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Blog to Book - Slow Ashtanga Jul 2008 Dec 2014

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Came across a website called Blogbooker http://www.blogbooker.com/index.php which can turn your blog not a pdf 'book' which you can then export to somebody like lulu for printing.

It's not perfect, at the moment I have a 7000 page book in need of a lot of editing, best of all though it's searchable.

Here's a look


2014 My year in posts, an insane year

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It's been an insane year.

Moved back to Japan via Spain, Germany, Turkey, Crete, Russia 

M. quit her job last Christmas with the intention of us moving back to Japan, her to go ahead with me to follow later.

I presented a workshops in Valencia in January, as well as a five day retreat there over Easter. I also presented workshops in Ulm, Germany, at Stonemonkey in Leamington Spa and three classes at the Yoga Rainbow Festival in Turkey.
After leaving my house in the UK in June I went to practice at Kristina Karitinou's shala in Rethymno, Crete, staying for two months and attending Manju's TT again for the second year running. I and also taught a Vinyasa Krama class in Rethymno once a week as well as evening workshops/Intros to VK in Chania and Heraklion.
Before flying off to Japan in September I taught a workshop at Stillpoint Yoga London then spent two months in Japan before popping back to Europe to sort out visas and present workshops at Indabayoga, London, a follow up workshop at Stonemonkey and two weekend workshops in Moscow and Saint Petersburg.
I'm now back in Japan and expect to start teaching English for my old company sometime in the New year.

Pictures from all the workshops are on the Workshop page at the top of the blog, here's the link
http://grimmly2007.blogspot.co.uk/p/my-workshops.html

There's been talk of my presenting workshops in USA, Germany, Spain, Greece and Japan next year, these are are yet to be confirmed.

Below are some of the posts that just caught my eye scanning through my archive list over on the right of the blog, posts I'm relatively pleased with, I can't believe I still managed to post this often with all the running around this year.

Thank you for visiting the blog, for commenting, for all the 'shares' of posts, links and comments on fb and especially to everyone who gave up their weekends and perhaps their regular practice to attend the workshops, it's been such a privilege to have the opportunity to share this practice.

The Small Print
I've noticed some seem to be taking this blog more seriously recently (myself included at times perhaps) but this is still just a blog. I'm not an historian, I don't have the training or skill set and although I refer to my exploration of Krishnamacharya's early Yoga Makaranda (1934) practice as Archeology sometimes, it's not, it's really not, this all just continues to be reflection on my own personal practice and perhaps enough is enough. 
Stats won't allow me to show just for the year, so here's all time.


from Kalama sutra, translation from the Pali by Bhikkhu Bodhi

from Kalama sutra, translation from the Pali by Bhikkhu Bodhi This blog included"So, as I said, Kalamas: 'Don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, "This contemplative is our teacher." When you know for yourselves that, "These qualities are unskillful; these qualities are blameworthy; these qualities are criticized by the wise; these qualities, when adopted & carried out, lead to harm & to suffering"— then you should abandon them.' Thus was it said. And in reference to this was it said.

"Now, Kalamas, don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, 'This contemplative is our teacher.' When you know for yourselves that, 'These qualities are skillful; these qualities are blameless; these qualities are praised by the wise; these qualities, when adopted & carried out, lead to welfare & to happiness'— then you should enter & remain in them. Buddha - Kalama Sutta


JANUARY

Friday, 31 January 2014
My Krishnamacharya Workshop at Living Yoga Valencia last weekend


Krishnamacharya presentation Living Yoga valencia


FEBURARY


MARCH


APRIL

Tuesday, 1 April 2014






Friday, 11 April 2014

group above from the Vinyasa Krama On one leg sequence


Thursday, 24 April 2014







MAY 



teaching Vinyasa Krama, Yoga Rainbow festival, Turkey



Thursday, 15 May 2014










JUNE

Friday, 6 June 2014


Tuesday, 17 June 2014

JULY



Stone monkey, Leamington Spa. Thank you to Joelle for the picture
and to Michelle for my  painting of Vayu, see this link to a post on her Mysore Art




Ashtanga yoga Crete, Chania






AUGUST


Manju Jois TT, Rethymno, Crete




Taught a Vinyasa Krama workshop in Heraklion, Crete


SEPTEMBER




Taught a one day Krishnamacharya and Vinyasa Krama yoga workshop at Stillpoint, London, beautiful, sunny space
post still to come


Friday, 26 September 2014

Moved back to Osaka, Japan

OCTOBER




New home shala, Osaka



NOVEMBER


Saturday, 8 November 2014


Yoga108 Moscow

Pictures from the following weeks Saint Petersburg workshop are here as well as Indabayoga  and Stone Monkey PT II, posts to come

Indabayoga, London
Stone Monkey, Leamington Spa

Yoga 108, Saint Petersburg

DECEMBER

Tuesday, 9 December 2014

Sunday, 14 December 2014

Wednesday, 17 December 2014

Tuesday, 30 December 2014
Last post: Routine - Discipline - Dedication - Devotion - Surrender
***

I've continued to post Ramaswami's Newsletters when they come out on the 1st of each month. These tend to focus on aspect of yoga philosophy and are just as relevant whether you practice Ashtanga, Vinyasa Krama or any other approach to practice. Think of them as Svadhyaya, self-study.

Here's a link to Ramaswami's newsletter page on his website.
https://groups.google.com/forum/?hl=en#!forum/vinyasa-krama-announce
I can't recommend his five week teacher training in the US enough, Ramaswami spent over thirty years with Krishnamacharya and I hear this may well be the last year he presents it.
http://vinyasakrama.com/Main_Page

December 2014 Newsletter from Srivatsa Ramaswami--Krama (1)
November Newsletter from Srivatsa Ramaswami--Kośa (कोश)
October 2014 Newsletter from Srivatsa Ramaswami— Asmitā (अस्मिता)
September 2014 Newsletter from Srivatsa Ramaswami--vyāhṛti (व्याहृति) (1)
August 2014 Newsletter from Srivatsa Ramaswami-- Dhāraṇā (धारणा) (1)
July 2014 Newsletter from Srivatsa Ramaswami--Samkhya (1)
June Newsletter from Srivatsa Ramaswami--Questions (1)
May 2014 Newsletter from Srivatsa Ramaswami--Yoga (1)
April 2014 Newsletter from Srivatsa Ramaswami--Illusion...Really? (1)
March 2014 Newsletter from Srivatsa Ramaswami--PROGRAMS
February Newsletter from Srivatsa Ramaswami- GOD-HEAD (1)
January 2014 Newsletter from Srivatsa Ramaswami--Muchukunda

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I also changed the blog title from Krishnamacharya's Original Ashtanga Vinyasa Yoga

to

SLOW ASHTANGA

In my own practice time is an issue. I follow the indications and instructions for practice outlined  in Krishnamacharya's Yoga Makaranda (Mysore 1934) and prefer to breathe slowly in the asana and vinyasas, lengthening my inhalation and exhalation, "slow like the pouring of oil". I like to explore kumbhaka and the occasional extended stay, in Mudras especially. I also prefer to practice, much of the time, with my eyes closed, employing internal drishti at different vital focal points and I like to introduce vinyasas, extra preparatory asana on days when they feel appropriate as well as perhaps extending an asana into more challenging, 'proficient' forms on the more flexible days, this is in keeping perhaps with the idea of groups of asana rather than fixed sequences. I like to practice Pranayama before and after my asana practice as well as finishing my practice with a 'meditative activity'. I was first introduced to Yoga through the Ashtanga sequences and I still maintain that general structure in my main practice but I would rather sacrifice half or more than half a sequence than these other factors and perhaps practice the asana ‘missed’ in the following day(s). I still consider this to be Ashtanga, SLOW Ashtanga.

"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 - Dhyana or meditation Yoga Makaranda part II

Currently reading 

Moksha Marga by Krishnamacharya's son and daughter.

Bhakti is on order.

reviews to come perhaps

Favourite book of the year

Emergence of Yoga TK Sribhashyam
my review http://grimmly2007.blogspot.jp/2014/04/emergence-of-yoga-by-krishnamacharyas.html




Currently Drinking 

Starbucks Espresso blend beans ( grind em myself ) and brew with an Aeropress

Saturday, 11 October 2014
Shala practice, a Month Mysore Pass, community, Dionysian / Apollonian, Zen and the Parthenon, Parampara. Plus the silent Aeropress coffee maker... and the kitchen sink


Past years in posts.

2008 My year in posts

Upcoming Projects

I've come across a site called blogbooker and am looking into turning the whole blog into a printable pdf. Just done a trial run and it comes out around 7000 pages ( best thing is it's searchable) so I may see about turning it into a ' favourite posts' volume along the lines of the 'My year in posts' series above. Pdf will be available in the Free Downloads, print version through lulu. Over the next few days I'll be turning the stand alone 'pages/tabs' into posts so I can include those and then think about the other sister blogs.

I also have this nice idea for a Krishnamacharya novel, part I begins with him sitting on a train to Calcutta reflecting, a young Pattabhi Jois sits opposite.

Last post: 'Love your practice...', Routine - Discipline - Dedication - Devotion - Surrender

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Love your practice for it is the path of enquiry, 
love the first step as much as the last.

Maybe it doesn't matter how fast or how slow we practice, or perhaps what we practice. More importantly, do we practice (something) everyday, has practice become a routine, the routine a discipline (tapas). Have we become dedicated to the practice such that other aspects of our daily lives support it (EG. bringing in other limbs, yama/niyama or reflection on our own cultural ethical traditions). Developing routine and dedication, we can spend a long time here, years even and may need to keep coming back to routine to re enforce dedication. Is dedication leading to devotion, devotion to a path of self knowledge, whatever that knowledge/realisation may end up being. Yoga is radical enquiry (in the form of direct experience), we can't prejudge what we may find, the surrender is in being prepared to accept whatever we discern to be true and devotion ( to the enquiry/practice) an end perhaps in itself.

My experience is that the Ashtanga approach is excellent for engendering...


Routine - Discipline - Dedication... and perhaps Devotion - Surrender



The argument goes that as we practice (routine) and as our practice becomes ever more sufficient for us ( dedication) we become less attached to the, lets call them sensory objects of the world. This is preparation for yoga, routine and a disciplined practice can help in this loosening of attachments.

As our practice, perhaps with the assistance of other limbs, deepens, as we become more reflective we may notice how the constructed, re enforced, propped up self can seem to drop back/away somewhat, become less dominant. A realisation arises that perhaps what I had hitherto experienced as self may not be quite what I had thought.

What then? Is there still awareness, consciousness, who is aware, what conscious.... Devotion to this line of enquiry is devotion to knowledge, yoga can develop a keen tool of enquiry, Ekagrata  one pointedness.

If the old texts are... insightful, perhaps as the constructed self drops away, what is left is (to employ the Samkhya model but are any of these pervious models still sufficient for us ) purusha, awareness, just awareness. I say 'just' but for the shastras purusha is universal awareness, other terms for this depending on ones inclination/preference are Lord, Creator ( as in that which creates), God.

Devotion to practice then is profound love for the path of enquiry which may lead to greater knowledge and understanding of self and/or of god.

Love is surrender in that we seek not to own ( to project ) but to know (through direct experience).

In this line of thinking,  devotion to practice, whatever form the practice takes for you is an end and sufficient  in itself

Love your practice for it is the path of enquiry, love the first step as much as the last.

***

I'd  forgotten about the speeded up version of this video ( Speeded up x4 to pretty much the same pace as Sharath takes in his Ashtanga primary DVD for the same postures - no judgement implied just showing up a different approach
Link to Actual speed version https://www.youtube.com/watch?v=9joBgtyPphA) :  (see below).

So this is Oscar Montero and I practcing at Yoga Centro Victoria, Leon, Spain last year.

Oscar is practicing Vinyasa Krama I'm running through Krishnamacharya's primary group asana in Ashtanga order but with perhaps longer, slower breathing and short kumbhaka (breath retention) on the appropriate inhalation or exhalation ( rough guide: if the head is up hold the breath in after inhalation, if the head is down hold breath out after exhalation).

Problems with the camera so we lost the standing sequence, video comes in at paschimottanasana and camera stops after about twenty minutes ( here speeded up to five minutes).

Because it's a slower practice I tend to practice half an ashtanga series each morning, one day the first half of primary, next day the second half, day after that the first half of 2nd series or middle group asana.

This is arguably the approach to asana Krishnamacharya presents in his 1934 book Yoga Makaranda (but put in the order of his second 1941 book Yogasanagalu - close to current Ashtanga).

This was at the time he was teaching the young Pattabhi Jois in Mysore.

Did Krishnamachaya actually get to teach this way, did he want to teach this way, was this his own approach to practice, how he was taught by his teacher perhaps.

The main difference with this and his later teaching is that later the vinyasa to and from standing tended to be more implied.

The sequence never seems to have been fixed, more groups of asana.

First the speeded up version then the actual speed version.






Previous post 
2014 My year in posts

***


Appendix : More on Purusha 

And today, how would we seed to elucidate the fulfilment of our enquiries, which model(s) would we, or those on our behalf, construct, in what world view would it be embedded, what language would we struggle to employ, how would we seek to support, justify, explain our experience. 
Here's what the ancients ( or perhaps not so ancients ) came up with, does it still speak to us, resonate?

The Purusha sutra : A text on transcendence and immanence 

The Primeval man ( Purusha)
The Rig Veda X.90 and the White Yajur Veda Ch.31

Purusha is explained in the Nirukta as one resting within the body (puri-shaya) or one pervading (filling) the cosmos.

Thousand heads has the Purusha,
So too He has thousand eyes and thousand feet;
Pervading earth on all sides (spanning 10 directions)
and heart measuring ten fingers (spanning 10 senses).
He yet exceeds all, within and without. …1

Purusha verily is all this that exists (in this creation),
What had been (in past creations) or would be (in future creations).
He exceeds the body that grows with food.
Indeed, the Lord of Immortality He is! …2


Such (aforesaid) is His pre-eminence,
Greater still stands the Purusha.
A quarter of Him is all beings that could have been;
Three quarters of Him sits immortal in heaven. …3

‘A quarter’ could be explained as the first quarter (waking state) of the Mandukya Upanishad.

With immortal three quarters, Purusha sits above.
His one quarter alone manifests here again and again.
He pervades all spaces and becomes all beings
That eat and eat not (i.e. worldly and liberated ones). …4

‘Three quarters’ possibly refer to the three immutables: Brahma (Universal Consciousness), Jīva (limited individual) and Prakriti (Nature).

From Him (or His Prakriti), Virāt [Hiranyagarbha] emerged,
Still Purusha is the sovereign
For He exceeds His creations.
Next, appeared the creations, both terrestrial and corporeal. …5

The Yajña that gods performed with offerings of Purusha [He being all this];
Spring was its purified butter, summer its fagots, autumn its oblation. …6

Contemplating First-born Purusha (primeval source) in heart or sacrifice,
Gods, Rishis and perfected ones (sādhyas) venerated Him as Yajña (= Venerable). …7

From Venerable Purusha invoked by all,
There appeared the edible foods.
He created animals and birds
And what are domestic and wild. …8

From Venerable Purusha invoked by all,
Issued forth the Rik and Sāma hymns.
From Him issued the Atharva hymns,
So too from Him issued the Yajus hymns. …9
Rik, Sāma and Yajus also signify the speech, life-breath and mind. (YV 36.1)

From Him were born the horses (or energy)
And also cattle with two rows of teeth (or senses behaving dually).
From Him were born the cows,
From Him were the sheep and goats born. …10

In what ways was conceived the stated Purusha!
What formed His mouth, the arms, the thighs? What to call His feet? …11

Brahmin (priest) was His mouth; arms were made the warrior (kshatriya);
His thighs are the merchants; from feet were born the menial workers. …12

From His mind, the Moon was born; from His eye, the Sun;
From His mouth, Indra and Agni were born;
From His breath, the Wind (Vāyu). …13

From His navel, the space (mid-region) emerged;
From His head, the heavens emerged;
From His feet, the Earth; from His ears, the directions;
Thus the worlds were conceived. …14

Seven are the boundaries, and twenty-one are the fuel-sticks:
In the Yajña with Purusha as its subject,
Spread out by the gods [in the beginning]. …15

With Yajña (offerings of Purusha),
The gods worshipped the Yajña Purusha
(Venerable One manifesting all and still exceeding);
These verily became the primary dicta (dharmas)
[like Brahmacharya, or treating all as Brahma (Purusha)].
Those gods became eminent ones and attained the highest heaven (nāka)
Where former gods and perfected ones together inhabit. …16


I know this Purusha of gigantic dimensions,
Golden like our celestial Sun, in striking contrast to darkness (tamas);
Knowing Him alone, one can surpass death;
Alternative course there exists none. (YV 31.18)

from here http://www.analyticalyoga.com/purusha.html

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a couple of other version with the sanskrit
here
http://www.stephen-knapp.com/purusha_sukta.htm

and here
http://www.swami-krishnananda.org/invoc/in_pura.html




Nothing says Christmas Morning like "Ekam, inhale". Peace and Goodwill, one vinyasa at a time.

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So you thought I hated Christmas.....

It's what Christmas isn't that I hate dislike intensely.

Here's Japan attempting  to get into the spirit or more cynically perhaps, the business associations starting to see the mercantile potential.


Christmas when I was here in Japan last time seemed to be a day for lovers and was all about KFC



But hey, nothing says Christmas morning like "Ekam, Inhale", which is Mysore for Peace and Goodwill to ALL, one person, one vinyasa at a time.


Below, the first meme I think I've ever shared, thanks to Maria for this who shared it from a friend  Brené.

Peace
It does not mean to be in a place 
where there is no noise, trouble, or 
hard work. It means to be in the
 midst of those things and still 
be calm in your heart.


Merry Christmas and or Happy Holidays.

.... and now to practice.

*

but first..... PRESENTS

This from my Lu Duong in my inbox this Christmas morning

A nice interview with my old friend ( and long time commenter on the blog) Steve Hyland on Lu Duong's Ashtanga Parampara platform for Interviews with Authorised and Certified Ashtanga teachers.

http://www.ashtangaparampara.org/steven-hyland-interview.html

Interview: Kristina Karitinou on returning to Mysore after 12 years.

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Kristina Karitinou, Agios Pavlos, Crete. Photo by Sandrine Fauconet
Back in November of last year I posted an interview with Kristina Karitinou,

Tuesday, 19 November 2013

Entelechy : An Interview with Certified Ashtanga Teacher Kristina Karitinou

I asked her how she first came to Ashtanga, about her late husband Derek Ireland and about visiting Mysore for the first time, the interview ranged far and wide.

Here she is from that interview on first visiting Mysore.


Anthony: How was it to visit Mysore, tell me about your experience practicing with Pattabhi Jois

Kristina: Sri K Pattabhi Jois was a truly wise man. He was a very generous teacher, as when you practiced in his yoga shala you could feel the intensity of his deep knowledge as well as the connection to the teachers of the past. He had the ability to transfer your practice to a deeper level of understanding the asana and all this would come through his own experience of life and all the hardships and strains he had gone through  which offered him a completely different awareness of the practice and the asana itself. He would always work through a deeper part of himself which had been shaped through the good and the bad times of life and had offered him a unique perspective of simplicity and substantially. At the same time he was a very sincere man and truly industrious while all his students were made to feel part of his greater family and were always offered this knowledge generously. Through all his hard work he managed to contribute to the shaping of a universal consciousness towards a better world. 


Pattabhi Jois, Old Shala

This year Kristina returned to Mysore for the first time in 12 years and I was keen to ask her about the experience, here are the ten questions I sent her before she left (Pictures chosen by me).

*


1. This is the first time you’ve been to Mysore in a long time, how long has it been, can you tell us a little about your last trip to Mysore.

Kristina: It was back in 2002 when I last visited Mysore. We were still practicing in the old Shala with Guruji and Sharath, and the room would fit around 12 practitioners at a time, and the classes were running from 4:00 in the morning up to 1:30 in the afternoon. Mysore always gave me the sense of family, with Guruji being the father figure of the place. He would look after us so much in our practice as well as outside of it. He would always find the time to ask about our personal life. Every afternoon his house was open to all of us either to answer our questions or just to let us be there with him. So much in Mysore as well as in all of his seminars around Europe he would always find the time to sit with me or me and my kids and ask about our well being and how we manage as he had a great connection with Derek.

2. Why have you left it so long to come again and what made you decide to come now.

Kristina: A lot of things happened since then. To begin with I moved from the UK to Greece where I had to start all over again, meaning adapting children to school, starting business from scratch, adjusting to a new way of life without having any support whatsoever, financial or practical. Being a single mother of two meant prioritising in a completely different way, while I kept contact with Guruji up to 2005 via his visits in Europe. Getting married again and having one more child meant even more responsibilities, which kept me away from Mysore. I did have the honour of having Manju visiting us twice a year at the time so I felt connected to the family. Guruji’s departure was not an easy thing and I needed the appropriate time to deal with it, just like the rest of his senior students. It was a time of grief and we had to respect that. I did keep contact with Sharath but visiting him needed time.
When the right time came it was very clear to me that I now had to go back and pay my respect so much to Sharath as well as the place that Guruji had made for his students. There was not just one thing that led me there but a number of occasions actually made it clear that the time had come to go back.



3. What’s it like being back in Mysore after all this time. Tell us a little about your daily routine

Kristina: Being back was a great experience once again. The place has totally changed just like we have. Now you can find many more amenities and facilities. The new Shala is located in a beautiful area that is changing to cover the ever more increasing number of students and visitors.
The daily routine would always start with a morning practice which was followed by a social breakfast as I called it. A lot of us would get together to have our breakfast and exchange ideas and views on so much personal as well as social matters for the Ashtanga community. It was a great opportunity to communicate and exchange opinions and beliefs. The rest of the day included rest, reflection upon the morning practice, reading and coming in contact with other spiritual teachers living in the area. Often I would find myself engaged in talks, guided meditations and even once I had the honour to attend a ceremony of the Association Yoga of Mysore of the Sanskrit College where the whole Jois family was invited.

Saraswati

4. How does the place you are staying now differ from in the past.

Kristina: This time I chose to live in a house which is more communal as I was there alone and spend some of my free time with the other tenants. Other than that there was not much of a difference.

5. What is it like to be in class again, in the shala, to be a student again rather than the teacher.

Kristina: It is a great relief. Being able to receive rather than give is most welcome by everybody. It is just you and your practice and as soon as you get on your magic carpet the flight begins. I don't mean to sound disrespectful and I love my job but there is a need for all of us to trust and let go and allow others to work with our bodies. At the end of the day this is what my teachers have taught me to trust and be trusted, in order to receive knowledge and acquire wisdom.

6. Tell me about the shala what is it like to practice in the there again afters many years, is the atmosphere the same as you remember 

Kristina: The new Shala naturally has a different feeling to the old one because it is a different Shala. This is the place that Guruji had showed me back in 2002 when they were still building it. It has been made to accommodate more practitioners as it can fit up to 100 people.
The atmosphere has also changed, as more practitioners are practising together it is a bigger challenge for the teacher to tune all their energies, which I think Sharath is managing quite well. In my opinion this must be the place where one can have the opportunity to experience deep effect on his practice and advance his level of understanding, and that is not just because of the magnitude of Guruji and Sharath there but because of the energy all these practitioners have deposited on this place which is still the root of this method.

New shala (picture source unknown)


The next four questions are answered together under 10.


7. How is it to see Sharat and Saraswati again

8. Do you feel Mysore itself has changed if so in what ways.

9. And what of the atmosphere surrounding the shala. I imagine there are many more practitioners than the last time you were. Do you still feel this is traditional Mysore practice

10. Do you feel that peoples reasons for coming to the shala are essentially the same as in the past or different

Kristina: The atmosphere surrounding the Shala has definitely changed. Unfortunately no senior teachers are there to be seen and many practitioners coming lack the essential of a yogic education. There seems to be a tendency of students visiting Mysore with the sole aim of advancing their practice without having the need to share with the rest and offer to the community. I got the impression that practitioners nowadays feel that tuition fees is all they need to give, while visiting Mysore should be a great opportunity of making the yoga community stronger by helping each other and sharing experience and knowledge. Expectations for more asanas or for an authorisation do not allow them to think and act with respect to the place and its history. Pushing around for a place of a mat, not allowing space for more people to fit in, being loud before and after conferences or the chanting classes, talking loudly after classes next to the coconut stands are traits of a new uneducated class of practitioners absorbed in their personal world of achievements. This is where the responsibility of senior teachers and yoga centres around the world comes in. It is our job, to teach our students to think about the community, about their fellow practitioners and pay respect so much to the lineage and its representatives as well as to the places they visit. At the same time the practitioners that have been given the appropriate education and have been granted with this knowledge remain silent and choose to keep a low profile although it would be more appropriate if they stood front and asked for this sort of respect contributing thus to the balance and flow of the place. Sharath made it clear to me that it is the personal example of students which is more important and which actually illustrates the right qualities of a practitioner.

This is definitely traditional Mysore practice as the practice itself has not changed any how. The same qualities are still to be found under the right circumstances and the same teachings are there to be conveyed to the students that are eager to open their ears and eyes to them. So much Manju as well as Sharath and Saraswati are now the cornerstones of this method and they serve as our common point of reference closely linked to the lineage bearing the absolute truth of this method. In my opinion a devoted practitioner should be able to receive teachings from all three of them and thus acquire a deep and well grounded knowledge of what Ashtanga truly means while at the same time he should offer his best qualities together with devotion and humbleness.

Kristina Teaching, Rethymno Shala, Crete.

***
Kristina is a certified Ashtanga yoga teacher, and has been teaching through the tradition of Sri K Pattabhi Jois since 1991.
She was qualified as an Ashtanga Vinyasa Yoga teacher by Derek Ireland and Sri K. Pattabhi Jois in 2002 and became Certified by Manju Pattabhi Jois in 2012. She has practiced intensively with R.Sharath Jois.
She teaches the Primary, Intermediate and Third Sequence and she offers classes, workshops, retreats and teacher trainings all year round in Greece, Europe and Asia. Kristina is happy to host workshops and teacher trainings with Manju Pattabhi Jois in Crete.


Kristina’s work is a continuation of Derek Ireland’s teaching principles. Her work is dedicated to him.


Kristina Karitinou Ashtanga yoga Greece (affiliated with Yoga Practice London)


Thank you again Kristina for agreeing to answer yet more questions and with such candour,

Kristina and I, Agios pavlos, Crete. Photo by Sandrine Fauconet!

And Thank you again to Nikos Michos for his assistance with this post as well as in Pada Hastasana.

Nikos with Kristina, Athens.


Vairāgya (वैराग्य) January 2015 Newsletter from Srivatsa Ramaswami

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Warm New Year greetings.
Like every year and as for most of us, 2014 was a mixed year. I very much enjoyed teaching at One Yoga in Saskatoon, Canada, Harmony Yoga in London and Wells in UK and Loyola Marymount University in Los Angeles California. For about 8 months I was constrained to stay in Chennai.
For 2015 I have a few confirmed programs. I will be repeating the 200 Teacher training Program at Loyola Marymount University in Los Angeles. I may not repeat this program . I am much beholden to Dr Chris Chapple, Dr Bob Rhurteu and several others at LMU for the support and the opportunity afforded to me to teach at this wonderful campus for almost ten years, The participants have been wonderful. I also will be teaching at Harmony Yoga UK, Vinyasakrama week long program and the Gita. I will also go to Chicago in September to teach at the Chicago Yoga Center. For more detailslease visit my website
www.vinyasakrama.com/Events
I am also likely to teach a week long program by mid March in Mexico City.

Vairāgya (वैराग्य)
Everything is reduced to a cittavritti for one to have any experience. Patanjali deals with cittavrittis, how to manage them, how to avoid vrittis that cause pain and ultimately make it completely free the citta of all vrittis. This leads to the absolute quietude of the mind. Since everything takes pace in the mind, the citta, it is essential to understand the functioning of citta which yogasutras do admirably. For the yogabhyasi with uncontrolled painful vrittis Patanjali has Kriya Yoga to offer so that the mind is brought under control with the elimination the multitude of short span and distracting (vikshepa) vrittis. Then one may practice classical Ashtangayoga (including but not limited to asanas) to make the mind one pointed or one continuous vritti for a length of time as in dhyana and samadhi. And ultimately with the direct realization of the Self with nirodha Samadhi all the vrittis cease from the citta resulting in absolute quietude of the mind.

Due to God's Grace and/or the result of very hard, sustained yoga work in the previous lives, some born yogis are able to get into a state of samadhi at the drop of a hat. There are others who after diligently practicing all the eight angas of ashtanga yoga (again,including but not limited to asanas) acquire the ability to go into samadhi a la the born yogi. Both these yogis are ready for the ultimate state of citta-vritti nirodha provided they could put the unique yogic skill of going into samadhi into the right use. Some such outstanding yogis, however. do lose sight of the goal. Just as there are sensual distractions for ordinary mortals like us, even the born yogi could be distracted. While the ordinary individual is overwhelmed by the bewitching charm of sense objects and gets entangled, the samadhi yogi may also be lured by the various extra ordinary sidhhis prakriti keeps hiding from the ordinary mortals but makes it possible for these yogis to enjoy. So how to overcome these impediments, these road blocks?

Abhyasa Vairagyabhyam tannirodhaH

Chittavritti nirodha can be achieved by abhyasa and vairagya. The term “abhyas- vairagyahyam” would mean abhyasa or practice and vairagya or dispassion. Abhyasa of what? Vairgaya from what? Vyasa seems to suggest “practice of vairagya” . Many contemporary yogis indicate abhyasa or practice of yoga, and to many yoga is synonymous with asana practice. While asana is a important anga, cittavritti nirodha may not take place by this practice alone. If one is an ashtangayogi one should do abhyas of all the angas of the ashtanga yoga in the proper order and proportion.

The sutra referred to above appears in the first chapter and Patanjali says that is the way to achieve the Kaivalya goal of yoga so one has to be clear about what is indicated by ahyasa. Since nirodha appears in the Samadhi pada it could very well mean samadhi abbhyasa or the practice and use of the samadhi capability of the mind As I have mentioned on earlier occasions, Yoga is not a stand alone darsana, it belongs to the family of vedic philosophies. Samkhya and vedanta are its closer siblings.

Abhyasa and vairagya are to be found in Samkhya also and it may give a direction about what the principles on which the yogi would do Samadhi. . Samkhyas refer to tatva abbhyasa or the 25 tatvas they enunciate. What are they? They are the 24 tatvas or principles of the prakriti and then the purusha which is independent of prakriti. The 24 prakritic principles are well known. The mula-prakriti, buddhi, ahamkara, 11 indriyas, five tanmatras and the five bhutas form the 24 tatvas. Contemplating on these 24 tatvas in succession (krama) using the samadhi skill, the yogi then develops dispassion or vairagya towards each and every one of the tatvas. Why develop dispassion? Because none of them is the real self even as the ordinary mortal, considers it to be so. These tatvas are part of the physical self. Patanjali indicates that the physical self or drisya atma is made up of the three gunas, the five hhutas, the eleven indriyas,whereas the real inner self, purusa is none of these. Having this clear distinction in mind the Yogi would contemplate in samadhi, on each end every one of them, from the gross to the subtle,the mulaprakriti. The Yogi starts with the gross principles and finally ends up the chain of contemplative samadhi in mulaprakriti (visesha avisesha lingamatra alingani guna parvani)
This is abhyasa or yoga-abhyasa or more specifically samadhi abhyasa on the prakriti tatvas. Then what? The Yogi is said to develop vairagya on each and every one of those tatvas, because none of it is the Self.

Vairagya is a state of mind,- of desireless-ness or dispassion. Vairagya is derived from the word viraga which itself is raga with the prefix 'vi'. Vi in this context would indicate 'without' or 'vigata'. Raga is a word yogis are familiar with. It is considered a 'klesa' or pain-creator. Raga means intense attachment like a glue.,--- very difficult to tear away from the object with which one is glued to, one has raga for. Vairagya (viraga bhava) is an attitude of dispassion. The yogi has to have it or should develop that. Vyasa seems to indicate that one should practice or observe vairagya. Ordinary mortals, or the starter yogi, along with practice of asanas, will also consciously practice vairagya. He/She may practice vairagy and develop dispassion gradually towards the worldly sense objects. Whereas the evolved yogi or the born yogi who can get into samadhi would have to be careful not to be distracted by the allurement of siddhis lest one does not attain kaivalya. Yogabhyasis who have a tamasic disposition when starting Yoga practice will find themselves attached to sense objects overtly, Rajasic starters on the other hand will find power and possessions alluring. Satvic starters may be inclined to be sticklers to rules and dharma bent on leading an orderly life.
The Yogahyasi has to keep an eye on observing vairagya throughout. Vairagya itself is graded as para or higher vairagya and apara or the lower level vairagya. The apara vairagta is something everyone can relate to and observe as part of yogabhyasa. It is easier written than done. One may start with an object of one of the senses and try to overcome the attachment to that object. If I am addicted to coffee, I may make a conscious effort to get over my dependence on Coffee. By slowly reducing the amount and frequency of coffee breaks I may be able to overcome my dependence on it. Once I am able to overcome this addiction, I may attempt to identify other objects that enslave me through my tongue or taste. By conscious effort over a period of time I will be able to have a great control over what I eat and thus bring one sense under my complete control. This is the first stage . Once I am able to slowly bring my tongue under control then the first stage of apara-vairagya also known as yatamana samgna vairagya takes place. I am now a vairagi but the first stage.

Then I maintain it for some time and develop the vairagya habit or samskara. I will possibly develop a sense of well being and also develop a healthy disposition towards renunciation or vairagya itself. Enthused I may attempt to bring the other senses under control slowly, deliberately. When I am able to completely control all the senses and wean them away from their slavish tendency to go after unwholesome objects I would have reached the second stage of apara vairagya known as vyatireka samgnya vairagya.

By improving the vairagya practice, now the attachment to the objects remain in a subdued state in the mind or citta alone, the 11th indriya and does not manifest through the senses. This stage is called ekendriya samnja because raga is hidden in the one indriya. the mind/citta (eka=one indriya+sense).

Then we come to the fourth state of apara vairagya which Patanjali calls as the vasikara samjna vairagya. That is total vairagya. In this state the yogi develops complete vairagya to the out of the world experiences, apart from the sensual pleasures the world offers. Human beings are enamored by several religious karmas when performed diligently will enable them to reach different heavens where happiness multiply by hundreds of thousand times as per the scriptures. Then there are yogis who have inborn samadhi capability or who have acquired it with diligent yoga practice. These outstanding individuals may however develop attachments to heavens or various siddhis mentioned in the yoga texts and spend the life time in the pursuit of such achievements. Developing dispassion or vairagya on heavenly bliss or jaw dropping yogic siddhis is the fourth stage of vairagya called vasikara vairagya in . Yogis who are able to master this vasikara vairagya may end up as those existing in an out of body state (videha) or merge in some subtle aspect of prakriti (prakriti-laya). Patanjali refers to this state of vairagya arising out of eschewing passion towards or obsession with worldly and other worldly objects (drishta-anusravika) as vasikara stage of apara-vairagya. Mahabharata the great epic which also contains the gem Bhagavat Gita as part of it refers to the state of mind in vairagya as immensely more satisfying than the fulfillment of desires

yecca kamasukham loke
yecca divyam mahat sukha
trishna kshaya sukhasyete
naarhati shodasim kalaam

The happiness arising out of fulfillment of worldly and other worldly desires is not even a sixteenth part of the good feeling (sukha) one gets by eschewing the very desires.
Patanjali goes on to talk about another vairagya which he calls as superior vairagya or para vairagya, Many vedic disciplines like saamkhya, yoga vedanta explain rather convincingly, in their own way, and establish that the physical person that one considers as oneself is not the real self but the real self is pure consciousness unaffected by time, place or experiences. Knowledge of this truth about oneself would satisfy the citta/, the mind so completely that its vrittis come to a full stop. Patanjali calls this state as the nirodha of citta-vrittis on one hand and the Kaivalya of the self or Purusha on the other
Discriminative knowledge ( viveka-jnana) followed by vairagya or dispassion is the means by which the Yogi reaches the goal of Kaivalya. Knowing all the principle (24 tatvas) of prakriti or non-Self through intense samaddhi (abhyasa) and developing dispassion (vairagya) towards them in all forms and knowing the 25th princiiple, Purusha as the real self is the way to attain chitta-vritti-nirodha.

Yoga is a great gift of God to human beings. Any one can benefit from it. Happy New Year!!
Sincerely
Srivatsa Ramaswami

PS

...It is common knowledge that diet and exercise are necessary for weight control and weight loss. Sri Krishnamacharya would say that a yogi should be krisa. He would advocate mitahara or moderate and balanced diet and vyayama or yogic exercises—asana. pranayama. vinyasas mudras kriyas. While diet and exercises are usually stressed in weight control it is also important to maintain a good oxygen supply. Of course the body adjusts the breathing to the activity involved but in Yoga a deliberate attempt is made to make oxygen supply adequate.. It is said that if one wants to burn or oxidize 10 lbs of fat, one needs about 28 lbs of oxygen. The metabolic waste would be 29 lbs of carbon dioxide apart from water that is excreted as urine sweat and moisture in the exhaled air.. Of the 10ls of fat 8.4 lbs leave the body as CO2. In fact lungs are the most important organ in the expulsion of waste products from the body, almost 80%. In Yoga especially Krishnmacharya's vinyasa krama, as we exercise using vinyasas, asanas, and pranayama there is a deliberate conscious effort to breathe deeply and provide the oxygen needed and expel the waste CO2 without much residue. In fact in yogic breathing, the intake of oxygen and the expulsion of CO2 can be about 3 to 4 times the volume of the couch potato breathing of about 500 ccs. Yoga takes care of all the 3 parameters of weight loss/control, exercise, diet control and good breath work. Happy New Year !



Norman Sjoman returning to Europe inc. UK early 2015

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Norman Sjoman is coming back to Europe for a series of workshops, he will be in Coventry Jan-Feb. Unfortunately I'm on the other side of the planet but do go if you can and say hi to Norman for me.

You may remember I went to his workshop last time around and put up some posts.

UPDATED: Workshop notes - An Exposition of Yoga with Dr N. Sjoman
Here are the details of the workshop, follow this link for more info

Post Norman Sjoman workshop practice, Backbending, Kapotasana, feeling lighter in arm balances... 108 Viparita Chakrasana's

Here's the link to the 2015 workshops and some general details below.
http://www.yogacoventry.com/yoga-workshops/yogaexpo1-nsjoman/

An Exposition of Yoga with Dr N. Sjoman

Fri 30 Jan – Sun 8 Feb 2015
An extensive programme of 17 sessions over 10 days!

ICE, Parkside, Coventry CV1 2NE

“this is a rare opportunity to get an accurate and detailed exposition of yoga by one of the most knowledgeable specialists in the field”…

About Dr Sjoman

ns_graph_bwDr N Sjoman has a PhD in Sanskrit, a Sahitya degree (traditional Indian Pandit degree) and an honorary Doctorate in Yoga from the Japanese Yoga Association.
He is the author of THE YOGA TRADITION OF THE MYSORE PALACE, AN INTRODUCTION TO SOUTH INDIAN MUSIC, YOGA TOUCHSTONE, DEAD BIRDS and recently YOGASUTRACINTAMANI (some of these authored jointly with Sri Dattatreya). The editor of A SOUTH INDIAN TREATISE ON THE KAMA SASTRA, he has also published various articles on Patanjali and other subjects in learned journals as well as various articles on art, both Indian and Western.
He was a student of B K S Iyengar for a number of years and has taught yoga all over the world.
For most of the programme he will be accompanied and assisted by Ervin Menyhart, senior teacher of vinYoga.
The programme of the 17 sessions is constructed in such way that there will be no repetition of content, and you will be able to ‘cherry-pick’ individual sessions according to your interest and time available.
Programme Overview:
Fri 30Jan
6.30-8.30pm – Lecture/interactive talk – Some Yoga Myths Dispelled – Elaboration on the history and philosophy of yoga, Q&A at the end
Sat 31 Jan
10.00am-12.00noon – Asana (posture) led class
2.00-3.30pm – Pranayama (breath control) led class
4.00-5.30pm – Lecture, The Yoga Sutra of Patanjali Part 1, Overview – Dr Sjoman’s main findings in over 40 years of yoga research and practice, Q&A at the end 
Sun 1 Feb
0.00am-12.00noon – Asana (posture) led class
2.00-3.30pm – Pranayama (breath control) led class
4.00-5.30pm – Lecture, The Yoga Sutra of Patanjali Part 2, Q&A at the end
Tue 3 Feb
7.00-9.00pm – led asana class (advanced) with tuition of opening techniques
Wed 4 Feb
7.00-9.00pm – led asana class (beginner), includes teacher training on how to instruct and adjust beginners
Thu 5 Feb
7.00-9.00pm – led asana class (intermediate), includes teacher training on opening techniques
Fri 6 Feb
6.30-8.30pm – Lecture/interactive talk – The Yoga Tradition of the Mysore Palace, Facts and Myths, Q&A
Sat 7 Feb
10.00am-12.00noon – Asana (posture) led class
2.00-3.30pm – Pranayama (breath control) led class
4.00-5.30pm – Lecture – The Connection of Asana and Consciousness, Q&A at the end
Sun 8 Feb
10.00am-12.00noon – Asana (posture) led class
2.00-3.30pm – Pranayama (breath control) led class
4.00-5.30pm – Lecture – Sex, Art and Enlightenment – the connection between sexuality and spirituality, Q&A
A more detailed programme will be available nearer the time,
meanwhile please call Ervin on 07850045799 if you want to find out more.
Fees:
single class, asana – £18 each
three or more asana classes – £15 each
single class, pranayama – £15 each
three or more pranayama classes – £12 each
single lecture – £20 each
three or more lectures – £18 each
whole day pass, saturday or sunday – £50
one weekend pass, all day both saturday and sunday – £95
whole programme pass (all 17 events) – £230
Places are limited, and will be allocated on 'first-come-first-served' basis.

INVERSIONS: Krishnamacharya's Head and Shoulderstand variation 1934 (Mysore) - 1980s (Chennai).

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It is often noted that Krishnamacharya appeared to change his teaching drastically after leaving Mysore in 1950s. One suggestion is that this was in response to no longer being on a salary from the Mysore palace. The suggestion being that in Mysore he was free to teach exactly what he wanted to teach whereas after leaving Mysore he had to take into account his paying customers and perhaps soften his approach or focus more on therapeutic benefits.

However when we look at Sarvangasana and Sirsasana (shoulderstand and headstand) in Krishnamacharya's teaching we see little change perhaps between the early Mysore and post Mysore years.

NOTE: Most of the information we have regarding Krishnamacharya's teaching in Mysore is to the young boys of the Mysore palace where perhaps a highly structured and disciplined approach may have been required. Krishnamacharya's family mention that he would however have assistants (for example the teenage Pattabhi Jois, who would often take the main class through their practice, perhaps while Krishnamacharya himself taught individual students/patients in a side room). The Maharaja of Mysore himself was of course a student and patient of Krishnamacharya as was Indra Devi. 

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Yoga Makaranda Part I  (1934)

Below, the pictures found at the front of Yoga Makaranda showing a photo shoot at Krishnamacharya's Yoga shala in the Mysore palace.





In Krishnamacharya's Yoga Makaranda (1934) written while in Mysore and teaching the young Pattabhi Jois as well as BKS Iyengar, we find Shoulder stand and Headstand variations that we are perhaps familiar with from modern Ashtanga. The headstands below are found at the end of the current 2nd/Intermediate Ashtanga series, four of the seven variations.

Here's an old video of mine of the seven headstands (sometimes lovingly called the seven deadlies)






However at the back of Yoga Makaranda we also find this, niralumba sarvangasana, unsupported shoulderstand and this doesn't appear in any of the modern Ashtanga series.


The headstand variation below seems to have come from the same photo shoot as that conducted for Yoga Makaranda although the picture didn't appear in the text.

Yoga Makaranda ends with the photos of head and shoulder stands above but not the instructions for how to perform them, these are promised in a planned 'part II'. Why would Krishnamacharya leave these handful of head and shoulder stands out of the text unless perhaps there were many more variations that he was planning on sharing, too many perhaps to be included in the 'first Part'.



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1938 Fim footage (Mysore)

In 1938, only four years after Yoga Makaranda, we have the documentary footage filmed in Mysore. The full movie runs to around 45 minutes and includes demonstrations by Krishnamacharya and his family including BKS Iyengar, Krishnamacharya's student and son-in-law. the section below featuring Krishnamacharya mostly concentrates on inversions.


Sarvangasana variations demonstrated by Krishnamacharya
Krishnamcharya sarvangasana variations 1938

Krishnamcharya sarvangasana variations 1938

Krishnamcharya sarvangasana variations 1938
Sirsasana variations demonstrated by Krishnamacharya
Krishnamcharya sirsasana variations 1938
Sirsasana variation demonstrated by Krishnamacharya's wife.

More Sarvangasana variations demonstrated by krishnamacharya's wife. 1938
Sirsasana variation demonstrated by BKS Iyengar
Sirsasana mandala variations demonstrated by Krishnamacharya's student and Son-in-law, BKS Iyengar. 1938

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Salutations to the teacher, the eternal one/ Yoga Makaranda Part II (date unconfirmed possibly 1950's)

This text includes a section on Shoulderstands and headstands and is considered by AG Mohan to constitute Part II of Yoga Makaranda

Here are a couple of sample pages, the full 41 page text can be downloaded from my Googledocs page.

https://docs.google.com/open?id=0B7JXC_g3qGlWemJSRVhtLXFlSVU

Notes from Yoga Makaranda part II

"In designing the SIRSHASANA and SARVANGASANA the rishis have automatically removed the above difficulties by adopting the topsy-turvy posture by which gravity will now aid in the free flow of blood to the organs of perception and also aid in restoring the organs in the lower part of the body to their normal places. 

These two asanas are both preventive and curative. In the case of those, however, who are unduly fatty, it is imperative that the body should first acquire some suppleness in the movement of the limbs by practicing mudras and pranayamas, before attempting these asanas.

Sayanacharya in his commentary on Patanjali’s YOGASUTRAS has given a lot of practical details to be observed in the practice of asanas. The main objective of SIRSHASANA and SARVANGASANA are not merely to arrange for a copious supply of blood to the head and upper part of the body but also to slow down the respiratory rate. 

When SIRSHASANA has been sufficiently mastered, the breathing rate which normally is about 15-18 a minute, automatically comes down to four a minute. The aim should be to reduce it to, two per minute. Thus at this rate, 24 rounds of breathing in SIRSHASANA will take 12 minutes.

It is laid down that SIRSHASANA should be done only in the mornings. This should always be followed by SARVANGASANA. The proper procedure is to do SIRSHASANA with 24 deep inhalations and exhalations. Take two minutes rest. Then do SARVANGASANA with 24 rounds of deep breathing. Take two minutes rest. Follow with some sitting asana. 

In SIRSHASANA the organs in the head and the brain get a copious supply of blood, the internal organs in the body get displaced upwards. The two minutes rest normalizes. In SARVANGASANA the blood supply to the head is restricted by resting the body on the neck and making the chin lock. The thyroid and the upper part of the internal organs of the body get displaced upwards. The two minutes rest normalizes. When a sitting asana is now done the internal organs regain their proper positions. This is the reason behind doing the asanas in this particular order.
Sayanacharya has mentioned six specific asanas for daily practice. He however prescribes that along with these some other asanas (this may vary each day) should be done.

In SIRSHASANA, normally no kumbhakam need be done (in the beginning), though about two seconds ANTHAR and BAHYA kumbhakam automatically result when we change over from deep inhalation to deep exhalation and vice versa. During the automatic pause, kumbhakam takes place. When after practice has advanced and kumbhakam is deliberately practised, ANTHAR kumbhakam can be done up to 5 seconds during each round and BAHYA kumbhakam up to 10 seconds.

In SARVANGASANA, there should be no deliberate practice of ANTHAR kumbhakam, 10
but BAHYA kumbhakam can be practiced up to 5 seconds in each round.
These deep breathings along with the asana help in slowing down the breathing rate with a consequent elongation of life. Sayanacharya prescribes that the number of deep breaths one should practice per day should not be less than 320. This number could be spread out during the day-some may be done along with asana in the morning and evening, some along with pranayama, morning, noon, evening and at midnight, or whenever some spare time is
found".

There are instructions for a few of the sarvangasana subroutines in Yoga Makaranda part II

SALAMBA SARVANGASANA - SHOULDER STAND WITH SUPPORT
from Yoga Makaranda 1934, Mysore

This asana tones up all the centres, nerves, organs, joints etc. and hence is called SARVANGASANA. The asana is of two kinds with support and without support, the former is dealt with below.

Technique:
1. Lie flat on the back, with legs stretched, knees close together and toes pointed. Raise the head and align the toes, knees and hand and return the head to the floor placing the chin on the chest. The arms lie stretched close by the side of the body with the palms touching the floor, fingers closed.
2. Inhale and exhale slowly and deeply with a rubbing sensation in the throat, through both nostrils three or four times.
3. Slowly exhale and raise both legs together. Bring the body to an upright position, the neck resting on the ground. Bend the elbows and bring the palms up to support the back on either side of the backbone, the palms being placed as near the shoulder blades as possible. The elbows should not spread out but be placed as close as possible, the distance between them will be about 12 inches.

NIRALAMBA SARVANGASANA - SHOULDER STAND WITHOUT SUPPORT


Yoga Makaranda, 1934, Mysore

Technique:

1. Take three steps of Salamba Sarvangasana, so that the body is now resting on the back of the neck.
2.Reach the halasana position variation 2. 
3.While inhaling, raise both the legs together, legs being kept together and stretched, to an upright position, the arms still continuing to lie stretched behind the head.
4. Do deep breathing and try and balance the body so that the weight is supported by the shoulders. Try and lift the arms so that the palms rest on the thighs.
5. Take deep breaths.

Note: Start with 3 deep breaths. This number may slowly be increased by one round each week. Every care should be taken that there is no strain. The number of deep breaths can be increased to a maximum of 64.
6. Retrace the steps; the arms being taken to the position behind the head, the legs lowered to the Halasana positon, then raised to the upright position and get to the Sarvangasana with support position. The body is brought to the lying down position flat on the back, by a rolling movement as in the case of Salamba sarvangasana.
Note: This asana should not be attempted before mastering the Salamba Sarvangasana, halasana, ekapada Sarvangasana.
Benefits: Of the various types of Sarvangasana this gives the maximum benefits. The thyroid gets special benefits. The waist line is reduced. The liver is toned. This asana cures gastric troubles and piles. It also prevents these diseases.

HALASANA - PLOUGH POSE



After Sarvangasana, Halasana has to be mastered before taking up the practice of Niralamba Sarvangasana. Hence Halasana is being dealt with at this stage. The final posture resembles the plough and hence the name.


Technique:

1. After coming to the Sarvangasana position, with the back upright, legs stretched and chin locked, Halasana is done as an extension.

2. The palms which support the back are brought down to touch the ground, so that the arms lie stretched with the palms down i.e., touching the ground, the fingers together and stretched. The distance between the palms should be about 12 to 18 inches.

3. While slowly exhaling, bring both the legs together slowly so that the toes touch the ground as far as possible. The back of the toes should touch the ground and not the tip of the fingers. This is done by bending at the hips, the back being as upright as possible and maintaining the chinlock. The legs have to be kept together straight and stretched, the knee together, the toes pointed and together, the thigh and calf muscles stretched.


Variation: 
There are a number of variations and these are given below. These are progressively more difficult.


1. In this variation the fingers of the outstretched arms are interlocked with the palms turned outwards and the thumbs touching the ground.

2. In the next variation the outstretched arms are brought behind the head, with a circular sweeping motion, the arms touching the ground till they are in a line with the shoulders. The palms are now upturned and the sweeping motion continued till the palms are near the toes.

3. After reaching the position in 2 above, the elbows are bent and the forearms are brought together to rest at the back of the top of the head. The right palm to catch the left elbow and the left palm catching the right elbow.

4. The next variation is where the forearms instead of being taken to the top of the head, are taken above the knees at the back of the legs. Thus the forearms are locked over the legs above the knee joint. The knees should not be bent.


Note: The positions described above give the final positions to be reached. But this may not be possible at the beginning of the practice. No attempt should be made to reach these positions by force. The bending should be made to the extent conveniently possible. With the deep inhalations and exhalations, the abdominal muscles get toned up and the body becomes more and more supple as practice advances. It is important to watch that at no stage is the body strained which will be indicated by the breathing getting laboured. By aiming to lower the toes by not more than 2-4 inches a week there should be no strain and the final position will be attained as practice advances.


4. Slowly and deeply, inhale and exhale, through both nostrils with rubbing sensation in the throat. The number of these deep breaths should in no case exceed six times.

5. While slowly inhaling the legs are raised together and brought to the upright position.

6. The body is brought to the lying down position flat on the back, by a rolling movement as in the case of Salamba Sarvangasana.

7. Rest for at least a minute.


A: PARSVA HALASANA - Section A.



Technique:

1. Take the first three steps of Salamba Sarvangasana. The body is now resting on the nect, the legs are lifted in an upright position and the back is supported by the palms.
2. Lower the stretched legs by bending at the hips, and by giving a slight twist at the hips, so that the toes which should be pointed, touches the ground at a point 21⁄2 feet to the right of the right ear. This movement is done while exhaling. The legs should be together and kept stretched throughout. The right palm should firmly support the body at the back, so that when the legs are lowered to the right of the body, the trunk of the body may not also bend to the right side, the trunk should remain upright, and facing to the front.


Note: This asana should be done with the movement in step 2, always, first towards the right of the body.
3.Take three deep breaths. There should be no holding of breath. 
4.Swing the stretched legs with the hips as centre, so that the toes describe an arc of a 
circle on the ground, at the back of the head, till the toes reach a position, 21⁄2 feet to the left of the left ear.
5.While inhaling, lift the legs to the upright central position. 
6.Take two deep breaths. 
7.Now repeat the previous movements, by lowering the legs to the left of the body. 
This is steps 2 to 6 exclusive, except that “left” should be used wherever the word “right” has been used, and the word “right” where the word “left” has been used.
8.Do the normal Halasana, Central with the toes just behind the head. 
9.Take three deep breaths. 
10.While inhaling raise the legs to the right position. 
11.Take two deep breaths. 
12.Exhale, bend the knees, so that they approach the throat, remove the support of the 
palms, lower the hips so that the back rests on the ground, and then stretch the legs so that the whole forms a rolling movement.

13. Take rest.


Note: This asana can also be done as practice advances, without supporting the back with the palms. In this variation the arms are kept stretched as in step 1.


Benefits:

1. Tones up the liver and spleen. Prevents the disorder of these organs and effects a cure if these organs are disordered.
2. Reduces excessive urination.

PARSVA HALASANA Section - B.

Though this is a variation of Parsva Halasana-A it is introduced only here, as there will be greater facility in doing this asana if the asana previously described viz., Suptha Konasana is practised first.


Technique:
The first two steps are the same as in the case of Parsva Halasana.


3. Move only the left leg in an arc, the toe always touching the ground, till the leg takes a position as far to the left of the body as is conveniently possible. The leg is moved while exhaling, and inhaling is done while the leg is at rest. The movement of the leg may be done by stages at first. As practice advances, the leg may be moved in a single movement.
4.Take six deep breaths. 
5.Bring the left leg back to the right, till the two legs are together. 
6.While inhaling, lift both the legs together, till they are upright and in the central 
position.

7. Repeat on the right side.

8-10. These steps are the same as in steps 
11, 12 and 13 of Parsva Halasana.


Note: The palms of the hands support the hips throughout the asana.


EKAPADA SARVANGASANA



Technique:
1. After reaching the position indicated as the second variation of Halasana, hold the toes with thumb and forefinger of the respective hands.
2. While inhaling raise any one of the legs to the upright position as in Sarvangasana. The palm of the hand on the same side as the leg raised is also lifted so that when the leg is upright, the palm of the land rests on the thigh.
3.Do Pranayama. 
4.While exhaling lower the leg and move back the hand to the same position as at the 
beginning.
5. Now repeat with the other leg.

Note: In the beginning the position described may not be possible. Some support to the back may be necessary at the beginning. The asana may therefore be done by starting with the first position in Sarvangasana when both legs are upright and the back supported by the palms and while exhaling slowly bring down one leg at a time, so that the leg reaches behind the head as in Halasana. The palms of the hands will still continue supporting the back. The necessary rounds of Pranayama are done in this position. Now repeat with the other leg. Bring the body to lie flat on the back with the usual rolling motion as described in Sarvangasana.
The pranayama in stage (3) will be done both holding in of breath after inhalation and holding out of breath after exhalation. The period of holding in of breath will be 4 seconds and the period of holding out of breath will be 2 seconds. The number of rounds of pranayama for each leg will be 3 rounds at the beginning which will be gradually raised as practice advances to six rounds.

URDHVAKONASANA

This asana has to be practised as a preliminary measure before taking up the practice of the next asana to be described - 

Technique:
1. Start with Sarvangasana, with the legs upright, stretched, knees together, the back supported by the palms.
2. Exhale and spread the legs still keeping them stretched, so that both legs spread equally on either side.
3.Inhale and bring the legs together. 
4.Rest. 
The number of turns should be only 2 rounds in the first week, and three rounds from the second week and four rounds after a month. 

After this asana has been mastered, 

EKA PADA SARVANGASANA


Technique:

1. Start with the Sarvangasana position where both the legs are upright, stretched, knees together, and the back supported by the palms.
2. While exhaling, bring one of the legs to the side. The left leg to the left side, and the right leg to the right side. The leg is kept stretched and leg lowered till the toe touches the ground and the leg is at right angles to the body. It will be necessary slightly to twist the leg for the toe to touch the ground. All this while the other leg should continue to be kept upright.
3. While inhaling the leg is brought back to the upright position. 
4. Some deep inhalations and exhalations are made in this position to give some rest. 
5. Repeat with the other leg. Each leg should be alternately exercised, and each leg 
moved the same alternatively exercised, and each leg moved the same number of times.

6. When both legs have come together after the necessary number of rounds, reach the lying flat on the back position with a rolling movement as in the case of Sarvangasana.

7. Rest.
Note: In the beginning it will not be possible to bring the leg down enough for the toes to reach the ground. No attempt should be made to force down the leg to reach this position. On the other hand effort should be made so that the leg does not sink down to a position so far down as to strain the muscles. It is important to see that the other leg is kept upright and stretched. As practice advances the final position will be reached.



UTTANA MAYURASANA



This is the name given to this asana according to Raja Yoga. According to Hatha Yoga the same asana has been classed under Supthapada Angusta Asana.


This is closely related to Sarvangasana. It has a number of variations and some of them are given below.
1. Start with the first three steps of Salamba Sarvangasana. 
2. Get into the position of Halasana variation 2.
3. Now bring the palms of the hand to support the hips. Note the position of the palms and the fingers in this asana carefully. The palms are at the hip level and the fingers are pointing to the front. The position of the palms and fingers therefore differ from these of Sarvangasana. The position is such that the body can effectively be supported when finally it takes a horizontal position. the elbows in this asana will be closer than in Sarvangasana. 
4. While inhaling, lift both the legs together, so that the legs get to the vertical position and the movement continued till the heels touch the ground the body forming an arch, and is supported by the heels, elbows, shoulders and the back of the head.
Note: For beginners lifting the legs keeping them stretched may be difficult. For them to make the movement easier, the legs may be bent at the knees, the heels brought near the buttocks, and the bent legs now lifted so that the thighs occupy a vertical position. The movement is further continued by bending the body further at the hips, so that the body forms an arch. The legs are also somewhat straightened, so that the soles of the feet rest on the ground. Each leg is then straightened, till both of them are stretched, toes pointed and knees together. As practice advances, the position can be reached without bending the knees.
6. Lift the head and the shoulders, so that the body is supported only by the heels, and the two elbows.

Note: For beginners lifting both the head and the shoulders may not be possible. They should therefore try to lift only the head at first, so that the shoulders may act as supports. As practice advances, after the head has been lifted, and the body balanced, the shoulders should also be lifted 
and the final position reached.



7. In this final position not more than three deep breathings should be done. There should be no retention of breath.
8. Rest for some time.

***

Yogasanagalu 1941 (3rd edition 1972)

In the asana table in Krishnamacharya's second book Yogasanagalu (1941) Krishnamacharya seems to be referring to those headstands introduced pictorial in Yoga Makaranda part I.

However for the third edition Krsihnamacharya seems to have had new pictures made up especially for the new edition.

 "In order to publish the 3rd edition of the book “Yogasanagalu” and to help men, women, youth, old and patients practice appropriately, I used a new set of photos and expanded and altered many the topics regarding the practice". from the preface ( Yogasanagalu translation here)

Head and shoulder stand variations are treated extensively, many we have seen demonstrated in the 1938 film footage suggesting a consistency of practice and pedagogy.

Krishnamacharya demonstrating Sarvangasana variations, Yogasanagalu 4th edition (1984)

Krishnamacharya demonstrating Sarvangasana variations, Yogasanagalu 4th edition (1984)

Krishnamacharya demonstrating Sirsasana variations, Yogasanagalu 4th edition (1984)

Krishnamacharya taught the above variations and more besides to his long term student Srivatsa Ramaswami who collected them together in his books Yoga for the three stages of Life and  The complete book of Vinyasa Yoga following Krishnamacharya's own suggestion for the arrangement of the asana into groups. On Ramaswami's TT course at LMU in 2010 I showed him the pictures in the photocopy of Yogasangalu that I had just been sent and he mentioned that he remembered the photo's being taken as he was personally given a set at the time.

***

Vinyasa Krama Shoulderstand and Headstand sequences as presented by Srivatsa Ramaswami, student of Krishnamacharya for over 30 years, from 1950s-80s

plus
Practice sheets from my Vinyasa Yoga Practice book.
Available on Amazon, in print and on kindle

See also my other blog


Below is a speeded up practice closely based on Ramaswami's presentation of inversions.

Krishnamacharya recommended to Ramaswami that he practice inversions following these general guidelines.

1. Preparatory supine asana
2. Legs relaxed for 3-5 minutes in Sarvangasana
3. Pratkriya ( perhaps salabhasana, danhurasana)
4. Sirsasana practiced as mudra, viparita Karani ( ie no variations)
5. 2nd Sarvangasana , this time with variations
6. Pratkriya (counterposture(s) 
7. 2nd Sirsana, with variations.
8. Seated asana

See my earlier blogpost replicating a section from my practice book on preparing for shoulder stand






Practice sheets from my Vinyasa Yoga  Practice book

Practice sheets from my Vinyasa Yoga  Practice book

Practice sheets from my Vinyasa Yoga  Practice book

Practice sheets from my Vinyasa Yoga  Practice book




Sharath, director of KPJAYI and Pattabhi Jois' grandson has mentioned in several recent 'conferences' that longer headstands may be beneficial ('...although not in the shala, too busy'). An evening, rest day or moon day may be an opportunity to explore Krishnamacharya's variations in inversions especially upon consideration that they can be traced back to all the other elements of the current Ashtanga system. 

Benefits of Shoulderstand and headstand are outlined in Ramaswami's newsletter 


*

Appendix
The next two pictures seem to be earlier than those shot for the 3rd edition of Yogasanagalu, 1960's perhaps



*

from Questions to Krishnamacharya from his students in 
Yogacarya Krishnamacharya - The Purnacarya. Edited by Mala Srivatsan.

20. How long should one stay in Sirsasana and Sarvangasana?

The time spent in each asana should be the same. The number of breaths taken in Sirsasana should be equal to the the number of breaths taken in sarvangasana. The length of each breath should also be equal. The postures are like the eyes of yoga. They strengthen the senses and the respiratory organs. A person with a heart problem should approach the practice of these asana-s with the utmost care. Only when a student is capable of doing sarvangasana should the teacher think of teaching him Sirsasana. people with asthma will have problems in practicing these postures. In the beginning these people should stay for two or three breaths only

Krishnamacharya's 10 minutes in Suptapada Parsvangushtasana (Suptapada Padangushtasana B)

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Suptapada Parsvangushtasana  otherwise know as Suptapada Padangushtasana B. 
Parsva - to the side

It struck me this morning that I owed an apology to my friends at StoneMonkey. November last year I presented a follow up workshop to the one earlier in the year, this time focusing on the second half of Krishnamacharya's Primary series/group.

But I missed something!
from My Krishnamacharya original Ashtanga book - link to Lulu

Krishnamacharya recommends we stay 10 minutes in Suptapada Parsvangushtasana!

Perhaps I blanked it out, subconsciously didn't want to see it but there it was last night as I was flicking through....

"Stay in this 9th vinyasa for at least ten minutes and then do the 10th vinyasa".

So my apologies Stonemonkey for not giving you the opportunity to practice it.

Did I hear somebody mutter 'thank heavens'? 

It's actually quite something and with a VERY interesting by-product as a bonus.

 I practised it five minutes each side this morning ( will try the full ten tomorrow, update to come), so half as long as Krishnamacharya suggests but substantially longer than most of us probably usually practice it. I slowed the breathing right down, just as in the Utkatasana exercise I introduce on the workshop, added kumbhaka's, focal points, the works. After two minutes it was uncomfortable but from then on I could feel my body relaxing deeper into the posture,  look how flat Krishnamacharya is in it, both legs.



THE BY-PRODUCT

It struck me that I could do with a pratkriya a counter posture after such an extended stay, Krishnamacharya recommends padmasana (lotus) as a pratkriya after baddha konasana so that seemed appropriate.
I have a dodgy left knee from old operations as a kid, the knee doesn't tend to want to sit flat in padmasana so I usually practice padmasana left foot first. However, this time, after five minutes a side in Suptapada padangushtasana I had the prettiest, most grounded lotus and while binding right foot first.

SO, if your working on your padmasana an extended stay here might be just the thing, although I recommend working up to it, say add on a minute a week.

Below is the presentation in my Krishnamacharya's Original Ashtanga book available available from Amazon and Lulu ( if you'd like a copy then pick it up from Lulu  as they allow me to offer a 50% discount). There's also an extended free pdf version from my FREE DOWNLOADS page.

After that I've added the old Black and White video of Krishnamacharya from 1938 where he enters the subroutine from sarvangasana (shoulder stand). After that there's an Appendix with Krishnamacharya full instructions including benefits from Yoga Makaranda as well as a link to a free download of the text. PLUS Instructions for the subroutine from Krishnamacharya's later 'Salutations to the teacher the eternal one'/Yoga Makaranda part II


UPDATE

I've been bothered about the position of the head in picture above, Krishnamacharya's head isn't turned to the side as I was taught in Jois Ashtanga. I thought perhaps it was turned a little but I've just checked the text and he writes

"In this sthiti the head is facing upward and the other extended leg is kept straight and remains pressed against the floor". 

This fits actually because in trikonasana he doesn't turn the head either, I tended to assume it's because in tikonasana as in this posture he is staying for an extended period, ten minutes.



available from Amazon and from Lulu  


UPDATE 10/01/15

This morning I stayed for the full ten minutes each side in Suptapada Parsvangushtasana. I can't say it was any more uncomfortable than staying for five minutes except that the fingers holding my big toe started to fall asleep at one point. I did notice the difference at the end however when I went to raise my leg back up, at first it didn't seem to want to move. Perhaps this is why Krishnamacharya follows up with an extra vinyasa when the leg crosses the body, a pratkriya, counterpose.

And again ,as with yesterday, a much more comfortable lotus with both knees happily on the mat. I mentioned earlier how on account of old operations my left knee doesn't like to go into lotus first and tends to be off the ground. Sometimes I'll put a folded cloth underneath. 

from this morning after 10 minutes each side in Suptapada Parsvangushtasana, knees flat

Ten minutes didn't seem to be any more beneficial than five, tomorrow I might try three and see if there's a cut off point where the benefit is reduced.

I just remembered my old Rishi series experiments, staying for 25 or 50 breaths in ten postures a practice, working through all the postures of primary and 2nd series over a couple of weeks. i must have stayed for 25 breaths in suptapada parsvangushtasana then. here are my notes.

Supta hasta padangustasana/ Supta Parsvapadangusthasana  (25 breaths each side). I did these 25 breaths each side,in this and Supta Parsvahita below, in the usual order. The second one is the tricky one as there's strain on the neck, really need to engage the bandhas and stretch on down through the trailing leg to take the pressure off.

Notice I mention the strain on the neck. See the next post where I pick up on the fact that krishnamacharya doesn't turn his head. 

***

Krishnamacharya's fancy Suptapadangushtasana from sarvangasana (shoulder stand) starts at 3:40



Appendix

Instructions as found in original Yoga Makaranda
available from my GoogleDocs page HERE


14  Supta Padangushtasana (Figure 4.38, 4.39, 4.40, 4.41)
The first krama for this has 21 vinyasas. Through the 6th vinyasa, it is exactly as for pascimottanasana. In the 7th vinyasa, lie down facing upwards instead of extending the legs and sitting as in pascimottanasana. While lying down, the entire body must be pressed against the ground. The toes must point upwards and the back of the heels must be stuck to the ground. This is also called savasana by other schools. This is the 7th vinyasa for supta padangushthasana. In the 8th vinyasa, slowly raise the right leg straight up. Hold the big toe of the right foot with the fingers of the right hand, do recaka kumbhaka and remain in this position for as long as possible. This sthiti is called dakshina supta padangushtasana. While remaining in this sthiti, at no time should the elbows or knees of the extended arms and legs be bent. At this time the left hand should be placed on top of the thigh of the outstretched left leg. In the 9th vinyasa, slowly pull the right leg little by little into the front of the right chest. While doing this, gradually raise the head little by little until the face is placed against the right knee. Remain in this position for some time. The 10th vinyasa is like the 8th. The 11th vinyasa is like the 7th. The 12th, 13th, 14th and 15th vinyasas follow the method for the 8th, 9th, 10th and 11th but with the left leg and arm. From the 16th until the 21st vinyasas, follow the rules for the 11th until the 16th vinyasas of pascimottanasana and after this return to samasthiti. The 12th vinyasa is called vama supta padangushthasana. From the 8th till the 15th vinyasas, no part of the body must be crooked. While one leg is raised, the other leg must definitely not be bent or curved, must not roll around or undergo any such torsion.








Benefit: It will keep the body measurements proportional and equal and will give tremendous strength to the nerves. It gives good strength to the hips. It is not appropriate for women during pregnancy. 

15 Suptapada Parsvangushtasana 
This has 23 vinyasas. Up to the 8th vinyasa, this follows the method for supta padangushthasana. In the 9th vinyasa, without breaking any of the rules described earlier, pull the raised right leg down towards the ground on the same side (right side) and slowly lay it down on the ground while still clasping the right big toe. In this sthiti the head is facing upward and the other extended leg is kept straight and remains pressed against the floor. Stay in this 9th vinyasa for at least ten minutes and then do the 10th vinyasa. In the 10th vinyasa, bring the foot that is being held against the ground back to the position in the 8th vinyasa and remain here. Without letting go of the foot, move it such that the leg (or calf) sits on the chest beneath the neck and such that the elbow of the arm holding the foot is behind the neck. Remain here. In this sthiti, the head must be raised slightly. That is, there should be 6 angulas of space between the ground and the head. Inside the matham, this is called sammukha parivrtasana. Repeat this on the other side. To first practise this with the right leg and then with the left leg is characteristic of a superior yogi. The 11th vinyasa is like the 8th and the 12th is like the 7th. Do the 13th vinyasa like the 8th and then do the 14th and 15th vinyasas like the 9th and 10th. The 16th is like the 8th and the 17th must be done like the 7th. The six remaining vinyasas of this posture must be practised like the last 6 vinyasas of pascimottanasana. After this, return to samasthiti.

Benefit: Not only does it clean the parsva nadi, it does not allow the parsva vayu to exist in the body. It destroys diseases like acute tuberculosis. Women should not do this while pregnant.







Appendix II

Instructions from Salutations to the teacher, the eternal one/ Yoga Makaranda part II


54. SUPTAPADA ANGUSHTASANA
Those who find difficuty in doing EKAPADA SARVANGASANA-side, may get the same benefits by doing SUPTAPADAANGUSHTASANA.

Stage I Preliminary Technique:


1. Lie flat on the back with legs together, stretched, and hands stretched and close to the body, and palms open and touching the ground.

2. While inhaling spread both legs and hands as wide as possible on either side of the body to an equal degree. Both legs and arms will continue touching the ground and be kept stretched.
  1. While exhaling bring back the legs and arms to the position as in the first step. 
  2. Repeat. 
Stage II
Technique:


1. Lie flat on the back with the legs stretched arms stretched and by the side of the body as in the first step of Stage I.
2. While exhaling raise one of the legs to an upright position by bending at the hips. The knees should not be bent, and the leg should continue to be kept stretched. The other leg should continue to lie on the ground stretched. While the leg is raised to the upright position the arm on the same side is raised and the toe of the foot caught hold by the thumb and forefinger of the hand.
3. While exhaling turn the leg to touch the ground so that the leg now forms a right angle with the body on the ground. The thumb and the forefinger of the hand will continue to hold the toe. If it is the right leg, it is brought to the right side of the body.
4. While inhaling raise the leg with the toe still held by the thumb and forefinger to the position in step 2.

5. While inhaling release the toe and lower the leg, and come back to position in step 1.
6. Repeat with the other leg.
Note: It will be seen that steps 2 and 3 are done while exhaling, and steps 4 and 5 are done while inhaling. It does not mean that steps 2 and 3 are a continuous process done while exhaling. After steps 2, a few deep breaths may be taken. So also is the case after step 4. Movements are made while inhaling or exhaling, inhaling generally when the abdomen is not compressed by the movement. When a position, intermediate or final, has been reached deep breathings or the prescribed form of Pranayama is done. This observation generally applies to all asanas.


Stage III.

1. Lie flat on the back, both legs stretched knees together, arms stretched and by the side of the body, the palms open and touching the ground.
2. Bring the stretched left arm by a sweeping movement about the shoulder on the ground till it makes a right angle at the shoulder level with the body and the palm touching 
the ground.
3. While exhaling, lift the leg without bending the knee to an upright position so that the leg now forms a right angle with the body.
  1. Take one or two deep breaths if necessary. 
  2. Catch hold of the toe of the left leg with the thumb and forefinger of the right hand. 
  3. While exhaling, bring the left leg with the toe still held by the thumb and forefinger 
of the right hand to lie flat on the ground on the right side of the body, so that the two arms are now in a line at shoulder level at right angles to the body.
The head should be turned to the left, so that the left ear may touch the ground.
The knees should not bend and the leg should be kept stretched. The right leg should continue stretched and lie on the ground, with the toes pointing upward and the head touching the ground.

  1. Inhalations and exhalations may be done in this position. 
  2. While exhaling, raise the left leg, with the toe still held by the right hand, to the 
position in step 5. Turn the head back to the correct position.
9. Release the toe, while inhaling, bring down the left leg to the original position as in step 1.
  1. Bring the left arm to lie by the side of the body as in step 1. 
  2. Repeat with the other leg. 
Note: In the case of males, proper suspension bandages or something equivalent should be used so that the organs are kept firmly in position.
In the case of females, the upper part of the body should have a close fitting jacket. Especially in this asana, as considerable pressure is applied to the abdomen it is absolutely necessary to see that the bowels and bladder are clear before doing this asana.

Stage IV

1. Lie flat on the ground, on the back, both legs stretched, knees together, arms stretched and by the side of the body, the palms open and touching the ground.
2. While exhaling, bring both legs to an upright position by bending at the hips, keeping the knees together, and the legs stretched, the toes pointed.

3. Turn head to the left, so that the left ear touches the ground. Bring the left arm stretched, with s sweeping motion on the ground, to a position at right angles to the body.
  1. Take one or two deep breaths. 
  2. While exhaling, bring both the legs together to lie on the ground, on the right side of 
the body. The knees should not be bent, but the legs kept stretched. The toes should now be at the level of the shoulders, so that when both the toes are caught hold by the thumb and forefinger of the out-stretched right arm, the right arm and the left arm may be in a straight line at the shoulder level and at right angles to the body. As far as possible, try to keep the left side of the back near the ground as possible.
6. Do not less than six rounds pranayama. The pranayama should be done with both Anthar and Bahya Kumbhakam of two to five seconds duration each, the period of Anthar Kumbhakam being kept equal to the period of Bahya Kumbhakam.
7. While inhaling, bring the legs to the upright position, after releasing the toes. Bring the head to the normal position.

8. Repeat on the left side. The legs are straight away brought from the upright position to lie on the left side of the body without taking the legs to the position in step 1.
9. Do the same number of rounds of pranayama as on the right side, the periods of Anthar and bahya kumbhakam being the same as on the right side.

  1. While inhaling bring the legs to the upright position after releasing the toes. 
  2. Bring the head to the normal position, the arms to the normal position by the side of 
the body, and take one or two deep breaths.
12. While inhaling lower the legs to lie flat on the ground as in step one.

In some treatises on Yoga Stages II and III of Supthapadaangushta asana are called JATHARA PARIVRITTI though the asana affects other regions of the body besides the abdominal region.


Appendix III
A Vinyasa Krama approach

And while we're at it, here's the Vinyasa Krama approach, two pages from my Vinyasa Yoga practice book that place the posture in a broader subroutine and sequence. 

Srivatsa Ramaswami spent over thirty years studying with Krishnamacharya take a look at his Complete book of Vinyasa yoga and also Yoga for the Three Stages of Life.





DRISHTI : Krishnamacharya didn't seem to turn his head in certain asana that we might expect E.G Suptaparsva paddanguthasana, Trikonasana, utthita parsvakonasana

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So much for not blogging for a while (http://krishanamcharysaoriginalashtanga.blogspot.co.uk) I just ended up putting up a couple of technical posts on one of my other Krishnamacharya blogs. By the third post this week that didn't seem fair to those who have been following this blog often for a number of years so I've exported the three posts back over here. Seems we're open for business again.


On my previous post I noticed that Krishnamacharya does't turn his head in Suptaparsva paddangusthasana. I knew this was the case in Trikonasana and Utthita parsvakonasana but hadn't noticed it here in this posture. Krihnamacharya being Krishnamacharya we do find postures and variations of these very postures ( for example where both legs are taken up and over to the side) where he does turn his head but in the presentation of these basic, key asana the head remains fixed. 

As my fiend Chiara points out this may because this asana is a parsva rather than a parivrtti so no torsion there - and no continuation of the torsion with the neck.  In those later vinyasa where the whole body is twisted Krishnamacharya does tend to turn the head somewhat, in twisted marichiyasana variations also but not as far as we might expect, he doesn't seem to try and look as far over the shoulder as possible.

Krishnamacharya tended to employ bhrumadhya as his main 'drishti

However in postures where the head was down he needed to employ a different drishti and would look to the tip of his nose. These are the two drishti he employed in Yoga Makaranda (1934).

Also Krishnamacharya is employing kumbhaka (breath retention) and introducing a degree of jalandhara banddha to control the breath, keeping it long and slow and smooth like the pouring of oil, he seems to avoid twisting the neck.

Pattabhi Jois also stress bhrumadhya and nasagri (tip of the nose)

"This is the method for the first Surya Namaskara, which is often practiced while chanting mantras. For this, meditation is very important, as are the drishti, or gazing places, which include: nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows] for the 1st vinyasa; nasagra dristri for the 2nd vinyasa; the gaze between the eyebrows for the 3rd vinyasa—in other words, for the odd-numbered vinyasas, the gaze should be focused between the eyebrows and, for the even-numbered ones, the gaze should be on the tip of the nose. In addition, for the even- numbered vinyasas, rechaka should be performed and, for the odd, one should do puraka. On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead". Sury namaskar A Yoga Mala

But will also introduce other gazing points, here in Sury namaskar B, fingertips

"Then, taking the breath in slowly through the nose, raise the arms straight up over the head, bring the hands together, lean the head back a little, and look at the fingertips; this is the 1st vinyasa."

Originally I understand Jois employed five drishti, later this increased to nine

Manu jois mentions that it is also possible to practice with the eyes closed in which case bhrumadhya and nasagri are sufficient  unless one wishes to employ other focal points for the purpose of Dhyana/Dharana.

My impression is that the gaze for Krishnamacharya is very much a dhyana/dharana (concentration/meditation)practice and always has been, in Pattabhi Jois' later Ashtanga Drishti seems to be more about avoiding distractions and thus allowing the meditative aspect of the practice as a whole rather than the individual asana to emerge, a subtle difference perhaps.


UPDATE
While updating the earlier post with this morning's ten minute stay in Suptapada parsvapaddangustasana I remembered my old Rishi series experiments, staying for 25 or 50 breaths in ten postures a practice, working through all the postures of primary and 2nd series over a couple of weeks. i must have stayed for 25 breaths in suptapada parsvangushtasana then. here are my notes.

Supta hasta padangustasana/ Supta Parsvapadangusthasana  (25 breaths each side). I did these 25 breaths each side,in this and Supta Parsvahita below, in the usual order. The second one is the tricky one as there's strain on the neck, really need to engage the bandhas and stretch on down through the trailing leg to take the pressure off.

Notice I mentioned the strain on the neck. 

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Supta parsva padadangusthasana
"In this sthiti the head is facing upward and the other extended leg is kept straight and remains pressed against the floor". Krishnamacharya Yoga Makaranda (1934)

He seems to have been quite consistent in this. here he is in the 1938 film footage from Mysore


And again in the 1970s for the 3rd edition of Yogasanagalu




I just checked Pattabhi Jois' Yoga mala and there's no mention of turning the head either

"Perform the first ten vinyasas of Part 1. Then, doing rechaka, bring the right leg out to the right and lower it to the floor and do rechaka and puraka as much as possible; this is the 11th vinyasa. Then, doing puraka , raise the right leg, and return to the 8th vinyasa of Part 1;" Pattabhi Jois Yoga Mala



Trikonasana
"Then, keeping the legs spread no less than 3 mozhams apart, take either arm and lift it straight up, lower the other arm while keeping it straight and bring the hand down and place it on top of the foot. Study this carefully in the picture".

"This asana can be done lying down. But the back of the head, back, buttocks, the heels — all of these areas must be firmly pressed against the floor". Krishnamacharya Yoga Makaranda (1934)

Here though Pattabhi Jois has I gaze at the fingertips in Yoga Mala

"Then, turn the right foot to the right and exhaling, reach down and take hold of the big toe of the right foot with the right hand, lift up the other arm, fix the gaze on its fingertips, " Pattabhi Jois Yoga Mala


By the 1970s photoshoot for the 3rd edition of Yogasanagalu Krishnamacharya seems to be clearly looking up at his fingertips




Utthita Parsvakonasana

"Keep the shoulders such that the ear is pressed on the upper part of the bent body and the head. Stay in this position for some time". Krishnamacharya Yoga Makaranda (1934)

And again, Jois has us shift the direct to the fingertips

"...place the right hand by the side of the right foot, stretch the left arm straight out over the ear, and gaze at the fingertips;" Pattabhi Jois Yoga Mala

And in the 1970's Yogasangalu photo shoot Krishnamacharya is turning his head somewhat but not lifting the chin to look towards the fingertips



Appendix

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,



Krishnamacharya's 3rd Son TK Sribashyam however gives a great deal of emphasis to drishti as concentration points


Concentration: the sixteen vital points
see my earlier post 

Which contains examples of General Practice employing concentration on vital points as well as pranayama in asana.


And example from the Book of Krishnamacharya's own practice to show how concentration of vital points might be employed.




Some earlier posts on Drishti



Wednesday, 5 March 2014
Updateed: DRISHTI: Overview of Drishtis indicated for the Surynamaskaras by the different authors resp. Instructors ALSO Krishnamacharya's Gaze.

Saturday, 9 August 2014
Asana, Drishti and Dhyana - Dharana

Monday, 27 October 2014
DRISHTI: Ashtanga and Meditation. How should one meditate in 33 bullet points.

When to introduce the 2nd series leg behind head entry to Supta kurmasana.

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I was chatting with a friend last night about the 2nd series entry to Supta kurmasana and when to introduce it.

I suspect many of us introduce it sooner than we probably should and there's a even  question of whether we should introduce it at all.

Here's an old video of my Supta Kurmasana, I was quite proud of this at the time, employing the 2nd series dwi pada sirsasana transition with a double salko, became my entry of choice and I employed it confidently on Manju's Teacher training while practicing Primary one morning.



While chilling in the asana with my feet nicely fishtailed, Manju comes up and lifts my feet from behind my head and places them on the floor just above my head....that's above my head NOT behind my head...SAY WHAT? But I thought.......?

I asked Manju about it after practice and then in the Q and A session at the end of the day

from this post
http://grimmly2007.blogspot.co.uk/2013/08/manju-jois-tt-course-pt4c-of-4.html

MJ: "So have YOU got any questions?" 

(Manju looked right at me here, we'd been discussing a couple of things regarding asana in the break and I felt Manju wanted to mention them in the class. He'd been concerned about a couple of instances in the course book we were given where the chin was on the mat or knee rather than the forehead).

ME: I wanted to ask you about, you adjusted me today, thank-you, in supta kurmasana...

MJ: Yes

Me: ...and I learnt somewhere, somewhere or other I picked up that once you practiced Intermediate series then you do a dwi pada sirsasana  (both legs behind head while seated) entry to Supta Kurmasana, you go in with the legs behind the head...but I noticed you brought my legs out from behind my head (/neck/shoulders) (on to the top of my head)...

MJ: "Yes, they were never on top of your head in Supta kurmasana. It's all new. Yah there was never... you are not supposed to put your legs behind, they should always be..(above the head not behind) because if you look at a tortoise the head goes in the back is round. Somebody started doing that and in the future that's going to cause a lot of problems for people with their necks, it is not supposed to take so much weight. See that's when they are trying to slowly change all the things, not the way they are supposed to be doing it..."

Manju goes further though arguing it's not the asana, that like the turtle/tortoise, the head is insidethe shell thus behind the feet.


See this post
http://grimmly2007.blogspot.jp/2013/10/supta-kurmasana-legs-behind-head-or.html

Here are the two versions, leg behind head and leg above head.

Supta Kurmasana - legs behind the head or above the head

It's going to depend on your Shala which approach they encourage. I went to another teachers workshop following Manju's, put my legs above my head instead of behind whereupon the teacher sat on my back and lifted my feet behind my head (sigh).

And of course here's Sharath in his book with his legs behind head so it's something that's probably here to stay.



UPDATE: A note from Mysore

"Here in Mysore they don't care if you try it but its never a requirement. They will teach it to you after you're past dwi pada in intermediate though..."


Manju's concern is that there is too much pressure on the back of the head so perhaps if we are going to do the leg behind head version and even the Dwipada sirsasana entry then we should probably wait until we can get the legs more over the shoulder.

Here for instance is Sharath's Dwi pada sirsasana, it's quite beautiful, legs nicely over the shoulder no pressure on the neck at all. If you can practice your Dwi pada like this then it's probably pretty safe to settle into a leg behind head Supta Kurmasana and to use it as a transition.



So before we go jumping into the Dwi pada entry to Supta kurmasana or indeed, putting our legs behind our head at all we should probably be working on our Eka pada Sirsasana such that it becomes comfortably more over the shoulder than the neck.

It takes time.

First time we get our leg behind the head we get pretty excited but getting your leg behind your head isn't eka pada sirsasana. In eka pada sirsasana the leg is more over the shoulder, you're not bent double with your neck twisted but sitting up straight and able to breath smoothly.

I checked back through my blog and here's the earliest post I could find of trying to get my leg behind my head, Oct 08, I think I'd been practicing Ashtanga for about a year and a half.





See how hunched up I am, all the pressure is on my neck, I probably shouldn't be lowering until the leg is further over my shoulder and thus probably shouldn't be having my legs behind my head in Supta kurmasana either.

Rather than worrying about the leg behind head and dwi pada entry I should probably content myself with the good old Supta K shuffle

below from an older post
For the last couple of years I've been using the 2nd series Dwi pada entry (both legs behind head), now I had to try and remember how I used to get into it the old way. I used to do something I called the Supta K shuffle but it took me a week or so to re learn it. I'd always meant to film this as I've come across several blogger's mentioning that they struggle to get into the pose without a teacher to cross their feet for them.

So here it is while I remember, the trick is to shuffle the left foot as far over to the right as possible so it meets the right foot. Use the outside of the top half of the right foot to lever the heel up and over the left foot to hook them together, then you can move both feet to the centre of the mat and curl your head in. You can get in tight enough that you can lift up almost as if you do have both legs all the way behind the head.




Of course there is an argument  that we should be working on our leg behind head work in Supta kurmasana, right there in Primary series before we even think about eka pada sirsasana which is a 2nd asana in Ashtanga after all. Employ the shuffle until your able to have your legs more over the shoulder in Supta kurmasana.

The problem with this argument is that you're going be practicing leg behind the head supta kurmasana for quite some time while working on getting deeper into the asana. All that time the pressure will be on the back of your neck just as Manju warns, the damage could already be done before you eventually deepen the posture and make it safe.

My advice then is to stick with the legs above the head until you get to second series and begin working on Eka pada Sirsasana but don't think about lowering into the second form of the asana until your more over the shoulder.

Once that asana is comfortable work on Dwi pada sirsasna but again wait until both legs are nicely over the shoulder there before then bringing the dwi pada sirsasana entry into your primary series Supta kurmasana.

I say that's my advice but the problem with working on Eka pada Sirsasana in 2nd series is that there really isn't much prep. personally I feel that it's better to work on  Eka pada sirsasna in primary series, perhaps after the marichiyasana's or certainly after jan sirsasna. This is how it's approached in Vinyasa krama of course and was probably krishnamacharya own approach back in the 30's in Mysore, adding on more complicated variations of postures rather than a fixed sequence.

Leg behind head in Vinyasa Krama context

Vinyasa Krama Asymmetric sequence speeded up x4 Right side only





I know I know, it's hard to be patient, I was the same plus I didn't think I was getting any younger and thought I should rush through the series while I still could. And then there are all the cool kids and the fancy yoga selfies and all the teachers who feel the need perhaps to help sell their workshops on their fancy asana... because everyone else is, of course we're tempted.

The next part of this post will do just that, throw lots of fancy leg behind head postures your way but if you get to the end of the post you'll see that to be perfectly honest I feel would have been better off working on my maha mudra (like janu sirsasana before the fold), my pranayama... the fancy asana are fun for a while.... perhaps they keep us on the mat while our head matures a little.

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After discussing the legs behind the head my friend and I ended up talking about leg behind head postures in general which resulted in a post I rushed out last night before bed but am shifting into the wider context of this post.

FB update just turned into a blog post.

Chatting with my friend about leg behind head... memory lane, not sure I can do any of these any more. Buddhasana, top left is perhaps the only one I miss, nice place to breathe. Was fun exploring them but give me maha mudra any day.
Buddhasana, Kapilasana, Marichiyasana H, Marichiyasana G, Parsva Dandasana,
Durvasana, Chakorasana, Viranchyasana A, Viranchyasana B, Bhuja Dandasana, Kasyapasana. thanks to Matthew Sweeny's 'Ashtanga as it is' for the names, had forgotten most of them.

No wonder I'm looking comfortable top left, my arm should be wrapped around the leg to bind....


but more like this.


Krishnamacharya in maha mudra, jalandhara, uddiyana and mula bandha, long slow breathing, kumbhaka, dhyana focus.... yep.


I do have a soft spot for these two though.


......the idea was exploring long tones on the flute, the quality of the tone supposedly reflecting the proficiency of the asana.


This blog was always supposed to be about working towards and JUST getting a posture, trying to catch the first time I managed to get into an asana. The idea was that this might be as helpful for somebody else working on the posture as a beautiful example of somebody who has been practicing it for some time. Here are old Youtube videos of working on some of the leg behind head postures in the sheet above.




BUT...

I was asked how important asana are to me. Not so much, my current thinking is that they are, obstacles, hinderances is probably the better word (with all it's connotations), here hinderances for the breath. The asana is/are in the way... What's that book Claudia's been was raving about, something about the Japanese art of decluttering your house, I want to declutter the asana, find the space to inhabit it peacefully and breathe ever more comfortably.

But then, come to think of it, that's probably the argument for leg behind head postures, damned fine obstacles.


So perhaps the post is sending mixed messages, that's OK we're big enough to decide for ourselves what and how we do and don't practice.


 "The Life-Changing Magic Of Tidying Up: The Japanese Art of Decluttering and Organizing" see Claudia's post HERE

Note: Claudia interviewed me for her Yoga Podcast that's launching this month, see her blog for details.

Outtakes: Ashtanga Parampara with Magnolia Zuniga and a question regarding the breath with Jessica Walden

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Outtake video below from Double Booking with Les Twins, Magnolia Zuniga (left) and Jessica Walden (right).
Another Fascinating interview by Lu Duong for the Ashtangaparampara interview platform (http://www.ashtangaparampara.org/), this time with Magnolia Zuniga. I'm not going to put up a post every time Lu posts an interview (although I might) but this was such an interesting read plus corresponded with a question I asked Jessica regarding the breath this week and the stumbling upon an outtakes video.

Magnolia Zuniga

Here's a taste of the interview with Magnolia...

LU DUONG: "Hardly! You mentioned that you had to take a step back from Ashtanga as it created too much heat in your body. For practitioners coming into the practice seeking healing for their body, do you recommend Ayurvedic treatment or study in conjunction with the practice?

MAGNOLIA: "Yes. I encourage students to incorporate additional ways to support their practice. The practice inspires divine and material change. Because the practice is so potent, practitioners may need additional support and guidance. I offer Ayurveda and scriptural study because that is what I’m familiar with. However, each student has their own appetite and aptitude. Which brings me to a question I ask (mostly to myself) repeatedly. What is the appetite and aptitude of a particular student at any given time? How do I meet the student there AND how do we reach slightly beyond that point? The answer changes. It's important for me, as a teacher, to be receptive and welcoming to the varying degrees I meet without allowing complacency, laziness or fear to take over. Or perhaps complacency/laziness/fear is a place we’ll visit, but only a short time.
The Ashtanga method, like anything else, can create further imbalance when practiced incorrectly. By correctly, I mean emphasis needs to be places where it belongs; breath, dristi, bandha. But, this requires a lot of work, every day, for a long period of time. For example, if a student is taught too many postures too quickly or if the emphasis does not continually come back to that foundation, than the body and mind will suffer. The practice is simple in its requirements.
I find Ashtanga fascinating because it requires you to take care of yourself. There is no yoga binging allowed. Otherwise, you’ll hurt yourself and/or bail. Eventually practitioners hit a point where they need to make different lifestyle choices. Our actions and thoughts will need to be reflected upon, and revised with a fine tooth comb...or a sword. Your choice. This is frustrating because we want a quick fix and we want to feel good about it. The daily discipline of Ashtanga Yoga is rarely understood, let alone encouraged. But, it’s punk rock and does not abide by societal norms. I love that. "

At the end of the interview there are a couple of pictures as usual but also this video with a former interviewee of Lu and Ashtangaparampara, Jessica Walden (LINK to Interview).




LOOK what I found,  Outtakes




And to stay with Jessica for a moment I asked her a question recently about her breath on this stunning video.


Grimmly: Wonderful Jessica, love this. Can I ask your say a little more about how you're 'working with the breath' here. I'm trying to breathe with you as I watch. Are you lifting up to tittibasana on a kumbhaka then inhaling once all the way up to handstand, kumbhaka then exhaling slowly all the way down or are you taking an extra breath at the top.....?

Jessica Walden: Hi Anthony! When I lift up to tittibasana, I am inhaling and still inhaling as I begin to lift my bum upward. Then as I continue to lift into handstand I am actually freely breathing. As I lower I am also feely breathing. As I lift up again, I am inhaling. So the lift always begins on the inhale but I never hold or retain the breath (kumbhaka) because it creates too much tension in the head. I find a soft breath that I can access throughout so that the movements feel effortless and I can find a place of mediation, balance and focus. The breath is not hard and it is not retained. Does that help at all? 

Theres such focus and control here, such refinement of breath that it leads me to consider revisiting arm balances. I'd dismissed them as playing to my strengths (as a guy with a relatively strong back and shoulders) and being more about ego and perhaps self promotion. Here though all I see is practice, asana as techné, poesis, episteme. ('craft', 'bringing forth', 'knowledge').

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UPDATE: While collecting the links I noticed an interview I'd missed altogether with Bibi Lorenzetti, you'll excuse me if I quote this bit at the end of the interview

http://bibilorenzetti.com/

LU: What is your advice to self-practitioners who aren’t in a position to visit a shala daily?

Bibi: Find ways to motivate yourself; get your friends, siblings involved. Talk about the way practice makes you feel. Be exited, be angry, be curious, be disinterested but make the commitment to show up. There are many sites, videos, online communities now as the Ashtanga method spreads - find a way to be in touch with other practitioners around the world. Read blogs about the practice, watch videos. And most importantly, try to make  at least a monthly or bimonthly trip to a shala if possible so that someone can monitor your progress. And, make sure you are doing things properly. That will also ensure your fire is kept alive. Go to Mysore! 


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And also this interview with my mate Steve Hyland (whose interview I linked on an earlier  but I don't think quoted.


The quote below I like because it focuses on yamaniyamas and I've just been crafting a post on them and how, if we bring attention to them early on in our practice rather than putting them off, they can help preserve our practice. I know this because I've let my own attention to them lapse and lost some discipline that might have helped me in preserving my own practice through all the upheaval of the last year and the restlessness that as ensued. I'm managed to keep on the mat but it's been a struggle and an at times minimal maintenance practice can only go so far, the yamas and niyamas can be a support.




LU: Steve, you spoke at length about the Yamas and Niyamas and the importance of seeing beyond just asana. Can you share about how you might discuss cultivating the practice off the mat to a student?

Steve: As I mentioned earlier on, I was very late realizing this myself, but I can’t change my past. If we go beyond asana and begin to appreciate that the Yamas and Niyamas help us to reprogramme our nervous system, it might start to wipe a little bit of the dust off of our mirror (to use that old cliche). 

Similarly, with the prolific texts, like the Bhagavad Gita. Reading it is okay, but to really find the beauty and the timeless wisdom in it, we should start living it. Think about this for example:

‘When we think about sense objects, attachment comes. Attachment breeds desire, the lust of possession. If desire is thwarted, it gets confused and anger can arise. Anger clouds the judgement, and we no longer learn by past mistakes. Life ceases to have meaning’. 
(source: “The Essence of Bhagavad Gita” Eknath Easwaran)

That’s just the tip of the iceberg but it can help us so much to live our lives lightly, if we internalize it. Aparigraha (non-possessiveness), Santosha (contentment), even Asteya (non-stealing) all become active forces in our life (practice).

When if we start to build this into ourselves, it seems logical too that the asana experiences change for the better, because of the interaction between the physical body and what’s beneath. The universe(ity) of yoga invites us in. 




See my earlier post

Confessional, Note to self, Yama Niyama

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Around the Blogosphere

"Oh, student. This is the next posture. The fact that you cannot tell the difference between how you're doing it now and the last time you did it tells me that you're still a beginner."
My favourite bit from David Keil's detailed interview with Claudia is actually from Claudia herself

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Also, another excellent interview from Lu Duong on his Ashtanga Parampara interview platform.
this time he's with with Megan Riley http://www.ashtangaparampara.org/megan-riley.html 
Nice long answer on 'Home practice' and most Ashtanga teachers end up as home practitioners sooner or later.



Confessional, Note to self, Yama Niyama

Handwritten notes are supposedly IN
OK,  this is cheating, a handwriting font but it's still knocked off with minimal editing, it is as it is...

( as it happens I wrote this yesterday before practice and ended up with a nice 2nd so perhaps it helped, therapy)




Re the note to self. This is the practice that has worked for me for the last few years but that I've allowed to slip somewhat over the 9 months. It's a reminder to myself than anything else.
Not everyone will feel they have time to practice in the evening as well as a little pranayama at noon or before bed, however a gesture can be enough, taking a few minutes to bring attention to the breath and if alone perhaps to formally raise and lower the arms with the breath....


Here are a few different treatments of  the Yama and Niyama's first Ramaswami's overview from his book Yoga Beneath the Surface, then his teacher of over thirty years Krishnamacharya's ( Yoga makaranda 1934 and Yogasanagalu 1941)who has ten of each rather than five  and finally Pattabhi Jois from Yoga Mala who goes into more detail quoteing from Patanjali throughout.

It's unlikely many will have time to read all of this in one go so I've turned this and an earlier post with flashcards into a stand alone page at the top of the blog.

Ramaswami 
from Yoga beneath the Surface

Yama comes from the root yam, meaning "to control." Control
of what?  Control of one's relationship with the extemal world.

The yamas are:

Ahimsa (nonviolence) - don't harm others. Your rela­ tionship with ali beings in the universe is governed by ahimsa. You should practice nonviolence in your rela­ tionship with ali beings, without exception. According to the texts, you should not harbor violent thoughts, nor speak in a way that hurts or physically harms others.

Satya (truthfulness)- don't lie. Truthfulness should gov­ ern your communication with others.

Asteya (noncovetousness)- don't steal or covet others' possessions.

Brahmacharya (celibacy/faithfulness)- don't transgress the institution of marriage.

Aparigraha (nonaccumulation) - do not pursue wealth and power.

Why are these controls necessary? Because without them, you will constantly be distracted by the elements of the externa! world and all of your time is going to be consumed by fights, deception, and other corrupting thought processes, the very mental activities the yogi wants to eschew to begin with. These are not far ordinary people, but a serious yogi can make little progress without them.

The yamas are the "don'ts," whereas the...


Niyamas 
are the "dos:' They are:

Saucha (cleanliness) - cleanliness of the body and purity of rnind.

Santosha (contentment) - contentment all the time, irrespective of the situation.

Tapas (austerity) - restraining the senses. My teacher would say that moderation in food and speech are the hallmarks of this yogic trait.

Swadhyaya (study of scriptures) - study of all relevant yogic and other spiritual texts, which helps the yogi to understand yoga better.

Ishvarapranidhana (worship of the Lord) - doing one's duties diligently as an offering to God.

There is no violent yogi. Nor is there one who utters falsehood. Bandit yogis are nonexistent. Philandering and yoga do not mix. Avarice also is not a yogic trait. Yogis have clean minds and bodies. Contentment is the hallmark of a yogi. Moderation is a yogic virtue. A yogi is a scholar as well. All that the yogi does, he does so with a sense of loving offering to God.

All the yarma niyamas are to be practiced, or may I say adopted, by the yogi. They are necessary prerequisites and required to be developed as a habit.

Here's Krishnamacharya's list of ten each (yep he has 10 not, sorry) from Yoga Makaranda (1934).

The language may at times seem strange, the game is to find ways to frame them such that they become relevant to us today, it's an interesting and revealing exercise.

Link to Amazon

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2.1 Yama and Niyama  from Krishnamacharya's Yoga makaranda

Ahimsa, satya, asteya, brahmacharya, kshama, dhrthi, daya, arjavam, mitahara and sauca — these ten are called yama. 

1. To never harm anybody through mind, speech or action is ahimsa.

2. To always speak the truth with good intentions and through that be of use
to all living beings is satya.

3. To not usurp other people’s wealth through mind, speech or action is called
asteya.

4. To not waste your viryam by any means is called brahmacharyam.

5. To not change the state of your mind irrespective of whether you get the expected benefits of your actions or not is kshama (equanimity).

6. Whatever hurdles arise to your happiness or welfare, to continue to undertake with mental steadfastness and courage whatever work that has to be done is dhrthi.

7. Be it enemy, friend, stranger (an alien or somebody you are unconnected to or indifferent to) or relative, to behave towards all with the same good intentions without differentiation is daya.

8. To keep the state of mind honest (on the straight path) is arjavam.

9. To use half the stomach for food and to keep the other half in equal parts
for water and for air flow (vayu sancharam) is mitahara.

10. To maintain cleanliness internally and externally is sauca.

To not hoard money is called asanchayam and this is also a yama. To perform good deeds without fear is a yama. 


Tapas, santosha, asthikya, daana, isvara puja, siddhanta vakya sravana, hri, mathi, japa, homam — these ten are called niyama.

1. Cold and hot, joy and sorrow, adoration and aversion — to maintain a steady state of mind when encountering these and to follow the dharma of your caste is tapas.

2. The sorrows and pleasure that result from any occurrences due to variations of time and place — to accept these with a peaceful, contented mind is santosha.

3. To have definite belief that for all the fourteen worlds, there is one para- matma who protects these worlds and to be sure that without him, this diverse universe could not have come into existence, and to make up your mind to find and know (realize) this paramatma is asthikya.

4. To give away your earnings (earned honestly) to good causes without any reason and without expecting any returns is daana.

5. To worship one’s chosen deity in the proper manner according to the vedas is isvara puja.

6. For the purpose of establishing sanatana dharma, to study the vedas, the vedanta, smrti, the puranas and ithihasas, to do vedic study and recitation of these, to understand the functioning of various dharmas, and to listen to the discourses of great sages is siddhanta vakya sravana.

7. If you have strayed with one of the three — your body, possessions or spirit — out of ignorance, to inform the elders about this without hiding it, to feel remorse and promise never to repeat it, and to be humble in one’s mind is hri (modesty).

8. Following one’s path as specified by the sastras and while doing this to visualize with one-pointed mind the divine auspicious form of one’s chosen deity and to perform dhyana on this deity is mathi.

9. To properly chant the great mantras learned under the guidance of one’s guru with correct intonation, metre and rhythm and with understanding of their meaning is japa.

10. Nitya naimitika kaamya are the three types of srouta smarta karmas (pre- scribed or recorded vedic rites and rituals). Leaving aside the kaamya karma (action or rite performed with a self-interested motive or with a view to- wards desired results), to perform the nitya naimitika karmas (nitya karma is a constant or continuous rite or action, naimitika is a regularly recur- ring or periodic rite or action) at the proper time in order to please the devatas, and after reciting all the mantras to put the havis (rice) in the fire as described in the sastras is homam.

These ten yama and niyama should be carefully practised as far as possible. This will have many benefits. The third part of yoga is asana.

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But if you prefer to stick with just five for now here's Pattabhi Jois fromYoga mala

HOW CAN WE MAKE THE MIND ONE-POINTED SO THAT WE MAY SEE THE Universal Self?

This is what ashtanga yoga teaches.

The word ashtanga means eight limbs, or steps, and these comprise: yama; niyama; asana; pranayama; pratyahara; dharana; dhyana; and samadhi.

YAMA

Yama, the first limb, consists of five parts: ahimsa; satya; asteya; brahmacharya; and aparigraha.

AHIMSA
Ahimsa means not causing injury to anyone, including animals, in any form, at any time, or for any reason, in word, thought, or deed. If an injury has Vedic sanction, it does not constitute ahimsa. Two animals hostile to each other will forget their hostility in the vicinity of those who practice absolute ahimsa.

SATYA
Ahimsa pratishthayam tat sannidhou vairatyagah.
[Upon being established in non-hurtfulness, there is
a relinquishing of hostility in the presence of that (ahimsa).]
—Patanjali Yoga Sutras ii : 35

What is satya? Satya is truthfulness. One should always tell the truth in thought, word, and deed. The truth must be pleasant to others; an unpleasant truth should not be uttered. If one follows the truth in this manner, all one’s words will become true and all one’s desires will be fulfilled.

Satya pratishthayam kriya phala shrayatvam.
[Upon being established in truth, there is surety in the result of actions.]

ASTEYA
—Patanjali Yoga Sutras ii : 36

Asteya means not stealing the property or possessions of others. Being envious of or begrudging another; cheating someone with sweet words; gaining selfish ends under the guise of truthfulness: all are to be abandoned. Heaps of gems fall before the yogi who practices asteya, and he becomes the abode of all gems.

Asteya pratishthayam sarvaratna upasthanam.
[Upon being established in non-stealing, there occurs the attainment of all prosperity.]

BRAHMACHARYA
—Patanjali Yoga Sutras ii : 37

Now, let us discuss brahmacharya. What is its meaning? Is it
merely the retaining of vital fluid? Does it signify unmarried student life? Brahmacharya is not possible by means of the mere retention of vital fluid. Becoming one with the supreme Brahman alone is brahmacharya. Were the holding of vital fluid itself brahmacharya, it would be a thing impossible to do. There are currently many obstacles to the easy
practice of this limb of yoga, and our Shrutis and Smritis, too, speak of eight types of obstacles:

Smaranam kirtanam kelih Prekshanam muhyabhashanam Sankalpah adhyavasayascha Kriya nishpattireva cha
Etam maithunam ashtangam pravadanti manishinah.
[Remembering; celebrating; amorous play;
viewing; infatuated discussion; planning; determination; and the effort of one who has no partner: the wise declare these to be the eight limbs of romantic activity.]

(NOTE: WHAT FOLLOWS IS A LONG PRESENTATION BY PATTABHI JOIS ON BRAMACHARYA, YOU AMY WANT TO JUMP AHEAD TO THE NEXT YAMA, APARIGRAHA AND COME BACK LATER)

Maintaining brahmacharya nowadays is difficult because there are so many things that attract the mind in different directions, such as theaters, pleasure houses, restaurants, and the like. The preservation of brahmacharya is thus an uphill task.

Now, a question arises. If we cannot maintain brahmacharya, does it not amount to saying that yoga is impossible for us? No, a man can achieve some degree of brahmacharya. If he is to achieve it, however, he must avoid the following as much as possible: mixing with vulgar people; going to crowded areas for recreation; reading vulgar books which disturb the mind; going to theaters and restaurants; and conversing secretly with strangers of the opposite sex. If these are avoided, brahmacharya can be preserved in part. For it is by brahmacharya alone that we are able to achieve impossible tasks: to live longer; to conquer death; and, above all, to know the true Self. This is the substance of Patanjali’s sutra:
“Brahmacharya pratishtayam virya labhah [Upon being established in brahmacharya, vital energy is obtained].”

We should thus first seek to preserve this yogic limb.

As Patanjali’s sutra clearly states, a gain in vitality is brahmacharya’s fruit. If a gain in vitality is the fruit and, in the case of householders, there is occasion for a loss of vital fluid, does it mean that a householder cannot attain brahmacharya? This, of course, is true: householders lose brahmacharya owing to seminal loss. With the loss, they lose the strength of their bodies, minds, and sense organs; in addition, moksha [spiritual liberation] and the capacity to perceive the soul or realize the true Self become impossible. In the absence of the knowledge of one’s own Self, one remains in the cycle of birth and death, and thus must continue to suffer in this sapless and despicable world. However, understanding properly the meanings of the words brahmacharya and virya labhah, and then putting them into practice, leads us to the supreme goal.

Tasmat shastram pramanam te karyakarya vyavasthitou Jnatva shastra vidhanoktam karma kartumiharhasi [Therefore, the sacred teaching (shastra) is your measure in deter- mining what is to be done and what is not to be done. Knowing what is said in the shastra, you should act, here in this world.]
—Bhagavad Gita xvi : 24

In accordance with these divine words, it is important for us to study the scriptures perfectly, to understand their import properly, and to bring them into practice. The scriptures should never be neglected, for they have been given to us for our upliftment. If we denounce them, and behave like animals instead of following their path, then there will be nothing but ruin in store for us. Hence, the righteous path of the scriptures is vital.

Among the stages of life, the second is that of the householder. If we take only seminal loss into account, then a householder cannot attain mukti [spiritual liberation]. However, when we consult the scriptures, we find it said that, for householders, seminal loss by itself does not endanger brahmacharya and that, in the truest sense of the word, the householder alone can attain brahmacharya. In the words of the mantra:

Ye diva ratya samyujyante pranameva praskandante Tatryrudrarau rathya samyujyante brahmacharyam eva [Those who daily engage their energy through romantic activity truly dissipate (their energy). Those who take delight when the enemy of Shiva (Kama/Cupid) is in decline indeed engage in brahmacharya.]

By examining this scriptural statement, we come to know that if a man has sexual intercourse with his wife during the daytime, his power of vitality will be lost and, in a very short time, death will conquer him. To counter this, the young men of today offer a different argument. They say, “If a man has sexual intercourse with his lawful wife during the day, his power of vitality is, of course, decreased. Agreed! But what about sex with other women? Where is the fault in that?!” This is only the question of perverted rationalists. Intercourse with other women is always forbidden and, as has been said before, it is, even mentally, harmful to brahmacharya.

Leaving that aside, the shastrakaras state that if sexual intercourse is engaged in only at night and in accordance with the menstrual periods, then even householders and the like can be regarded as
brahmacharis.  But the matter of day and night, as well as of the appropriate time for copulation, have to be taken into consideration. Normally, we consider day as the period from sunrise to sunset. Similarly, we consider night as the period from sunset until the time of the sun’s rising again. However, the way of determining day and night for yogis is different. Of the nostrils of the nose through which we breathe, the

right one is known as surya nadi, and the left one, as chandra nadi.  For yogis, day and night are determined on the basis of these two nadis. During the day, meaning from sunrise to sunset, the two nadis are not to be heeded. However, during the nighttime, their transformation should be considered. If, during the night, the breath is felt to be moving through the surya nadi, that is, if the wind is coming and going through the right nostril, then that is to be regarded as the daytime and, during that period, copulation and the like are not to occur. If, during the night, on the other hand, the breath is moving only through the chandra nadi, then that is the occasion for sexual activities. (Should the chandra nadi become active during the daytime, however, it must not be taken as an occasion for engaging in sexual activities.) In this way should householders who are righteous—whether they be yogis or not—ascertain day and night.

In addition to the matter of day and night, the menstrual cycle must also be considered. The interval between the fourth and sixteenth day of a woman’s cycle is regarded as the correct time for intercourse by scriptural experts. Beyond the sixteenth day, however, it ceases to be correct; vitality will be lost and the act will not be fruitful following intercourse after the sixteenth day. When we accept the stage of the householder, we make a promise to God, Guru, and our parents in this way. We also make a promise that we will do nothing apart from our lawful wife with respect to dharma, artha, and kama [righteousness, wealth, and desire, respectively]. Hence it is very important that we beget legal progeny. Engaged in after the sixteenth day, as well as on the days of the new and full moons, the transitory day of the sun (when the sun monthly enters a new constellation), and the eighth and fourteenth days after the full and new moons, sexual intercourse and the like are not related to brahmacharya. Union with one’s lawful wife should be undertaken for the sake of begetting good progeny, and only after determining the vitu [period between the 4th and 16th days] and kala [time], and not on any other days, not even in the mind. Thus, in view of the fact that scriptural experts inform us that a householder who follows the injunctions and rules can be regarded as a brahmacharin, then even a family man becomes highly eligible for the practice of yoga, due to his ability to preserve his brahmacharya. Thus, brahmacharya does not mean the holding of vitality, though there is still no room for its squandering.

In truth, establishing the mind in the supreme Brahman, without allowing it to wander here and there, is brahmacharya. The word veerya means vitality. The transformation of the thirty-second drop of blood is veerya, or dhatu [semen]. If the strength of the mind, as well as of the sense organs, is to be preserved, then the strength of the dhatu, which is the effect of the blood’s transformation, must also be preserved. If dhatu is lost, the strength of the mind, as well as that of the sense organs, will also be lost, and it will not be possible to perceive the nature of the Self. Therefore, to say that from brahmacharya there will be a gain in vitality is to say that if the mind turns toward the Inner Self for the sake of knowing the nature of the Self, then the strength will increase. Conversely, if the mind is interested in external objects, then the strength will be dimininished. From the scriptural statement, “Nayam atma balahinena labhyah [The Self cannot be gained by the weak],” we see that mental strength is greater than physical strength. Therefore, if the mind is to be steadied and brought to concentration, it must contemplate the Supreme Self at all times. In other words, whether working, sleeping, eating, playing, or even enjoying intercourse with one’s wife—that is, during the three states of experience, namely waking, dreaming, and deep sleep, and in all objects—one should think of the Supreme Self at all times. If the mind is thus given to the constant thought of the Supreme Self, then its strength will increase. And it is this strength that should be regarded as brahmacharya.
If brahmacharya of this kind is achieved, then the capacity to realize the Self, which is the result of a gain in vitality, will be attained. With this, the dhatu, which is the effect of the transformation of the blood, will not be lost, but will continue to nourish the body properly. Only the strong, not the weak, can perceive the Self, as the scriptural statement above tells us. Therefore, the meaning of the phrase virya labhah is indeed correct. Hence, the great importance of brahmacharya.

Brahmacharya pratishthayam virya labhah.
[Upon being established in brahmacharya, there is the attainment of vital energy.]

APARIGRAHA
—Patanjali Yoga Sutras ii : 38

What is aparigraha? If the mortal body is to be sustained, things like food are essential. After all, by sustaining the body, does one not attain divinity through following the righteous path? Thus, the food we eat should be pure (sattvic), untainted (nirmala), and acquired through righteousness, and not be secured by cheating, deceit, persecution, or other unjust means. Only taking as much food as we need to maintain our bodies, and not desiring things of enjoyment which are superfluous to the physical body, is aparigraha. If the limb called aparigraha is firmly practiced, details of previous and future births are revealed to the yogi.

Aparigraha sthairye janma kathamta sambodhah.
[Upon a foundation of non-possessiveness, there arises the full understanding of the wherefore of birth.]
—Patanjali Yoga Sutras ii : 39

EACH OF THE FIVE SUB-LIMBS ABOVE IS ASSOCIATED WITH YAMA, THE FIRST limb, and only the actions of previous lives will lead us to practice them. Thus, the mind will turn itself to the practice of yoga only when a samskara or vasana is present. Yet even where a samskara exists, aspirants must expect to practice the yogic steps with effort.


NIYAMA

We come now to a discussion of niyama,
the second step, which has five sub-limbs: shaucha; santosha; tapas; swadhyaya; and ishwarapranidhana.

SHAUCHA
There are two types of shaucha, or purification: bahir shaucha [external purification] and antah shaucha [internal purification].
Bahir shaucha, the first, involves washing the outer part of the body with red clay and water. By rubbing the body with clay, sweat and dirt are removed, and the body becomes soft and shiny.
The second, antah shaucha, means viewing everything and every being as a friend, and treating all with affection (maitri). This means engaging the mind with the supreme feeling that all are our friends, and considering everything to be a reflection of God. Such focusing of our attention on the Supreme Being is antah shaucha.
From this twofold shaucha, a loathing is developed for the body, which is seen as abominable, essenceless, and perishable, and a disgust is felt when touching the body of another. It is then that one feels the body’s purity and thus hesitates to indulge in sin.

Shauchat swanga jugupsa parair asamsargah.
[Owing to purity, there is a desire to protect one’s own body, being the non-contact with whatever is adverse (to that).]

SANTOSHA
—Patanjali Yoga Sutras ii : 40
Santosha, or contentment, is a notion we are all quite familiar with. Ordinarily, human beings experience elation when their incomes unexpectedly rise or they experience a windfall of some type. Yet happiness of this kind is momentary and short- lived. Whether one is rich or poor, whether the Goddess of Fortune smiles on one or not, or whether honor or dishonor comes to one, one should never feel dejected. Keeping the mind focused in a single direction, always being happy, and never feeling regret for any reason, this is the contentment known as santosha. If santosha is practiced, unsurpassed joy comes.

Santoshad anuttama sukha labhah.
[Owing to contentment, there is an unexcelled attainment of happiness.]

TAPAS
—Patanjali Yoga Sutras ii : 42

Tapas means observances performed to discipline the body and sense organs. According to the Yoga
Yagnavalkya: “Vidhinoktena margena Krchra Chandrayanadibih, Sharira Shoshanam prahuh tapasastapa uttamam [Sages well- versed in austerity say that performing penances such as krchra and chandrayana (food regulation in accordance with the lunar cycles), which discipline the body in accordance with the scriptures, is the greatest of all the tapas).”
Thus, tapas that follow the injunctions of the shastras should be regarded as great. By means of them, impurities are destroyed, the antah karana [the inner instrument, made up of mind, intellect, ego, and the faculty of discrimination] becomes purified, and the body and sense organs are perfected.

Kayendriyasiddhirashuddhiksayah tapasah.
[The perfection of the body and sense organs is due to intensity in spiritual practice, being the elimination of impurities.]

SWADHYAYA
—Patanjali Yoga Sutras ii : 43

Swadhyaya is the recital of Vedic verses and prayers in accordance with strict rules of recitation. Vedic hymns must be recited without damaging the artha [meaning] and Devata [deity] of a mantra through the use of a wrong swara [pitch] or the improper articulation of akshara [letter], pada [word], or varna [sentence].
The Gayatri mantra forms the basis for the study of all Vedic verses, or mantras, which fall into two
categories: the Vedic and Tantric. Vedic mantras consist of two types, namely the pragita and apragita, and Tantric mantras, of three types: the strilinga; pullinga; and napumsakalinga. To learn their nature, a text known as the Mantra Rahasya must be studied. However, as mantras such as these are not very helpful to raja yoga, we shall put off discussing them for the time being.
Gods related to the mantras give siddhis [powers] to those who chant them and ponder their meanings, and a Satguru [true or supreme Guru] should be consulted to learn their secrets.
Swadhyayad ishtadevata samprayogah.
[Owing to the learning and application of personal mantras, there is union with (one’s) desired deity.]

ISHWARAPRANIDHANA
—Patanjali Yoga Sutras ii : 44

Ishwarapranidhana, or surrender to God, means carrying out all our actions, spoken or unspoken, without desiring their fruit, and offering their fruit to the Lord. This is the message of the great sages:

Kamatah akamatovapi yat karomi shubhashubham tat sarvam tvayi vinyasya tvat prayuktah karomyaham. [Whatever I do, whether out of desire or not, good or bad, having surrendered all that to you, I act as directed by you.]

Such an offering is known as ishwarapranidhana. Through ishwarapranidhana , samadhi [union with the Supreme] is attained, which in turn leads to the attainment of perfection and fulfillment.
Samadhi Siddih Ishwarapranidhanat.
[The perfection of samadhi is due to the perfect alignment of attention with the omniscient seer within.]
—Patanjali Yoga Sutras ii : 45

Link to Amazon.com
Beware the kindle edition

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Appendix

Krishnamacharya on Yama  Niyama in Yogasanagalu (1941)
See page at top of blog with ongoing translation ( the translation of the original book is complete but still an additional chapter included in later editions to come).
http://grimmly2007.blogspot.co.uk/p/yogasanagalu-translation-project.html

6. Yogangas


Yama, niyama, asana, pranayama, pratyahara, dharana, dhyana and samadhi are the eight steps in the yoga sadhana.

7.  1st Limb: Yama and its inner modules


Non-violence, honesty and truthfulness, non-stealing, Brahmacharya (chastity) and non desire for other’s property.  These are the five Yama’s under the first step of yoganga.

If we continue to practice this in the right way, our conflicts and other evil behaviors will be burnt to ashes from its roots and the author can envisage that such grossness of body and mind can not become reestablished.


8. Fruits of the 1st Limb


Above listed five foundations of the the 1st limb are: Ahimsa, Sathya, Asteya, Brahmacharya-Pativratya, and Aparigraha.  If we start practicing these principles in a small way, diseases related to the body, organs and mind will stop being obstacles to a happy life.  Practicing these will become joyful.

9. 2nd Limb: Niyama and its classification


1. Cleanliness in food, pleasure, sports, bath, body, mind and other activities in both internal and external aspects – this is called purity.

2.  Not feeling jealous of other people’s wealth and not feeling proud compared to other’s poverty, being always cheerful.  This is called contentment.

3. Not feeding our body which carries our life effortlessly with excess fat and performing fast at appropriate times so that the body fat can be decreased, eating moderately and on time.  This is called Tapas.

4. To prevent evil and impediments in life and to gain knowledge one must read vedas, puranas, scriptures, chant holy mantras while ruminating on its meaning and teach others.  This is called Swadhyaya.

5. Who built this tree of universe that has not stopped changing from the very minute (atomic) times undergoing many beautiful and wonderful changes;  Who must eat fruits bearing from this tree?  Why is that all are not eating these fruits equally without differences?  What is the reason?  Could someone like us plant another tree like that?  Why not?  The eternal that does not dry up but continues to give required fruits to the souls.  This creator, is he in front of us or not?  If not how does this work?  Without doubt we all realize that work does not happen without a reason. Therefore, one who is giving us this variety of unlimited fruits without end in this tree of universe must be immensely powerful, with unlimited knowledge, unfathomable, have infinite empathy and having many other amazing qualities.  His existence is documented in all vedas and puranas.  Although he exists, the reason we are not able to witness, we have to admit is our deficiency in body, faculty and mind.  Our ancestors called and praised him as “Paramatma and Sarveshvara.”  We have to resolve that we will practice sadhana to be able to see Paramatma and offer to Sarveshvara with great devotion our spiritual practices, without desire for any benefits. This is called Ishwarapranidhana.

10. Benefits of the 2nd Limb


From the above five, the first one will purify body and mind, remove environmental flaws, second will give mental happiness/contentment at all times, third one will reduce bad fat
from the body making it swift and light, fourth one will make you realize Jeevatma, Paramatma, and the essense of the universe, fifth one removes ego and selfishness.  In today’s state, we need all of the above five that are elements of the 2nd limb.


ALTERNATIVELY....

Last post: 'Love your practice...', Routine - Discipline - Dedication - Devotion - Surrender - Notes to self

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Love the practice for it is the path of enquiry, 
love the first step as much as the last.

Maybe it doesn't matter how fast or how slow we practice, or perhaps what we practice. More importantly, do we practice (something) everyday, has practice become a routine, the routine a discipline (tapas). Have we become dedicated to the practice such that other aspects of our daily lives support it (EG. bringing in other limbs, yama/niyama or reflection on our own cultural ethical traditions). Developing routine and dedication, we can spend a long time here, years even and may need to keep coming back to routine to re enforce dedication. Is dedication leading to devotion, devotion to a path of self knowledge, whatever that knowledge/realisation may end up being. Yoga is radical enquiry (in the form of direct experience), we can't prejudge what we may find, the surrender is in being prepared to accept whatever we discern to be true and devotion ( to the enquiry/practice) an end perhaps in itself.

My experience is that the Ashtanga approach is excellent for engendering...


Routine - Discipline - Dedication... and perhaps Devotion - Surrender



The argument goes that as we practice (routine) and as our practice becomes ever more sufficient for us ( dedication) we become less attached to the, lets call them sensory objects of the world. This is preparation for yoga, routine and a disciplined practice can help in this loosening of attachments.

As our practice, perhaps with the assistance of other limbs, deepens, as we become more reflective we may notice how the constructed, re enforced, propped up self can seem to drop back/away somewhat, become less dominant. A realisation arises that perhaps what I had hitherto experienced as self may not be quite what I had thought.

What then? Is there still awareness, consciousness, who is aware, what conscious.... Devotion to this line of enquiry is devotion to knowledge, yoga can develop a keen tool of enquiry, Ekagrata  one pointedness.

If the old texts are... insightful, perhaps as the constructed self drops away, what is left is (to employ the Samkhya model but are any of these pervious models still sufficient for us ) purusha, awareness, just awareness. I say 'just' but for the shastras purusha is universal awareness, other terms for this depending on ones inclination/preference are Lord, Creator ( as in that which creates), God.

Devotion to practice then is profound love for the path of enquiry which may lead to greater knowledge and understanding of self and/or of god.

Love is surrender in that we seek not to own ( to project ) but to know (through direct experience).

In this line of thinking,  devotion to practice, whatever form the practice takes for you is an end and sufficient  in itself

Love your practice for it is the path of enquiry, love the first step as much as the last.

***

I'd  forgotten about the speeded up version of this video ( Speeded up x4 to pretty much the same pace as Sharath takes in his Ashtanga primary DVD for the same postures - no judgement implied just showing up a different approach
Link to Actual speed version https://www.youtube.com/watch?v=9joBgtyPphA) :  (see below).

So this is Oscar Montero and I practcing at Yoga Centro Victoria, Leon, Spain last year.

Oscar is practicing Vinyasa Krama I'm running through Krishnamacharya's primary group asana in Ashtanga order but with perhaps longer, slower breathing and short kumbhaka (breath retention) on the appropriate inhalation or exhalation ( rough guide: if the head is up hold the breath in after inhalation, if the head is down hold breath out after exhalation).

Problems with the camera so we lost the standing sequence, video comes in at paschimottanasana and camera stops after about twenty minutes ( here speeded up to five minutes).

Because it's a slower practice I tend to practice half an ashtanga series each morning, one day the first half of primary, next day the second half, day after that the first half of 2nd series or middle group asana.

This is arguably the approach to asana Krishnamacharya presents in his 1934 book Yoga Makaranda (but put in the order of his second 1941 book Yogasanagalu - close to current Ashtanga).

This was at the time he was teaching the young Pattabhi Jois in Mysore.

Did Krishnamachaya actually get to teach this way, did he want to teach this way, was this his own approach to practice, how he was taught by his teacher perhaps.

The main difference with this and his later teaching is that later the vinyasa to and from standing tended to be more implied.

The sequence never seems to have been fixed, more groups of asana.

First the speeded up version then the actual speed version.






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Appendix : More on Purusha 

And today, how would we seed to elucidate the fulfilment of our enquiries, which model(s) would we, or those on our behalf, construct, in what world view would it be embedded, what language would we struggle to employ, how would we seek to support, justify, explain our experience. 
Here's what the ancients ( or perhaps not so ancients ) came up with, does it still speak to us, resonate?

The Purusha sutra : A text on transcendence and immanence 

The Primeval man ( Purusha)
The Rig Veda X.90 and the White Yajur Veda Ch.31

Purusha is explained in the Nirukta as one resting within the body (puri-shaya) or one pervading (filling) the cosmos.

Thousand heads has the Purusha,
So too He has thousand eyes and thousand feet;
Pervading earth on all sides (spanning 10 directions)
and heart measuring ten fingers (spanning 10 senses).
He yet exceeds all, within and without. …1

Purusha verily is all this that exists (in this creation),
What had been (in past creations) or would be (in future creations).
He exceeds the body that grows with food.
Indeed, the Lord of Immortality He is! …2


Such (aforesaid) is His pre-eminence,
Greater still stands the Purusha.
A quarter of Him is all beings that could have been;
Three quarters of Him sits immortal in heaven. …3

‘A quarter’ could be explained as the first quarter (waking state) of the Mandukya Upanishad.

With immortal three quarters, Purusha sits above.
His one quarter alone manifests here again and again.
He pervades all spaces and becomes all beings
That eat and eat not (i.e. worldly and liberated ones). …4

‘Three quarters’ possibly refer to the three immutables: Brahma (Universal Consciousness), Jīva (limited individual) and Prakriti (Nature).

From Him (or His Prakriti), Virāt [Hiranyagarbha] emerged,
Still Purusha is the sovereign
For He exceeds His creations.
Next, appeared the creations, both terrestrial and corporeal. …5

The Yajña that gods performed with offerings of Purusha [He being all this];
Spring was its purified butter, summer its fagots, autumn its oblation. …6

Contemplating First-born Purusha (primeval source) in heart or sacrifice,
Gods, Rishis and perfected ones (sādhyas) venerated Him as Yajña (= Venerable). …7

From Venerable Purusha invoked by all,
There appeared the edible foods.
He created animals and birds
And what are domestic and wild. …8

From Venerable Purusha invoked by all,
Issued forth the Rik and Sāma hymns.
From Him issued the Atharva hymns,
So too from Him issued the Yajus hymns. …9
Rik, Sāma and Yajus also signify the speech, life-breath and mind. (YV 36.1)

From Him were born the horses (or energy)
And also cattle with two rows of teeth (or senses behaving dually).
From Him were born the cows,
From Him were the sheep and goats born. …10

In what ways was conceived the stated Purusha!
What formed His mouth, the arms, the thighs? What to call His feet? …11

Brahmin (priest) was His mouth; arms were made the warrior (kshatriya);
His thighs are the merchants; from feet were born the menial workers. …12

From His mind, the Moon was born; from His eye, the Sun;
From His mouth, Indra and Agni were born;
From His breath, the Wind (Vāyu). …13

From His navel, the space (mid-region) emerged;
From His head, the heavens emerged;
From His feet, the Earth; from His ears, the directions;
Thus the worlds were conceived. …14

Seven are the boundaries, and twenty-one are the fuel-sticks:
In the Yajña with Purusha as its subject,
Spread out by the gods [in the beginning]. …15

With Yajña (offerings of Purusha),
The gods worshipped the Yajña Purusha
(Venerable One manifesting all and still exceeding);
These verily became the primary dicta (dharmas)
[like Brahmacharya, or treating all as Brahma (Purusha)].
Those gods became eminent ones and attained the highest heaven (nāka)
Where former gods and perfected ones together inhabit. …16


I know this Purusha of gigantic dimensions,
Golden like our celestial Sun, in striking contrast to darkness (tamas);
Knowing Him alone, one can surpass death;
Alternative course there exists none. (YV 31.18)

from here http://www.analyticalyoga.com/purusha.html

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a couple of other version with the sanskrit
here
http://www.stephen-knapp.com/purusha_sukta.htm

and here
http://www.swami-krishnananda.org/invoc/in_pura.html




Turning Ashtanga's KPJYI into KPJYF, a charitable foundation?

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UPDATE: This has come off the top off my head ( and shows I think, all a bit half-baked at the moment), somebody with a better understanding of how foundations work.... or perhaps don't work could do a better job of this I'm sure. Utopias and indeed dystopias are useful to reflect a current situation against to see which aspects show up favourably and which less so, what would one keep as it is and what modify.

I was looking at the picture below from Paul Harvey's excellent  Centre for Yoga Studies. It's of him standing outside the Krishnamacharya Yoga Mandiram with some of the founders, trustees and teachers. Ramswami was another of the original trustee of KYM, he's not in this picture but Paul mentions in it's caption how he would also have lessons with Ramaswami while studying at KYM with his principle teacher TKV Desikachar.


The Krishnamacharya Yoga Mandiram was founded by Krishnamacharya's Son as a tribute to his father and mentor, it is a Public Charitable Trust, recognised by the Health and Family welfare Ministry, Government of India.

It gave me pause, why I wondered didn't Ashtanga become a charitable trust after Pattabhi Jois' passing. I know that the Jois family donates money to certain charities but that's not the same as being a foundation.

I tried to work out the income of KPJYI once, what are there around three hundred students a month with the shala open for six months so around 1800 students a season? Some months are less of course shall we bring that down to 1500, is that fair, bit less perhaps? It's what around $500 a month (you pay more for the first month less for the following months), so what's that, around $750, 000 a season. That would make for quite a charitable foundation.

Then of course there are the world tours, large sums involved there....not sure how I feel about this, should it count as separate from the proposed 'foundation'? Sharath is touring as head of KPJAYI though, the vast numbers who attend are partly due to  the position he holds and it's also promotion so perhaps including it under the foundation is fair. I'll leave you to work out the sum involved but I imagine if we lump the Mysore Shala, world tours and merchandise income together it comes to well over $1000,000 a year.

I wonder what the expenses of KYM are.

A foundation would have trustees.

Here's a parlour game, who would be the trustees of such a foundation. Sharath, Manju Saraswathi obviously but who else would be on the board? David Williams, Nancy Gilgoff, Tim Miller perhaps, Richard Freeman....you could play this game at home.

Rather than passing directorship from father to son (or grandson) it could be open to election by the board. That might allow for a separation between the shala and the institute, Sharath might find that quite appealing, there could perhaps be a revolving directorship based on election by the board, representatives of the authorised teachers could be elected and perhaps of unauthorised students also. Perhaps a small nominal membership fee offered to shala as well as home Ashtangi's.

As a home Ashtangi I don't have shala fees but would be happy to pay a small membership fee to a charitable foundation. Recently I received email from somebody practicing in a small village in Iran, would be nice to think that a foundation might make short 'scholarships possible for people who would be perhaps unable to get to Mysore to practice any other way, and perhaps to subsidise schools based in deprived areas, more outreach.

There could also be decentralisation, a setting up of centres of teaching excellence recommended and voted on by the board.

Training centres around the world, another parlour game. Which shalas come to mind, those with certified teachers might be a start many of whom were certified by Pattabhi Jois himself.

I like this idea, like the idea of connections and cooperation between shalas, there's something like this happening in Greece actually. Be nice to see it extended to other countries and then perhaps on a continent level....

It turns out I'm more of a purist than I thought. It seems I do feel that you should have been practicing Ashtanga for a number of years before you teach it. Just because you may have been teaching other styles of yoga and can pick up the first two or three Ashtanga sequences in a couple of weeks doesn't seem quite the same to me. There's something about how we learn this practice, that slow grinding it out, whether at home or in a shala, seems to constitute an important aspect of the tradition.

A membership of the foundation would give some indication of how long somebody has been practicing. The Iyengar institue has something like that I think, you need to have been practicing Iyengar yoga for 8 years before being accepted to study at the Institute in Pune I believe. I don't think there should be a similar restriction on when you can practice at the Mysore shala but perhaps length of practice could decide whether you were accepted on a teaching intensive at one of the new training centres.

Whether somebody has or hasn't been to Mysore is of less interest to me personally. More important for me is how long somebody has been practicing and perhaps who their teacher was/is. Authorisation/Certification, whether their name is or isn't on a list this month is of little importance to me either. I imagine there are students at say Tim Millar's shala or Richard's in Boulder who have been practicing for decades and never been to Mysore.

Sharath has stressed in several conferences recently that nobody owns Yoga, the same goes for Ashtanga, it's not a family business  it seems to me more of a sangha, an international community of practitioners rather than teachers and students, Sharath too is a practitioner, a foundation might reflect that quite well.

Connecting Ashtanga and Vinyasa Krama,

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legs together jump through
legs together jump through

Sometimes it's hard perhaps to see the connection between the Ashtanga Vinyasa of Pattabhi Jois and the Vinyasa Krama of Ramaswami, the 'Viniyoga' of Desikachar, and AG Mohan's presentation etc. the temptation is to think of an early and late Krishnamacharya as if there was a turning, a major change in direction.

In Vinyasa Krama the vinyasa that take you from standing to an asana and back again are often not present, perhaps reserved for the beginning and end of a sequence or subroutine. However asking Ramaswami about this, he mentioned that these vinyasas, the vinyasa count, was always implied in each and every asana whether it was included or not.

In the early days when Krishnamacharya was teaching the young boys of the Mysore palace each and every transition (the jumping as Iyengar called it) seems to have been present present. Later, teaching individually and often older students and/or perhaps at the beginning of their asana education when they perhaps less fit, less of the 'jumping to and from asana was included, it depended it seems on the student and the pedagogic situation. It should be noted that even back in Mysore in the 30s Krishnamacharya had other students visiting him on a one to one basis. Pattabhi Jois one of his young assistants at the time might take the younger boys through their practice in the main shala while Krishnamacharya was in a side room giving an individual practice to a student or patient. In the 1938 video we see Iyengar practicng a more Ashtanga style while Krishnamacharya demonstrates the head and shoulderstand sequences that we find in Vinyasa Krama.

Here is a demonstration by Lara Abiesheikh outside the original  KYM ( Krishnamacharya Yoga Mandiram) building, Lara was an asana teacher there as was Ramaswami. Here we can see the vinyasa often to and from standing. Lara also shows us the legs together jump through that Ramaswami presents in his book, very hard. Also kapotasana with the legs together, terrifying as there is such a narrow base.

knees and heels together kapotasana
You might argue however that in Ashtanga the sequence of asana is fixed, here the asana are not presented in the same order.

Watching the videos below I'm more reminded of the Iyengar section of the old 1938 Mysore demonstration, we need to remember that originally for Krishnamacharya the asana were not ordered into a fixed long sequence although there clearly seem to have been groups of asana that would progress one to the other, a subroutine.

When we look at the asana table in Krishnamacharya 1941 Mysore book Yogasanagalu, written while Pattabhi Jois was his student, we see the asana listed pretty much in the same order that Pattabhi Jois was later to present them in Ashtanga vinyasa. But in Krishnamacharya it seems to have been more flexible, different subroutines presented on different days and as in the demonstrations below, as a student progressed the more challenging asana seem likely to have been added to the subroutine; so as the hips began to open the leg behind head postures might be added on to janu sirsasana just as Krishnamacharya was to teach them to Ramaswami many years later. I might note here that in Krishnamacharya's 1941 list marichiyasana B and D are listed under Intermediate asana ( which makes sense).




from the Youtube video info
Mr.A.F. Lara Abiesheikh is an exponent of yoga, having practised the entire array of asanas and pranayama techniques since the age of fourteen. He learnt at the Krishnamacharya Yoga Mandiram, where he continued to teach for nearly eight years. His quest for perfection propelled him to further seek guidance from other senior and popular teachers in the field of Yoga. His unflinching vigour and steady commitment has made him the embodiment of excellence in asana postures, prana kriya and pranayama. His dedication to practice has earned him the rare distinction of modeling for reputed yoga books of international standard. In fact, his mastery of the techniques of pranayama is such that he can voluntarily stop his own heart beat (pulse) for more than 20 seconds.

" The word Guru has become a doubtful concept" TKV Desikachar

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TKV Desikachar with His father T. Krishnamacharya
Krishnamacharya sonTKV Desikachar in conversation with Rajiv Mehrotra

Rajiv Mehrotra has been a personal student of HH The Dalai Lama for more than thirty years & describes himself as “a most unworthy chela” of his. Till 2012 he was the host one of the country’s longest running, and most widely viewed talk shows on public Television, In Conversations. It was rated the most watched programme in its genre across all television channels in India. He was a familiar face on Indian television for more than 40 years.

Ashtanga Vinyasa is how old?

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Vamana Rishi

'Vinyasa is very old. You don’t see this is any other style of Yoga. This is based on, what I heard, based on Yoga Korunta, which Vamana Rishi wrote. Vamana Rishi is a very big saint, who wrote this system of Asana Practice. So this has come from generations, I don’t know, maybe 3,000-4,000 years up to Rama Mohan Bramachari, it’s gone beyond that'. 


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“Finally he (Krishnamacharya) conceived the idea of what is called Vinyāsa. In fact, in the beginning of his teaching, around 1932, he evolved a list of postures leading towards a particular posture, and coming away from it.
This is different Āsana linked to one another in a scheme as though one posture leads to the following one. And this scheme was very important, especially for children, who find it very interesting.
He continues to have the same faith in this, although you cannot always follow these schemes for adults or people who are sick.
Still the idea of Vinyāsa, begin from where you are, go to a point, and come back to where you have to be, remains valid.”

– TKV Desikachar from lectures on ‘The Yoga of T Krishnamacharya’, given at Zinal, Switzerland 1981.


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“Let us look at his (Krishnamacharya's) usual day. Whether you believe it or not, this old man gets up at one o’clock in the morning. Anybody is welcome to wait on the verandah and see that he gets up at one o’clock in the morning. And one o’clock in the morning is something for us, I mean it is like a terror to get up at one o’clock, and he is 93. He prepares his own tea and then he practices.

I did not believe that, until I saw, because he is staying with me, that he practices Yoga Āsana and Prāṇāyāma every day. In fact more than once every day, including headstand and Padmāsana, I am mentioning Padmāsana you see, because we are all sitting on chairs.

Headstand, Padmāsana, everything he does, and at 5 o’clock the bell rings and we know that he has started his Pūja. And the bell is not one of those small bells like they have on dining room tables. I am sure that bell must weigh 1½-2 kilos, because it is made of bronze. It must meet certain specifications, and the bell must produce the tone of OM, so it is quite heavy.

I often wonder whether I could ever do this for five minutes, like he does. He goes on waking God-come on, get up, get up, get up- also with some recitation, and all the family at that time curses him because he is waking all of us. At 6.30, when he has done all the chantings, it is very interesting to watch him doing these, he makes his own breakfast.

Then I go to see him at 7 o’clock in the morning and we chant for one hour. And then sometimes he has somebody at eight o’clock for chanting; somebody else at nine. So he will be teaching this Vedic chanting for 3 hours, after one hour of Pūja. You must try to chant for fifteen minutes, it is so tiring, but he manages. He has a great will.”


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Some Wikipedia quotes, convenient  but more importantly tend to cite sources.

The Yoga Korunta is a purported ancient text on yoga written in sanskrit by Vamana Rishi and allegedly discovered by Tirumalai Krishnamacharya in the National Archives of India in the early 20th century.Krishnamacharya later related an oral translation of the text to his students, such as K. Pattabhi Jois and B. K. S. Iyengar. Jois used it as the basis to create the Ashtanga Vinyasa Yoga system.The original text reportedly was not preserved, and its historicity and existence has been questioned.

The text is said to have described several lists of many different asana groupings, as well as highly original teachings on vinyasa, drishti, bandhas, mudras and general teachings.[

The name Yoga Korunta is the Tamilized pronunciation of the Sanskrit words Yoga grantha, meaning "book about yoga".

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The Yoga Sūtras of Patañjali are 196 Indian sūtras (aphorisms) that constitute the foundational text of Ashtanga Yoga, also called Raja Yoga.

The Yoga Sutras were compiled around 400 CE by Patañjali, taking materials about yoga from older traditions. Together with his commentary they form the Pātañjalayogaśāstra.

The most recent assessment of Patañjali's date, developed in the context of the first critical edition ever made of the Yoga Sūtras and bhāṣya based on a study of the surviving original Sanskrit manuscripts of the work, is that of Philipp A. Maas. Maas's detailed evaluation of the historical evidence and past scholarship on the subject, including the opinions of the majority of Sanskrit authors who wrote in the first millennium CE, is that Patañjali's work was composed in 400 CE plus or minus 25 years.
Wikipedia

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The Haṭha Yoga Pradīpikā (Sanskrit: haṭhayōgapradīpikā, हठयोगप्रदीपिका) is a classic Sanskrit manual on hatha yoga, written by Svāmi Svātmārāma, a disciple of Swami Gorakhnath. It is among the most influential surviving texts on the hatha yoga, and is one of the three classic texts of hatha yoga, the other two being the Gheranda Samhita and the Shiva Samhita. A fourth major text, written at a later date by Srinivasabhatta Mahayogaindra, is the Hatharatnavali.

New research on the history of yoga in medieval India is throwing much new light on the origins and meaning of Haṭha Yoga.

In compiling the Hathapradīpikā it is clear that Svātmārāma drew material from many different sources on various systems of Yoga such as Yajñavalkya's and Vasistha's Aṣṭāngayoga, the Amanaskayoga's Rājayoga, the Vivekamārtaṇḍa's Ṣaḍdaṅgayoga, Ādināth's Khecarīvidyā, the Virūpākṣanātha's Amṛtasiddhi, and so on. He assembled it under the name of Haṭhayoga and, judging from the vast number of manuscripts of the Haṭhapradīpikā, its numerous commentaries, and the many references to it in late medieval Yoga texts, his Haṭhayoga grew in prominence and eclipsed many of the former Yogas. As a label for the diverse Yoga of the Haṭhapradīpikā, Haṭhayoga became a generic term. However, a more specific meaning of the term is seen in the tenth- to eleventh-century Buddhist tantric commentaries, and this meaning is confirmed by an examination of the adverbial uses of the word haṭha in the medieval Yoga texts predating the Haṭhapradīpikā. Rather than the metaphysical explanation of uniting the sun (ha) and moon (ṭha), it is more likely that the name Haṭhayoga was inspired by the meaning 'force'. The descriptions of force fully moving kundalinī, apāna, or bindu upwards through the central channel suggest that the "force" of Haṭhayoga qualifies the effects of its techniques, rather than the effort required to perform them.
Wikipedia

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The Yoga Yajnavalkya (Sanskrit: योगयाज्ञवल्क्य, yoga-yājñavalkya) is a classical treatise on yoga traditionally attributed to sage Yajnavalkya. It takes the form of a dialogue between Yajnavalkya and the renowned female philosopher Gargi. The extant Sanskrit text consists of 12 chapters and contains 504 verses. Most later yoga texts like the Hatha Yoga Pradipika, the Yoga Kundalini and Yoga Tattva Upanishads have borrowed verses almost verbatim from or make frequent references to the Yoga Yajnavalkya. In the Yoga Yajnavalkya, yoga is defined as the union between the living self (jivatma) and the supreme self (paramatma). The yogi, Tirumalai Krishnamacharya, considered Yoga Yajnavalkya to be one of the most important yoga texts and refers to this text in the introduction to his book, Yoga Makaranda (1934).
Wikipedia ( mostly based on the introduction from AG Mohan's own edition of the text)

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The corpus of Haṭhayoga textsconsulted for this essay is as follows
1. These dates are merely an approximate guide, designed to facilitate the reading of this essay.

Early texts: Amṛtasiddhi of Virūpākṣa (11/12th century), Amaraughaprabodha (14/15th century), Dattātreyayogaśāstra (12/13th century), Khecarīvidyā (13/14th century), the original Gorakṣaśataka (14/15th century), Śārṅgadharapaddhati (1363 ce), Vasiṣṭhasaṃhitā (12/13th century), Vivekamārtaṇḍa (13/14th century) (including the Gorakṣapaddhati, the Gorakṣaśataka, Yogamārtaṇḍa, and one edition of the Gorakṣasaṃhitā), Yogayājñavalkya (13/14th century), Yogabīja (14/15th century).
Haṭhapradīpikā (15th century)
Late texts: 13 Gheraṇḍasaṃhitā (17/18th century ), Haṭharatnāvalī (17th century), Haṭhatattvakaumudī (18th century), Śivasaṃhitā (15th century), Yogacintāmaṇi (16/17th century), Yogatārāvalī (15/16th century).
Dr Jason Birch 'The Meaning of Hatha Yoga'  from Journal of the American Oriental Society 131.4 (2011) 527

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500 -1000 years between Patanjali's Yoga Sutras and the Hatha Yoga texts.


Early 'yogic practices' of the Buddha (sometime between the 6th and 4th centuries BCE)
Gautama initially went to Rajagaha and began his ascetic life by begging for alms in the street. After King Bimbisara's men recognised Siddhartha and the king learned of his quest, Bimbisara offered Siddhartha the throne. Siddhartha rejected the offer, but promised to visit his kingdom of Magadha first, upon attaining enlightenment.

He left Rajagaha and practised under two hermit teachers of yogic meditation. After mastering the teachings of Alara Kalama (Skr. Ārāḍa Kālāma), he was asked by Kalama to succeed him. However, Gautama felt unsatisfied by the practice, and moved on to become a student of yoga with Udaka Ramaputta (Skr. Udraka Rāmaputra). With him he achieved high levels of meditative consciousness, and was again asked to succeed his teacher. But, once more, he was not satisfied, and again moved on.

Siddhartha and a group of five companions led by Kaundinya are then said to have set out to take their austerities even further. They tried to find enlightenment through deprivation of worldly goods, including food, practising self-mortification. After nearly starving himself to death by restricting his food intake to around a leaf or nut per day, he collapsed in a river while bathing and almost drowned. Siddhartha began to reconsider his path. Then, he remembered a moment in childhood in which he had been watching his father start the season's ploughing. He attained a concentrated and focused state that was blissful and refreshing, the jhāna.

Biographical sources. The sources for the life of Siddhārtha Gautama are a variety of different, and sometimes conflicting, traditional biographies. These include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā.Of these, the Buddhacarita is the earliest full biography, an epic poem written by the poet Aśvaghoṣa, and dating around the beginning of the 2nd century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE. The Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE. The Dharmaguptaka biography of the Buddha is the most exhaustive, and is entitled the Abhiniṣkramaṇa Sūtra, and various Chinese translations of this date between the 3rd and 6th century CE. Lastly, the Nidānakathā is from the Theravāda tradition in Sri Lanka and was composed in the 5th century CE by Buddhaghoṣa.

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and my page

1:14 Practice continually.... but what exactly

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Aranya's Yoga Philosophy of Patanjali my personal favourite presentation of the Yoga Sutras partly because he had lived in a cave for twenty odd years before writing it and had also studied western philosophy as well as that of his own culture.
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Patanjali had of course never heard of Ashtanga Vinyasa, he's referring to practice in general, to quietening and ultimately focussing the mind...., he has suggestions, collected them together.... tips, recommendations, some that had worked for others for hundreds perhaps thousands of years.

The form practice takes may change, practice Ashtanga Vinyasa, switch to Iyengar for a few months come back to Ashtanga, Vinyasa Krama, hell, try Bikram or go to the gym class if that's the only one available.... or practice something, whatever it is, at home.

Do a fixed series or be more flexible, a couple of Sun salutations or never do another sun salutation in your life, do headstands instead or just sit and breathe, practice pranayama ( a straight forward nadi shodhana, with or without mantra, is sufficient).... or not.

Or sacrifice mat time altogether in favour of bringing the mind back to the breath throughout the day, to the yamaniyamas, an object of devotion...

A regular form of practice at a regular time can be a useful tool for developing discipline but a tool nonetheless and probably of little value if it doesn't begin, after a time, to permeate our whole day.




CONTEXT

What constitutes the practice Patanjali is referring to ?

Practice =  The repeated, enthusiastic, attempt for attaining the undisturbed calmness of mind


1:13 



Janusirsasana : Exaamples of kumbhaka in Krishnamacharya's 'Original' Ashtanga Vinyasa Yoga Also 'kumbhaka' or Tibetan 'bumpachen'

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This post has been sitting in draft for sometime (June 2014), my friend Ilya mentioned I haven't posted much on the whole Krishnamacharya/Tibet connection. I have some material but never really pulled it together in one post, I should take another look. There clearly seems to have been an influence, especially in the relation to the dynamic practice of asana and as is suggested below, the Tummo/kumbhakha suggestion as well as this on pratyahara that iIwas sent a while back.

Yantra of the Liberating Lion 

The Yantra of the Liberating Lion or Senge Namdrol Trulkhor (seng ge rnam grol ‘phrul ‘khor) is well-known from many texts related to tummo and sexual practices. However, the texts and instructions for the illusory movement or trulkhor are not always very detailed. In contrary the instruction on this painting are quite complete.
This painting is found in the Secret Temple of the 5th Dalai Lama and reproduced in the book The Dalai Lama’s Secret Temple. Comparing the painting and its accompanying text with the explanations, transliteration and translation in this book page 61 and 64 I discovered that it is full of mistakes. The Tibetan is incomplete and replete with reading errors. The translation is more complete than that Tibetan rendering itself but has at least two big misinterpretations: 1. The title of the yantra or trulkhor is given as ‘The Lion’s Play’ which would be in Tibetan senge namrol (seng ge rnam rol) and not senge namdrol (seng ge rnam grol). 2. At the end it states ‘…exhale three times’ which makes not so much sense as one exhalation should be enough following after an inhalation and controlled holding of the breath together with the subtle energies. The Tibetan (bsig bsig gsum) is an Tibetan expression that is quite often used for shaking the body and the limbs three times or shaking and agitating the whole of the body (bsig sprugs) at the end of an illusory movement or trulkhor. This shaking of the body is often accompanied with an exhalation but it signifies not the exhalation itself.
Here follows the transliteration of the Tibetan and its translation into English; part one is from the book The Dalai Lama’s Secret Temple p. 61 /64 and part two is my rendering from the image, found also in the book p. 95/97.

The Dalai Lama’s Secret Temple p. 61 /64
rtsa drug seng ge rnam grol ni mdzub mo gnyis kyis mig gnyis bsdoms/
mthe bong gnyis kyis rna ba bkab/
mdzub chen gnyis kyi sna bug bkag/
de nas bsig bsig lan gsum bya/

Sixteenth „The Lions’s Play“:
Hold the eyes with the two forefingers,

Block the ears with the thumbs and



from June 2014

"kumbhaka or bumpachen (bum pa can) 
These Sanskrit and Tibetan word
s for a so-called vase-like or pot-like holding of the breath is a complete and controlled holding of the vital energies or inner subtle winds (rlung) together with the flow of one's breaths (dbugs). Having mastered the respiration in the four phases of inhaling (jug pa), open holding after having remaining filled (dhang ba), pressing down (gzhil ba) and exhalation ('phenpa) one prolongs the empty state of holding after exhalation (rtsa stong 'khil ba) and the holding after a complete inhaltion (bzhung ba bum pa can ltar).
Therefor one uses the streched arms with the back of one's hand pressing on a energy point on the upper thighs. Instead often a meditation belt (sgom thag) is used for this, keeping the back streched
". 
The Tibetan Yogas of Movement are known in Sanskrit as Yantra Yoga and in Tibetan as Trulkhor ('phrul 'khor 'khrul 'khor yan tra) །འཕྲུལ་འཁོར་འཁྲུལ་འཁོར་ཡན་ཏྲ༌།by: Naldjor


A big Thank you to my friend Tenzin Dechen for sharing this with me this week.

Krishnamacharya: the Tibet story from The King and the Young Man 
It happened that at that time Lord Irwin was Viceroy. His Headquarters were in Simla. Ganganath Jha wrote to the Viceroy recommending his young friend Krishnamacharya for his proficiency, ambition and knowledge of the Sastras as well as for his personal qualities. He requested the Viceroy's help in obtaining the necessary documents to travel into Tibet. But, as luck would have it, the Viceroy was ill with diabetes. The military doctor, Devendra Bhattacarya, was in charge of the case, but could not bring about a complete recovery. This doctor was, as we have seen, the son of Krishnamacharya's teacher at Kasi, Vamadeva Bhattacharya.

One day Krishnamacharya was surprised to be visited by an aide of the Viceroy hand carrying a letter from the Viceroy to him, and requesting him to come to Simla. He stayed in Simla for six months teaching the Viceroy yogic practices. The diabetes was largely controlled. The Viceroy was extremely pleased and developed respect and affection for the young man. He was happy to make all the necessary arrangements for Krishnamacharya to cross the Himalayas, out of India, across Nepal, and into Tibet. Here is the story of that voyage as retained in Krishnamacharya's memory:

"The Viceroy sent three aides with me. This was some time in 1919. The expense of the journey was covered by the British government. Clothes of leather were made to order to protect us from the cold. On the trail we came across a recluse named Pilmugi living in a cave. We stayed in the cave with him for several days, and then continued on our journey. We reached Manasasarovar and from there went on to Mela Parvatham. We had dharsan of Thirayambaka Narayana and finally reached the dwelling place of Rama Mohana Brahmacharya who was to be my Guru. We had been walking for two and a half months.

"On meeting my Guru I prostrated myself before him. It was evident that Ganganath Jha had written to him about me. He received me with great love and kindness. I noted that even though he was called 'Brahmacharya,' he was living with his family. His eldest son, Ramachandra Brahmacharya, is still alive today, about eighty years old. Our food was puri (Indian bread), halwa (a paste of vegetables or fruits with sweetening and ghee) and tea. My period of gurukulam here in Tibet lasted for seven and a half years. Rama Mohana made me memorize the whole of the Yoga Gurandam in the Gurkha language. The various stages of Patanjali's Yoga Sutra are dealt with in that book in a very precise but extensive commentary. That is necessary because Sutras are by definition very concise. In the Yoga Gurandam, the various kinds of Yoga poses and movements are described with great clarity. Only after studying this book can one understand the inner meaning and science of the Yoga Sutra of Patanjali."

After Krishnamacharya's return to Kasi as an outstanding scholar and Yoga expert, the Maharajah of Jaipur called him to serve as principal of the Vidya Sala (Centre for instruction in philosophy and Yoga) in Jaipur. This situation, with its regular schedule of classes and the requirement of being answerable to various people, did not suit the free spirited Krishnamacharya. The Sradha (annual homage) of his father was approaching, so, with this pretext, he returned to Kasi. He enjoyed meeting and holding conversations with the various pandits who had studied with him in Kasi. Impressed by Krishnamacharya's newly mastered techniques, Amarnath Jha, the son of Ganganath Jha, introduced him to various monarchs and he was widely honored.

At this time the Maharajah of Mysore, Krishnaraja Wadiyar, appeared in Kasi to celebrate the Shastiabdapurthi (60th birthday) of his mother. On hearing of Krishnamacharya, he invited him to come to the Palace at Mysore. The Maharajah was greatly impressed by the young man's demeanor, authority and scholarship.

In Mysore, Krishnamacharya was given quarters within the Palace and, as he desired, Yoga studios were constructed. He went to teach Yoga asanas once or twice each week and within three years seven or eight students were ready to teach and the King built three more studios at a total cost of two hundred thousand rupees, a great investment at the value of currency in those days. Krishnamacharya became the Maharajah's most valued counsellor and was given the use of the Jayanmohan Palace. At the Maharajah's request, he wrote several books including Yoga Magarondam, Yoganjali, and Yogasanalu. These books were all published by the Palace and by Mysore University. With the support of the Maharajah, the Yoga teaching continued with great success for about sixteen years, until 1946.
from The King and the Young Man - by "Hastam" in Kalaimagal, Pongal, 1984
(translated by Bert Franklin and S. Venkataraman) An Interview with Sri T Krishnamacharya.

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Last weeks post, a case study on the suggested healing benefits of kumbhaka, brought requests for examples of how kumbhaka might be incorporated into our asana practice.

This week I thought I would put up some practice sheets relating to Krishnamacharya's primary group asana that I've been working on, a different sheet each day but with the same opening introduction to link them to the earlier post as well as the same guidance notes for practicing kumbhaka. I'll probably add a couple of 'extras' here and there. If you've read the previous post you may want to jump straight to the practice sheets and notes below.

So here again is the link to last weeks Guest post by Mick Lawton on which this series of posts is based.

CASE STUDY: "The Benefits of employing Kumbhaka (retaining the breath in or out) during Asana." Guest post by Mick lawton

"I have a rare genetic auto inflammatory disease. As a result I am in the fortunate position that I get extensive blood and medical checks performed on an almost weekly basis. Without going into huge medical details, the tests include full blood test, inflammatory markers, kidney and liver fiction, blood pressure, blood sugars............, the list is endless.
I decided that I was in the very fortunate position to run my own experiment.  I decided that I would spend 2 months practising with Kumbhaka and then 2 months practising without Kumbhaka. This process was repeated three times across the course of the year.  I was then able to compare my medical results while practising Kumbhaka to my medical results while not practising Kumbhaka".

First my Krishnamacharya ' Original Ashtanga Primary series' poster.


See the link to the making of the poster and the idea behind it.

Basically, I've taken the asana descriptions and photos from Krishnamacharya's Yoga Makaranda (1934), those corresponding to the current Ashtanga primary series, and rearranged them into the current order. This is also pretty much in line with the order found in the asana tables from Krishnamacharya's 2nd book Yogasanagalu (1934). For this project I've stuck with those pictures and descriptions found in Yoga Makaranda however the Primary asana list in Yogasanagalu includes the other asana not found in Yoga Makaranda. The biggest omission perhaps is purvottanasana which follows paschimottanasana, in fact it appears in brackets under paschimottanasana in the list but is not described or pictured in Yoga Makaranda.

see this post for the complete table of asana from Yogasanagalu (1941)

*

Janusirsasana 

  22 Vinyasas 8th and 15th = states of the asana


from Krishnamacharya's 'Original' Ashtanga


from Krishnamacharya's 'Original' Ashtanga

from Krishnamacharya's 'Original' Ashtanga


Below is the full treatment of Janusirsasana  from Krishnamacharya's Yoga Makaranda (1934) from which the above practice notes are taken.

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 dierence. 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 dierence 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 di⇥cult, 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.
Important Observation:
After practising the asana for just one or two minutes, do not whine that you did not receive any benefits. However little eort there is, if you keep practising the asana daily for at least 5 to 10 minutes, you will start experiencing its benefits in a few days. There is no doubt about this. If you keep practising it from half an hour to an hour following the given rules, you will get the benefits mentioned below.
1. Diseases of the spleen will be removed.
2. People suering from a low-grade persistent fever in the stomach will notice that the fever, the resulting anaemia and other such dangerous diseases will be wiped out. Continuous and recurrent cough, bloated stomach, flatulence and the first symptoms of tuberculosis will disappear. As a result of these intestinal doshas being removed, the digestive power increases and one feels hunger at the appropriate time. When you are very hungry, it is essential to eat sattvic foods cooked in pure ghee or cow’s milk or goat’s milk. Rice avul, kara boondi (fried peanut flour), kara vadai, peanuts, chickpeas — these tamasic foods should never be eaten. Eating high-quality fruits and kanda mulam is very beneficial.
When they are hungry, some people will eat terrible things without thinking about it. This is a despicable matter. Because of this, they keep catching various diseases and suering as a result.
If one keeps practising janusirsasana according to the rules described above, then whatever diseases cause blocking of urine and faeces, increase the heat in the nadis, cause an increase in vata, if any such acute diseases occur, they will be destroyed from the root and the practitioner will be in good health very soon.
Heavy head, burning eyes, weakness of the body, burning in the urinary area, fever caused by toxins built up due to indigestion and constipation, loss of ap- petite and sense of taste in the tongue due to a spoilt tongue, laziness or lethargy — all these will be removed by practising the asana in the highest standard. That is, all diseases caused by weakness of the nadis nearby will be removed.
It is important to always remember that it is necessary to practise such asanas like janusirsasana on both the left and right sides. The reason for this is that the strength of the body should be the same on both the left and right sides. Nowadays, modern games and physical exercises give strength to only one side of the body without developing proper blood circulation on the other side. This will result in paralysis and other such diseases. Therefore, every asana must definitely be practised equally on both the left and the right side.

Janusirsasana 2nd Krama
Whichever leg was folded and placed such that the back of the foot was between the rectum and genitals, place the back of the sole of that foot instead against the top of the thigh of the outstretched leg, firmly pressing against it. Now practise according to the rules described earlier. But the benefits of this will be received very slowly. Some people will not be able to place the head on top of the knee on the first day. But one should not abandon the eort thinking that this is impossible. If one keeps practising this for one or two months daily without fail, following the prescribed rules, then it will become possible.

It will be very diffcult for those who have allowed excessive flesh to grow in the stomach and hips to practise this. By practising this regularly over a period of time, all the excessive flesh that has grown in or near the stomach and hips will melt, the joints of the bones and nadis will clear up, the stomach will grow thinner and eventually the head will touch the knee. The deposits of excessive flesh are the main cause for the lack of flexibility in the body. All this can be melted away with asana abhyasa.
Many people who have a protruding stomach like a pumpkin believe that they are healthy. Others think that they have correspondingly as much more strength as their arms, legs and thighs are excessively huge, and they keep trying to enlarge the girth of the body. One can clearly say that this is a result of their stupidity. Being blessed with good health is not in the plumpness of the body. The limbs of small children are soft and supple — to lift and bend them is easy. The limbs of adults should be similarly soft and supple and strong and there should be no obstruction to the prana vayu and the blood circulation. Everybody knows that people who have overly large stomachs or who are obese often have excessive breathlessness and bloating of the stomach.

But they have not realized that the vayu sancharam is not proper in any part of the body. When there is no proper movement of air in the body, mounds of excessive flesh will collect in the body forming a barrier. Without proper air circulation, how will the dust fly away? Without water, how can the earth become soft? Similarly, in our bodies, if we want the blood to circulate and the prana vayu to flow properly without obstruction, we need to first knock down and remove the bad deposits of flesh (durmamsam) which appear like a wall. Only prana vayu has the capacity and power to completely destroy the excessive blobs of flesh that exist here and there in the body. This cannot be done with any other medicine.

The stomach is the only cause of an untimely death. There is no other reason. The dwelling place of death in the body is only the big stomach and nowhere else. Even though we desire long life and good health, why do we make our stomachs very large and leave room for death in them? Is this not a terrible thing? Therefore, by practising janusirsasana following the krama with correct instructions, one can melt away the stomach, no matter how large it is. You can definitely believe that as the stomach reduces in size, the death dwelling in it will leave the body. There is no doubt about this.
It is superior to regularly practise this janusirsasana before becoming preg- nant. One should not do it after becoming pregnant. If women who have stomach pain during menstruation practise this asana following the instructions mentioned above, in one or two months, all the germs that cause the stomach pain will be removed from the blood channels and will be expelled out of the body through the urinary tract.
This has 22 vinyasas. The 8th and the 15th vinyasas are themselves the asana sthiti. The benefit is correspondingly as great as one’s capacity for recaka.



Kumbhaka guidence notes from the earlier post.

In general, when inhaling the head goes up, exhaling it goes down, if up then there may well be the option of puraka kumbhaka, retaining the breath for 2-5 seconds at the end of the inhalation. When folded over rechka kumbhaka may be an option to consider.

"The vinyasas in which the head is raised are to be done with puraka kumbhaka and the ones in which the head is lowered must be done with recaka kumbhaka. Uthpluthi (raising the body from the floor with only the support of both hands on the floor is called uthpluthi) should be done on recaka kumbhaka for a fat person and on puraka kumbhaka for a thin person". p28
Yoga Makaranda T Krishnamacharya

In forward bending postures there is often the opportunity to include puraka kumbhaka before exhaling, folding over into the posture, and performing recaka kumbhaka. We might choose to spend a period of time in the preparatory posture taking a number of breaths and engaging in puraka kumbhaka after the inhalations. After completing the folded state of the asana and returning to the preparatory position we might again take a number of breaths and include purkaka kumbhaka after our inhalations.

We can perhaps think of many asana where we might introduce short kumbhaka's at the preparatory stage, the state of asana and following the asana on returning to the preparatory stage before transitioning back to standing or to the next posture.

Krishnamacharya stresses ( In Yoga Makaranda part II) that the kumbhaka in asana should be short, 2-5 seconds.....
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Update: Paul Harvey has commented on this short kumbhaka in asana

Paul"My understanding from my discussions over the years with TKV re the context and content of YM, is that when teaching youngsters the length of the breath was minimised to a relatively short fixed length and use of Kumbhaka was limited to a few seconds AK and BK.
However no limitations on the range or intensity of Āsana and lots of use of variations to be engaged with within each Āsana.
In the adult there were no such limitations for the breath and the work with variations of the Āsana was re-prioritised to working with a fewer Āsana and fewer variations within each Āsana, but with the challenge of a greater range of breathing patterns both in length and combinations.
Certainly AK or BK of 10" was commonplace in the adult practice and here the 'perfection' of the Āsana was measured by mastery of all aspects of the breath rather than for the youngster, where 'perfection' of the Āsana was measured by mastery of all aspects of the form.
This was consistent with his teaching in Yoga Rahasya on Yoga Sādhana and Stages of Life.
Begin by noticing the 'natural kumbhaka' between the stages of the breath. If we breathe long, slow and full, "like the pouring of oil",  as is recommended by Krishnamacharya and Pattabhi Jois we should notice the faint hint of a pause between the inhalation and exhalation, we notice this more clearly the slower the breath. Begin by extending that pause, that 'natural kumbhaka' to a full second and then to two seconds. As this becomes comfortable we might increase it to three building up to perhaps five seconds but no more in asana ( mudras are a different case as is pranayama proper)".

 I did wonder if the short kumbhaka recommended in yoga makaranda Part II  was a question of pedagogics, Krishnamacharya doesn't mention how long to hold the kumbhaka in Yoga Makaranda Part One and it is a pretty extreme book with it's long stays in certain challenging postures, the kriya section etc. He doesn't mention keeping kumbhaka short in Yogasanagalu (1941) either. It's only in Yoga Makaranda II ( 1950s- 60s?) that he seems to draw back a little and talk about restricting the kumbhaka to 2-5 seconds, introducing it slowly. I was never sure if it was a reevaluation or just for the teaching purposes of the manual. Ramaswami has Kumbhaka too of course so I knew Krishnamacharya was teaching it in his later years but it seemed shorter except in mudras. What Paul is  describing here seems to treating almost any asana as a mudra which is interesting but my understanding of mudra was that they were in a sense custom made for bandhas and thus kumbhaka.

Paul: "Yes my understanding is that if we use a particular Āsana with all its permutations of form and thus less focus on the variations of the breath it operates more as an Āsana. 
If we use an Āsana with all its permutations of breath and thus less focus on the variation of the form it operates more as a Mudrā.
Sarvaṅgāsana is such an example with its 32 variations devised by TK emphasising its role as an Āsana and its static solo form with its focus on extensive breath ratio, perhaps augmented by the Tribandha, emphasising its role as a Mudrā".
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In the beginning we might introduce kumbhaka into only a handful of selected asana in our practice, paschimottanasana perhaps, janu sirsasanabadha konasana, later we might introduce it to others while avoiding including kumbhaka in the twists, binds and back bending.

The more we slow our breath and introduce kumbhaka into our practice the more time becomes an issue. there are several ways to address this.

  • We might alternate the postures throughout the week in which we introduce kumbhaka
  • If our breath is becoming particularly long and slow we may wish to take three rather than five breaths within the state of an asana perhaps saving particularly long stays for postures like paschimottanasana, janu sirsasasana and baddha konasana or again alternating longer stays in different postures over a week cycle.
  • We might divide our practice up over two or four days, practicing perhaps full vinyasa and including kumbhaka but only up to and including Marichiyasana D before moving straight to the finishing postures. n the second day we might go from the standing postures directly to navasana and then on through finishing. A similar approach could be made to the intermediate series.
  • We might choose one day a week, when we have more time our day off or Sunday perhaps, to explore kumbhaka and or full vinyasa.
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For more on Krishnamacharya see my Krishnamacharya resource page at the top of the blog or here


 for Yoga Makaranda in pdf and more


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