaka , turn the right foot out, bend the knee completely, place the right hand by the side of the right foot, stretch the left arm straight out over the ear, and gaze at the fingertips; this is the 2nd vinyasa, which is the state of the asana and during which puraka and rechaka should be done as much as possible.
41. PADMASANA
BENEFITS OF BADDHA PADMASANA & PADMASANA
When in the 9th vinyasa of Baddha Padmasana, or Yoga Mudra, one should meditate upon one’s chosen deity (ishta devata), while directing the gaze between the eyebrows and doing rechaka and puraka as much as possible.
42. UTH PLUTHI
The arms, spine, and neck should be kept completely straight, the chin tilted down a little, and the gaze should be directed on the tip of the nose. Then, jump back into the 4th vinyasa of the first Surya Namaskara
See also drishti/gaze quote above for Second surya namaskar.
Looking Quotes
METHOD FOR DOING THE FIRST SURYA NAMASKARA
Then, taking the breath in slowly through the nose, raise the arms straight up over the head, bring the hands together, lean the head back a little, and look at the fingertips; this is the 1st vinyasa.
7. UTTHITA HASTA PADANGUSHTASANA
Next, doing rechaka, bring the right leg out to the right, hold the arm, leg, waist, and chest straight, and look to the left, breathing fully and deeply as much as possible; this the 4th vinyasa.
26. UPAVISHTA KONASANA
Next, doing puraka, lift only the head, do rechaka, and without losing hold of the sides of the feet, come up to sit straight on the buttocks while doing puraka, hold the raised legs wide apart and straight, as in the 8th vinyasa, keep the chest, arms, and waist straight, look up, and do rechaka and puraka as much as possible; this is the 9th vinyasa.
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Also these quotes on drishti from Guy Donahaye's Ashtanga yoga Sangha website with transcriptions of public talks by Pattabhi Jois.
Guruji: Only for nose breathing, sometimes asanas taking time, breathing is coming ears, that is very dangerous, that is no good. Only for nose, complete close your mouth. Nose breathing, that is health. With throat and nose including you take breathing, without throat including, breathing is not cleaning your blood.
Question: And mind? When you are looking one place? Your mind is going this place?
Guruji: No, no, no, why is going there?
Question: I don't know. What about controlling all the senses?
Guruji: Three portions are there, that is called trishtanam. Trishtanam means: one posture, one drishti, looking place, one breathing system. Without these three, mind control is very difficult. That's why you take breathing system, posture and drishti, that is three important. Posture is coming, breathing is correct, posture is correct is coming. Breathing is not correct, posture is not correct.
Inhalation time exhalation is doing, exhalation time inhalation is doing - posture is not correct. Good posture you want, correct breathing you take. After, you look drishti, you take drishti. Nine drishti is there, no three drishti, you take every asana. After, mind gradually is controlling possible.
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If you want yoga, real yoga, you take practice. Don’t take another placeyour mind. Don’t be stupid. Take practice, practice, practice,practice. Suspicion is came, you ask any one question, I am telling -no problem. But now you take practice - is very first important. But youtake method, and this everyday I am telling, take method: breathingsystem (viyasa), postures, looking (drishti), all including - you take practice, God (will) givegood health and mind. No problem. Thank you very much.
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That is why I am telling method. Youfollow that method. Breathing and breathing system (vinyasa) is veryimportant. Posture, breathing system and looking place (drishti). All is veryimportant. That is why, these you follow. These is given by God, Goodhealth and prosperity. Thank you very much.
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Question: While doing tolasana at the end of practice, which is the correct drishti?
Answer: Both sides: Pull up. Pull upping time you take Nasagra dristi. One also here also, both dristi, no problem. Nasagrai dristi and broomadhya dristi.
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Manju Jois on Drishti
"First asana then bring in drishti, then bandhas, then philosophy".
Sharath on Drishti (conference notes reports)
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With correct drishti and proper attention we should not be bothered by that wayward limb, loud breath, or the accidental or intentional bump.
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Answer – yes, these three things are very important. This develops your focus and concentration. So when you go to the next step – pranayama and dhyana (meditation) – these things will help you, they will help you to concentrate. This is dhyana what you are doing, it becomes like that.
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from interviews by Guy Donahaye's Ashtanga yoga Sangha website
GUY: What is unique about Ashtanga Yoga?sharath
SHARATH: First I would like to say that Ashtanga yoga is totally unique. I’ve seen many other systems of yoga, which are not even close to Ashtanga Yoga: they don’t give any prominence to breathing or gazing (drishti) or all those things. In Ashtanga the main thing is not only posture but you have to do the breathing correctly, that is ujjaya breathing and vinyasa krama - that vinyasa krama I’ve not seen in any other form yoga.
This is a very powerful practice, which came from Krishnamacharya and it is unique in its effect on the body. So what I personally feel is that this type of yoga is more powerful than the other types of yoga I have seen. Mostly they do sitting in one posture and just relaxing in the posture, there’s hardly
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And from left field....
from Iaido
"The Iaido is the way to pursue formation of character by practcing
the law of Ken (sword)".
Metsuke
Metsuke is the term used to describe “gaze”. The direction of the gaze is always towards the opponent, and it can be a wide gaze or narrow gaze, but never a fixated gaze.
In iaido, we talk about Enzan no Metsuke, which means “far mountain viewing”. The term originates with the idea that you must view the opponent as a whole, the same way you would look at a faraway mountain to take in its entire beauty at once.
Another famous phrase about metsuke is the Kan Ken no Metsuke. “Kan no me” is the seeing of the nature of things, and “ken no me” is the seeing of the surface phenomenon. It is said that when viewing an opponent, it is important not only to recognize the posture and body appearance, but to recognize with a keen eye his mental state and thoughts through his posture and body language.
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8. Metsuke (Positioning of the eyes)
Metsuke is the positioning of the eyes when one faces one's opponent.
It is also the way one should observe one's opponent. Since a long time ago, it has been said there are two methods two methods of, Ka-Ken-no-Metsuke. As the eyes are the window, window of the mind, and the eyes' movement reflects the mind working; it is important to see the movement of the opponent's entire body by focusing on one's eyes. That is so called En-zan- no-Metsuke, which means watching one's opponent as if one is looking at the distant mountains.
from the Doctrine of Iaido
Eyes open Eyes closed?
from Zen training methods and Philosophy Katuki Sekida
And from left field....
from Iaido
"The Iaido is the way to pursue formation of character by practcing
the law of Ken (sword)".
Metsuke
Metsuke is the term used to describe “gaze”. The direction of the gaze is always towards the opponent, and it can be a wide gaze or narrow gaze, but never a fixated gaze.
In iaido, we talk about Enzan no Metsuke, which means “far mountain viewing”. The term originates with the idea that you must view the opponent as a whole, the same way you would look at a faraway mountain to take in its entire beauty at once.
Another famous phrase about metsuke is the Kan Ken no Metsuke. “Kan no me” is the seeing of the nature of things, and “ken no me” is the seeing of the surface phenomenon. It is said that when viewing an opponent, it is important not only to recognize the posture and body appearance, but to recognize with a keen eye his mental state and thoughts through his posture and body language.
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8. Metsuke (Positioning of the eyes)
Metsuke is the positioning of the eyes when one faces one's opponent.
It is also the way one should observe one's opponent. Since a long time ago, it has been said there are two methods two methods of, Ka-Ken-no-Metsuke. As the eyes are the window, window of the mind, and the eyes' movement reflects the mind working; it is important to see the movement of the opponent's entire body by focusing on one's eyes. That is so called En-zan- no-Metsuke, which means watching one's opponent as if one is looking at the distant mountains.
from the Doctrine of Iaido
Eyes open Eyes closed?
from Zen training methods and Philosophy Katuki Sekida
THE EYES AND VISUAL ATTENTION The eyes have a very important role in practicing zazen and realizing samadhi, and I now wish to make some observations on them. I do this with some reluctance, since what I propose differs from the traditional precepts about the use of the eyes. Zen teachers almost always advocate keeping the eyes open or half-open in zazen. We are indeed usually advised strongly against zazen with the eyes closed. The reason usually given for this is that practice with closed eyes leads to sleepiness and wandering thoughts. This is admittedly good advice for beginners. Personally, however, I always close my eyes when practicing zazen. In my experi ence, when the eyes are open the mind naturally looks outward. If I want to direct my attention inward, I have to make a deliberate effort to exclude the visual sensations received through the eyes. Closed eyes spare me the difficulty and facilitate inward attention.
Outwardly directed attention is connected with positive samadhi, inward attention with absolute samadhi. It is true that thought can be inhibited even with the eyes open, but one cannot prevent the eyes from reflecting external objects, and sensation inevitably occurs. This fact makes it somewhat difficult for us to enter completely into absolute samadhi. Perhaps those who keep their eyes open are practic ing positive samadhi. Unfortunately, most Zen students do not know the difference between positive and absolute samadhi. It is true that even the practice of positive samadhi can bring about kensho, and students who experience this may be well satisfied with their practice. However, my belief is that such a practice will lead to only a partial grasp of Zen. There are numerous cases of people who attain so-called kensho but who by and by disappear from the Zen circle, to be heard of no more. Perhaps they did not penetrate deeply enough into Zen.
We can distinguish two kinds of attention, abstract and sensory, the former operating independently of the sense organs, the latter employing them. Sensory attention is, of course, of various kinds: visual, auditory, bodily, and so on. In zazen practice, sensory atten tion is more effective than abstract attention. The latter tends to become exhausted rather quickly. If you simply work abstractly on Mu, you will rather quickly be overcome by wandering thoughts, but if you use your visual attention to look into yourself-and more pre cisely, to look into the tanden-you will reach a state of awareness of your existence itself. And you will also find that you are steadily getting into absolute samadhi. Profound silence envelops you. It is as if you were going down into the depths of the sea, ultimately to settleon the bottom of it.
When I close my eyes and direct my visual attention inward, at first I can see only darkness, but presently the inner scene becomes clearly lit, and the mind's eye is steadily looking into the innermost part of myself. This inward direction of the visual attention always tends to be accompanied by bated breath, and also by bodily atten tion. These three elements, visual attention, bated breath, and bodily attention, eventually fuse into a single act of concentration that con stitutes a powerful driving force toward absolute samadhi. We can call this driving force "will power" or "spiritual power."
Auditory attention naturally tends to be outwardly directed. When you listen to the ticking of a clock, your mind is directed toward the sound, and this leads to positive samadhi. Visual attention, too, is normally directed outward. Only when you close the eyes can you direct attention completely inward.
If, as an experiment, you concentrate attention on the palms of your hands as they lie in your lap, you will feel a delicate tremor there (possibly caused by the bloodstream), and you will be directly con-nected with the existence of the palms. You are exercising bodily attention. Whenever visual attention is directed upon any part of the body, bodily attention necessarily makes its appearance there. It is as if a spotlight were thrown there in search of some important object. The clear feeling of the palms now occupies your whole attention.
In other words, you are concentrating your mind on the palms. In practice, visual attention, bodily attention, and the mind are here one and the same thing.
Or again, direct your visual attention to your arms and try to watch them in imagination. You will find that your breathing slows down, your body becomes quieter than it was before, and a condition of gentle, constant tension develops in the skin. Almost at once, you will probably feel a delicate, thrill-like sensation occurring first around the back of the upper arms and hands, then spreading quietly in all directions. At the same time another thrill-like, delicate vi bration will start to appear first around the ears, then will spread to the cheeks, forehead, throat, and shoulders. The sensation of thrilling is accompanied by a clear feeling of delight that calms the body and mind. The condition of the internal organs, the blood circulation,
and other psychophysical matters are all reflected in the skin. The thrill will presently subside, and then there comes a peace and silence, dominating the body and mind. Off-sensation sets in before you are aware of it. There is a definite affinity between the thrill-like sensa tion and off-sensation, and the latter follows the former.
As a beginner you may not immediately experience all this, but the fact of knowing that such a phenomenon occurs will help you to acquire the ability to bring it about rather readily. The thrill-like sen sation will be less frequently experienced by more practiced students and will generally be skipped altogether when you are mature. There are also some people who do not experience the thrilling at all, per haps for constitutional reasons. They have no need to worry about this, as the thrill is not a necessary condition of entering samadhi. Many musicians, poets, and painters, however, seem to be familiar with the sensation of thrilling. Hakuin Zenji describes another method of inducing off-sensation, which is somewhat analogous to that which we have just described in that it involves concentrated visual and bodily attention. He instructs you to imagine that a soft cake of incense is placed on the top of your head. The cake melts and gradually soaks down into the forehead, cheeks, and throat, and then on into the chest, stomach, belly, and legs. Off-sensation will soon follow.
When you have attained proficiency in the practice of these tricks, a trace will be left in your body and mind, so that even when you do not resort to them off-sensation will rather easily occur in your zazen practice.
If you direct visual attention not to the palms or the arms but to your interior-to be precise, to the tanden-you will find yourself looking steadily into your own existence. When you are mature in this practice, you can enter absolute samadhi in the space of one breath.
Experienced Zen students who are successful in their practice must be using this inwardly directed visual attention, but they seem never to have reflected upon the fact, much less analyzed it clearly enough to be able to tell others about it. There is a great difference between doing a thing knowingly and unknowingly. Lacking a clear understand ing of what they are doing, it is likely that they will sometimes find there is something not quite right with their practice, without being able to identify the fault. Some Zen students probably resort simply to abstract attention to Mu and then find that they are subject to stray thoughts, since this sort of attention readily becomes fatigued.
Once again, direct your visual attention to the tanden. The sensa tion of the tanden will suddenly become apparent and fill your mind. You will find you are steadily and strongly holding and watching your self. Now let the tension of the respiratory muscles relax, and with draw the visual attention; you will be merely abstractly thinking of the tanden and you will find that your concentration is drastically weakened.
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Just booked John Scott's Astanga Yoga Weekend Workshop In Brighton
I've been wanting to go to one of John Scott's workshops for years, first he was too far away in NZ then he came back to the UK but was down in the South West. I was hoping to go to one of his week long intensives but it kept getting put off. If I don't catch this workshop in Brighton it may be years before I get another chance...unless he comes to Japan of course.
Any recommendations for reasonably priced places to stay in Brighton Saturday night?
Any recommendations for reasonably priced places to stay in Brighton Saturday night?
 John is a world renowned practitioner and teacher of Astanga Vinyasa Yoga and presents his workshops all over the world. Certified to teach Astanga in 1995 by Shri K Pattabhi Jois, John teaches in an individual, analytical and sensitive way which touches his students deeply. He will offer four workshops across the weekend incorporating theoretical, technical and practical sessions, and each will progress to the next so students are encouraged to attend all four. The cost for the full weekend of four workshops is £150. PLEASE NOTE: The venue for these workshops is Knoyle Hall, Knoyle Road, Brighton BN1 6RB. All bookings must be made via BNHC Yoga mats will not be provided unless pre-arranged with BNHC. Please let us know if you wish to borrow a mat. WORKSHOP 1: STRUCTURE/CHIKITSA/THE GROUNDING SERIES (theory and technique practice class) Chikitsa, or the Primary Series as it is commonly known, is the beginning series of yoga asana. The intention of this series is to restore health to the 'BodyMind' and it is therefore the 'Grounding Series Introducing Tristana' (the three stabilising techniques/focuses of Astanga Vinyasa Yoga). In this introductory workshop John will present an 'overview' of Astanga Vinyasa Yoga, a 'specific view' of Tristana, and maybe in the process the group will be able to adjust their own 'points of view' or 'view points' and thus arrive in 'Embodied Mindfulness'. Date: Saturday 29 March Time: 10-12pm Venue: Knoyle Hall WORKSHOP 2: 2:46 sthira-sukham-asanam INCREASING STAVA/BRINGING CLARITY AND LIGHT (practice class) Through the practice of Vinyasa and Asana, Tamas (darkness, indifference) and Rajas (passion, activity) are balanced and reduced bringing about the conditions for Satva (purity, goodness) to increase. In this class John will present a Counted Primary Series, bringing together the whole group as One Breath Body Mind, synchronously flowing as One Consciousness...A Movement Meditation. Date: Saturday 29 March Time: 1-3pm Venue: Knoyle Hall WORKSHOP 3: 1:12 abhyasa vairagyabhyam tannirodhah LETTING GO/HAVING NO ATTACHMENT TO THE OUTCOME (practice class) Through the vinyasa series one learns that no one asana or sequence is better or worse, easy or difficult. Once again, John will present a counted class - at the point of practice when the 'class mind' is clear (depending on the level of students) John will introduce elements of the Second Series. Date: Sunday 30 March Time: 10-12pm Venue: Knoyle Hall WORKSHOP 4: BANDHA/EMBODYING MINDFULNESS (theory and technique practice class) As health and balance returns and the student of yoga progresses, the purpose of asana shifts to preparing 'BodyMind' for the practice of Pranayama and Meditation. In the final session of the weekend John will present the basics and initial steps to Pranaayama, Pratyahara, Dhrana and Dhyana. Date: Sunday 30th March Time: 1-3pm Venue: Knoyle Hall COST FOR FULL WEEKEND OF FOUR WORKSHOPS £150. Book here |
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The Ashtanga Vinyasa Count: How it actually works - A Love Letter
My Darling
It struck me that I may have confused you a little with my post regarding Learning the Ashtanga Vinyasa Count and how it can be beneficial perhaps to learn on which number the state(s) of an asana land(s). Sadly I'm not there with you to help make sense of it. If you were getting up and 5am and heading over to Spirit Mysore Osaka of course you could ask Veronique, but like me you're a home Ashtangi, we get to work this out for ourselves.
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Normally when you're confused on your mat next to mine I will notice you trying to work it out, first this way and then that, stopping and standing.... puzzled, hoping I might notice perhaps and come over to clear things up. If I'm feeling playful I might wait to come over, lovingly (cruelly) enjoying the theatre of your puzzlement out of the corner of my eye as you try and make sense of it for yourself or, even harder, to have me notice.
Sometimes you will actually stop me, hands together respectfully and with "Teacher", 'How does this work...how do I get from here to here...'. Either that or I will (think I) hear you mutter "Stupid Stupid" under your breath.
But now you're far away, oh so far away, mats separated by thousands of miles and practice by twelve hours or more, and also no wifi yet in nice our new house.
This then is for you, and any other home Ashtanga, an attempt to explain how we get from the full vinyasa to the half vinyasa count of Contemporary Ashtanga, how it actually works, where all the extra (uncounted) breaths come in.
The best thing to do of course is to consult Pattabhi Jois's Yoga Mala, Sharath's book (Eddie Sterne says there is a new updated version coming out), Petri Räisänen's recent 'up to date' book.... online there is the peerless ashtangayoga.info from Ronald Steiner and team ( without which home ashtanga would barely be possible), or,my favourite Ashtanga book for the Vinyasa count, John Scott's Ashtanga Yoga, all excellent in different way but while presenting the count and including the extra breaths, somehow they don't seem to stress those extra uncounted breaths, it's as if they are somewhat embarrassed by them ( I project of course)... if the system is perfect, semi divine, why would these extra inhalations and exhalation be necessary.
I've just booked myself on to John Scott's workshop, the more I explore the count the more questions I have.
I love the extra inhalations and extra exhalations, they make us realise that the vinyasa count can be paused as required, a couple of extra breaths included ( perhaps to help us bind in a postures) before picking up the count where we left off.
As it happens nothing tempts me to suspect that perhaps there was (is still somewhere) the Yoga Korunta ( the text on which Ashtanga Vinyasa is said to be based) than the imperfections of the Ashtanga system. What if there was such a text and Krishnamacharya saw it ( or it was recited to him) and it included a number of postures divided up into different groupings with a vinyasa count for each of those asana as well as numbers corresponding to the state of the asana in the vinyasa. Perhaps Krishnamacharya tried to recreate it, and as he would rediscover in his practice and teaching new (lost/forgotten) postures perhaps he would try to fit those too into some semblance of this vinyasa structure. Surely if you invented the system it would work, every breath would have a vinyasa count, there would be no need for an extra inhalation here and extra exhalation there. It's a nice theory, and that of course is all this blog contains, theories, it's certainly not history.
This then will be in three parts, first the Standing sequence in which we gain the basic principles, followed by another post on the Primary series and then a third on the Finishing sequence, which is actually pretty easy count wise. If I make any errors (and I'm sure to, they creep in) or it differes from current editions of (your favourite ) texts or how one (senior) teacher teaches, it then friends will surely let us know about it in comments, this is, as with the practice, a work in progress.
Before anything else you need to learn the Sanskrit count. Learn the first nine, to NAVA, that will get you through Surynamaskara A. Next add on up to 17, SAPTADASA for Surynamaskara B. Continuing up to 22, DVAVINSATAHI will account for most of the postures in Primary series. Add on the last few as you need them.
Counting In Sanskrit
1 = ekam
2 = dve
3 = trīṇi
4 = catvāri
5 = pañca
6 = ṣaṭ
7 = sapta
8 = aṣṭau
9 = nava
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
18 = aṣṭadaśa
19 = ekonavimśatiḥ
20 = vimśatiḥ
21 = ekāvimśatiḥ
22 = dvāvimśatiḥ
23 = trayovimśatiḥ
24 = caturvimśatiḥ
25 = pañcavimśatiḥ
26 = ṣoḍavimśatiḥ;
27 = saptavimśatiḥ
28 = aṣṭovimśatiḥ
Sanskrit Numbers from here ashtangayoga.info
Count while you walking along, matching the numbers to each step, or while working on making our house nice, or perhaps with each change of water as you wash the rice. Nice clean shiny rice for surynamaskara B and it's seventeen vinyasa.
Next, actually count yourself through your Surynamaska A during your practice, nine vinyasa
notice how we tend to come UP on the inhalation, DOWN on the exhalation.
ekam - Inhaling, arms go UP
dve - Exhaling we fold over DOWN
trīṇi - Inhaling we flatten the back effectively coming UP
catvāri - Exhaling we jump back to Chatauranga ( kind of DOWN )
pañca - Inhaling we come through and UP
ṣaṭ - Exhaling, backside comes up and we effectively fold in to look at the navel (DOWN)
sapta - We jump our feet to our hands and Inhaling flatten the back as in DVE so UP
aṣṭau - Exhaling we fold over as in TRINI so DOWN
nava - Inhaling the arms come back UP
Notice too how the count stops after we raise our hands on NAVA, we just lower our hands to our side back to samastithi, it's not counted.
Once Sury A is comfortable, try it with Surynamaskara B, seventeen vinyasa.
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
Standing sequence: How the Vinyasa Count actually works.
CODE
First number followed by * is the number of vinyasas
The numbers after the star are the states of the asana
So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of
Jānuśīrṣāsanahave have 22 vinyasa each and that the states of the asana for each version are 8 and 15 ( IE. Both sides) I've included janu sirsasana at the bottom of this post as an example of how the seated postures work but in the second posture I'll be looking at all of them.
I've grouped asana that have the same vinyasa/state code to aid in memorising them.
In general I think we tend to think of a vinyasa as movement connected to the stage of a breath, inhale up EKAM, exhale down DVE, head up inhaling TRINI, jump back exhaling CATVARI….. And yet we find in the Ashtanga vinyasa system a number of extra uncounted inhalations and exhalations, It's almost better to think of a vinyasa as a moment or movements connected to one or more stages of the breath, all with a single count. Thus in the second vinyasa of Prasārita Pādottānāsana A, DVE, we exhale while folding towards the floor but then take an extra inhalation lifting the head and flattening the back so the vinyasa DVE would constitute an exhalation (counted) and inhalation (uncounted) as wells a downward and upward movement.
I say almost but we still want to associate the count with a particular stage of the breath. Supposedly the boys of the Mysore palace ( Krishnamacharya's students) used to go by whether a number was odd or even, odd numbers tended to signify inhalations and coming up, even numbers suggested exhalations and going down. Unfortunately the count as we have it now doesn't exactly work that way and it can lead to more confusion.
STANDING SEQUENCE
Sūryanamaskāra A = 9 vinyasa B = 17 vinyasa
The sury’s can be key to grasping the whole counted vinyasa practice as well as understanding how it shifts from full to half vinyasa, here’s Surynamaskara A.
1. ekam - Inhaling, arms go up (ODD NUMBER we move UP)
2. dve - Exhaling we fold over ( EVEN we move DOWN)
3. trīṇi - Inhaling we flatten the back and look up (ODD = UP)
4. catvāri - Exhaling we jump back to Chatauranga (EVEN we go BACK)
5. pañca - Inhaling we come through and up (ODD= UP)
6. ṣaṭ - Exhaling, backside comes up and we effectively fold in to look at the navel ( EVEN = DOWN)
7. sapta - We jump our feet to our hands and Inhaling flatten the back as in DVE (ODD=UP)
8. aṣṭau - Exhaling we fold over (EVEN=DOWN)
9. nava - Inhaling the arms come back (ODD=UP)
Samastithi Hands come back down to our sides (uncounted)
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Confusion right from the start
Pādāngusthāsana 3 * 2
Pāda Hastāsana 3 * 2
These two postures are confusing as the count seems to begin at the third vinyasa of Surynamaskara A (inhaling up, flattening the back) it seems like it should be TRINI rather than Ekam. What actually happens is that from samastithi we exhale while folding over and taking hold of our toes, THEN the count begins on Ekam as we inhale and look up, flattening the back.
Perhaps it’s considered a variation of uttanasana (the intense forward bend). If we were already in Uttanasana then we might look up on the inhalation flattening the back EKAM before folding back down into the state of the new asana as on DVE, as happens in fact in the second of these two postures pada hastasana. In full vinyasa, after our five breaths, we would inhale all the way up TRINI.
In Contemporary Ashtanga however we only look up, flattening the back on TRINI we would now take an extra uncounted exhalation and change our hand position for pada hastasana then inhale while looking back up and flattening the back again EKAM. We fold back down into the state of the asana DVE. After our five count we Inhale looking up flattening the back once more TRINI. That is the end of the vinyasa, to come back to samastithi we take an uncounted extra exhalation then just inhale back up to samastithi.
This has been a good example of the extra inhalations and exhalation we take to make the vinyasa count 'fit' the practice as well as the adaptions we make for half vinyasa and moving straight into a following posture rather than coming back up to samasthiti each time.
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Uthitta Trikoṇāsana A and B 5 * 2 , 4
We jump the legs apart while inhaling EKAM and fold straight down into the posture exhaling DVE, still on DVE we look and settle deeper into the posture during our five breaths. We come straight up inhaling TRINI and then straight back down into the other side exhaling CHATVARI. After the two states of the asana (IE.both sides) we come back to the same position inhaling PANCHA. In full vinyasa we would then jump back to samastihi (uncounted) However, in contemporary Ashtanga we go immediately into the state of the next asana, the reverse version, entering (windmilling up and over and down into the state of the asana) on DVE
Uthitta Pārśvakonāsana A and B 5 * 2 , 4
Notice that in this group we move straight into the asana and look up on the same count DVE (right side) and CHATVARI (left side) however we can adjust, settle deeper into the posture on our five breaths in the asana.
After inhaling up from Catvari we take our leg and arm spread position PANCHA the final vinyasa of the asana and then jump back to samastithi (uncounted)
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Prasārita Pādottānāsana A and D 5 * 3
The logistics of the four variation of vinyasa for this asana can be tricky, it takes several extra uncounted inhalations and exhalations to allow us to enter and exit on the correct count. To be frank this whole sequence is a bit of a mess, nothing quite fits and I'm sure ( in fact I know) several teachers present it differently.
A: After jumping the legs and arms apart while inhaling EKAM we fold and put our hands on the floor DVE, however the state of the asana is at TRINI therefore we need to take an extra uncounted inhalation looking up and flattening the back, before exhaling TRINI our head to the floor. After our five breaths we inhale up CATVARI but only half way, looking up and flattening the back, we take an extra uncounted exhalation and then inhale back up to standing PANCHA. Again, in full vinyasa we would jump back to samastithi, Manju still seems to teach it that way but generally in contemporary Ashtanga we continue straight on into the next variation.
B: We stretch out the arms inhaling EKAM, just as if we had jumped into the vinyasa from samastithi. DVE exhaling we bring our hands to our waist but now we need to take an extra uncounted inhalation before exhaling and lowering TRINI into the state of the asana. This time after our five breaths we inhale ALL the way up CATVARI and then exhale. This is the end of the vinyasa in contemporary Ashtanga but the count is still supposed to be five, we seem to have lost PANCHA altogether.
C: This one makes the most sense, we inhale the arms out EKAM, exhale them behind our back DVE, take an extra uncounted inhalation then lower into the state of the asana TRINI. We come up inhaling on CATVARI and exhale but again we seem to have lost PANCHA, the fifth vinyasa.
D: This one too is a little confusing. After the last variation C. we already have our hands on our waist, we could take an extra inhalation taking the arms out to the side and then exhale our hands to our side EKAM then take an extra inhalations before exhaling DVE and taking our toes. We need another extra inhalation lifting the head before exhaling TRINI into the state of the asana. Inhaling CATVARI we just lift the head and take yet another extra uncounted exhalation before inhaling back up PANCHA and then finally jumping back to samastithi, phew.
Logistically problematic.
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Pārśvottānāsana 5 * 2 , 4
Straight forward thankfully after the parasaritas. It's worth mentioning however that the arms get folded behind the back on EKAM while turning to the side before lowering DVE into the state of the asana.
Interesting to note here that Krishnamacharya would have us take several breaths at EkAM including kumbhaka after the inhalations, he does the same after coming back up out of the state of the asana. I noticed that John Scott in his introduction to his workshop states that '...no one asana or sequence is better or worse than any other'. Krishnamacharya too helps me to realise that ever vinyasa, every stage of the count is a posture in and of itself, often Krishnamachrya will have us pause and take breaths (as well as Kumbhakas) at different points within the sequence of an individual asana
Utthita Hasta Pādāṅguṣṭhāsana 14 * 2 , 4 , 7 , 11 , 14
Again, the count works fine here.
Ardha Baddha Padmottānāsana 9 * 2 + 7
While inhaling EKAM the leg comes up and we bind all on the same count. This can be challenging. However, and this holds for all the challenging postures, we can pause the count at EKAM taking as many extra breaths as we need to fully bind (or take up an option) and prepare to lower. When we are ready we need to complete an inhalation as that is what we paused our count on and then lower into the state of the asana on the next count IE. exhaling DVE. When we take extra breaths in this way we don't need to hurry them, keep them, just as long and slow and full as any other breath in our posture, in our vinyasa, use the breath to help us bind.Just as every asana is equal and every sequence so too is every stage of the vinyasa count as well as those of the extra inhalations and exhalations, in short every breath should carry equal weight whether it's the breath we take while in the state of the asana or while leading up to and out of it.
If that means in a led class that we only end up with one breath in the posture before everyone comes out of their asana so be it, we've maintained the integrity of our breath. In our own practice we can take those extra breaths AND the full count within the asana, that's the beauty of Mysore. If this means our practice is long then we have the option to jump to finishing after marichiyasana D and then pick it up at navasana the following day. better to sacrifice half a series than a single breath, this is a breathing practice.
Back to Ardha Baddha Padmottānāsana. We fold straight down into the posture on the exhalation DVE however, coming back up again we inhale just the head up TRINI, take an extra exhalation then inhale all the way up CHATVARI. Exhale while unbinding PANCHA. On the other side we inhale SHAT and bind and then fold all the way down exhaling into the state of the asana SUPTA. Coming back up is the same as on the first side we inhale up half way ASTAU, take the extra exhalation then inhale all the way up NAVA and unbind into samstithi.
Utkatāsana 13 * 7
SAPTA is a key part of the count ( this will become clear in the seated postures) and of the whole half-vinyasa/Contemporary Ashtanga approach, here we jump forward on SAPTA and take the arms up Inhaling. On the final exhalation of the five breaths, keeping the knees bent we bring our hands to the floor and lift the body up while inhaling ASTAU and then jump back. We transition through up and down dog but then, instead of jumping our feet to our hands at DVADASA as in the full vinyasa we switch back to SUPTA and inhaling step forward into Virabhadrasana. To me it feels a little like a record skipping, it happens through much of the seated postures, rather than complete the full vinyasa the count ‘skips’ back to SUPTA to come through directly into the next posture.
Vīrabhdrāsana 16 * 7 , 8 , 9 , 10
As with utkatasana there is the curios lift at the end of Virabhadrasana B, we need to bring the hands to the floor on the last exhalation of the five breaths then inhale while lifting the whole body up EKADESA and then jump back to chaturanga. As above with utkatasana after down dog the count Skips back to SUPTA as we jump through to Dandasana.
This is key to understanding the relationship between full and half vinyasa, the count stays the same, the first six vinyasas of Suryanamaskara are implied, we just don’t actually do them. The count for each posture begins at SUPTA as we step or jump through just as if we had transitioned back to standing and then all the way back again.
Another post to come on the actual Primary series. It's enough to work on the count in standing for a while and then just get on with our regular practice as usual. Once we get used to the count in standing then we can start adding on mentally, or why not, verbally counted primary postures.
Beloved, I hope that helps explain things a little or at least perhaps suggest that things can be partially explained but I suspect I've just confused things even more. Ultimately it really doesn't matter, inhale up, exhale down, inhale up prepare, exhale deepen (the posture), as a general rule of thumb that's enough to get you through a practice.
See you in two and a half months xxx
This from comments to the Learning the Ashtanga Vinyasa Count post
Anonymous 28 February 2014 12:49
Can you explain further: "So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of Jānuśīrṣāsana have have 22 vinyasa each and that the states of the asana for each versions are 8 and 15 ( IE. Both sides)?"
Does this mean Jānuśīrṣāsana A has 11 vinyasa for right and 11 for left side, Jānuśīrṣāsana B has 11 vinayas for right and 11 for left and Jānuśīrṣāsana C has 11 for right and 11 for left side, with the sides done alternately? Does "8" mean right side and "15" mean left side?
Anthony Grim Hall 28 February 2014 19:00
Hi Anon, I'm actually writing a post on How Full Vinyasa becomes half Vinyasa, looking at every posture in detail, showing were all the extra inhalations and exhalations come in to make the system 'fit' the count. I'm doing it because I'm not there in Japan with my wife to answer her questions about the count when they come up. This is should be stressed is my own explanation as I seek to make sense of the development of the vinyasa count historically, trying to expelling how it's been made to work, with it's extra uncounted inhalations and exhalations snuck in here and there.
No it doesn't mean each side has 11 vinyasa, doesn't work that way. If you were to separate the sides up and come back to standing after each side then they would both have 13 vinyasas. Confusing. Here's what I've written for janu Sirsasana, all three are the same even though C is more difficult to set up, it's all done on one inhalation whether A, B or C.
A preview of how the count works in seated postures using janu Sirsasana as an example.
Jānuśīrṣāsana A - C 22 * 8 , 15
CODE 22* = 22 vinyasa
8 = state of the asana on the first side
15= the state of the asana on the second side.
The count and the process is the same for all three Janu sirsasanas.
As with Ardha baddha pachimottanasana and Triyangmukha ekapada paschimottanasana the first six postures of the surynamaskara are implied ( as if we really had worked our way down from standing samastithi). We are in Downward facing dog exhaling (from the previous posture) which now becomes SAT we then jump through inhaling on SUPTA and immediately, still on the inhalation, bring the right foot into our groin, heel to perineum, and take hold of the toe of the other foot and look up, that’s all done on SUPTA. We exhale ASTAU (8) down into the state of the asana, traditionally head to knee (it’s in the name) but these days chin to knee or head to knee and then slide on to the chin. After our five breaths we sit up inhaling NAVA then take an extra uncounted exhalation allowing us to lift up on the next inhalation DASA while crossing our legs. We Jump back EKADASA and exhale into Chatuaranga. Up dog inhaling DVADASA, down dog exhaling TRAYODASA and then we are ready to Jump through again for the other side inhaling CATURDASA setting up to lower into the state of the asana, again all on on PANCHADASA (15). Now we repeat the exit, sitting up inhaling SODASA, the extra uncounted exhalation again so we can lift up inhaling and crossing our legs SAPTADASA and jump back exhaling into caturanga on ASTAUDASA. UP DOG inhaling EKONAVIMSATAHI (19) Down dog exhaling VIMSATAHI
BUT VIMSATAHI now switches back to become SAT ready for the next posture.
If we were doing full vinyasa after VIMSATAHI we would jump the feet to the hands inhaling while looking up and flattening the back EKAVIMSATAHI then fold over exhaling DVAVIMSATAHI (22) which completes the 22 vinyasa, we just stand back up into samastithi (uncounted).
As with all these postures we notice extra uncounted inhalations and exhalations as we make the vinyasa ‘fit’ into the sequence of breath and movement, remember we want to inhale up, exhale down.
Janu Sirsasana is quite straight forward but Janu C can be tricky, I have a dodgy knee and like to take a couple of breaths while setting in preparation for the state of the asana. That’s OK, jump through on SUPTA and take a couple of calm, steady, unrushed inhalations and exhalations while setting up all but the while saying to yourself SUPTA SUPTA SUPTA. When you ready to lower, take a final inhalation saying SUPTA to yourself one more time and then lower ASTAU into the state of the postures.
Coming out is the same come up inhaling NAVA and then take as many inhalations and exhalations as you need to allow your knee to come comfortably out of the posture, all the while saying NAVA NAVA NAVA mentally to yourself. When you're ready take your exhalation, then back on count, lift up inhaling DASA crossing the legs and jumping back.
Your Jump back might not be fully developed, that’s OK go through the motions preparing to step back while inhaling on DASA then step back while exhaling EKADASA.
It struck me that I may have confused you a little with my post regarding Learning the Ashtanga Vinyasa Count and how it can be beneficial perhaps to learn on which number the state(s) of an asana land(s). Sadly I'm not there with you to help make sense of it. If you were getting up and 5am and heading over to Spirit Mysore Osaka of course you could ask Veronique, but like me you're a home Ashtangi, we get to work this out for ourselves.
Sometimes you will actually stop me, hands together respectfully and with "Teacher", 'How does this work...how do I get from here to here...'. Either that or I will (think I) hear you mutter "Stupid Stupid" under your breath.
But now you're far away, oh so far away, mats separated by thousands of miles and practice by twelve hours or more, and also no wifi yet in nice our new house.
This then is for you, and any other home Ashtanga, an attempt to explain how we get from the full vinyasa to the half vinyasa count of Contemporary Ashtanga, how it actually works, where all the extra (uncounted) breaths come in.
The best thing to do of course is to consult Pattabhi Jois's Yoga Mala, Sharath's book (Eddie Sterne says there is a new updated version coming out), Petri Räisänen's recent 'up to date' book.... online there is the peerless ashtangayoga.info from Ronald Steiner and team ( without which home ashtanga would barely be possible), or,my favourite Ashtanga book for the Vinyasa count, John Scott's Ashtanga Yoga, all excellent in different way but while presenting the count and including the extra breaths, somehow they don't seem to stress those extra uncounted breaths, it's as if they are somewhat embarrassed by them ( I project of course)... if the system is perfect, semi divine, why would these extra inhalations and exhalation be necessary.
I've just booked myself on to John Scott's workshop, the more I explore the count the more questions I have.
I love the extra inhalations and extra exhalations, they make us realise that the vinyasa count can be paused as required, a couple of extra breaths included ( perhaps to help us bind in a postures) before picking up the count where we left off.
As it happens nothing tempts me to suspect that perhaps there was (is still somewhere) the Yoga Korunta ( the text on which Ashtanga Vinyasa is said to be based) than the imperfections of the Ashtanga system. What if there was such a text and Krishnamacharya saw it ( or it was recited to him) and it included a number of postures divided up into different groupings with a vinyasa count for each of those asana as well as numbers corresponding to the state of the asana in the vinyasa. Perhaps Krishnamacharya tried to recreate it, and as he would rediscover in his practice and teaching new (lost/forgotten) postures perhaps he would try to fit those too into some semblance of this vinyasa structure. Surely if you invented the system it would work, every breath would have a vinyasa count, there would be no need for an extra inhalation here and extra exhalation there. It's a nice theory, and that of course is all this blog contains, theories, it's certainly not history.
This then will be in three parts, first the Standing sequence in which we gain the basic principles, followed by another post on the Primary series and then a third on the Finishing sequence, which is actually pretty easy count wise. If I make any errors (and I'm sure to, they creep in) or it differes from current editions of (your favourite ) texts or how one (senior) teacher teaches, it then friends will surely let us know about it in comments, this is, as with the practice, a work in progress.
Before anything else you need to learn the Sanskrit count. Learn the first nine, to NAVA, that will get you through Surynamaskara A. Next add on up to 17, SAPTADASA for Surynamaskara B. Continuing up to 22, DVAVINSATAHI will account for most of the postures in Primary series. Add on the last few as you need them.
Counting In Sanskrit
1 = ekam
2 = dve
3 = trīṇi
4 = catvāri
5 = pañca
6 = ṣaṭ
7 = sapta
8 = aṣṭau
9 = nava
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
18 = aṣṭadaśa
19 = ekonavimśatiḥ
20 = vimśatiḥ
21 = ekāvimśatiḥ
22 = dvāvimśatiḥ
23 = trayovimśatiḥ
24 = caturvimśatiḥ
25 = pañcavimśatiḥ
26 = ṣoḍavimśatiḥ;
27 = saptavimśatiḥ
28 = aṣṭovimśatiḥ
Sanskrit Numbers from here ashtangayoga.info
Count while you walking along, matching the numbers to each step, or while working on making our house nice, or perhaps with each change of water as you wash the rice. Nice clean shiny rice for surynamaskara B and it's seventeen vinyasa.
Next, actually count yourself through your Surynamaska A during your practice, nine vinyasa
notice how we tend to come UP on the inhalation, DOWN on the exhalation.
ekam - Inhaling, arms go UP
dve - Exhaling we fold over DOWN
trīṇi - Inhaling we flatten the back effectively coming UP
catvāri - Exhaling we jump back to Chatauranga ( kind of DOWN )
pañca - Inhaling we come through and UP
ṣaṭ - Exhaling, backside comes up and we effectively fold in to look at the navel (DOWN)
sapta - We jump our feet to our hands and Inhaling flatten the back as in DVE so UP
aṣṭau - Exhaling we fold over as in TRINI so DOWN
nava - Inhaling the arms come back UP
Notice too how the count stops after we raise our hands on NAVA, we just lower our hands to our side back to samastithi, it's not counted.
Once Sury A is comfortable, try it with Surynamaskara B, seventeen vinyasa.
10 = daśa
11 = ekādaśa
12 = dvādaśa
13 = trayodaśa
14 = caturdaśa
15 = pañcadaśa
16 = ṣoḍaśa
17 = saptadaśa
Standing sequence: How the Vinyasa Count actually works.
CODE
First number followed by * is the number of vinyasas
The numbers after the star are the states of the asana
So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of
Jānuśīrṣāsanahave have 22 vinyasa each and that the states of the asana for each version are 8 and 15 ( IE. Both sides) I've included janu sirsasana at the bottom of this post as an example of how the seated postures work but in the second posture I'll be looking at all of them.
I've grouped asana that have the same vinyasa/state code to aid in memorising them.
In general I think we tend to think of a vinyasa as movement connected to the stage of a breath, inhale up EKAM, exhale down DVE, head up inhaling TRINI, jump back exhaling CATVARI….. And yet we find in the Ashtanga vinyasa system a number of extra uncounted inhalations and exhalations, It's almost better to think of a vinyasa as a moment or movements connected to one or more stages of the breath, all with a single count. Thus in the second vinyasa of Prasārita Pādottānāsana A, DVE, we exhale while folding towards the floor but then take an extra inhalation lifting the head and flattening the back so the vinyasa DVE would constitute an exhalation (counted) and inhalation (uncounted) as wells a downward and upward movement.
I say almost but we still want to associate the count with a particular stage of the breath. Supposedly the boys of the Mysore palace ( Krishnamacharya's students) used to go by whether a number was odd or even, odd numbers tended to signify inhalations and coming up, even numbers suggested exhalations and going down. Unfortunately the count as we have it now doesn't exactly work that way and it can lead to more confusion.
STANDING SEQUENCE
Sūryanamaskāra A = 9 vinyasa B = 17 vinyasa
The sury’s can be key to grasping the whole counted vinyasa practice as well as understanding how it shifts from full to half vinyasa, here’s Surynamaskara A.
1. ekam - Inhaling, arms go up (ODD NUMBER we move UP)
2. dve - Exhaling we fold over ( EVEN we move DOWN)
3. trīṇi - Inhaling we flatten the back and look up (ODD = UP)
4. catvāri - Exhaling we jump back to Chatauranga (EVEN we go BACK)
5. pañca - Inhaling we come through and up (ODD= UP)
6. ṣaṭ - Exhaling, backside comes up and we effectively fold in to look at the navel ( EVEN = DOWN)
7. sapta - We jump our feet to our hands and Inhaling flatten the back as in DVE (ODD=UP)
8. aṣṭau - Exhaling we fold over (EVEN=DOWN)
9. nava - Inhaling the arms come back (ODD=UP)
Samastithi Hands come back down to our sides (uncounted)
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Confusion right from the start
Pādāngusthāsana 3 * 2
Pāda Hastāsana 3 * 2
These two postures are confusing as the count seems to begin at the third vinyasa of Surynamaskara A (inhaling up, flattening the back) it seems like it should be TRINI rather than Ekam. What actually happens is that from samastithi we exhale while folding over and taking hold of our toes, THEN the count begins on Ekam as we inhale and look up, flattening the back.
Perhaps it’s considered a variation of uttanasana (the intense forward bend). If we were already in Uttanasana then we might look up on the inhalation flattening the back EKAM before folding back down into the state of the new asana as on DVE, as happens in fact in the second of these two postures pada hastasana. In full vinyasa, after our five breaths, we would inhale all the way up TRINI.
In Contemporary Ashtanga however we only look up, flattening the back on TRINI we would now take an extra uncounted exhalation and change our hand position for pada hastasana then inhale while looking back up and flattening the back again EKAM. We fold back down into the state of the asana DVE. After our five count we Inhale looking up flattening the back once more TRINI. That is the end of the vinyasa, to come back to samastithi we take an uncounted extra exhalation then just inhale back up to samastithi.
This has been a good example of the extra inhalations and exhalation we take to make the vinyasa count 'fit' the practice as well as the adaptions we make for half vinyasa and moving straight into a following posture rather than coming back up to samasthiti each time.
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Uthitta Trikoṇāsana A and B 5 * 2 , 4
We jump the legs apart while inhaling EKAM and fold straight down into the posture exhaling DVE, still on DVE we look and settle deeper into the posture during our five breaths. We come straight up inhaling TRINI and then straight back down into the other side exhaling CHATVARI. After the two states of the asana (IE.both sides) we come back to the same position inhaling PANCHA. In full vinyasa we would then jump back to samastihi (uncounted) However, in contemporary Ashtanga we go immediately into the state of the next asana, the reverse version, entering (windmilling up and over and down into the state of the asana) on DVE
Uthitta Pārśvakonāsana A and B 5 * 2 , 4
Notice that in this group we move straight into the asana and look up on the same count DVE (right side) and CHATVARI (left side) however we can adjust, settle deeper into the posture on our five breaths in the asana.
After inhaling up from Catvari we take our leg and arm spread position PANCHA the final vinyasa of the asana and then jump back to samastithi (uncounted)
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Prasārita Pādottānāsana A and D 5 * 3
The logistics of the four variation of vinyasa for this asana can be tricky, it takes several extra uncounted inhalations and exhalations to allow us to enter and exit on the correct count. To be frank this whole sequence is a bit of a mess, nothing quite fits and I'm sure ( in fact I know) several teachers present it differently.
A: After jumping the legs and arms apart while inhaling EKAM we fold and put our hands on the floor DVE, however the state of the asana is at TRINI therefore we need to take an extra uncounted inhalation looking up and flattening the back, before exhaling TRINI our head to the floor. After our five breaths we inhale up CATVARI but only half way, looking up and flattening the back, we take an extra uncounted exhalation and then inhale back up to standing PANCHA. Again, in full vinyasa we would jump back to samastithi, Manju still seems to teach it that way but generally in contemporary Ashtanga we continue straight on into the next variation.
B: We stretch out the arms inhaling EKAM, just as if we had jumped into the vinyasa from samastithi. DVE exhaling we bring our hands to our waist but now we need to take an extra uncounted inhalation before exhaling and lowering TRINI into the state of the asana. This time after our five breaths we inhale ALL the way up CATVARI and then exhale. This is the end of the vinyasa in contemporary Ashtanga but the count is still supposed to be five, we seem to have lost PANCHA altogether.
C: This one makes the most sense, we inhale the arms out EKAM, exhale them behind our back DVE, take an extra uncounted inhalation then lower into the state of the asana TRINI. We come up inhaling on CATVARI and exhale but again we seem to have lost PANCHA, the fifth vinyasa.
D: This one too is a little confusing. After the last variation C. we already have our hands on our waist, we could take an extra inhalation taking the arms out to the side and then exhale our hands to our side EKAM then take an extra inhalations before exhaling DVE and taking our toes. We need another extra inhalation lifting the head before exhaling TRINI into the state of the asana. Inhaling CATVARI we just lift the head and take yet another extra uncounted exhalation before inhaling back up PANCHA and then finally jumping back to samastithi, phew.
Logistically problematic.
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Pārśvottānāsana 5 * 2 , 4
Straight forward thankfully after the parasaritas. It's worth mentioning however that the arms get folded behind the back on EKAM while turning to the side before lowering DVE into the state of the asana.
Interesting to note here that Krishnamacharya would have us take several breaths at EkAM including kumbhaka after the inhalations, he does the same after coming back up out of the state of the asana. I noticed that John Scott in his introduction to his workshop states that '...no one asana or sequence is better or worse than any other'. Krishnamacharya too helps me to realise that ever vinyasa, every stage of the count is a posture in and of itself, often Krishnamachrya will have us pause and take breaths (as well as Kumbhakas) at different points within the sequence of an individual asana
Utthita Hasta Pādāṅguṣṭhāsana 14 * 2 , 4 , 7 , 11 , 14
Again, the count works fine here.
Ardha Baddha Padmottānāsana 9 * 2 + 7
While inhaling EKAM the leg comes up and we bind all on the same count. This can be challenging. However, and this holds for all the challenging postures, we can pause the count at EKAM taking as many extra breaths as we need to fully bind (or take up an option) and prepare to lower. When we are ready we need to complete an inhalation as that is what we paused our count on and then lower into the state of the asana on the next count IE. exhaling DVE. When we take extra breaths in this way we don't need to hurry them, keep them, just as long and slow and full as any other breath in our posture, in our vinyasa, use the breath to help us bind.Just as every asana is equal and every sequence so too is every stage of the vinyasa count as well as those of the extra inhalations and exhalations, in short every breath should carry equal weight whether it's the breath we take while in the state of the asana or while leading up to and out of it.
If that means in a led class that we only end up with one breath in the posture before everyone comes out of their asana so be it, we've maintained the integrity of our breath. In our own practice we can take those extra breaths AND the full count within the asana, that's the beauty of Mysore. If this means our practice is long then we have the option to jump to finishing after marichiyasana D and then pick it up at navasana the following day. better to sacrifice half a series than a single breath, this is a breathing practice.
Back to Ardha Baddha Padmottānāsana. We fold straight down into the posture on the exhalation DVE however, coming back up again we inhale just the head up TRINI, take an extra exhalation then inhale all the way up CHATVARI. Exhale while unbinding PANCHA. On the other side we inhale SHAT and bind and then fold all the way down exhaling into the state of the asana SUPTA. Coming back up is the same as on the first side we inhale up half way ASTAU, take the extra exhalation then inhale all the way up NAVA and unbind into samstithi.
Utkatāsana 13 * 7
SAPTA is a key part of the count ( this will become clear in the seated postures) and of the whole half-vinyasa/Contemporary Ashtanga approach, here we jump forward on SAPTA and take the arms up Inhaling. On the final exhalation of the five breaths, keeping the knees bent we bring our hands to the floor and lift the body up while inhaling ASTAU and then jump back. We transition through up and down dog but then, instead of jumping our feet to our hands at DVADASA as in the full vinyasa we switch back to SUPTA and inhaling step forward into Virabhadrasana. To me it feels a little like a record skipping, it happens through much of the seated postures, rather than complete the full vinyasa the count ‘skips’ back to SUPTA to come through directly into the next posture.
Vīrabhdrāsana 16 * 7 , 8 , 9 , 10
As with utkatasana there is the curios lift at the end of Virabhadrasana B, we need to bring the hands to the floor on the last exhalation of the five breaths then inhale while lifting the whole body up EKADESA and then jump back to chaturanga. As above with utkatasana after down dog the count Skips back to SUPTA as we jump through to Dandasana.
This is key to understanding the relationship between full and half vinyasa, the count stays the same, the first six vinyasas of Suryanamaskara are implied, we just don’t actually do them. The count for each posture begins at SUPTA as we step or jump through just as if we had transitioned back to standing and then all the way back again.
Another post to come on the actual Primary series. It's enough to work on the count in standing for a while and then just get on with our regular practice as usual. Once we get used to the count in standing then we can start adding on mentally, or why not, verbally counted primary postures.
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See you in two and a half months xxx
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Appendix
This from comments to the Learning the Ashtanga Vinyasa Count post
Anonymous 28 February 2014 12:49
Can you explain further: "So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of Jānuśīrṣāsana have have 22 vinyasa each and that the states of the asana for each versions are 8 and 15 ( IE. Both sides)?"
Does this mean Jānuśīrṣāsana A has 11 vinyasa for right and 11 for left side, Jānuśīrṣāsana B has 11 vinayas for right and 11 for left and Jānuśīrṣāsana C has 11 for right and 11 for left side, with the sides done alternately? Does "8" mean right side and "15" mean left side?
Anthony Grim Hall 28 February 2014 19:00
Hi Anon, I'm actually writing a post on How Full Vinyasa becomes half Vinyasa, looking at every posture in detail, showing were all the extra inhalations and exhalations come in to make the system 'fit' the count. I'm doing it because I'm not there in Japan with my wife to answer her questions about the count when they come up. This is should be stressed is my own explanation as I seek to make sense of the development of the vinyasa count historically, trying to expelling how it's been made to work, with it's extra uncounted inhalations and exhalations snuck in here and there.
No it doesn't mean each side has 11 vinyasa, doesn't work that way. If you were to separate the sides up and come back to standing after each side then they would both have 13 vinyasas. Confusing. Here's what I've written for janu Sirsasana, all three are the same even though C is more difficult to set up, it's all done on one inhalation whether A, B or C.
A preview of how the count works in seated postures using janu Sirsasana as an example.
Jānuśīrṣāsana A - C 22 * 8 , 15
CODE 22* = 22 vinyasa
8 = state of the asana on the first side
15= the state of the asana on the second side.
The count and the process is the same for all three Janu sirsasanas.
As with Ardha baddha pachimottanasana and Triyangmukha ekapada paschimottanasana the first six postures of the surynamaskara are implied ( as if we really had worked our way down from standing samastithi). We are in Downward facing dog exhaling (from the previous posture) which now becomes SAT we then jump through inhaling on SUPTA and immediately, still on the inhalation, bring the right foot into our groin, heel to perineum, and take hold of the toe of the other foot and look up, that’s all done on SUPTA. We exhale ASTAU (8) down into the state of the asana, traditionally head to knee (it’s in the name) but these days chin to knee or head to knee and then slide on to the chin. After our five breaths we sit up inhaling NAVA then take an extra uncounted exhalation allowing us to lift up on the next inhalation DASA while crossing our legs. We Jump back EKADASA and exhale into Chatuaranga. Up dog inhaling DVADASA, down dog exhaling TRAYODASA and then we are ready to Jump through again for the other side inhaling CATURDASA setting up to lower into the state of the asana, again all on on PANCHADASA (15). Now we repeat the exit, sitting up inhaling SODASA, the extra uncounted exhalation again so we can lift up inhaling and crossing our legs SAPTADASA and jump back exhaling into caturanga on ASTAUDASA. UP DOG inhaling EKONAVIMSATAHI (19) Down dog exhaling VIMSATAHI
BUT VIMSATAHI now switches back to become SAT ready for the next posture.
If we were doing full vinyasa after VIMSATAHI we would jump the feet to the hands inhaling while looking up and flattening the back EKAVIMSATAHI then fold over exhaling DVAVIMSATAHI (22) which completes the 22 vinyasa, we just stand back up into samastithi (uncounted).
As with all these postures we notice extra uncounted inhalations and exhalations as we make the vinyasa ‘fit’ into the sequence of breath and movement, remember we want to inhale up, exhale down.
Janu Sirsasana is quite straight forward but Janu C can be tricky, I have a dodgy knee and like to take a couple of breaths while setting in preparation for the state of the asana. That’s OK, jump through on SUPTA and take a couple of calm, steady, unrushed inhalations and exhalations while setting up all but the while saying to yourself SUPTA SUPTA SUPTA. When you ready to lower, take a final inhalation saying SUPTA to yourself one more time and then lower ASTAU into the state of the postures.
Coming out is the same come up inhaling NAVA and then take as many inhalations and exhalations as you need to allow your knee to come comfortably out of the posture, all the while saying NAVA NAVA NAVA mentally to yourself. When you're ready take your exhalation, then back on count, lift up inhaling DASA crossing the legs and jumping back.
Your Jump back might not be fully developed, that’s OK go through the motions preparing to step back while inhaling on DASA then step back while exhaling EKADASA.
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Interview with John Scott in Le yoga Shop Journal Paris.
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| Photo Credit: ©photo: Kia Naddermier for www.leyogashop.com |
Nice interview with John Scott in Le yoga Shop Journal Paris by Kia Naddermier. I've not come across this online journal before but it has some great content, I hear the print version will be launched in Paris later this month.
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| http://www.leyogashop.com/blogs/lejournal |
Le Yoga Shop Paris was created by Kia & Magnus Naddermier who live, work, love and practise yoga in Paris.
Kia is a contemporary fashion photographer and also founder, director and main teacher of Mysore Yoga Paris– Ashtanga Yoga Shala, dedicated solely to teaching Ashtanga Yoga in the traditional Mysore Style. Magnus is a high-end Creative Director with his roots in the art world. In 2011 he founded the photography website Le Journal de la Photographie (voted best photography site by LIFE magazine 2011). They have collaborated on innumerable fashion and art projects as well as award-winning yoga related publications and books. For nearly 20 years they have both been dedicated Ashtanga Yoga practitioners.
Another article I liked is a discussion on the Evolution of a tradition
http://www.leyogashop.com/blogs/lejournal/8094109-the-evolution-of-a-tradition
"While the practice of ashtanga yoga is firmly routed in India, cultures across the globe have taken it to their hearts and continue to embrace its teachings. ‘Traditional ashtanga’ is a term often used by teachers and students so, as the practice spreads, what does it really mean to stay true to that tradition? With ashtanga gaining more devotees, are we entering a new phase in its evolution? Chris Patmore spoke to dedicated teachers and students Jeff and Harmony Lichty, Kia Naddermier and Mark Robberds to get their views".
The John Scott Interview is called Closing the Circle.
"Twenty years after their first encounter, John Scott sits down with Kia Naddermier for a discussion on being a student, a teacher and all that happens in between..."
http://www.leyogashop.com/blogs/lejournal/12699457-closing-the-circle
And a taste, a couple of quotes from the article I particularly liked.
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| Photo Credit: ©photo: Kia Naddermier for www.leyogashop.com |
John: ”From where I am right now as a teacher, what I have discovered is that we evolve within our societies. Newborn babies arrive totally dependent on their parents. Good parenting guides our children towards independence out of which, we hope, the child will develop dependability. You can look at it as a child growing up or as a student´s development towards becoming a teacher. The teacher too was once a student, totally dependent on their teacher. I can acknowledge that I was totally dependent on my teacher, but my teacher encouraged me to become independent. If you don’t achieve that independence you cannot become dependable, someone that can be counted upon.”
He continues: ”So in that middle category the teacher needs to give you the resources to become independent. In this system of yoga it is so simple: learn the count! Learn the count and the names of the postures. Learn the mala of the postures, as Guruji called it. You become independent of the teacher, and are then on your own journey through which you gain the experience to become dependable.
When you look at society there are still so many people who haven´t managed to become independent. People are consumed by the conditioned existence of society and end up being held there by the system. The system wants to be dysfunctional. That is how we keep the division between the haves and the have-nots, and how we keep people in the place of dependency. Yoga is meant to bring balance between the haves and the have-nots because in the end, the haves are still suffering.”
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John: "...Innovation is what feeds the tradition, allowing it to grow. You can’t replace Krishnamacharya but his work was extended and improved by the innovations of Iyengar, Deshikachar and Pattabhi Jois. They respected and maintained the traditions but at the same time developed them through their own insights and experience.”
"Today with you, is actually the first time I´ve practised 3rd series in eight years!
We both smile at the experience, the two of us practising in my living room to an old film John brought with him of Guruji counting some senior practitioners through the advanced series in Mysore. Not a single chance for an extra breath – leaving no choice but to transcend any self-doubt and completely surrender to his count!"
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He continues: ”Evolution continues beyond an individual teacher – it doesn’t stop with you, you really want your students to surpass you. Innovation is what feeds the tradition, allowing it to grow. You can´t replace Krishnamacharya but his work was extended and improved by the innovations of Iyengar, Deshikachar and Pattabhi Jois. They respected and maintained the traditions but at the same time developed them through their own insights and experience.
I felt Guruji was one of those teachers who didn´t hold his students back, he wanted us to surpass him. I’m the same, I give my all to the students. And they are lucky to be receiving it at an early stage in their own yoga journey. If I could have been my own student back then it would be great... haha!”
Words and photography by Kia Naddermier‚ photographer and founder of Mysore Yoga Paris, Ashtanga Yoga Shala. Also co-founder and creative director of Le Yoga Shop Journal and Le Yoga Shop Paris. Take a look behind the scenes during Kia´s photo shoot with John here. See John and Kia practice together here.More info about John Scott here.
See this Link for pictures from the original shoot in Om Yoga which Kia refers to in the article
Video of the photo shoot
If you liked the above video of the photo shoot shot by Agathe Philbé have a look at the one below of Kia's Mysore room in Paris, again shot by Agathe.
Morning Mysore Style Class at MYSORE YOGA PARIS ashtanga yoga shala
Teacher Kia Naddermier
Morning Practice from Agathe Philbé on Vimeo.
The Mysore Yoga Paris website is probably the most beautiful Ashtanga website I've seen
http://mysoreyogaparis.com
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Previous post
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Old school post: Arms out stretched approach in dropping back and full vinyasa kapotasana
This post feels a little old school ( in my head before I even write it), the kind of blog post I used chuck out in ten minutes flat before my typing and cut and paste skills improved, allowing me to ramble on interminably.
I had coffee with my friend Joelle this weekend, she's just come back from an "excellent, intense, inspiring" month with David Garrigues in his new Kovalam shala (he's there a month or so a year from now on supposedly). We were talking about drop backs, as you do, and she was mentioning his arms over technique which I explored for a while I seem to remember ( probably the Venkatesh influence of Boodiba - miss her) but seemed to have forgotten about.
Explored it a little Sunday, loved it actually, felt very gentle, smooth.... intuitive actually. Although I probably didn't feel that way a couple of years back when hanging back seemed unbearable.
David has an Asana kitchen on this of course Asana Kitchen: Dropping Back Parts 1-2
Thought I'd try it in Kapo too....just to see.
Does David use this approach to kapo in his 2nd series video, really should get a copy, especially now as I'm working on getting my 2nd back.
My kapo has slipped a bit, my 2nd series in general in fact with all this focus on Krishnamacharya's primary but it's beginning to come back.
I've started looking at full vinyasa 2nd series too, that's interesting. God, when I think of all the extra breaths I've tended to take preparing for kapo and then afterwards before moving on to the next posture. Here your straight in five breaths, another five in B then move on.
Not sure how you go about dropping on to your heels with this method but I'm curious enough to play with it, explore a little.
There you go, old style asana post...
And why an asana post this morning? Using asana to address our rajas rather than allowing 'them' to manifest themselves in bile and misplaced anger even perhaps verging on hatred may well be a way to go.... a start at least.
Rather than being an arse to somebody (as well as ourselves) this morning may I suggest confronting some of our own demons. Twenty-five breaths in kapo should do it or start with five and see how it goes.
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Here's the video of my second go at this approach (tried it for the first time yesterday, liked it).
....and below is the approach I've been using up until now. I think I got the hands firmly behind the neck approach from my old blog friend Liz although this particular video seems to have been inspired by the Richard Freeman workshop from a year ago (added link to the original post), seems to do a good job at keeping the arms in and thus allowing the heel grab from the air, not sure how to go about getting a similar effect from the arms outstretched approach, suggestions?
Thursday, 15 March 2012
Richard Freeman AYC backbending workshop transcribed, "It works I tell ya".
Note about kapo. I'll be happy with getting my heels back, not really bothered about going any further up the calf than that. the heels give some purchase allowing you to draw yourself in nicely and settle, that said, ankles are even nicer, no chance of slipping off and you can start exploring those long Rishi series breath counts.
See this page from the top of the blog on the 'Rishi series'
'Originally there were five series: Primary, Intermediate, Advanced A, Advanced B, and the fifth was the “rishi” series'.
Nancy Gilgoff 'Yoga as it was'
Just had a thought, wonder if the Rishi series was full vinyasa, why wouldn't it be.
Talking of full vinyasa finally got around to ordering Lino Miele and Gwendoline Hunt demonstrating full vinyasa 2nd and Advanced A.
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Here's a link to a very sweet page on Gwendoline
In Memoriam: Gwendoline Hunt, 1930-2004
I had coffee with my friend Joelle this weekend, she's just come back from an "excellent, intense, inspiring" month with David Garrigues in his new Kovalam shala (he's there a month or so a year from now on supposedly). We were talking about drop backs, as you do, and she was mentioning his arms over technique which I explored for a while I seem to remember ( probably the Venkatesh influence of Boodiba - miss her) but seemed to have forgotten about.
Explored it a little Sunday, loved it actually, felt very gentle, smooth.... intuitive actually. Although I probably didn't feel that way a couple of years back when hanging back seemed unbearable.
David has an Asana kitchen on this of course Asana Kitchen: Dropping Back Parts 1-2
Thought I'd try it in Kapo too....just to see.
Does David use this approach to kapo in his 2nd series video, really should get a copy, especially now as I'm working on getting my 2nd back.
 |
| learn more here |
I've started looking at full vinyasa 2nd series too, that's interesting. God, when I think of all the extra breaths I've tended to take preparing for kapo and then afterwards before moving on to the next posture. Here your straight in five breaths, another five in B then move on.
Not sure how you go about dropping on to your heels with this method but I'm curious enough to play with it, explore a little.
There you go, old style asana post...
And why an asana post this morning? Using asana to address our rajas rather than allowing 'them' to manifest themselves in bile and misplaced anger even perhaps verging on hatred may well be a way to go.... a start at least.
Rather than being an arse to somebody (as well as ourselves) this morning may I suggest confronting some of our own demons. Twenty-five breaths in kapo should do it or start with five and see how it goes.
Here's the video of my second go at this approach (tried it for the first time yesterday, liked it).
....and below is the approach I've been using up until now. I think I got the hands firmly behind the neck approach from my old blog friend Liz although this particular video seems to have been inspired by the Richard Freeman workshop from a year ago (added link to the original post), seems to do a good job at keeping the arms in and thus allowing the heel grab from the air, not sure how to go about getting a similar effect from the arms outstretched approach, suggestions?
Thursday, 15 March 2012
Richard Freeman AYC backbending workshop transcribed, "It works I tell ya".
Note about kapo. I'll be happy with getting my heels back, not really bothered about going any further up the calf than that. the heels give some purchase allowing you to draw yourself in nicely and settle, that said, ankles are even nicer, no chance of slipping off and you can start exploring those long Rishi series breath counts.
See this page from the top of the blog on the 'Rishi series'
'Originally there were five series: Primary, Intermediate, Advanced A, Advanced B, and the fifth was the “rishi” series'.
Nancy Gilgoff 'Yoga as it was'
Just had a thought, wonder if the Rishi series was full vinyasa, why wouldn't it be.
Talking of full vinyasa finally got around to ordering Lino Miele and Gwendoline Hunt demonstrating full vinyasa 2nd and Advanced A.
Here's a link to a very sweet page on Gwendoline
In Memoriam: Gwendoline Hunt, 1930-2004
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