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The call of practice

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Sometimes it seems to take a blog post forever to say what you really want to say and unfortunately ipad doesn't really allow you to edit longer posts

Old Selfie

I wanted to title this post The call of Mysore but didn't want to confuse it with this blog post by Aliya Weise.

The call to Mysore

I shared it on fb this week here's what I had to say about it.
The call to Mysore, to Sharath, Saraswati, BNS perhaps, Vijay/Vinay, others....or the call to Crete, to Kristina, Manju, a sangha, a space, perhaps it's all a question of love.... Love for teachers, for our practice for that which it occasionally, on a good day, gives us a glimpse of......possibilities. Really nice post  from Aliya Weise.
A good blog post has legs, it floats around your head, goes away comes back, merges with other ideas or brings them into clearing.
***
This coming Sunday I'm teaching a workshop on Krishnamacharya 's early, original, Ashtanga and Vinyasa Krama up at Stonemonkey in Leamington Spa. I have to say I feel a bit of a fraud. I'm aware some are coming to the workshop because they know my blog and I know from comments that there is some respect for my practice, that I have maintained a home practice twice a day for the last seven years. And yet that practice has suffered somewhat over the last few months, come under threat.
Those of us who have begun to notice our practice slipping away from us no doubt try to work out when it  started to happen. For me I can trace it back to my last experience of Kidney stones a year or so ago. That's convenient, I can blame it on a medical condition. I had to modify my practice for some time and then when  it passed I was paranoid about too sweaty a practice ( Kidney stone sufferers need the water they take on to pass through the whole system, sweating doesn't count) It was a good opportunity to explore Krishnamacharya's original  Ashtanga, with it's long slow breathing, it's use of kumbhaka and longer stays, you can sweat a lot less. 
And then the workshops began to come in , first Leon and then Valencia, Ulm, Valencia again for a week long retreat and then the Yoga Rainbow festival in Turkey..... I don't know how Kino does it, how she maintains her schedule of workshops and yet not only maintains her practice but extends it. For me each workshop is a disruption to my practice. Leading up to the workshop I can't practice without wondering at some point how I would communicate some aspect of practice and then there's the the travel there and back , the socializing with whoever is organizing the workshop, the travel back and exhaustion.... There's running joke from my colleague Abi at work that every time a workshop is coming up I'm asking why ever did I agree to do it and yet when I come back I'm on such a high, saying how wonderful the experience was, how great it was to work with those who attended and discuss yoga with those who set it up. I love doing these workshops but I do find them disruptive. 
Another good excuse is that M. and I are moving back to Japan, she's gone on ahead and has been away for over three months now, my routine is all messed up. I thought I would have all this time for practice and yet I seem to practice less, I'm uneasy, restless, I practice less, eat more.

Finally I'm heading off myself and there's the closing down of the house, the shipping to  Japan, throwing things out, giving stuff away, selling this, selling that, packing, more and more disruption .
No wonder my practice has suffered, slipped.
It's not my fault, it was my health, others, circumstance, it's just slipped through my fingers.
When did practice begin to slip away from me?
It's the wrong question of course, better would be....
Why didn't I stop it?
How do you stop it happening?
The call of Mysore.
I remember reading a conference report where Sharath was seeming to criticize 10 day meditation retreats and yet isn't Mysore a retreat of sorts, it's longer, a month perhaps three but a retreat all the same.  It's an opportunity to reground our practice , to step away from our daily lives and focus on practice, not just the asana, Ashtanga has never been about the asana but rather the attitude we bring to our practice of asana, the asana , the vinyasa, is the vehicle, we call it practice.
Visiting Mysore is a call to practice.
But we don't have to go to India, for those of us who practice at home visiting a Mysore room on a Sunday or perhaps a workshop with a strong Mysore element to it or Sharath's world tours, these too  are  retreats of sorts, even if it's just one morning  a week, a month, every few months.
Visiting a Mysore room is a call to practice
And isn't our regular morning Mysore practice at home or in our home shala a retreat, that precious part of the day, that seems to exist in a world of it's own. I've been blessed with a practice partner these last few weeks and I wonder sometimes if I could have maintained my own practice  at all without the comfort and support of their breath on the mat beside me.
In two weeks I fly to Crete and to Kristina Ireland's shala in Rethymno. I visited there last year for Manju's teacher training. I've considered it my 'home shala' ever since even though I was only there a week and it's pretty much the only shala I've visited ( there was AYL for a couple of sunday's five years ago). Two months, a retreat of sorts, an opportunity to refocus my  practice, to rebuild my second series such that I can explore Krishnamacharya's use of kumbhaka in intermediate asana.
A friend mentioned that for what two months in Crete will cost me I could visit Mysore itself, practice in 'The room' . Once a year I tend to consider it, one feels one should but honestly it's only really the feeling that it would be nice to visit the place where Krishnamachayra lived and taught that tempts me. Of course if I'm turned off by the size of 'The room', the numbers practicing, then there are several excellent Ashtanga teachers in Mysore, Vinay and Vijay Kumar to name but two that have come highly recommended to me.
No, Crete will suit me fine, it's a shala I love, in Kristina a teacher I love and respect and then there's Manju, how wonderful to spend another week with him. So many on his TT last year seem to come back again and again, I feel the same draw. Is it partly a connection to lineage a going back to basics, to fundamentals, a stripping away,.... good common sense ashtanga. 
Manju stresses pranayama, chanting , practicing with him along with my studies of Krishnamacharya's original Ashtanga as found in his early books Yoga Makaranda and Yogasanagalu allowed me to see the vinyasa krama in Ashtanga, the Ashtanga in Vinyasa Krama, I no longer see any conflict between them they compliment each other. In Crete I'll explore meditation before  practicing Ashtanga ( Kristina puts it, " moving from inside out') continue with pranayama and quietly chant under my breath. In the afternoon I'll study at the beach and then do my integrated Vinyasa Krama practice, it's exciting.
But of course we have to come back from retreats, whether it's Mysore, a workshop, A sunday Mysore class, our morning practice. How do we maintain our practice when the retreats begin to wear off, when the morning's practice begins to wear off.
There is the idea in Ashtanga circles that the Yamas and Niyamas will  follow practice, first we do our asana and then eventually we will turn to the Yamas and Niyamas, Sharath has said as much in conference, Pattabhi Jois too in an interview I seem to remember. I think I suggested as much in an early blog post that as we find such joy in our practice in something that requires only a rubber mat, if that, we start to simplify our lives, we begin to focus on what is really important. Another idea I find a little frustrating is that we might one day discover the yama niyamas, the moral code as if we don't all have pretty much the same moral code, whatever culture we're from with a few additions or substitutions. It's just a question of how much we focus on them, reflect on them.
Krishnamacharya argued that we begin with the yamas and niyamas and I want to argue that there is a sense where the Yamas and Niyamas are a retreat, wherever we are we have them to fall back on, I would argue that they are the practice, they are the attitude we bring to our asana, that we explore and develop and it's that aspect that we take forward through the rest of our day, that we seek, however unconsciously, to take from the mat. essentially they are perhaps the only aspect of practice that really matters,
All those who comment on Ashtanga disparagingly , all they see are the asana, they don't seem to notice what we're really working on, working towards even if we haven't perhaps realized it ourselves. I suspect we get a little closer with each SELFie we take rather than move further away.
The Yamas and  Niyamas are a retreat and a refuge, if your life seems chaotic, disrupted then take refuge in the yamas and niyamas, find some peace there. Like asana practice we begin again each morning without judgement aiming to do a little better each time., understand how to approach them more sincerely. Ramaswami recommends that each night before going to sleep we take a few minutes to reflect on our day in relation to them.
That too is a call to practice..
If my Ashtanga practice has slipped somewhat then it's no doubt because I've allowed it to slip, made excuses, looked the other way,  allowed myself to slide somewhat, my discipline, my focus, my attention
Krishnamacharya lists 10, we need to read them several times, reflect on them, play with them, turn them around and around find ways to connect with them and how to find them relevant to us and to our own  moral and ethical understanding. We can reflect too on how we relate to them, is it on the emotional level, the intellectual, spiritual (whatever that means to us), aesthetic perhaps in the sense of truth.
See this Post for a list of Krishnamacharya's presentation of the Yamas and NIyamas, including some handy pdfs




The Yamans and Niyamas thought of as pratyahara lead us perhaps to the internal limbs







Collection of Ramaswami's 2013 Newsletters

Why didn't Krishnamacharya seem to teach sun salutation's

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On the way up to Stonemonkey in Leamington Spa for my workshop (which was great fun by the way, thank you everyone for coming, Digby, Maddy, Paula, for making it happen) I had a little time to kill and was undecided whether to pull out my own Krishnamacharya book to prepare or Yoga Makaranda, went for the original and had a minor epiphany on page one, how have I never connected the dots on this in all the other times I've opened Yoga Makaranda. I tried to upload a post on the Ipad while traveling up but it let me down. here it is finally.


At the time of writing Yoga Makaranda (1934), the practice of tens, even hundreds of sun salutations had been in vogue as a health and fitness fad. Krishnamacharya seems to have felt this trivialised the surynamaskara. Krishnamacharya would still teach the stages of the sun salutalutation but as individual asana with long stays. He would occasionally teach the surynamaskara with mantras as we do in Vinyasa Krama. 

In ashtanga vinyasa of course we only practice 5 A's and 5 B's. which is hardly excessive .


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

 Krishnamacharya Yoga Makaranda (1934) page 1.


I just came across a video I posted at the beginning of the year,  I'd completely forgotten about it, it was an attempt to reconstruct a sun salutation from the descriptions Krishnamacharya gives for the different stages, treated as asana, in Yoga Makaranda. On reflection now I'm not sure how I feel about it, Krishnamacharya seems to have gone out of his way to avoid presenting a sun salutation and here I am constructing one from his writings. I guess watching and perhaps practicing the sequence below you'll have to decide for yourself if it's merely an exercise routine or if it's value lies elsewhere. Krishnamachrya said that we seek god ( read whatever you wish into that term) in the kumbhaka, the approach to asana that Krishnamacharya offers us in Yoga  Makaranda has a kumbhaka on almost every breath.

On the question of kumbhaka and God

Question: What does the bhakti mean to a person who has no belief in Isvara?

Krishnamacharya: Love is bhakti for them

Here's a link to my presentation of how Krishnamacharya and Ramaswami would teach the sun salutation with mantra

http://grimmly2007.blogspot.co.uk/2010/03/srivatsa-ramaswamis-complete-book-of.html

and here's a link to the Surnamaskara for health in vogue at the time of Krishnamacharya writing Yoga makaranda.



http://grimmly2007.blogspot.co.uk/2012/05/balasahibs-original-1928-suya-namaskar.html

And Thank you to Gabor for sending me this link to the Sandhya Vandam (salutation to the sun ritual)

http://www.ibiblio.org/sripedia/ebooks/sandhya/index.html

Talk on Krishnamacharya from Yoga Rainbow Festival with Russian translation

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While on the Yoga Rainbow Festival I was asked to give a two hour talk on Krishnamacharya.

 I only managed to record the first forty minutes of audio ( if anyone recorded the full two hours perhaps you could  share it with me through dropbox grimmly2007 at googlemail dot com).

At the beginning of this talk I stress that  I'm just a blogger. I'm not an historian, I don't have their tools and skills, I'm an enthusiastic amateur only. But then come to think of it some of the theories the  historians and biographers come up with move very swiftly from facts to speculation. We have to sift through the stories, the reminiscing, the self interest, which aspects of a life some wish to stress and others play down. We only have to look at the different timelines in the various biographies of Krishnamacharya to be aware of how little we actually know about this fascinating man

On the practice side of things I feel on slightly safer ground having read Krishnamacharya's early works over and over and practicing along to his instructions daily for the last year or more but even here it's pretty much archeology, not an exact science.  We also have to ask what was the intention behind the works Krishnamacharya produced, was this how he actually taught or perhaps how he would have liked to have taught.

The translation is by the wonderful Maria Vorobyeva, thank you yet again Maria.



Krishnamacharya's Ashtanga vinyasa yoga (at home) in Rethymno

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Two months practice in Rethymno at Kristina's shala, thought I'd start in the morning but it seems there's an evening Mysore tonight (groan)











Samkhya - July 2014 Newsletter from Srivatsa Ramaswami

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Warm Summer Greetings. I was in UK late May and early June. Taught five programs. A five day 25 hr TT program in Vinyasakrama asanas in London. I also taught for three days (18hrs) Samkhya Karika, in Wells, Somerset, UK, all sponsored by my friend Steve Brandon of Harmony Yoga. Thank you Steve and Sally. I may teach the Bhagavat Gita in May next year at Harmony Yoga. It would be a nearly 70 hour program to cover the entire 700 slokas.
I am readying to go to Los Angeles to teach a 200 hr 5 week Vinyasakrama Yoga Program based on my long study with my Guru Sri Krishnamacharya-- at Loyola Marymount University. It would have 80 hrs of asanas covering about 700 vinyasas in 10 major sequences, 20 hrs each of Pranayama, Sri Krishnamachary.s works like Yoga Makaranda, Yoga Rahasya, Patanjali's Yoga Sutra (all the 4 chapters sutra by sutra) and chanting,Anatomy Physiology and Yoga for Internal Organs, Mantras and Meditation. The program starts on Monday July 7th. The program is registered with Yoga Alliance Here is the link for registration
http://academics.lmu.edu/extension/programs/vinyasa/teachers/

SAMKHYA,
I have mentioned earlier that in the 1970s Sri Krishnamacharya stopped teaching for a short while and asked his long standing students to study under his sons. I was asked to study yogasanas with Desikachar, whom as we all know was an excellent teacher. One day at the end of the class he said that he was going to start studying Samkhya Karika under his father. We had just completed studying Yoga Sutras with our teacher. My mind was already highly charged with the unusual thought process contained in the Sutras. I demurred. Desikachar continued and said “Father said that I should find out if Ramaswami would be interested” I said immediately yes and then joined the class the next day with Desikachar. Since I did not have time to get a book (Sankhya Karika books were not easily available and one has to order from a few publishers in the north to get a copy). Desikachar was kind enough to gift a copy of the text with Gaudapada's commentary in Sanskrit with no translation in Tamil or English. I still have that copy.

(Note- I found a link to a free pdf translation if Gauadapada's commentary  http://www.easterntradition.org/samkhya%20karika.html - grimmly )

Sri Krishnamacharya taught the text relying on Gaudapada's commentary word by word, verse by verse along with Gaudapada's commentary. The study of the text took about one year, we used to meet once or twice a week for an hour. At the end I realized why he was keen to teach this text to us. It made a lot of the yoga sutras accessible. Even though he had a degree in Samkhya called Samkhya Siromani (crest jewel) he was able to come down to the non scholarly students like us. I had read some books on sankhya karika by scholars and academicians and used to be overawed by their scholarship, but Krishnamacharya while capable of engaging scholars in an intellectual debate was able to breathe a lot of life into this rather abstruse text. I think all students of yoga who want to study or have studied yoga sutras may do well to consider having a look at all the Samkhya Karika verses. The author Isvarakrishna is considered to be an avatara of Kalidasa an outstanding Sanskrit poet. Many people who study Ayurveda, vedanta philosophy find it necessary to study Samkhya. I do not know Buddhism but I have heard that HH Dalai Lama once mentioned that Samkhya would be a very useful text.
Each verse in Samkhya Karika is important as every sutra in Yoga sutra is. It is perhaps the first vedic philosophy to proclaim the immutability of the Atman or Self which is considered to be pure consciousness. It clearly distinguished between the ego which is commonly but erroneously considered to be the Self and the Atman or Purusha which should be called the Self. Even though there are differences among the three nivritti sastras, Samkhya, yoga and vedanata, in the nature of the Self they are in agreement even as they agree on the need to find a way to terminate the vicious cycle of repeated transmigration but differ on the unity or multiplicity of the selfs.
One of the outstanding features of Samkhya is the clear enunciation of the steps of creation of the Universe from the primordial mula prakriti. It is very interesting to see that according to them evolution took place in two streams from the mulaprakriti, the subjective and the objective streams, the microcosmic and the macro cosmic evolution. Life force is considered a vritti or activity of such a subtle body created in the microcosmic stream. It differs distinctly from the commonly held view that the first living organism, a single cell bacterium evolved after a long time of the original blast. Samkhya is the forerunner of the thesis that consciousness is distinct and different from and not a product of matter as is normally presumed.. It also lays down the framework of the powerful, even the contentious theory of transmigration, a corner stone of the vedic teachings. Its thesis is that a creature is made of several layers, a subtle body-- primordial body-- called the linga sarira, then the genetic body made from the parents called the matru-pitruja sarira (the embryonic Body) and then the physical or bhuta sarira made from the five gross elements. It also postulates the theory of the difference in the experiences of different beings due to the karma/dharma which gets accumulated, the bundle of karmas being responsible for ceaseless transmigration. It is perhaps the most logical explanation to the theory of transmigration.
As the name indicates Samkhya (samyak khyapayati) attempts to throw light on all one should know to transcend the otherwise endless migratory nature of the mundane painful existence . Correct knowledge of the 25 tatwas that make up the evolved universe and the distinctly different purusha the pure consciousness with which one should identify oneself as the real self is the means of overcoming permanently and definitively the threefold dukkha or pain/sorrow most creatures experience most of the time in the innumerable lives. Thus it is known as a nivritti-sastra or a body of knowledge that removes (nivritti)  dukkha or pain/sorrow. While Samkhya lays down the theoretical framework for duhkh nivritti, Yoga details the steps one has to take for such achievement. Vedanta harmonizes the few inconsistencies and the three vedic sibling philosophies are thus known as nivriti satras by old timers. 
Samkhya also details the need to develop a right attitude or pratyaya to take the path of nivritti. It recognize these pratyayas in the context of permanent release from duhkha, the goal of Samkhya and the other nivritti sastras. The first pratyaya referred to is viparyaya or the wrong convictions is an unhelpful state of mind. Patanjali refers to as the conviction which is not based on truth (a-tad-rupa-patishtam). Holding on to wrong conclusions or dogma even in the face of overriding considerations against one's beliefs is viparyaya, like the earth is flat or the body is the self . The second pratyaya that is not conducive to the permanent relief of duhkha or pain and sorrow is tripti or complacence. Taking no corrective action but hoping everything will be ok in course of time, or nature will take care of everything, luck and chance will do it or resigning to fate completely will come under this category of pratyaya. According to Samkhyas it will only perpetuate avidya and so will not deliver from the three fold pain of samsara.
The other unhelpful pratyaya is asakti or infirmity. Physical, physiological and mental weaknesses impede the aspirant in the spiritual progress. Then what is the helpful pratyaya? Samkhyas call it Siddhi pratyaya. How can one attain the spiritual goal? Dana or dispassion and purity of mind is one. Then svadhyaya or study of the appropriate texts is another helpful aspect of siddhi pratyaya. Sabda or study with a competent teacher is another helpful aspect of siddhi and then suhrit prapti or association with others who are also spiritually inclined and of course analysis and deep contemplation (uha). Then constant vigilance to avoid and overpower the basic causes of the threefold misery. In a similar vein. Patanjali talks about helpful and unhelpful cittavrittis which includes pramana or correct knowledge and viparyaya or wrong conviction, two opposite citta vrittis. Patanjali divides all the chittavrittis as helpful (aklishta) and unhelpful/harmful crittis (klishta )
Samkhya is said to be a vedic philosophy. How so?
The Mahanarayana Upanishad is the last chapter of Yajur veda. There is this beautiful mantra which succinctly describes the essential tenets of Samkhya. It is a colorful narration
ajamekam lohita suka krishnam
Bahvim prajam janayantim sarupam
ajohyeko jushamanonusete
jahaatyenam bhuktabhogamajonyah

There is one without birth (beginning) made of three colors (gunas) of red (lohita/rajas), white (sukla/satva) and black (krishna/tamas). It produces numerable objects similar in nature (consisting of the three gunas). There is a second one again without birth (a beginning) which interacts with and experiences the various products of the first (and is in bondage). Then there is the third one again without a beginning which keeps aloof from all the products of the first (prakriti) and hence is in Freedom.
This explains the nature of prakriti of three gunas, the individual self in bondage and the third an individual self completely free or in kaivalya. The whole purpose of samkhya is to help the innumerable individual selfs in bondage to attain freedom from the endless involvement with prakriti.
The Bhagavat Gita explains the basic tenets of Samkhya in the beginning itself if you consider the first chapter as just the preamble. According to several acharyas the main purpose of the Gits is to emphasize that the real self is consciousness immutable and all the concerns about oneself is misplaced.
Srivatsa Ramaswami
*******
Guru:  
In the entire universe,

In all the seven worlds
To the consummate Yogi,
Who has realized the true Self,
Nothing, nothing whatever
Is exciting 
Disciple:
Really Guruji?
How exciting!!


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Handstands, backbends, Saganaki in Rethymno

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Noticed that this blog is about to tick over two million hits, how mad is that M. has clearly been busy or perhaps had too much time on her hands. Feels like there should at least be a new post.....

So here I am at Kyria Maria's a lovely little taverna next door to Kristina's shala, I'm surfing their wifi over saganaki.

Almost through my first ever full week of shala practice, Led tomorrow then a rest day....

Loving shala practice, perhaps I'm just loving THIS shala practice, perhaps all a shala's are essentially the same, I can't say.

Love the work going on here, there are practitioners passing through their practice composed, elegant others grinding it out and still others composed through part but putting the work in on troublesome postures and frankly grunting and groaning through their new postures (which before long they'll be practicing with a lightness of touch and breath leaving them to groan through others ), Felt like my whole seven years of practice is here in this room. 

Which am I, I would have said (hopefully ) relatively composed up until this morning but now we're on to a whole new ball game.

I thought I'd stick with a straight primary for my first week, settle in, let Kristina and Niko (kristina's assistant)  have a look at my Primary, get used to the shala. Next week I'll come in a little early and practice up to kapo and then in the following weeks see about dusting off my full 2nd. Karandavasana in frount of Kristina's alter again this time I shall be fearless, hmmmmm.

So, relatively composed up until this morning. Last night Kristina and I were looking at old Pattabhi Jois videos on Youtube, talking about the handstand work she practices here leading into backbends.

This morning I tried to surreptitiously move to the wall for the handstand work, Kristina has us do 30 breathes with the feet at right angles on the wall to build strength in the back before going up, thought I could just hop up to handstand with the wall as a safety blanket, do my 30 and move on to drop backs at the wall, nope. Kristina misses nothing NOTHING.

So Kristia has me do my 30 breaths then gets me to bring my mat back to the centre of the room for handstands and then this taking the legs over a little way before flipping back down into down dog and finally straight over. I've explored it before on my own a couple of years back,  dropping over from handstands to cushions, gradually taking them away one at a time but it's a different ball game in the centre of the shala. 

And, then Kristina wants me to drop over from handstand into urdhva danhurasana and immediately come up to standing, I seem to stubbornly refuse to ground my heels and tend to keep my head tucked in, mental block although the last couple were better. Get the feeling I'll be exploring tic tocking/tacking over the next couple of months and seeing as we were looking at Guruji's old heel grabbing approach perhaps that too. 

Shala practice, she's the boss, my teacher, it helps that I love, trust and respect her, I am in her hands. 

Besides, all asana are the same, may as well be working on breathing in handstand as in kapo or paschimottanasana, much of a muchness.

Here's Pattabhi Jois taking the team through backbends, check out Tim Miller, majestic at dead on 3:00, lifting back of to handstand from urdhva danhurasna, do we really want to take handstands out of the practice, perhaps the flourishes but this is serious business, composed controlled, focused.... bandhas breath, drishti, tristana innit.

The bit I'm playing with in the shala now comes five minutes in




Early Tic tack at home posts from 2009

Towards Tick Tocks : Handstand to Backbend

More tick tock work, sans wall

and one from 2011

Exploring Tic Tac ( or should that be tick tock's ) with David Garrigues Day 1

Two week Tictac challenge at home speeded up x3

Seems I'm not the only one here for an extended stay during the summer, Ashtanga practitioners from Stockholm, Serbia, Italy, Switzerland all here from two week to two months or even longer. Why wouldn't you want to come and practice here.

Kristina Karitinou
YOGA PRACTICE
Ashtanga Yoga Greece
(affiliated with Yoga Practice London)


And a  nice gentle reminder from Kristina 

Dear practitioners, please note that even though our workshops are offered in the beautiful island of Crete, our center of attention was, is and will always be Yoga studies.



Ashtanga and Stoic Endurance PLUS Guest post : Ashtanga and related Indian physical disciplines

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Thank you to Andres for this interesting letter that he gave me permission to put up as a guest post.

But first this...

For all the ins and outs of this discussion I've been most struck by the idea of 'training'. We know that in the 30s Krishnamacharya was teaching both a slower Vinyasa Krama approach to asana as well as the Ashtanga vinyasa approach that Pattabhi Jois has continued with some modification (no kumbhaka, relatively fixed sequences). It was this sense of 'training' perhaps the Krishnamacharya employed with the boys of the Mysore palace  that is often most striking about modern Ashtanga. 

Recently I asked a VERY long term Ashtanga practitioner and meditator about the practice, one word in particular stands out in his answer, "endurance", 'the practice is about endurance'.

OK, if it had been anyone else I might have dismissed that as a truism, of course the practice is about endurance....and stamina, it's a long sequence and just when you get a handle on it you start adding on another sequence and then another. Here in Kristina's shala there are practitioner's coming in almost two hours before me to practice all of Primary as well as 2nd series up to Pinca Mayurasana and still end up in savasana around the same time as me...and I breathe pretty slowly through my 2nd.

But this man has practiced a long time, a very long time and had many years to meditate on it, if this is the word he's come up with then it deserves some reflection.

Endurance....., I'm in Crete, Greece, no surprise then that the Stoics come to mind. The stoics were all about endurance, inspired partly by Socrates perhaps and his refusal to flee Athens and endure his own trial the Stoics accepted fate and all it threw at them, in fact they not only accepted fate, they were devoted to it. Stoic practice was a devotional practice, it was a discipline. 



And aren't we stoical in our approach to our practice, Krishna's children act(ing) through our practice without attachment, how is Marchiyasana D today, how, Kapo, how Karanda. Tomorrow a friend and Ashtanga practitioner will be coming to the studio, he's broken his ankle, wearing a cast but will still practice with modifications, what else is that but stoic. Often it appears that it's the practice that we are devoted to, it may even seem that way to ourselves but perhaps it's rather that the devotion is in the practicing of the practice the act of prayer rather than the prayer itself.

So endurance leads us to the Stoics which leads us to devotion and perhaps to Ishvarapranidhana

Our friend Wikipedia and its etymology section is perhaps useful here

Īśvara-Praṇidhāna (ईश्वर-प्रणिधान) represents surrender to, and love for, the divinity within the individual in Hinduism and Yoga.

Etymology and meaning
In its simplest form, the word is a combination of the words (sometimes hyphenated), Īśvara, meaning Lord, Controller, God, Supreme Being or Life Force, and pra-ṇi-dhā-na, meaning "attention to, love for, surrender to, faith in," or "reunion with.""Attentiveness" and "Surrender" are both close English approximations.[1] A close literal English translation of "Īśvara-praṇidhāna" would give "Attentiveness to God" or "Surrender to God." As one of the final or "supreme" stages of many forms of Yoga, the "surrender" aspect of Ishvara-Pranidhana is often used to describe the step, whereas "attentiveness" describes the practice. Both are used interchangeably. Note the similarity to the literal meaning of Islam—submission or surrender to God. A close Christian term would be the Love of God.

There's that word surrender that I'm always so uncomfortable with, surrender in the stoic sense though I find less problematic, in this sense there is a radical acceptance not to god necessarily but to the workings of god, the myriad causes resulting from the first cause ( Some interesting comparisons between the stoic employment of Zeus here with Ishvara).

So in our practice we are perhaps practising endurance, training, preparing, ourselves to endure (not even going to touch on the interesting New Testament Greet idea of endurance as patience, surely another aspect of our practice - or perhaps should be) and we do this through keeping the practice challenging and by accepting our practice as it is that day, that moment, offering ourselves up to to the practice, surrendering ourselves to it and doing so with devotion.

Now about those Epicureans......

UPDATE: just remembered my old friend and fellow blogger Noble wrote a post on Ashtanga and the Stoics, just found it http://yogadragonden.blogspot.gr/2013/07/stoic-philosophy-yoga-and-how-not-to.html

You can probably tell that I'm just playing with the ideas above chewing on the cud of endurance, more to come perhaps until then, here's Andre's letter and links


Hi Anthony,

I tried to comment on the post of swami Bua but was not allowed. This is a very dear topic to me since I am trained in both yoga and the akhara tradition of kushti (indian wrestling). I am familiar with the works of Sjoman and Singleton regarding this topic. I tend to agree with them on some issues while at the same time it is obvious to me the scholastic approach is different than the practical one. I send you here my thoughts about it. 

After 17 years of travelling and researching in India different forms of physical related disciplines, I am pretty confident to say that different forms of Indian gymnastics are related to Ashtanga Vinyasa due to their shared history. I include here physical Yoga, wrestling´s strength &conditioning (Vyayam) and indian pole gymnastics (Mallakhamb).

As you know, Mysore have been a well known place in south India for yoga and wrestling traditions. So is Varanasi, where Krishnamacharya studied for so many years where still today you can see both yoga and wrestling being practiced widely in schools and and around teh ghats. The Mysore Palace hosted these disciplines, having a separate room for gymnastics with various indigenous and western apparatus where Krishnamacharya used to teach. It is also quite evident from the old photos of his students performing human pyramids that he knew indian gymnastics too.  Many Indian masters knew more than one discipline, as Krishnamacharya did, as swami Bua did. Even today teachers like swami Ramdev incorporate gymnastic and wrestling drills in his huge yoga camps in India. 

Vyayam* is the wrestling tradition´s strength and conditioning. Besides pure wrestling techniques, indian wrestlers spend a lot of time doing different forms of drills and excercises. The wrestlers most basic conditioning excercises are the Bhaitak (squat), the Dand (urdhva-ado mukha svanasana cycle) and the Bridge (urdhva dhanurasana). There is also a combination of Bhaitak with jumb back perform a Dand and jump back which looks like a rapid form of surya namaskara. Besides this, there are many similar excercises common to Ashtanga Vinyasa like as handstands, circular leg movements such as Ardha Chandrasana (Old advanced series), neck strengthening like setu bandhasana, animal crawls like Nakrasana and many others. Many times I see the differences between the excercises of wrestling and yoga is not in form but in execution. I have visited many Akharas or wrestling schools and often they have besides the wrestling pit a Yoga room and gymnastic equipment. Of course wrestlers hold that Yoga was influenced by wrestling just as yoga adepts say it is the other way around. I think it is a meaningless question since both are very old and integral parts of the big Indian movement of pshysical culture developed during the time of indian pre-independence, which include several other disciplines too. Krishnamcharya was of course a very important figure of this movement.

Mallakhamb is the traditional indian pole gymnastics and a cross between yoga and wrestling. It was originally devised as a tool for wrestlers to train the body. It is a combination of wrestlings moves with yogasanas and acrobatics. It is also practiced in groups as you can see in the old photos of Krishnamacharya´s Yogashala in Mysore. Today the sport is growing and added the Rope Mallakhamb as a discipline for women. Most Akharas I have visited have a pole for Mallakhamb too.

Worth mentioning is also the similarity of western gymnastic drills and static holds to some vinyasas and asanas used in the ashtanga vinyasa system. To lift up from floor on the hands, to jump straight legs between arms, the various handstands (like those in old advanced series) are all common in ashtanga and gymnastics, and so is the pike (pashimottanasana), the pancake (upavistha konasana), the tuck planche (lolasana), bridge (urdhva dhanurasana), candlestick (niralamba sarvangasana), arch (shalabhasana), and many more. Did the british took their gymnastics to India? Yes they did. Where did western gymnastics come from? Well, from the Greeks and Romans whose oldest sport was wrestling. Greek-Roman Wrestling is the oldest olympic sport. Wrestling spred from India to Persia, Greece and finally Europe. 

Perhaps Yoga influenced wrestling in ancient India as Krishnamacharya pointed, and from there to western arts and gymnastics. Or perhaps Ashtanga Vinyasa is a crossover between indigenous indian arts and british gymnastics. I really don´t know. But I don´t care either. I know is an awesome system and that Krishnamacharya and P. Jois were very creative masters and researchers. It is a system (in its free form a la Manju) capable of developing optimum control of body, breath and mind and thus, in my opinion, draws the best of elements of these disciplines. It does not matter if some of the techniques are new, the fundamental framework is still very old and traditional. Yoga is essentially a human technology and as with any human science, it is an on-going development and refinement of its techniques and knowledge.

Some links

Kushti Vyayam squat-thrust
https://www.youtube.com/watch?v=e36oDOO_hPs

Great online book about Indian Wrestling. Specially important for our topic is chapter 5
http://publishing.cdlib.org/ucpressebooks/view?docId=ft6n39p104&brand=ucpress

Very famous and funny swami Ramdev conducts popular yoga and vyayam camps
https://www.youtube.com/watch?v=XxeopJvhJvg

Very good four part documentary about Mallakhamb

From my Google Drive a nice old book on Physical Culture and muscle control by Yogananda`s brother and teacher of Bikram himself

Friendly regards,
Andrés.

Nowhere to hide in Shala practice, Gymnasium and Some pictures from my recent Stonemonkey workshop

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Now I know why I was a home Ashtangi for so long, nowhere to hide in the shala.


First week of full primary in god knows how long, I've added on up to kapo onto my Primary occasionally but it's been forever since I practiced the full series day after day after relentless day. And thenat Kristina, there are extras, hanumansana after the Prasarita's as well as samakonasana ( which I worked on in 2011 fro a while but not since). Then what else, standing trivikramasana after the utthita hasta padangusthasana subroutine then there is the handstand work, the flip over back and forth eventually down to urdhvanadhaurasana and back, the old backbend routine with the arms crossed over the chest as your dropped back to your head then half dropped back for five, the settling down to your elbows to take your heels then come back up, all old school stuff (some sight difference these days I believe, just as challenging). Oh and no more rest poses, I used to take it easy in the 2nd series twists, not any more, Kristina is on you like a short and takes you in another 360 degrees and then another 360, at least it feels that way. I did manage to skip the old style back bend routine this morning, slipped disc a bit of a bugger this morning. And I'm having it easy, I have friends here doing full primary plus all of the above minus the last couple of 2nd series postures

This shala really is a remarkable place, Kristina is remarkable, eyes on the back, side, top of her head as well as sixth sense, she misses nothing. As well as the regulars she has those of us who turn up for an extended stay of a week to a few months, respectful of our practice she is still offering suggestions and  you find your self taking most of them on board... if she respects you and your practice so much you end up wanting to return the favour and at least try out, work through, her suggestions and run with them for awhile,  there is wisdom here. Her husband Derek had a phenomenal practice, a great teacher supposedly (you only have to look at his long list of students, great teachers now themselves) just as she is in her own right, every now and then she'll give a passing demonstration, even if she's just demonstrating an uttanasana I can't help be struck by how deep and earthy a practice she has, EVERYTHING is contained in her uttanasana. 

Nothing is missed, we have some beginners here, some who have been coming for a year some for perhaps ten or more and she slips from one pedagogic mode to the other. I remember back in my old Aikido days we had an exercise where you would have three opponents rush at you, one was bare handed, the next had a baton, the third a wooden knife, you job was to respond to each attacker with appropriate force and technique, after you would throw them they would come again and again and again, the idea was that you didn't use any effort of your own it was all techniques using your opponents force agains them. As well as those of us on 2nd or 3rd series she leads the beginners through their first surynamaskaras, but she also has ears for her wonderful assistant Nikos, if he gives an instruction she feels is unclear or misleading she is over like a shot with clarification, I'm envious of his apprenticeship. Don't tell me your authorised, it means nothing to me,  just tell me who your apprenticeship was with and for how long. But then perhaps seven years in a shala counts as an apprenticeship of sorts, is it the same, close enough?

So my previous post playing around with the idea of endurance, of training, I had a commentator on fb mention that it was like gym, not sure he had actually read the post as I was actually writing about devotion, stoic submission but hey, it got me thinking. Gym...... gymnasium, the gymnasium had a profound place in Ancient greek society, it refers to a place of naked practice, the greeks used to practice their exercises naked, should remind you too of the old yogi's that Alexander met on his incursions into India, referred to as the gymnosophists, the naked philosophers.  The gymnasium was not only a place of physical exercise but of the mind and of the spirit, moral and social education took place there too, think of the link between asana and yama and niyama, perhaps they do go hand in hand. With a physical practice the heightened sense of the body perhaps we need the moral education to go with it, a spiritual aspect of practice to counter or compliment the senses or perhaps we just need to embody the flights of fancy that the mind takes, purusha and prakriti, don't focus on one at the expense of the other, perhaps they need to be reflected back and forththe one upon the other.

 "The ancient Greek gymnasium soon became a place for more than exercise. This development arose through recognition by the Greeks of the strong relation between athletics, education and health. Accordingly, the gymnasium became connected with education on the one hand and medicine on the other. Physical training and maintenance of health and strength were the chief parts of children's earlier education. Except for time devoted to letters and music, the education of young men was solely conducted in the gymnasium, where provisions were made not only for physical pedagogy but for instruction in morals and ethics.[citation needed] As pupils grew older, informal conversation and other forms of social activity took the place of institutional, systematic discipline. Since the gymnasia were favorite resorts of youth, they were frequented by teachers, especially philosophers.[8] Philosophers and sophists frequently assembled to hold talks and lectures in the gymnasia; thus the institution became a resort for those interested in less structured intellectual pursuits in addition to those using the place for training in physical exercises."Wikipedia on Ancient gymnasium

******
My friend Digby who runs Stonemonkey in Leamington Spa just sent me some pictures from my Krishnamacharya's original Ashtanga and Vinyasa Krama workshop last month. Loved this workshop, thank you so much to everybody who came, covered a lot in a day and are discussing a second day possibly in November to look at the second half of Krishnamacharya's primary and perhaps Ramaswami's Asymmetric vinyasa Krama serties that leads nicely to half and full lotus and/or leg behind head work.







Me and Digby  and that's Michelle's Vayu, see the link at the top right of the blog

Thank you to my practice partner Joelle for this one 

The original Stonemonkey poster outlining the program for the day


Yoga Documentary - Yoga: Tradition in the Eyes of Modernity 2013 (full movie)

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Fom my good friends behind WILD YOGI MAGAZINE and the Yoga Rainbow Festival that I was privileged enough to offer some classes on Krishnamacharya's original Ashtanga and Vinyasa Krama recently.

A couple of screen shots from the documentary
Mark Darby
Simon Borg-Oliver

Here's the info on the youtube page about the movie

Documental movie "Yoga: Tradition in the Eyes of Modernity". Probably most interesting Russian documental movie about yoga in 2013.
Profound interviews with yoga teachers of different schools and styles of yoga, who practice 30 years or more, about tradition and modernity in yoga.
Our guests are Shri Shailendra Sharma (Govardhan, India, Kriya yoga of Lahiri Mahasai), Mark Darby Yoga (Montreal, Canada, Ashtanga vinyasa of Shri K.Pattabhi Jois), Swami Asokananda (New York, USA, lineage of Swami Satchitananda Saraswati), Simon Borg-Olivier (Sydney, Australia, Yoga-Synergy school), Bal Mukund Singh (Delhi, India, lineage of Swami Dhirendra Brahmachari).
Movie by Mikhail Baranov (Moscow, Russia)
With support of Yoga-Rainbow Festival (Turkey)http://rainbow.yogafest.info
and Wild Yogi Magazine http://wildyogi.info/en

Full version of movie (700 mb) available for free download -https://yadi.sk/i/TlIZ2O5sW5rVg

You can make donation for author on PayPal mahaihos@gmail.com




Mark Darby and Simon Borg-Oliver talking about the Yoga Rainbow Festival



Here's my post on the festival
http://grimmly2007.blogspot.gr/2014/05/festival-report-back-from-yoga-rainbow.html

Shala practice, the home Ashtangi view.... and 50 breaths in tittibhasana B

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I feel a bit of a traitor to the cause, it's there in the title and always has been, Jump back at home, Ashtanga jump back at home, Krishnamacharya's Ashtanga at home, Krishnamacharya's original Ashtanga Vinyasa at home but am I now, finally, turning into a shala ashtangi?

Two weeks doth not a shala Ashtangi make.... but it's well on the way

Two weeks down on a two month stay at Kristina's Shala in Rethymno, Crete (http://www.yogapractice.gr/). The first week I practised Primary, this week I dusted off my 2nd and practised the full series Sunday to Thursday for the firsttime in a year or more. And it's tough practising 2nd in a shala, no coasting, take it easy on a posture and you just know that will be the asana that Kristina will happen to be standing behind you for, to take you in deeper or remind you to ground your palm.

I'm developing this theory, good teachers don't just happen to notice if you coast through a post they're three asana ahead of you, know exactly when your about to flag, where you think you might be able to slip into cruise control, "Oh and Anthony, what's happened to your nakrasana, I don't think I've seen it (all  week)?" Bugger.
I dropped nakrasana a long long time ago, when I moved to the upstairs shala, too noisy on the floorboards..... besides it's a foolish asana, "No asana are foolish" says Kristina as she adjusts somebody on the next mat in tittibhasana B (yeah right, Actually M. finds Titthi B scary rather than foolish, look away now).

Couldn't really post somebody's video of this when I had called it silly and this is the only one I have of mine Tittibhasana B Rishi approach 50 breaths. ( see here for explanation of the Rishi series ) fun starts about 2:28 in.

So the teacher knows three postures ahead which one I'm going to try and cheat on......I'm developing shala paranoia.

I think I mentioned in an earlier post this week on endurance how I'm loving the rhythm of the shala how it begins with us composed, wrapped up in our own practice until at some point we tend to hit the new postures or those we are struggling with and then a atmosphere of industry slips into the shala, of work, the energy changes completely, there's an unspoken camaraderie, we're all working on something, it's work, serious stuff but there's also a lightness in mood in the shala, there is courage here, bravery, not only in the willingness to try but in being prepared to fail ,here in this public space. We've all struggled with something, are still struggling (and if not today one of those rare days, then tomorrow, probabaly a wednesday) and there will always be something else to wrestle with.

Sir Jacob Epstein: Jacob and the Angel 1940–1. The Tate gallery

I'm Jacob, which asana is my angel this morning.

Perhaps it's not that we try to become steady and comfortable and motionless in an asana, Sthira sukham asanam but rather that this sutra describes the asana as we struggle with it, Epstein's angel, steady, comfortable, motionless, holding us up as we wrestle with it, supporting us.

'All angels are terrible, we love them so because they serenely disdain to destroy us' Rilke

I don't know, getting back up in karandavasana feels like it's destroying me again.... a little bit, back on the threshing floor

Yoga for me is concerned with enquiry, radical enquiry, we question.... everything and if we have firm conviction about what yoga is we might want to begin right there. Does your practice cause questioning to arise in you, a confrontation, then it may well be a yoga practice. This practice, Ashtanga vinyasa, it asks questions of us, there is certainly confronting here and there's nowhere to hide in the shala. Of course it can also be a distraction. Ashtangi's, we love to come up with answers, justifications and with the firmest of conviction too but perhaps these too will sooner or later come Sous rature.

I'm falling into the rhythms of the shala, never really took rest days let alone moon days but practicing in the shala I find myself looking forward to Saturday, to Friday even and a beer, just one OK, perhaps two, little ones. And the moon, I've started to look up at the moon, when is the next moon day, please god don't let it fall on a Saturday....again.

But here's the thing, I feel at home here.

Old school Ashtanga in Rethymno Crete : But you know what the funniest thing about Europe is... It's the little differences.

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Vincent: "But you know what the funniest thing about Europe is... It's the little differences".
'Old school' up there in the title shouldn't necessarily suggest older is better, just a little different is all.

There are some little differences here at Kristina's shala in Rethymno, Crete, I like them, I've mentioned them in passing but here's a list pretty much as they show up in Friday's Led Primary class and in those who practice here regularly. I've asked Kristina about them and shes says that all but the Utthita Parsvakonasana variation were taught to Derek Ireland by Pattabhi Jois in Mysore back in the day.

I like that these are being preserved somewhere at least, perhaps some of them in your shala. I know that several of the shalas with teachers, or students of teachers, who studied with Derek Ireland still have some of these. Perhaps these differences were only around for a few years during the period that Derek Ireland studied with Pattabh Jois, perhaps some were only part of his own practice with Guruji, we know that Pattabhi Jois taught a little differently to different students.

I'm reminded of the scene in Pulp Fiction when Vincent talks about Europe says

Vincent: Yeah, baby, you'd dig it the most. But you know what the funniest thing about Europe is?
Jules: What?
Vincent: It's the little differences. I mean, they got the same shit over there that we got here, but it's just...it's just, there it's a little different.
Jules: Example?
Vincent: All right. Well, you can walk into a movie theater in Amsterdam and buy a beer. And I don't mean just like in no paper cup; I'm talking about a glass of beer. And in Paris, you can buy a beer at McDonald's. And you know what they call a Quarter Pounder with Cheese in Paris?
Jules: They don't call it a Quarter Pounder with Cheese?
Vincent: Nah, man, they got the metric system. They wouldn't know what the f*%$ a Quarter Pounder is.
Jules: What do they call it?
Vincent: They call it a "Royale with Cheese."
Jules: "Royale with Cheese."
Vincent: That's right.
Jules: What do they call a Big Mac?
Vincent: A Big Mac's a Big Mac, but they call it "Le Big Mac."
Jules: [in mock French accent] "Le Big Mac." [laughs] What do they call a Whopper?
Vincent: I don't know, I didn't go in a Burger King. 
http://youtu.be/6Pkq_eBHXJ4


HERE'S THE LIST OF THE LITTLE DIFFERENCE here in Rethymno.

1. Hanumanasana and Samakonasana after Prasarita A. B. C. D. subroutine - Pattabhi Jois

2. Trivikramasana after Uthita Hasta Padangustasna - Pattabhi Jois

Derek Ireland

3. Utthita Parsvakonasana variation after Utthita Parsvakonasana B - Derek Ireland
(arm between legs, twist and bind) 

4. Bakasana  (3x5 breaths) after bhujapindasana - Derek ireland (Pedagogic)

5. Supta Trivikramasana after Supta padangustasana - Patabhi Jois

6. (Ardho mukha) Vrksasana (handstand) after dropbacks Pattabhi Jois


7. Vrschikasana ('scorpion') after Ardho mukha Vrksasana - Pattabhi Jois
(taking legs to Vschikasana then flipping back to standing three times 
before dropping all  the way over into Urdhva danhurasana and then coming back up to standing, again three times).


8. Backbends after Vrschikasana - Pattabhi Jois

(A. Arms crossed over chest hands on shoulders dropped back slowly to head- five breaths, come up.


B. Arms crossed over chest, hands on chest, taken back, deeply but not to ground, five times on breath.

C. dropped back to hand, take forearms to the floor hands to heels/ankles lift up into chakra bandhasana).


Video below shows 6-8 above





Splitting 
(moving from Primary to 2nd series)

I asked Kristina how she goes about 'splitting' in her shala. The approach I had generally come across was adding 2nd series asana on to primary up until Karanadavasana when you would then split your practice and practice 2nd Sunday to thursday with straight Primary on Friday. I'm sure I've heard of some places that allow you to split after Kapotasana.


Here at Kristina's there's no such luck, you keep adding 2nd series asana on to your Primary series until you complete 2nd then you would practice both series together for a couple of weeks before switching to half primary up to and including supta kurmasana followed by full 2nd series. You them only practice like this for a few days to a week before splitting completely.

One shouldn't worry about the extra asana, the little differences, these are on-going projects as are all the asana, while there may well be a pause at certain key 'gate keeper' asana, nobody seems to get held back at these for long, certainly not for years, your not expected to bind fully, marichi D or Supta kurmasana, pashasana or take Karandavasana up as well as down, these will come with time...or not.

*******

Another thing I wanted to make a note of, Kristina is constantly calling out "Breathe.... tristana, bandhas, drishti, breathing. Breathe.... diaphragm, ribs chest, inhalation, diaphragm ribs and chest exhalation, BREATHE"

I like the reminder to begin the breath in the diaphragm rather falling into the habit of breathing higher up in the chest.

Previous Post




Shala practice, the home Ashtangi view.... and 50 breaths in tittibhasana B

Crete: Evening practice 2nd series asana with Kumbhaka plus Know thyself

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My view from Home Sweet Home cafe, Rethymno, Crete as I write this and wait for it to cool down enough to hit the beach

Honestly, if money was no object and I could go anywhere, and I mean anywhere, to work on my Ashtanga for a couple of months, I'd still choose here, Kristina's shala in Rethymno, Crete. Really, why would I want to go anywhere else, I love this small room, learning so much here.

And of course Manju is coming in August.


But your missing out on the India context, I hear you say, that may be but I'm currently rereading The Shape of Ancient thought which looks at the interchange between Greece and India. I would argue that Greece is the perfect place to understand the context of yoga for the western yoga student, we're all Greeks. I highly recommend you continue to study your Patanjali (get Aranya's commentary), that copy of the Gita sitting on your shelf (with Sankara's commentary) and don't forget the Upanishads (inc. the later Yoga Upanishads) or miss out on Yoga Vashita but please, don't forget you Plato (middle dialogues obviously), the Presocratics, the Stoics......

Know thyself

Artist's impression of original text inscribed in Temple of Apollo at Delphi. Photo of the Stone of 12 Angles, Cusco, Peru.
Often attributed to Socrates, 'Know thyself' was an inscription found at the temple of Delphi and is thought to originate from Thales of Militias the first of the PreSocratic Philosophers ( the pre socratic philosophers are argued to have been influenced directly or indirectly by Indian Upanishadic thought). Socrates refers to Know thyself several times in Plato’s dialogues arguing that one should 'know thyself' before seeking to know the gods, or anything else for that matter. What supposedly made Socrates unique was that he understood that he did not know himself and thus could not know anything else, in the dialogues he shows others that they too don’t actually know what they thought they did. 'Know thyself' has been interpreted in many ways, to know thyself rather than how others’ see you’, to seek understanding of the nature of self reminding one of Patanjali perhaps or, following Buddha, to know (for) thyself rather than trusting only to teachers or scriptures, to put teaching to the test of your own experience.

Listening to Indian teachers do you sometimes get the feeling that they seem to think we, the western students of yoga, are completely incapable of understanding the yamas and niyamas as if there is a complete absence of moral or ethical teaching in our culture. Is there such a culture? Has there ever been? Isn't that a defining characteristic of a culture, a society (discuss).

So here's a game, match the Delphic maxim to the appropriate yama niyama

http://www.flyallnight.com/khaire/DelphicMaxims/DelphicMaxims_CB63-1987.pdf
Evening practice

In the morning I'm practising full 2nd series with Kristina in the shala and in the evening I'm doing a short Vinyasa Krama practice leading up to longer stays in a couple of Ashtanga 2nd series postures and introducing Krishnamacharya's kumbhaka instruction. The plan all along here has been to reground my 2nd series to explore Krishnamacharya's use of Kumbhaka in 2nd just as I've been doing with his Primary asana for the last year. So around 40 minutes of asana followed by half an hour of pranayama and a Sit.


Kumbhaka tends to be straight forward in Krishnamacharya's Primary, if the head is down the breath is held in after the inhalation if the head is down then it tends to be held out after the exhalation, easy, oh and no kumbhaka in twists.

2nd series is a little less obvious but thankfully Krishnamacharya indicates which kumbhaka for which asana, it's clear he was very serious about this approach to practice. In the table below he also gives the health benefits for the asana, can we speculate if there is a correlation between the kumbhaka and the health benefits? if we don't include the kumbha do we still get the health benefit?

And what about teaching kumbhaka, do we include kumbhaka from the start or do we consider it a more advanced option. My own inclination as been to think of kumbhaka as an advanced option that's available to us but perhaps that's my Ashtanga bias. In Vinyasa Krama short kumbhakas are included form the start in asana.

Middle and part of the proficient groups page from Krtishnamacharya's Yogasanagalu, see the Yogasanagalu page at the top of the blog


 * A few of the 2nd series asana show up on first page of the proficient asana sheet

Krishnamacharya Ashtanga and Vinyasa Krama in Crete

Thank you to my so so generous teacher Kristina Karitinou for inviting and allowing me to continue offering Intro to Vinyasa Krama classes in her beautiful Ashtanga shala space in Rethymno on Thursday evenings. Last week we focused on the Lotus sequence this week we'll look at the Bow and Meditative sequences as well as more time for pranayama and a longer savasana (promise). 


Looks like I might be offering an intro to Krishnamacharya and Vinyasa Krama in Chania at Nektarios and Gloria's Ashtanga Yoga Crete, possibly this Friday, check out the beautiful website.


As well as an Ashtanga teacher Nekatarios is a Sitar player, we're hoping to collaborate on a post concerning the Sitar and it's anatomical correlation with the body.

New high def photos of Vinyasa Krama class above the trees Yoga-Rainbow Festival in Cirali, Turkey

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Yoga-Rainbow Festival in Cirali, Turkey just sent me all the hi def photos by Dmitry Preobrazhensky of my first Vinyasa Krama class at the festival, the one on the platform above the lemon trees, what a setting to offer a class.

Turned the photos into a slideshow and picked a couple of my favourites below.

I've often been asked what a Vinyasa Krama class would actually look like this gives a bit of an idea I think.

Thank you Dmitry for your work.



photos by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 
photo by Dmitry Preobrazhensky 

The Vena and the spine, Teaching In Chania and 'rest day', walking the 16km Samaria gorge.

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Krishnamacharya supposedly studied the vina for three years?

"Note:The human spine is comparable to the vina, an ancient Indian string instrument,the vertebrae of the spine being likened to the nodes of the vina. The practice of mula bhandha tightens the base of the spine, similar to the tightening of the vina at its base. Only when the strings are properly tightened and in proper tension, is the sound (nada) from the vina proper." P65 Yogayajnavalkya

Nekatarios' Rudra Veena
"There are many resemblances between the human body (God made Veena) and man made Veena. 

These secrets are revealed in a book by name, “SANDHYA VANDANEEYA TATVARTHA” and “VEDA PRAKASIKE” written and published by Mr. YEDA TOREY SUBRAMANYA SARMA in Kannada language in the year 1936. Many secrets of Veena were mentioned in this book. A few points are given below: 



Veena has 24 frets, 4 strings on the frets and 3 on the side. 

The top 1st string Sarani indicates – the RigVeda 2nd string Panchama indicates – YajurVeda 3rd string Mandara indicates – Sama Veda 4th string Anumandra indicates the AtharvaVeda. 

All these 4 strings bear the Suddha Satva guna.

The 24 frets get their importance by the nada produced from them and not because of the metal used.
As we see in the universe the three states viz., creation, sustenance and merger (Srusti, Shiti and Laya) even in Nada we see the same three states.Likewise, the 24 frets representing 12 Sruthees in two octaves (24) indicate the 24 letters (Aksharas) of GAAYATHRI MANTHRA. “TAT SAVITUR VARENYAMBHARGO DEVASYA DHEEMAHIDHIYO YONAH PRACHODAYAT” 

Veena has been compared to human body:

The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head.In the top of the head exists the Brahma Randhra. 

Just like the 24 frets of the Veena, human back bone has 24 divisions. According to the anatomy, the back bone has 7 cervicles, 12 thorasic and 5 lumbar vertibraes.

In Veena the distance between each fret is broad in the lower octaves and becomes less while proceeding towards the higher octaves. Similarly the back bone is thick at the Mooladhara and the distance between each ring becomes less while proceeding towards the Brahma randhra.

The Mandara Sthaayi Swara starts from the seat point of the human back bone and as it proceeds towards the Brahma Randhram situated in the Sahasraram, the pitch or sruti increases. It is here, where the life of music is situated.

The nada born out of the union of prana (life) and agni (fire) starts from the Mooladhaara at low sruti and reaches the Sahasrakamala crossing the Swaadhisthana, Manipoora, Anaahata, Visuddha, Aagna, the Shadchakras. In this course the sruti (pitch) increases.

This shows the resemblance between the Daivi Veena and man made Veena. So it is definite that to attain Moksha nada yoga is a correct path, and for practising nada yoga Veena is an appropriate instrument".

Section in italics above from here http://www.theveena.com/veena/daive-and-manushi-veena.html


"Its big bowl (kudam) is like the human head. 

The finger- board that is connected to the curved end with the dragon or yaali is compared to the human spinal column. 

The 24 frets are compared to the vertebrae and also the 24 syllables of Gayatri mantra. 

The 4 main strings are the major nerves which symbolize the four vedas – Rig, Yajur, Saama, and Atharvana veda, and the four yugaas- Kruta, Treta, Dwapara and Kali and also the four stages of human life – dharma(duty), artha(material gain), kama(worldly pleasures) and moksha(ultimate salvation). 

The three drones represent the three Upanishads. 

The re-tuning of the main strings is compared to the philosophical concept of the individual or the jeevatma strayed by the Karmic actions, to be in tune with the Paramatma. 

The tuning pegs or the birudais where the strings are tied are the symbol of mind that controls everything. The yaali (dragon) itself symbolizes courage and the triumph over evil".



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Sharing Vinyasa Krama in Chania, crete.

Great pleasure sharing some Vinyasa Krama at Ashtanga Yoga Crete Friday night, thank you to everyone who came, to Gloria Konstantoudaki and Nektarios Mitritsakis for inviting me, for giving me the grand tour of 'their' Chania and for the trip to the Samaria Gorge yesterday (14km plus 2 more to the beach). Nektarios, you have a curious idea of what constitutes a rest day, I can barely stand this morning : )




Nektarios mentioned that the vena being compared to the human spine was mentioned in Mohan's version of Yogayajnavalkya, spent my time before class trying to find it.


Yogayajnavalkya AG Mohan http://www.svastha.net/books/





Rest day in The Samariá Gorge

 My rest day yesterday spent walking 'The Gorge' with Nektarios Mitritsakis and Gloria Konstantoudaki, great day but I may never walk again.

"The gorge is 16 km long, starting at an altitude of 1,250 m at the northern entrance, and ending at the shores of the Libyan Sea in Agia Roumeli. The walk through Samaria National Park is 13 km long, but one has to walk another three kilometers to Agia Roumeli from the park exit, making the hike 16 km long. The most famous part of the gorge is the stretch known as the Gates (or, albeit incorrectly, as "Iron Gates"), where the sides of the gorge close in to a width of only four meters and soar up to a height of almost 300 meters (980 feet)". Our old friend Wikipedia









Krishnamacharya's breath control... in bullet points

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Nice fb update from Ramaswami (Krishnamacharya's student of over 30 years) this morning who is currently teaching his TT at LMU in LA



"Sri Krishnamacharya's yoga was (is) breath based. According to some upanishads, we breathe about 21.600 times every 24 hour day, which works out to about 15 per minute, which can easily be confirmed. It is common belief among traditionalists that one's life is predetermined in number of breaths, Hence breathing longer is in everyone's interest. In Sri Krishnamacharya's yoga the vinyasas are done at the rate of about 5 to 6 per minute as against the normal 15 per minute. The static poses like Sirsasana, Mahamudra, Paschimatanasana, Sarvangasana and others are done at about 3 to 2 breath rate. Pranayama, especially mantra-pranayama is done at the rate of 2 to 1 breath per minute. His chanting of vedic passages would be at the breath rate of 3 or less per minute. His phenomenal OM chant would be between 2 to 1 per minute. An hour or 90 minutes of Yoga as taught by Krishnamachatya should give health and longevity. I am unable to associate Krishnamacharya yoga without breath control". Srivatsa Ramaswami

Lets put that into bullet points.

In Sri Krishnamacharya's yoga .....


  • The vinyasas are done at the rate of about 5 to 6 per minute as against the normal 15 per minute. 



  • The static poses like Sirsasana, Mahamudra, Paschimatanasana, Sarvangasana and others are done at about 3 to 2 breath rate. 



  • Pranayama, especially mantra-pranayama is done at the rate of 2 to 1 breath per minute. 



  • His chanting of vedic passages would be at the breath rate of 3 or less per minute. 



  • His phenomenal OM chant would be between 2 to 1 per minute. 



  • An hour or 90 minutes of Yoga as taught by Krishnamachatya should give health and longevity. 


Pattabhi Jois Performing Puja London 2002 plus talk on Krishnamacharya and coming to practice yoga.

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Kristina ( http://www.yogapractice.gr ) has been rummaging around and come up with some old videos on disc. Bit tricky extracting, editing and converting them (unfortunately my converting software is on my iMac currently on rout t to Japan thus the watermark) but so far so good and I should be posting a few over the next couple of days.

This post is in two parts
Part I Sri K. Pattabhi Jois peforming Puja
Part II (below) Krishnamacharya asked about Krishnamacharya and how he came to yoga

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Part I. Sri K. Pattabhi Jois peforming Puja
This first one is rather wonderful, Sri K.  Pattabhi Jois performing a puja (see below) in London during his second visit in 2002. Kristina says that this event was organised/hosted by John Scott and that Pattabhi Jois was staying at Stings old house.

Sri K. Pattabhi Jois, Sharat, Puja. London 2002




I like this intro to Puja, click on the link to go to the page.
Symbolism of Puja, the Ritual Worship of God in Hinduism
by Jayaram V

In Hinduism we come across a common method of worship called puja. "Puja" is the most popular form of worship practiced in almost every Hindu household even today, either on a daily basis or during some important religious function or ceremony. A puja can be either a simple ritual worship or a very complicated one, depending upon the way it is performed.

Many interpretations can be given in Hinduism to the word "puja" which consists of two letters, namely, "pa" and "ja". According to one interpretation, "pa" means "parayana" or continuous repetition of the names of God and "ja" means "japa" or continuous mental recitation of the names of God. According to this interpretation "puja" is essentially a kind of Hindu worship in which both parayanam and japam are practiced by the devotees.

In the puja ceremony, the Hindus offer both flowers and water to the deity. Thus from this point of view, "pu" means "pushpam" or flower and "ja" means "jal". The letter "ja" can also mean simultaneously "japam". So in this context, puja becomes that form of Hindu worship, during which water and flowers are offered to God along with recitation of His names.

Lastly, puja has a spiritual dimension also. According to this interpretation, puja means that form of worship through which we give birth to or awaken the indwelling spirit in us. Here "pu' means "purusha", meaning the eternal self and "ja" means "janma" , meaning to give birth to or to awaken.

According to the Hindu beliefs, during the puja ceremony the deity, which is normally a static statue, becomes alive. This happens both at the external level and at the internal level. The statue is brought to life externally through the chanting of mantras or special invocations, or specifically speaking, through the performance of 'prana pratishta' or establishing of life breath. Similarly the indwelling spirit is awakened through the devotee's sincerity, concentration, devotion, and divine grace which is symbolically represented as 'prasad', or the blessing from above.

The Hindus perform pujas in various ways. But the most common form involves a certain sequence of events or procedure. During the ceremony, the first step involves invocation of God through invitation to a certain spot on earth, which is indicated with the directions, specification of time and place name. This is generally accomplished through the chanting of mantras or simple prayers. Once it is believed that the deity has consented to come and has arrived as requested, he is then offered a seat with utmost respect. Water is then offered to him just like we tend to offer water to a guest who comes into our house after a long journey. Once he is seated, as a mark of utmost reverence, love and self surrender, His feet are washed with ceremonial water.

After that he is bathed with water and sprinkled with various perfumes or scented pastes to the accompaniment of various chants. After the bath ceremony, he is offered clothes, symbolically represented by a peace of cotton thread in simple ceremonies or real clothes in more pompous ones.

Once comfortable in the new attire and seated in his high seat, he is offered the following: pushpam (flowers), phalam (fruit), gandham (sandal paste), dhupam (incense), deepam (light), naivedyam (food), jalam (water) and mantram (recitation of sacred verses). When it is felt that He is comfortably and contentedly at home and is in right mood and right disposition, he is further supplicated with various hymns and prayers of praise and gratitude.

In more elaborate ceremonies of Hinduism, He is also entertained with song and music and presented with a number of offerings and gifts such as clothes, incense, flowers, perfumes, light, ornaments, food items etc, some times really sometimes mentally, but essentially and symbolically to express ones gratitude, devotion and the degree of self-surrender.

The puja ceremony of the Hindus, generally ends with the offering of aarati or sacred flame to the deity and distribution of prasadam. Prasadam is a combination of two words, namely 'pra' and 'sada'. It literally means the bestower of eternal life. The Hindus believe that, when an offering is made to the deity, it is blessed by the deity and becomes infused with His or Her prana energy. Hence the name 'prasadm".

As we can see from the above description, in Hinduism the way a puja is conducted in the traditional fashion is akin to the way a householder invites and entertains a guest of honor into his house. In Hindu tradition, a guest is almost akin to God ('athidi devo bhava'), and should be treated as such with utmost respect. As long as the guest stays in the house, he should be given utmost respect. All his desires and expectations should be fulfilled as far as possible, for who knows he might be God himself who has come in disguise! The same concept is extended to the deities when they are worshipped during the puja ceremony. They are invited and worshipped with utmost respect, attention and devotion.

On the physical plane, the prayers and the mantras chanted during the puja ceremony create an atmosphere of sacred feelings or vibrations in the house and add sanctity and purity to the whole environment.

In Hinduism, thus puja is essentially a religious ritual, or a form of communion with the Divine. It has many levels and layers. At the highest level, it is suggestive of symbolic offering of our lives and activities to God at the end of which comes the divine blessing in the form of prasada, which is sweet in nature and is infused with God's energy.

Today most of the ritualism and systematic approach to conducting the puja ceremony is giving way gradually to more simplified and restricted forms of worship and offerings, reflecting the pace at which life is progressing. Though its outer form has been gradually changing, the spirit, the sincerity and seriousness of doing the pujas are still intact in many Hindu households even today.

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PART II. Pattabhi Jois asked about Krishnamacharya and how he came to yoga.

In the second video 'Mr Joseph' ask Guruji to talk about Krishnamacharya and how he came to practice yoga. The sound isn't great, I'll try to improve the quality once I get back to my mac and see about a transcription but perhaps your able to enhance the sound on your own Mac or PC.



Once I hook to a faster Internet connection I'll be posting a video of a full Led Primary from this tour as well as some videos of Derek Ireland

In case you find the sound quality frustrating I offer you this from an interview in 1994 which yu might have missed or forgotten about.

Where did you learn yoga?

K Pattabhi Jois:From my guru, Krishnamacharya. I started studying with him in 1927, when I was 12 years old. First he taught me asana and pranayama. Later I studied Sanskrit and advaita philosophy at the Sanskrit College in Mysore and began teaching yoga there in 1937. I became a professor and taught Sanskrit and philosophy at the College for 36 years.

I first taught in America in Encinitas, California, in 1975. Now I'm going all over America. I will teach anyone who wants the perfect yoga method-ashtanga yoga-just as my guru taught me. 

What is perfect asana, and how do you perfect asana?

K Pattabhi Jois:"Sthira sukham asanam." (YS II.46) Perfect asana means you can sit for three hours with steadiness and happiness, with no trouble. After you take the legs out of the asana, the body is still happy.

In the method I teach, there are many asanas, and they work with blood circulation, the breathing system, and the focus of the eyes (to develop concentration). In this method you must be completely flexible and keep the three parts of the body-head, neck, and trunk-in a straight line. If the spinal cord bends, the breathing system is affected. If you want to practice the correct breathing system, you must have a straight spine. 

From the Muladhara [the chakra at the base of the spine] 72,000 nadis [channels through which prana travels in the subtle body] originate. The nervous system grows from here. All these nadis are dirty and need cleaning. With the yoga method, you use asana and the breathing system to clean the nadis every day. You purify the nadis by sitting in the right posture and practicing every day, inhaling and exhaling, until finally, after a long time, your whole body is strong and your nervous system is perfectly cured. When the nervous system is perfect, the body is strong. Once all the nadis are clean, prana [subtle energy] enters the central nadi, called Sushumna. For this to happen, you must completely control the anus. You must carefully practice the bandhas [energetic locks]: Mulabandha, Uddiyana Bandha, and the others, during asana and pranayama practice. If you practice the method I teach, automatically the bandhas will come.

This is the original teaching, the Ashtanga Yoga method. I've not added anything else. These modern teachings, I don't know... I am an old man!

The full Interview is here
Interview with K Pattabhi Jois: 
Practice Makes Perfect By: Sandra Anderson

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Thank you to Kristina Karitinou for sharing these videos with us and for watching them through with me, chatting away throughout of the when, where, who, what of all concerned..... this was great but I'd hate to go to the movies with you : )
Ashtanga Yoga Greece
http://www.yogapractice.gr

See my previous posts about practice at Kristina's shall
Old school Ashtanga in Rethymno Crete : But you know what the funniest thing about Europe is... It's the little differences.

Shala practice, the home Ashtangi view.... and 50 breaths in tittibhasana B

more to come as I'm here at Kristina's in Rethymno Crete for another month.


Shala practice, adding on 3rd (groan)

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I've been feeling a little lazy in the shala, coasting as it were. Around me my shala mates are building up their Primary ( and we all remember how tough that was) or practicing full Primary and adding on some of 2nd, three are practicing the complete Primary series and all but the seven deadlies (the seven headstands) of 2nd series (the 2nd series practiced with full vinyasa).

Me, I come in, knock out my 2nd and leave, job done, quick shower pop Aranya in my bag and hit the beach.

OK, I'm not exactly coasting, 2nd is still tough, I'm nowhere near as deep in my kapo as I used to be or Dwi pada for that matter and as for karanda, it only just comes back up but it's all.... relatively comfortable.

So time to dust off my 3rd perhaps. If it had been a year since I'd last practiced full 2nd it must be close to three since I practiced all 3rd.

This morning I was feeling strong at the end of practice, yesterday I'd practiced Primary (thought twice  a week made more sense than one led on Fridays) so started adding on 3rd series, went as far as Urdhva  kukkutasana C, thought about the arm balances for about 30 seconds but decided enough for one day.

Why did I stop bothering with 3rd again, I forget, it was fun this morning. Think perhaps I was being oh so serious seeing 3rd as just party tricks, beneath me.

It's nice this time around, know I can do them, that they will come back and whether they do or not doesn't really bother me but there are some nice asana scattered throughout the series, some interesting challenges for the breath.

Ok, party tricks are  perhaps not THAT beneath me, not sure I can still do this, oh the frivolity of youth (birthday tomorrow)



Was a little po-faced about yoga for a while back there, sorry about that. What does it matter perhaps what we do in our asana practice in this second of the three stages of life, we're preparing for the third stage, developing discipline, focus, attention, commitment, a good solid asana practice, (ashtanga for example, excels as a practice for all of these), the beginnings of pranayama and a nod towards a meditation practice.

I happen to be interested in Krishnamacharya's Ashtanga, it's the breath you see but so what if practising in a gym for a couple of evenings a week happened to be my my thing, it's a start, who knows what that might lead to, even if nothing other than a little less stress of a week.

We judge a lot huh.

Forgot to add this quote to yesterdays post from the the old 1994 Pattabhi Jois interview (from HERE)

Do you also teach your Western students Sanskrit?

K Pattabhi Jois: No, only asana and pranayama. You need Sanskrit to understand the yoga method, but many people, even though they would like to learn Sanskrit, say they have no time.

It is very important to understand yoga philosophy: without philosophy, practice is not good, and yoga practice is the starting place for yoga philosophy. Mixing both is actually the best. 

adds context to this one

What about the other limbs of ashtanga yoga?
Do you teach a method of meditation?

K Pattabhi Jois: Meditation is Dhyana, the seventh step in the Ashtanga system. After one step is perfect, then you take the next step. For dhyana, you must sit with a straight back with your eyes closed and focus on the bridge of the nostrils. If you don't do this, you're not centered. If the eyes open and close, so does the mind.

Yoga is 95 percent practical. Only 5 percent is theory. Without practice, it doesn't work; there is no benefit. So you have to practice, following the right method, following the steps one by one. Then it's possible. 

See yesterdays post for a couple of newly released videos of Pattabhi Jois and Sharat


Where did Ashtanga 3rd series come from?

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A long rambling post as I upload a long video over a very slow connection making one Greek frappe stretch all afternoon.


Sometimes I play with the theory, what if Pattabhi Jois had come up with ALL the Ashtanga series, back when he had been offered the teaching job at the Sanskrit college. What if he had brought the yoga syllabus, the asana divided over four years (pretty much the list he gave to Nancy and David in 1973) and shown it to Krishnamacharya and that Krishnamacharya had used Jois' list for his 1941 book Yogasanagalu.

The theory falls down because although the Primary and Middle group in Krishnamacharya's book is almost exactly the same, especially the Primary group, as the Ashtanga we have now the Proficient group seems to be a catch all for a bunch of the more advanced postures.

It appears Pattabhi Jois organised the proficient asana into Advanced A or Advanced B. If Krishnamacharya had had an Advanced A and Advanced be list then surely he would have included it in Yogasanagalu as well or at least those under the title Proficient group would follow the general order that make up Jois' later series.

It begs the question whether Krishnamacharya ever intended the asana to be practised as fixed sequences (more on that later).

My guess is that the Primary group were probably pretty much practised in the order they are laid out in Yogasanagalu (depending on the time available, classes were supposed to be only an hour), as a kind of series and as one became more proficient the back bending sequence would be practiced and perhaps followed by the leg behind head sequence. And why not, if the student(s), Like Jois himself perhaps, were becoming more accomplished why not have them practice all the Middle group asana, the 2nd, Intermediate, series if you will.

And as for time, although Krishnamacharya writes of the long stays, the long slow breathing, the kumbhaka perhaps these were elements he might expect his students to practise themselves. Pedagogically, in the hour class, he may well have gone through the postures more quickly.

And Pattabhi Jois in the same situation as his teacher offering limited length classes may well have chosen to teach the asana with shorter stays although, according to Manju he would himself stay in certain asana for longer periods with longer, slower breathing.

Still no explanation as to why Kumbhaka (so prevalent in krishnamacharya's first book Yoga Makaranda 1934 written while the young pattabhi Jois was his student) was dropped.

This would suggest we have an

Ideal approach to asana IE. less Asana Longer stays, long slow inhalations and exhalations, perhaps kumbhaka

and a

Pedagogic approach to asana IE. More asana, shorter stays, faster breathing.

When the Westerners came to practise , especially in the beginning at the Old, smaller, shala, they seem to have inhabited a middle ground. Because they were only staying for a number of months Pattabhi Jois seemed to be happy, even keen,  to teach them as many asana as they wished and as they had nothing else to do all day they could have long classes and thus practice relatively slowly, so the breath perhaps a little longer and slower, more breaths in a posture.

As things changed and Ashtanga became popular, more and more coming to Mysore and students in the US and Europe to think of we ended up with the led class, full vinyasa dropped, less breaths in postures, breathing a little (or a lot ) quicker.

But what about that 3rd series, Advanced A, Krishnamacharya's Proficient group

Proficient group: In Yogasanagalu (1941) Krishnamacharya seems to have lumped together all the 'advanced' asana

Advanced A: Pattabhi Jois seems to have had an Advanced A and Advanced B list of postures for his four year Sanskrit college yoga course

3rd Series: in the 90s Advanced A seems to have been split into 3rd and 4th series Advanced B into 5th and 6th series we a few extra asana thrown in.


This has got me thinking though, can we see any broad outlines, mini groups of asana, subroutines in Krishnamacharya's list that suggest a rough outline of Pattabhi Jois' Advanced A sequence, his inspiration perhaps.





Perhaps a pictorial representation of Krishnamacharya's Yogasanagalu proficient asana helps. These are made up of old pictures I had lying around, some better than others, so not ideal.



If not then what does that tell us? Perhaps that Krishnamacharya never saw the Proficient asana as a sequence to be practised separately, as a series say, but rather that they would be perhaps added on to the middle group postures where and when appropriate. This would follow along the lines of Vinyasa Karma Ramaswami's presentation of Krishnamacharya's later teaching where postures would develop out of each other, postures leading up to the leg behind head postures say which would move from relatively simple to extremely challenging. 

But what about the 1938 Iyengar demo back when he was a student (actually he had just left Mysore) of Krishnamacharya's ( and we must never forget it's an edited demonstration) can we look at the pictures of the asana below taken from the video and see patterns, groups of asana?




There does seem to be a logical flow of asana in Iyengar's demonstration, one to another, most of the leg behind head postures are put together, it's similar in places to the sequence we find in 3rd (or 4th), we can see intuitive groups of asana that suggest they were perhaps taught by Krishnamacharya in groups and that Pattabhi Jois may have used this as inspiration for his Advanced A and later 3rd and 4th series. 

So we might practice the middle group leg behind head asana, eka pads sirsasana then move directly into the more proficient asana found in Jois' 3rd series adding them on one after the other up to durvasana, standing leg behind head. 

This all does seem to suggest then that the Advanced A and Advanced B series ( later 3rd-6th) were a Pattabhi Jois' construction following the inspiration of the Krishnamacharya's approach to Primary and Middle group asana, there doesn't seem to be any evidence to suggest that Krishnamacharya ever intended the asana to be practiced in the manner in which Pattabhi Jois presents them other than that Pattabhi Jois mentioned several times that he only taught what his teacher taught him. Perhaps in his own private lessons with Krishnamacharya he had him practice the proficient/advanced asana in a manner, a sequence, akin to the series Jois later presented.

So Pattabhi Jois turned up at Krishnmacharya's house one afternoon with his syllabus for the sanskrit college, four years, a list of asana for each year, Primary, Intermediate, Advanced A and Advanced B and asked his teacher what he thought. Perhaps he pointed out that the first two years followed Krishnamacharya's own list but that he had to come up with his own for the final two years. According to Jois, Krishnamacharya gave his approval of the list, I haven't seen any interview to suggest that they discussed it or that Krishnamacharya offered suggestions. Nor was there the suggestion that Krishnamacharya exclaimed "Are you MAD Pattabhi, all those asana as a series!"

My teacher Kristina will wax lyrical about 3rd, she loves it's construction, finds it logical, she likes to practice it with full vinyasa. 

Building it back on to the end of my 2nd (see previous post) I'm less convinced. I'm already tired, 2 kilo of sweat in my mat, my breathing short and laboured, I have little interest in building back up and maintaining the level of fitness required to practice 2nd and 3rd or half of 3rd together. Manju's approach of a little part of primary, part of 2nd and a dash of 3rd is much more appealing, however, Kristina has a  couple of evening Mysore's I'm tempted to explore 3rd again as a stand alone series with full vinyasa, perhaps I'll warm to it.

Old Illustrations ( Cheat Sheets) of Ashtanga Series

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Kristina turned up with an old file of Ashtanga material last night, gave it to me to go through to see if there was anything of interest. Yep, all kinds of treasures buried away. What I loved most though were all these old illustrations, 'cheat sheets', of the Ashtanga series, I love them and couldn't wait to share.

Update: Just got a few notes from Kristina on credits.


First up is a version of 3rd series that Kristina just had laminated in the shala (just heard it was drawn by Liz Lark), I was using this at the end of last week to remind me of the series ( I practised up as far as Purna matsyendrasana on top of 2nd on my Birthday Thursday).

By Liza Lark Story goes, Liz was making a trip to Mysore and Derek asked her to come up with a 3rd series sheet.

This seems to be another version of the one above (different artist though we think), think I like it better, especially the kukkutasana.


This was a nice surprise a sample of Lino Miele's famous poster with a note from Lino to Derek on the back introducing the poster.


Below the first Ashtanga book? This was used at The Practice Place back in the, what,  late 80's early 90's.

The Practice place, Crete

My understanding is that Derek Ireland asked John Scott to draw these back when John was working at The Practice Place on Crete, seems many current Ashtanga teachers worked there at some time or other, Hamish Hendry, Gingi Lee, Alex Medin...to name but a few








This one I've seen somewhere before, sure I have a copy of it somewhere by Monica.... can't quite read the surname ( will research).


This is one of my favourites. a mixture of Advanced A and B. I've heard mention before that Advanced A and B were supposedly one series, that doesn't seem to fit as we have Nancy and David's 1973 syllabus which includes Advanced A and B and is supposed to correspond to Pattabhi Jois' original Sanskrit College syllabus from the late 30s, early 40s. Krishnamacharya of course had just the one advanced series or 'Proficient group' but there doesn't seem to be any recognisable order (see my previous post).


This is interesting, I noticed that in Kristina's shala there is no lift included after utkatasana and virabhadrasana. That's curious because it's there in Yoga Mala so as 'old School' as you get. But look below there are the two lifts but crossed out and they don't appear on the John Scott Tripetra sheets above. Strange when you think of Derek's love of handstands/arm balances.


This is Cute ( by Katerina Zougrou) and was in the same sleeve as the sheet above, no idea what it's doing there or what's going on but I love it. Kristina just told me that this was an intro to Ashtanga for her over 60's before moving them on to Sun salutations.

by Katerina Zougrou
by Katerina Zougrou
by Katerina Zougrou
These next couple seem to be from Jean-Claude Garnier (Brussels).



The next couple show how Iyengar's light on Yoga was used as a resource, found several references to it in the folder. here it was used for translations of all the names of the asana.








At first I thought these were illustrations of a woman  practising Ashtanga but I'm currently uploading a video of Derek Ireland teaching a class in Helsinki in 1989 and he has that mane of blond hair of his up in a high ponytail, are these supposed to be illustrations of Derek?



And these are the current 'cheat sheets' At Kristina's Rethymno Shala, it's Apollo practising the Ashtanga series. I believe these may be available to buy if you contact the shala http://www.yogapractice.gr


Showing just the primary here but there are sheets from Sury's to Intermediate

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