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Krishnamacharya practicing at 84

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What does practice look like after 70 years?


Krishnamacharya's Yogasanagalu ( Link to translation) was originally published in 1942, these photos are from the 3rd edition 1972




























 


*

Or perhaps practice after 70 years just looks like this...

from Breath of Gods



*These pictures were taken for and added to the 1972 edition of Yogasanagalu putting Krishnamacharya at 84. Krishnamacharya was first taught asanas by his father from when he was six.

Krishnamacharya seems to have practiced along with his students.

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Yesterday I posted 120 odd pictures of Krishnamacharya demonstrating asana from the 3rd edition of his second book Yogasanagalu, he was 84 at the time. The pictures were remarkable, how did he manage to stay that strong, that flexible, his eldest son Desikachar gives us a clue,

".....Of course, he was also doing Āsana for three to four hours daily in addition to his Prāṇāyāma. His practice was extremely rigorous and that may account for his being able to handle these large quantities of spicy and sweet foods.

– TKV Desikachar answering questions on T Krishnamacharya. Originally published in KYM Darśanam November 1993

I was wondering if he was practicing three to four hours of asana in the morning or spread throughout the the the day, here's an account of his daily ritual from his daughter in law.

The daily life of my father-in-law, Sri T. Krishnamacharya
- Claire Sribhashyam

"When I started to visit my in-laws, my father-in-law was already very aged and yet lived to his own rhythms. He would wake up at 4 in the morning and would go to bed around 7 in the evening.
One of my best souvenirs was to be woken up every morning around four by the sound of the prayer bell announcing the beginning of his prayers. This daily morning ceremony that lasted an hour and a half was indeed a great feast for me. At times, I would wake up earlier and wait for the prayer bell to ring.
My mother-in-law would wake up a little later to open the door for the milk maid who brought us milk every morning shouting, below our windows, “pâl”, “pâl” (“pâl” in Tamil language means milk). Then she would prepare coffee for all of us and one by one we would all get up.
At the end of his long prayers, he would prepare his breakfast: wheat semolina roasted and cooked in water with some spices, coriander leaves and grated coconuts. He would share his preparation with children before sitting on the veranda to eat. He would spend some time reading the day’s newspapers while waiting for his students. At times, he would retire to his room to read or to give lessons. Once in a while, he would come to see me and talk or play with my daughter Sumitra or give me some advice on how to bring up young children.
In the afternoon, he would stay in the veranda to eat a fruit, often an orange or some grapes. He would never eat anything without first giving to children, young or elderly.
In the late afternoon, around 6 p.m., he would sit on the swing in the garden and watch the street life. Then, he would retire to bed after having drunk a glass of milk prepared with sugar, saffron and some cardamom. Everyone was attentive in not making too much of noise so as not to disturb him. And, next day at 4 in the morning, it was he who would give the departure sign for the new day by his prayer bell.
Ever since, I visit my in-laws, he had always had the same punctual rhythm. If, I did not hear the prayer bell at 4 in the morning, I was overcome by a slight anxiety! I would come out of the bed to see what he was doing. Felling that I was worried, he would say, with a smile, that he was late that morning".



So where did his 3-4 hours of asana a day come from, the pictures below are a clue perhaps, pictures of him teaching Yvonne Millerand in the 1960s. Krishnamacharya it seems practiced  along with his students. It's good to know, I've found in my own workshops that I can't seem to teach or rather  'share the practice' any other way, nice to know I'm in good company. See my earlier post.

Yvonne Millerand student of Krishnamacharya in the 1960's inc. some excellent pictures.

"He was sitting on the stairs. He greeted us and then asked me to come to enter the classroom. After a short pause, sitting in a chair, he said: "Show me what you can do." I was very impressed, but managed to do all that came to my mind - the slopes, deflections, cords on both sides, twisting Pashchimottanasana, Ardha Padmasana, Sarvangasana, Shirshasana and many others. I sat down and looked at him. Suddenly he asked me, "Why did you leave your teacher?" Christine and I replied at once: "He's dead, sir." English, difficult for my understanding, he said: "You do not know anything. You do not know how to breathe and you just jump up and down like a sparrow! Come back on Friday at 5 pm, not before and not after. "

I arrived just in time. Giving me a few lessons a week, he started with a simple asana practice. I was to establish a link between breath and movement. Breathing should be controlled hand movements, slower breathing, the slower the movement. Each asana followed repeated at least four times. After one hour lesson in a sitting position, I learned the sound Udzhdzhayi and be able to distinguish it from the nasal sound. He allowed me to begin the simplest Pranayama - Udzhdzhayi Anuloma and Udzhdzhayi Viloma.

Krishnamacharya used to tell me, "lift up your chest," for the fact that, due to the rise of my chest, I could fill the air flow based on my lungs. After that, he insisted on the exhale with the abdominal muscles and the perineum. Breathe in and out - of course, but with the insertion of pauses, everything changes. Coached control is felt as an affirmation of life and gives a sense of a better life, by controlling breathing and blood circulation, which are interrelated. This is what I felt.

After a few asanas, he taught me the role of counter-poses, whose mission is to revert certain negative consequences. He taught me a variety of asanas that I never met. He never imposed me their names in Sanskrit and wherever possible used the English - "posture bed, mountain pose, stand on their shoulders, stand on your head, etc." On the other hand, he taught me all the names of Pranayam in Sanskrit. After a while he began to measure my heart rate before and after class. My heart rate should not exceed 65 beats per minute, that he was sure that my breath harmoniously followed the efforts during the practice of asanas".
Follow the link above for the full article












Here's another account of Krishnamacharya teaching this time from Richard Schechner,

'Richard said K’s teaching methodology consisted of 4 steps. First, he would demonstrate. Then he would dictate the steps verbally and Richard would take notes and/or draw a picture. Then K had Richard do it while he dictated the steps. Lastly, Richard would do it on his own and K would watch without dictating'. p6
RICHARD SCHECHNER'S NOTEBOOK 42
by Daniel Dale

See my earlier post
Namarupa : Richard Schechner's notebook on his studies with KrishanamacharyaPhotographs by Eddie Stern

Krishnamacharya's own asana and pranayama practice Plus Krishnamacharya's Life saving practice.

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Following on from the previous two posts, the first on the 120 photos of Krishnamacharya demonstrating asana aged 84 and the second asking how he managed to stay so strong and flexible in his asana into his eighties and suggesting that along with his own practice he may have practiced along with his students while teaching ( see the photos in yesterday's post).

This post ( taken from three earlier posts) looks at examples of Krishnamacharya's own late period asana practice as presented by his son in the book Emergence of Yoga as well as Krishnamacharya's own pranayama practice. In the third section of the post I take a closer look at Krishnamacharya's 'life saving' practice.

Exploring for ourselves Krishnamacharya's own practice outlined below, those coming from Ashtanga might like to explore it as it stands as a lighter moonday practice or perhaps on a Saturday. In regular practice, we might like to play with the concentration points and breathing options outlined when we reach the individual asana in our regular morning practice.
Those coming from Vinyasa krama might like to use the asana presented as signposts and bring in other asana as preparation and extensions, see my approach to the life saving practice at the end of the post.


Part I An outline of Krishnamacharya's own practice?

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

1.


I now have the English translation of the book


In the presentation below you'll notice mention of concentration points for many of the asana and especially the mudra. here's the page from Emergence of yoga that explains how Dhyana is introduced inot Krishnamacharya's practice through focussing on these vita;/focal points.
taken from my earlier post on Drishti

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




Insight into my father's (Krishnamacharya's) practice


Kapalabhati (see notes below) - 32 breaths

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Ujjayi Anuloma (see notes below) - 6 cycles A.K. (antha-kumbhaka = holding at top of inhalation) 5 seconds, Concentration Kanta (throat) 
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Utthita pada Angushtasana - 6 breaths B.K. (Bhya-kumbhaka = holding at end of exhalation) 5 seconds, Inhalation concentration: Mula  and Kanta (throat) , Exhalation Concentration: Kanta (throat) 

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


Sarvangasana- 12 breaths, Concentration: kanta (throat)


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


Ardhabadhahalasana - 3 breaths

Halasana - 3 breaths

Karnapindasana- 3 breaths





 Adhomukhapadmasana (but on belly) 


3 breaths, 


Concentration: Kanta (throat)

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


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

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Basti ( pranayama) 60 cycles

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Nadi Shodana ( pranayama) - cycles, Abhyantara Vritthi

Pranayama Notes from Yoga makaranda ( Part II)

NOTES 
from P R A N A Y A M A  -  An Absolute necessity in YOGA
... by  T.K.SRIBHASHYAM, Nice, FRANCE

UJJAYI ANULOMA: Inhalation (PURAKA) through both nostrils in UJJAYI, Exhalation (RECHAKA) through Left Nostril, without ujjayi, Inhalation through both nostrils in Ujjayi, and Exhalation through the Right Nostril, without Ujjayi.  These two breaths making one Cycle of Ujjayi Anuloma. 

SHITHALI:  Slightly open the mouth, bring out the tongue, fold it lengthwise, to make it resemble a tube, Inhale (aspire) through the mouth.  At the end of the Inhalation, draw back the tongue, close the mouth, and Exhale through Ujjayi, by both the nostrils. 

UJJAYI VILOMA:  Inhale through the Left Nostril, without using Ujjayi, Exhale through Ujjayi, with both the nostrils open.  Inhale, again through the Right Nostril, without using Ujjayi, and Exhale through Ujjayi, with both the nostrils open.  This forms one Cycle. 

UJJAYI PRATHILOMA:   Inhale through Ujjayi, Exhale by the Left Nostril, Inhale by Left Nostril, Exhale by Ujjayi, Inhale by Ujjayi, Exhale by Right Nostril, Inhale by Right Nostril, and  Exhale by Ujjayi.  These 4 breaths make one cycles, and to be of any value, a minimum of 4 cycles or 16 breaths is needed.         

-

We now come to the Pranayama that has already been reviewed under the 3rd Category (SURYA BHEDHANA).  Technically speaking, this Pranayama is the same as the one we studied before.  But in this category the aim is to render Prana its natural and original function of being in close association with ATMA, and to show ATMA the path of the Supreme soul (PARAMATHMA) or the Creator.  (It is here that we understand the meaning of Prana Aayama: extending Prana towards the Creator).  In this Surya Bhedhana, concentration is an essential factor.  The concentration during Puraka (Inhalation) is used in such a way as to centralise all the mental faculties including the sensorial ones in HRUDAYA, to stabilise them in HRUDAYA during Antah Kumbhaka, so that cleared of all influences with regard to the external world, the mind reflects  itself, during Rechaka, its Original Nature of revealing the qualities of Atma.
     
      This Pranayama is also called ABHYANTARA VRITHI (or the Inner Movement), because the Sense and the Mental activities instead of going outward, turn inwards.  In this Pranayama, the Concentration Points applied are: Naasagra, Bhrumadhya, Lalaata, Kanta, Kurma Nadi and Hrudaya.

As for NADI SHODHANA, it is always a Pranayama of the end of the session.  For convenient practice of Nadi Shodhana, one should have had some practice of Ujjayi Anuloma, Sarvanga Asana, and if possible Shirsha Asana.  The action of this Pranayama, without Kumbhaka, is not so much on the biological changes in the body.  Its action is more on the clarity of sense perception, removal of sense confusions, attentiveness of the mind.  It should not be practiced when there is nervous irritability, emotional shock, or fear of spiritual sentiments, particularly  in those who do not believe in the value of a Divine Support, or where there is excess of fatigue.  Suitable Pranayama should be practiced at first to improve one's condition before working on Nadi Shodhana.  It is always conceivable to have done either Badha Kona Asana or Maha Mudra or Paschimathana Asana as the last Asana before doing Nadi Shodhana.
3.    NADI SHODHANA with Bahya Kumbhaka influences more the mental plane.  When we talk of mental plane, we talk of the emotions (ANUBHAAVA) and sentiments (STHAAYI BHAVA), having their physical or physiological response.  A disturbed mind, is the mind whose natural functions are overtaken by emotions or sentiments.  As long as these persist, mind will not be clarified, and without a clear mind (MANASSHUDHI) it is not possible to have an insight.
      Nadi Shodhana with Bahya Kumbhaka breaks the link between the emotions, sentiments and their physiological response.  So its action is more on the interrelation between the physical mode of emotions, and the emotional or sentimental impulse.  It goes without saying that this Pranayama comes in the end of a session, that the duration of Bahya Kumbhaka should not exceed on fourth the time of Puraka, that the conditions mentioned for Nadi Shodhana (without Kumbhaka) apply here as well.

*

Part II Krishnamacharya's Pranayama





If you were Krishnamacharya, if you had spent 80 odd years, pretty much your whole life, studying, practising and later teaching yoga, reading all the ancient texts, all the different approaches to practice in the original sanskrit; how would you yourself practice?

What for example would your own personal pranayama practice be like?

Last year I picked up the Original French version of Emergence of yoga, written by Krishnamacharyas 3rd son T. K. Sribhashyam.

Amazon link Emergence du Yoga by Krishnamacharya's Son T. K. Sribashyam

My Review here
http://grimmly2007.blogspot.jp/2014/04/emergence-of-yoga-by-krishnamacharyas.html

I took the section on Krishnamacharya's own practice ( apercu (overview?) in French, translated as 'Insight' in the English edition) and turned them into practice sheets and have been practicing them off and on all year

One example - Krishnamacharya own practice?

....along with the life saving session, presented as an example of Krishnamacharya's personal practice in the Movie Breath of Gods.

Quick Review: The Breathing God : Der Atmende Gott. DVD cover translation

REVIEW: Breath of God, Documentary on T. Krishnamacharya

There's a section in Emergence of Yoga titled 'Insight into my Father's practice session', I can't decide if 'insight' here means actual practices of Krishnamacharya as observed by the son or notes written down by the father, or practice sessions that are pretty much the kind of approach and content Krishnamacharya was taking at the time, after a lifetime of study and practice.

Nestled in amongst the integrated asana and pranayama practices is this example of a pranayama session. The book actually has a small chapter containing eleven other pranayama practice sessions. I don't remember this particular Pranayama session being in the original French version, I gave my copy away when the English edition came out so can't check.

It's a pleasure to practice, a nice mixture of pranayama's and I particularly like the employment of mantra's.

Ramaswami taught us to mentally recite a pranayama mantra built on the Gayatri in the kumbhaka after the inhalation,

My pranayama page

....here they are employed at each stage of the pranayama, mentally recite the Gayatri once on the inhalation, four times on the kumbhaka and twice during the exhalation.

I had the Krishnamacharya practice sheets I'd made up last year with me in Crete and practiced them after leaving Rethymno for Agios pavlos, I was looking forward to getting my hands back on the book after I arrived in Japan (I'd shipped my books over). Since arriving I've started working through all the examples of General practice in the order they're presented in the book. Sri Sribhashyam mentions that they are presented pedagogically and it's interesting to see how he's introducing the different elements of practice, alternatives to certain asana (sirsasana for example) more challenging asana, the Kumbhaka's (breath retentions) length of stay, the focal points (fascinating) and here, with Krishnamacharya's own practice, employment of mantra. The same goes for the pranayama chapter, they build up. If you find Krishnamacharya's pranayama session below too challenging for now then you can start with the first couple of pranayama's presented in the book.




The pranayama session nestled in amongst the integrated asana and pranayama practice sessions.


Difficult to read the small print?

Gayathri Mantra

Oṃ bhūr bhuvaḥ svaḥ
tát savitúr váreṇ(i)yaṃ
bhárgo devásya dhīmahi
dhíyo yó naḥ prachodáyāt


Chanted quickly the mantra takes five seconds, giving us a a 1:4:2 of five seconds for the inhalation, twenty seconds for the kumbhaka and ten seconds for the exhalation.



Narayana Gayathri Mantra

Aum Naaraayanaaya Vidmahe
Vaasu-dhevaya Dhimahee
Thanno Naaraayana Prachodayath

And because the Krishnamacharya Pranayama session above is quite involved here are the first two sessions from the Pranayama chapter in the book..


MY REVIEW HERE http://grimmly2007.blogspot.jp/2014/04/emergence-of-yoga-by-krishnamacharyas.html


A link to my own adapted version of Krishnamacharya's "life saving practice' from last year, including a video.


from the French edition of  T. K. Shribashyam book, Emergence du Yoga




Update on the contents of Emergence du yoga from the French Amazon page

254 pages
CONTENTS:
The origins and philosophy of Yoga
33 photos of Sri T. Krishnamacharya
131 photos Krishnamacharya students
89 asanas
13 mudras
58 pranayamas practical sessions
11 sessions of mudras
13 sessions of pranayama

*

Part III Krishnamacharya's

 'Life saving yoga session' 

from the movie Der Atmende Gott
8mm vintage video app for iPhone

I've been exploring Krishnamacharya's so called ' Life Saving" sequence from the Der Atmende Gottmovie this week. At first I tried it pretty straight, just as it's outlined on the DVD box, makes a nice extra evening practice. That straight version is represented below

Even added a video, mainly an excuse to play around with the filters on the Vintage 8mm video app from itunes.

What I'm finding more interesting though is using it as a framework for my main morning practice. I've included a couple of ideas for how you might pimp it up at the end of this post.

....or you could just use it as an alternative finishing sequence to your Ashtanga practice



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

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

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

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

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

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

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

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

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

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

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

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

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

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

14. Prayer. Concentration on Hrudaya (heart)

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

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

Here are some print out practice sheets.



Pimping up Krishnamacharya's 'Life Saving' practice with some Vinyasa Krama

Start off the same with 1. and 2., the breathing preparation, perhaps just seated with the legs crossed if you find moving directly to lotus a little tough ( the movies director, Jan Schmidt-Garre sits crossed legged in the film rather than in half or full lotus).

I then come back up to standing for the basic 10 minutes Tadasana hand and arm variations that I like to use as a warm up, I do this whether I'm practicing Vinyasa Krama or Ashtanga.


I tend to follow this with a couple of Sun Salutations A and B, the full ten, five of each or 2x A and  3x B or just one of each taken nice and slow, or perhaps with the surynamaskara mantra, depends how much warm up you feel you need that morning.

I like to include Trikonasana A and B whatever I do because it's such an excellent twist.

Next up I include the Utthita hasta padangusthasana sequence because I still hate it so figure it must be good for me one way or other.

Transition back to seated for...

Ardha badha padma maschimottanasana as lotus prep ( this morning I preceded that with janusirsasana A)

Other Asymmetric subroutines or parts of subroutines are an option here, perhaps to include some mores twists.

Back on program with stages 4. and 5. matsyasana and bhujangasana

After Bhujangasana I like to do some more backbending Bow postures followed by Ustrasana and possibly kapotasana finishing backbends with urdhva Dhanurasana and perhaps a drop back or two.

from my Kindle Vinyasa Yoga Practice book

The vinyasa krama shoulderstand prep that Ramaswami recommends

6. Shoulderstand

Another bow posture, Salabhasana perhaps as counter to the shoulder stand

7. headstand

And of course one could include some of the shoulderstand or headstand variations.

8. halasana

9. Bhujangasana again or another bow variation.

10. maha mudra

I like to add another twist here, Ardha and/or purna matsyendrasana or perhaps Bharadvajrasana to keep the more meditative vibe going from maha mudra

back on program again with

11. A long paschimottanasana and it's counter purvottanasana

12. and 13. Pranayama


But of course it's flexible, at each stage you can add more or less of a particular Vinyasa krama subroutine or two. 

Each day could have a different focus,  Bow postures one day after stage 5. another day Supine vinyasas at 6.  or More Asymmetric at 9. or 10., seated subroutines at 11.


or my own practice book for the practice sheets perhaps

Either way Krishnamacharya has included what he considers the key, essential postures of maha mudra, paschimottanasana, Shoulderstand and headstand.

In the video above I included a few jump back and through variations, use as many as those as you wish or perhaps keep it very simple transitioning only between stages.

Consistency and compatibility: A response to criticisms of Ashtanga Vinyasa PLUS a 'lost' photo and Surynamaskara and pranayama in puja

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Part I

In a previous post on Krishnamacharya's employment of inversions in Ashtanga and Vinyasa krama I looked to the 1938 black and white footage of Krishnamacharya practicing Sarvangasana (shoulderstand) variations to suggest it was evidence that Krishnamacharya was practicing Vinyasa Krama (characterised by it's variations of asana rather than the more fixed series of Ashtanga) back as far as 1938. 

However, I've since come across the photo above ( from the Krishnamacharya birthday celebration documentary '100 years of beatitude' - embedded at the end of the post) showing Krishnamacharya in a Sarvangasana variation, just as he might have taught it to Desikachar/Ramaswami/Mohan in the 60/70s, what is often thought of as the Vinyasa Krama period. 

What is interesting about this picture is that it was taken during the 1934 photo shoot for Krishnamacharya's first book Yoga Makaranda. 

In the earlier post, I referred to Krishnamacharya's comment at the end of Yoga Makaranda Part I (1934) to suggest that Part II  would have included a wide range of variations which would have clearly linked Ashtanga Vinyasa and Vinyasa Krama together. Why move the inversions to a second text if there were only the seven headstands and five shoulderstand variations found in Ashtanga. 

This photo suggests to me that Krishnamacharya wanted to include a large number of Sarvangasana and Sirsasana variations/options requiring a second text ( and perhaps photoshoot which never materialised thus holding back the text) which would also have included pranayama instruction along the lines of those we find in the text AG Mohan claims is actually Yoga Makaranda Part II (AG Mohan has claimed the text Salutations to the Teacher the Eternal One was derived from an original, unpublished draft for YMII- Both can be found on my free download page at the top of the blog). 

We know from the translation of Krishnamacharya second published text Yogasanagalu (1941) that the Ashtanga syllabus that Pattabhi Jois gave to Nancy Gilgoff and David Williams in 1974, the same syllabus that he developed for his 1940s college course at the Sanskrit college, was based on Krishnamacharya's asana table divided into Primary, Middle and Advanced groups of asana. 

Asana table p 1 of 6 from krishnamacharya's Yogasanagalu 1941

Original Ashtanga syllabus given to Nancy Gilgoff and David Williams in 1974 Page 1 of 5

This means Modern Ashtanga vinyasa is not loosely related/connected to Krishnamacharya's teaching but directly so. Jois' Ashtanga was Krishnamacharya's Ashtanga. Krishnamacharya may have had more flexibility in in his use of groups rather than Jois' more fixed series but it is essentially the same. See the previous post were I point out that Krishnamacharya seems to have been supportive of Pattabhi Jois' teaching at least as late as 1975 when Krishnamacharya gave Jois' daughter Sawaswati a teaching Certificate.


In fact the modern Mysore room of Jois' grandson Sharath probably resembles Krishnamacharya Mysore palace shala much more than it differs. Krishnamacharya supposedly had up to 100 students practicing at one time, Sharath I believe has around 80 ( the room holds around 80 at a time but he may have up to 350 students a morning) . Krishnamacharya's classes supposedly ran for an hour, Sharath encourages students to complete their practice within approx. 90 minutes. Sharath talks of longer headstands being practiced outside the time limitations of the shala, it's likely that Krishnamacharya encouraged the same. In the Mysore class each student follows his own practice it seems likely that the students in Krishnamacharya's school would have followed a standing sequence together before moving on to their own practice and perhaps all finishing together. 

In Yoga Makaranda Krishnamacharya recommended long stays, employment of kumbhaka and bandhas, were these the 'secrets' that Iyengar claimed Krishnamacharya kept to himself and didn't teach to the students in the regular classes is that why Pattabhi Jois never included kumbhaka in modern Ashtanga. Perhaps the large group classes Krishnamacharya taught were not the ideal pedagogic environment to present these practices. I have an image of Iyengar, opening Krishnamacharya's Yoga Makaranda, seeing mention of Kumbhaka's and long stays, the mental focal points etc. and asking Why wasn't I, his son-in-law, taught those practices directly.

However we do know that Krishnamacharya also taught privately on a one-to-one basis, often in a side room while senior students like Pattabhi Jois stood in, assisting the regular large group class just as Sharath's assistants do today. 

Two of these patients and/or one-on-one students are well known of course, Indra Devi and the Maharaja of Mysore himself, surely if Krishnamacharya was treating the head of state he would have been very much in demand as a private teacher. In the one-to-one environment he would have had more freedom to adapt the practice to the individual introducing appropriate variations/vinyasas, exploring kumbhaka and developing individual programs for practice, but even in the large group class there is evidence to suggest Krishnamacharya introduced variations to make it easier for students to access certain more challenging asana ( just as Manju Jois has said his father Pattabhi Jois did in turn).

Ashtanga Vinyasa then is directly indebted to Krishnamacharya Ashtanga of the Mysore palace if not a virtual replica but we can see also that the Vinyasa Krama often associated with Krishnamacharya's later teaching of Desikachar, Ramaswami and Mohan appears to have been present and practiced also in the same Mysore period, the two pedagogic approaches to practice were I would argue consistent with each other and complimentary, the breathing (kumbhaka), long stay and mental focus options offered in Yoga Makaranda itself made available for deepening and extending ones personal practice.

See my earlier post with around 40 photo's of Krishnamachrya's Inversion vinyasas

below, two of the photo presentations from the above post




Part II

And yet criticism abounds. In the past, Ashtangi's seemed to think of Krishnamacharya's later teaching as a watering down, a softening of the practice. Happily that view seems to be changing within the Ashtanga community. When I came to Ashtanga only eight years ago there was barely a mention of Krishnamacharya  influence and yet this week I put up a post on Krishnamacharya practicing in his 80s that has so far been directly linked to 8000 times following an fb share (resulting in around 90 others) from a senior Ashtanga teacher (Thank you DG), my Krishnamacharya Primary group poster has been viewed, if not downloaded, around 30,000 times. I'm excited that so many Ashtanga practitioners are now looking more closely at Krishnamacharya's teaching, at whatever period, late as well as early.

from this post with link to higher quality pdf
New poster Krishnamacharya's Yoga Makaranda asana in Ashtanga Primary Series order

Nowadays the criticism seems to come from the other direction, student's and teachers of the the later traditions dismissing the Ashtanga of Pattabhi Jois perhaps failing to see how it is directly indebted to their teacher's teacher who seems to have taught this way up until his 50s and supported the approach at least as late as his mid 70's.  Ironically, students of the later teachers seem to see Ashtanga as a watered down version, a gross abomination of method, Not yoga. 

Just as Ashtangi's quote their favourite saying by Jois almost as a mantra, the later traditions do the same, yoga should be taught on an individual one to one basis, the practice developed, modified, adapted to the individual needs of the student. Ironically many of those who make that claim have been exposed to this practice in workshops and teacher training, basically, large group classes. 

I myself studied Vinyasa Krama in a group of thirty plus on Ramaswami's Vinyasa Krama Teacher Training.  This was a wonderful course by the way and this year may well be the last Ramaswami conducts it, I highly recommend it. In that course there is in fact a a one week module where you will read through Some of Krishnamacharya's original writing, Yoga Makaranda for instance line by line as well as his later works.


Sometime it feels there is a category mistake, many of the later traditions are stressing the therapy aspect of Krishnamacharya's practice, obviously therapy should be on a one to one basis and modified to the needs of the student, a practice individualised. But practice can also be tapasya, preparation for Yoga, Ashtanga is often, especially in the beginning perhaps, practiced that way. The earlier and later traditions are talking at cross purposes, it's as if one were trying to play chess with the rules of Snakes and ladders ( which could be quite amusing actually, I must challenge James Altucher to such a game). 

It's so disappointing. I feel I am privileged in that I have been exposed to the Ashtanga of Pattabhi Jois as well as the Vinyasa Krama of Ramaswami, at first I was conflicted as I tried to balance my practice but now I see only consistency, complementary practices and options. In my personal practice I no longer see a distinction .

Ashtanga vinyasa gave me discipline and focus, a personal, daily sadhana that I approached with commitment and dedication. Vinyasa Krama  gave me the opportunity to notice the slower option for practice  that is inherent, as well as the flexibility implicit, in Ashtanga Vinyasa. As I became more established in my own practice I was led to explore the other limbs, develop a more integrated practice, all in line with Krishnamacharya's early and later teaching, there too in Jois if one takes the time to look.

Systems have their dangers of course, we can look at extreme presentations, teachers strictly enforcing a fixed, almost dogmatic attention to what are really guidelines for practice, I suspect they are in the minority. 

Later Krishnamacharya traditions look at the selfie videos of Ashtanga practitioners and scoff, forgetting perhaps the 1930s crowd pleasing demonstrations on which all our practices were established (look again at the 1938 video of Krishnamacharya, his wife and kids, Iyengar.... notice too the charming scene of Krishnamacharya practicing acroyoga with his children). Krishnamacharya pointed out that in the middle stage of life we should be practicing a large amount of asana, a little pranayama , it is later in the third stage of life, when we are much older, that we are encouraged to reduce the amount of Asana, increase the pranayama and focus more on the spiritual aspect of practice, meditation, old texts, bhakti perhaps. Many 'mid stage' Ashtangi's however, while keeping up their side with a dedicated asana practice also end up choosing to explore/study important texts, pranayama and meditation some even chant and introducing puja to their daily practice as well as looking into therapeutic aspects.

In the later Krishnamacharya traditions we see from some claims that yoga therapy is scientific despite it ever 'being likely to stand up to the criteria imposed by Western science, like reproducibility of results (when the experiment is performed by the proponent and also when performed independently by other people); or statistically relevant difference of outcomes when compared to a control (positive or negative)'. There just isn't the money, the investment to develop large scale studies, even assuming these are appropriate. Desikachar himself in an interview basically indicated that the main area Yoga Therapy could contribute is in that of stress management. This is not to say that there are not great interest and benefit to be gained from exploring these areas ( see my own posts on the possible benefits of kumbhaka). Pattabhi Jois' teaching examination conducted by Krishnamacharya was to heal a patient. The therapy aspect, other than in a general sense,  has been lost somewhat in the Jois Ashtanga Vinyasa through lack of focus, just one area Ashtangi's can learn perhaps from the later Krishnamacharya tradiations, As Sharath himself indicates we shall all get older and have to adapt our practice accordingly.

We are all blinded by our own passion and belief in our disciplines, of course we are, we practice them daily, they are often the most important part of our day, our lives even, we often become defensive. Surely we need to step back a bit and and look clearly at our own practice, its strengths and weakness, where it came from, it's contradictions and uncertainties as it uncomfortably blends the Raja yoga Patanjali's Yoga Sutras with  Hatha Yoga texts like Hathayogapradipka), lets face it, it's a confused mess, there is no certainty, not among the scholars, of the basis of our practice. Most of the time  we should no doubt approach our practice sous rature 'inadequate yet necessary', trusting it for now but always cseek with  ever more skilful discernment how we can better establish ourselves in our personal sadhana. 

Yoga is radical enquiry, we should begin with our own practice.



Part III

Looking back even further, beyond Krishnamacarya, I suggested in an earlier post that the whole Ashtanga Vinyasa method may have developed not from the wrestling and gymnastics suggested by some, but from the Sun salutation with mantra the Krishnamacharya may well have taught in Mysore, to Indra Devi for example, as well as in the later period ( Ramaswami taught us the Sun salutation with Mantras on his Vinyasa Krama TT course).


The argument is based on the idea that given the sun salutation found in certain centuries old (millennial anyone?) brahmanic practice of puja  all one needs to substitute is a different posture for the prostration and you already have Ashtanga Vinyasa, all the elements are present,  perhaps even including a kumbhaka where the mantra would normally go.

Here is a nice presentation of this from the Krishnamacharya documentary '100 years of beatitude'. Here we see Krishnamacharya's son Desikachar pointing out elements of krishnamacharya's Morning puja. Notice the stages of the sun salutation but notice too the pranayama, nadi shodhana introduced to young brahmin boys as young as thirteen.




Notice the pranayama


Thank you to Noe for the reminder of this video and to Leslie Kaminoff for posting this on his youtube channel


Namaskāra नमस्कार (salutation)

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Recently I wrote a post called TheAshtanga Key - Sury namaskara, where I basically argued that the Ashtanga vinyasa system may have derived from the sury namaskara, the sun salutation. In a nutshell the argument went that we didn't perhaps need to look for outside explanations for the origins of Ashtanga vinyasa, not to wrestling and the international fitness and gymnastics movements in vogue in the 1920/30s ( although perhaps some elements filtered in). If you started form a fast, dynamic, athletic/gymnastic view of Ashtanga Vinyasa then that might be tempting. However if you started from a slower practice, long slow breathing as introduced in Krishnamacharya's Yoga Makaranda and even Pattabhi Jois' Yoga Mala then you might instead look to the Sury namaskara, the sun salutation with mantras that Krishnamacharya is known to have taught. In this argument, all we would need to do is switch the prostration for any other asana and we have full vinyasa Ashtanga. We could even keep the kumbhaka where the mantra would normally go. See the post here


I was then very excited to see Ramaswami's newsletter ( Ramaswami studied with Krishnamacharya for thirty-three years 1955 to 1988) where he looks in detail at the namaskara with a wonderful Q and A conceit. There was never a time it seems when the namaskara  did not exist, well...., perhaps if you were to go back way before Patanjali  and before the vedas themselves.

Does this newsletter in any way support the argument, I'll leave you to decide, here's Ramaswami...



Namaskāra नमस्कार  Srivatsa Ramaswami March 2015 Newsletter

On Feb 26, 2015  I spoke on Pranayama at Princeton University under the Yoga Master lecture series program. In March I am scheduled to go to Mexico to  teach  yoga programs at Twameva  and  Centro Kiai, Mexico City--between Mar 13 and 22nd   Here are the links

http://www.twamevayoga.com/#!certificacion/cs2u

https://www.facebook.com/photo.php?fbid=10152862933875168&set=a.459691565167.250032.678130167&type=1&theater

http://www.centrokiai.com/index.php?option=com_content&view=article&id=91&Itemid=44 

I had mentioned several times that I wrote a series of articles on Yoga way back between 1979 and 1981. My friend Paul Harvey from UK has collated them into a PDF and uploaded on his website. It has about 28 articles. Please have a look when you find time and share it with friends if you like it.

http://www.yogastudies.org/2015/02/a-collation-of-articles-by-srivatsa-ramaswami/


Namaskāra नमस्कार

Q... Did your Guru Sri Krishnamacharya teach you Sun Salutation or Suryanamaskāra?

Oh yes! Yes it was one of the first chants he taught me. You know Suryanamaskara mantras form the longest chapter in the Yajur veda (Krishna)--132 paragraphs in 32 sections-- which is still in vogue in India especially South India. Krishna yajurveda aka Taittiriya sakha (branch) consists of 81 chapters divided into Sanhita and Brahmana portions. The Sanhita contains 44 chapters divided into 8 khandas or sections. One of the chapters is rudram. Aruna or suryanamaskara is the first chapter in taittiriya aranyaka a part of the Brahmana section. Some experts included another chapter the 82nd which is known as ekagni khanda. It contains mantras and procedures for Vedic initiation and also the mantras for wedding ceremony and marriage vows.

 In fact learning to chant is a slow process. He would chant a word or a short phrase with the svaras which I would say twice, then the next phrase. It would go on for about an hour. Then the next time we meet for the chanting the same procedure would be repeated . It will go on for a few times maybe 20 times . By then one would be good to chant the whole passage. The teacher and the student then chant the entire lesson for a few days say  for five days and then the teacher would go to the next section. I think it took almost a year when I completed learning this. Thereafter almost every Sunday at exactly at 7 in the morning I would go to his house and chant Suryanamaskara with him for an entire hour. This went on for a long time and thereafter I used to chant on several Sundays at home. It is also known as Arunam. This is chanted for health as Surya is the  deity of health (Arogyam bhaskarath iccheth) It is also one of my first chants I recorded. I think the last time I met my Guru, we chanted this Suryanamaskāra together for a full hour.

Q...I mean  sun salutation...

Yes Sun salutation is a very important aspect of the vedas. You find several portions of the vedas containing mantras addressed to the sun. In fact there is a daily ritual called 'sandhyavandana' which many people in India still do once in the morning or three times a day at dawn, midday and at dusk. Gayatri is an important mantra addressed to Sun. It is the second most important mantra in the vedas next only to pranava or 'OM'. There are also many more mantras in the sandhyavandana addressed to the sun. Since Sandhyavandana is a daily duty (nitya karma) it makes it mandatory to worship the sun daily, several times daily for many. Here is mantra from the vedas to be chanted in the morning

May the sun who stimulates everything, anger which enslaves all and the gods who preside over anger, protect me from the sins committed through anger. May  I be absolved  of the sins committed  at night with my mind, speech, hands, legs, stomach, generative organ as also of whatever other sins may linger in me.  Devoid of all sins, I offer me into the effulgence of the sun who is the source of immortality.
Sun worship was popular as the sun was considered to be the manifestation of the ultimate reality, Brahman or god. It also emphatically says that the individual self and the Brahman are one and the same
Asavadityo brahma. Brahmai vaham asmi..This sun is Brahman. I indeed am Brahman.
Here is another vedic mantra chanted every morning

Mitrasya charsani dhritah shravo devasya sanasim|  
Satyam chitrsra vastamam |      
Prithivimutadyam. |
Mitrah kristi sabhichasthe |      
Satyaya havyam ghritavad vidhema  
Pra sa mitra marto astu prayasvan. yasta aditya |      
Siksati vratena. Na hanyate, na jiyate, tvotho |      
Nenam agmho asno tyantito na durat ||

I meditate on the glory and fame of the all-protecting sun which is adorable, eternal, bewitching the hearts of all listeners. The sun guides all, knowing everything. He supports the earth and the sky. He watches all creation without blinking. To Him we make offerings  for attaining eternal fruits. O sun who is Mitra (universal friend), may he who is pleased by worship,  get me the full benefit of righteousness without fail. 

At noon time this beautiful vedic mantra , poetic and profound, is chanted

 Asatyena rajasa vartamano nivesayannamrtam  Martyam cha|
Hiranyayena savita rathenadevo yati bhuvana Vespasian |
Udvayam tamasaspari pasyanto jyotiruttaram      
Devam devatra suryamaganma jyotiruttamam |
Udutyam jatavedasam devam vahanti k etavah. Drise visvaya suryam |
Chitram devanamudagadanikam chaksurmitrasya         Varunasyagneh|
A pra dyava prthivi antariksam | Surya atma jagatastasthusachva |Tacchakshurdevahitam | Purastacchukramuccharath |
Pasyema saradassatam jivema saradassatam |
Nandama saradassatam, modama saradassatam |
Bhavama saradassatam| srinavama saradassatam |
Prabravama saradassatam ajitasyama   Saradassatam |
jyok cha suryandrise |
Ya udaganmahato arnavadvibhrajamanah |
Sarirasya madhyat sama vrishabho lohitaksassuryo  Vipascvin manasa punatu ||

The Sun riding a golden chariot goes round scrutinizing all the worlds and shining with self-effulgence and directing by means of His radiance celestials and humans in their respective tasks. The Sun rises swallowing darkness, with great splendour, protecting the celestials also. We who gaze at the Sun (sunlight) shall attain the great radiance of the Self. For inspecting the worlds, the horses of the Sun in the form of His rays bear Him, the god who knows everything. Up rises the Sun who is like an eye to Mitrah Varunah and Agnih and who is of the form of all the celestials. He the Lord of all moving and unmoving things pervades the heavens, the earth and the middle regions.

May we see and adore for a hundred  autumns (years) that orb of the Sun which rises in the east and looks after the welfare of the celestials like an eye. May we live thus for a hundred autumns ( years) . May we rejoice with our kith and kin for a hundred years. May we live gloriously for a hundred years. May we speak sweetly for a hundred years. May we live for a hundred years undefeated by the forces of evil. We desire to enjoy seeing  the Sun (by his light) for a hundred years. May my whole mind be sanctified by the Sun who bestows all our needs, whose eyes are red, who is omniscient and who rises from amidst the waters of the ocean illuminating all the quarters.

And here is the final sun salutation mantra in the daily ritual

 Namah savitre jagateka chaksuse,   Jagat prasuti, sthiti nasa hetave|      
Trayimayaya trigunatma dharine, irinchi narayana sankaratmane||

Salutations to the sun who functions as the sole eye of the world, who is the cause of the creation, sustention, and dissolution of the worlds, who is of the form of the veda, and who appears as Brahma, Vishnu and Siva by the manifestation of the three gunas.

Q..Ok, OK… It is fine but what I wanted to know was suryanamaskara where you count 1,2, 3 etc and prostrate. Did you learn the namaskara  from..

Namaskāra or prostration is done almost by everybody in India especially in the South. You do namaskāra to your elders, to the deities in the temples. When one goes to the temple and stands in the shrine of a deity like Ganesa or Siva, in front of the icon/idol, one would have the darshan of the deity then  close the eyes and mentally read out a wish list and then do the namaskara. How? From standing one would bend  forward and down,  place the hands on the floor, bend the knees . Then if one is a kid  one would jump back or an older one would take one leg after the other , lie face down on the floor (prostrate)  stretch  the arms  forward and keep the palms in Anjali mudra. Then again one would pray, then placing the palms on the floor lift the trunk bend the legs and slowly raise up to the standing position. This is the namaskara. Women follow a slightly different procedure though. You see, the toddler standing near the parent would also do it even without prompting but by merely watching the parent. So nobody really teaches how to do namaskara. The same namaskara is done when you see elders. When I got married, immediately after the wedding ceremony, I with my wife did namaskarams for the next half hour or so many-- may be about 25 times to different elders present and sought their blessings. The same procedure is used all through life including prostrating before the sun. but usually the sun salutation is done in the morning, at sunrise or at dusk when the sun is still visible. Usually it is done as a worship to the sun with prayer for physical and mental health. Many people in India have not learnt suryanamaskara formally from any yoga teacher. In the morning they may go to an open space, the terrace or the seashore at dawn and prostrate towards the eastern direction as the sun rises. Some quietly do the suryanamaskara in their own modest room once, three times or twelve times with the bhavana of sun. But the modern suryanamaskara is done at any time, especially in a closed studio room after sunset without any thought or bhavana of the sun

Q. What is namaskāra?

Namaskāra is namaH+kāraH
NamaH is to bow. It comes from the root NaM to bend or bow (NaM prahvi have) KaaraH is the act So namaskāra would be the act of bowing or simply bowing. There are different forms of it. Keeping the hands in Anjali mudra, bending down and touching the feet of the elders, full prostration as mentioned earlier or different modifications of it. Namaskara is also done with mantras. There are twelve name series (dvadasa) or 108 (ashtottara) name series or 1008 name series (sahasranama) of various deities. At the end of each name or mantra the word namaH is added--like vishnave namaH, or to the sun, mitraya namaH, suryaya namaH-- and a flower or turmeric (Kumkum) powder or basal leaf or vilva leaf  may be offered to the deity. This when done silently is manasika-- namaskara or salutation done with the mind. There is a beautiful chapter in Yajur veda known as rudram which is also known as namakam or one that contains salutations or namaH  to Siva.

Here is the rendition of this chant.
https://www.youtube.com/watch?v=Uu3z9sXUdCo

Q...I am told by some that your Guru did not teach Suryanamaskāra,  the prostration at all

Contrarily, some even say that he adapted it from other contemporary exercise systems. Since in India we were all familiar with the steps involved in namaskra he taught the sequence in passing as one subroutine, one of the 150 or so sub routines he taught me. But clearly the emphasis was on the sun mantras and the devotion. He also taught the individual  sun mantras, a dozen of them,  so that we could use them along with the movements making it a comprehensive sun salutation, sun worship--a samantraka suryanamaskara. Surya namaskara is not a mere physical exercise but a total worship of the sun, physical, mantras and a mindful endeavor. Namaskāra has three elements-- of the body (kayika) of  speech (vacika) and of the mind (manasika).  My guru also taught namaskara to the directions because ding namaskara is part of the daily sandhya I had referred to above. In my yoga classes with him the physical namaskara was seldom part of the daily routine but the hour long suryanamaskara chant we did  so very often. To my guru Suryanamaskara was devotion to the sun, an awesome manifestation of God.  Surya was considered Surya-narayana or the Lord in the form of sun.

So whether I do Suryanamaskāra A, Suryanamaskāra B or whatever, I should spare a thought for the glorious selfless sun. Since one  can not gaze at the sun with naked eye,  my Guru would say “Image the bright sun in the middle of the eyebrows or in your heart space (dahara akasa)”  One may do it before or after a suryanamaskara or even during suryanamaskara. Maybe, one may say a short prayer to the sun, in any language one is comfortable with  along with the one two three counted suryanamaskara or prostration.  An example

Udyannadya mitramahaH| Arohannuttaraam divaM|
Hridrogam mama surya|
Harimancha nasaya|

This Vedic prayer in nosh-up meter is a prayer for a healthy heart.

Oh Mitra (friend), rising in the sky every day,  you move up gloriously in the sky, Do please remove my heart ailment, And the green skin patches (due to poor circulation)

If someone asks me if  Sri Krishnamacharya taught Suryanamaskāra, I would say  “Oh yes, an emphatic YES“., to be done with body (kayika) with devotion (manasika) and  with mantras (vacika)

Here are some sample videos of suryanamaskāra with mantras.  two examples , one for women and then the ding namaskara or namaskara to the directions.




Sincerely
Srivatsa Ramaswami

Main Page http://vinyasakrama.com/Main_Page
Newlsetters https://groups.google.com/forum/?hl=en#!forum/vinyasa-krama-announce

Derek Ireland's Yoga Nidra in the Ashtanga section of Yoga Unveiled

Pattabhi Jois, " That's Me"....... from yoga Unveiled

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Re-posted from 5th January 2012








I was just skimming through the Yoga unveiled documentary and came across the Ashtanga section, nice clip of Pattabhi Jois pointing to that old picture from Krishanamacharya's Yoga Makaranda and saying " That's Me ( in Kapotasana ) and that's Krishnamacharya (standing on top of him).

Interesting hand position in his Kapo, they're almost underneath the ankles rather than on top.


LINK TO DVD
'About the Film
Harnessing the colorful commentary of the most prominent yoga scholars, teachers, and medical experts, Yoga Unveiled reveals how yoga began, tells the story of yoga's passage to the West, describes its numerous branches, recounts the fascinating biographies of the foremost yoga masters, and explores yoga's astonishing medical potential.


Stunning cinematography, ornate visual displays, and stirring music create a truly enchanting viewing experience. The great devotees of yoga grace the screen with their profound wisdom and delightful manner.


Yoga Unveiled also features commentary by Krishna Das, Dr. Herbert Benson, Edwin Bryant, Subhash Kak, Vasant Lad, Dr. Timothy McCall, Larry Payne, Pandit Rajmani Tigunait, Father Joe Pereira, Swami Sivananda, Dr. Martina Ziska, and Dharma Mittra'.

Here's the trailer



UPDATE: My friend Gilad, long long time practitioner and teacher of Ashtanga has a different understanding. He sent me a photo he has had for over 20 years where Pattabhi Jois is indicated in Red, in headstand and Krishnamacharya in Blue. Unfortunately Gilad no longer remembers who to credit the photo to. You have to admit it does physically look like the Pattabhi Jois of the famous Yoga mala photo but on the other hand Jois mentioned that Krishnamacharya used to stand on him in Kapotasana while giving lectures, for the photo Krishnamacharya would no doubt have chosen a suitable student to stand upon. Pattabhi Jois points himself out in Kapo in Yoga Unveiled and if I'm not mistaken Breath of the Gods, it could also be of course that he has misremembered.


However, I've just checked another scene, this time from Breath of Gods, where Pattabhi Jois discusses the picture and again he says it's him in kapotasana but goes further saying that the boy in sirsasana  ( in red above ) was his best from Mahadeva Bhatt.



Photo probably taken around 5 years after the Mysore school photo


"The archival photographs of Guruji that are often seen, such as the one of him in samasthiti, were taken in Tiruchinapalli and Kanchipuram, both in Tamil Nadu. Tiruchinapalli is home to the famous Sri Ranganatha temple, and Kanchipuram, to Adi Shankaracharya Mutt, Sri Kancha Kama Koti Peetham, as well as a sprawling Siva temple. Amma’s grandfather, a great scholar of Sanskrit, Veda, and astrology, was the teacher of the Shankaracharya Chandrasekharendra Saraswati, when he was a young man. This Swamiji was to become a major figure and driving spiritual force in Hinduism. Widely regarded as an enlightened being, he was known for his extreme humility and genuine compassion for all beings. People from all over India traveled to see him, and his knowledge of a vast array of subjects was renowned. Around the time that the photographs included in the book Yoga Mala of Guruji doing asanas were taken, Guruji and Amma had gone to visit the Swamiji. On their first visit, he inquired who they were and Guruji  told  him that he was the son-in-law of Narayana Shastri. With this, the Shankaracharya visibly brightened and the two spoke together at length about Yoga and philosophy. Guruji and Amma then remained with the Swamiji for eight days and, during that time, the Shankaracharya asked him to give a Yoga demonstration. So impressed was he with the knowledge and abilities Guruji demonstrated that he asked him to stay on in Kanchipuram to teach Yoga, but Guruji’s obligations elsewhere forced him to decline. He and Amma however visited the Shankaracharya several more times. On their last visit, they came with the entire family. When they arrived, they were informed that the Shankaracharya was keeping silence and thus not seeing visitors. But when a secretary informed him that Guruji had come with his family from Mysore, the acharya came to the door, smiled, and raised his hand in silent greeting, before again retiring". http://ayny.org/sri-k-pattabhi-jois/


The nail in thigh, Krishnamacharya standing on him Kapo story from YJ

On one occasion while in Kapotasana with Krishnamacharya standing on him for a demonstration and lecture, the young Jois' was aware of a nail sticking in his thigh

Yoga Journal Mar-Apr 1986

Pattabhi Jois, Krishnamacharya and the Yoga Korunta story, as told in 1986 YJ

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Stumbled upon this edition of YJ while looking for Pattabhi Jois' nail in thigh while in Kapo with Krishnamacharya standing on me story


for personal study

Here's the Krishnamacharya and Pattabhi Jois Yoga Korunta story as it was passed around back in 1986

Supposedly Pattabhi Jois said that he never actually saw a copy (trying to find an interview where he says this on record).

here's a nice treatment of the Yoga Korunta story form the ever facinating Alan Little blog






from Yoga Journal Mar-Apr 1986
I have some old posts that consider the Yoga Korunta, here are two

Thursday, 22 March 2012
'...the Yoga Korunta, which was written on palm leaves'

The above includes a page from Krishnamacharya yogasanagalu where he mentions his book was partly based on a Yogakuranti

"Introduction

I did not attempt a detailed review of all ancient yoga treatises since it will make this book very long and perhaps cause boredom to the readers.  Please forgive.  This writing is mainly based on the following texts:

Patanjalayogasutra
Hathayogapradipika
Rajayogaratnakara
Yogakuranti
Upanishads related to yoga
Learning’s from my Guru and self-experience" 

from Intro to Yogasanagalu

I mention it too, briefly, in this post

Sunday, 14 April 2013
Did Krishnamacharya teach Ashtanga Primary Series? Matthew Sweeney and the Origin of Ashtanga, Yoga Korunta and Vinyasa

My current thinking?

Oh I don't know, it seems such an old issue now. Reading through the Yoga Journal article above it does make you wonder where the story came from in the first place especially since it goes inot such detail, does anyone reading this know the author Christine Hether, she lives on the Big Island, Hawaii ( I'll try and get in touch and see if she remembers her sources). Pattabhi Jois' English wasn't that great, perhaps  the odd mention grew into a whole mythology, Chinese whispers that he later felt the need to come and out and say he had actually never seen a copy.

Perhaps the kernel of the story came from David Williams


"When I arrived in Mysore in 1973, the "Ashtanga Yoga Syllabus" was framed and hung on the wall of Pattabhi Jois' Ashtanga Yoga Research Institute. Pattabhi Jois told me the syllabus was the list of the four series of postures and pranayama from the Yoga Korunta, written in the 12th century by the yogi, Vamana. He explained to me that this ancient text was taught orally to his guru, T. Krishnamacharya, by his guru in Tibet, Rama Mohan Brahmachari. Several years later, Krishnamacharya, following the directions of his guru, found a written copy of the Yoga Korunta in the library of the Maharaja of Calcutta. Krishnamacharya made a copy of the manuscript.
Krishnamacharya showed the Yoga Korunta to his student, Pattabhi Jois. The text included all of the basic yoga asanas, from elementary to advanced, detailed move by move, breath by breath". 
David Willams


We also have this by Eddie Stern's from his profile of Pattabhi Jois


"Ashtanga Yoga: The historical definition of ashtanga yoga is "eight-limbed yoga," as originally outlined by the sage Patanjali in the Yoga Sutras. Ashtanga Yoga as taught by Guruji began with the rediscovery, early in this century, of the Yoga Korunta, an ancient manuscript describing a unique system of hatha yoga practiced and created by the sage Vamana Rishi. Under the direction of Krishnamacharya, Guruji helped decipher and collate this system. He named it Ashtanga Yoga, believing it to be the original asana practice as intended by Patanjali.

The Yoga Korunta emphasizes vinyasa, a method of synchronizing progressive series of postures with a specific breathing technique. The process produces intense internal heat and a profuse, purifying sweat that detoxifies muscles and organs. The result is improved circulation, a light and strong body, and a calm mind. On a practical level, the vinyasa continuous flow aids the practitioner, under the guidance of a qualified instructor, in integrating the eight limbs of yoga described by Patanjali".
Eddie Stern 2001


And this from Guy Donahaye


"In 1919 Krishnamacharya began his studies of the Yoga Korunta with his Guru in Tibet, a period of study which lasted seven years. During this time he was able to master over one thousand asanas and had learned the Yoga Korunta in the Nepalese Gukha language.

At some point years later Krishnamacharya discovered a written copy of the text in a Calcutta library. He started to transcribe the text from the nepalese Gurkha language. Unfortunately the verses were written on palm leaves and had been damaged by ants so the text was not complete. 

It has been suggested by some that Krishnamacharya created the six Ashtanga sequences and fabricated the story of the Yoga Korunta to add mystical authority to his system.

But why would a man of Krishnamacharya's spiritual evolution, for whom to lie would be a sin, intentionally misrepresent the truth?

No one can say how old the text is, or how old the teachings are which must have preceded the creation of the record. Those who say these are creations of Krishnamacharya must be mistaken, certainly he was a genius and made some adaptations, as can be seen in his later teachings.

The text is attributed to Risi Vamana. Vamana was an avatara of Vishnu and the first incarnation of the Treta Yuga (the 2nd Yuga) which places him at the same time in history as the battle of Kuruksetra (in the Gita/Mahabharata).

It is common practice for authors to attribute their texts to their teachers or teachers teachers, so the author of the text is not necessarily Vamana but could be one of a lineage of his students".
Guy Donahaye


UPDATE:

My friend Enrique Matías Sánchez left a comment  

There is also this interview in which Krishnamacharya himself talks about the Yoga Korunta:

"Ganganath Jha had the title of Yogacharya (Teacher of Yoga). When Krishnamacharya sought his guidance, Jha asked him if he was sure he had a serious inclination to learn Yoga. Krishnamacharya was still hungry and thirsty for more knowledge. He told Ganganath Jha that this indeed was his ambition. It was, after all, his father who had first advised him to master the Yoga Sutra. 

He recalls today that Ganganath Jha said to him, "If you really want to master Yoga you must travel beyond Nepal for that is where Yogeswarar Rama Mohana Brahmacharya is living. In the Gurkha language there is a book called 'Yoga Gurandam'. In that book you can find practical information such as Yoga practices which give health benefits. If you go to Rama Mohana you can learn the complete meaning of the Yoga Sutra." 
[...]
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." 


And then Godfrey Devereux claimed that according to BKS Iyengar there is an actual copy of the text in Mysore:

Finally I received the first response to my inquiry. Godfrey Devereux, in a thoughtful message, reminded me of what makes yoga so rich:

"Most of the transmission of yoga, like that of all esoteric practices, was oral and personal. The criterion of historical validation is therefore hardly applicable. Besides, many materials are kept hidden from non-Brahmins in special vaults. 

The Yoga Korunta, which contains over 250 postures, is over 5,000 years old; a copy made by Krishnamacharya is, according to B.K.S Iyengar, in an exclusive vault in Mysore, India-access restricted. It is for them a historical treasure, which they fear would be commercially exploited by mercenary Westerners."




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The thing I keep coming back to is that only one line ever seems to be quoted from the text

"Yogi, don't practice asana without vinyasa"

Before switching to Philosophy at Uni I studied Classics so am not unfamiliar with fragments, one would expect if the text had been read recently or imparted orally to Krishnamacharya by his teacher then we would have more than one fragment. Krishnamacharya was a memory machine, there is film of him on his 100 Birthday celebration chanting away from memory while his son and other scholars chant from texts.

My kindest guess is that Krishnamacharya's teacher referred to a yogakuranti and perhaps that got confused with Vamana Rishi's text. Or perhaps the teacher was mistaken and the text he was using or basing his teaching on was another text altogether that he believed or had been told was called yogakurunti.

As for the Calcutta library story, Iyengar scoffs at the very idea but we do know that the young Pattabhi Jois accompanied Krishnamacharya on some of his yoga promotion tours. I'm sure Krishnamacharya would have visited libraries in his free time, I can imagine Krishnamacharya testing his young padwan on his Sanskrit translation skills and perhaps one such texts rang bells with Krishnamacharya, Sriitattvanidhi or something based on it perhaps.


Wednesday, 3 September 2014
Origin's of Modern Yoga Asana: Comparison of Krishnamacharya's teachers drawings and Norman's Sjoman's Sriitattvanidhi (1880's) presentation in his Mysore palace book


pictures below are from the above post.





Either way, there are clear problems with the YJ story, to take the most obvious, the article refers to Krishnamacharya and Pattabhi jois constructing six series but we have now Krishnamacharya's original three groups, Primary, Middle and Advanced ( published in a table in Yogasanagalu 1934) and based on that Pattabhi Jois' four series, Primary, Intermediate, Advanced A, Advanced B which was supposedly the syllabus for pattabhi Jois Sanskrit college course in the 1940s and which he gave to Nancy Gilgoff and David Williams in 1973. Turning the four series into six is something that doesn't seem to have happened until the 1980s.

Does it matter how old the practice is, try going a week without practicing and see if you still care, something resonates in this linking of breath, mind and movement that is timeless whether it was written down or not. It's excellent preparation for yoga, it marries as the Italians are fond of saying. And truth be told if a copy of the Korunta was found I very much doubt it would change a single vinyasa in how it's taught in Mysore currently. Some would explore it through practice just as some of us explore Krishnamacharya's texts through practice, to try and understand what he was exploring himself. Would I change my own practice, probably not, somebody else would though ensuring that it was a living practice once more. It's a nice thought.


That's all I've got, the ants had it.



Yoga Journal is still going of course, here's a link http://www.yogajournal.com/

Simon Borg Oliver - Mayurasana Relaxed or Hardened Abdomen? Plus Krishnamacharya's Mayurasana (regular, one handed and lotus) instruction, 1 min to 3 hours but at least 15 min daily.

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"(Mayurasana)...This asana stithi should be held from 1 minute to 3 hours according to the practitioner's capability..... If this asana is practiced every day for at least fifteen minutes, a lot of benefits are achieved."

From Krishnamacharya's Yoga Makaranda (1934)
I seem to remember Ramaswami recommending mayurasana as one of those postures that Krishnamacharya considered important as it massaged the internal organs. In Yoga Makaranda Krishnamacharya advises that we should ideally practice every day for fifteen minutes.

Simon Borg- Oliver stressing the relaxed abdomen rather than the more gymnastic hardened abdomen shows us how an extended stay is possible ( hint: we can breath more easily with a relaxed abdomen which also allows the internal organs to be massaged).


Simon Borg-Oliver on Mayurasana 






"In this two minute video I am showing how a simple form of the gymnastic planche posture that is known as Mayurasana in hatha yoga can be used to massage the internal organs and especially enhance the elimination of waste and the absorption of nutrients, via a type of self abdominal massage that is only possible if you completely relax your abdominal muscles".

This video is part of Topic 10 (The Body Systems) in the 120 hour Yoga Synergy Online Course on

'The Applied Anatomy and Physiology of Yoga' by Bianca Machliss and I which is available at http://anatomy.yogasynergy.com/a/baaaba

https://anatomy.yogasynergy.com/

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Krishnamacharya's Mayurasana Instruction


from Yoga Makaranda (1934)

41 Mayurasana (Figure 4.90)

From Krishnamacharya's Yoga Makaranda (1934)

This has 9 vinyasas. The 5th vinyasa itself is the asana sthiti. This asana has two forms. One form is called sampurna mayurasana. The second is called one-handed mayurasana. The picture included here depicts only sampurna mayurasana. In this asana, both hands should be firmly pressed down on the ground and with the strength of the arms, the whole body should be balanced like a bar in a balance scale with both sides at the same level.

In the other type of mayurasana, keep only one hand on the ground and balance the body on this hand as mentioned above. Ordinarily, most people cannot do this type. So it is alright to just do sampurna mayurasana. Study the picture carefully to learn how to place the hands.


Eka Hasta Mayurasana - An old One handed mayurasana variation photo but done with a hardened abdomen see Simon's video above for his advice on softening the abdomen
This asana must be done before eating (on an empty stomach). Wait a minimum of four hours after eating before practising this asana. This asana sthiti should be held from 1 minute up to 3 hours according to the practitioner’s capa- bility. It is good to practise this regularly and to remain in this sthiti for longer periods during the winter or colder months rather than in the summer.
If we make it a habit to practise this asana every day for at least fifteen minutes, we will attain tremendous benefits. First, it will not allow unnecessary flesh or excessive impurities to remain in our body — it will expel them out. It will increase digestive power. It will protect us from every disease and keep these diseases from approaching. We can say that it is the death of all respiratory diseases, all paralytic diseases — all such dangerous diseases. No disease will approach the people who practise this asana.

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From Salutation to the teacher the Eternal one ( Yoga Makaranda Part II - date unclear 1950s?)

28. MAYURASANA

This asana has to be done on the bare ground. There should be no carpet or other spread on the ground.

Technique:

1. Stand upright with the legs together. Jump spread the legs apart so that there may be 12 inches between the feet. Lift the arms, interlace the fingers and turn the palms upwards. Stretch the body and the arms. Inhale.

2. While exhaling, lower the trunk by bending the body at the hips. Keep the arms stretched. When the hands are near the ground, the fingers are freed, the palms turned downwards and placed between the feet firmly on the ground, the finger pointing towards the back and the little fingers touching each other. The legs should be kept stretched and the knees should not be bent. The spine should be kept stretched and as straight as possible.

3. Inhale and lift the head.

4. Exhale, bend the head, spread, the elbows for the passage of the head and place the
head between the knees.

5. Inhale, lift the head and come back to the position in step (3)

6. Take a few deep breaths.

7. While inhaling, jump back with both feet, so that the navel may be above the
elbows, when the legs are stretched behind. The legs touch each other, stretched with the toes pointed and the back of the feet resting on the ground. The elbows are placed firmly on the either side of the navel, and the elbows kept as near to each other as possible.

8. Slowly inhale, the inhalation should be only to half the extent that was being done during the previous deep breathing, and move the body forward by about three inches, so that the body assumes the position of a horizontal plank. The legs are to be kept stretched, the knees together and the toes pointed. Head should be raised up.
Note: The final position prescribed above may not be possible in the beginning stages. The feet should be raised only about an inch in the beginning stages of practice, and the height lifted slowly increased as practice advances.

9. Breathe in and breathe out in a regulated manner but with no retention of breath.

10. While inhaling, lower the legs.

11. While inhaling, jump forward and bring the feet on either side of the palms and
while inhaling life the head to the position in step (3).

12. While exhaling, bend the head, widen the elbows and place the head between the knees.

13. While inhaling, life head and reach the position as in step (3).

14. Lift the trunk and with a jump bring the legs together and reach a position as at the
beginning of the asana.

In this asana, the stomach is compressed, and the lungs are also compressed, and it may appear that regulated breathing in this posture may not be possible.

When Mayurasana has been mastered sufficiently to keep the body steadily horizontal for half a minute, the variation mentioned below-Padma Mayurasana-can be done.

This variation should not however be attempted unless by previous practice padmasana i.e., crossing of the legs can be done without the help of the hands in the Sarvangasana and Sirshasana positions. If at this stage, regulated breathing is practiced in Padma Mayurasana position, it becomes easy later to practice Pranayama even in the ordinary Mayurasana position. Care should however be taken to see that the lungs are not unduly strained. For maximum benefit Pranayama should be done for 5 minutes, when the body is held as a plank in the horizontal position. Proper practice of Pranayama is difficult, but becomes easy after practice.

Note: At least 4 hours should lapse after the last meal, before this asana is attempted. Benefits:

i. This prevents all diseases pertaining to the liver and spleen.

ii. This also cures diseases of the spleen and liver, but such treatment, in the case of those suffering from these diseases should be undertaken only under the personal guidance of a properly qualified teacher.

iii. This increases the powers of digestion.
This asana should not be done by those suffering from excessive fat, breathing trouble, blood pressure or kidney complaint. This asana should be done in moderation during summer.


7. PADMA MAYURASANA

Padma Mayurasana- Warning: Be carefullthe first time you try this, without the weight of your outstretched legs there is a tendency to fall forward into a face plant
When ordinary Mayurasana previously described has been mastered sufficiently to keep the body steady horizontal for half a minute, the variation mentioned below can be done. This, however, should not be attempted unless by previous practice, Padmasana, crossing of the legs, can be done without the help of the hands in the Sarvangasana and Sirshasana positions.

Technique:

1. The steps are the same as in the case of ordinary Mayurasana up to the stage when the body assumes the plank position - step (8)

2. At this stage the legs are crossed into the Padmasana position. The body with the crossed legs are to be kept in a horizontal position. The head is lifted up.

The restrictions mentioned under Mayurasana apply here also.
Benefits: Are the same as those mentioned in Mayurasana.



The breath: Simon Borg-Olivier made me fall in love with asana all over again.

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The breath! 

I'd started to feel that asana was getting in the way of the breath....  I'm falling in love with asana all over again.

Thank you Simon Borg-Olivier

All I've been interested in lately is the breath, breathing more and more slowly, kumbhaka,  exploring longer stays and at one point I was only half joking to Peg Mulqueen that I was tempted to explore forty minutes in tadasana.

When Krishnamacharya talked about 15 minutes to three hours in mayurasana was he joking, he didn't seem one to joke, not back in the Mysore days. And what about ten minutes in Chatauranga, fifteen in upward facing dog, is that even possible. And again, Jessica Walden's slow slow lifts with the breath in her arm balances, the breath all about the breath.

But here's Simon Borg-Olivier with a reminder of posture,  of movement, take the first two short videos below, we don't need to tighten the abdomen, a slight shift of posture (lean forward while standing for example and the abdomen is firm at the frount and yet relaxed at the sides, we can breathe 'into the abdomen', stay relaxed, it's a more subtle breath, longer stays become possible... perhaps in Mayurasana ( see previous post).

I'm excited again about asana, posture, movement. I already loved Simon's talk on theory but his practice had seemed a little.... dancelike to me, looking at it closer I see at times,  that there's more of a Tai Chi aspect to it, those subtle movements, shifts of weight, engagement of different muscles, moving energy around the body ( think it this aspect also comes from Simon's time with Zhander Remete (Shadow Yoga) , Simon also studied with Iyengar for a long time and Pattabhi Jois also) and Simon should know, with his background in Molecular biology and later Anatomy and physiotherapy.... I don't turn of or glaze over when I hear him discuss energy in the body. 

What is Prana
Prana (aka Chi, Qi, Ki) in the body includes energy in the form of:

Electrical energy
Heat energy
Glucose and other energy carrying molecules
ATP (and other energy carrying molecules
Electromagnetic radiation
What is Chitta (Citta):

Citta (consciousness) in the body includes information in the form of:

Neurotransmitters
Immunotransmitters
Hormones
Electric signals
Electronic signals
Electrochemical signals
Electric fields
Magnetic fields
Electromagnetic fields



The great teachers brought their talent's, gifts, skills and past teaching/experience together into their own explorations, own radical enquiry, that for me is Yoga. 

Here's Simon then in his 28 part Spinal sequence tutorial on Youtube with accompanying posts on his blog with transcriptions and notes ( titles below are linked to the blog). I've chosen five of my favourites, watch the first two and see if you're hooked like I was.

One can explore the breath and posture through the spinal sequence in an extra evening practice perhaps ( moon days, Saturday if you're an Ashtangi) or explore how we can introduce these principles subtle shifts of posture and breath into our own practice as I am, to make it safer, more effective perhaps.

I'm adding Simon's demonstration of the whole sequence at the end as well as an Advanced version to show what is possible with a relaxed abdomen.

I'll also put links to Simon's website, Blog, book and online 'Anatomy and Physiology' and 'Yoga fundamentals' course.

I spent time with Simon on the Yoga Rainbow Festival in Turkey last year, I was humbled to be teaching on the same festival as him and it was a great pleasure to sit over dinner, walk up and down mountains asking questions and discussing all things yoga. He's light, fun, the best company but pass him an academic paper and he's all scientist, checking references. I'm looking forward to spending time again with this warm generous man, my friend and teacher.

See my Interview with Simon on  this post 




Introduction

"The key to effective spinal movements and core stabilisation is to always be able to breathe into the abdomen using the diaphragm and always initiate each spinal movement from the region of the navel and the ‘navel spine’ (L4-L5). Once you release the muscles of forced abdominal exhalation that many people habitually use to ‘engage their core’ using abdominal breathing or at least the feeling that you can breathe into the abdomen, then the spine is free to move from its base at the ‘navel spine’ (L4-L5) near the sacrum. Once you move your spine using the internal forces (trunk muscles) rather than external forces such as gravity, the use of another limb or momentum, then this will create tremendous core strength. In other words to move the spine you must initiate movement from the core with a sense that the core feels relaxed enough to breathe there. At this point the abdomen may feel quite soft to touch. However, once the movement begins the abdomen begins to firm because it is moving. This is an important key to functional mobile core strength and a pain free back".





Video Transcript:

“I’d like to demonstrate a serious of postures and movements which will mobilise my spine, my hips and my shoulders. But it’s not just the anatomy of my body that I am trying to mobilise, manipulate, strengthen and stretch, I am also working on my physiology. The main thing that is going to make the physiology of this movement and practice work is diaphragmatic breathing. Diaphragmatic breathing is not possible if you constantly engage the muscles that one would normally use to exhale
fully. So instead of tightening the muscles normally one would use to exhale fully, something which people often do in order to protect their spine and commonly called “core stabilisation”, I’ll be using my arms and my legs, movements from my hips and shoulders, to firm my abdomen. Then I will still be able to breathe from my abdomen and make the diaphragmatic breath that will help to nourish and nurture the nervous system, the immune system, the reproductive system and the digestive system. I’ll describe what I am doing as I go along (in the next few video blogs).”


Video Transcript:

“In the beginning I am standing with legs hip width apart as it gives a slightly wider base of support. I lean further forward with my hips and my armpits. This gives a reflex activation of the abdominal muscles so now if I breathe into the abdomen it will hardly move. Whereas if I lean back where one normally stands and breathe into the abdomen you will see a noticeable expansion in the abdomen. This same diaphragmatic breathing if you lean forward, the abdomen draws inwards naturally. If I breathe into the abdomen now, it’s firm but calm. Diaphragmatic breathing will allow you to feel calm.”




ITS BEST NOT TO BE FEELING A STRETCH IN THE BACK OF THE LEGS AND THE SPINE AT THE SAME TIME.

Because I moved in the way I did (up until this video segment), I’ve come to a point now where my body is warmed up enough that it doesn’t feel like a stretch to take the head to the knee. It’s a mistake to stretch the spine and the hamstrings at the same time. The misconception that some people have when they start to do stretching is that they see people who bring the head to the knee, people who are used to stretching, and this might make some people say that they are doing a very good stretch. When in fact for me now that I am warmed up I am not stretching I am just resting my head on my knee. Not only can my head comfortably touch to my knee the same way that one might bend the elbow, no sense of stretching just a movement also my leg has enough strength to come to my head, it’s not a stretch it’s a movement. It’s all right to stretch the back of the leg provided the spine is straight. But if you lengthen my spine as I am doing now and have the back of the leg feeling like it’s stretching that’s where danger can come in and the spine might be at risk. So if it’s first thing in the morning for example, and I am stiff and start to go forward and feel the back of the leg stretching I will either keep my spine straight or if I want to bend my spine I will bend the leg as well. And that keeps the movement safe instead of potentially damaging the lower back muscles, the structure of the spine itself or the spinal nerves.

USING YOUR BREATH WITH STHIRA SUKHAM ASANAM (TO BE FIRM BUT CALM)

Of course you can get away with doing this if you harden the abdomen with the muscles of exhalation. So if I breathe in here [See demonstration of breathing into the abdomen], and then exhale gently and relaxed as I’ve done there [See demonstration of relaxed exhalation] with the abdomen soft the lungs are not fully empty. Also, to exhale fully you are required to tighten the muscles of exhalation. These are circular muscles that go all around the bottom of the trunk. So you see my fingers in my abdomen now, if I tighten my exhalation muscles, the trunk moves inwards away from my fingers. So it’s like I’ve wrapped a belt around my lower waist. This gives a certain amount of abdominal firmness and protects my back if I’m doing a lifting exercise or a straining or stretching exercise.
But the problem is because I’ve used the muscles of exhalation to tighten my abdomen that straight away reciprocally relaxes or inhibits the main muscles of inhalation which is the diaphragm. So it means then with the diaphragm inhibited there is an inhibition of the organs that the diaphragm helps to control and stimulate, including the reproductive system, the immune system, and the digestive system.
Also with these belt muscles contracted and pulling the whole spine inwards it blocks the energy and information from the trunk to the legs. So then to pump the blood to the legs the heart has to work a lot harder, the lungs have to work a lot harder. So, the movements that I am trying to do should not have to tighten all of these things if I want to stay calm. In the Hatha Yoga tradition of India there is only one description of physical exercise. It’s only one sentence. It says “Sthiram Sukham Asanam”. It means physical exercise should be with firmness but with calmness. It’s learning how to do stressful things in a relaxing way. So to protect the back I need to be firm. But to keep calm diaphragmatic breathing and stimulation of the para-sympathetic nervous system is important. The funny thing is that once you learn this you will not only be protected but it will give you tremendous strength. So if someone is just tightening the abdomen like this [See demonstration of pulling the abdomen inwards] they cannot breathe from their diaphragm. So, then what tends to happen is that their chest expands. When the chest expands it makes the body weaker. If the abdomen expands it also makes the body weaker. So when you see adept practitioners of eastern forms of exercise including the Chinese Martial Arts or the Indian Hatha Yoga – there’s also Indian Martial Arts and Chinese Yoga as well, but they all relate – you never see adept practitioners expand their abdomen or their chest. You can use the analogy of the balloon which a child blows up as opposed to the tyre of a car, when you blow a balloon up it gets bigger but the walls actually get thinner and less strong. Whereas when you add more air to a car tyre the walls don’t get any larger but actually the more air coming into the tyre allows it to become much stronger. So you can actually put a ten tonne truck on a hard walled tyre filled with air but something which expands like a balloon will just burst if you put more air into it. So the chest and the abdomen are the same. An in-breath which expands the chest will only make the spine weaker. An in-breath which expands the abdomen will only make you weaker. So in the Martial Arts, in Hatha Yoga it’s always said that you should breathe diaphragmatically but with firmness. So if I breathe diaphragmatically standing normally the abdomen puffs out. But if all I do is push the sitting bones forward the front of the abdomen automatically goes firm and the sides are relaxed. Then if I breathe into the abdomen it doesn’t move but because it’s a diaphragmatic breath I stay calm.



The same principle is used in things like handstands. So if I bring my arms up in the air initially and lengthen the spine, slightly extending the spine as well, and then bring my hands to the floor, as I moving towards the floor I am pushing the hips forward throughout. I lean onto the hands and lift the head up. Lifting the upper back and pushing the sitting bones towards the hands firms the front of the abdomen. Simply breathing into my abdomen (firmed by posture), or rather breathing with my diaphragm into the abdomen causes an increase in the intra-abdominal and intra-thoracic pressure which straight away puts strength into my arms. Here I simply breathe into the abdomen as my legs are lifting and the instant strength comes to the body. It doesn’t feel like a strain to lift the body. Whereas you can lift up to a handstand with just brute force.

A lot of weightlifters will do lifting exercises using what’s called a Valsalva manoeuvre. Where you make an in-breath then hold the breath and then tense all the muscles of exhalation. In so doing you also increase intra-abdominal and intra-thoracic pressure and intra-cranial pressure as well. This gives you more strength in the arms but the problem is that a weightlifters blood pressure has been shown to go up from a normal level of 120/70 to extreme levels of 380/360. And so there’s a risk then that if you use the Valsalva manoeuvre for strength exercises such as lifting weights or handstands that you risk bursting a blood vessel in your head, or your heart, have a heart attack or a stroke and just increase a lot of stress at the same time. So the trick is to remain very calm and breathe with your diaphragm into an abdomen firmed by posture (as opposed to tension).



In this part, Simon Borg-Olivier, explains the benefits of breathing less than normal (hypoventilation) and role of increased levels of carbon di-oxide in increasing circulation of blood to the brain and other parts of the body, as well as increasing the transfer of oxygen into the cells of the body (via the Bohr effect). It is also possible to use the muscles of breathing and the breath itself for other reasons, for example you can use the muscle of breathing to help relax muscles, to increase strength and to mobilise the spine, and this can include sometimes breathing more than normal. However, the most important reason to breathe is to get oxygen to the cells this is done best when you increase carbon di-oxide levels by breathing less than normal, or at least by breathing naturally.



Edited Video Transcript and Notes:

One of the deepest movements that is considered to be a tremendous cleansing exercise, called in India Hatha Yoga a Kriya, is Nauli, which uses the movements of the hips to activate the spinal muscles and turns your trunk into one heart. So the same way the heart will work to pump the blood, by compressing the first chamber and pushing the blood to the second chamber, second chamber of the heart expands and pulls the blood from the first to the second. You can make your spine move the same way. So I will demonstrate (in the next Blog – Spinal Movement Sequence (Part 24)) making the right side of my abdomen firm and the left side relaxed, pushing the blood from the right to the left side. Then the left side of the abdomen firm and the right side relaxed so it pushes the blood the other way. This movement then is exactly what I was doing in the side and forward bend but in a much more rapid and direct way. This exercise is done without breathing. This exercise is done while holding the breath out which builds tremendous amounts of carbon dioxide inside the body. Physiologically carbon dioxide reacts in very positive ways:

1. Carbon dioxide increases the diameter of the blood vessels that go to the brain, so you get more oxygen to your brain.

2. Carbon dioxide increases the blood vessel diameter going to the heart, so actually you get more blood and more oxygen to your brain and to your heart when you’re holding the breath out for a long time, and for a longer period of time holding the breath in.

3. Carbon dioxide, when it builds up in the form of carbonic acid, will cause the vessels that go to your lungs to expand. So, say for example if someone has asthma the constriction in the vessels going to the lungs often calls for a puffing device and these drugs are not necessarily going to be helpful for you in the long run. But if you simply answer the call of nature when you have an asthma attack, which is making your lungs give a wheezing affect, it’s the body telling you to stop breathing, that it’s hard to breathe, so stop. It’s often a surprise to a person who is asthmatic that if they just stop breathing for a minute and allow carbon dioxide to build up this immediately bronchodilates the vessels to the lungs and then an in-breath is much easier.

4. The other significant effect of carbon dioxide build up is called a Bohr effect. The Bohr effect means that carbon dioxide is necessary to be present in any part of the body for haemoglobin to actually deposit its oxygen molecule when it arrives. So, say for example the big toe needs oxygen. You might be able to get blood to the big toe but if there is no carbon dioxide in your big toe then the haemoglobin will then just leave with its oxygen because it needs to swap it for the carbon dioxide. This is a lay explanation, but it helps makes people appreciate that exercise is not something where you are trying to breathe more. Actually fitness comes if you can do more but breathe less. A physically fit person is one who can run 100 metres the same time and distance as someone who is not as fit, but you can tell they are fit because they are not breathing so much and their heart is not beating so much at the end.

So the adept Yogi is considered to measure their lifespan not by the number of years they live but rather by the number of breaths they take and by the number of beats their heart makes. So by practising in this way any sort of exercise, including simple walking, movements which cause the hips and shoulders to cause a firmness to come to the spine giving you core stabilisation, while breathing diaphragmatically this helps increase blood flow while not increasing heart rate. The other thing is that the more you learn to breathe less in your physical exercise practise while still emptying the lungs periodically , this builds up an acidity and that acidity, a gentle acidity of carbonic acid – it means you don’t crave to have acidity in your diet and you can eat a lot less. Whereas most people do the opposite. Most people breathe so much in exercise because often we are told to do so and this makes them very alkaline.

Hyper-ventilation makes you alkaline. This then makes you crave, after your exercise, acidic foods which are the more stodgy foods, the high protein foods, the processed foods, and drugs. So by breathing less and learning to hold the breath in as I’ll demonstrate now (in the next blog – Spinal Movement Sequence (Part 24)) while still doing exercise you get lots of benefits.



In this part, Simon Borg-Olivier explains that ‘core stabilisation’ (or the ability to firm the abdomen) should allow ‘core mobilisation’ (or freedom of movement). He shows how many people often tighten their abdomen using their muscles of forced abdominal exhalation in a way that inhibits their diaphragm from behaving naturally, causes excessive tension in their spine and trunk that can inhibit circulation and can actually prevent the relief of some back pain, and prevents the natural movement of spine and internal organs.


Edited Video Transcript with Notes:

Learning how to become stable in the trunk, keeping what conventional exercise call core stabilisation, it is really important to keep your spine safe whenever you are doing exercise or lifting work. But, often when people do it, especially with too much force and conscious control, then the muscles that they use to tighten the abdomen, which gives some protection for the spine will inhibit the muscles that we use to breathe in and keep us calm. This main muscles of breathing in is the diaphragm, which sits below the chest like a dome. As the diaphragm becomes active it moves downwards as it contracts and that makes the space above the diaphragm become essentially like a partial vacuum that pulls air inwards. But the diaphragm downwards movement pushes the abdomen outwards. So if you just stand relaxed and breathe in with your diaphragm the downwards movement of the diaphragm will cause air to come in and the tummy to puff out.

For most people if they breathe with the chest that’s only possible for most people if they’ve kept their abdomen firm using the muscles of exhalation. Many people in exercise will tighten their abdominal muscles in a way which inhibits the diaphragm. One muscle or muscle group will always inhibit the muscle group which is opposite in action. So the muscle that makes you breathe in to the abdomen (the diaphragm) will make the muscles that make you breathe out from the abdomen (transverse abdominus, abdominal external oblique and abdominal internal oblique) relax or ‘switch off’. Conversely, the muscles that make you breathe out from the abdomen (transverse abdominus, abdominal external oblique and abdominal internal oblique), when they’re active, will make the muscle that make you breathe in (the diaphragm), relax or ‘switch off’. So if you simply relax your abdomen it is possible to breathe in with the diaphragm, you’ll see my chest hardly move and the abdomen comes out. But if you exhale all the way which uses the muscles of forced exhalation, those muscles which include the external oblique muscles which you saw me demonstrate (in a previous video) and I’ll demonstrate again here now. So, I visualise these muscles called the external oblique muscles by doing exactly the same muscular grip that we do when we fully exhale which basically just takes the trunk and uses the circular muscles to just constrict and narrow. It’s like you’re trying to blow the air out by squeezing all of this region of the lower trunk. Many people will use those muscles, the muscles of forced abdominal exhalation, to stabilise and strengthen the spine, protect their back during lifting exercises and bending exercises. But the problem is that if these muscles are always kept active (switched on) then you are not able to comfortably use your diaphragm. The lack of diaphragm use will mean that the internal organs, the reproductive system, the immune system, the digestive system in particular, will not be functioning normally during your exercise and probably not functioning properly  during everyday life.

In addition when the muscles of forced abdominal exhalation are engaged strongly then it is very difficult to mobilise the spine, which means that the spine will feel stiff. If this happens in someone with back pain then Real Time Ultrasound (RTU) studies by physiotherapists and other researchers have repeatedly shown that it probably not improve the back pain and it may in fact be contributing to the back pain.



Simon Borg-Olivier MSc BAppSc (Physiotherapy) is a Co-Director of Yoga Synergy, one of Australia’s oldest and most respected yoga schools. The Yoga Synergy style is based on a deep understanding of yoga anatomy, yoga physiology and traditional Hatha Yoga. Simon has been teaching since 1982. He is a registered physiotherapist, a research scientist and a university lecturer. Simon has been regularly invited to teach at special workshops and conferences interstate and overseas since 1990.

Demonstrations


Links

Simon Borg-Oliver and His business partner Bianca Machliss

http://blog.yogasynergy.com/

Website

http://yogasynergy.com/main/index.php

See also


an online course, which is looking tempting.


Yoga Synergy Online Teacher Training and Education

Preview of Simon's excellent book Applied Anatomy and Physiology of Yoga
http://anatomy.yogasynergy.com/book



See also my earlier post on Simon's book

The nine bandhas (yes Nine) in the APPLIED ANATOMY & PHYSIOLOGY OF YOGA of Simon Borg-oliver and Bianca Machliss

And this just in a blogtalkradio interview today

Five Things that Block Energy and 10 Ways to Move Them With Simon Borg-Olivier

Ashtanga Certification: Includes a list of Certified Ashtanga teachers* - Manju in Athens 2015 and a new Ashtanga Parampara interview

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"Eligo in Summum Pontificem"
College of cardinals playset. Think one of our Ashtanga artists should make one for all the certified teachers- see LINK

I received notification early this morning of a new Interview on Lu Duong's excellent Ashtanga Parampara interview platform, this time the interview is with Harmony Lichty

LINK

The notification, as does the interview, come with an editors note mentioning that Harmony, along with Magnolia Zuniga ( also interviewed on Lu's site) have been Certified.

*Editorial Note: At the completion of this interview on March 7, 2015, Harmony (along with Magnolia Zuniga), was blessed with the designation of "Certified" by KPJAYI. Both were formerly "Authorized: Level 2". 

I was going to add a note to the non-Ashtangi friends on my FB Share explaining what 'Certified' means in the Ashtanga context but wasn't exactly sure myself so decided to come over here to pick over it a little.

My first thought was that being Certified was something like becoming a Cardinal, a Prince of the Church.... but without the influence, as in you don't get to elect the new Pope/Director. Sharath of course wasn't elected, directorship of KPJAYI is hereditary it seems.

Conclave ( Electing a new Pope) Sistine chapel 

I know, I didn't get to vote for the Queen either, although there was talk once about the next King being elected. Charles would no doubt be overlooked in favour of the supposedly more Dashing Prince William. It would have been Tony Blair of course but he spoiled things for himself a little with Iraq.

Manju of course would have been the next Director after his father Pattabhi Jois had he not moved to the US and decided again and again against going back to take over.

Imagine if Manju had gone back, EVERYBODY would be practicing half at least of 2nd series followed by pranayama after their practice as well as chanting. The chanting of course would no doubt help keep the numbers down, eliminating that particular problem ( took me a long time before I came around to a little chanting after my practice).

*Note: I hear there's a chanting class at KPJAYI now, compulsory I believe but not perhaps as well as attended as it's supposed to be.

I suspect Sharath might have quite liked that scenario (Manju in charge), Sharath could have just got back on with the practice he loves and in peace without all the hassles of running such a large school.... perhaps that was Manju's thinking also.

Manju by the the way is offering his Greece Teacher Training in Athens this year rather than Rethymno, Crete. I'd love to go again but have barely bothered with my 2nd series all year, preferring instead to slow my Primary down ever more such that I have to split my Krishnamacharya Primary group asana practice over two, sometimes three days.... although every couple of days I'll remember to work on the 2nd series backbend sequence just to keep my hand in. I could brush it off of course but I'm also all the way over her in Japan (sigh), how I love Athens, Crete... Greece!

Manju will be teaching around Filopappos, bottom of the picture to the left a bit.

"Just to keep the hand in", that I seem to remember was Manju's expression when I asked him what he practiced these days, '....part of Primary, Part of Intermediate and a few Advanced postures just to keep my hand in',  or Something to that effect

LINK

I do kind of like the idea of all the Certified teachers having more influence on the direction of Ashtanga, on the election of future Directors ( personally I prefer an elected council or board rather than Director for life position and a nonprofit version of KPJAYI), I'm all for democracy me (deep down so Greek).... another reason to go to Greece, re encounter our Greek Heritage ( in the Philosophical, cultural sense) rather than running off to India to embrace Indian culture when we've barely attempted to understand fully our own. Of course there was crossfertilization,  how Indian is Greek Culture, how Greek Indian. Richard Freeman ( my vote for the next Ashtanga Pope of course) recommends an excellent book on his suggested reading page The Shape of Ancient Thought by Thomas McEvilley,


LINK

Do we have enough Certified Teachers to form a College of Cardinals, let me think, there's Tim..... and Tim........ and.......

I Jest

There's my own Ashtanga Vinyasa teacher Kristina Karitinou, Authorised by Pattabhi Jois and Certified by Manju (I should try and find out who else Manju has certified as they don't think they are listed as certified on the KPJAYI list).

Below are the Certified teacher on the KPJAYI list on going to press


KPJAYI List of Certified Teachers* (47)

Louise Ellis, Philippa Gabrielle Asher, Rolf Naujokat, Anthony Carlisi, Govinda Kai, Kranti, Tarik Thami, Dena Kingsberg, Mark Robberds, Eileen Hall, Iain Clark, David Roche, Karyn Grenfell, John Scott, Peter Sanson, Lucia Andrade, Pia Lehtinen, Maria Tsakona, Luke Jordan, Gabriele Severini, R.Alexander Medin, Tomas Zorzo, Hamish Hendry, Joanne Darby, Mark Darby, Andrew Hillam, Jörgen Christiansson, John Smith, Maia Heiss, Manju Jois, Noah Williams, Tim Miller, Annie Pace, Richard Freeman, Kino MacGregor, Chuck Miller, Melanie Fawer, Dominic Corigliano, Mary Jo Mulligan, Eddie Stern, GuyDonahaye, John Campbell, Sharmila Desai, Olaf Kalfas, David Garrigues plus now Magnolia Zuniga and Harmony Lichty.


* I had to lift those names out from among the authorised teachers, apologies if I missed somebody This is of course only the KPJAYI list, there may be others who are out of favour, authorised by Manju or have asked for their name to be removed. Always a problem with 'authorised lists'.

-Trying to work out another list based on Ashtanga.com and perhaps bring them together, check back later in the week.

Some obvious admissions for one reason or another that undermine it a little perhaps, sure I could come up with ten names off the top of my head who I would like to see included.

*

UPDATE: Here's an interesting list, those teachers Certified (35) as of Oct 2008 around a few months before Sri K. Pattabhi Jois Passed away.




UPDATE: If we have to have a list of those who have put in the time and been recognised then my preferred list is on Ashtanga.com which includes an interesting referral system.

LINK


And why not, here's a list of teachers indicated as Certified (31) on the Ashtanga.com list from the same month as the KPJAYI. A few less on this list, perhaps it hadn't been updated.

Currently Ashtanga.com doesn't indicate whether a teacher is certified, authorised or referred. Instead they go for a Senior teacher and referral system that I like much better (see the FAQ above). As my friend so aptly put it  on a comment to a post at Sereneflavour 

"Rank and yoga don’t mix"





.... but anyway, there you go, a Conclave right there.

So many teachers in that list I would love to take an extended workshop with. I'm not one for long periods in a shala, I  prefer exploring my Ashtanga vinyasa practice at home alone but a week or two, a month with somebody who has incorporated their practice into their lives, reflected on it intelligently over so many years, count me in. I'm not interested in how to get into a new asana but rather in how to approach my practice, how to continue to learn from it.

I've tended to see 'Certified 'as suggesting, Ambassadors of Ashtanga vinyasa, the great and the good if you like....and I see this group ( and those too who are for one reason or other not on or no longer on the official list ) as in some sense, the guardians of this *recent tradition of practice (in the sense of this approach to a generally fixed sequence). It lies not in one person (however inspiring to many he may be) or one place but in those who have inherited a practice, practiced and enquired into it selflessly (some more than others at different periods no doubt*) with dedication and belief for a significant period of their lives. Isn't that parampara honouring a teaching by enquirying every deeper into it.

*Nice thing about being Certified is that I understand you can't have it taken away so are free to explore, take it apart, put it back together, drift here, there and then and come back to a deeper understanding of your practice.

And there's a great responsibility there. I look at this list of teachers and I don't see dogma but long term practitioners ( those who I know a little about) who have explored their practice, incorporated it into their lives in their own distinctive ways and passed on this tool of enquiry, their own inimitable approach to it to others.

Personally I feel they should have more influence in preserving the integrity of the practice and ensuring it's future, if you're going to certify someone then I think that should also mean that you trust them to pass on the teaching, not only teaching practitioners but also training future teachers.

Congratulations then to Harmony and Magnolia and thank you for taking on the responsibility for the future of this practice that we all love, in our own way and in whatever form we chose to explore/practice it.

The College of Cardinals (seen here in 1922) was formed in 1061 to elect the pope
The above picture is from 1922, two years before Pattabhi Jois first met Krishnamacharya in Hassan and eighteen or so before Pattabhi Jois submitted his proposal for a four year yoga syllabus to the Sanskrit college ( Primary to Advanced B based on Krishnamacharya's three groups Primary, Middle, Advanced). 

The first College of Cardinals was formed in 1061


See also perhaps my earlier post

Consistency and compatibility: A response to criticisms of Ashtanga Vinyasa PLUS a 'lost' photo and Surynamaskara and pranayama in puja

and this one

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

Old screenshots of blog design on the Internet archive

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This amused me, some of the changes I've made to the blog over the last couple of years, the title as well as the background, restlessness?

These are from the web archive https://archive.org/web/ you just paste in a website address. I'd been looking at old incarnations of KPJAYI but the really interesting one is Ashtanga.com because while in the Archive you can look at the old website on teacher's listings and see some wonderful old pictures etc.

https://archive.org/web/

Always tempted to go back to the basic paschimottanasana but just can't bare to let my kapo go, unfortunately I can't find a screenshot of the original version of the blog, Ashtanga Jump Back at home.


















Krishnamacharya on how to breathe in asana (1941) Plus more from Simon Borg-Olivier on exploring the breath.

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A dilemma, to continue exploring Simon's use of abdominal breathing or return to Krishnamacharya's  Yogasanagalu guidelines. What would Krishnamacharya himself have done faced with a similar dilemma....., he would no doubt have continued to explore both approaches and then decide on his preference from a position of experience. (But see update at the bottom of the post)

This picture was taken for Krishnamacharya's 1934 Mysore text Yoga Makaranda. The same picture and asana instructions found in that text were included in his later  book Yogasanagalu (1941)  as well as 10 extra general asana guidelines under the title Niyama.

UPDATE: But hang on a moment, if you were breathing into the chest, why would you then need to puff out the chest, wouldn't it have expanded somewhat already ( not necessarily )? If I follow Krishnamacharya's instructions I can still breathe abdominally and then swell the chest, relax  certain abdominal muscles to draw the abdomen in for the kumbhaka, likewise with the exhalation.... see the full update at the end of the blog under notes.



Niyama 

from Krishnamacharya's Yogasanagalu

1. In yoganga sadhana we don’t see these (above mentioned) irregularities and with regular practice all organs will become strong.  How is that?  When practicing asanas, we need to maintain deep inhalation and exhalation to normalise the uneven respiration through nasal passages.

 2. In yoga positions where eyes, head and forehead are raised, inhalation must be performed slowly through the nostrils until the lungs are filled.  Then the chest is pushed forward and puffed up, abdomen tightly tucked in, focusing the eyes on the tip of the nose, and straighten the back bones tightly as much as possible.  This type of inhalation which fills the lungs signifies Puraka.

3. In yoga positions where eyes, head, forehead, chest and the hip are lowered, we have to slowly exhale the filled air.  Tucking in tightly the upper abdomen, the eyes must be closed.  This type of exhalation is called Rechaka.

4. Holding the breath is called Kumbhaka.


In Krishnamacharya's 1941 text Yogasanagalu (see translation project HERE ) written in Mysore back when he was teaching the Young Pattabhi Jois, Krishnamacharya stated explicitly what he intended by his usage of rechaka, puraka and kumbhaka in asana.

This is important as Krishnamacharya goes on to outline the main breathing principle for each asana in his three groups Primary, Middle and Advanced asana on which Pattabhi Jois was to base his four year college syllabus (1940s- ) with it's four sequences that was to go on to form the six sequences of current Ashtanga vinyasa.

Below: sample of the table from Yogasanagalu
Sheet 2 Full table HERE

Sheet 4 Full table HERE
I'd forgot how explicit Krishnamacharya was regarding the breath here, he buries it away under a Niyama  heading IE. Guidelines for practice.


I've been exploring Simon Borg-Olivier's use of the breath recently, abdominal breathing in asana in particular. I'm fascinated by the subtly, I'd wondered if there was perhaps a grey area in Krishnamacharya's teaching, if it was left somewhat open and abdominal breathing might make some of Krishnamacharya's long stays more achievable. Putting to one side the three hours he mentions in mayurasana, he does also suggest 5-15 minutes in the posture daily. Is five minutes possible with a relaxed abdomen, does a firm and relaxed abdomen make ten minutes in even chatauranga possible?

Simon uses subtle shifts in posture to firm areas of the abdomen (see the end of the post for what this can do for your baddha konasana), to stop the belly ballooning out, and yet also keep it relaxed enough to allow for steady comfortable breathing. Breathing into the abdomen relaxes, it's a fascinating approach to practice, try it in uttana hasta padangusthasana, try it too in inversions, in handstands. Simon draws the example of a truck tire which can support ten tonnes and more, as we hold the abdomen firm and breathe into it, great strength is achievable and yet we are still relaxed, it's somewhat effortless. I'm not so concerned with ten minutes in mayurasana, handstands or carrying ten tonne trucks on my shoulders but can't resist exploring every more refinement in the breath..... just to see.

Here's Simon from my post last week on The breath

"USING YOUR BREATH WITH STHIRA SUKHAM ASANAM (TO BE FIRM BUT CALM)

Of course you can get away with doing this if you harden the abdomen with the muscles of exhalation. So if I breathe in here [See demonstration of breathing into the abdomen], and then exhale gently and relaxed as I’ve done there [See demonstration of relaxed exhalation] with the abdomen soft the lungs are not fully empty. Also, to exhale fully you are required to tighten the muscles of exhalation. These are circular muscles that go all around the bottom of the trunk. So you see my fingers in my abdomen now, if I tighten my exhalation muscles, the trunk moves inwards away from my fingers. So it’s like I’ve wrapped a belt around my lower waist. This gives a certain amount of abdominal firmness and protects my back if I’m doing a lifting exercise or a straining or stretching exercise.

But the problem is because I’ve used the muscles of exhalation to tighten my abdomen that straight away reciprocally relaxes or inhibits the main muscles of inhalation which is the diaphragm. So it means then with the diaphragm inhibited there is an inhibition of the organs that the diaphragm helps to control and stimulate, including the reproductive system, the immune system, and the digestive system.

Also with these belt muscles contracted and pulling the whole spine inwards it blocks the energy and information from the trunk to the legs. So then to pump the blood to the legs the heart has to work a lot harder, the lungs have to work a lot harder. So, the movements that I am trying to do should not have to tighten all of these things if I want to stay calm. In the Hatha Yoga tradition of India there is only one description of physical exercise. It’s only one sentence. It says “Sthiram Sukham Asanam”. It means physical exercise should be with firmness but with calmness. It’s learning how to do stressful things in a relaxing way. So to protect the back I need to be firm. But to keep calm diaphragmatic breathing and stimulation of the para-sympathetic nervous system is important. The funny thing is that once you learn this you will not only be protected but it will give you tremendous strength. So if someone is just tightening the abdomen like this [See demonstration of pulling the abdomen inwards] they cannot breathe from their diaphragm. So, then what tends to happen is that their chest expands. When the chest expands it makes the body weaker. If the abdomen expands it also makes the body weaker. So when you see adept practitioners of eastern forms of exercise including the Chinese Martial Arts or the Indian Hatha Yoga – there’s also Indian Martial Arts and Chinese Yoga as well, but they all relate – you never see adept practitioners expand their abdomen or their chest. You can use the analogy of the balloon which a child blows up as opposed to the tyre of a car, when you blow a balloon up it gets bigger but the walls actually get thinner and less strong. Whereas when you add more air to a car tyre the walls don’t get any larger but actually the more air coming into the tyre allows it to become much stronger. So you can actually put a ten tonne truck on a hard walled tyre filled with air but something which expands like a balloon will just burst if you put more air into it. So the chest and the abdomen are the same. An in-breath which expands the chest will only make the spine weaker. An in-breath which expands the abdomen will only make you weaker. So in the Martial Arts, in Hatha Yoga it’s always said that you should breathe diaphragmatically but with firmness. So if I breathe diaphragmatically standing normally the abdomen puffs out. But if all I do is push the sitting bones forward the front of the abdomen automatically goes firm and the sides are relaxed. Then if I breathe into the abdomen it doesn’t move but because it’s a diaphragmatic breath I stay calm".
Part of Simon's Blog and Youtube Spinal sequence series


And see this marvellous post from Simon on his Blog, not sure if there's a Part II yet.

Breathing (Part 1): How to breathe to help your spine, internal organs and energy levels


"In this blog I will be discussing the the physical and physiological effects of breathing. There are two main reasons we breathe. The main reason is the physiological reason of getting oxygen into our cells. Perhaps surprisingly to many people the best way to achieve this is to safely breathe as little as possible (hypoventilation) to stimulate the Bohr effect which says significant carbon dioxide must be present for oxygen to be able to enter the cells (see our recent blog). The other reason we breathe could be called physical reason and it includes the effects on joints, muscles, nerves, the mind, emotions, blood floor, digestion, reproduction and immunity. In this blog on breathing (Part 1) I will be focusing on the physical effects of breathing. If you breathe, or use the muscles of breathing in certain ways you can radically improve and/alter strength, flexibility, nerve function, blood flow and internal organ health. Many people inadvertently only focus on this reason for breathing and in their enthusiasm and often lack of knowledge they over-breathe (hyperventilate) and thus miss the primary purpose of breathing. In the next blog on breathing (Part 2) I will be focusing on how to achieve the physiological effects of breathing. The advanced practitioner can control their breath in such a way the both the physical and physiological benefits of breathing are achieved at the same time". Continue to the post...." LINK

And also this post with some breath science from Simon's online Anatomy and physiology course

To Breathe or not to Breathe

also this

Exhale for Pleasure, Strength and Freedom

and this, definitely this

Holding your breath for increased strength, flexibility, healthier digestion and to eat less food

and of course my interview with Simon where we discussed the breath on the Yoga Rainbow festival from this post http://grimmly2007.blogspot.jp/2014/05/interview-with-simon-borg-olivier.html.




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And what all this does for your Baddha Konasana ( an excellent posture for exploring the breath).



In his spinal sequence Simon includes several techniques for firming the abdomen while standing (just try leaning forward for example, amazing), seated examples are harder to find, for now you have to work it out yourself somewhat although there was mention of directing the hips or sit bones towards the feet (heels i find works in inversions). I've been exploring. and one interesting side effect of exploring this approach is that when we firm the abdomen in for example baddha konasana by directing the sit bones towards the heels, nothing moves on the outside but by just having that attention/intention all sorts of things seem to happen on the inside, muscles firm, joints it seems open.
Think the sit bones to the heels in baddha konasana and watch it blossom.


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NOTES

UPDATE: But hang on a moment, if you were breathing into the chest, why would you then need to puff out the chest, wouldn't it have expanded somewhat already ( not necessarily )? If I follow Krishnamacharya's instructions I can still breathe abdominally and then swell the chest, relax  certain abdominal muscles to draw the abdomen in for the kumbhaka, likewise with the exhalation....

This section from Simon and Bianca's's book gives us lots to think about and work with perhaps as well as their concepts of related ha and tha bandhas..

"8.2.8.3 Abdominal and thoracic breathing
Abdominal breathing and thoracic breathing are terms sometimes used by people who teach breathing to indicate where on the body an expansion of the trunk should occur reÀecting the primary activation of either the diaphragm (abdominal breathing) or the intercostal muscles (thoracic breathing). It is incorrect to think that air is actually coming into the abdomen during abdominal breathing. In both types of breathing, the air will only go into the lungs.

Abdominal breathing is seen as an outward movement of the abdomen on inhalation and an inward movement of the abdomen on exhalation. Abdominal breathing mainly uses the diaphragm muscle, which moves downwards (distally) as it generates tension. If the abdomen is relaxed, pressure from the diaphragm will move the abdominal contents downwards (distally) and also outwards (anteriorly).

Thoracic breathing is seen as an outward and upward movement of the rib cage on inhalation and an inward and downward movement of the rib cage and chest wall on exhalation. Thoracic breathing mainly uses the intercostal muscles.

Intercostal muscle expansion of the rib cage and chest wall in thoracic breathing is essentially the same as the muscular activation used in the yogic internal lock uddiyana bandha [Section 7.4.1.3]". p227

8.4.3 The Effects of Breathing Rate on Various Body Systems
Some types of pranayama (yogic breathing exercises) require slow breathing that ¿lls and empties the entire lungs. This is sometimes referred to by other authors as complete breathing. Complete breathing requires full use of the diaphragm, the thoracic intercostal muscles and the abdominal muscles:

• The diaphragm [Table 7.4] is the main muscle used in what is referred to as abdominal breathing [Section 8.2.8]. On inhalation the abdomen gets larger as the diaphragm is activated (tenses and shortens), and on exhalation the abdomen gets smaller as the diaphragm relaxes (lengthens) and returns to its original position.

• The thoracic intercostal muscles (intercostals) [Table 7.4] are used in what is referred to as thoracic breathing [Section 8.2.8]. On inhalation the thorax (chest and upper back) gets larger as the intercostals are activated (tensing and shortening), and on exhalation the thorax gets smaller as the intercostals relax (lengthen) and return to their original position.

• The abdominal muscles [Table 7.4] are used to make a forced exhalation or a complete exhalation. 
By maintaining the grip (tension and shortness) of the abdominal muscles after the exhalation it makes it easier to expand the chest on a subsequent inhalation.

Many people have dif¿culty breathing with both the diaphragm and the intercostal muscles and are unable to expand their thorax unless they breathe quite forcefully with relatively fast and deep breathing [Table 8.1]. Fast, deep breathing forces the abdominal muscles to become activated (tense) to get the air out quickly and fully and, since the abdominal muscles have no time to relax after the exhalation, the subsequent inhalation is done with the abdomen ¿rm, thus forcing the thorax (chest and upper back) to expand.

Similarly, there are many people who can not easily relax their abdomen. Their abdominal muscles hold so much tension that these people are unable to breathe into their abdomen, and are hardly able to use their diaphragm at all, unless they spend time focusing on relaxation and slower breathing [Table 8.1]. These people tend to be doing mainly thoracic breathing while doing any physical activity.

In terms of the bandhas, the complete inhalation, i.e. the maximum possible inhalation, can be done with a tha-uddiyana bandha (chest expansion) followed and supplemented by a tha-mula bandha (abdominal expansion), while the maximum possible exhalation can be done with a ha-mula bandha (abdominal contraction) followed and supplemented by a ha-uddiyana bandha (chest contraction).

Table 8.1 compares the effects of two extreme types of breathing (fast deep breathing compared to slow shallow or tidal breathing) on the various body systems. These are only two of the many breathing possibilities that exist and each have varying effects. There is no such thing as right or wrong breathing but one must use the type of breathing that is appropriate for the situation.

Both the thoracic breathing and abdominal breathing confer possible bene¿ts and disadvantages. Ideal yogic breathing is a combination of the most advantageous aspects of both fast, deep breathing and slow, shallow breathing [Table 8.1]. In ideal yogic breathing, the three central bandhas (jalandhara, uddiyana, and mula) [Section 7.4.1] are held throughout the breath cycle. To initially learn to maintain a grip on the three bandhas, the thorax should be kept expanded (tha-uddiyana bandha) throughout the breath cycle as it would be during thoracic breathing inhalation; the lower abdomen should be kept ¿rm and drawn inwards (ha-mula bandha), as in a forced exhalation; while the back of the neck is kept long and the chin kept slightly down and inwards (ha-jalandhara bandha) [Section 7.4.1].
In optimal yogic breathing, slow relaxed diaphragmatic breathing is used to respire only a small amount of air per minute, but with the chest and abdomen held in such a way that only a small volume of air is needed to ¿ll and then empty the lung. In the most advanced stages of pranayama the key emphasis should be not on increasing lung volume from breath to breath but rather on increasing the pressure in the chest with each inhale without increasing the volume. p238

Applied Anatomy and Physiology of Yoga http://anatomy.yogasynergy.com/book

Update 2


"I arrived just in time. Giving me a few lessons a week, he started with a simple asana practice. I was to establish a link between breath and movement. Breathing should be controlled hand movements, slower breathing, the slower the movement. Each asana followed repeated at least four times. After one hour lesson in a sitting position, I learned the sound Udzhdzhayi and be able to distinguish it from the nasal sound. He allowed me to begin the simplest Pranayama - Udzhdzhayi Anuloma and Udzhdzhayi Viloma.

Krishnamacharya used to tell me, "lift up your chest," for the fact that, due to the rise of my chest, I could fill the air flow based on my lungs. After that, he insisted on the exhale with the abdominal muscles and the perineum. Breathe in and out - of course, but with the insertion of pauses, everything changes. Coached control is felt as an affirmation of life and gives a sense of a better life, by controlling breathing and blood circulation, which are interrelated. This is what I felt.




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Simon Borg-Oliver and His business partner Bianca Machliss


Website

See also
Simon and Bianca's online course


Yoga Synergy Online Teacher Training and Education


Preview of Simon's excellent book Applied Anatomy and Physiology of Yoga


See also my earlier post on Simon's book

Asana consumerism: Did Series kill asana? Plus David Garrigues on The Yoga Podcast, Asana as gesture

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I've held off posting this... draft, but listening to David Garrigues interview with Claudia this morning (see below) persuaded me to brush it off a little. David too talks of less asana and seeing them as gestures whereas I had suggested perhaps mudras. 

No, I don't really think 'Series killed asana', it's a useful tool perhaps for bringing us to asana and ultimately towards Yoga. Manju Jois mentioned to us once that while many thought his father had stopped practicing asana that wasn't the case, that his father would spend a long time in individual asana
Less can be more



After going on and on about the breath yet again and how I seem to be practicing less and less asana these days on account of breathing more slowly, kumbhaka, longer stays... pranayama, sitting.... M. asked me, why then are there so MANY asana.


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Why are there so MANY asana?

Perhaps because there are just so many birds and beasts of the earth to name them after, so many rishi/sages to honour and be reminded of.

We choose our asana just as we choose our gods, our teachers.

Practicing asana should be an encounter, a meeting, a coming together

It's not or shouldn't be a quick

"hi howyadoin, howsitgoin', seeyaaround"

but rather,

"How great to see you again, lets have coffee, lunch,...dinner, of course I have time, I'll make time".

A relationship, a correspondence rather than an a quick update and nodding acquaintance

Vajrasana, thunderbolt.... 'sacrifice post'..... sacrifice.... spend time here, laghu vajrasana, suptavajrasana, bharadvajrasana...... "know me".

"I'm listening... take your time, I'm in no hurry, nowhere better to be".

Krishnamacharya had groups of asana, and way back in Mysore he seems to have taught them often in subroutines that formed sequences perhaps but not completely fixed, never it seems as a series.

We have how Krishnamacharya taught asana but also perhaps how he himself practiced asana....

Asana for health and fitness with the faint hope perhaps that some might look for more in their asana just as he seems to have done.

He talked of long stays, fifteen minutes at least in an asana, fifteen minutes is a start, it's an encounter, we can listen to each other, learn from one another.... asana too grow, adapt, Become.

In the kumbhaka, the breath retention Krishnamacharya seemed to believe that one might know god, see god or seek for him there at least.

And if not looking for god, he suggested we might find love there, learn how to love there...

Same thing perhaps.

....and then the fixed sequence came, pedagogic requirement. Less and less breaths and taken quick, ever quicker rather than long and slow. Kumbhaka was the first to go, next came the variations, less of them and no repetitions either, gone the relaxed breaking of the ice, the gentle getting to one another in favour of a clumsy, fumbling, a lets get down to business

An imperfect enjoyment.

Asana consumerism.

It's a phase of course, the asana aren't going anywhere, they always were - waiting, all 84,000,000+, never lost, not a single one..... just unfound.

I don't need to know every one - just you.

Our mats are clearings, we can encounter otherness there if we take the time and with apologies to Ricour, perhaps...

shatter reality and reinterpret each other anew.


Did Series kill asana, I suspect it only puts them to sleep*


*In his book Yoga Mala Pattabhi Jois, as did Krishnamacharya before him, suggested we inhale and exhale as much possible and practice however many asana as we have time for, just include the final three. If we are generous in our inhalations and exhalations, it may mean we only have time for a handful of asana, half a series, less than half, Krishnamacharya would no doubt approve as might Sage Marichi....



NOTE: This post should not suggest that that I IN ANY WAY support those who criticise anyone coming at/to their practice in any other way, smugness has no place in yoga, what seems appropriate to me now may be exactly that.

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Asana as gesture from The Yoga Podcast Episode 5 with David Garrigues: The Devotional Side Of Yoga Transcript

Claudia Altucher:   What is yantra?  What does that mean?

David Garrigues:    Yantra is like mantra, but it's – so mantra is mind instrument, so it's a corolla of the mind, a sacred sound that you utter. And yantra is a – it has to do with form and order and a physical device for meditation or shape.  And so Asana is that.  It's a shape or a form, a certain ordered-pattern form and there's an aesthetic quality to it to.  That it has something compelling to the eye or to the senses.  And so for me, that's why the Asana can do what you're saying.  It draws you in completely because it has so much interest for somebody that – I don't know.  There's an aesthetic aspect to it, right?

Claudia Altucher:    Yes.

David Garrigues:   And that's included in movement and posture that is particularly compelling to me.

Claudia Altucher:  I was lucky enough to participate in one of your workshops earlier this year and you were calling it a gesture.  It's not just a pose that you're doing.  It's a gesture. 

David Garrigues:   Yeah.

Claudia Altucher:  And you said the difference between a beginner student and an intermediate student – do you remember what you said?  You said it's the gesture.

David Garrigues:    It's the…

Claudia Altucher:    You said is that you maintain these – I guess the yantra, we could say.  Would that be fair to say?

David Garrigues:   Yeah.  And that the yantra – to make a yantra, a skillful yantra, is to make a gesture.  And that gesture has – like mudra, the word mudra, which is an important…

Claudia Altucher:   What does that mean, mudra?

David Garrigues:    Mudra is – well, it means seal or it has many meanings, actually, but it means like a stamp.  So you – like a king when he signs his thing, he leaves his stamp.  That's a mudra.  But it's also a gesture, like a hand gesture they have.  The classic mudras are like dancers.  Indian dancers do all the hand gestures or all mudras.  And then in yoga they have those – the classic ones too for meditation and things.  But it's a broader term that any – all the transitions between the postures in the ashtanga system they're gestures.  So you gesture  between the posture.  And they're alternating, opposing patterns, those gestures, that they're – so your gestures reveals one pattern when you inhale and another pattern when you exhale, and those are opposing patterns.

                                But then the Asana itself is a gesture.  And in that way, it can be a kind of very slow unfolding gesture.  It could take ten minutes to complete this gesture that is headstand or whatever you're working on.

Claudia Altucher:   And then these opposing forces that happen, say, for example in the down dog where your heels are going to the ground and the seat bones are aiming towards the ceiling or even in the headstand where you're inverted and everything is upside down, learning to breathe in the face of these opposing forces, I guess that's part of what yoga is all about, right?  Even when you step off the mat –

David Garrigues:    Yeah.  Yes.

Claudia Altucher:        – maintaining that equanimity.  I think you talk about equanimity in your book as well. 

David Garrigues:    Yeah.  And so that – and it's a very curious thing, opposing forces, because they – in one sense, if you get – go right to the root of it, of yoga, the source of all that is you is completely equanimous.  In fact, it seemed as, like, all equal, everything, like there's a unity that exists.  And then what actually starts kind of creation or manifestation is imbalance.  So form is based on imperfection and in that sense, like ignorance in a way.  And so those – and the opposing forces are the quintessential pair that come right from that equanimity.  And that – and so all the forms get created from just those two original forms like the yin and yang.

                                And so what's interesting is you have to use those opposing forces to get to the unity, to get back to it, to kind of return to this source that we've forgotten.  And so the – that's how you do it, with breathing, with the inhalation and the exhalation.  And like what you're saying, by stamping the heels down and lifting the sitting bones up or pushing the thigh bones back as you resist.  They're everywhere, those.  And then you learn how to use those to get, to find that centre line, that elusive middle that is dynamic. 



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and from my interview with Claudia, Asana as Mudra 

Yoga Podcast Episode 2: Anthony Grim Hall

TRANSCRIPT

[For the full episode with highlights and links click here]

[To Listen Click Here]


Anthony Hall: It is kind of cold and I have been running around doing workshops for the last few weeks. I felt I have lost the degree of flexibility. In the last couple of days or two days, I’ve gone back to pretty much full Ashtanga series but I have been changing the tempo quite a bit. Because my breath is quiet long, so I cut; some postures I only take two breaths. It is pretty much same length of time as I
was been practicing the Ashtanga with same posture but my breath is longer in summers so two breath is enough there. Other postures I would treat it more as a Mudra and stay longer. I would do most of the series but then I'll change the tempo quite a bit. Yeah, some postures I’ll stay longer, some postures I’ll stay less amount of time. I’d do less Vinyasas as well so I won't necessarily jump back off for every posture or in between every side of the posture.

Claudia Azula Altucher: When you say I’ll make the posture a bit more of a Mudra, what do you mean?

Anthony Hall: There’s something strange about Krishnamacharya’s instructions in his first book which he wrote in Mysore in 1934, the same time he was teaching. It is almost as if he’s treating a posture in Mudra. In Mudra, banners are engaged; usually the exhalation could be longer, maybe twice as long. Usually in Ashtanga, there is the same length of inhalation as exhalation. In the Mudra, the exhalation can be twice as long as that. There would be usually, say a Kumbhaka in a Mudra. Bandhas will be engaged and that will be a strong focal point, negative focal point, and concentration. When you look at the Asana instructions of Krishnamacharya, it seems like almost every posture, he seems to be treating them almost as Mudras. So in Bharadvajrasana [photo of Anthony below], which is a second series posture. One knee is bent back. The other leg is in half lotus, the other foot is in half lotus. You reach around and hold on to that foot in half lotus with the arms with that foot in half lotus. Then, the other hand goes under the knee.


It’s a deep twist. You look over say the right shoulder and that's where the twist is.

Claudia Azula Altucher: Right.

Anthony Hall: Krishnamacharya would have you look the other way. You would be looking towards the front which seems to allow more space in the chest and allow you to breath. In that posture with the head forward, you can really engage in the jalandhara bandha and chin can come down. You are able to do a Kumbhaka and he will tell you to save 12 breaths in this posture or he will suggest
12 breaths. It seems to me that he's pretty much describing the Mudra. The Asana seems to become more mudra. 


See my earlier post on Mudras




Previous post 


Summary of the Yoga Sutras.... in plain English.

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Notes to Self

I was trying to find my previous summary of the Yoga Sutras ( in plain English) to add to today's post but struggled to hunt it down. Here's the link to the original post.

Sunday, 14 December 2014
Has yoga evolved, really and is yoga  'Indian'?


1.    Reflect on and seek to practice the moral code of your culture.

2.    Work on your self discipline.

3.    Do some exercise of a non competitive nature to improve your health and flexibility if necessary (you might have a physical outdoorsy job for example).

4.    Calm your breathing (unless you have stress free outdoorsy job ).

5.   Turn inwards.

6.   Focus your attention on something worthy.

7.   Contemplate it and then contemplate what is contemplating what.

8.   See what happens next.

Of course if you don't have the luxury of time to practice much of that and are having to work every minute, falling into bed at the end of the day exhausted, then carrying the divine around with you throughout your day may do the job just as well.

But please if you know of a culture that's been around for any length of time that doesn't have a moral code and that's not a million miles away from the yama/niyamas or has no tradition of contemplation in it's history then please, let me know.


Note
Link to an early look at my Yoga sutra commentary of choice

First sutra from Aranya's Yoga Sutras Commentary


Notes to Self: In defence of asana practice - Also Krishnamacharya's Mahavedha (lotus lifted, spun, dropped).

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Notes to Self
Krishnamacharya at 50, even in his later years Krishnamacharya was supposedly practicing up to three hours of asana a day, he never lost faith in asana it seems even practicing it in his hospital be in his 90s after a fall and broken hip.
Here he is in a rare scent from the 1938 Mysore footage practicing what seems to be Maha Vedha, padmasana taken further  and lifted utpluthi but then further still and practiced as a mudra, mahabandha, and finally as kriya -see video at end of post.


Often we begin with asana,

If we practice regularly, at the same time, in the same place, it becomes routine.

Routine is the mother of discipline.

When a discipline brings us joy it can lead to devotion.

We become devoted to the practice.

When something so simple as stepping on the mat to breathe each morning gains importance in our lives we might find other more worldly objects of desire lose some of their import, our attachment to the world may be loosened.

Yoga philosophy suggests that the self is a construction of the mind, reenforced, maintained even by our attachment to the world of the senses.

Through our devotion to our asana practice then, our attachment to worldly things can be loosened, the construction of the self weakened.

In this sense asana can be considered preparation, tapas, an austerity.

Devotion along with surrender are considered two of the highest concepts in Yoga philosophy, Bhakti yoga.

The practice of asana may be considered a suitable preparation for yoga practice but is it a suitable object of devotion.

Asana practice, when an object of devotion can loosen our attachment to the objects of the senses, to our attachment to the world and thus can weaken the maintenance of the the mind constructed self.

As an object of devotion it is not merely preparation for yoga but the first steps along the path.

The path of yoga is intended to be one of self-realisation, that the world may not be as it appears, that my sense of self may not be what I assumed to be, what I believed.

The yoga path is to be one of knowledge, of greater understanding, of truth perhaps, all surely suitable objects of devotion.

As we deepen our practice through the other limbs, the weakened self may crumble, dissolve, what we believed to be our self melts away. Is there anything that remains?

Commitment to this practice is choosing to offer up our current understanding of self, an act of surrender as enquiry.

Yoga philosophy traditionally argues that Purusha  remains, 'awareness', (an instance of universal awareness), Atman, Brahman, some use the expression the Lord, still others God.

Love is often described as seeking to know, rather than to project, to experience, to become joined to..., one with...., to be indivisible from... that which we love.

*'Love can be bhakti for us', love of knowledge, for the path of knowledge where ever it leads... to purusha or perhaps the absence of purusha, to god or to the absence of god.

Yoga is knowledge as radical enquiry and as such is not predetermined, there are signs along the way offered by those who have gone ahead but destination(s) only hinted at.

Devotion to the practice of asana may be the first step along the path of yoga, a path that may lead to self- realisation, knowledge, experience of......



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Krishnamacharya was supposedly once asked, 

What is bhakti for those who do not believe in God, 

he answered, 

'Love is bhakti for them'. 

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Krishnamacharya practicing Mahavedha ( padmasana/lotus lifted, spun, dropped).
See this earlier post 





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

from Hatha Yoga Pradipka


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

More on Krishnamacharya's breath, two students 30 years apart, Indra Devi 1930s and Yyvonne Millerand 1960s

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Thank you to Enrique for sending through these pages from two of Krishnamacharya's students thirty years apart, Indra devi1930s and Yyvonne Millerand 1960s as well as two pages from his son TKV Desikachar's Heart of Yoga. The selection is followed by Simon Borg-Olivier discussion of the benefits of abdominal breathing from his book Applied Anatomy and Physiology of Yoga http://anatomy.yogasynergy.com/book


The selections relate to my earlier post on Krishnamacharya's explicit instruction for the breath in Yogasanagalu (1941)

http://grimmly2007.blogspot.jp/2015/03/krishnamacharya-on-how-to-breath-in.html



from Krishnamacharya's Yogasanagalu

1. In yoganga sadhana we don’t see these (above mentioned) irregularities and with regular practice all organs will become strong.  How is that?  When practicing asanas, we need to maintain deep inhalation and exhalation to normalise the uneven respiration through nasal passages.

 2. In yoga positions where eyes, head and forehead are raised, inhalation must be performed slowly through the nostrils until the lungs are filled.  Then the chest is pushed forward and puffed up, abdomen tightly tucked in, focusing the eyes on the tip of the nose, and straighten the back bones tightly as much as possible.  This type of inhalation which fills the lungs signifies Puraka.

3. In yoga positions where eyes, head, forehead, chest and the hip are lowered, we have to slowly exhale the filled air.  Tucking in tightly the upper abdomen, the eyes must be closed.  This type of exhalation is called Rechaka.

4. Holding the breath is called Kumbhaka.



The first two selections Enrique passed along are from Indra Devi's 'Yoga For You'.


Indra Devi famously studied with Krishnamacharya  for a short period in the 1930s, is this how Krishnamacharya taught her to breath or an approach she embraced later based on other sources.

An earlier post on Indria Devi which includes 'In the shala', a chapter from one of her books on her experience studying with Krishnamacharya.

Friday, 8 November 2013
Photo: Indra Devi teaching Marilyn Monroe Yoga 1960 ALSO Indra Devi in Mysore








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The second two pages are from are from an Italian edition of Yvonne's Millerand Guide pratique de HathaYoga. 

Including  a much appreciated translation from the Italian by Chiara Ghiron 




Thank you to Chiara Ghiron  for the speedy translation below


First picture

Same working position: laying on the back, with bent legs, feet on the floor.

Rest your fingers on the top of your chest; elbows and shoulders rest on the floor, relaxed.

Having inhaled into the thoracic cage, we exhale relaxing until a respiratory equilibrium and then continue the exhale by 'blowing' tthanks to contraction of the abdominal muscles.

Retention with empty lungs: during this retention, gradually release abdominal contraction.

1. Inhalation: the top part of the thoracic cage lifts gently as air gets in. After the top part of the lungs have filled, the middle part also expands, then ribs remain relaxed or floating. Towards the end, a gentle expansion of the abdominal area is perceived, due to completion of diaphragmatic contraction, expansion and lowering, to ensure maximal room to the entering air

2. Retention: short, with no movement whatsoever

3. Exhalation: attention is directed to the abdomen. From the start of the exhalation, the abdomen wall flattens and gradually gets closer to the back wall with a slow voluntary action that allows dosage of rate and amount of exhaled air

4. Retention: short. The abdominal wall is kept contracted for a few seconds then released, to allow for the following inhalation that restarts movement in the thoracic cage
Thank you to Chiara Ghiron for the speedy translation below


Mechanical deep breathing exercise

- Seated, with straight, slightly open, legs, rest on the straight arms behind the back, hands on the floor. Inhale into the thoracic cage.

- Exhalation is helped by movement. While keeping exhaling, the body curls, the head lowers towards the sternum, ribs contract, the back bends sustained by the arms. The maximal air volume is expelled when the abdominal muscles contract by squeezing the internal organs: 'you blow'

- Retention: observe the abdominal surface below the midline, perceiving the tonic contraction of the abdominal muscles under the elastic skin; it is an effort which is very precisely located. With empty lungs and no other movement, this contraction is gently released and the lower abdomen rounds up a little

- Inhalation: making lever on the arms, the upper part of the spin lifts to start inhalation, opening the shoulders which move away from each other, raising the sternum. Air enters with an uninterrupted flux in a totally natural way into the top of the lungs, then into their middle portion as the thoracic cage expands and the back stretches. Lastly, the head lifts and bends backwards slowly. Resing on the arms allows for the abdominal muscles to become completely relaxed; the belly rounds up under the expanded ribs, which is a sign that the diaphragm has lowered and the inhalation has happened from top to bottom

- Retention without movement for a few seconds; exhalation is then guided again by movement of the body

This exercise will be repeated at the beginning of each class to ventilate the lungs and verify the tone of the abdominal muscles. They need to be able to contract to ensure exhalation and relax to allow lowering of the diaphragm at the end of the inhalation.

*

Two pages on breathing from Krishnamacharya's son TKV Desikachar's 1999 book 
'Heart of Yoga'






NOTES

My earlier notes from Simon Bog-Olivier and another selection from Yyvonne Millerand

This section from Simon and Bianca's's book gives us lots to think about and work with perhaps as well as their concepts of related ha and tha bandhas..

"8.2.8.3 Abdominal and thoracic breathing
Abdominal breathing and thoracic breathing are terms sometimes used by people who teach breathing to indicate where on the body an expansion of the trunk should occur reÀecting the primary activation of either the diaphragm (abdominal breathing) or the intercostal muscles (thoracic breathing). It is incorrect to think that air is actually coming into the abdomen during abdominal breathing. In both types of breathing, the air will only go into the lungs.

Abdominal breathing is seen as an outward movement of the abdomen on inhalation and an inward movement of the abdomen on exhalation. Abdominal breathing mainly uses the diaphragm muscle, which moves downwards (distally) as it generates tension. If the abdomen is relaxed, pressure from the diaphragm will move the abdominal contents downwards (distally) and also outwards (anteriorly).

Thoracic breathing is seen as an outward and upward movement of the rib cage on inhalation and an inward and downward movement of the rib cage and chest wall on exhalation. Thoracic breathing mainly uses the intercostal muscles.

Intercostal muscle expansion of the rib cage and chest wall in thoracic breathing is essentially the same as the muscular activation used in the yogic internal lock uddiyana bandha [Section 7.4.1.3]". p227

8.4.3 The Effects of Breathing Rate on Various Body Systems
Some types of pranayama (yogic breathing exercises) require slow breathing that ¿lls and empties the entire lungs. This is sometimes referred to by other authors as complete breathing. Complete breathing requires full use of the diaphragm, the thoracic intercostal muscles and the abdominal muscles:

• The diaphragm [Table 7.4] is the main muscle used in what is referred to as abdominal breathing [Section 8.2.8]. On inhalation the abdomen gets larger as the diaphragm is activated (tenses and shortens), and on exhalation the abdomen gets smaller as the diaphragm relaxes (lengthens) and returns to its original position.

• The thoracic intercostal muscles (intercostals) [Table 7.4] are used in what is referred to as thoracic breathing [Section 8.2.8]. On inhalation the thorax (chest and upper back) gets larger as the intercostals are activated (tensing and shortening), and on exhalation the thorax gets smaller as the intercostals relax (lengthen) and return to their original position.

• The abdominal muscles [Table 7.4] are used to make a forced exhalation or a complete exhalation. 
By maintaining the grip (tension and shortness) of the abdominal muscles after the exhalation it makes it easier to expand the chest on a subsequent inhalation.

Many people have dif¿culty breathing with both the diaphragm and the intercostal muscles and are unable to expand their thorax unless they breathe quite forcefully with relatively fast and deep breathing [Table 8.1]. Fast, deep breathing forces the abdominal muscles to become activated (tense) to get the air out quickly and fully and, since the abdominal muscles have no time to relax after the exhalation, the subsequent inhalation is done with the abdomen ¿rm, thus forcing the thorax (chest and upper back) to expand.

Similarly, there are many people who can not easily relax their abdomen. Their abdominal muscles hold so much tension that these people are unable to breathe into their abdomen, and are hardly able to use their diaphragm at all, unless they spend time focusing on relaxation and slower breathing [Table 8.1]. These people tend to be doing mainly thoracic breathing while doing any physical activity.

In terms of the bandhas, the complete inhalation, i.e. the maximum possible inhalation, can be done with a tha-uddiyana bandha (chest expansion) followed and supplemented by a tha-mula bandha (abdominal expansion), while the maximum possible exhalation can be done with a ha-mula bandha (abdominal contraction) followed and supplemented by a ha-uddiyana bandha (chest contraction).

Table 8.1 compares the effects of two extreme types of breathing (fast deep breathing compared to slow shallow or tidal breathing) on the various body systems. These are only two of the many breathing possibilities that exist and each have varying effects. There is no such thing as right or wrong breathing but one must use the type of breathing that is appropriate for the situation.

Both the thoracic breathing and abdominal breathing confer possible bene¿ts and disadvantages. Ideal yogic breathing is a combination of the most advantageous aspects of both fast, deep breathing and slow, shallow breathing [Table 8.1]. In ideal yogic breathing, the three central bandhas (jalandhara, uddiyana, and mula) [Section 7.4.1] are held throughout the breath cycle. To initially learn to maintain a grip on the three bandhas, the thorax should be kept expanded (tha-uddiyana bandha) throughout the breath cycle as it would be during thoracic breathing inhalation; the lower abdomen should be kept ¿rm and drawn inwards (ha-mula bandha), as in a forced exhalation; while the back of the neck is kept long and the chin kept slightly down and inwards (ha-jalandhara bandha) [Section 7.4.1].
In optimal yogic breathing, slow relaxed diaphragmatic breathing is used to respire only a small amount of air per minute, but with the chest and abdomen held in such a way that only a small volume of air is needed to ¿ll and then empty the lung. In the most advanced stages of pranayama the key emphasis should be not on increasing lung volume from breath to breath but rather on increasing the pressure in the chest with each inhale without increasing the volume. p238

Applied Anatomy and Physiology of Yoga http://anatomy.yogasynergy.com/book

Update 2


"I arrived just in time. Giving me a few lessons a week, he started with a simple asana practice. I was to establish a link between breath and movement. Breathing should be controlled hand movements, slower breathing, the slower the movement. Each asana followed repeated at least four times. After one hour lesson in a sitting position, I learned the sound Udzhdzhayi and be able to distinguish it from the nasal sound. He allowed me to begin the simplest Pranayama - Udzhdzhayi Anuloma and Udzhdzhayi Viloma.

Krishnamacharya used to tell me, "lift up your chest," for the fact that, due to the rise of my chest, I could fill the air flow based on my lungs. After that, he insisted on the exhale with the abdominal muscles and the perineum. Breathe in and out - of course, but with the insertion of pauses, everything changes. Coached control is felt as an affirmation of life and gives a sense of a better life, by controlling breathing and blood circulation, which are interrelated. This is what I felt.



What practice feels like: John Cage ASLP ( As slow as possible) and played as fast as possible

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Practice, today feels a little like this



but used to feel like....





A Primary and Middle group asana practice along the lines of...


is probably about right (for me personally).

 ''The cadences and everything disappeared, but the flavour remained. You can recognise it as eighteenth-century music; but it's suddenly brilliant in a new way. It is because each sound vibrates from itself, not from a theory.'' John Cage



*

Advanced reminded me a little of Calder ( in a good way).





Note: in the 1930/40s ( Mysore years) Krishnamacharya presented asana in three groups Primary, middle, Advanced http://grimmly2007.blogspot.jp/2012/05/complete-asana-table-from.html

What does Intermediate and Advanced Series Standing look like? Sharath, Tim Feldmann, Joey Miles.

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Sharath

UPDATE: This post doesn't really work, the idea was to show just the Sury Namaskara's and Standing sequences of  practitioners who are practicing Intermediate and Advanced series.

Rather than focus on the advanced series postures themselves I wonted to focus instead on how an 'advanced' practitioner approaches their standing, the same postures we practice everyday whichever series we happen to practice.

But that's still not it, not really what I was after. What I would really like are videos of those who have been practicing for thirty, forty years rather than (merely) ten or twenty, even if they are now only practicing Primary again or even better have only ever practiced Primary. Would love to get my hands on a video of Tim Miller's current Sury or Standing or Nancy's, David Williams, Chucks"s say, or how about Richard freeman's current, day in day out, meat n potato Standing sequence, those would be nice to see. It's hard to find a video that doesn't stress/feature the floaty Matrix jump back to standing, seems to appear in our sury's around the ten year spot (guilty as charged) my guess is that after twenty years or so you drop that again and go back to the most efficient sury you've ever practiced.
There's sharath of course, never one to worry about the fancy flourishes nor seemingly distracted by an obsession with alignment, his videos are for me are about efficiency ( and any alignment arising naturally from the breath).

Anyway here's the post as I wrote it last night

Pattabhi Jois

Jessica Walden and what she does with the breath almost makes me want to reconsider my position on the Ashtanga Advanced series, almost but not quite. I very much doubt I'll bother practicing it again (never say never), come to think of it I barely bother with the second half of Intermediate anymore....  or much of Primary for that matter, around ten postures a practice taken long and slow seems plenty at the moment (except for Fridays obviously). This isn't so much because I'm getting older but more because of my interest in slowing the breath, introducing kumbhaka and longer stays, there's just less time if I want to follow my practice with pranayama, pratyahara and a sit. There's precedent it seems, so perhaps not so strange....

Manju Jois: Well for us it was fun to see my father doing yoga, putting himself in all these postures. You know it was really amazing. He used to pick a posture sometimes and he would like to stay in that posture for a long time. And that’s how he used to practice. And that’s how he started telling us to do that. There’s no need to do millions of postures, just try to master one at a time then you can go to the next one. I really enjoyed watching my father doing yoga. Sometimes we all used do it together too: me and my sister and my father.  LINK TO FULL INTERVIEW HERE


Above Krishnamacharya teaching Standing postures


Supposedly Pattabhi Jois said

"Primary series is for everybody, 2nd series for teachers and Advanced series for demonstration."

It's probably the only saying of his that  doesn't cause me to inwardly groan when I hear it repeated, usually to justify a lazy position or lack of argument. Still, those who end up practicing Advanced A or 3rd  series have usually been practicing for quite some time, I might not be that interested in the series proper but how they approach their Standing, now there's something I like to see. I'm not talking about the floaty Marix bits but the approach to standing of somebody who has been getting on the mat day in day out for years, whichever series they end up practicing. Nice then of Purple valley to divide their videos up so we can settle down and  focus on standing, here practiced by David Robson (with commentary), Tim Feldmann and Joey Mills.

krishnamacharya from Yogasanagalu

The music in the latter two though, really, was that necessary? Call me a purist but what was wrong with the breath, it's a breathing practice after all.

First up David Robson

 




Tim.


And here's Joey





Sharath in his advanced DVD ( filmed in Movember perhaps), Sury's and Standing run up to 13 minutes then you might want to skip to the 54 minute mark for a look at his finishing.






Krishnamacharya, some Standing postures

Krishnamacharya practicing at 84

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What does practice look like after 70 years?


Krishnamacharya's Yogasanagalu ( Link to translation) was originally published in 1942, these photos are from the 3rd edition 1972





























 


*

Or perhaps practice after 70 years just looks like this...

from Breath of Gods



*These pictures were taken for and added to the 1972 edition of Yogasanagalu putting Krishnamacharya at 84. Krishnamacharya was first taught asanas by his father from when he was six.

See the follow up post here

Krishnamacharya seems to have practiced along with his students.


Yesterday I posted 120 odd pictures of Krishnamacharya demonstrating asana from the 3rd edition of his second book Yogasanagalu, he was 84 at the time. The pictures were remarkable, how did he manage to stay that strong, that flexible, his eldest son Desikachar gives us a clue,

".....Of course, he was also doing Āsana for three to four hours daily in addition to his Prāṇāyāma. His practice was extremely rigorous and that may account for his being able to handle these large quantities of spicy and sweet foods.

and the third post in this series

Krishnamacharya's own asana and pranayama practice Plus Krishnamacharya's Life saving practice.
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