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Ashtanga seduces : Home Ashtangi/Shala practice

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It's seductive Ashtanga, no? There's always that next posture, the next series.....

"O wicked wit and gifts, that have the power
So to seduce!"

Did I mention that there is such an atmosphere of industry, of work going on in Kristina's Rethymno Shala? I'm starting to understand why, this is a summer shala, in winter Kristina goes back to Athens and teaches at Shala's there. The comparisons with Mysore are even more apparent, people come here for anything from a couple of weeks to three months and often come back year after year.

Because they are here for limited period everyone seems to want to make the most of their time here, bringing their best practice every day, working on more postures, deepening the ones they have.

And Kristina may well move you along, give or offer you the next posture and then the next. Manju comes here every year and doesn't believe in holding people back for long periods of time, if you struggle with binding in Marchi D, no problem keep working on it each day but take the next posture. That said I've also seen Kristina keep somebody who's here for a couple of weeks on half Primary for a few weeks, focusing on some basics on building strength before then moving them quickly along to the next few postures.

It's tempting to get caught up in that, with my mat colleagues working so hard and moving briskly through all Primary followed by most of 2nd (and at full vinyasa) there was the temptation for me to work a little harder myself and start adding on 3rd series, felt like I was coasting a little.

So Wednesday I practiced full 2nd then added on 3rd up to Urdhva Kukkutasana C and on Thursday I practiced up to Purna Matsyendrasana....

I was seduced I tell ya, Vilma Bánky, to Ashtanga's Rudolph Valentino.

Advanced series, it always made me think and question my practice..... below is my fb status update from the Friday

'This question keeps coming back and giving me pause. Is there a historical disconnect between method and practice, a method for learning asana and transforming the body but then what ? How do you practice the asana once you've learned them, how many asana to practice, which ones, how long to stay, how slow to breathe, how long a kumbhaka, how fully engaged the bandha(s), where to focus the internal drishti. If we sacrifice the kumbhaka, stay for such a short time, don't make the inhalation and exhalation as long and as slow as possible....., doesn't it at times seem a waste of perfectly good asana'.

And then I remembered why I came to Crete, I have no real interest in new postures, in handstands or tic tacks (although grabbing my heels tickles my fancy occasionally), I came to ground my 2nd series, to tidy it up, my Primary too. I wanted to make my Intermediate series comfortable again such that I could start exploring Krishnamacharya's use of kumbhaka in the 2nd series postures when I got home, just as I had been doing in Primary series for the last year. If I'm coasting a little, If I'm mostly in my comfort zone with the asana then that's a good thing, it's time to explore the breath, slow it, lengthen it, prepare for kumbhaka for dharana (which vital point do we focus on in kapotasana, in pinca?.

And who needs new postures when Kristina can help you to rediscover the ones you have, my 2nd series 'rest postures', now feel, exciting, fresh and new, they feel like.... asana. My Intermediate series is coming ever more alive, ahh the floating mula bandha of gomukhasana.....like the floating mountain islands of Avatar.


UPDATE
I started this post over the weekend, since then my back has been playing up again. Slipped a disc moving house last month, all those boxes of books. First couple of weeks here were painful, last week not so bad this weekend painful again, plus my knee ( old old injury) playing up, usually it's winter, "What Crete not hot enough for you knee"?

Yesterday I practiced up to Eka pads Sirsasana and decided the leg behind head work was a bad idea, this morning I practiced up to the Marichi's, not even half Primary,  before deciding to move to finishing. There was a moment when I thought about picking up my mat and going back to my studio/room to practice some Vinyasa Krama, with it's greater flexibility and more options but decided I would just milk finishing for all it was worth, nice long shirsasana.

And what does it matter, we can hurry through our practice giving the merest nod to Standing and finishing and those postures we've come to think of as boring, no longer interesting, or we can savour our standing and finishing sequences, fall in love with them all over again and do half, even a quarter of a series.... is kapotansa any more value then trikonasana or Supter konasana of more benefit than janu sirsasana?

Hmmmm, actually that might depend on what your body needs that day.

So a minimal practice and yet I'm enjoying it, quite happy to have a long slow Standing sequence, happy to stop early and give much more time to finishing. Injuries... so what, there are so many postures in our standing, finishing and whichever series we are on that we are bound to find many that we CAN do and we can relish those we have left, savour them, make the most of the opportunity to explore them with the more time available.

Kristina asked me if I was OK, if I was  happy....

I'm here in Crete with nothing else to do between these incredible sunrises and sunsets but my practice and to study/explore yoga. Yes, I'm happy, very happy ( in the sense of content, always been uncomfortable with the word 'Happy', Aristotle has a lot to answer for).

And tonight I'm teaching in the shall, Krishnamacharya's own (late) practice with long slow breathing and kumbhaka, dharana on vital points, pranayama, pratyhara...



1989 Helsinki: Derek Ireland Teaching Ashtanga Primary. "Derek Ireland 'invented the talk through Primary" John Scott

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Thank you to my teacher Kristina Karitinou-Ireland for fishing out these old tapes of Derek Ireland from Helsinki in 1989 and sharing them with me, this one is of Derek teaching Ashtanga Primary series.

John Scott mentioned to us in a workshop recently that it was Kristina's late husband Derek Ireland who 'invented' the talk through Primary. Unfortunately the tape starts half way through Standing.



Screen shots



More about Derek Ireland

Derek Ireland
From The Independent 28 September 1998

Derek Ireland was born and raised in Brighton. A "ferociously competitive" athlete at school, he was apprenticed to Brighton and Hove Albion football team when a severe knee injury playing rugby ended his hopes of a professional sports career.

When punk came along he spent five years promoting the Sex Pistols, the Clash and the Stranglers along the south coast and took fully to the rock and roll lifestyle. He started conventional yoga with his girlfriend Radha Warrell after "living off my memories of my sporting triumphs for ten years". Thereafter he did yoga almost every day.

In 1978 the couple moved to Los Angeles where Ireland was supposed to take a band on the road. "It was to be Foreigner, then the Tubes, then Ozzy Osbourne. In the end I didn't take anyone - I think because they thought I was wilder than the bands."

Two years later the couple went on a one-month teacher training course to a Shivananda yoga retreat in the Bahamas. They stayed six years to run the place. During that time a visiting Shivananda swami from New York introduced them to astanga vinyasa, a vigorous form of yoga that had been rediscovered in the Thirties by Patthabhi Jois in Mysore, who claimed it was the original yoga from which all other hatha yogas had developed.

In 1986 Derek Ireland moved to New York to teach it - in the absence of premises he ran big open-air classes in Central Park until the park authorities moved him on. The following year he and Radha spent six months with Jois in Mysore, then began to teach the form as he had passed it on to them all over the world.

In 1991 they opened the Practice Place, a centre devoted to astanga vinyasa, in a secluded bay in southern Crete. The Practice Place quickly established itself as one of the most important yoga centres in the world. Many of the numerous classes now available in Britain are run by Derek and Radha's former students. More and more people have taken up the yoga, including such celebrities as Ralph Fiennes, Daniel Day-Lewis, Sting, Woody Harrelson, Winona Ryder and Demi Moore.

Ireland's ebullient manner and deliberately non-spiritual approach to yoga caused raised eyebrows in the yoga community over the years. "I usually do my practice to music - in England I do it to MTV," he said a couple of years ago. "I used to do it with weights on my wrists: that upset a few purists. I also had a weighted jacket but I got rid of that after I did a handstand and nearly killed myself - it slipped down and hit me on the back of the head."

Ireland had lots of injuries, which made his control of his body even more remarkable. He fell out of a tricky posture and severed a nerve once, losing control of his left arm for four years. In consequence, teaching ta'i chi he kept hitting himself in the eye.

In winter he ran courses in a "yoga shack" on a beach in Goa. He attracted students simply by doing his practice on the beach for passersby to watch. The practice would take two hours and within five minutes he would be surrounded by Indians who weren't familiar with this style of yoga. "Some would plonk babies on me for photographs. I tried to stay focused - I only got uptight if they actually walked on me!"

from Entelchy, my interview with Kristina last year
Entelechy : An Interview with Certified Ashtanga Teacher Kristina Karitinou

AnthonyTell me about Derek Ireland?
Derek Ireland, Crete
Kristina: Derek was a truly charismatic teacher setting the foundations of teaching  and spreading  the knowledge of Ashtanga in Europe, by training teachers and evolving the methodology of the practice. He provided us with the right tools to make the practice understandable to our western mentality. He was an extremely generous, knowledgeable and compassionate teacher, who had great respect towards his students and greatly contributed to the formation of the contemporary yoga teacher image. He was a devoted practitioner himself and would always pay his respects to his guru Sri K. Pattabhi  Jois as he would always stress the importance of lineage. At the same time he was an exemplary father and unique husband always caring about his family, not to mention that he was absolutely gorgeous attracting admiration wherever he would appear. 

AnthonyWhat was it like to be taught by Derek, how was he as a teacher?


Kristina: When I first entered his shala I immediately realized the truth and the power of his teaching and it became apparent to me that he had the ability to understand your potential and bring it all up on the surface. He was always keen on making you see the power and strength that lied within you and worked towards making you experience the true possibilities and nature that you might not have been aware of. Myself as a teacher have been shaped by these characteristics of him, and I want to believe that my work also involves some of his teaching style.

AnthonyWhy was he important to the growth of Ashtanga in Europe?

Kristina and Derek wedding day
Kristina: Derek's students were actually the ones who made Ashtanga so popular in Europe. It was with his help that they spread this method and popularized the practice mainly in the UK. Now, retrospectively, it's hard to imagine how things would have been without his presence.

Anthony: Who were some of his students that we may of heard about.

Kristina: The list is long: John Scott, Gingi Lee, Alexander Medin, Lis Lark, Brian Cooper, Mathew Vollmer, Michaela Clarke, Annie Pace, Jocelyn Stern, Petri Raisanen, Joseph Dunham, Ginny Dean, Hemish Hendry and many many more.
Derek assisting Gingi Lee, The practice Place

Derek assisting in his Yoga Room

1988 Yoga Journal Ashtanga yoga with Pattabhi Jois interview/article inc. 10 second inhalation, 10 second exhalation

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10 second inhalation, 10 second exhalation
From Ashtanga Yoga with Pattabhi Jois YJ 1988
I like this presentation of the rate of inhalation and exhalation, it's not saying one is right, the other wrong but rather suggesting that one-half pace may be appropriate in the beginning and that the slower rate an option to consider as one becomes more proficient. Of course the slower rate requires reflection, do we have a practise for twice as long or practise half a sequence or perhaps slow the breathing at different stages of the practice, in finishing certainly, perhaps in standing, possibly in postures like paschimottanasana, janu sirsasana (maha mudra), baddha konasana etc.

****

You might have seen my earlier post with all the old Ashtanga 'cheat sheets' (although a friend pointed out that once you have a sheet then there's NO cheating, no excuses for missing navasana or nakrasana). All those old Ashtaga sequence sheets were from an old Ashtanga (teaching) materials file of Derek and Kristina Ireland's that Kristina gave me access to hunt through this week. This photocopy of an old Pattabhi Jois interview from 1988 was also in the file.


Hunting around I also found an online version on google books
http://books.google.gr/books/about/Yoga_Journal.html?id=cfUDAAAAMBAJ&redir_esc=y

It's interesting especially coming from 1988 ( I just posted Derek Ireland teaching a talk through Primary series from 1989), curious to see the presentation of a class and I love the diagrams with the little (big actually) puff of air.

For more in depth answers to questions see the interview that Pattabhi Jois gives in France in August 1991 (where you will find 10, 15, even 20 second inhalation and the same for exhalation referred to). The questions on the link below were asked by Jean Claude Garnier ( there are a couple of cheat sheets in Kristina's file with Jean Claude Garnier's shala stamp on) and written down by Gilles Kerviche. Guruji's English is hard to follow at times so Guy Donahue made some very minor edits to the text and included explanations in parentheses.
http://tinyurl.com/qblw6jn

Here's the Yoga Journal interview from back before Ashtanga was that well know.









Turns out that if you know what your looking for you can find the old edition of Yoga Journal that has the Interview on Gogle Books, here's the cover and link...... Ashtanga and Aikido, always thought there was a link

http://books.google.gr/books/about/Yoga_Journal.html?id=cfUDAAAAMBAJ&redir_esc=y



Yoga Journal.
Sep-Oct 1988
112 pages
No. 82
ISSN 0191-0965
Published by Active Interest Media, Inc.

Early Ashtanga; 1989 Derek Ireland and Radha full Demo of Ashtanga 2nd series ( plus a little of 3rd).

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My teacher here in Rethymno, Crete, Kristina Karitinou, gave me access to an old Ashtanga file and some discs last week,  I've been busy posting some treasures. You might have caught the old Ashtanga 'cheat sheet' post, Yesterday's 1988 Yoga Journal Pattabhi Jois article and the 1989 video from Helsinki of Derek Ireland teaching a 'talk through Primary series class.

The videos below are of full 2nd series ( and a title 3rd) demonstration from the same 1989 visit that Derek Ireland and Radha made to Helsinki. I find it fascinating and possessing great charm.
At a time when we have so many 'perfect', polished videos of practice out there this is very much a work in progress insight into Derek and Radha's practice..., at times I forget that it's a demo,  it seems more like a fly on the wall look at their own practice each morning in their own shala. Look out for them taking turns to pop over to each others mat now and again to spot or help in and out of a posture, the little comments, the shared jokes.


Although they were both practicing and teaching Sivananda yoga for a time, my understanding is that they began practicing Ashtanga in 1986, this video then would be after three years of Ashtanga practice.



In the videos (I've had to divide them into four because of the slow wifi here), you'll see Radha practicing half vinyasa and Derek full vinyasa, however Derek also includes a handstand after every vinyasa, EVERY vinyasa, there he is straight after kapo (with which he struggles) in handstand, after Dwi para Sirsasna (not one of his strengths at this time either), straight up to handstand.... it's madness, delightful madness.


I remember in a workshop with John Scott recently (one of Derek Ireland's former students), John taking me up to handstand after my bakasana exit from Supt kurmasana, I remember thinking at the time, how very 1980s.



Enjoy.


 More on Derek Ireland and Radha



Fusion: Derek Ireland Edition
http://www.yogamatters.com/cmscontent/documents/Files/Derek%20Ireland.pdf




Radha Interview/Aticle

Radha's Search for Truth

Before the sun has risen above the mountain-tops in Saktoria in Southern Crete, I step into the dark marble-floored shala. The familiar sound of Ujjai breath welcomes me as I unroll my mat. Slowly moving in and out of form, my body is gently awoken, coming alive. Radha enters. She lights an incense stick and walks the room, clearing the energy and gently introducing her presence.

My first years of Ashtanga Yoga were spent in her guided class - I simply couldn’t get enough of hearing her clear English accent counting us through the Vinyasas (breath-movement). No one can take you through the Primary Series with more grace than Radha. I remember a time in Goa in the mid-nineties when she had us do eight Sun Salutations each of A and B, and the whole Primary series with full Vinyasa, six days a week! ”I’m just following orders!” one man laughed after the two-hour practice had ended. But for me it wasn’t like following orders, it was more like being carried on that voice, allowing the mind and body to surrender, to acquiesce, and simply follow her count and the rhythm of my own breath. Even today in my self-practice, I can occasionally hear her voice counting in my mind like a mantra...


And here I am, almost two decades later, once again in that little shala in Crete with Radha & Pierre. One evening last summer, Radha and I sat down on the terrace before dinner. I wanted to share some thoughts of hers with my own students and had asked her for a small interview for my blog. But the half hour interview soon turned into a couple of hours and Radha told me some of her fascinating story… Full article at link below

Le Yoga Shop Paris Words and photographs from Crete by Kia Naddermier
http://www.leyogashop.com/blogs/lejournal/7280228-radha-s-truth-search



Radha teaches at Yoga plus, South Crete


Have a look too perhaps at my earlier post


also

Asana as Mudra as dharana- 'Krishnamacharya's own practice'

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Krishnamacharya's son, Sri TK Sribhashyam, considers mudra to be a support for pranayama a practice to develop concentration and one pointedness.

"Yoga has two elements to support our spirituality breathing Prânâyâma, and include breathing postures and concentration, called Mudra".

Mudra
Mudra practice helps us offset the influence emotional during concentration. The Mudra represent some postures in yoga which include a concentration or a specific point within the body or outside the body. External objects are divine objects, which are devoid of human emotions. In Yoga we do not use objects that have a dependency with our emotions and human relations.

The outer points are points of connection between the soul and the Creator.

Points inside the body are like a network and relate to the existence of the soul in life. These very specific points of concentration are considered divine objects.

Concentration is added to the number of breaths specific (3, 6 or 12). The Mudra can be practiced alone, in no specific order, because their role is on an emotional level, it involves cutting the interrelationship between sense perception and emotions.

Here are some points of focus:

- Adityas (Sun): it is the solar disk, black and shiny, which is the door to go beyond this world. This concentration is against the practice.

- The Star: lying on the back, direct the eye as far as possible in the sky.

- Taraka: it is the point on the horizon, infinity beyond the earthly world.

- Murdhna: this is a point which lies to the root of the nose. Murdhna gives us the support of spiritual masters. It is thanks to their light, their spiritual strength as we continue to move towards the Creator. It is our belief that nourish them and help us to strengthen it.

- Divya Chakshush: point of the occiput. Divya Chakshush means "vision of God" is one of the largest concentrations for the vision of our soul.

- Nasaagra: tip of the nose. Reduced from dispersions of sense perception.

- Nabhi: behind the navel. Nabhi restores harmony in the emotional activity.

- Mula: Mula means "root", it is located between the anus and the genitals. This is an extremely important point. This is to bring all of our different human emotions to the root of emotions, Mula, to activate and give way to the divine emotion.

- Bruhmadhya: the point between the eyebrows. In philosophical terms, its meaning is "land between the two" heavenly and earthly.

- Shirsha: fontanelle. It is located in the upper part of the skull at the inside. It is also a vital point, since the soul is supposed to leave at death. The soul is often seen as confined to Mula. It is therefore necessary to create a path for him to go Shirsha, concentration upward, directing the gaze Mula and follow a vertical line Shirsha.

- Hrudaya: the place of residence of God in us. It is a little outside the physiological heart. In the concentration of Mula Shirsha to it automatically by Hrudaya. This is protected from any human emotion. As a state mental Hrudaya is given automatically when the field is free of mental sensations and emotions.

Seminar given by Sri TK Sribhashyam in Neuchâtel from 29.07 to 08.01.06

****

See this example from TK Sribhashyam's book Emergence of Yoga (now in English). This from my earlier post

Krishnamacharya own practice?

An outline of Krishnamacharya's own practice?

from the French edition of  T. K. Shribashyam book, Emergence du Yoga
My Translation and Notes

1.



Apercu des séances pratiques de mon père- Overview practice sessions of my Father

Kapalabhati (see notes below) - 32 breaths
-
Ujjayi Anuloma (see notes below) - 6 cycles A.K. (antha-kumbhaka = holding at top of inhalation) 5 seconds, Concentration Kanta (throat) 
-

Utthita pada Angushtasana - 6 breaths B.K. (Bhya-kumbhaka = holding at end of exhalation) 5 seconds, Inhalation concentration: Mula  and Kanta (throat) , Exhalation Concentration: Kanta (throat) 

Bhujangasana - 3 breaths, Concentration: bhrumadhya (between eyebrows)


Sarvangasana- 12 breaths, Concentration: kanta (throat)


Sirsasana  - 12 Breaths, Concentration: lalata (center of forehead)


Ardhabadhahalasana - 3 breaths

Halasana - 3 breaths

Karnapindasana- 3 breaths





 Adhomukhapadmasana (but on belly) 


 3 breaths, 
 


Concentration: Kanta (throat)

Ardhabadha padma paschimotanasana - 3 breaths, inhalation Concentration: nabhi (navel), Exhalation Concentration: Kanta (throat)


Badhakonasana - 12 Breaths, Inhalation Concentration: Mula and Shirsha Exhalation Concentration Mula  

-

Basti ( pranayama) 60 cycles

-

Nadi Shodana ( pranayama) - cycles, Abhyantara Vritthi

Dhāraṇā (धारणा)- August 2014 Newsletter from Srivatsa Ramaswami--

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Dhāraṇā (धारणा)

I am now in Los Angeles teaching the 200 hr Vinyasakrama Yoga Teacher Training Program at Loyola Marymount University. Another ten days to go before completing the 35 day program. Very nice group.
I may probably go to India by the middle of August to attend to some pending work. Hope it would be over soon so that I can return to US by Sep 15th to be ready for the program at Chicago Yoga Center in later half of September.

    My friend Kija Manhare has produced 3 suryanamaskara and one Ding Namaskara videos for me performed by friends in the 200 hr Vinyasakrama Yoga program at Loyola Marymount University, in Los Angeles now., based on Vinyasakrama and using mantras. Here are the links
    Please have a look and share with your yoga friends

    http://youtu.be/GNNBTx-gm_U

    Thank you Kija. Kelsey, CaseySamantha, & Arby!              

Dhāraṇā (धारणा)

The terms Dharana and Pratyahara are the lesser members of the Rajayoga family. Usually lot of importance is given to Asana and dhyana/samadhi among Hatayogis and Rajayogis. But Dharana is a very important anga of yoga. It is the transitional point or activity which makes the first meaningful change in the mind or Citta of the yogi. Even if it does not lead into the next stage of dhyana it has very important practical implications.

The word dharana comes from the root dhr to support, hold. Several words are derived from this root. Dharma is one which means to hold and uplift (dharate uddharyate va iti dharmah). Dharani or earth comes from this root. In my mother tongue the ground or floor is known as tarai or dhara. So dharana is used as absorbing and holding on to knowledge in the vedas. Patanjali uses the word to indicate the process by which one is able to slowly keep an object or idea in the mind. Specifically he explains it as repeated attempt to bring the mind's focus to the same object until the mind is able to remain focused on it undisturbed by other thoughts.(desa bandhah cittasya dharana). Repeated attempt to bring the mind to the same object- even as it is the habit of the mind to wander- is the effort put by the yogi called dharana. It is said to mature into dhyana the next stage when the mind is able to be with the form of the object continually for the entire duration of meditation by the yagabhyasi.

In many places yoga teachers teach meditation. More often than not due to improper or insufficient preparation of asanas and pranayama or non observance of the prescribed yamanayamas, the rajas/ tamas dominated mind fails in the attempt to hold on to the object. It is all the more difficult for people who are habitually distracted and have a problem of attention deficiency.

Even though Dharana is the first step in yogic meditation of the Rajayoga school and is said to be part of yogic meditation called samyama, Dharana affords its own stand alone benefits. Even in cases where it may not lead to the next stage of dhyana due to-- as mentioned earlier-- some inadequate preparations like not following the yamaniyamas and not doing asanas and pranayama regularly, the mere practice of dharana introduces a new discipline to the mind. Usually our mind, especially in the modern world. is forced to remain distracted almost all part of the day and almost continually. Our tasks are usually varied and of short time span. The mind over time falls into a distracted (vikshipta) groove. This samaskara gets strengthened over time and it becomes difficult for the mind not to remain distracted or focused. This was recognized in the olden days and so they made a ritual so that every child will be forced to remain focused for a period of time a few times a day on a particular uplifting object say a mantra. For instance many youngsters around the age of 7 get initiated into vedic studies. One of the rituals is to do sandhyavandana three times a day. In it one has to do mantra pranayama for about 10 times followed by Japa or dharana of the famous gayatri mantra. The kid will chant the mantra for 108 times in the morning, 32 times at noon and 64 times at dusk. This is clearly a dharana practice by which the mind is guided to think of the gayatri a number of times in succession.

This daily practice helps to maintain the samskara of remaining focused on an object, in this case the gayatri.. As Patanjali says these practices can be applied to different objects. Samyama capability is used by the Yogi. But the dharana capability can be used by ordinary people to focus on different objects. This way the individual does not lose the capacity to remain focused.

Japa, which is a form of dharana is certainly an old innovative way to keep the mind capable of sustained attention. A moment's reflection will reveal that in modern times there is no specific procedure analogous to this dharana. If yogis would do dharana after asnana and pranayama, they could remain more attentive to some of the subtler tatvas mentioned in Yoga texts and hopefully in course of time will be able to attain the dhyana stage and hopefully samadhi. Ordinary folks not particularly enamored of samadhi may still benefit by improving the capacity of attention.

My Guru Sri Krishnamachrya stressed the importance of dharana sakti the power of absorption and retention. He would say an ideal student's mind should be like a sponge, quickly absorbing anything offered by the teacher. Occasionally while teaching he would, if he thought the student was a bit inattentive say that the student was losing dharana sakti. The ability to hear intently and retain the information was foremost in the study of vedas in the olden times. There is actually a prayer mantra in the upanishad as follows

namo brahmane
dharanm me astu
anrakaranm
dharayit bhuyasm
Karnayos srutam
maachyodvam
mama amushya
OM

Oh Lord, I salute You! May I have Dharana. Let me not reject anything the teacher teacher me (due to inattention). Let me absorb all the knowledge (dharayita) which I hear from the teacher. And further let me retain all the knowledge I have so acquired. OM

Some form of dharana practice may be attempted by all, young and old to regain the capacity, firstly for attention, then absorption and retention of knowledge. Further it may be noted that a distracted mind is in a state of duhkha (pain or vitiated internal environment) and the focused mind is in a more peaceful state of sukha.


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Pranayama by Pattabhi Jois

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You might have seen my earlier post with all the old Ashtanga 'cheat sheets', all those early Ashtaga sequence sheets were from an old Ashtanga (teaching) materials file of Derek and Kristina Ireland's that Kristina gave me access to hunt through while I'm here practicing at her Summer shall in Rethymno, Crete. 


I also came across this Photocopy, Pranayama by Pattabhi Jois, look familiar? It should, it's the same Pranayama, word for word, that we find in Lino Miele's Ashtanga Yoga. 

On the left the Pranayama by Pattabhi Jois photocopy from Kristina's old Ashtanga file, on the right the first page of the pranayama section from Lino's Ashtanga yoga book.



Now my own copy of Lino's first book Ashtanga yoga (Primary and Second) as well as his New Primary to Advanced B are on a boat to Japan so I can't check how they are presented (UPDATE: just found an old post of mine below where I reproduce all five pages of the Pranayama pages from Lino's now hard to find first book). 

Lino does point out that everything in his book is direct from Pattabhi Jois, checked and double checked over several discussions but what of this, was it originally an article by Pattabhi Jois translated into English? What of the page numbers Page 1-4, is it taken from another book? what Ashtanga book would put the Pranayama section right at the beginning? 

Jean Claude-Garnier might have the answer of course, notice the stamp on each page,  bottom right. Jean Claude Garnier is responsible for all those excellent interviews with Pattabhi Jois on Guy Donahaye's Ashtanga Shala NYC  site.








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Turns out I put up a post on this recently that includes the pranayama sheets from Lino's first (hard to find now) book as well as my own (hopefully clearer )layout of the pranayamas, here's the full post, useful perhaps.

And an UPDATE, David Garrigues I saw this week has released his Ashtanga Pranayama DVD as a download series on Vimeo, here's the link and info.

http://vimeo.com/ondemand/17936/101858913

My earlier Ashtanga Pranayama post

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

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

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

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

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

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

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

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

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

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

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

Nisshesha rechaka pranayama offers benefits through brief intermittent hypoxia
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC3361916/
Krishnamacharya (Pattabhi Jois' teacher) teaching pranayama

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

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

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

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

remember your teacher, your own personal God

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

afterwards one must do  mulabandha and Uddiyanabandha

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

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

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

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

repeat three times

Puraka (inhalation) with kumbhaka (engage jalandhara bandha)

Slowly Puraka
kumbhaka (30 seconds)
slowly Recaka

repeat three times

Part IV 
reckaka and puraka (without kumbhaka

repeat five times

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

*

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

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

remember your teacher, your own personal God

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

afterwards one must do  mulabandha and Uddiyanabandha

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

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

puraka- kumbhaka
recaka- kumbhaka

repeat three times

puraka-kumbhaka
recaka-kumbhaka

Part IV reckaka and puraka (without kumbhaka

slowly puraka
slowly recaka

repeat five times

*
The Third pranayama
(nadi shodana)

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

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

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

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

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

inhale leftkumbhaka
(Same period of time)

exhale right - kumbhaka

inhale right - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale right - kumbhaka

inhale right  - kumbhaka

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

inhale right - kumbhaka
.
exhale right - kumbhaka

inhale right - kumbhaka

exhale right kumbhaka

inhale right - kumbhaka

exhale right - kumbhaka

inhale right - kumbhaka

switch
.
exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

exhale left - kumbhaka

inhale left - kumbhaka

finish with...
exhale right - kumbhaka

inhale right

exhale left

*

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

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

*
Bhastrika pranayama
(Bellows breath)

Sit in padmasana in erect position

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

5x long, slow, full inhalation and exhalation

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

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


When you feel tired or exhausted

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

exhale slowly
inhale deeply

Repeat bhastrika

When you feel tired or exhausted

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

Repeat bhastrika

When you feel tired or exhausted

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

after this, (the third time)

exhale
inhale


Practice sheets






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






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

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



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

and here on Amazon.com

*

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

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

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

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

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

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

*
Pattabhi Jois leading Richard Freeman in pranayama



See also my permanent pranayama page at the top of the bog


Posts from Kristina's old Ashtanga file


Wednesday, 30 July 2014
1988 Yoga Journal Ashtanga yoga with Pattabhi Jois interview/article inc. 10 second inhalation, 10 second exhalation

Tuesday, 29 July 2014
1989 Helsinki: Derek Ireland Teaching Ashtanga Primary. "Derek Ireland 'invented the talk through Primary" John Scott


Saturday, 26 July 2014
Old Illustrations ( Cheat Sheets) of Ashtanga Series

Injury: Shala or Home Practice

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I mentioned that I did my back in moving house just before coming to Crete, slipped disc we think, all those boxes of books.

No problem in a home practice of course, adapt and modify and Vinyasa Krama is ideal. In the shala one feels a little more inclined to toe the party line or at least keep some semblance of an Ashtanga series.

I tend to get into the shala a little before Kristina turns up, do some of the Vinyasa Krama tadasana, hand and arm movements, to loosen up and then that nice slow lead into to utanasana. Next I switch to Krishnamacharya's instruction for the asana that make up the Ashtanga Surynamaskara. For utanasana he has you fold on the exhalation, straighten the back for the inhalation and repeat (kumbhaka options) for up to ten minutes or so. I don't take ten minutes but I'll use this approach to work myself a little deeper into utanasana over five to ten breaths or so. I take five breaths in Chatauranga (again Krishnamacharya mentions ten minutes), five long slow breaths in upward facing dog and then ten long breaths in down dog, that seems to stretch me out enough to move on to tentative sun salutations. Kristina turns up for the opening chant and by half way through the Sury B's I've pretty much loosened up and can do a half decent practice.

And a lot of the time it is half a practice. For the first week I practiced full Primary and then switched to full 2nd series. It was mostly going OK, some good days where I ended up adding on half of 3rd, not so good days where I erred on the side of caution and went straight to finishing rather than risk the leg behind head postures.

This week, not so great. I'd had a couple of days where I again moved to finishing before the leg behind heads, no problem, breath is nice and slow have no problem with half a series. I missed Friday Led  and with the Saturday rest day I'd had two days off. I was feeling pretty good Sunday, no pain at all, first time in over a month. All through practice I felt great, thought I'd try a tentative Eka pada sirsasana (one leg behind head), that went OK so thought I'd see how Dwi pada was feeling.....

Just as I was putting my second leg behind I felt something 'shift' in my back and felt a shudder go right through my body, bugger. Think this counts as my first injury from practice although I can probably still blame in the boxes of books.

Stupid, stupid, why did I do it, I know better, there is no way I would have done that in my home practice, I would have carried on modifying, probably a vague Ashtanga shape to a Vinyasa Krama practice, wouldn't have gone anywhere near those postures for months, have a look at kurmasana perhaps but that would be it.

Kristina is great (see update below for how great), she pretty much lets me get on with my own thing in my own way and at my own slow pace but in return I feel inclined to keep my practice as close to the shala Ashtanga as possible. I could have skipped the leg behind head postures, switched in a maha mudra/janu sirsanana and kurmasana before moving on but decided to stick with the series.

Yesterday (Monday) I got up at my usual time, walked down to the port to get my coffee and watch the sun come up, could hardly walk, stand or sit so messaged Kristina that I'd be practicing at home.

Explorative Vinyasa Krama practice, Some tadasana, light twists, supine and vajrasana subroutines, finished with some mudras and pranayama, nice practice in the end.

This morning (Tuesaday) I went to the shala, no utanasana  to speak of really, never did loosen up. Standing was tolerable otherwise, no pasanasa or krounchasana. The shalabasana's were nice would have loved to do the full VK Bow sequence and be done, went as far as ustrasana and then moved to finishing except I couldn't really do the Shoulderstand variations (all forward bends). Kristina has opened up outside now as a finishing option so was able to go out there and do some pranayama.

UPDATE (my FB status  Wednesday)
Back was so bad this morning and I was dropping so many postures in standing that I thought I was just taking up mat space. Rolled up my mat to leave after half an hour, to go practice VK at home when Kristina asked me where I was going, "It's chikitsa" she said, "therapy, go back ( to the spot I'd vacated) and do your (Vinyasa) Krama". Remarkable teacher, turned into a nice practice, VK Supine (Can bend my legs to my chest but not bend forward), Bow, some meditative/vajrasana postures.....  feeling much more comfortable.

UPDATE 2 Friday.
Completely forgot which day it was, Friday! Primary, bugger. Quite a few forward bends in Primary series, not much else in fact. After utkatasa'ing through the Sury's I decided to go at Sharath DVD pace, (I clocked his DVD at 13 seconds for Janu Sirsasana, just over a second for inhalation and the same for exhalation) I possibly went even faster this morning, did I really practice like this (with the DVD )for half a year back when I started, useful at the time for allowing me to do a full practice back when I was only prepared to commit an hour before work and it helped me learn the names, the order, the count perhaps.... useful back then but felt pretty pointless this morning from the perspective of the breath

I think my Paschimottanasana bore a striking resemblance to Dandasana with Jalandhara bandha, I half expected Kristina to come up at the end and ask me why I had just spent 40 minutes in stick pose.

Rest Day tomorrow then back to 2nd, I can do much of the first half perhaps and breathe

Manju will be here Tuesday, I have no (Ashtanga) practice to speak of, no forward bends, no backbends, find sitting uncomfortable and probably cant give let alone receive adjustments, this I the lottery of booking workshops and practice trips in advance for such a physical practice.


Asana, Drishti and Dhyana - Dharana

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"When once a fair proficiency has been attained in asana and pranayama, the aspirant to dhyana has to regulate the time to be spent on each and choose the particular asanas and pranayama which will have the most effect in strengthening the higher organs and centres of perception and thus aid him in attaining dhyana"
Krishnamacharya Salutations'

by Paul Brunton

"It should be noted that although Dharana or fixation of the mind is practiced in Pranayama (breath control), yet it is not the Primary Yogic Dharana. What is practiced in Pranayama though generally called 'Dhyana-Dharana ( holding the mind fixed in meditation) is really Bhavana or contemplative thinking
Hariharanananda Aranya. YS III-1. Yoga philosophy of Patanjali.

Asana is perhaps another step further removed from Dharana than Pranayma.

However, Aranya goes on to say that,

"... On maintaining certain maturity and refinement such Bhavana develops into Darana and Dhyana properly so called."
------------------------------------------------------------------------------------------------------------
About Swami Hariharananda Aranya
Swami Hariharananda Aranya (1869-1947) was a yogi,[2] author, and founder of Kapil Math in Madhupur, India, which is the only monastery in the world that actively teaches and practices Samkhya philosophy.[3] His book, Yoga Philosophy of Patanjali with Bhasvati, is considered to be one of the most authentic and authoritative classical Sanskrit commentaries on the Yoga Sutras.[4][5][6] Hariharananda is also considered by some as one of the most important thinkers of early twentieth-century Bengal.[7]

Hariharananda came from a wealthy Bengali family and after his scholastic education renounced wealth, position, and comfort in search of truth in his early life. The first part of his monastic life was spent in the Barabar Caves in Bihar, hollowed out of single granite boulders bearing the inscriptions of Emperor Ashoka and very far removed from human habitation. He then spent some years at Tribeni, in Bengal, at a small hermitage on the bank of the Ganges and several years at Haridwar, Rishikesh, and Kurseong.

His last years were spent at Madhupur in Bihar, where according to tradition, Hariharananda entered an artificial cave at Kapil Math on May 14, 1926 and remained there in study and meditation for last twenty-one years of his life. The only means of contact between him and his disciples was through a window opening. While living as a hermit, Hariharananda wrote numerous philosophical treatises.

According to Hariharananda, yoga is mental concentration, samadhi, and is one of the schools of Samkhya philosophy.

books available from http://www.samkhyayoga-darshana.com
   ---------------------------------------------------------------------------------------------------------------

This sense of preparation may be why Krishnamacharya, in Yoga Makaranda (1934), included focal points that Vyasa refers to for YS III-1 eg. Nabhi, Brumadhya, Nasagri but for asana. Preparation perhaps.

Here's Krishanacharya outlining instruction for the gaze back in 1934

"When I explain the rules of yogasana, if the position of the head has not been specified, then keep the head in jalandara bandha. Similarly, if it does not specify where to place the gaze, then the gaze should be directed towards the midbrow. If the position of the hands has not been specified, then the hands should be kept as in siddhasana. Whenever there is a krama where some part of the body has to be held with the hand, and the placement of the hand has not been described, hold the relevant part of the body with the first three fingers of the hand (including the thumb). Make sure to remember this."
Krishnamacharya: Yoga Makaranda

and an example
Baddha padmasana in Krishnamacharya's Yoga Makaranda note the gaze.

Curiously, in Ramaswami's presentation of his studies with Krishnamacharya, Vinyasa Krama,  little reference is made of the gaze, the eyes tending to be closed or looking down at the feet,

Yoga Beneath the Surface: An American Student and His Indian Teacher Discuss ... By Srivatsa Ramaswami, David Hurwitz
We find a more detailed treatment in Krishnamacharya's son's presentation of his father own practice.

SRI T K SRIBHASHYAM'S Emergence of Yoga gives several examples of what he claims to be Krishnamacharya own practice, the other fifty odd suggestions for practice in the book follow a similar format, pranayama, around 10 asana, usually including Sarvangasana, sirsasana and some mudra and followed by more pranayama. Most of the asana and mudra have a focal point.

I've found it to be quite a profound, deeply focused practice.

This example of Krishnamacharya's practice featured in the movie Breath of the Gods, note the focal points.





Here's Krishnamacharya in Salutations which AG Mohan referes to as Yoga Makaranda Part II
I'm struck by the section highlighted.

"DHYANA or MEDITATION
This forms the seventh step in ASHTANGAYOGA. It has advisedly been placed thus, as a proper practice. Progress and benefit in this step is ensured only by systematically following the previous steps: YAMA, NIYAMA, ASANA, PRANAYAMA, etc.
It is futile to attempt the practice of DHYANA without first strengthening the JNANA- INDRIYAS or higher organs of perception which are to be used in this practice. In its turn the strengthening of the higher organs of perception requires a healthy body capable of proper circulation of rich blood and pure air in these organs and of healthy nerves. This can be achieved only by the regular and systematic practice of asana, PRANAYAMA, wholesome and bland food (SATVIC FOOD) taken in moderation, proper frame of mind (NIYAMA), proper practices in physical cleanliness (YAMA), and preservation of vitality (BRAHMACARYA).
When once a fair proficiency has been attained in asana and pranayama, the aspirant to dhyana has to regulate the time to be spent on each and choose the particular asanas and pranayama which will have the most effect in strengthening the higher organs and centres of perception and thus aid him in attaining dhyana.
The best asanas to choose for this purpose are SIRSHASANA and SARVANGASANA. These are to be done with proper regulated breathing and with bandhas. The eyes should be kept closed and the eye balls rolled as if they are gazing at the space between the eyebrows. It is enough if 16 to 24 rounds of each are done at each sitting.
As DHYANA is practiced in one of the following sitting postures, these asanas should also be practiced, to strengthen the muscles that come into play in keeping these postures steady. The eyes are kept closed and the eyeballs turned internally to gaze at the space between the eyebrows. If the eyes are kept open, the gaze is directed to the tip of the nose. It is enough if 12 rounds of each asana is done.Asana and Dharana." 
Krtishnamacharya: Salutations to the teacher and to the eternal one

Is this why we find the focal points having such a dominant role in the asana and mudra that made up Krishnamacharya's own practice, as presented by his son.

********

Ramaswami often mentions the theory of yoga for the three stages of life. How might we approach asana in this context.
From the back cover of  Ramaswami's Yoga for the three stages of life

Sri K. Pattabhi Jois London 2002 Led Primary Videos Second visit to London.

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Finally managed to upload the last of the videos from the discs Kristina gave me the other week, taken two weeks with the slow internet (especially for uploading) in the internet cafes here in Rethymno Crete.

This one is of Sri K, Pattabhi Jois' second visit to London.

The venue was Cecil Sharp House off Regent Park ( I had my first Ashtanga workshop here with Richard freeman a couple of years back), Guruji was staying at Sting's house during the visit I believe.



Ashtanga led videos can be a little like watching grass grow, this one especially as the angle doesn't change and is shot from behind. Sharath strolls into shot occasionally, a moor adjustment here and there, Pattabhi Jois, walks by VERY briefly in the final video, otherwise a pretty standard led. 
Still has a certain charm. and I'm sure a delight to see again for anyone who happened to be there.
I've included the videos of the evening Puja and talk that I posted last week.



The first video is of everyone turning up, getting settled, I included it because it give a sense of the excitement and anticipation and perhaps of the Community. The workshop was organised by John Scott ( you can see him at the front, top right, you'll recognise him come the first jump back. 
A big thank you to Kristina for sharing the videos and other materials with us.

Kristina from the video
More Posts from Kristina's old Ashtanga file
http://www.yogapractice.gr







My Workshop in London at StillPoint Yoga Sunday September 7th 10-6

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THE HISTORY OF KRISHNAMACHARYA AND ASHTANGA YOGA with ANTHONY ‘GRIMMLY’ HALL

Plus Intro to Vinyasa Krama inc. backbending, inversions, pranayama, pratyahara and meditation 

Stillpoint Yoga London
Boland House, Activity Room 1 (AR1 on first floor), St Thomas' Street - London
Details

Map data ©2014 Google
Date/Time
Date(s) - 07/09/2014
10:00 am - 6:00 pm
Category(ies)

Sunday 7th September 2014, 10:00am – 18:00pm


Krishnamacharya PosturesThis will be a full intensive day. We will be taking a deep look at how the ashtanga yoga practice formed into the practice we know today. We will also see how the historical vinyasa krama asana practice framed by the legendary guru and scholar TK Krishnamacharya led him to suggest particular asanas, pranayama/pratyahara practices and meditations as a daily practice.

OUTLINE OF THE DAY

10:00 – 13:00: Intro to Krishanamacharya and the original ashtanga yoga primary series.
13:00 – 14:00: Lunch
14:00 – 17:00: Intro to vinyasa krama, backbending, inversions, pranayama, pratyahara and meditation
17:00 – 18:00: Q&A on Krishnamacharya and home practice.
I've made it a longer day than usual, 10-6 this allows for a half hour Intro to Krishnamacharya talk, a Led practice of Krishnamacharya's Original Ashtanga Primary looking at Vinyasa Count, the longer, slower breathing that we are often used to, kumbhaka (as well as a discussion of possible health benefits), bandhas, a look at jumping through, etc.
After lunch  there will be another short intro then a Vinyasa Krama class employing the key asana Krishnamacharya suggested we practice everyday giving a framework for practice. We'll practice the the Bow and Mediative sequences which allows us to explore back bending ( most of the first part of Ashtanga 2nd series comes into  these sequences but with  a more gentle approach and build up). Vinyasa Krama is an integrated practice so there will also be some pranayama, pratyahara and 'meditation'.
The last hour ( longer if there are still questions) will be Q and A, on Krishnamacharya and developing and maintaining a home practice.
Link To Stillpoint Yoga Home page http://www.stillpointyogalondon.com

About Stillpoint Yoga London



A big thank you to Scott Johnson and Stillpoint Yoga for inviting me

Just a Screenshot below so the links don't work follow this LINKand scroll down http://www.stillpointyogalondon.com


Manju Teacher Training, Rethymno, First Day

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 I don't tend to blog abut a workshops until after they're over but I couldn't resist sharing a video of the first day of Manju's Workshop here in Rethymno,  Crete right away.

Such a pleasure to see Manju again. I was here in Rethymno for his TT last year and then a week or two later I managed to attend his extra Led class at Stillpoint Yoga (see my previous post, I'm teaching a workshop at StillPoint Sept 9th, Manju is also teaching there for a week or so, it's like being on the same bill as Elvis). So it's been a year but feels like weeks, such a relaxed atmosphere here. This 'relaxation' is important to Manju actually, he's talked several times about the importance of making sure that the person your adjusting is very relaxed, many of the adjustments he presents seem to be more about helping us relax into the postures (love the little massages). It  makes sense, if we're stressed, tense, we don't breathe as well and this is a breathing practice. Krishnamacharya too was big on this, it's making the breath smooth and steady that allows us to become proficient in asana.


The workshop is full, half again more than last year and so we're practising in shifts, Mysore style'ish, "NEXT!" Working well actually, love popping out the back for a cool finishing. My shift is at 6:45, The video below is taken after my shift has come out and settled our selves at Kyria Maria, the taverna next door to the shala where they look after us all so well. As the video opens there's our table. Areti over on the right, Areti Invited me to present Vinyasa Karma at her Shala in Heraklion last week. Eleftheria, opposite, was also present and on Manju's workshop last year.... in fact, come to think of it  everyone at the table attended Manju"s TT last year and the year before that too I believe. Natasha, next to Areti has a shala in Thesoloniki, next to her is Gloria and her husband Nektarios who have a shala in Chania. Nekatarios and Gloria also invited me present Vinyasa Karma at their shala in Chania, then took me down the Samaria Gorge on the Saturday 'rest' day ( I had to take another day off practice afterwards, could hardly stand up the following day).

After a twirl around the table I walk up to the shala and put the camera just inside the door and leave it there for quarter of an hour or so, Manju, Kristina and Nikos working the room ( If anyone in the video is uncomfortable being on my blog or youtube let me know and I'll take it down).



Below is a shot from the second session 'Adjustment clinic, there's Manju, his back towards Nektarios and I.

So, Manju Runs through for or five asana, showing us how he adjusts/assists and then we go off and work with several different partners. One of the great things about Crete is having several participants come back year after year which means that along with Kristina, Nikos and Manju himself there is plenty of guidance. Again the relaxed atmosphere that Manju engenders means that nobody seems shy to call out "Manju, Manju" across the room to double and triple check our adjustments.

As above if your not comfortable appearing in the any of these photos or videos please let me know and I'll either edit you out or pull the video.

After the adjustments Manju presents a couple of Pranayama's and then we chant Shanti mantras for fifteen, twenty minutes or so before finishing off for the day with Q and A. 

Back to the "relax" theme, I feel particularly laid back this time around, asked all my 'intense, ardent,  questions' last year and where in the previous year I was wanting to bring my 'best practice ever', not in the sense of showing off so much ( had been out of action with kidney stones for a couple of months before the TT) but to have my 'best practice', adjusted, assisted, tidied up. This year I'm happy to bring my 'usual' practice, however it is. Currently that's half a series ( primary and 2nd split over four days) as I breath pretty slowly and can't think of a single reason why I should treat the breath in dandasana any different than that in  kapo or the vinyasas in between the asana. I'd rather do half a series and savour each posture the same along with standing and finishing than rush through a posture or two.

With the early start the break in between and the long early afternoon session it eels like a long day, however, five hours of yoga practice is, it seems, still not enough for some, my class Vinyasa Krama Tuesday well attended.

Maha Mudra in My Tuesday Vinyasa Krama Class

And there's xtra class tonight on the Vinyasa Krama shoulder stand and headstand sequences (supine and inverted sequences), very similar to what we see on the classic Krishnamacharya video from 1938, back when he was teaching the young Pattabhi Jois,

Here's a ink to my previous post for more on my Workshop in London at StillPoint Yoga Sunday September 7th 10-18:00

The History of Krishnamacharya and Ashtanga 
PLUS
Intro to Vinyasa Krama inc. backbending, inversions, pranayama, pratyahara and meditation 

Yoga Philosophy Reading List

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Last day of Manju's TT. After practice we were talking over coffee and a friend mentioned that we didn't get to ask so many questions this year, that she had wanted to ask Manju for any recommendations for yoga philosophy, from the Sankara side of things especially.

I remembered Ramaswami had a few pages of recommended yoga philosophy texts In his first book although Not necessarily related to Sankara) Yoga for the Three stages of life, of course he does, everything is in that book.
Excellent overview

Below then are mostly his recommendations with my hyperlinks for either Amazon or free online pdf's. I've also added some of the texts from my free Download page that sits at the top of the blog and an old post of mine on Krishnamacharya' Bibliography from Yoga Makaranda.

I remember somebody getting over excited when they noticed Krishnamacharya didn't mention Yoga Korunta, in that bibliography, have no fear he mentions the text in his second book Yogasangalu that we've ( read Satya Murthey) translated on/for this blog.

"I did not attempt a detailed review of all ancient yoga treatises since it will make this book very long and perhaps cause boredom to the readers.  Please forgive.  This writing is mainly based on the following texts:
Patanjalayogasutra
Hathayogapradipika
Rajayogaratnakara
Yogakuranti
Upanishads related to yoga
Learning’s from my Guru and self-experience"
Krishnamacharya Yogasanagalu 1941

Actually it's interesting that he mentioned it for that book as according to Eddie Sterne in Yoga Mala Korunta, means 'groups' and in Yogasanagalu Krishnamacharya presents a table of asana divided into three groups, Primary, Middle and Proficient. The first two groups are very close to what we practice Today in Ashtanga Primary and Intermediate series. Are these perhaps the original groups from the mythical/legendary Korunta text complete with Vinyasa count and kumbhaka indications?

"Guruji has often spoken about a text called the Yoga Korunta, an ancient manuscript on ashtanga yoga, which had been the basis of the practical lessons on yoga taught to him by Krishnamacharya. Attributed to the sage Vamana, it was one of the many texts taught orally to Krishnamacharya, which he learned by heart during the seven and a half years he spent living with his teacher, Rama Mohan Brahmachari. Korunta means “groups,” and the text was said to contain lists of many different groupings of asanas, as well as highly original teachings on vinyasa, drishti, bandhas, mudras, and philosophy". Eddie Stern (forward to Pattabhi Jois' Yoga mall).



But to the reading List, in as good an order as any other.

First my other Desert Island choice, Aranya's Commentary on the Yoga Sutras. The man actually lived this rather than just writing about it having spent most of his life in meditation and or seclusion.

Yoga Philosophy of Patanjali: Containing His Yoga Aphorisms with Vyasa's Commentary in Sanskrit and a Translation with Annotations Including Many Suggestions for the Practice of Yoga 
by Swami Hariharananda Aranya


A friend was asking about the Sankara (or possibly his students) Commentary

Sankara on the Yoga Sutras (A Full Translation of the Newly Discovered Text) 
by Trevor Leggett 


The Gita of course, I have a soft spot for the music of Mascaro version (slim volume too), he was a Jesuit priest I believe and it shows but there are many versions out there, several free online. check out my post on the Gita as it was (the argument goes that basically pretty much everything after the third chapter was added later)

The Gita Code, The Gita as it was

The Bhagavad Gita (Penguin Classics) Paperback 
by Anonymous (Author), Juan Mascaro (Translator)



For a highly readable Sankara treatment of the Gita

Realization of the Supreme Self: The Bhagavad Gita Yoga-s Paperback – January 1, 2002
by Trevor Leggett




Svatmarama's Hathayogapradipka (HYP)
with Brahmananda commentary perhaps)

Some free pdf version's out there of HYP
Free download HERE

Siva Samhita (SS)

Free download Here

Geranda samhita (GS
Free Download here

Keep an eye out for the out of print
Theos Bernard's Hatha Yoga,worth getting hold of if you can find it for a good price



This was pretty much his PHD thesis  I believe, working through his own practice of the hathayogapradipka with his teacher/guru. He includes substantial notes that compare large sections of HYP with GS and SS, nice mudra section.

Yoga Rahasya Nathamuni/Krishnamacharya

Yoga Yajnavalkya, AG Mohan's version



Yoga Vasistha

I like this one in two volumes, you can read a short section each day

The Supreme Yoga: A New Translation Of The Yoga Vasistha (2 volume)



Yoga Upanishads
Especially Isa, Svetasvatara, Chandogya, Sandilya.

Free Download of yoga Upanishads here

*See the old post I've added at the end of this post which has hype links to free pdf's of the Yoga Upanishads.

Other texts
 Dhyanabindu Upanishad
Advayatarka Upanishad
Svetasvatara Upanishad
Garbha Upanishad

Yoga Kuran-tam
Vrddha Satapatam
Tejabindu Upanishad
Geranda Samahita
yoga Taravali
Yogasira Upanishad
Advitananda Upanishad
Trisikhibrahmana Upanishad
Siva Samhita
Brahmavidya Upanishad
Ygasikha Upanishad
Yogakundalini Upanishad
Nadabindu upanishad
Darsana Upanishad
Amrtabindu Upanishad
Yogacudamanya Upanishad
Yogatattva Upanishad
Sambhu Rahasya
Yoga Rahasya
Suta Samhita
Yoga Yajnavalkya
Yoga vashitha

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And from my free Download page at the top of the blog

Free Downloads

Krishnamacharya's Yoga Makaranda

Krishnamacharya's Yoga Makaranada Part II

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Below is a post I put up a while back on the bibliography in Krishnamacharya's Yoga Makaranda

from Yogacarya Krishnamacharya - The Purnacarya. Edited by Mala Srivatsan

Unfortunately long out of print
NB: Italics in brackets are my explanatory notes




"Krishnamacharya went searching for the ashram of Rama Mohana Brahmacari. In a cave, a very tall hermit with a long beard, wearing wooden shoes stood at the entrance. It was evident to Krishnamacharya that this was his guru. He prostrated before him, gave his name and asked to be his disciple. Krishnamacharya was questioned in Hindi on the reason for his visit. After he expressed his desire to learn yoga he was called in. He met his guru's wife and three children. he was given fruits called Ankula to eat and the escorts who accompanied him were dismissed with a cup of tea.

Krishnamacharya's first instruction from his guru was, to take a bath and perform acamana. The first precept of pranayama was then taught. For eight days, the master said he would not teach him anything else and that Krishnamacharya should eat only fruits.

Thereafter Krishnamacharya became a part of the Rama Brahmacari's family who belonged to the Kasyapa gotta (family lineage). His daily food was chapathu (Indian bread), halwa ( a paste of vegetable or fruits sweetened along with ghee and tea). His period of gurukulam (stay with the guru ) in Tibet lasted for seven and a half years. Rama Mohana Brahmacari made him memorise the entire Yoga Kurantam in the Gurkha language. The various stages of Patanjali's Yoga Sutra were dealt with in that book. Various kinds of of yoga practises were also described with great clarity. Only with the help of Yoga Kurantam' could he understand the inner meanings and science of the Yoga Sutra. The first three years he was made to memorise the Yoga texts in the form of adhyayanam ( to memorise and recite correctly, with proper accents). His focus was in the study of the Yoga Sutra, Vyasa Bhasya and the Samkhya Darsana. In the next three years he practiced yogabhyasa and for the next one and a half years he studied the siksana krama (planning of practices based on the stage of life of an individualand the cikitsa krama (therapeutic approach).

During his seven and a half year stay with his guru, Krishnamacharya learnt all aspects of yoga practice, therapy and philosophy. His capacity to learn, his previous education and his discipline made him an ideal student.

Having spent seven and a half years with his guru he would happily have spent the rest of his life learning and serving him but Rama Mohana Brahmacari then told him to go back to society, lead the life of a married man and spread the message of Yoga. Following his guru's words he returned from Tibet in 1922"

Yogacarya Krishnamacharya - The Purnacarya. Edited by Mala Srivatsan p26-28

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from Yoga Makaranda T. Krishnamacharya
"This text contains the essential concepts from many texts of antiquity listed below.
I have studied the texts listed below under the blessing of a great teacher and have explained the truths contained in them that I have personally experienced. I request that the Lord of the auspicious Karnataka throne, the great Lord and Emperor, the fourth Sri Krishna Rajendra, accept this work and allow my
humble self to fulfil my endeavor and bless me.
More than this, I have nothing to say in this preface.

Bibliography
1. Rajayoga Ratnakaram
2. Hathayoga Pradipika
3. Yoga Saravalli
4. Yoga Balaprathipikai
5. Ravana Nadi (Nadi Pariksa of Ravana) 6. Bhairava Kalpam
7. Sri Tattvanidhi
8. Yoga Ratnakarandam
9. Mano Narayaneeyam
10. Rudrayameelam (Rudrayamalam)
11. Brahmayameelam
12. Atharvana Rahasyam
13. Patanjala Yogadarshanam
14. Kapilasutram
15. Yogayajnavalkyam
16. Gheranda Samhita
17. Narada Pancharatra Samhita
18. Satvata Samhita
19. Siva Samhita
20. Dhyana Bindu Upanishad
21. Chandilya Upanishad
22. Yoga Shika Upanishad
23. Yoga Kundalya Upanishad
24. Ahir Buddhniya Samhita
25. Nada Bindu Upanishad
26. Amrita Bindu Upanishad
27. Garbha Upanishad


Thirty Minor Upanishads

tr. by K. Narayanasvami Aiyar

[1914]



--------------------------------

from Yogasanagaly T. Krishnamacharya
I did not attempt a detailed review of all ancient yoga treatises since it will make this book very long and perhaps cause boredom to the readers.  Please forgive.  This writing is mainly based on the following texts:
Patanjalayogasutra
Hathayogapradipika
Rajayogaratnakara
Yogakuranti
Upanishads related to yoga
Learning’s from my Guru and self-experience

Updated: Ashtanga and the Body. Hatha and Raja yoga in Krishnamacharya

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"Janu Sirsasana
This form follows the hatha yoga principles. Another form follows the raja yoga method. The practitioner should learn the difference". Krishnamacharya. Yoga Makaranda (1934)

This is a very personal post, I'm not making blanket statements or judgements here but perhaps it resonates with others, is there nodding or furious shaking of head (rhetorical question, comments still turned off while traveling).

 Context
"Hatha Yoga comes in for some criticism for its fixation on the physical body. This is truer of modern ãsana yoga than of classical Hatha. The Hatha yogi views the body as a multilayered system of which the physical is only the outer rung, inseparable from inner levels of prána, mind and consciousness. The Hatha yogi is not concerned with the physical in itself but only as a means to access the deeper levels of body and mind. Hatha Yoga is in fact more concerned with prãna than with the body, and looks at the body as a pränic or energy system, not as a mere physiological structure or set of biochemical reactions".
Mikel Burley. Hatha-Yoga Its Context, Theory and Practice

"....But are the two goals, kaivalya of the raja yogi and the positioning of prana in Brahmarandhra (a chakra) of the hatha yogi, the same? Well, one leads to kaivalya or total release and the snapping of the cycle of samsara, but what of the other? One is not sure if the Hatha yogi's goal will give total release from samsara. What do you think?" p193
Ramaswami. Yoga Beneath the Surface (with David Hurwitz).

*****

"Hatha Yoga comes in for some criticism for its fixation on the physical body. This is truer of modern ãsana yoga than of classical Hatha".

And what of my Ashtanga practice, is there a fixation on the body here, is it a danger, a temptation, a tendency...... something to watch out for?

I've been thinking of this recently in my asana practice. I'm so aware of my body during practice, of my sensations, sometimes it seems that in any given asana I'm aware of the movement of not only every joint but every sinew, tendon. I have an eye out for any warning signs of pain, "is it safe?" I focus on the breath, how can I breathe more effectively in this posture.... I look to the quality of the breath. I'm aware of the fluctuations of my will. I may not be moved to tears personally in kapotasana but I'm aware of my emotions, how I feel in an asana, the frustrations, anxieties I seek to let go of, the delight I choose to hold on to.

And now in the Shala I'm aware through an adjustments not only my own body but that of another, of the use of their body in their adjustment the weight of the adjustment, the skill, their breath as well as my own, there is a connection between the adjuster and adjusted.

OK, I exaggerate a little, perhaps it used to be like that when I was first working on asana or on new asana, these days I seek to keep my focus on the breath. I have felt though that in the shala I keep coming back to the body, to the asana as Kristina or Niko.... or Manju passes, tidy the asana up a little, and especially so in an adjustment.

Is this all a good thing, are we too much in the body, too much in the senses, is Ashtanga a sensual practice, is a 90-120 asana practice without paranayama and meditation a little much, is it unbalanced.

And after practice, how are we then, do we have a heightened spider-sense, are we more aware of our bodies outside of the shala, of those around us, of our emotions, our senses are we more or less sensual beings outside of the shala.

I remember writing here once how after a Vinyasa Krama practice I felt I walked with my gaze more down, more inward in the sense of less touched by the world around me, withdrawn.... perhaps too withdrawn, while after my Ashtanga practice I would somehow walk taller, shoulders back, head up gaze more outward to the world of experience.

What is the goal of practice, does one practice feed my samskaras another reduce them.

Does one practice, given my personal make up, lead me to be more rajistic another less so.

Does it make sense to say that Ashtanga might make one more rajistic and yet somebody else less so, that Vinyasa Krama could more readily make one person more satvic and yet another perhaps more tamistic (ie. send them to sleep).

I've been thinking of my practice a while back, before I moved the shala to another room. I was practising a form of Vinyasa Krama, Krishnamacharya's own practice as presented by his son  Sri. K. Sribhashyam (see this Link ).

The practice, after an offering began with a little pranayama, then there would be perhaps 8-12 asana and mudra with a mixture of shorter and longer stays most including a strong mental focal point. The practice tends to include sarvangasana (shoulder stand) and shirsasna (headstand) and end with more pranayama. The practice would take a little over an hour depending on the pranayama, I tended to follow it up with Japa meditation (thinking of presenting this in my last class here tomorrow).

Have been wondering if this practice was/is perhaps better for me.... personally, for my make up, my temperament, my personal samkaras.It will be nice to explore it again in my return to home practice next week.

The video below was an excuse to try out a new Super 8 app for iPhone and some of it's filters recommended by my friend Steve..

I struggle with the word 'spiritual' but I kind of get perhaps what somebody is trying to express when they use the word. Perhaps I'm more comfortable saying that after this practice I felt at my most satvic. The asana/mudra practice marries well with pranayama and meditation practice,  for me at least.

My Vinyasa Krama a little less so but that's perhaps because I tend to include more asana than necessary, I over balance it perhaps.

Ashtanga with it's 90-120 minutes of Asana.... you need a lot of free time in the morning to add another chunk of pranayama and a sit and then your all hot and sweaty on a soaking mat, I am at least. If I end up neglecting my pranayama and meditation practice after my asana practice (saving it for the evening even) then it's perhaps no wonder my practice feels unbalanced, that I'm not feeling that satvic.

No doubt that's why Manju Jois stresses the importance of pranayama and chanting following asana practice, arguing that the practice is incomplete without them.

The idea supposedly is that the asana gets rid of the rajas(agitation), the pranayama (lethargy) the tamas leaving you nice and satvic for your sit.

But it might be argued that the practice is supposed to be about the body, that's the hatha aspect that according to hathayogapradipka (HYP) leads to raja yoga.

I'm not convinced by hatha yoga, by HYP, I fns myself nodding when I read that quote from Ramaswami above, here it is again.

"....But are the two goals, kaivalya of the raja yogi and the positioning of prana in Brahmarandhra (a chakra) of the hatha yogi, the same? Well, one leads to kaivalya or total release and the snapping of the cycle of samsara, but what of the other? One is not sure if the Hatha yogi's goal will give total release from samsara. What do you think?" p193
Ramaswami. Yoga Beneath the Surface (with David Hurwitz).

I'll be presenting a workshop on Krishnamacharya's original Ashtanga and and intro to Vinyasa Krama at Stillpoint yoga, London Bridge on 7th September
http://grimmly2007.blogspot.gr/2014/08/my-workshop-in-london-at-stillpoint.html

http://www.stillpointyogalondon.com

Here's Krishnamacharya on Hatha and Raja yoga, first up AG Mohan who studied with Krishnamacharya in the 70s and 80s followed by references to Hatha and Raja yoga in Krishnamacharya's first book Yoga Makaranda (1934).


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Appendix 1

AG Mohan on Krishnamacharya: Hatha and Raja Yoga

"In the West, Krishnamacharya is mostly known for his contribution to the revival of the more physically oriented disciplines and practices of hatha yoga.  Therefore, he is often referred to as “the father of modern yoga.”

The notion that Krishnamacharya practiced and taught yoga that was somehow “new” or “modern” is primarily due to the many distortions or misunderstandings about the link between the physical practices of hatha yoga and the meditational practices of raja yoga.   He was the conservator of the ancient teachings of raja yoga.

As a master of yoga and a great scholar, he practiced and linked the physical practices of hatha yoga with the mental states of samadhi described in the Yoga Sutras of Patanjali.    Let us listen to the great master on what is yoga.

Krishnamacharya:  Yoga is an awareness, a type of knowing.  Yoga will end in awareness. Yoga is arresting the fluctuations of the mind as said in the Yoga  Sutras (of Patanjali): citta vritti nirodha.  When the mind is without any movement, maybe for a quarter of an hour, or even quarter of a minute, you will realize that yoga is of the nature of infinite awareness, infinite knowing.  There is no other object there.”

During my interview of Krishnamacharya in 1988, he continued to expand on his personal experience of this yogic state of samadhi.

This state of samadhi — the pinnacle of sustained mental focus and the goal of classical yoga — can be reached through pranayama. Krishnamacharya used to say that pranayama is critical among the eight limbs of yoga.  The practice of pranayama is preceded by the practice of the mudras and the practice of asanas. "

There is only one yoga, the Yoga Sutras of Patanjali. This is also known as raja yoga.  Hatha yoga, laya yoga, and mantra yoga each have four steps.   They involve the practice of some of the eight limbs of the Yoga Sutras, like the yamas and niyamas.  They merge into the sixth limb of yoga, dharana, which leads to samadhi. Krishnamacharya with his depth of knowledge and practice was clear about these connections.

In the 1930s, Krishnamacharya tried to resolve the prevailing confusions among the then-yoga luminaries. He later recalled:

“In 1933 through 1937, some people were talking about different varieties of yoga, like hatha yoga, raja yoga, and kundalini yoga.  Some said that the kriyas were the most important, and that that was (true) yoga.  I was in the yoga school in Mysore, under the patronage of the king.  I wrote letters to well-known yoga teachers like Paramahamsa Yogananda, Kuvalayananda, and Yogindra, saying that we should have a meeting and resolve such confusion.  Eventually, however, no meeting took place and nothing came out of the correspondence.”

AG Mohan Krishnamacharya.net

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Appendix 2

Hatha and Raja Yoga Mention By Krishnamacharya in Yoga Makaranda 


There are many types of this yoga — 1. hatha yoga, 2. mantra yoga, 3. laya yoga, 4. raja yoga.

Hatha yogafocusses mainly on descriptions of the methods for doing asanas.

Raja yogateaches the means to improve the skills and talents of the mind through the processes of dharana and dhyana. It also explains how to bring the eleven indriyas under control and stop their activities in the third eye (the eye of wisdom), the ajn ̃a cakra, or the thousand-petalled lotus position (that is turn their attention inward and not outward) and describes how to see the jivatma, the paramatma and all the states of the universe. But even here it is mentioned that to clean the nadis it is necessary to follow the pranayama kramas. p21

Asana
11. Janusirsasana (Figure 4.33, 4.34)
This form follows the hatha yoga principles. Another form follows the raja yoga method. The practitioner should learn the difference. First, take either leg and extend it straight out in front. Keep the heel pressed firmly on the floor with the toes pointing upward. That is, the leg should not lean to either side. The base (back) of the knee should be pressed against the ground. Fold the other leg and place the heel against the genitals, with the area above the knee (the thigh) placed straight against the hip. That is, arrange the straight leg which has been extended in front and the folded leg so that together they form an “L”. Up to this point, there is no difference between the practice of the hatha yogi and the raja yogi.
For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.
The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done. This rule must be followed in all asanas.
While practising this asana, however much the stomach is pulled in, there will be that much increase in the benefits received. While practising this, after exhaling the breath, hold the breath firmly. Without worrying about why this is so difficult, pull in the stomach beginning with the navel, keep the attention focussed on all the nadis in and near the rectal and the genital areas and pull these upwards — if you do the asana in this way, not only will all urinary diseases, diabetes and such diseases disappear, but wet dreams will stop, the viryam will thicken and the entire body will become strong.
Whoever is unable to pull in the nadis or the stomach may ignore just those instructions and follow the instructions mentioned earlier to the extent possible. Keep the nadis in and near the rectal and genital areas pulled up, the stomach pulled in and hold the prana vayu steady. Anybody with the power to practise this will very soon be free of disease and will get virya balam. Leaving this aside, if you follow the rules according to your capability, you will gradually attain the benefits mentioned below. 


Dhauti Kriya's

Several are referred to as either Raja or Hatha yoga p38-51

Mudras


5. Mulabandha Mudra: With the left heel, firmly press the kandasthana which is between the rectum and the genitals and pull the heel in tightly in order to close the anus. Pull in the stomach firmly and press it against the bones in the back (the spine). Bring in the right heel and place it on top of the genitals. This is in hatha yoga.


7. Mahadeva Mudra: Sit in mula bandha mudra and do kumbhaka in uddiyana bandha.
Benefit: This will increase the jathara agni and you will get the animadi guna siddhi — one of the eight siddhis which is the quality of becoming as minute as an atom. This belongs to raja yoga. 

 8. Khecari  Mudra: After first learning the yoga marmas with the help of a satguru who is still practising this, cut 1/12 of one angula measure (width of one hair) of the thin seed of skin at the bottom of the tongue with a sharp knife. Apply a well-powdered paste of sainthava lavanam salt (rock salt) on the area of the cut. Rub cow’s butter on both sides of the tongue, and holding the tip of the tongue with a small iron tong, pull the tongue out carefully, little by little. Repeat this (the pulling) every day. Once a week, as mentioned above, cut the seed of flesh at the base of the tongue very carefully. Practise this for three years. The tongue will lengthen and will easily be able to touch the middle of the eyebrows. After it lengthens this much, fold it inside the mouth, keep it in the cavity which is alongside the base of the inner tongue and fix the gaze on the mid-brow.
Benefit: Hunger and thirst subside without loss of body strength and with- out allowing room in the body for any disease. If practised daily, the body develops a lustre in a few days and one quickly reaches the state of samadhi and drinks the divine nectar. This belongs to hatha yoga.


9. Viparita Karani Mudra: Keeping the head on the ground, lift the legs up and hold the entire body straight without bending or curving the body in any direction. This is raja yoga.
Benefit: Activates the surya nadi that is in the navel so that it is present in the upper part, and the chandra nadi which is beneath the tongue so that it occupies the lower part; it overcomes birth and death. Even during the pralaya, the body will remain steady. 

11.(a):Vajroli Mudra Form 1: Using both hands, raise the body placing the entire body weight on the hands without allowing the head to touch the ground. Keeping the head this way, hold the body as in viparita karani mudra and do kumbhaka. This is raja yoga.


(b) Vajroli Mudra: Form 2: Take a 12 angula long thin glass pipette or lead pipe and through the genital opening insert it and remove it daily, increasing the amount of insertion by one angula each day. After you are able to practise inserting the pipe for a length of twelve angulas, draw in the outside air through such an opening in the genitals. After practising this, eventually draw in milk and then water and then push them out of the body. This is hatha yoga.

15. Sambhavi Mudra: Due to the strength of the traataka abhyasa mentioned in the shatkriyas, after the eyes have teared profusely, fix the gaze on the mid-brow.
Benefit: This gives rise to ekagrata citta and gives dhyana siddhi. This is raja yoga.

16. Aswini Mudra: Repeatedly close and open the anal opening many times.
Benefit: Cures diseases of the rectum, will render physical strength and sharpness of the intellect, awakens the power of kundalini and conquers untimely death. This is raja yoga.

17. Pasini Mudra: Take the two legs and place them behind the neck. Extend the arms, and with the support of the outstretched hands placed on the ground, raise the body.
Benefit: Kundalini being kindled nourishes the body. This is hatha yoga.

18. Kaka Mudra: Hold the mouth like a crow’s beak and inhale and pull
in the outside air into the stomach.
Benefit: All diseases will be eliminated and you will have a long life like a

crow. This is hatha yoga.

19. Mathangini Mudra: Stand in water up to the neck. Through the nostrils, draw in water and spit it out through the mouth. Then take in water through the mouth and expel it out through the nose. This is raja yoga.
Benefit: Practise this every day many times in the same place as described above. You will become strong like an elephant, you will not get any diseases and will conquer untimely death.

20. Bhujangini Mudra: Stay in bhujangasana, stretch the neck out in front and according to vata sara krama, pull in the outside air and do puraka kumbhaka.

Benefit: This will remove diseases like indigestion, agni mandam (low agni), stop stomach pain and leave you happy. This is raja yoga.


UPDATE

 And this from  SRi K. Pattabhi Jois' Yoga Mala
Notice how for "middle aged he mentions that doing all the asana is a satvic practice, interesting.

But best of all, for me at 51, I get to choose the most useful asana. 


"For people over fifty, it is enough to practice some of the easier and more useful asanas, as well as some of the pranayamas. Those who have been practicing for many years, however, can do any asana or pranayama without a problem. Older people who want to start yoga, however, will find practicing the following ten asanas sufficient [see Chapter 2 for detailed descriptions of individual asanas]: first, the Surya Namaskara (types 1 and 2); then Paschimattanasana; Sarvangasana; Halasana; Karnapidasana; Urdhva Padmasana; Pindasana; Matsyasana; Uttana Padasana; and Shirshasana. It is preferable to do these in concert with the vinyasas [breathing and movement systems], but if this is not possible, then practicing while focusing on rechaka and puraka will suffice. Shirshasana should be practiced for at least ten minutes, and the rest, for at least ten rechaka and puraka while in the state of the asana [see fn. 39]. By practicing in this way, the body and sense organs will become firm, the mind purified, longevity will be increased, and the body will be filled with fresh energy.

For the middle-aged, it is best to do all the asanas. The more they are practiced, the stronger the body becomes, and obstacles such as disease cease to be a problem. Pranayama is easier, the mind becomes more harmonious as the quality of sattva [purity] comes to predominate, and intellectual power and longevity are augmented".

Keeping Yoga clothes and Yoga Towels clean on a two moth retreat. Also taking care of your mat

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I've been practicing at Kristina' shala (http://www.yogapractice.gr) for the last two months, down to my last couple of days.

Kristina said the nicest thing this morning, or asked me the nicest question anyway.....

How do you stop your clothes and towels from smelling when you sweat so much?

Especially nice as I've heard her tell people to wash their yoga towel, their mats etc., feared I might be next.

My towel back home, as bad here, two towels like this when I arrived in fact
The secret of my sucesss


Bucket soak, or rather bottom of the shower soak.

I just lay them out in the bottom of the shower with a good shake of Tide (hand wash) then take my shower and tread them for a bit. Eventually the water drains away and I fill it again, couple of times a day then finally a last rinse before hanging them up to dry in the room.

Seems to work.

I should turn comments back on for this post as I'm sure many of you have your own ways and means that work.

I know horrendous bathroom/shower but the cheapest deal in Rethymno



Good tip though, if you're going to go on retreat for a few months get new kit. I remember at Ramaswami month long TT in LA I brought my favourite, most comfortable, shorts and towels, thought they smelled nice and clean and fresh when I left but after a couple of days they started to pong a bit had togo  shop.

And you, what works........?

PS this from  Renaissance Yoga on keeping your yoga mat clean
http://www.renyoga.com/blog/how-to-clean-your-yoga-mat/

Or this from dailycupofyoga for my dear friend Michelle on breaking in a fancy new but slippery Manduka and taking care of it.
http://www.dailycupofyoga.com/2010/08/28/how-to-care-for-manduka-black-mat-pro/

...which includes this from manduka.com

To Break In: The surface texture of the Black Mat PRO improves with use. Our customers have found that the best way to “break in” their mat is to use it on a daily basis. Another trick is to sprinkle coarse sea salt over your mat, scrub it down with a sponge, and air dry in the sunshine [Never thought of this, but sounds good for a brand new mat].

Flexibility within the system of Ashtanga ; Pattabhi Jois' Yoga Mala

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"As the bodily constitution of each human being is different, it is important to practice the asanas accordingly. The benefit to be had from one asana or pranayama can be derived just as well from another that better suits the structure of a person’s body. 

*

Those who don't know any better (usually from outside Ashtanga but unfortunately sometimes from within) tend to think of Ashtanga as a rigid, fixed, system, a one size fits all, a fit yourself to the sequence rather than the other way around kind of a deal. It's understandable I suppose, when you present a sequence as a sequence on a cheat sheet it does look kind of fixed and to be fair to the critics some do seem to teach it that way.

from Ashtangayogaleeds

It's not been my experience however,  but then I'm a home Ashtangi, I started out with David Swenson's Ashtanga book with several variations sitting alongside the state of an asana, hell there was even the occasional prop. And then at the back of David's book there were the short versions of practice, 10 minutes, 20, 45 minute variations of the sequence, this was my introduction to Ashtanga.

I continued to approach my practice this way, adapting, using variations, the occasional prop, to work towards a posture I was struggling with.

Now that Sharath has his own Ashtanga book out I hope people still buy his grandfather's Yoga Mala. If you're only going to buy one please still go with Yoga Mala  it's a beautiful book ( surely Pattabhi Jois had his teacher Krishnamacharya's Yoga Mala on the table next to his typewriter/notebook).

I keep stumbling upon sections I'd either missed or forgotten like these on the flexibility inherent in our practice.

From Shri K. Pattabhi Jois' Yoga Mala

Yoga Mala

Flexibility within Ashtanga 1.

"For people over fifty, it is enough to practice some of the easier and more useful asanas, as well as some of the pranayamas. Those who have been practicing for many years, however, can do any asana or pranayama without a problem. Older people who want to start yoga, however, will find practicing the following ten asanas sufficient [see Chapter 2 for detailed descriptions of individual asanas]: first, the Surya Namaskara (types 1 and 2); then Paschimattanasana; Sarvangasana; Halasana; Karnapidasana; Urdhva Padmasana; Pindasana; Matsyasana; Uttana Padasana; and Shirshasana. It is preferable to do these in concert with the vinyasas [breathing and movement systems], but if this is not possible, then practicing while focusing on rechaka and puraka will suffice. Shirshasana should be practiced for at least ten minutes, and the rest, for at least ten rechaka and puraka while in the state of the asana [see fn. 39]. By practicing in this way, the body and sense organs will become firm, the mind purified, longevity will be increased, and the body will be filled with fresh energy.
For the middle-aged, it is best to do all the asanas. The more they are practiced, the stronger the body becomes, and obstacles such as disease cease to be a problem. Pranayama is easier, the mind becomes more harmonious as the quality of sattva [purity] comes to predominate, and intellectual power and longevity are augmented.

For the very old, however, who find the practice of Sarvangasana, Halasana, Uttana Padasana, Shirshasana, and Padmasana too difficult, it is enough to practice mahabandha daily, as well as rechaka kumbhaka pranayama, puraka kumbhaka pranayama, samavritti vishamavritti pranayama, and sithali pranayama. These will help them live happier and longer lives, and will insulate them from disease.

The weak and the sick, too, should gradually practice suitable asanas and pranayamas, and over time, as their strength increases, their practices should also increase. In this way, the diseases of the sick and the strength-lessness of the weak will be eliminated, leaving them healthy and vigorous.
The aspirant that goes to a Guru will find that the Guru will tailor his practice to his particular bodily constitution." p28

...the more useful asana?

People over fifty.... focus on the more useful asana. Sometimes I think Krishnamachrya's personal practice (see previous post) is a distillation of of his original Ashtanga, of Vinyasa Krama, what is left if you strip it down to it's essentials.


Online version
On distilling

"To be sure, Baldini’s laboratory was not a proper place for fabricating floral or herbal oils on a grand scale. It would have been hard to find sufficient quantities of fresh plants in Paris for that. But from time to time, when they could get cheap, fresh rosemary, sage, mint, or anise seeds at the market, or a shipment of valerian roots, caraway seeds, nutmegs, or dried clove blossoms had come in, then the alchemist in Baldini would stir, and he would bring out the large alembic, a copper distilling vessel, atop it a head for condensing liquids-a so-called moor’s head alembic, he proudly announced-which he had used forty years before for distilling lavender out on the open southern exposures of Liguria’s slopes and on the heights of the Luberon. And while Grenouille chopped up what was to be distilled, Baldini hectically bustled about heating a brick-lined hearth— because speed was the alpha and omega of this procedure-and placed on it a copper kettle, the bottom well covered with water. He threw in the minced plants, quickly closed off the double-walled moor’s head, and connected two hoses to allow water to pass in and out. This clever mechanism for cooling the water, he explained, was something he had added on later, since out in the field, of course, one had simply used bellowed air for cooling. And then he blew on the fire.
Slowly the kettle came to a boil. And after a while, the distillate started to flow out of the moor’s head’s third tap into a Florentine flask that Baldini had set below it-at first hesitantly, drop by drop, then in a threadlike stream. It looked rather unimpressive to begin with, like some thin, murky soup. Bit by bit, however-especially after the first flask had been replaced with a second and set aside to settle-the brew separated into two different liquids: below, the floral or herbal fluid; above, a thick floating layer of oil. If one carefully poured off the fluid-which had only the lightest aroma-through the lower spout of the Florentine flask, the pure oil was left behind-the essence, the heavily scented principle of the plant.
Grenouille was fascinated by the process. If ever anything in his life had kindled his enthusiasm— granted, not a visible enthusiasm but a hidden one, an excitement burning with a cold flame-then it was this procedure for using fire, water, steam, and a cunning apparatus to snatch the scented soul from matter". Patrick Süskind Perfume 


And then there's this. I posted it on fb and my Viniyoga friends kept saying this is Desikachar's Viniyoga. Of course, it all comes from the same source (Krishnamacharya) he was always one for adapting practice to the individual needs of the students. It was there in the early Mysore days and there still in Chennai right up until he passed away.

Flexibility within Ashtanga 2

"As the bodily constitution of each human being is different, it is important to practice the asanas accordingly. The benefit to be had from one asana or pranayama can be derived just as well from another that better suits the structure of a person’s body. Some asanas are not suitable for particular people and may be painful. A Guru will understand this and be able to explain it, so the practitioner of yoga must be certain to follow his guidance." p30  Pattabhi Jois Yoga Mala

In  my own practice at Kristina's shala in Rethymno I've been cutting back to half a series giving much more time for a longer slower breath. This morning it was half standing, half 2nd series (second half) and it still took over two hours. I need to strip it back even further, less asana to leave more time for pranayama. I'm starting to think a third of the practice...... split the standing postures over the week and Primary and Second series into three each, finishing too cut back.

That should bring it down to the ten to fifteen postures we find in Krishnamacharya personal practice, time to breathe, time for pranayama and meditation.

I'm reminded of the Rishi series (see this page). David Williams supposedly asked Pattabhi Jois what comes after Advanced series, The Rishi series said Guruji. You take ten postures and practice them fifty breaths each.

10 postures, a life saving practice?

Here's the video of Krishnamacharya's Life saving practice, his own personal practice along the lines of which he supposedly practiced for the five years up until his death.

I'd just downloaded the Super 8 app and was playing.

I'll be teaching this as my final Vinyasa Karma class in Rethymno tonight at 6pm

 

"Starting from the 50s more and more visitors came from the West to Krishnamacharya in Madras, to learm Yoga from him, the 'teacher of teachers'. Krishnamacharya developed for them a specific sequence that he named 'Life saving yoga session'. Yoga to extend life, the name did not fail to work. Krishnamacharya's idea was to use this sequence to lead Westerners to an unconfessional and undogmatic experience of the Divine, since their pluralistic culture would not permit an automatic access to religious matters.
The sequence, which was not taught anymore after Krishnamacharya's death and which was taught by his son TK shribayam to director Jan Schmidt-Garre after years of acquaintance during the filming of 'Der atmende Gott', is here disclosed in its original form.
Characteristic of the later Krishnamacharya and of the 'Life saving Yoga session' is the connection of postures, breathing and concentration in the sense of the orientation of the gaze and awareness of a focal point. Only when these elements form an organic connection can Yoga happen, according to Krishnamacharya

1. sit for 30-60 seconds with crossed legs in Padmasana. Concentration on Nasagra (point of the nose)

2. 16-24 Kapalabhati breaths (breath of fire, energeti inhale and exhale)

3. 12 breaths of ujjayi anuloma. Inhale: ujjayi, with slightly constricted throat, to drwa air into the lungs. Exhale: the hand forms a claw with thumb, ring- and little-fingers with which one nostril is alternately kept closed. Exhale very slowly through the open nostril, without ujjayi, beginning with the left

4. 3 breaths in matsyasana. Legs are closed in the lotus position

5. 3 breaths in bhujangasana. Start with open eyes and during the progression of movement, which start with the forehead, close the eyes. Concentration on Bhrumhadya (between the eyebrows)

6. 12 breaths in sarvangasana. The chin is closed in front of the straightened body. Hands close to the shoulderblades, concentration on Kanta (throat)

7. 12 breaths in sirsasana. Concentration on Nasagra (tip of the nose)

8. 3 breaths in halasana. Arms on the floor, hands clasped, palms towards the outside

9. 3 breaths in bhujangasana. Again start with open eyes and close them during the movement. Cncentration on Bhrumadhya (between the eyebrows)

10. 12 breaths in Maha-mudra (one-sided forward bend) six times on the left, then six times on the right. With the first inhale bring the arms over the head, with hands clasped, palms up. With the exhale get into the posture. Concentration on navel

11. 12 breaths in paschimottanasana, preparation and in maha mudra. The hands clasp the big toes, the back stays straight, neck and back form a lune. Concentration on the navel.

12. 30-60 Bastri breaths (rapid alternate breathing) in padmasana. The right hand builds a clasp as for anuloma ujjayi. Inhale and exhale through the left nostril, then change the grip and rapidly inhale and exhale through the right nostril. No ujjayi. end with an exhale from the left nostril and without pause move ot a long inhale in nadi shodan. Concentration on Nasagra

13. 12 breaths in nadi shodan (alternate breathing). Inhale very slowly from the half-closed left nostril, exchange grip ad after a short pause exhale very slowly through the half-closed right nostril. After a short pause inhale very slowly through the half-closed right nostril, change grip and after a short pause exhale through the half-clodes left nostril. No ujjayi. The left hand counts the breaths, with the thumb gliding over the twelve parts of the four fingers, from the third falanx of the little fingers in the direction towards outside to the point of the index finger. Concentration on Hrudaya (heart)

14. Prayer. Concentration on Hrudaya (heart)

In the coming book fom Shribashyam "How Yoga really was" this and similar sequences are explained in detail

*Thank you again to Chiara fro the translation from the German.

Here are some print out practice sheets.



See this post on pimping it up a little.


Ill be presenting a workshop on Krishnamacharya's Original Ashtanga as well as an intro to Vinyasa karma including the back bending sequences that give good prep for the Ashtanga second series backbends, pranayama, pratyahara etc at Stillpoint London Sunday 7th Sept. this will be my last workshop before moving to Japan.

Ashtanga Backbends: Kapotasana, catching ankles without adjustments, also 25 breaths in Kapo

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I was talking with Kristina this morning, we've been having an ongoing 'discussion' concerning adjustments and assists all summer, we were talking about Kapotasana and why I decline the assist.

My argument is that I reached my ankles on my own without adjustments so why receive them (adjustments/assists) now.

Currently I'm barely grabbing my toes (I injured back moving house a couple of months back) but taking ankles and heels from the air have come and gone over the years, it'll come back.... or not. Heels would be nice, gives you something to grab onto and draw yourself in nicely, would settle for heels again.

So I had a quick look on my youtube channel, I seem to remember posting "heels are back" videos and "heels are back again" videos. I thought it might be encouraging to anyone whose recently lost their best kapo and are beginning to doubt if it will ever come back.

This first video I notice I titled Ankles in Kapo from Vinyasa Krama. I remember this video. I tended to to think that you really needed to practice Kapo every day to get a deep kapo (or leg behind head postures say), a benefit of the Ashtanga approach of practicing the same series everyday. Here though I had been practising Vinyasa Karma all those extra backbend postures in the Bow and Mediative series that help to open up the back gradually.

This is one of my arguments against strong assists, if somebody is really struggling with kapo perhaps more preparatory postures might be the way to go rather than taking somebody into the posture groan by groan.

Perhaps both ways achieve the same results.



I thought the next one was interesting, this is the first time I caught my ankles but I noticed how rather than pushing up and walking my hands in, the real work seems to be done at my hips and top of thighs, look how they keep moving forward, must try that again tomorrow.

 I remember noticing how Manju's half drop back technique that Kristina also employs really works the top of the thighs, dropping back to the wall or just hang backs do a similar thing, I should work on those again perhaps.



The last one is another on getting ankles back after a period in the kapo wilderness this time I credit Richard Freeman.


and and

I forget why I mentioned Richard, ah, here's why, there's a link to a post that I'd forgotten about

Exploring something Richard Freeman seemed to be saying'ish at AYC. I've tended to bring my sitting bones together then nutate my hips as much as possible, tilting my hips upwards before dropping back. Richard talked about bringing the sitting bones together and the coccyx forward but then also attempting the draw the pubic bone back towards the coccyx, bringing all four points towards each other and drawing up mula bandha ...then bringing the sacrum through, so the whole unit comes forward and up...something like that, either way it made a surprising difference to my kapo today which has tended to be semi committed winter kapo's for the last couple of months. 

from this post Richard Freeman AYC backbending workshop transcribed, "It works I tell ya".

Just one more because I loved this project. This from the Rishi series project (supposedly Pattabhi Jois told David Williams that after Advanced series there was the Rishi series where you choose ten postures and stay for 25 or 50 breaths). I tried it out for all the asana in Primary and 2nd series and found it transformational. Lets hear it for long stay's with slow breathing! Something Krishnamacharya advocates in his Original Ashtanga from Yoga Makaranda (1934) back when he was teaching the young Pattabhi Jois.

More on the Rishi Series HERE http://grimmly2007.blogspot.gr/p/ashtanga-rishi-seriesapproach.html


And finally heres a link to my Kapotasana progression post

Kapotasana Progress videos Dec 08 to present (march 2012)

So I don't know, I've enjoyed adjustments I've received from Kristina and Niko, Manju too this summer but I'm still not sure how I feel about them in the abstract, perhaps we just over employ them, don't need them to give or receive them as much as we think we do, perhaps there are other ways, approaches and of course for the home ashtangi we need other options.

I'll be teaching the Vinyasa Krama backbend sequences, Bow and Meditative, on my workshop at StillPoint Yoga London next Sunday (still places) as well as Krishnamacharya's original Ashtanga, pranayama etc. Because the breath is slow and kumbhaka's are employed, Krishnamacharya original Ashtanga is a slower practice, so don't be put off by the 'Ashtanga' label, beginner's very welcome.







The seven utterances are bhuh, bhuvah, suvah, mahah, janah, tapah, satyam. What do they convey, what do they represent?

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September 2014 Newsletter from Srivatsa Ramaswami— vyāhṛti (व्याहृति)
I completed teaching the 200 hr Teacher Training Program at Loyola Marymount University by Aug 10th. I now find it a bit difficult to teach for 7 hrs a day for 5 weeks at a stretch. We may offer the program next time at two separate times for about 2 1/2 weeks to three weeks each. The program went off well, it was a very satisfying experience with a bunch of adorable participants. I also taught a one day program on Vinyasakrama at Ananda Ashram in NY state
Immediately thereafter I came to Chennai on Aug 15th for attending to a nagging personal problem which is getting dragged. I was planning to return to US on Sep15 to go to Chicago to teach a program at Chicago Yoga Center, then a weekend program at Anand Ashram in October and possibly teach a seminar at Princeton University in December. Everything appears to be uncertain until this issue is sorted out. I am also scheduled to teach the entire Bhagavat Gita verse by verse as I studied with Sri Krishnamacharya. This 70 hr program would be in May 2015 at my friend Steve Brandon's Harmony Yoga in UK. But first the Uncertainties!

Vyāhṛti-व्याहृति

The two most important mantras of the Vedas are Pranava (OM) and then the Gāytri. There is another mantra or a group of mantras used extensively, the vyahritis. Ahriti is to hold back whereas Vyahriti is to give out and hence these vyahriti mantras are known as utterances. There are seven vyahritis out of which the first three are very commonly used. They are also called mahavyahritis or great utterances. The seven utterances are bhuh, bhuvah, suvah, mahah, janah, tapah, satyam. What do they convey, what do they represent? According to one school especially the purnic school, the seven vyahritis represent the seven worlds starting from the world we are in, the bhu loka. Then the rest of the six worlds are the higher worlds. Due to one's good karma one is able to traverse to higher worlds in successive births.

The first three vyahritis are more commonly used and are known according to some authorities as Maha Vyahritis or the great utterances. In Indian especially South Indian dishes turmeric is invariable added, like in curries, sambar (soups), rasam. It is an integral part of pujas or worships. Many women in olden days used to smear themselves with turmeric paste before or while taking bath as skin conditioner and use it also as a facial base. Sometimes the mahavyahritis can be considered as essential concomitant mantra like turmeric is in daily life. So one may call, the vyahritis as mantra turmeric.

Om burbhuvassuvaH is how one starts the pariseshana mantra or the food purification mantra before one starts to eat food. One takes a spoonful of water in the right hand and sprinkle it on the food (usually cooked rice) saying Om bhurbhuvassuvaH. Then one would proceed to to do the parseshana mantra when water is dripped around the plate or the plantain leaf on which the food is served. Thereafter one would pick up with the thumb and the ring finger, one cooked grain of rice and put it into the mouth hailing the five pranas one by one and finally the Brahman the ultimate reality. It is a beautiful cute meaningful ritual at the start of taking food.

Taittiriya upanishad talks about the fourth vyahriti. “There are three vyahritis, BhuH, BhuvaH and SuvaH. Beyond them is the one, the fourth, Maha(t) says the great sage Mahachamasya. That is Brahma(n). That is Atman or individual Self. (Maha iti| tat brahma| sa atma||”

It could be seen that the Upanishad says that MahaH is Brahman or the ultimate reality. And what is Brahman The upanishad elsewhere defines Brahman as “Satyam, jnanam anantam brahma” Satya would mean Truth or one that really exists. It is something that is not affected by time as truth is not affected by time. Secondly it is jnana or consciousness and finally it is ananta or it is everywhere or something unaffected by space. So the definition of Brahman is pure consciousness unaffected by time or space. Here advaitins tend to take heart in the statement that the brahman is the atman or the self in each of us. They say Brahman and atman are one and the same, not different from each other-- that it is advaita.

The upanishad helps to understand these mystic vyahriti mantras.by relating them to something known to us. The first vyahriti can be related to this world (ayam lokah) or the bhuta, agni or fire, or the brilliant sun or the rig veda mantra (rik) or prana or the life force itself. Then the next vyahriti 'BhuvaH' may be related to inter-space (antariksha), or the bhuta, vayu or air, or the sama veda mantra or the physiological principle apana. The third vyahriti 'suvaH' would relate to the heaven, or the sun or the yajur veda mantra or the vyana vayu in the body. Finally the mahat could be related to aditya or the sun, or chandrma the moon, or Brahman the ultimate reality and also food which sustains life of all beings. Thus one should be contemplating on the four vyahritis as per the upanishad

Again there are vedic passages that refer to not just three or four but seven vyahritis, BhuH, bhuvaH, suvaH, mahaH, janaH, tapaH, satyaM (OM bhur-bhuvas-suvar-mahar-janas-tapas-satyaM). These seven vyahritis are referred to as seven worlds or lokas as mentioned earlier. However these lokas are also related to the seven states of consciousness. According to taittiriya upanishad, Brahman, alone and immortal, pure consciousness desired to become many “bahusyam prajaayeyeti”. Then it contemplated or was in a state of tapas. This perception (aaloka) of the brahman in known as tapoloka even as it is interpreted in puranas as a world by itself. After deep contemplation Brahman created the entire universe. This state of the supreme consciousness came to be known as jana loka. Having created it the Brahman entered into each one of its creation and became the Self of everything, everyone. In this microcosmic state it had three experiences one with the waking state, one with the dream state and one with the deep sleep state. Mahachamasya after deep yogic contemplation realized that there was a fourth state of this consciousness which transcended all the three other individual states of consciousness. So we have three levels of ordinary consciousness at the individual or microcosmic level represented by the three vyahritis bhuH, bhuvaH and suvaH. Then the fourth level is the yogic state which the upanishads call as turiya or the maha loka. But since the same consciousness is also the one from which everything came about, the three state of super or cosmic or macro-cosmic consciousness will be the jano loka, tapo loka and satya loka. This ideation is used in the pranayama mantra which proclaims that the same consciousness can be viewed to have seven states four at the microcosmic state and three at the cosmic state. In all brahman as atman or individual self is in the pure state of consciousness (atman or drashta) at the fourth state represented by the vyahriti mahat. And at the cosmic level it is in its pristine glory bereft of any creation or ideation and is represented by the vyahriti 'satya'. Yoga helps to realize the pure consciousness at the individual level (kaivalya, turiya) wheras vedanta helps to realize the same consciousness at the cosmic level (moksha)

The vyahritis therefore are very important mantras next only to Pranava (OM) and the gayatri. In fact when we chant the gayatri three times a day (gayatri japa) during the sandhya, the gayatri mantra is chanted (japa) not alone but preceded by pranava and the three vyahritis

Om (Pranava)
bhur-bhuvas-suvaH (the vyahritis)
tat-savitur-varenyaM (I pada of gayatri)
bhargo-devasya-dhimahi (II pada of gayatri)
dhiyo-yonaH-prachidayat (III pada of gayatri)

Pranava, vyahritis and Gayatri are beautiful, highly potent and meaningful mantras of the vedas.

With best Wishes

Sincerely
Srivatsa Ramaswami

Maha Vedha? Krishnamachrya's lifted, spun and dropped padmasana plus other highlights from '100 years of Beatitude' documentary

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Paul Harvey posted on FB yesterday morning, a link to a download on his site of a Krishnamacharya documentary '100 Years Of beatitude', marking Krishnamacharys 100th birthday celebrations.You can download the movie here on Pauls excellent resource pages at Yogastudies.org I've embedded the movie at the bottom of this post.

Here are a couple of scenes that stood out for me the first is quite astounding (I've given the time so you can skip through the movie to the clip).

1.

24:55    It seems to be a scene left out of the familiar 1938 B and W documentary footage, I've certainly never seen it before. We see Krishnamacharya raise his padmasana (lotus) turn it through his arms 180 degrees and drop it to the mat before repeating it on the other side.


We shouldn't be surprised some nice padmasana work appears in the 1938 movie include Krishnamacharya snapping his legs into lotus while in utpluthi, 

Party tricks?

This dropping of the lotus seems to be Krishnamacharya's take perhaps on mahavedha...

from Hatha Yoga Pradipka


"The mahâ Vedha अथ भहावधे ्
भहाफन्धश्चस्थतोमोगीकॄत्वाऩयूकभके धी्। वामनू ाॊ गश्चतभावॄत्य श्चनबतॄ ॊ कण्िभद्रमा ॥२६॥
Atha mahāvedhah
Mahābandhasthito yogī krtvā pūrakamekadhīh Vāyūnām ghatimāvrtya nibhrtam kanthamudrayā
Sitting with mahâ Bandha, the Yogî should fill in the air and keep his mind collected. The movements of the Vâyus (Prâna and Apâna) should be stopped by closing the throat.)
सभहस्तमगोबभूौश्चस्फचौसतॊािमच्छे न्ै।
ऩ ट
द्व म भ श्च त ि म्य व ा म ् स्फ य श्च त भ ध्य ग ् ॥ २ ७ ॥
Samahastayugho bhūmau sphichau sanādayechchanaih Putadvayamatikramya vāyuh sphurati madhyaghah
Resting both the hands equally on the ground, he should raise himself a little and strike his buttocks against the ground gently. The air, leaving both the passages namely Idâ and Pingalâ, starts into the middle one". 

2. 

26:57  TKV. Desikachar pointing out the folds in Krishnamacharya's back as he engages mula bandha fully






3. 

25:40   TKV Desikachar Suggesting that Krishnamacharya invented Vinyasa Krama to allow students who didn't have the possibility of spending 1-2 hours on asana to benefit from a variety of asana Have to remember this is very much a Viniyoga perspective on things.



4.

21:20      Drawings said to be by Krishnamacharya's teacher in Tibet, Yogeshwara Ramamohana Brahmachari's daughter. I remember seeing two of these drawings in a Biography of Krishnamacrya, wonderful to see more of them. Isn't this a distinctive south Indian style of representation? Reminds me of those in Norman E. Sjoman,  The Yoga Tradition of the Mysore Palace,


Here's the full movie from KYM, on Youtube which allows me to embed the movie here.

 



I'll be presenting a workshop on Krishnamacharya  StillPoint Yoga London next Sunday (still places) 


Origin's of Modern Yoga Asana: Comparison of Krishnamacharya's teachers drawings and Norman's Sjoman's Sriitattvanidhi (1880's) presentation in his Mysore palace book

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Sure I've seen this picture elsewhere, the house isn't shown in the original, a child's imagination?

In my post yesterday I embedded the documentary concerning Krishnamacharya's 100 year centenary celebrations. In the post I pick out a few highlights. One of them at 21:20 

"...was of drawings said to be by Krishnamacharya's teacher in Tibet, Yogeshwara Ramamohana Brahmachari's daughter. I remember seeing two of these drawings in a Biography of Krishnamacrya, wonderful to see more of them. Isn't this a distinctive south Indian style of representation? Reminds me of those in Norman E. Sjoman,  The Yoga Tradition of the Mysore Palace".

I couldn't resist following this up and doing a comparison of the pictures shown in the documentary and those in Norman's book taken from Sriitattvanidhi (1880s).

And they match up, the same images and yet slightly different, certainly more colourful, fresher, as if they had indeed been copied.

Sometimes, where pictures are placed together, they are in the same order as if (lets stick with the Ramamohana Brahmachari's daughter drawing them explanation) they had indeed been copied BUT from the/an original text, how did that come about? 

I also checked and found that the four pictures (see towards thee end of the post)  I had seen before in Krishnamachary's biography were different but that those pictures matched up with the original text also. This means that the book that Krishnamacharya supposedly brought back from Tibet has more pictures, one wonders how many, is it a complete copy of all the asana pictures in Sriitattvanidhi?

If the daughter story is true then Krishnamacharya had access to the book and we assume the text ( or his teachers teaching of the text) much earlier than Norman Sjoman suggests, in Tibet rather than Mysore. 

Either that or perhaps Krishnamacharya copied the pictures himself in Mysore, a possibility.

I've always found these pictures to be dynamic, there is movement here, a vinyasa tradition perhaps?

I don't know what this all means for the history of modern postural practice but fascinating stuff, will need to have a think and chew on it a while.

I'll be teaching a Workshop on Krishnamacharya at StillPoint Yoga London this Sunday, perhaps we can discuss it at the end. 

Norman Sjoman's book is essential reading if your interested in this work, Mark Singleton Yoga Body is heavenly indebted to Norman's text. As well as presenting the full text Norman translates all the instructions.






"The book (Yoga Tradition of the Mysore Palace) presents the first English translation of a part of kautuka nidhi; Sritattvanidhi, which includes instructions for and illustrations of 122 postures—making it by far the most elaborate text on asanas in existence before the twentieth century. The book includes instructions for 122 yoga poses, illustrated by stylized drawings of an Indian man in a topknot and loincloth. Most of these poses—which include handstands, backbends, foot-behind-the-head poses, Lotus variations, and rope exercises—are familiar to modern practitioners (although most of the Sanskrit names are different from the ones they are known by today). But they are far more elaborate than anything depicted in other pre-twentieth-century texts". 

"The Sritattvanidhi (Śrītattvanidhi) ("The Illustrious Treasure of Realities") is an iconographic treatise written in the 19th century in Karnataka by the then Maharaja of Mysore, Krishnaraja Wodeyar III (b. 1794 - d. 1868). The Maharaja was a great patron of art and learning and was himself a scholar and writer. There are around 50 works ascribed to him.[1] The first page of the Sritattvanidhi attributes authorship of the work to the Maharaja himself:"
Wikipedia







Keeps the legs comfortably together for meditation, Norman Sjoman discussed this on a recent workshop I took with him.





From Sritattvanidhi (1800's) in Yoga tradition of the Mysore palace
















How the pictures are presented in the 'original' Sritattvanidhi 



And there's more.....

I mentioned that I had seen a couple of pictures that were supposed have been drawn by Krishnamacharya's teacher's daughter in a biography of Krishnamacharya. I remembered that I had posted them on a blog post and managed to find them, here they are in  Sriitattvanidhi.

In Norman's book he names the asana and gives translations of the instructions/descriptions found above the pictures.



And YES, these too are in Sriitattvanidhi







A review of the argument in Norman's book from 2007

From Yoga Journal AUG 28, 2007
Previously Untold Yoga History Sheds New Light

BY ANNE CUSHMAN  |

"The Mysore Palace

I found myself pondering these questions afresh recently after I came across a dense little book called The Yoga Tradition of the Mysore Palace by a Sanskrit scholar and hatha yoga student named Norman Sjoman. The book presents the first English translation of a yoga manual from the 1800s, which includes instructions for and illustrations of 122 postures—making it by far the most elaborate text on asanas in existence before the twentieth century. Entitled the Sritattvanidhi (pronounced “shree-tot-van-EE-dee”), the exquisitely illustrated manual was written by a prince in the Mysore Palace—a member of the same royal family that, a century later, would become the patron of yoga master Krishnamacharya and his world-famous students, B.K.S. Iyengar and Pattabhi Jois.

Sjoman first unearthed the Sritattvanidhi in the mid-1980s, as he was doing research in the private library of the Maharaja of Mysore. Dating from the early 1800s—the height of Mysore’s fame as a center of Indian arts, spirituality, and culture—the Sritattvanidhi was a compendium of classical information about a wide variety of subjects: deities, music, meditation, games, yoga, and natural history. It was compiled by Mummadi Krishnaraja Wodeyar, a renowned patron of education and the arts. Installed as a puppet Maharaja at age 5 by the British colonialists—and deposed by them for incompetence at the age of 36—Mummadi Krishnaraja Wodeyar devoted the rest of his life to studying and recording the classical wisdom of India.

At the time Sjoman discovered the manuscript, he had spent almost 20 years studying Sanskrit and Indian philosophy with pundits in Pune and Mysore. But his academic interests were balanced by years of study with hatha yoga masters Iyengar and Jois. As a yoga student, Sjoman was most intrigued by the section of the manuscript dealing with hatha yoga.

Sjoman knew that the Mysore Palace had long been a hub of yoga: Two of the most popular styles of yoga today—Iyengar and Ashtanga, whose precision and athleticism have profoundly influenced all contemporary yoga—have their roots there. From around 1930 until the late 1940s, the Maharaja of Mysore sponsored a yoga school in the palace, run by Krishnamacharya—and the young Iyengar and Jois were both among his students. The Maharaja funded Krishnamacharya and his yoga protégés to travel all over India giving yoga demonstrations, thereby encouraging an enormous popular revival of yoga. It was the Maharaja who paid for the now well-known 1930s film of Iyengar and Jois as teenagers demonstrating asanas—the earliest footage of yogis in action.

But as the Sritattvanidhi proves, the Mysore royal family’s enthusiasm for yoga went back at least a century earlier. The Sritattvanidhi includes instructions for 122 yoga poses, illustrated by stylized drawings of an Indian man in a topknot and loincloth. Most of these poses—which include handstands, backbends, foot-behind-the-head poses, Lotus variations, and rope exercises—are familiar to modern practitioners (although most of the Sanskrit names are different from the ones they are known by today). But they are far more elaborate than anything depicted in other pre-twentieth-century texts. The Sritattvanidhi, as Norman Sjoman instantly realized, was a missing link in the fragmented history of hatha yoga.

“This is the first textual evidence we have of a flourishing, well-developed asana system existing before the twentieth century—and in academic systems, textual evidence is what counts,” says Sjoman. “The manuscript points to tremendous yogic activity going on in that time period—and having that much textual documentation indicates a practice tradition at least 50 to 100 years older.”

Potpourri Lineage

Unlike earlier texts such as the Hatha Yoga Pradipika, the Sritattvanidhi doesn’t focus on the meditative or philosophical aspects of yoga; it doesn’t chart the nadis and chakras (the channels and hubs of subtle energy); it doesn’t teach Pranayama (breathing exercises) or bandhas (energy locks). It’s the first known yogic text devoted entirely to asana practice—a prototypical “yoga workout.”

Hatha yoga students may find this text of interest simply as a novelty—a relic of a “yoga boom” of two centuries ago. (Future generations may pore with equal fascination over “Buns of Steel” yoga videos.) But buried in Sjoman’s somewhat abstruse commentary are some claims that shed new light on the history of hatha yoga—and, in the process, may call into question some cherished myths.

According to Sjoman, the Sritattvanidhi—or the broader yoga tradition it reflects—appears to be one of the sources for the yoga techniques taught by Krishnamacharya and passed on by Iyengar and Jois. In fact, the manuscript is listed as a resource in the bibliography of Krishnamacharya’s very first book on yoga, which was published—under the patronage of the Maharaja of Mysore—in the early 1930s. The Sritattvanidhi depicts dozens of poses that are depicted in Light on Yoga and practiced as part of the Ashtanga vinyasa series, but that don’t show up in any older texts.

But while the Sritattvanidhi extends the written history of the asanas a hundred years further back than has previously been documented, it does not support the popular myth of a monolithic, unchanging tradition of yoga poses. Rather, Sjoman says that the yoga section of the Sritattvanidhi is itself clearly a compilation, drawing on techniques from a wide range of disparate traditions. In addition to variations on poses from earlier yogic texts, it includes such things as the rope exercises used by Indian wrestlers and the danda push-ups developed at the vyayamasalas, the indigenous Indian gymnasiums. (In the twentieth century, these push-ups begin to show up as Chaturanga Dandasana, part of the Sun Salutation). In the Sritattvanidhi, these physical techniques are for the first time given yogic names and symbolism and incorporated into the body of yogic knowledge. The text reflects a practice tradition that is dynamic, creative, and syncretistic, rather than fixed and static. It does not limit itself to the asana systems described in more ancient texts: Instead, it builds on them".
Fu;; article here http://www.yogajournal.com/article/philosophy/new-light-on-yoga/

I'll be presenting a workshop on Krishnamacharya  StillPoint Yoga London next Sunday (still places) 


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