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Pushpam Magazine Review issue 2 - Yoga magazine from Hamish Hendry and team, Ashtanga Yoga London

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1. Review
Pushpam magazine - Issue 2
Publisher - Hamish Hendry
Editor - Genny Wilkinson Priest
Creative Direction - Emma Hetherington and Matt Roach


You may have caught my Review/Look Inside of the first edition of Pushpam Magazine published by Certified Ashtanga teacher Hamish Hendry' of Ashtanga Yoga London. The Pushpam team has done an even better job with issue two from the content, the articles and photos, the paper and right down to the goodies that come tucked inside the frount and back cover.

Don't expect to find any How to get into an asana articles, this magazine is more of a support for practice than a how to manual. It's concerned with philosophy, with the yama and niyamas (which include Svadhyaya - self-study, inquiry, self-examination, reflection) as well as how to make a good spring broth. That said there is a section on Ashtanga and ageing or perhaps rather maturing in the practice.


There is a really nice extended interview with Hamish and Genny on Daniel Simpson's Yoga beyond Asana, a peek in ot the creative process behind the magazine.
http://www.danielsimpson.info/archive/pushpam-yoga-magazine-hamish-hendry
Sanskrit chart tucked inside the frount cover

An origami Ganesha. Included are two sheets of paper because obviously you don't have a Ganesh to overcome the obstacle of making the first one and may make a hash of it.

Contents.

I should point out that this issue's Sharath section is a quote and photo of his feet, there's no interview.

The In conversation - Two Certified teachers section is Hamish Hendry talking with Richard Freeman.

 In conversation - Two Certified teachers section is Hamish Hendry talking with Richard Freeman.

I wish this conversation with Richard was longer, the two teachers chatting is such a fine format. Much of the time they are talking about raising kids but at one point we get this wonderful exchange

RF: "There are a lot of students who aren't actually students...."
HH: "So you mean people often forget the reason why they are practicing?"
RF: "Oh I think all the time...."

How true.


As with the first issue, nice art and photographs throughout

Curiously, a financial health check for Teachers.

I particularly enjoyed this section on Ashtanga and the Autumn of Life, how practice matures ( I have my own page on this topic HERE). It's not just that you can perhaps no longer approach practice as you used to but that you begin to see it for the attachment it is (to advanced asana) and are more ready to let go. Joanne Darby was asked if she misses the practice she used to have ( She used to practice Primary, Intermediate and Advanced series in three hours every morning), no she says "I replace it with pranayama". Rolf Naujokat replies to the same question "Create a practice out of your understanding from what you have (already) learned in order to nourish your body-mind organism in a loving non-violent way" and remember he says "Everything comes and everything goes". The writer of the article and editor of the magazine, Genny Wilkinson Priest concludes the perfectly punctuated piece (in joke) with "For all these older practitioners, Ashtanga continues to support them and shape them they wouldn't dream of quitting and will go on practicing whatever form it takes". She quotes Pattabhi Jois: "Yoga is internal the rest is circus".

There is a part 2 article on practice and ageing from Philippa Asher, I have a friend who is constantly mentioning what an excellent teacher Philappa is, she will be delighted to see this article from her teacher.




My only criticism here is that despite the ageing articles being about letting go of advanced asana the photos are of middle and advanced series asana. It was that reflection that made me realise I still had a fancy ankle grab Kapo as a blog header photo. Just as I've let go of my attachment to my Kapo it seemed a good time to promote the integrated approach to practice that has replaced somewhat the earlier asana madness.


There are so many good articles here to get your teeth into, a powerful, moving and at times harrowing article from Matthew Green stood out. Matthew a Falklands veteran and Vippassana practitioner writes a piece called Machine gun Mind: Discovering Inner peace.

The articles are all (?) related in some way to the Gita or at least hang on the theme of the Gita. When I heard this was the idea for the issue I was afraid it would be a "We love the Gita" issue but rather the magazine engages with the Gita, challenges it, the only way to approach such a problematic text. 

The Gita raises more questions than it answers. I still find it inexcusable in it's central premise, that Arjuna lays down his arms refusing to kill, friends and family but is persuaded to pick them up again by Krishna.... because it's his duty (Today is the 100th anniversary of The battle of Somme where a million died). No allegorical argument overcomes this sufficiently for me but oh the poetry, the cadence, I can forgive it everything.



I still haven't worked out how Tom's recipe for Broth relates to the Gita other than perhaps Krishna had a flask of it in the chariot to cheer up Arjuna.

Tom includes wakame in his broth, interesting.


Ganesha across from Socrates
I've only scratched the surface, I haven't mentioned the article on the Gunas by Zoe Slatoff-Ponte, I need to read it again (see my review post on her book Learn Sanskrit with Zoë Slatoff-Ponté's Yogavataranam - The Translation of yoga).

Shamila Desai (author of Yoga Sadhana for Mothers)has an article on Raising conscious children that I haven't read yet and I would want to read more closely the longer pieces by Mike Burley ( The Many faces of the Bhagavad Gita) and Ruth Westoby (Sacrificing ourselves).

Note to self: I was sent a copy of Shamilla Desai's Yoga Sadhana for Mothers to review a while back. I never did review it. 

As with the first edition, along with shorter pithy pieces there are nice length articles in the magazines that will welcome second and third reading. 

I hope it runs to twelve editions at least.


Links

Pushpam Magazine
Pushpam is a quarterly (or so) yoga magazine. It is published by Hamish Hendry of Astanga Yoga London. Focusing on yoga beyond asana, regular contributors include Sharath Jois, Hamish Hendry, certified Astanga teachers, academics and practitioners from around the world.

available for order online and in UK, India (KPJAYI), US and Australia 
and Europe ( or at least it was until my countrymen and women shot themselves in the foot and voted to leave the EU)


Pushpam magazine on facebook
https://www.facebook.com/pushpamyoga/


AYL Ashtanga Yoga London


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The Gita and I have history. I put up a couple of posts on the 'original' Gita back in Sept 2011, Phulgenfa Sinhas's theory that much of the Gita, the theistic aspect, was added after 800AD in response to the Monotheisms that was making inroads to India at the time. Sinha decimates the Gita, reducing it down to pretty much the first three chapters.

You'd think that would put me into Krishna's bad graces but in feb 2012 this happened. I got home from work and for some bizarre reason my copy of the Gita had somehow popped out of my bookcase and was laying on the floor near my mat, inexplicable.


This is the Juan Mascaro penguin translation, my personal favourite just because I find it the most beautiful no doubt because Mascaro introduces something of the cadence of the King James Bible.

see also

See also
A highly readable Sankara treatment of the Gita

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3. Videos: The Gita section from Petter Brooks Mahabharata
Peter Brooks Mahabharata on Youtube

And here are two clips from the marvellous Peter Brook movie version of his production of the Mahabarata, here's the Gita section, gets me every time.


I have the best memory of sneaking into one of the classrooms at LMU on Ramaswami's Vinyasa Krama TT to watch all three DVDs

I strongly recommend buying the DVD but if you mind it difficult to get hold of here so here it is on Youtube.




Appendix- The original Gita?
from an earlier blog post  13 Sept 2011

The Gita Code : Phulgenda Sinha's 'The Gita as it was'

Phulgenda Sinha pretty much decimates the Bhagavad Gita, cutting it down from 700 verses to just 84.  Patanjali's Yoga Sutra is similarly culled, from the 195 verses we know and love to  83. The Samkhy Karika loses 13 verses.

Sinha writes of the Samkha

'These interpolations are so evident that they should have been noticed by the many scholars who have written on Samkhy philosophy. Most interestingly, these interpolations betray themselves when Samkhy-karika is referred to as the shasti-tantra ( the science of sixty verses). Our suspicions are immediately aroused seeing that there are 73 verses, 13 too many' p121

Attempting to identify the original versions of these texts is not new. It's not so much a question of IF verses have been interpolated but rather WHICH verses, HOW MANY and WHY.

Sinha claims that what distinguishes his approach is that he is considering these texts together, rather than in isolation and out of their historical context. He argues that the Yoga Sutra is based on Samkhya philosophy and so cuts away anything not in keeping with that philosophy. The Gita, in turn, is based on Samkhy and Yoga and gets cut accordingly.

The argument
'(i)     The basis of yoga as a discipline and as a system is known as Samkhya Darshan ( Samkhya philosophy).  This philosophy was established by Kapila, who lived about 700 B. C. 

(ii)     Though yoga was practiced during the period of Harappa and Mohenjodaro civilisation (generally dated 3000 B.C), we do not have any deciphered writing on Yoga from that period. The first known and comprehensively discussed book on the Yoga is Patanjali's Yoga Sutra, dated about 400 B.C. In yoga Sutra, Patanjali accepted everything taught by Kapila in his Samkhya Philosophy, and added more to make a comprehensive system for achieving a healthy, happy and creative life.

(iii)     Yoga reached it's highest and most glorious stage in the work of Vyasa in about 400 B.C. Vyasa wrote the Gita by incorporating all the basic theories and concepts of Kapila and Patanjali and by adding much original thought of his own. Thus by 400 B.C. India as a civilisation had produced a matchless philosophical work presented in the simple form of song, telling how dukha (sorrow) can be eliminated and how sukha (happiness) in life can be achieved. This philosophical work was the Gita.

(iv)     In the post vedic period, up to 800 A.D., the thinkers and writers of India were men of a rational outlook. They did not accept the idea of a single, almighty deity. A close study of all the available records indicates that theistic concepts were non-existent in India prior to about 800 A.D. 

(v)     In a surprising way, the thought pattern of India changed after 800 A.D. Monotheism made sudden inroads into India.' p. xvi

Conspiracy 
Now this is were the book at times sounds like a classic conspiracy theory novel.

Sinha argues that India became more exposed to monotheism through some Christian colonies, trade relations with Alexandria particularly in the south of India and in 711 A.D. the arrival of Islam in Sindh, one of the four provinces of present day Pakistan. 

However it was the revival of Brahmanism.  and the Brahmin acceptance of Monotheism that ultimately resulted in the rewriting of the Gita, Samkhy karika and Yoga Sutra.  

'Brhamins accepted monotheism and began interpreting the whole history of India, from Vedas to Upanishads, in a completely new way'. p 93

Shankaracharya, in particular, is named and shamed.

'Shankaracharya was the first Indian to openly accept, propagate and expound the concept of monotheism as a part of Hindu religion' p95

'India after 800 A.D. adopted quite a different outlook. the ideas proposed by writers and commentators were now mostly matters of belief and faith, coloured by religion, mysticism, and caste. Not Man but God was held to be supreme. Man could do only what was predestined by God. there was a Heaven and hell. man possessed a soul which did not die but was reincarnated according to past and present deeds. The brahmans were superior to all castes and the word brhamin was synonymous with Brahma ( one of the post-vedic gods) and all the divinities. Indian thought in this period bore certain resemblances to to the teachings of Judaism, Christianity, and Islam.' p. xvi

The Consequences for yoga

'In answer to a question raised by Arjuna as to who are better versed in yoga. Krishna says: 

"Those who fix their mind on me, worship me, with highest faith are the best in yoga in my opinion" (XII,2)

"If you are unable to fix your mind on me, then seek to reach me by constant practice of Yoga, o Arjuna" (XII, 9)

" But, if you are unable to do even this, then, seek union with me and renounce the fruits of all actions while controlling your mind " (XII,11)

There is little wonder then that yoga could no longer remain a secular system. It could neither become popular with the masses not be taught in the academic institutions of India - until recently. Yoga became a system of practice mixed with religious, spiritual and cultic values, and it remained confined to ashrams (centres dedicated to religious values and practices). 

The cult of guruism developed. Those learning and practicing Yoga in the ashrams became disciples of the guru (master of the centre) and worked as devout followers of the cult. being cultic, it thrived on secrecy, mysticism, rituals, superstitions and devotion. yoga became sectarian." p 114

What Sinha is really concerned with is the future of India. He is basically arguing that India took a wrong turn around 800AD, from rationalism to spiritualism and that this is why India has, despite it's wealth of resources, lagged behind other societies and civilisations ever since. A rediscovery of India's rationalist roots he seems to believe will revitalise India.

This is a highly readable textual study, at times it reads like a novel with good guys and bad guys, conspiracies galore. It's almost an Indian Da Vinci code. It had me running to google and the library to try and check facts and sources. He wears his motives on his sleeve a little too much for my liking, but they are noble motives. I don't think I swallow half of his story but then you don't have to.

The only thing to decide is if the Gita and the Yoga Sutra changed dramatically to incorporate monotheism or not.

The book is out of print but there are some used copies floating around Amazon. Get a copy while you still can and decide for yourself.

Below are my earlier posts with Sinha's 'original' Yoga Sutra ( the text in the post are the same verses but from an online source, not Sinha's translation) as well as the verses that get left out.

The original Yoga Sutra of Patanjali

and here's the my earlier post on the Gita ( again not Sinha's translation).

The Original Gita. No Surrender! ( Updated with the original Gita? )

Of course if you do manage to eliminate spiritualism and mysticism from the Gita and Yoga Sutra your left with Samkhya, dualism. A case of out of the frying pan and back into the proverbial fire.

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And one possible response 

UPDATE
So here it is, the supposed original Bhagavad Gita


Ch. I 28-34,37,40, 46-47.
Ch. II 3, 11-31, 34-36, 39-41, 48, 50, 53, 56-58, 60, 64-70.
Ch. III 1-9, 16-21, 23-29, 32-35, 38-40, 42-43.


Bhagavad gita, as it was?
Sinha's verses outlined above taken from the online edition HERE ( but remember this is not Sinha's own translation, still waiting for his book to arrive, this should give us a general idea however).

Chapter 1

 28.
Arjuna was overcome with great compassion 

And sorrowfully said: 

O Krishna, seeing my kinsmen standing

With a desire to fight,

 29. 

My limbs fail and my mouth becomes dry.
My body quivers 

And my hairs stand on end.

 30. 

The bow, Gaandeeva, slips from my hand
And my skin intensely burns. 

My head turns,
I am unable to stand steady 


 31. 

And, O Krishna,
I see bad omens. 

I see no use of killing my kinsmen in battle.

 32
I desire neither victory 

Nor pleasure nor kingdom,
O Krishna.
 What is the use of the kingdom,
Or enjoyment, or even life, O Krishna?

 33
Because all those, for whom we desire kingdom,
Enjoyments, and pleasures,
Are standing here for the battle,

Giving up their lives and wealth.

  34

Teachers, uncles, sons, grandfathers,

Maternal uncles, fathers-in-law, grandsons,

Brothers-in-law, and other relatives.

 37.
Therefore, we should not kill our brothers,

The sons of Dhritaraashtra. 

How can we be happy 

After killing our kinsmen, O Krishna?

 40. 
With the destruction of the family, 

The eternal family traditions are destroyed,

And immorality prevails 

Due to the destruction of family traditions.

 46.
It would be far better for me 

If the sons of Dhritaraashtra should kill me

With their weapons in battle 

While I am unarmed and unresisting.

 47. 
Sanjaya said: 
Having said this in the battle field

And casting aside his bow and arrow, 

Arjuna sat down on the seat of the chariot

with his mind overwhelmed with sorrow.

Chapter II

 3.
Do not become a coward, O Arjuna,

Because it does not befit you. 

Shake off this weakness of your heart

And get up (for the battle), O Arjuna.

 11.
Krishna said: 
You grieve for those who are not worthy of grief,

And yet speak the words of wisdom.

The wise grieve neither

For the living nor for the dead.

 12. 

There was never a time when I, you,

Or these kings did not exist;
Nor shall we ever cease to exist in the future.

 13. 

Just as the Atma acquires a childhood body,
A youth body, and an old age body during this life,

Similarly Atma acquires another body after death.

The wise are not deluded by this.

 14.
The contacts of the senses with the sense objects

Give rise to the feelings of heat and cold,

And pain and pleasure.
They are transitory and impermanent.

Therefore, endure them, O Arjuna.

 15. 

Because the calm person,

Who is not afflicted by these feelings

And is steady in pain and pleasure,

Becomes fit for immortality, O Arjuna.

 16.
There is no nonexistence of the Sat 
And no existence of the Asat.

The reality of these two
Is indeed certainly seen by the seers of truth.

 17.
Know That, by which all this is pervaded,

To be indestructible.

No one can destroy the indestructible.

 18. 

Bodies of the eternal, imperishable,

And incomprehensible soul

Are said to be perishable.

Therefore, fight, O Arjuna.

 19. 

The one who thinks that Atma is a slayer,

And the one who thinks that Atma is slain,

Both are ignorant,

Because Atma neither slays nor is slain.

 20.    

The Atma is neither born

Nor does it die at any time,

nor having been it will cease to exist again.
I
t is unborn, eternal, permanent, and primeval.

The Atma is not destroyed when the body is destroyed.

 21.    

O Arjuna, how can a person

Who knows that the Atma is indestructible, eternal,

Unborn, and imperishable,

kill anyone or cause anyone to be killed?

 22.   

Just as a person puts on new garments

After discarding the old ones,
Similarly Atma acquires new bodies

After casting away the old bodies.

 23. 

Weapons do not cut this Atma,

Fire does not burn it,

Water does not make it wet,

And the wind does not make it dry.

 24. 

This Atma cannot be cut, burned, wetted, or dried up.
It is eternal, all pervading,

Unchanging, immovable, and primeval.

 25. 

The Atma is said to be unmanifest,

Unthinkable, and unchanging.

Knowing this Atma as such you should not grieve.

 26. 

If you think that this (body) takes birth

And dies perpetually, even then, O Arjuna,

You should not grieve like this.

 27. 

Because, death is certain for the one who is born,

And birth is certain for the one who dies.

Therefore, you should not lament over the inevitable.

 28. 

All beings, O Arjuna, are unmanifest
Before birth and after death.
They are manifest between birth and death only.

What is there to grieve about?

 29.
Some look upon this Atma as a wonder,

Another describes it as wonderful,
And others hear of it as a wonder.

Even after hearing about it no one actually knows it.

 30 

O Arjuna, the Atma that dwells in the body of all (beings)

Is eternally indestructible.

Therefore, you should not mourn for any body.

 31.
Considering also your duty as a warrior

You should not waver.
Because there is nothing more auspicious

For a warrior than a righteous war.

 34.
People will talk about your disgrace forever. 

To the honored, dishonor is worse than death.

 35. 

The great warriors will think

That you have retreated from the battle out of fear.

Those who have greatly esteemed you

Will lose respect for you.

 36. 

Your enemies will speak many unmentionable words
And scorn your ability.

What could be more painful than this?

 39. 

The wisdom of Saamkhya

Has been imparted to you, O Arjuna.
Now listen to the wisdom of Karma-yoga

Endowed with which you will free yourself

From the bondage of Karma.

 40.
In Karma-yoga no effort is ever lost,

And there is no harm.

Even a little practice of this discipline
Protects one from great fear.

 41. 

Those who are resolute

Have only one thought (of Self-realization),

But the thoughts of the irresolute

Are endless and many-branched, O Arjuna.

 48
Do your duty to the best of your ability, O Arjuna,
With your mind attached to the Lord,
Abandoning (worry and) attachment to the results,
And remaining calm in both success and failure.
The equanimity of mind is called Karma-yoga.

 50
A Karma-yogi gets freedom
From both vice and virtue in this life itself.
Therefore, strive for Karma-yoga.
Working to the best of one's abilities
Without getting attached to the fruits of work
Is called (Nishkaama) Karma-yoga.

 53.
When your intellect,
That is confused by the conflicting opinions
And the ritualistic doctrine of the Vedas,
Shall stay steady and firm with the Self,
Then you shall attain Self-realization.

 56.
A person whose mind is unperturbed by sorrow,
Who does not crave pleasures, and who is free
From attachment, fear, and anger;
Such a person is called a sage of steady Prajna.

 57.
Those who are not attached to anything,
Who are neither elated by getting desired results
Nor troubled by undesired results,
Their Prajna is deemed steady.

 58.
When one can completely withdraw
The senses from the sense objects
As a tortoise withdraws its limbs,
Then the Prajna of such a person
Is considered steady.

 60.
Restless senses, O Arjuna,
Forcibly carry away the mind
Of even a wise person
Striving for perfection.

 64.
A disciplined person, enjoying sense objects
With senses that are under control
And free from likes and dislikes,
Attains tranquillity.

 65.
All sorrows are destroyed
Upon attainment of tranquillity.
The intellect of such a tranquil person
Soon becomes completely steady.

 66.
There is neither Self-knowledge nor Self-perception
To those whose senses are not under control.
Without Self-perception there is no peace;
And without peace there can be no happiness.

 67.
The mind, when controlled by the roving senses,
Steals away the Prajna as a storm takes away a boat
On the sea from its destination, the spiritual shore.

 68.
Therefore, O Arjuna,
One's Prajna becomes steady
Whose senses are completely withdrawn
From the sense objects.

 69.
A yogi is aware of the thing (or Atma)
About which others are unaware.
A sage who sees is unaware
Of the experience (of sense objects)
About which others are aware.

 70.
One attains peace in whose mind
All desires enter without creating any disturbance,
As river waters enter the full ocean
Without creating a disturbance.
One who desires material objects is never peaceful.

Chapter III

 1.
Arjuna said:
If You consider that transcendental knowledge
is better than work
Then why do You want me to engage
in this horrible war, O Krishna?

 2.
You seem to confuse my mind by apparently conflicting words.
Tell me, decisively, one thing by which I may attain the Supreme.

 3.
Krishna said:
In this world, O Arjuna, a twofold path of Sadhana has been stated by Me in the past.
The path of Self-knowledge (Jnana-yoga) for the contemplative,
And the path of unselfish work (Karma-yoga) for the active.

 4.
One does not attain freedom from the bondage of Karma
by merely abstaining from work.
No one attains perfection by merely giving up work.

 5.
Because no one can remain actionless even for a moment.
Everyone is driven to action, helplessly indeed,
by the Gunas of nature.

 6.
The deluded ones, who restrain their organs of action
but mentally dwell upon the sense enjoyment,
are called hypocrites.

 7.
The one who controls the senses by the mind and intellect,
and engages the organs of action to Nishkaama Karma-yoga,
is superior, O Arjuna.

 8.
Perform your obligatory duty,
because action is indeed better than inaction.
Even the maintenance of your body
would not be possible by inaction.

 9.
Human beings are bound by Karma
other than those done as Yajna (sacrifice).
Therefore, O Arjuna, do your duty efficiently
as a service or Seva to Me,
free from attachment to the fruits of work.

         16.
The one who does not help to keep the wheel of creation
in motion by sacrificial duty, and who rejoices in sense pleasures,
that sinful person lives in vain, O Arjuna.

  17.
The one who rejoices in the Self only,
who is satisfied with the Self,
who is content in the Self alone,
for such a (Self-realized) person there is no duty.

  18.
Such a person has no interest, whatsoever,
in what is done or what is not done.
A Self-realized person does not depend on anybody for anything.

  19.
Therefore, always perform your duty efficiently
and without attachment to the results,
because by doing work without attachment one attains the Supreme.

  20.
King Janaka and others attained perfection
by Karma-yoga alone.
You should perform your duty with a view to guide people
and for the universal welfare (of the society).

  21.
Because, whatever noble persons do, others follow.
Whatever standard they set up, the world follows.

  23.
Because, if I do not engage in action relentlessly,
O Arjuna, people would follow My path in every way.

  24.
These worlds would perish if I do not work,
and I shall be the cause of confusion and
destruction of all these people.

  25.
As the ignorant work, O Arjuna,
with attachment (to the fruits of work),
so the wise should work without attachment,
for the welfare of the society.

  26.
The wise should not unsettle the mind of the ignorant
who is attached to the fruits of work,
but the enlightened one should inspire others
by performing all works efficiently without attachment.

  27.
All works are being done by the Gunas of nature,
but due to delusion of ego
people assume themselves to be the doer.

  28.
The one who knows the truth, O Arjuna,
about the role of Guna and action
does not get attached to the work,
knowing that it is the Gunas that work
with their instruments, the organs.

  29.
Those who are deluded by the Gunas of nature
get attached to the works of the Gunas.
The wise should not disturb the mind of the ignorant
whose knowledge is imperfect.

  32.
But, those who carp at My teaching and do not practice it,
consider them as ignorant of all knowledge, senseless, and lost.

  33.
All beings follow their nature.
Even the wise act according to their own nature.
What, then, is the value of sense restraint?

  34.
Raga and Dvesha (or the attachments and aversions)
for the sense objects remain in the senses.
One should not come under the control of these two,
because they are two stumbling blocks, indeed,
on one's path of Self-realization.

  35.
One's inferior natural work is better
than superior unnatural work.
Death in carrying out one's natural work is useful.
Unnatural work produces too much stress.

  38.
Kama, the passionate desire
for all sensual and material pleasures,
becomes anger if it is unfulfilled. As the fire is covered by smoke, as a mirror by dust, and as an embryo by the amnion,
similarly the Self-knowledge gets obscured by Kama.

  39.
O Arjuna, Jnana gets covered by this insatiable fire of Kaama,
the eternal enemy of Jnani.

  40.
The senses, the mind, and the intellect
are said to be the seat of Kaama.
Kama, with the help of the senses,
deludes a person by veiling Jnana.

  42.
The senses are said to be superior,
the mind is superior to the senses,
the intellect is superior to the mind,
and Atma is superior to the intellect.

  43.
Thus, knowing the Atma to be superior to the intellect,
and controlling the mind by the intellect,
one must kill this mighty enemy, Kama, O Arjuna.

Ashtanga Advanced series? Why does the Advanced series presentations differ from the 'Original' 1973 Ashtanga syllabus

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I was asked a question about Philippa Asher's Advanced B poster and video I posted a link this week in connection to Philippa's article in Pushpam magazine.

It was pointed out that Philippa's Advanced B was different from the Advanced B in the 1973/74 Syllabus Pattabhi Jois gave to Nancy Gilgoff and David Williams.
http://ashtangaphilippa.com/


http://ashtangaphilippa.com/
From the late Nineties, Philippa began learning the Ashtanga system, daily before work (in the media, film and music industries). For the last fifteen years she has studied for several months each year at KPJAYI in Mysore, practising under the guidance of revered guru Sri K Pattabhi Jois and his grandson Sharath Jois.
In 2006, Philippa established and ran Triyoga Soho’s Ashtanga self-practice programme in London. She taught there for five years before moving to South India, to build her own shala (on a coffee estate in Sakleshpur, in the Western Ghats). ASHTANGA NIRVṚTA is a stunning homestay yoga retreat, which aims to bring Ashtanga yoga to all levels of practitioners, in nature (I've seen pictures, stunning). Full Bio HERE

Yes, the Advanced B above  is indeed different from the 'original' 1974 syllabus below.

http://grimmly2007.blogspot.jp/2012/08/the-original-ashtanga-yoga-syllabus.html
This post is a work in progress, I need to look closely again at all this material, go through the videos and match everything up. This more of an attempt to make long fb comment more readable.

I wonder if the change happened in 1994 when Lino tried to pin Pattabhi Jois down on what actually constituted Advanced A and B. I should check carefully the video we have of Advanced in a garage that Clifford posted, I suspect it might be closer to Nancy and David's 73/74 syllabus than Lino's.





I don't think Pattabhi Jois knew what to do about Advanced series ( or perhaps this is where we see him come into his own).

Primary and Intermediate are close to Krishnamacharya's Primary and Middle asana list that we find in Yogasanagalu but Krishnamacharya Advanced Asana list seemed to be more a case of lumping advanced asana into one list.

Krishnamacharya's Yogasangalu table 1941 











We know from the Iyengar 1938 video that Krishnamacharya was teaching more advanced asana than was in the list (suggesting Krishnamacharya may well have got that list of asana from somewhere else (his teacher? a text....yoga korunta?) So Pattabhi Jois, knew all those Advanced asana (whether he actually practiced all them or not) but didn't really have a well constructed list to base them on, he seems to have played around with several different versions.







So we have Krishnamacharya's lists and Iyengar demonstration dating back to late 30s early 40s, then we see Pattabhi Jois' 1974 list that he gave to Nancy and David that Clifford learned from and is teaching you. See the new version of Lino Miele's book Ashtanga Yoga - The yoga of breath


In 1994 we have a new Advanced A and B from when Pattabhi Jois sat down with Lino and then at some point ( and I'm trying to find out which year this happened) the early 1974 list and the later 1994 list being reordered into Advanced C, D, E and F (possibly around 1996) later reordered again perhaps into 3rd, 4th, 5th, 6th (around 1999?). Third and fourth seem to be pretty much Lino's 1994 A and B list but some of the asana from the 1974 syllabus seem to have turned up in 5th and we don't really know what's in 6th.

There also seems to be a period when Advanced A and B were practiced together, there's a poster that Derek Ireland had (http://grimmly2007.blogspot.jp/.../old-illustrations...)
Advanced A and B asana practiced together
http://grimmly2007.blogspot.jp/2014/07/old-illustrations-cheat-sheets-of.html
and a couple of Pattabhi jois Led videos on youtube.



It shouldn't be a surprise perhaps that some of the early practitioners practiced Advanced A and B together, we know several of Pattabhi Jois' students practiced Primary and 2nd series together so why not Advanced A and B. Joanne Darby mentions in my review of Pushpam that she practice Primary, 2nd And 3rd together in around three hours and Rolf Naujokat mentions he practice Advanced A and B together for 28 years ( http://tinyurl.com/gm7je32)

from my Pushpam magazine review and Ashtanga and ageing

I particularly enjoyed this section on Ashtanga and the Autumn of Life, how practice matures ( I have my own page on this topic HERE). It's not just that you can perhaps no longer approach practice as you used to but that you begin to see it for the attachment it is (to advanced asana) and are more ready to let go. Joanne Darby was asked if she misses the practice she used to have ( She used to practice Primary, Intermediate and Advanced series in three hours every morning), no she says "I replace it with pranayama". Rolf Naujokat replies to the same question "Create a practice out of your understanding from what you have (already) learned in order to nourish your body-mind organism in a loving non-violent way" and remember he says "Everything comes and everything goes". The writer of the article and editor of the magazine, Genny Wilkinson Priest concludes the perfectly punctuated piece (in joke) with "For all these older practitioners, Ashtanga continues to support them and shape them they wouldn't dream of quitting and will go on practicing whatever form it takes". She quotes Pattabhi Jois: "Yoga is internal the rest is circus"

There is a part 2 article on practice and ageing from Philippa Asher, I have a friend who is constantly mentioning what an excellent teacher Philippa is, she will be delighted to see this article from her teacher. here are a couple of quotes from Philipa's article.

"I now also know that the length of my practice in late thirties was too long. Before I was split between Advanced A And Advanced B, it took nearly three hours and i did not menstruate for three years. I should have told my teacher obviously. Ladies' holidays are important and if we women are not menstruating they need to explore why and then address the problem. The practice is all about finding optimum spiritual, physical and mental well-being".

"Growing older makes practice even more interesting."


"It may be possible to sustain my practice through my forties, but I'm guessing that with each subsequent decade I might be inclined to drop half a series".




It's unlikely I think that Pattabhi Jois practiced any of those Advanced series as series in whatever version.  see http://grimmly2007.blogspot.jp/2015/08/did-pattabhi-jois-practice-some-or-all.html More likely I think Pattabhi Jois practiced Advanced asana with Krishnamacharya just for demonstration as Iyengar did.

To sum up. Pattabhi Jois it seems based his Primary and Intermediate series (with minimal rearrangement) on Krishnamacharya's list (no doubt the one that turns up in Yogasanagalu ( my visual representation below)

http://grimmly2007.blogspot.jp/p/yogasanagalu-translation-project.html

http://grimmly2007.blogspot.jp/p/yogasanagalu-translation-project.html

Krishnamacharya's advanced list/group doesn't seem to have any coherent order, just a place to randomly list Advanced asana.

Pattabhi Jois then, seems to have arranged that list and perhaps other asana he and Iyengar were taught by Krishnamacharya into two series Advanced A and B that were occasionally practiced together.

Later, Advanced A and B seem to have been simplified and perhaps turned into Advanced A to D and later still arranged into 3rd to 6th.

Primary and Intermediate and the asana thrown together in Krishnamacharya's Advanced group with their vinyasa and kumbhaka may go back further than Krishnamacharya, back to his teacher Ramamohana Brahmachari or perhaps to a table in a text (Yoga korunta anyone?) or he may have come up with it himself (personally I'm guessing a text) but Advanced A and B, or 3rd to 6th are clearly recent.

Pattabhi Jois may have come up with Advanced A and B for the third and fourth year of the Yoga course he was teaching at the Sanskrit college in the late 1930s but 5th and 6th series are surely no earlier than the late 1990s.

When it is pointed out that Sharath is the only person to practice 6th series (does he still, I suspect not) all it's saying perhaps is that he's practicing a sequence thrown together in the last twenty years.

Are 5th and 6th series anything other than carrots dangled in frount of us?

Pattabhi Jois supposedly said that Primary was for everyone, Intermediate for teachers and Advanced only for demonstration.

I practiced Advanced A and also B for a short while (and like you Ricky I think I had no place practicing Advanced B, I certainly didn't smile through it like Philippa Asher does in the video below), for me personally, now more than ever, Primary and perhaps the first half of 2nd seems quite sufficient for my purposes and 'history' too feels less important than it used to be (but may bemore important than ever - links to 60+ post below).

I asked Krishnamacharya in a blog post to convince me why I should practice Advanced asana, he does have a response, see this post


Here's Philippa Asher smiling peacefully through her Advanced B


This is probably an Ashtanga yoga Ashtanga Yoga Confluence question, when those earlier practitioners are sitting around together and can share notes about when the names of the series and what constituted them was tweaked this way and that.


See also perhaps my 

Ashtanga History page

http://grimmly2007.blogspot.jp/p/ashtanga-history.html


POSTS RELATED TO ASHTANGA HISTORY





Old Ashtanga Videos





















Saturday, 6 July 2013


































David Williams giant poster based on the original 1973 syllabus
David's website with the syllabus

Sharath Rangaswamy Jois Resource

$
0
0
It was pointed out to me that while I have resources for 

Krishnamacharya
K. Pattabhi Jois
Manju Jois 
Srivatsa Ramaswami

I don't have one for Sharath.


My defence for this is that I don't tend to buy into hereditary ideas of lineage. Why have a Sharath page and not say a Norman Allan Page or a David Williams page or one for Nancy Gilgoff. A Tim Miller Page say, Chuck Miller, Danny Paradise.... or pages for  Richard Freeman and David Swenson,  Lino Miele, John Scott..... Derek Ireland or so many other wonderful teachers and communicators of Ashtanga vinyasa. Ashtanga isn't just Mysore it's a network of teaching excellence around the globe and it's not a question of past or present, those early teachers continue to pass on the teaching to their students who are passing it on in turn, just it's being passed on by Sharath in Mysore and by Manju....well, everywhere else.

And come to think of it I do have a Page on Derek Ireland, and some big posts on Chuck Miller, John Scott, Norman Allan, so why NOT Sharath also. 

I have authority issues, clearly. I critique Sharath and Mysore more than others and elsewhere because it's so often taken as accepted by many students that Mysore is the Vatican and Sharath the new Pope (although even Popes are elected by their peers), it makes me uncomfortable, it should perhaps be questioned or at least another perspective offered.

As a home practitioner I've rarely considered, a day or two at most, visiting Mysore, likewise attending Sharath's Led classes on his world tours, a small workshop with Manju is one thing but a led class with anyone, not just Sharath, really doesn't interest me in the slightest, I probably wouldn't have gone to one of Pattabhi Jois' world tour Led's either.

And yet Sharath HAS had a big influence on my practice. It was Sharath's DVD, racing through Primary in 60 minutes (these days I prefer to practice a LOT slower), that switched me from one of David Swenson's Short forms to full practice. A few years later I went back to that DVD and noticed how energy efficient Sharath's practice was, how delicate his jump through and switched from all the fancy Ashtanga party tricks I'd been including in my practice, Kino's Half handstand jump through say to Sharath gentle, energy efficient hop. I may disagree with some of Sharath's views on practice but there is probably more I agree on and share, especially much that he has been saying of late.

And besides, I don't like to think of this as my blog but rather THE blog otherwise I would have deleted it long ago. I suspect this will end up being one of the most popular posts so I'll turn this it into a Resource page sitting at the top of the blog alongside Sharath's grandfather, Pattabhi Jois, and uncle, Manju Jois, and perhaps start thinking about a page for Saraswati, feel free to add any suggestions for content in comments and as with any of the pages above it's a work in progress.



Contents.

Bio
1. Gallery - Posters, flyers and promotion
2. Video Selection
3. Interviews
4. Conference notes from JoisYoga
5. Selected blog posts


KPJAYI Bio

Sharath as a boy with David Williams and Nancy Gilgoff

Sharath was born on September 29, 1971 in Mysore, India to Saraswathi Rangaswamy, daughter of ashtanga master Sri K. Pattabhi Jois. Growing up in a house full of yoga practitioners, Sharath learned his first asanas at age seven and experimented with postures from the primary and intermediate series until he turned fourteen. Though he spent the next three years focused on his scholastic education, earning a diploma in electronics from JSS in Mysore, Sharath knew that he would one day follow the ashtanga path blazed by his mother and legendary grandfather.

Sharath embarked on his formal yoga study at the age of nineteen. He would wake every day at 3:30 a.m. and cross the town of Mysore to his grandfather’s Lakshmipuram yoga shala. There, he would first practice and then assist his guru, Pattabhi Jois, a routine of dedication he has followed for many years.

Today, Sharath’s sincere devotion and discipline to the study and practice of yoga compels him to rise six days a week at 1:00 a.m. to complete his practice before the first students arrive at the K. Pattabhi Jois Ashtanga Yoga Institute, where he serves as Director.

Sharath is Pattabhi Jois’s only student who has studied and continues to practice the complete six series of the ashtanga yoga system. He presently resides in Mysore with his wife Shruthi, daughter Shraddha, and son Sambhav.


1. GALLERY
Posters and Promotion

2001



2005

DVD


 
CD




2009






2011




2012



2013



 2014



2014

Sharath's book
1st Edition
2nd Edition 


2015



2016









2. VIDEO SELECTION


1989


1999 Chile


2001 New York


2005
from the primary Series DVD



2009 Copenhagen



See this post on my practicing along with Sharath's led stream from Moscow
http://grimmly2007.blogspot.jp/2013/07/practicing-with-sharath-live-from.html

2013


2013



2013


See my post on the above video
Tuesday, 24 September 2013
UPDATED (New corrected Video) Sharath's Uttkatasana and Virabhadrasana video also Sharath's Pranayama tutorial.

2013



Demo's 2013 Helsinki



2014


2015


2015


2016


Tutorial(?) 2015
There are a number of Led classes/tutorial's on this Live Sonima playlist




3. Interview



 A translation I think from the Russian, perhaps conducted at Ashtanga Moscow. 

http://www.ashtanga.su/ 
And an English translation of the site

http://translate.google.com/translate?hl=&sl=ru&tl=en&u=http%3A%2F%2Fwww.ashtanga.su%2F



Sharath interview (2011)



1. What can you say about Russian students? (of course smth good -_-)


They’re dedicated students. Ashtanga yoga is new, but they’re dedicated, you can see that, very focused in their practice and they listen exactly what to do. 

- You said that “Very good. All beginners.”

It’s first for me to come to Russia, so these many new faces. In that basis I just that said. But most of them know the practice, they’re very focused in their practice. They know what they’re doing

2. May be they differ from other foreign students? Finnish, american students...


Students’re all same. As I told you in the conference that yoga has been practicing for many years in the other parts of the world. So people there are little more advanced, that is because they’ve been practiced it for many years. Even in Russia after time passes people will also be very advanced, they’ll go higher levels in their practice.


3. Which qualities of character do people need to develop and which things to pay more attention to?


Yoga should be practiced as a spiritual practice. It’s not just like an exercise. If you do like that it has certain limitations. If you do it like spiritual practice, there’s no limit for that. You can go higher dimensions and higher levels in this practice. So it’s always good to practice thinking it’s a spiritual practice and we should bring spirituality in our practice. That is very important. Instead of just doing it like exercise, aerobics, gymnastics. If you bring more spirituality in your practice, then I think it’s more effective. This whole practice will be more effective. So students have to bring that.


4. I remembered one Guruji’s expression: “Primary series – very important, second series – for teachers, advanced – for demonstration”. May be you can comment smth?

I don’t know where he said that, what meaning he said this. Usually we say that Primary series is like Chikitsa Vibhaga, like I told, to cure deseases. So these asanas are made just to cure deseases. Many deseases can be cured with these asanas like broncheatis, astma, any physical body with suffering. And second series is like Nadi Shodhana, it purifies all the nervous system. Even in Primary series nadi shodhana will happen and in second series little more intense, little more advanced, that’s all. And advanced posture are Sthira Bhaga, to bring more flexibility and strenght in your body. That is why we practice Advanced series. He must have told that many people before doing advanced always try to show up, to show their self, so I thing in that context he said this “For demonstration, for show off, but not really. You should always enjoy your practice, that is very important. You do Primary series, Intermediate or Advanced, unless you are not enjoing your practice it doesn’t make any sense in practicing. It’s boring and no sense in that. As I told you first we should think why we are practicing. We’re practicing to get mind control, to bring control to our mind and body. That is why if you do Advance or any series this doesn’t matter. Unless you’re enjoing the asanas it should be fine.


5. People have their weaknesses. What are the ways to work with them?

Whole practice is done to get rid of all these like I told you kama (lust), krodha (anger), moha (attraction), lobha (greed), madhya (pride), matsarya (jealosy) – these 6 enemies should be removed by practicing yoga. Once you get read of them which each and everyone has the light inside you, the liberation will happen. You get liberated from all these and nothing will affect you. Whole practice is based on that. That’s the main reason why we do the yoga practice.


- Many people may think that these all is theory. But you mean it literally?


Literally you have to practice. This is not just from book, just for saying, it shouldn’t be only in the books, it should be done practically. Then only it’ll be more effective. Any series you do if you don’t try to get rid of these 6 emenies you wouldn’t achieve the goal, the spiritual goal that you have to achieve, that you can’t achieve.

- Is it possible to eliminate them totally?


Completely remove these is always difficult, always minimazing, minimazing day by day, day by day. And you’ll get to that situation where it becomes like a habit. Whenever you are doing, whenever this kind of things bothers you, totally your mind starts rejecting “I shouldn’t do this, because it’s against”. This kind of feeling should come. It come slowly, it doesn’t come at once. By true practice it’ll come. 


6. Can ashtanga completely cure chronic deceases?


It’s possible to cure, but you need to take some precautions and you need proper guidance from your teacher. There’re specific asanas which you should do, specific kriyas you should do, so by doing these you can get rid of all these deseases. Many things except only Primary – diet, suitable kriyas for particular desease. So the teacher will treat you as a patient, will try all these different things, which can help to cure.


7. What’s your opinion on practice and ability to conceive?


It’s mostly individual, not everyone’s body is the same – some are more sensetive, some are more stronger. So while conceiving you have to be very careful, that you should do just gentle practice, because it brings lots of heat in the body while doing asanas. So by doing too many asanas, you’ll bring more heat and it’ll be more difficult to conceive. When you planned like this you should be very careful and try to do a gentle practice.


8. What do you think about women’s dharma?

Women’s dharma is to have a family, to have children, to look after them. Husband’s dharma is to look after the wife and children and do his work.

- And how to combine dharma with practice and spirituality? Because sometimes women do practice very hard and this is bad for their family.

It’s not like that unless you can bring spirituality within you. It’s not that will come from your not being in a family, it doesn’t matter you inside or not inside your family, spirituality should happen within you. When it happens within you, if you married or not it doesn’t matter.


9. You making some innovations and changes in Shala, which you planned with Guruji. Can you tell us about it?

We are making not changes but we want to engage students in few other things. Not only doing asanas, now we have sanskrit class, we make chanting compulsory, so we keep students ocuppied. Instead of just doing practice, going out and just gossiping and wasting time. We tell them to come at 11 o’clock for chanting, so that it will help in their development of spiritual practice.

10. We heard that you are writing a book. Can you tell something.


It’s just 2-days baby in the stomach -_- (Only 2 years past… 0_o)


11. Desikachar writes in his book that Kundalini is not an energe but something that blocks our energy.

And we have to remove that block instead of rising Kundalini.


It’s not right. Kundalini means it’s energy which based below your muladhara chakra. Shankaracharya says: “sanskrit from Yoga Taravali”. When we do kumbhaka pranayama we awake Kundalini and it opens all the granthis – Rudra-g, Vishnu-g, Brahma-g – and travels in Sushumna nadi. So that is why then there will be no outside breathing, everything will be internal breathing. This is what the Shastra says. So it has nothing with blocking or anything. It is energy which needs to travel. It’s sleeping and coiled like a serpent. And by doing pranayama you awake that. Many people don’t have too much knowledge about this. You need to refer many books. Just saying one book it’s not possible, you should have practical experience. Once you had practical experience, you can feel and realize that within you. And it will be easier to understand what is says. So that is very important. And if you don’t have practical experience, you always speculate “It can be like this, it can be like that”. You are always guessing.


12. Which book do you recommend to read about yoga?

There’re many books about yoga, Upanishads about yoga – Katha, Kena, so many Upanishads talk about yoga. And Bhagavad Gita all 18 chapters are about yoga, Patanjali Yoga Sutra is there, and Hatha Yoga Pradipika, Gheranda Samhita, so many books. Most of the people are always saying: “Oh, Yoga Sutra says like this. Oh, HYP says like this.” But there’re many other books, which are ancient, before PYS, before HYP. Once you refer those books also, you’ll have better understanding in yoga. Cause many people always translating Yoga Sutra in a different way, and it’s a very confusing way. Yoga Sutra itself is very confusing many times. Unless you don’t refer other books, other ancient books, other Upanishads, it’s very difficult to understand PYS. There’s many translations, many interpretations, it develops more confusion, that’s all.


13. What’s the best way to practice in the big city? It’s almost impossible to go to bed at 9pm as you do, and to get up at 2 am for practice.

When you are going to bed at 1 o’clock and getting up late, you stop your breakfast, you stop eating. You don’t have time to do yoga, but you have time to eat, you have time to take bath, you have time to do many other things. Yoga also should come like that. It should come like part of your life. So then if it’s a part of your life, part of your routine, you will find time to do it. You can do it any time, not necessery particular time. It’s good if you do it in the morning, it’s more effective if you do in the morning. If you can’t do it, you can do it in the evening also. But you have to do it. If within you it becomes like habit like how you eat food, like you have breakfast. Can you survive without eating breakfast? You’re always running “I’m hungry! I’m hungry!” Like that it should come “Oh, I should do my practice, I didn’t do my practice today. I have to do it”. It should come like that.

Farewell words

Ashtanga yoga means (from one verse): “yoganga anushthana... from YS” This making a very big meaning, that by practicing all the limbs of ashtanga yoga all the impurities in our body and mind will be removed, you’ll become more pured and you’ll become more wiser. So it’s always you should keep in your mind that you should do your practice. Once you practice, your practice will heal your difficulty in life. That is the whole meaning of doing practice. It’s a life support for us. That’s why you shouldn’t stop practicing. Whatever time you have, whatever your body and mind allows you do, how much ever it’s possible you should do it. You shouldn’t stop practice it. If you keep practicing, you can build up your spiritual building very strong, your spiritual foundation within you.



Book Review

Thursday, 27 June 2013


Book(let) Review : Ashtanga yoga Anusthana - R. Sharath Jois

New Rug and Sharath's book(let) arrived
I mentioned in a previous post that I didn't yet have a copy of Sharath's recently released book on the Ashtanga Primary series and was waiting for it to turn up on Amazon UK. Within days I was kindly offered not one but two copies, that was really kind of you both thank you. My copy arrived yesterday along with my new/old rug (thank you Lizzie, it will be well loved and used I'm sure) and I believe the other copy is on it's way to Ireland.

new/old rug in the home shala

I make a point of featuring the rug/home shala because this book review is written from the home practitioner perspective, a nicely done shala going view can be found here

A Book Method in Review: Astanga Yoga Anusthana by R. Sharath Jois. by Peg Mulqueenon

I particularly liked this line

"So to anyone out there looking for a bit of hard core dogma to wave in judgment or in contrast, rattle and rally the rebels—sorry, you’re simply outta luck. Because all I discovered was a very pragmatic and compassionate approach to a practice that is often decried as just the opposite". Peg Mulqueenon

I'm calling my post a book review but actually this is more of a booklet than a book and there really isn't much to review.

Nothing wrong with a booklet of course

Given the slight variations in practice that have sprung up over the years it makes sense to produce a codification of the practice such that anyone coming to the Mysore Shala or indeed the world tours are all on the same page.... for while they're there at least before returning to their own shala and parampara. Many of the variations in practice are a result of the small changes in how the practice was taught over the years by Pattabhi Jois himself and that teachers have continued to teach, to pass on the practice, just as they were taught and in good faith.

And it needs to be small enough to fit in your backpacks for when you do go to Mysore or in your shala bag perhaps, it's a mat book, something you can hide under your mat to surreptitiously check the 'correct' vinyasa (kidding, don't try it) .


However, I'm a little disappointed I have to say. I'd heard there was going to be something along the lines of what we hear about from Sharath's conferences, a kind of Q and A section or the responses at least and rather than reports from the conferences by others, something that Sharath himself had decided to publish. 

That would have been interesting, in fact the handful of paragraphs we get on the Yamas and Niyamas are the most interesting section of the book, more of that would have been nice.

Also, once I'd heard there was a section on Yoga Therapy I was hoping for a few more pages than the two  we get. 

Still, even two pages on Yoga therapy is a bit of a bombshell. It shouldn't be a surprise of course Yoga Therapy has always been a part of  the Ashtanga method, it was there when Krishnamacharya taught Indra Devi in Mysore, Pattabhi Jois mentioned, in an interview ( must find the interview) that he was taught a therapeutic approach by Krishnamacharya who claims that's what he was taught by his own teacher in the Himalayas. Manju Jois mentions in his own interviews that his father Patabhi Jois would treat patients in the shala. Perhaps it's something that's been lost somewhat along the way although the practice, the sequence has it seems always been adjusted to meet the needs of the students in the more experienced Shalas. 

Perhaps including these two pages on Yoga Therapy will open the floodgates somewhat and more attention will be given to the myriad possibilities of adapting the Ashtanga Vinyasa Krama to the requirements of the students. 

Interesting times

The inclusion of the two pages on Yoga Therapy is along with the yam as/niyamas the most interesting aspect of Sharath's book. Otherwise it's just the 'correct' Vinyasa count and a few paragraphs each on aspects of practice, much of which can already be found word for word on the KPJYI website.

This sentence under Breathing I found a little disturbing however

"The inhalation and exhalation should be the same length and maintained throughout the practice. For example, if you inhale for two seconds, the exhale should be two seconds" p21

Two seconds!

Thankfully a couple of lines later we get...

"Long deep breathing activates the digestive fire that burns in the lower abdomen...." p21

Not sure how we balance the two lines from the same paragraph, does a two seconds inhalation suggest  to anyone long deep breathing or am I nitpicking on my favourite bugbear, he did say it was just an example..

Patabhi Jois would talk about ten second inhalations, fifteen seconds even twenty second inhalations (and was saying the same in Interviews even up until the 1990s) and the same for exhalation throughout the asana practice.  OK, maybe it's an ideal, I personally only manage to practice at eight seconds each for inhalation and exhalation, that drops to perhaps as little as five in the deep binds like marichiyasana D and Supta kurmasana, but two seconds, really?

If it's a book on the current Ashtanga methodology you want then you may well be better off spending the extra .71 cents and getting Petri Räisänen's 192 page Ashtanga Yoga, Definitive Primary Series Practice Manual' book. The Vinyasa count is up to date, 'official' and you're getting so much more besides ( see my earlier review) as well as a beautiful, professionally, produced addition to your bookshelf. I'd check the vinyasa count is indeed exactly the same in both books but I loaned Petri's book to Susan (Susananda) on Tuesday.

Personally, if you're only going to buy one Ashtanga book ( yeah right) then I'd say stick with Pattabhi Jois' own Yoga Mala which is a lovely, well produced, book and something I keep finding hidden treasures in to chew over.

Yoga Mala: The Original Teachings of Ashtanga Yoga Master Sri K. Pattabhi Jois [Paperback]

Friday, 28 March 2014


Sharath's revised Ashtanga Primary Series Book 5 second inhalation/ 5 second exhalation


Hannah Moss over at Ashtanga and Angels blog has put up an excellent post comparing the two editions of Sharath's Aṣṭāṅga Yoga Anuṣṭhāna book in a handy pdf. I'm not going to post it here, she's put so much work in to this that it deserves a trip over to her own blog to take a look.

“Aṣṭāṅga Yoga Anuṣṭhāna”: 1st vs. 2nd Edition

The one thing that jumped out for me of course was this


23 Tristhāna: 
1st edition: Breathing if you inhale for two seconds,
the exhale should be for two
seconds

2nd edition: if you inhale for five seconds,
the exhale should be for five
seconds

Five seconds inhale, five seconds exhale, that's much more like it, can live with that, Mysore here I come.... or at least I would if it wasn't for the crowds.

NB: The 'should' above is of course stressing that the inhalation and exhalation should be of equal duration, the 5 seconds is an example only, although it's interesting he changed it from the 2 second example in the first book.

Five second inhalation plus five second exhalation makes for a ten second breath, five of those gives us fifty seconds in the state of an asana. Actually there's that slight pause between the inhalation and exhaltion and the exhalation and inhalation. The slower the breath the longer the natural pause or mini kumbhaka as I like to think of it. At five seconds each I make it a one second pause between each so that's an extra two seconds a breath making it a full minute in the state of an asana.

I compared the breathing on teachers DVD's in a previous post. Their DVD presentations should be their ideal practice right.

Here are some comparisons to put it in perspective, all for when in Janu Sirsasana at astau/eight, the state of the asana ( this is hardly fair though as the time varies slightly in the different postures, especially in the led classes of Manju and his father ( it's guess work in Led), for example Manju left them in the preceding posture for 30 seconds), the demo's are a different case. gives an idea though of the general pace of the practice.

Update: I've added hyperlinks to reviews, click on the names

David Robson - 40 seconds!
David Garrigues - 30 seconds
Richard Freeman - 29 seconds
Manju Jois - 25 seconds
Lino - 24 seconds
Derek Ireland - 20 seconds
John Scott - 20 seconds
Mark Darby - 20 seconds
Kino - 20 seconds
Sri K. Pattabhi Jois - 20 seconds
David Swenson - 19 seconds
Sharath - 13 seconds 

( I've heard a recent recording of Sharaths' Led where it comes in at 25 seconds)

David Robson comes closest to a minute but that's perhaps because he has the 1 second beat of the drum to guide him on his Primary with Drums Video/CD/MP3 - Highly recommended. However, if I remember correctly the drumbeat is set at 4 second inhalation, 4 second exhalation. If you want to explore a slower pace download his mp3 or follow the link (click on his name above) and practice along to my Sury A video on that post with the drum beat in the background. There should be a link to a post where I explore the drum beat with second series.

Bit of a game changer?

Notice how many of the above are around 20 seconds, that actually works out at 2 second inhalation, 2 second exhalation, which is of course what Sharath included in the first edition of his book. That perhaps reflects the pace the practice is generally taken, how it's come down to us, how we tend to practice. What I find most interesting is that Sharath consciously, pointedly, changed it to 5 seconds. We might practice at 2 seconds but perhaps we should be aiming to take it a little slower, even perhaps twice as slowly. We can explore it at least.

I have a great deal of respect for Sharath, for all of the above and in fact for anyone who has maintained this practice for the number of years they have but for me the final authority is the practice, my practice, not Sharath', not his Grandfather or even Krishnamacharya. I'll happily explore how they present it, really spend time with their approach, their instruction but ultimately I'll go with what feels right for me. At one point I tried to slow my Ashtanga right down, ten seconds for inhalation, ten for exhalation, I really worked at that. I thought at the time it reflected 'original practice' or the original intention perhaps, didn't work, eight seconds may work fine in Vinyasa Krama but in Ashtanga six seconds is about as slow as I can comfortably take it and maintain the integrity of the practice as a whole, although I currently I  tend to add in kumbhakas. Once you do find an approach, a pace that works for you however, it seems good practice to stick with it for a significant period before exploring any slightly different approach. Ashtanga seems to be all about routine, it seems to work best when you know exactly where you are and what you are doing. Personal opinion of course. A shorter pre pranayama evening practice is good for exploring.

Sharath is using the conditional of course, IF we inhale for five seconds THEN we exhale for five seconds, he's stressing that the breath should be equal but using a five second example rather than one of  two second sends a message perhaps, slower, fuller breathing encouraged.

Of course breathing rates are always merely a guide, we can breathe at whatever pace we are most comfortable with and that will of course change as our practice develops and as we focus on and explore different aspects of the practice  but we should surely be aiming for a full, steady, stable breath at least at whatever pace we take it and Krishnamacharya does recommend, "slow like the pouring of oil". In interviews Pattabhi Jois talked of 10, 15 even 20 seconds each for inhalation and exhalations. My own preference is around eight in Vinyasa Krama, probably averaging six in my Ashtanga practice (1.5 in navasana). My workaround when practicing with DVDs or in Led is to take three longer breaths or sometimes just two if I'm including kumbhaka.

Take a look at my page at the top of the blog, 'Mysore rooms around the world' to get an idea of the pace others actually practice in their Mysore rooms.
Here'a link to my review of the original.
Book(let) Review : Ashtanga yoga Anusthana - R. Sharath JoiS


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Sharath discussion on Ishvara, Japa Mantra Religion, God at Sunday Conference in MysoreFriday, 15 November 2013
image from http://joisyoga.com
I thought this was an interesting discussion/exchange with Sharath on Ishvara, Japa Mantra Religion, God etc. the whole shebang   at Sunday Conference in Mysore, picking up on questions five and eight here as they seem to go together well.  

I'm particularly interested in this as japa mantra is something Ramaswami encourages at the the end of practice after pratyahara, pranayama and of course your asana ( perhaps a shorter asana practice in the evening with more time for pranayama and  japa. I've also been including manta in my actual asana practice recently, it started with a kind of loving kindness mantra 'May I (she,he,they, Ramaswami, all living beings etc,) be safe, may I be well, may I be peaceful, may I be happy (different line of the mantra on each inhalation and exhalation throughout the practice) now I'm constructing mantra's based on Lamrim meditation, a different, meditation for each day, the asana practice as a kind of carrier for the mantra, it's an interesting approach.

The transcript is from Suzy's Mysore blog

Question 5
With surrendering to Ishvara, who is Ishvara?

Sharath – Ishvara is the existence, the nature, the energy who is making this world work.

Student – but how do we surrender to that energy?

Sharath – in your practice, by following yama and niyama. If you follow that, that means you are surrendering. Humans gave the name god to god. Humans see god as human. Tigers see god as tiger. Birds see god as a big bird, bigger than him. God means some energy, which is running this, the whole show.

How do you feel that? through your yoga practice. You have to apply yama and niyama to get to proper meaning, to understand what yoga is. If you follow that your mind gets very calm. If you follow ahimsa your mind gets very calm, there is no conflict with anyone.

Why everyone talks about spirituality? They need something to stop themselves to do bad things. So they go to a teacher, a master, he will guide you. If teacher says go and do anything, smoke cigarettes, go to party… he is spoiling you. It’s all fake the joy you are getting from outside. You have to get inner joy. When you get there’s nothing like that. Everything looks different. Everything looks joyful for you.

Now you want to see the internet, Facebook, Twitter, what this guy is doing… But instead if you sit for 15 minutes and try to understand how to bring inner joy. Do japa (mantra repetition) for 15 minutes, take one mantra – any mantra you want, chant it at home. Then you will see how this thing will change. Don’t think anything, just do japa.

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Question 8
If a person doesn’t have a religion, how do they go about seeking a mantra?

Sharath – you have to have something. What is your taste? You can’t say I don’t believe in that supreme energy, you have to believe in one.

Student – it’s not so much not believing in one, it’s just not having a preference.

Sharath – you should have one. How old are you?

Student – 24.

Sharath – [laughs] see this is the problem. Later, when you get wiser the things change. When I was practising 23 years back I was just bending my body. But when I got wiser then I realised that yoga is beyond asanas. Many things I had to discover. Maybe in ten years you will know.

Part of svadhyaya (self-study) is getting connected to one god. We have to believe in someone otherwise we won’t exist. Your mother, your father can be your god. Your teacher, your guru can be your god. You can feel that energy through your mother or your guru. Do you believe in this practice, what you’re doing?

Student – yes.

Sharath – so that belief can be god.
Someone asked me long back, in the old shala… my grandmother gave me a ring. I was wearing that ring. I was wearing here [indicates ring finger] so many people thought I was married. So one lady asked me, “are you married?”. I said, “yes”. “So where is your wife?”, I replied, “yoga is my wife” [laughs]. I was so involved in yoga. Your first wife is your practice.

Student – is your wife jealous?

Sharath – no, otherwise I wouldn’t be here.
But sometimes we can see something different in our teacher. Many people believed Guruji as their god. They felt some energy through him. Once I had back pain lifting too many students. My challenge from day one was practice and helping. When you lift students your body becomes stiff. I got this pain in my lower back. And everyday Guruji used to make me catch in back-bending here [indicates mid-thigh]. So I told my grandfather, “I can’t do today”. My grandfather he said, “just do it, just breathe”. He made me catch and after that all the pain was gone. That day it was a totally meditative practice.

That was the energy that he had within him.

That energy only comes from a proper sadhana (spiritual practice). Yogasadhana is not easy, it takes a lot of sacrifice. To master something you have to leave many things. If you are forced to do something it won’t be the same. When you like to do some work it is totally different. When you do something willingly the energy is totally different. And sometimes you need that push from your teacher.
We see many attitudes here also. When a student comes and thinks he knows everything, he wants to prove that. I say I have to learn so many things still. It doesn’t end. The person who knows everything he doesn’t say he knows everything.

You can only experience yoga through your practice. If I eat masala dosa that doesn’t mean you have relished masala dosa. You have to go and eat. Yoga is also like that. You have to do it.

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Sharath's conferences are also being transcribed on Linda Mansion's Me and My Yoga Blog
http://meandmyyoga.wordpress.com/2013/11/17/conference-10-11-2013/
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Sharath, Paramaguru? What is the meaning, significance of the Paramaguru title.
Tuesday, 14 June 2016

I'd actually put this post back into draft however Sharath's new title seems to be gaining traction, in blog posts Eg. "Sharath Jois is the living paramaguru of Ashtanga yoga", the advertising and promotion mentioned in the post below as well as increasing casual reference on the internet by Certified/Authorised teachers and students alike such that it's origin seems worthy of comment. 

I was asked why Sharath is suddenly being referred to as Paramaguru (highest guru/guru of the parampara?) in the advertising for the current US Tour ( my reply become too long for an fb comment thus the post). At first I thought it might just be marketing on behalf of Sonima, the organisers of the tour, that was a depressing thought. However on digging it turned out that no other than Eddie Stern referred to Sharath as Paramaguru on hisBrooklyn Yoga Club site earlier this year.

"Sharath was bestowed the title of Paramaguru, which indicates that he is the current lineage holder, or the Guru of the parampara, that has been passed down from Sri K. Pattabhi Jois". 
Eddie Stern's Brooklyn Yoga Club

 A little more digging and I found last months Namarupa with a special on it's 2015 'Yantra' (Himalayan retreat/tour). It turns out that although this was the first time Sharath visited Uttarkashi and only stayed a few days the elder Sannyasis and Sadhus decided or were asked (was there a donation involved or was bringing 150 tourists to the flood damaged area enough) see http://tinyurl.com/jrwuola) to give him an honorary title, Paramaguru (See extended quotes below from the namarupa article).



Sharath's relationship with his grandfather clearly had a powerful and influential effect on him, leading him to stress the concept of parampara in his teaching. Personally the concept doesn't interest me in the slightest, not in reference to Sharath (who I do happen to respect as a practitioner and teacher, as I do anyone who has practiced as long or significantly longer) or teachers I've spent a little time with like Manju (who jokingly calls out "Never fear guru's here" when he enters the shala at the beginning of a workshop) or Ramaswami or even Patabbhi Jois and Krishnamacharya for that matter. I find the concept of the guru and parampara, as presented, along with that of 'a lineage' or 'tradition' unnecessary, even a hinderance, and along with the growing adoration that seemingly goes with it perhaps the most off-putting aspect of recent Ashtanga. In this Krishnamacharya 'tradition' ( I actually prefer 'approach' or 'method' to tradition) it's enough perhaps to practice daily and for a long time some appropriate asana, a little pranayama but to focus more on working with Patanjali's Yoga Sutras (or another appropriate meditative practice along with ones own cultural yama and niyama ) and not worry too much about what you call it, who taught it or where it came from (I'm, very much aware of the irony here given the nature of this mostly retired blog).

I'm too cynical of origin narratives perhaps, and coming from the UK, of honorary titles. Such titles appear to elevate the holder and of course all those who claim association, in this case Sharath's students and those Authorised and/or Certified by the 'Paramaguru'. Surely, playing the game and not calling yourself a guru yet (even tacitly) accepting an honorary title like Paramaguru (The Guru of a parampara or specific tradition ) and allowing it to be used extensively in promotion suggests a worrying contradiction. Apart from anything, although he would probably throw something at me if I addressed him as guru, it's surely insulting to Pattabhi's Jois' still living and actively teaching son Manju Jois who has been passing along this approach to practice (as has his sister and Sharath's mother Saraswati) for over fifty years along with several other senior teachers and early students of Pattabhi Jois).

Perhaps it's best we just agree to disagree on this.

However, if parampara IS your thing, check out Lu's Ashtanga Parampara platform

http://www.ashtangaparampara.org/

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Below, the relevant quotes from Namarupa on how a small group of 'disciples' decided to take it upon themselves to request a title to be bestowed upon Sharath which then became used in the advertising and promotion for this years world tour and seems to have caught on in recent general reference to Sharath in certain parts of the community

"But sometimes the disciples of such a teacher wish to call him or her by a special name, and not simply by their given name. It is for this reason that we sought out the counsel of the elder Sannyasis and Sadhus of Uttarkashi, who also agreed that it was time for Sharathji and Saraswathiji to be formally bestowed with titles, and who, after conferring among themselves, decided upon an honorific title for each of them..." Namarupa

Isn't it enough to respect your teacher without elevating them to such heady heights, to approach our practice with sincerity and commitment without resorting to terminology like devotion and dedication?

Read a full account in the new edition of Namarupa. Below are a few quotes from the relevant section. My favourite bit is Saraswati saying "With all credit going to Pattabhi Jois", a bit like the friend or slave who would stand in the chariot holding a laurel wreath above the head of a Roman general receiving a Triumph for a great victory whispering "Respice post te. Hominem te memento", remember thou art mortal (Look after you [to the time after your death] and remember you're [only] a man), this was to protect from hubris.

UPDATE: From a friend who was at Uttarkashi.

"Hi , may I offer my perspective on the "paramaguru" title bestowed on Sharath last Fall? It may offer some clarity... 
    
 I was actually in attendance at the ashram in Uttarkashi when Sharath and Saraswati were given these honorifics, along with some lovely pashmina wool shawls bought in the local market, too, to commemorate the occasion. It was after a week of experiencing Led Primary each morning with both of them. I admittedly had some trepidation about being in a big group of global Ashtanga folks as I have not been to Mysore and didn't know what to expect, but was pleasantly surprised: it was a great week, there was lots of laughter and love in the room, and a real feeling of global community, too. Sharath was funny, wise, kind, teasing, all week. Saraswati herself was gracious, kind, wise - and those who were there with me noted how Sharath was a dutiful, respectful son, attending to her needs/wishes during the week, too. But, most importantly, the people of Uttarkashi, who really suffered in 2013 because of horrific floods that devastated their town and the entire region of Uttarakhand (whereby, most of their vital pilgrim tourism trade was lost) were extremely grateful for our group of 150 people bringing a needed boost to the local economy. In fact, Namarupa was the first big group, and first Western group, mind you - to return to the region since the floods.
     
My sense of the honorifics given to both Sharath and Saraswati was that they were a way of saying thanks and capping the week off. Sharath in particular seemed bashful about the honor. It's my belief that Eddie Stern, who was also in attendance, who honors Sharath as his teacher now, and who is responsible for the marketing of his world tour, has taken this opportunity to "run with" the title - it's my sense that it does not arise from any desire of Sharath to be referred to that way. My experience of him during that week was one of humility, kindness and simplicity. Just my take"!


http://namarupa.org/

"The Guru tradition is one of the oldest foundations of the Hindu tradition. The Upanishads and Epics are filled with instructions, dialogues, and teachings of the great Gurus, Sages and Rishis. These teachings have been passed down to us over thousands of years. Holy places such as Banaras, Haridwar, Rishikesh, Uttarkashi, and beyond, have been the dwelling places of these revered teachers where in yoga's long past they performed tapas. To be able to perform sadhana in the same places where they did is considered to be a blessing. It is widely known that a Guru never calls himself a Guru—it is a title bestowed by his or her disciples. The Guru has no desire for fame, or for being revered; a Guru only has the desire to perform service to humanity, to teach the knowledge that is related to liberation, to be devoted to the removal of suffering, and nothing else. But sometimes the disciples of such a teacher wish to call him or her by a special name, and not simply by their given name. It is for this reason that we sought out the counsel of the elder Sannyasis and Sadhus of Uttarkashi, who also agreed that it was time for Sharathji and Saraswathiji to be formally bestowed with titles, and who, after conferring among themselves, decided upon an honorific title for each of them...

"After learning for a very long period of time—because it takes good time to learn from the teacher properly —then we are supposed to practice on our own, mananam. For mananam, the disciple who really wants to practice on his own now comes from Kasi to Haridwar and Rishikesh and stays there. He does a lot of contemplation on whatever he's been learning. He starts studying by himself and he becomes master over the teaching. Once he becomes master, he travels to Himalayas, to Uttarkashi. He stays here; he rests in his knowledge, nidhidhyasana. This is the place of nidhidhyasana. Whatever he has learnt in Banaras (Kashi), and contemplated in Rishikesh and Haridwar, when he comes here, he lives it, he becomes a yogi. Until then, he's a student. If you come here and stay amongst the sadhus, then you take upadhi of a real yogi...

"[To Sharath] Now we consider you as one of us. That you now can become a leader, and lead us. Because you have properly understood whatever has been taught by parampara. We are very happy to have Sharath here, who has taken part in the parampara itself. From today onwards, we call this upadhi, Amma, as Guru Ma. And Sharathji as Paramaguru R. Sharath Jois...

Now, from today onwards, there’s a bigger responsibility of leading the world onwards on the path of yoga...

RSJ: Thank you. 

Saraswathi Jois: With all credit going to Pattabhi Jois.

RSJ: [to students]: You have wealth, you have book knowledge. You have everything. If you don't put your mind towards adhyatama, your heart towards spirituality, towards jnana, it's no use having this life, having everything. Guru is very important. Guru is the one who teaches, who will take us towards that jnana which is the true knowledge. He removes all the obstacles in us and he removes all the pollution in us. He gives us the true knowledge, jnana. It has touched my heart deeply, all the love and affection everyone has given. Thank you so much. See you again. 


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Earlier in the article devoted to Sharath's conference speeches he has this to say about the practice, parampara and the guru

"This practice that we are doing is an age-old practice; it has come from parampara, from the guru -shishya parampara—from Guru to his shishyas, Guru to his students. When a student becomes a master, then he becomes a Guru and passes his knowledge on to his students. Like this, the yoga knowledge has been passed on for generations. As we know it in this form of Ashtanga Yoga, it has come from maybe 300 years ago—I don’t know for how many generations this knowledge has been passed on".


And below Sharath talking about the idea of Guru with Sonia Jones of Sonima, the organisers of Sharath's current US tour.




The question of parampara came up at his years Ashtanga yoga Confluence, here's a recap from Tim Miller's blog.

Tuesday March 8th—The Ashtanga Yoga Confluence and the Parampara
This past Sunday during the final panel discussion of the 2016 Ashtanga Yoga Confluence, a question was asked about the concept of Parampara and how it is interpreted in the Ashtanga tradition. David Swenson reminded all of us that Guruji’s own eldest son, Manju, was present in the room, and if anyone could be considered the true lineage holder it would be him. Everyone in the room stood up and gave Manju an ovation. It was a very moving moment. I looked over at Dena and saw her eyes welling up with tears just like mine. Manju was very gracious and said that as far as he was concerned, all of us sharing the stage with him and countless other teachers throughout the world are all part of the Parampara.




Update
New video uploaded today on Sharath's Youtube channel, sharath jois rangaswamy, titledParamaguru, Sharath Jois Yoga Class in New York.



UPADATE: This comment came in on a share of my post in FB, I hope the person who posted it wont mind me quoting it in full here

"All I can say is I just spent the last 6 days in one of his two daily guided primary series - he did 2 per day in Palo Alto, LA, NYC and Miami and he was super helpful, walking around adjusting over 200+ sweaty practitioner, making jokes and just generally being a super nice guy. So say what you will, but in my mind he knows the practice as well or better than any other living being, is an extremely hard working and dedicated guy, and a genuine nice guy. Not sure what else one can ask for. As he said to us after our practice today - "Keep Practicing!".

This is pretty much the impression I also have of Sharath, the same generous, good humoured work ethic I had of his grandfather and that I have of Manju and Saraswati too for that matter, it says a great deal, I would argue it says plenty and without needing to resort to names, terms and concepts like tradition, lineage, parampara, guru, guruji or paramparaguru

This post isn't intended as a critique of Sharath but rather of our pedestal building

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Note: Namarupa is a beautifully produced magazine and worth getting, this edition follows the 2015 Ynamarupa Yatra (tour/pilgrimage). The Sharath section mostly consists of an intro, two or three conferences which are basically the same as those that have come out of Mysore over the last few years (although here the three conferences follow on from eachother) and a couple of extra paragraphs to the above section on Parampara plus a few glossy photos of Sharath as well as a couple from inside KPJAYI.

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Ashtanga from twenty something to forty something and beyond - Philippa Asher ASLO Advanced series Maha bhandasana

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Last week I posted a review of Pushpam Yoga magazine that included an article by Phillipa Asher. on ageing/maturing in the practice.

Philippa's article, the second article in the magazine on ageing or maturing in the practice was an abridgement of a longer article on Phillipa's website, she kindly gave me permission to quote some more from the article, I loved these quotes which is why they are so long. Ideally it would be better to click on the title and follow the link to get the quotes in context.

The photos's are screenshots from Philippa's Advanced B practice that I shared last week, i discuss maha bhandasana and the advanced seated asana in the second half of the post. i also have an evolution of Ashtanga Advanced series in the works.


Musings About an Ashtanga Asana Practice from Twenty-something to Forty-something
by Philippa Asher

Yogi dandasana

"I discovered the Ashtanga practice in my late twenties.  It was incredible.  It still is.  For me, the asana limb was a healthy replacement for dance.  I trained as a ballet dancer and taught for the education departments of a couple of British ballet companies, after completing my post graduate degree in teaching adults, at university.

What I loved most about the asana system, was that in the 1990s, it didn’t seem to be at all competitive and you could be any shape, size or age to enjoy it.  You just had to make an effort to show up to class (which for a twenty-something in London back then, wasn’t easy).  It was the euphoria that I felt when taking rest, that was so amazing.  I started off going to led-classes.  I decided that if I could ever master Supta Kurmasana, I would stop.  It seemed like such an unachievable goal, but gave my mind something to aspire to.  It wasn’t long before I got the bug and one class a week, turned into two and then ‘guided self-practice’.  I was was fairly supple from having been a dancer, but lacked adequate shoulder and arm strength.  I worked hard to correct the imbalance in my body and my mind discovered a whole new level of determination and drive".

yoni dandasana

"Learning asanas on a feminine body, is probably different to learning them on a masculine one.  The quintessentially Indian male frame with its broad shoulders, long back and narrow hips, is perfect for the Ashtanga asana practice.  I have narrow shoulders, substantial hips, long limbs and a small upper back.  This is great for leg behind the head work, but not so beneficial for hand balancing (where shorter limbs, wide shoulders and a long trunk, are helpful).  In order to build strength, I have had to practise, practise, practise.

I enjoyed many years of feeling invincible after my tendon grafts, but ‘overdoing it’ eventually caught up with me.  Osteoarthritis is not uncommon for athletic women, when they reach their mid-forties.  Worst affected are my wrists, from excessive weight-bearing; neck, from placing my feet on the floor in Ganda Bherundasana and big toe joints, from years of landing heavily in Chaturanga, on unsprung floors.  I now work more intelligently with the practice.  Swift Suryanamaskaras and vinyasas between sides and postures, compound my joint pain.  Elongated breaths and steadiness of mind and body, are key to my staying healthy.  Regular exercise is good for my osteoarthritis, but I have to be smart when assessing which asanas have become too extreme.  Ahimsa (non-harming), is the first yama of the Ashtanga practice after all".

Somakonasana
"Growing older makes the asana practice even more interesting.  On the one hand you become easy going and experienced, yet on the other you have to strive twice as hard, because everything requires more effort.  For me, there’s the added challenge of working with osteoarthritis.  I now have a thick mat, which acts as a shock absorber and I’m learning to be more mindful and gentle in my practice.  I don’t put my feet on the floor in Ganda Bherundasana anymore.  I could, but I choose not too.  My ego still entices me to push to the limit, but wisdom now says ‘go to the point where you are steady and calm, you want your body to last a lifetime’.

Mahabhandasana

"I practise Ashtanga asana, because it makes me happy (as do the other limbs).  The ‘series’ doesn’t matter.  Ultimately it’s quality of intention, rather than quantity of poses that count. The asana practice is simply to lead us towards the higher aspects of yoga philosophy, so that we can access our true Self and be purified from the afflictions of our human condition.  We’re aiming to radiate joy, modesty, generosity, honesty, wisdom, humility, contentment, peace and kindness – to be free from the clutches of material and emotional life.  For some of us, traveling through several asana series and back again, might be requisite for our spiritual journey.  Guruji shared however, that others might attain samadhi, by simply practising half Primary Series".

~ abridged version appeared in Pushpam magazine, Summer 2016

Philippa's website http://ashtangaphilippa.com/

The above photos are screenshots taken from Philippa's Advanced B video that i shared last week. The mahabhandasan discussed below comes up at 23:11


I have a friend who is always talking about Philippa's workshops, here's a look inside her room.


The above video is from Philppa's homestay/retreat centre in the Western Ghats, India

LINK to website

Mahabhandasana


Unfortunately I can't find any instructions from Krishnamacharya for maha bhandasana in either part of Yoga Makaranda, it does also seem to be referred to as mula bhandasana however and we find that listed in Krishnamacharya's table of asana from Yogasanagalu 1941



Yogasanagalu translation

In the table of asana Mula Bhandasana is listed as having 14 vinyasas, the state of the asana being nomber 8, Ubhaya kumbhaka is indicated.


So 14 vinyasas to and from samasthithi, vinyasa 8 being the state of the asana, ubhaya kumbhaka meaning that kumbhaka Holding the breath in or out) can be taken after either or both the inhalation and exhalation.

NOTE: 
The Ashtanga vinyasa count isn't rocket science, we can invent or reinvent (there are supposed to be 84 thousand or million asana remember) our own asana and counting the inhalations and exhalations to and from the state of the asana will give us the vinyasa count and the state of the asana.

NOTE 2 : CAUTION: 
This is an ADVANCED posture, Krishnamacharya listed it in the PROFICIENT group, therefore you should have a good degree of proficiency in postures that perhaps lead to this before you even consider attempting it. Janu sirsasana for example you want to be comfortable in Janu Sirsasana C as in able to stay not just for Sharath's speedy count but for five to ten long slow breaths, also proficiency in Badha Konasana certainly and Viranchyasana B for that matter. It may well be that you are able to get yourself into some semblance of the posture but you could still be buggering up your knees. I practiced twice a day for three years before I attempted it and that was probably a couple of years too soon. perhaps none of us have any business exploring postures like these , however long we practice, it may well be that our knees and hips weren't designed for them

Krishnamacharya maha bhandasana
Another of Philippa Asher's  articles appears in Ashtanga yoga magazine on the history of Ashtanga, she spends a good part of the article discussing Krishnamacharya and even mentions Krishnamacharya's 1941 Yogasanagalu (translated at the top of the blog).



While looking for a photo to slip in here I came across Philippa's maha bhandasana




which reminded me of Krishnamachrya's and the old Proto Siva seal from Harupa.


There is a short treatment on seal here



Here's Pattabhi Jois assisting Graeme into maha bhandasana




Krishnamacharya getting into maha bhandasana in the 1938 video below
(3 minutes in).




I explored maha bhandasana myself for a while back when I was dabbling in Advanced B, it didn't get much better than this (below), the ankles turned well enough but my knees are nowhere near as far apart as Krishnamacharya's nor am I sitting as low, an interesting posture though and it was designed no doubt for exploring kumbhakas. Around the time I started exploring Advanced B I went to study with Ramaswami and lost some of the asana Madness. I tend to be a bit dismissive of Advanced postures these day, mainly because they seem to be used for marketing and promotion along with a short comment or meme perhaps to try to justify the posture in the attractive location... as 'inspiration', it's a little disappointing, usually the postures chosen are of the arm balancing variety. However, it's the more advanced seated postures that I find most interesting (see the screenshots from Philippa's video above). I'd rather get a sense of the stillness of a maha bhandasana, a yoga dandasana or yoni dandasana in a quiet room ( see THIS post) than circus tricks in a rain forrest or central Tokyo. That said the breath in Jessica Walden's arm balances takes mine away (see THIS post) .




While googling maha bhandasana I came across a photo of Philippa in a photo she labels maha bhandasana prep, I love this picture, with 84 million asana, surely this must be one of them and have it's own name, it has poise and balance and makes me want to explore it myself, inhabit it a while and see what it has to offer the breath.



May 2016 Newsletter from Srivatsa Ramaswami—100 Hours

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100 Hours

Some ten years ago when I started teaching at LMU, it was a 60 hr complete Vinyasakrama program. My book “The Complete Book of Vinyasa Yoga” was about to be published. Soon thereafter it was suggested that I could teach a 200 hr program. The 200 hr was what Yoga Alliance required for a Teacher Training Program. Even though I had no compulsion to register with Yoga Alliance it was suggested that many students who would take the program would be able to register with Yoga Alliance to enable them take a teaching career in Yoga. Soon I got enrolled as a E-RYT 500 Teacher and offered a 200 hour Teacher Training Program in Vinyasakrama Yoga. I wanted to include as many of the varied yoga related subjects that Sri Krishnamacharya taught me.

So the program was designed as complete 200 hr contact hour program to be able to cover a wide variety of yoga related subjects of Sri Krishnamacharya. I retained the 60 hour Vintasakrama asana vinyasa program. It consisted of 10 major sequences, three standing, four seated, two floor level and one inversion. The sequences were based of Sri Krishnamacharya's teachings. It has about 125 asana subroutines with a number of Vinyasas (more than 700).

One of the practices Sri Krishnamacharya taught almost from start was Pranayama, both amantraka and samantraka (with mantra). He would require me to do pranayama after asana practice without fail. Pranayama is the essence of Hatayoga. Hatayoga means pranayama, as ha is . prana, ta is apana and yoga here is union The union of prana and apana which is supposed to be achieved by pranayama. Patanjali also includes pranayama as an important anga of Raja yoga as pranayama is said to remove tamas and makes the yogabhyasi fit for the first step of meditation which is dharana. Of the 200 hrs 20 hrs was allotted to study and practice a variety of Pranayamas. What is equally important the participants were actually encouraged to try every pranayama and also encouraged to develop the habit of practising pranayama as a part of the daily yoga practice, just like asana practice. Most were able to do 80 pranayamas in one sitting taking about 40 to 45 minutes per sitting. Many participants would rate pranayama as one of the engaging practices which they had earlier missed in their yoga practice.

There is a 10 hour component of “Yoga for Internal Organs” . Yoga has a few very unique procedures which have very positive effects on the human system. Heart and the circulatory system, lungs and the respiratory system, stomach and the digestive system, bladder/kidneys and the urinary system, uterus and the reproductive system, the intestines and the colon, the brain, the spinal cord all can be accessed and stimulated by several yoga procedures like mudras, pranayama, inversions, asana vinyasas and meditation. In this course detailed discussions about how these procedures directly affect and effect the proper functioning of these organs also known as kosas.

Krsihnamacharya taught chanting of very many chapters of Yajurveda. He gave considerable importance to Mantra, mantra dhyana, mantra japa, mantra parayana and other mantra prayoga. The course included a 20 hour segment on mantras and meditation. In this the participants were taught a few chants like Patanjali prayer, atma suddhi mantras, pranayama mantras and others. They were also encouraged to practice meditation as enunciated by Patanjali in the Yoga Sutras. Almost all the participants practiced to dharana as the first step of meditation

Sri Krishnamacharya despite many odds, wrote a few books. I thought that it may be good to introduce Krishnamacharya's works directly by readings of a couple of his works, Yoga Rahasya and Yoga Makaranda. In this 20 hour program reading of these books were done and I added explanations as per my studies with my Guru.

Sri Krishnamacharya taught several texts. Yoga Sutras of Patanjali. Samkhya Karika of Iswarakrishna, Tarka Samgraha, the Bhagavat Gita, several upanishads as Taittiriya, Mandukya, Mundaka, Prasana, Chandogya, Brihadaranyaka, Kena, Kata,Yoga Yagnyavalkya, Hatayogapradipika, Siva Samhita, Gherunda Samhita, Suta Samhita and a host of others. He gave considerable importance to textual studies. So in this program I included a 20 hour study of Yoga Sutras--word by word and sutra by sutra .Yoga is a great adhyatma vidya or study of the self. While hata yoga deals with the physical and physiological aspects of an individual, YS deals thoroughly with the mental (of citta) and spiritual (adhyatma) aspects of the individual. Yoga sutra study is a necessary part of complete yoga study. The program also included an additional 5 hours of yoga sutra chanting

I taught this program for a number of years at Loyola Marymount University in Los Angeles. Last year I decided to stop teaching this 200 hour program because I found it increasingly difficult to stay away from home for such a long time. I found many of the would be participants many of them working Yoga Teachers had the same difficulty of being away from work for such a long time. The program was designed to have 200 hours (It could have been 150 or 250) as it would qualify for registration with Yoga Alliance. I was told that many participants who would undergo the program may benefit with a registration with Yoga Alliance. In all about 150 people completed the program but I found a very small percentage of the program participants really applied for Yoga Alliance registration. I am not very sure about why this happened . One reason could be that most people who attended the program were already Yoga Teachers having completed their TT course in some other yoga school and had already a teaching registration with YA. They had come to study the Yoga system of Krishnamachary the way I was teaching. I also found that except LMU other yoga institutions found it difficult to organize and run a program for 5 weeks and then most have their own TT programs.

So I decided to offer a shorter program for 2 weeks,but fairly comprehensive. I called it 100 Hr Advanced TT program in Vinyasakrama Yoga. The program had a 60 hour Vinyasakrama asana course The Advanced epithet is to indicate that it may not be suitable for absolute beginners. It has 20 hours of pranayama, yoga for internal organs and introduction to meditation. I was able to offer this program since October 2015, and three programs have been completed. One was at Saraswathi Vasudevan's Yoga Vahini in Chennai India. The second one was at Mini Shastri's Om Yoga in New Delhi in India during January this year and I am just completing the third program at my friend Ryan Leier's One Yoga in Saskatoon Canada.
Here is the  picture with the participants taken during the One Yoga Saskatoon program




All the three programs went well and in all about 100 people have completed the program so far. The program at One Yoga in Canada will be over on My 1, 2016. I am also scheduled to do the same 100 hour program at Loyola Marymount University, Los Angeles in July/August 2016 and at Yoga Dhara in Madrid, Spain in September/October 2016 Here are the links
https://registration.xenegrade.com/lmuextension/courseDisplay.cfm?schID=3872
http://www.dharayoga.es/


I am also scheduled to teach a 5 day program (15 hours Core Vinyasas and 15 hours of Yoga Sutra) ar Sara Doyle's Blue Point Yoga Center in Durham North Carolina in May 2016 Here is the link
http://bluepointyoga.com/workshops

June 2016 Newsletter from Srivatsa Ramaswami--Dream (स्वप्न svapna)

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I returned from Saskatoon in Canada on May 3, 2016after teaching  a fortnight long 100 hr TT program in Vinyasakrama Yoga . The stay was very pleasant and the participation really great. Thank you Ryan, Caitlin and everyone who participated in the program.

I have taught this 100 hour program in three places now, one in Chennai, one in New Delhi and this one at One Yoga in Canada. I am scheduled to do the same program in Los Angeles at LMU in July/August, where the registration is still sluggish and then in Madrid Spain at Dhara Yoga where there is a much much better response. So far about 100 yogis have completed this 100 hour program. There are a few shorter programs-- one at Yogashala in Connecticut in July (Yoga Sutras) two programs in Germany and one in Chicago. For details please visit my website
www.vinyasakrama.com/Events

I may probably do the 100 hr program again @ Yoga Vahini in Chennai, India in Dec 2016 and perhaps @ Yoga Institute, Sydney Australia in April 2017

Dream (स्वप्न svapna)

Physiologists and psychologists have been studying why and how of dreams for a long time and have produced impressive amount of information about dreams. Some study the electro-chemical changes and patterns that take place in the brain while others try to find out if there is a connection between the dream manifestation and the underlying sub conscious cause for such dreams. Why do some people seem to have pleasant and happy dreams while others dread going to sleep because of the recurrent nightmares? Why does a pauper has a dream of plenty while a billionaire nightmares that he is penniless. Why does the professor of physics, a Nobel Laureate has a bad dream of flunking his high school physics test? Why someone with a huge walk- in closet full of fancy expensive clothes dreams of cringing unclad  in the open?

Vedic philosophers also have studied dreams with a view to understand-get some clues about-  how we experience the  world around us when awake. It is common knowledge that the dreams take place inside the head inside the brain. Sometime while  one is sleeping the brain picks up some memories and creates a dream world out of it. The common understanding is that the dreamer experiences the dream within the brain. However the dream is not merely neurons floating around and the brain cells undergoing chemical changes. The dream is seen in space, three dimensional space. The old philosophers were not satisfied with the commonly held bland belief that the dream is experienced by the dreamer in the head. It is not a complete narration of what is happening. One has to explain how the dream is visualized, seen in three dimensions. The dream world occupies vast space much more than what the head could accommodate. The brain not only picks up some data from the memory, creates a dream space, creates dream objects and creates dream creatures, a la the world we see in our waking state, it also writes the script and produces a video called dream--sometimes pleasant ones and often times horror movies. Additionally the brain identifies one of the creatures it has created as the dreamer self to complete the dream operation. The brain is a creator, it plays god. It is capable of creating space, objects and creatures and a dream self to boot and make one believe that it is all true and really happening.

The Yogis and vedantins say that all that we experience  in dream takes place not in physical space which is obvious but in mental or mind's space called citta akasa. In this virtual space the brain projects the dream and it is experienced. Who experiences that? It is identical to waking experience of the physical world. There is space, there are objects, there are creatures, there are experiences and the individual dream self who acts just like the waking state physical self. It, the dream self, appears to have a body, limbs and senses and a brain too. Who is the experiencer here? Is it the dream self or the fellow who is fast asleep? Neither of them. While having a dream, according to physiologists there is partial paralysis of several motor functions and one becomes completely oblivious to one's own  physical self and only the prana  keeps vital functions like heart beat, respiration digestion etc going. There is no awareness of the physical self but there is awareness of the dream world and the dream self. The brain shuts off  its awareness of the dreamer and identifies with the dream self it has created. The  voluntary movements are inhibited during periods of the dream process. All brain signals to the voluntary muscles are stopped. In both the cases-waking and dreaming-, the common denominator is that awareness, that unwavering awareness of both the waking state world during waking state and the dream world and dream self during the dream state. That unvarying awareness is the experiencer  that the yogis and vedantins call as the real self as distinct from the physical self and the dream self. They call it drashta (seer), bhokta (experiencer) purusha (the indewelling principle), jnaH (the knower) etc.

The other or more significant state is the waking state, and how does one get the waking state experience? Of course there may be some mystery about how dreams are visualized but what is there to discuss about the normal waking state experience?   I have written about it in a few articles earlier but it may be of interest to consider along with the dream state. It is common belief that we see the outside world with our eyes. Likewise we hear sounds of the outside world with the ears, then taste with our tongue and so on. But the scientists say that the eyes do not see nor do the ears hear. They are like gate keepers which have the capacity to let in only the appropriate impulses and not other impulses. The eyes let light particles whereas the ears let in sound waves. According to them when light falls on an object the object absorbs some light and  reflects the light at different angles; the reflected light (light particles as rays) reach the eye which lets them to the retina by focusing the incoming light on to it. Then the retina converts the signals into electrical impulses which are transmitted through optic nerves to the sight center at the back of the brain where it is processed. Simultaneously impulses through the other senses also reach their respective centers in the brain. Then they are coordinated  analyzed, compared and finally a picture of the object is created in the brain with emotions, recognition, understanding added to it. Additionally—it is very, very important to note-- the brain constantly gets impulses within the body and collates them and creates an impression of the physical self in the brain. So the brain has the impression of the physical self and also the impression of the object from the outside world one sees and there is a composite picture of both the outside world and the subject, exactly as we feel when we see an object, simultaneously being aware of our physical selves..

  While a bit clinical, a scientist Antonio Demasio’s definition serves us well: A dynamic collection of integrated neural processes, centered on the representation of the living body, that finds expression in a dynamic collection of mental processes. That is, this thing we call the ‘self’ (the physical self) is the result of our neurochemistry interacting with our physical body and the outside world, resulting in not only what but how we think.

  So what we call the ‘self., 'the physical me' is a re-construction of our brain and the yogis and samkhyas call it 'asmita". First, think about what the term ‘self’ implies: understanding a separation between what you are, both physically and mentally/emotionally, and whatever is outside of you, or non-self. This total experience the yogis call as the cittavritti.  Now this composite picture is in the form of neurons flinging all over the brain. But we see the object in three full dimensions and it cannot take place in the limited brain space. Just as we saw with respect to dream state here also the brain will have to project the impression in three dimensional space. Yogis say that it is done in virtual space the mental space (citta akasa) like the dream space. So both the dream experience and waking state experience take place in similar virtual mental space in the brain. We may say that what we experience takes place within the brain and like the dream objects the brain projects what we experience in the waking state in a virtual space within the confines of the brain. Then who and from where we experience it, we cannot get into the brain and experience what is happening within the virtual space of the brain. The brain projects the whole experience. Since it also projects the physical image of the subject which itself is part of the cittavritti, it cannot be the observer too. The observer is the awareness which is unvarying. Further the brain is just matter made up of proteins and lipids or fat cells like the cells of the other parts of the body and do not have consciousness. While scientists have been able to identify the sense centers and understand the functioning of the brain, they do not appear to have located any awareness or consciousness in the brain. Even so the scientists hold that the brain processes the information, modifies it and also sees it. But the brain is a lump of protein and fat cells. It is a piece of organic matter. There is no capacity in it to observe its own  created images, or to create consciousness. Inert matter cannot create consciousness

 The awareness or the self  experiences  the physical self which itself  is seeing or appears to see the external object at once. Thus  we can not know and explain how the physical self sees the external object. When you start analyzing how we see the external objects we end up understanding that one (the awareness or purusha) is aware of one's cittavritti consisting of both the physical world and physical self. Let us take the example of you and I sitting and talking to each other. Let us take a snap shot of what I experience at this moment. What do I experience? I experience “I am talking to you”. So the totality of the experience consists of both you, the object and me the subject. And the experiencer is the unvarying awareness which the old vedic philosophers call as the real self. It is not some speculative soul which has to be searched. It is immediate.  And it could also be seen that there is no plausible explanation about how I (the physical self) see the objects outside, like you even as it is the first question the discussion started with.

So in the dream, the brain picks some information from memory and converts them into a dream that can be witnessed in the virtual mental space. Likewise the brain receives information through the senses from the outside world and also inputs from one's own body and creates a composite image in the mental space within the brain, Both are witnessed by the same consciousness and that consciousness the yogis vedantins and some religions call as the self or soul. Puruha/soul/self is not just a concept but the real witness of all what we experience all the time, the one that is aware of me writing this article. It is the real awareness of what we consider as the subject and the object in one mental frame. We start with the ordinary question about the relationship between the subject and the object and end up with Patanjali's purusha as the subject and cittavritti as the object. This analysis helps the yogi to focus on the subject which is pure non changing awareness on one hand and the succession of cittavrittis, the objects on the other. Here Patanjali advises the yogi to focus on the cittavrittis which according to him are predominantly painful for most people most of the time (parinama taapa...) His prescription is to reduce and completely stop all cittavritti so that  one remains for the rest of the life in absolute peace

There are some philosophers who while agreeing with the above line of logic, raise a significant objection. The brain is just organic matter with the ability to receive, collate,analyze, modify, add emotions and then project a composite cittavritti of both the objects and the physical self. But the brain is part of the physical self , and how can it project the physical self which contains the brain. It would amount to an anomalous situation, where the brain projects itself.

The view of Samkhyas, yogis, scientists and the common perception  is that the world is real,, made up of infinite space, many trillions of tons of matter and trillions of BTU of energy. There are a few ancient philosophies and faiths that address this objection raised above. One line is that since what anyone experiences is only cittavrittis it is not possible to assume that the waking state cittavrittis are caused necessarily by actual objects. There is no way one can ascertain if the cittavrittis created during waking state are actually caused by objects and if they are similar to dream vrittis. This indetermination is known as anirvacaneya. There are a few others who aver that there is no substance to the forms that we see outside. One popular far eastern religion/philosophy would say that the world is an illusion and the division of the  thought or cittavritti into the subject and object is unreal and is the cause of suffering. It would advise working towards eradication of the subject object barrier by meditation and view one continuum of cittvritti—a continuum of what is inside and what is outside.

Some religions imply that the creation is a grand illusion. One well known religion would say God created individual souls( the ones that experiences) and continuously creates the universe—like a succession of impulses. He also through scripture advises the individual souls not to be attracted by His creation but turn towards Him. In the puranas, even though one gets the impression that the creation is real, there are instances where it is indicated that the world is not made of brick and mortar. In the Bhagavat Gita the Lord says that He created the universe with the power of His Maya, and Maya is  the power of creating an illusion. According to the advaitins, the universe is an illusion that appears to be created within the one and only universal consciousness or awareness called Brahman which is identical with oneSelf, and the universe appears to exist without.

Even science agrees that what we deal with is taking place of the mind. Yoga says that what we deal with is the projection of the mind observed by the individual consciousness or purusha. Vedanta would say that there is only one consciousness the Brahman and the entire creation is an illusion just like the dream projected within the absolute consciousness.  If one can completely understand it by regular contemplation one will be less and less disturbed by the tumultuous happenings of the outside world. They would encourage to meditate upon the Self the Brahman because engaging with the outside world through the senses creates not only considerable unending pain as Patanjali would say  but also because the the whole experience is an illusion like dream. Once we wake up after a dream in the night we dismiss the dream experience as frivolous . So would the yogi/vedantin dismiss the waking experience as an illusion without substance.. It is because he knows that both waking and dream experiences are on par,-- both are essentially painful on one hand and are also  just illusions on the other. Just as one dismisses the dream experience as 'just a dream' the yogi/vedantin dismisses the waking worldy experiences as “Just a painful Illusion. '“Why perpetuate the painful nightmares, lifetime after lifetime?” I should tell myself.

The Universe  is within Brahman but appears outside of it like the dream that takes place within but  appears to be without and like the city (space and objects) which is within a mirror but appears to be without. On waking up one realizes that all the dream which appeared to take place outside is actually within one's own person. That is the power of Maya or the power to project  an illusion but not actual substantive creation. The above analogies are from a beautiful verse of Sankara in his Dakshinamurti stotram

विश्वं दर्पणदृश्यमाननगरीतुल्यं निजान्तर्गतं
पश्यन्नात्मनि मायया बहिरिवोद्भूतं यथा निद्रया ।
यः साक्षात्कुरुते प्रबोधसमये स्वात्मानमेवाद्वयं
तस्मै श्रीगुरुमूर्तये नम इदं श्रीदक्षिणामूर्तये ॥१॥
Vishvam Darpanna-Drshyamaana-Nagarii-Tulyam Nija-Antargatam
Pashyann-Aatmani Maayayaa Bahir-Ivo[a-U]dbhuutam Yathaa Nidrayaa |
Yah Saakssaat-Kurute Prabodha-Samaye Sva-[A]atmaanam-Eva-Advayam
Tasmai Shrii-Guru-Muurtaye Nama Idam Shrii-Dakssinnaamuurtaye

Asana names - Ramaswami's July Newsletter

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July 2016 Newsletter from Srivatsa Ramaswami—Asana Names

In July I will be teaching two programs. The first one is a 15 hour weekend program at Yogashala in CT.on Patanjali's Yogasutras Here is the link

Then I will be teaching a 100 hour Vinyasakrama Yoga Teacher Training Program at Loyola Marymount University in Los Angeles, California. ^0 hours of Vinyasakrama spread over 30 sessions, 20 hrs of Yoga sutra and 20 hrs of Pranayama, mudras and yoga for the Internal Organs. This will be the only 100 program I am doing in USA. Here is the link
I have already taught this program in Chennai and New Delhi in India. I will be teaching the same program in Madrid Spain in September and again in Chenni in February 2017 and in Sydney Australia in April 2017

Asana Names

I started studying with Sri Krishnamacharya when I was 15 years old. I had done some vedic chanting when I was about 10 years old and had some understanding of asanas from teachers in my school and also from my father. At that time I had to study three languages. Tamil my mother tongue was the first language, then English (Indglish if you wish) which was introduced in my seventh standard. I had just started learning sanskrit as the third language and it was the most difficult language. So when I started my yoga lessons with Sri Krishnamacharya it used to be mostly asanas in the beginning. He would instruct and say the names of so many of those asanas and I had difficulty in remembering the names of the asanas and also had difficulty matching the asanas with their names as they were all in Sanskrit. When I started learning Sanskrit formally in school and then in college it became a little easier to know the meaning of the asanas and it became lot more sensible

Firstly we find that asanas are named after several creatures. This group of asanas are named after many creatures. It is a well known saying “asanani ca tavanto yavanto ivarasayaH” There are as many asanas as there are creatures, and according to puranas there are 8.4 million creatures. Many hatyogis of yesteryears used to observe several creatures and tried to take their forms and named such poses after the creatures. Many many asanas can be found in this group. Some of them are striking. Dog stretch poses-- the upward and downward dog poses-- are a favorites duos of contemporary hatayogis. A dog stretches the posterior portion and then the anterior portion or vice versa. In the adho mukha svanasana or downward face dog, the posterior portion of the body gets stretched and during the beautiful upward face asana, the anterior portion of the body is stretched The dog ahter complete stretching of the body appears to be completely refreshed by such a complete stretch which helps the blood circulation by stretching a comprehensive stretch of the body. The yogis could learn something very useful from a dog which acts instinctively.

One other creature asana is simhasana or lion pose. There are a few poses which look like lion pose. One position is a variation from Vajrasana, the majestic lion pose. Then it can be part of lotus pose sequence where you have the picture of a pouncing lion. There is another seated pose as Narasimhasana or man-lion pose. All these named after lion are very energetic looking poses and one has to feel like a lion in these. The posture alone is one part of it. The yogis were using their breath to roar like a line, a very long exhalation roar, and the gaze focussed on the middle of the eyebrows like a lion focus and gaze.

Another posture is that of a camel, every hatayogi is familiar with ushtrasana. It shows the prominent camel hump. However my Guru would make a variation of this pose . One would keep one leg forward and then bend back for usshtrasana holding the rear heel. This gives the picture of a lion walking. By gently rocking the yogi can create the impression of a camel walking and get vigorous massage

Let us take one more creature, the cobra. Bujangasana or cobra pose is done be keeping the palms on the floor, press through the palms and try to raise the torso and bend back a little. Sri Krishnamacharya would ask us to keep the palm together behind the back, raise the head and pull back the torso with the hands kept together. He would say that this is cobra pose as cobra does not have hands. Interestingly the word bhujanga would mean “that which has the body (anga) as its arms (bhuja)'

Yet another cute subsequence created by Sri Krishnamacharya is Khagaasana or bird pose. It resembles a flying bird landing on top of a tree branch or on the ground. From Tadasana one gets to Ardhauttanasana or half forward bend position with the arms spread out. With the feet kept together, it would resemble a flying bid. Then with bahyakumbhaka one would gently hop forward and land in Utakatasana. The sequence is reversed to get to the flying position. Children and many adults love this sequence. Now why is the bird called 'khaga?' kha would indicate 'space' and ga would indicate the 'mover', So khaga would mean mover in space or a bird. Incidentally khaga is also one the names of the sun a mantra used in suryanamaskara. Khaga would also mean the sun as it moves (appears to) in space.

The yogis apart from creatures poses developed asanas resembling several inanimate objects, created or naturally appearing. The well known asanas are Tadasana or tree pose and Parvataasana or mountain pose. In Tadasana one stands like a tree usually with feet together. Parvatsasana is where one sits with a broader and firmer base like in Padmasana and then stretch the arms upward keeping the palms together in anjali mudra or interlock the fingers and turn them outward to give a good stretch to the torso. Parvatasana was one of my teacher's favorite teachings. He would ask you to pull up the waist. Perhaps one of the important seated postures is Dandasana or stick or staff pose. It usually is the starting asana for almost all the seated poses, and in Vinyasakrama method one gets to Dandasana from the standing Tadasana and goes through a number of sequential vinyasas like uttanasana, utkatasana, caturanga, urdhwamuka and adhomukha before gently slide into dandasana. Dandasana is a posture that helps to keep the danda or merudanda or the spine erect. Dandasana even as it is called stick pose it actually is intended for the spine the merudanda. One of the obsessions of the olden day yogis was to keep the spine straight slowly reducing the four natural curvatures of the spine. Ostensibly it helps the easy passage of kundalini along the sushumna for the kundalini yogi or the integrated prana to move with facility along the sushumna all the way to sahasrara, the crown.

Likewise there are a number of asanas that are names after different objects. We have catushpada pitam
for posture that looks like a four legged table, Then we have dvipadapitam or one with two legs which will be desk pose. In India many business people sit on the cushioned floor in front of a desk in front of them to work and make a huge amount of money. Padmasana or lotus pose is one more in which the cross legs resemble a blooming lotus.


Then we have many asanas which actually describe the posture or the effects succinctly. The famous one is paschimatanasana. Tana is to stretch. Paschima is posterior. So paschimatanasana means posterior-stretch pose,which is the effect of this pose. One is required to stay in this posture for a an amount of time say 5 to 10 mts to get the full benefits of the pose. Hatayogis and kundalini yogis interested in the arousal of kundalini consider this pose as very important. Then we have the easier counterpose for this asana. It is purvatanasana. Purva is anterior so this asana is anterior stretch pose. Likewise there are many more asanas which are known by the effects they produce in the body. Parsva bhangi or side stretch pose. And the we have sarvangasana also known as shoulder stand to many contemporary yogis. Sarvangasana would mean an asana that is beneficial to all parts of the body-- the occipital region of the brain all the major joints as the ankles knees, hips, the entire spine all the internal organs as heart lungs stomach intestines uterus and others. There are many more like this in the asana system

There is another group of asanas which are names after the olden day rishis or sages. Who is a rishi? According to one school rishi is one who after deep meditation comes out with his/her finding in the form of mantra. Brahma is said to be the one who brought the famous pranava or 'OM' mantra to ordinary people like us. Then we have Viswamitra who is credited with the great gayatri mantra which has become part of the sun worship ritual in India from time immemorial. Then the seven rishis, atri, bhrugu, kutsa, vasishta, gautama, kashyapa, angirasa associated with the seven vyahritis which form part of the pranayama routine. Then there is Vamadeva credited with the discovery of the gayatri avahana mantra. So a rishi is defined as a seer and revealer of a mantra as the saying “rshayah mantra darsinaH”. Mantras are highly potent. There are considered :truth”. So there is another definition of rishi. Rishis are 'Truth speakers” King Amara in his famous sanskrit thesaurus Amarakosa defines rishi as 'rshayaH satyavacasaH'. The names of several rishis can be found in the vedas and puranas. While rishis have been associated with their great sayings, seldom one finds rishis associated with invention of asanas . However Sri Krishnamacharya revealed several asanas named after the sages like Vishvamitra, Kasyapa, Richika, Kapil and others seldom found in other texts, but In Krishnamacharya's Yoga Makaranda. Many could be extension vinyasas of Vasishtasana and Ekapadasirsasana

It will be good for serious yoga students to know the names and the correct meaning of asanas.
These and more in my forthcoming 100 hr Vinyasakrama Teacher Training Program at Loyola Marymount University starting this July 23rd to August 7, 2017. Here is the link.

On Series and Vinyasa - from Krishnamacharya's Yogasanagalu

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"This yoganga sadhana has been divided into three series: 
power (strength) series, treatment series and the spiritual series".

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"Yogasanas must be only practiced with vinyasas and never without it. Vinyasas from 1 to 7 are equal in all asanas.  Vinyasas create movement in the kosha (sheath), nerve, arteries, muscles and spaces between bones and helps eliminate impurities in these areas.  In addition, muscle tissue develops and becomes strong."


I've been puzzling over these quotes below on Series, from Krishnamacharya's Yogasanagalu (1941), for some time. In much of my writing on this blog over the last few years I've been stressing that Krishnamacharya seemed to approach the asana in his Yogasanagalu table ( see Appendix below),later the Ashtanga syllabus), as groups of Primary, Middle and Proficient asana rather than as different series. Satya who has translated Yogasanagalu for us stressed to me that the translation in the table section is 'group' not 'series'.

And yet here below, in this section of Yogasanagalu (1941) Krishnamacharya is talking about Series not group, it would make sense for him to have his assistants ( Pattabhi Jois being one) drilling the class of Mysore boys through a relatively fixed led class, a Primary or Middle series, especially as the class was supposed to be just an hour. Krishnamacharya would often be in a side room teaching patients and other students one to one in a more Vinyasa Krama approach perhaps as he did with Indra Devi. 

On the occasions when he was free perhaps he might work the room demanding different students to attempt more challenging variations of asana or new asana perhaps from the proficient group of asana ( Pattabhi Jois mentioned that Krishnamacharya taught '...a mountain of asana'). Or in his smaller classes at his home with the senior boys ( among them Pattabhi Jois) he would perhaps take a less fixed approach preparing them for the demonstrations with ever more challenging asana and variations.

This would then give us two approaches, a Led class series approach ( often led by his assistants inc. Pattabhi Jois) and perhaps also more of a Mysore room approach within a directed class situation or in small groups of more advanced students.

Pattabhi Jois always seemed to stress that he taught just as Krishnamacharya taught him, perhaps then the table of three asana groups in Yogasanagalu were also taught as Series, at least the Primary and Middle groups but more flexibly than the fixed series Pattabhi Jois tended to keep to and later nailed down.



"On Series

from Krishnamacharya's Yogasanagalu (1941)


5.  Classification


This yoganga sadhana has been divided into three series: 

power (strength) series, treatment series and the spiritual series.

The power series is further classified into mind and body

The treatment series is divided into kosha (sheath) and Nadi (pulse)

Spiritual is only one

Essential

First series requires many yogasanas and some pranayama

Second series needs some easy asanas and three pranayamas

Third series requires pranayama, pratyahara, dharana, dhyana and samadhi

Later a table is shown that includes these".


Note: The description of the above series however is problematic and doesn't seem tie in with the table Krishnamacharya is referring to. His description sounds more like Yoga for the Three Stages of Life, lots of asana for the youth, asana and more pranayama focus in middle age, some asana and pranayama but more of the later limbs in the final stage of life.

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I also came across this section of Yogasanagalu, once again where Krishnamacharya is stressing the importance of Vinyasa. He was perhaps concerned that many yogi's and yoga teachers by spending too long in static asana were losing strength and fitness. 

Vinyasa for Krishnamacharya seems to have served the role of making the body, strong, powerful and healthy, as if one were preparing the body of the spiritual warrior for his Kurukshetra  (the Bhagavad Gita battlefield), his Field of Dharma, of Truth.

In slowing down my practice in the past and exploring long stays I have at times neglect vinyasa. Where once I practiced full vinyasa even in the Advanced series, more recently I dropped back to half vinyasa, dropping vinyasa between sides and often between groups. Focussing on Krishnamacharya's Yoga makaranda instruction along with a growing distaste for the Instagram arm balance fetish led me to drop most of the more physically demanding asana. As a result I grew soft, put on a little weight, lost strength, I no longer feel as fit and healthy and yes powerful as once I did.

These quotes below then are perhaps a wake up call to balance practice, to remember the value of vinyasa and the role of a few at least more physically demanding postures ( ex. arm balances).  

Recently I've returned to the more traditional and much loved Ashtanga Primary and half Intermediate I first began with, appreciating the vinyasa and occasional arm balance for the strength flowing back into my arms and legs, the wringing out of my body in the twists but balancing this by choosing appropriate asana to inhabit longer, exploring the breath more fully, the kumbhaka option. Elsewhere I've referred to this as a Proficient Primary approach ( choosing key asana through the series to practice as mudras).


"On vinyasa

from Krishnamacharya's Yogasanagalu (1941)


Yogasanas must be only practiced with vinyasas and never without it. Vinyasas from 1 to 7 are equal in all asanas.  Vinyasas create movement in the kosha (sheath), nerve, arteries, muscles and spaces between bones and helps eliminate impurities in these areas.  In addition, muscle tissue develops and becomes strong.

Practicing  yogasanas without vinyasa will make the body lean and emaciated.  Some people who did not learn yoga through a guru and practice without vinyasa have brought bad reputation to yoga  which is very unfortunate.

Information, it is listed in the table below.

Therefore, how many vinysas for asanas? Asana position comes at which vinyasa count?  When do you perform rechanka and puraka?  When to do antah kumbhaka and bahya kumbhaka? What are its benefits?" 

UPDATE

and later in Yogasanagalu from the section Rememberance


How Gandharva veda (classical music) is differentiated into seven different notes, Veda chatushtaya is discriminated as udatta, anudata and swanta, Mantras are divided into anganyasa, karanyasa and vyapakanyasa, the third step of yoganga called yogasana was rooted in vinyasa and practiced customarily with vinyasa.  Only some people still have that practice.

However, some of our people of the country of Bharata, by peer pressure,  are forgetting our rooted customs with respect to dress, language, food, drinks, bathing and sandhyavandana practice.  Similarly, if we say that people are forgetting the vinyasa that goes along with the asana practice for the  third step of yoganga, it is not incorrect. 

While practicing yogabhyasa, the variations of inhalation and exhlations are known as vinyasa.  This is explained in Patanjalayogasutra 2, (47 - 48).  Please see the appropriate translation and commentary.

It is enough if you remember “Samsargaja doshaguna bhavanti.” 

Music needs shruti and laya, yoga requires deep breathings and mind needs concentration.  If you miss one of these elements, yoga and raga becomes unbearable.



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The Series, I suggest, has always been intend as a support  (routine being the mother of discipline), for the discipline required of focussed reflection, concentration, one pointedness, so too the vinyasa, preparing the body for the field of dharma. The physical practice is also a support for the Yama/Niyama in daily life just as the yama/niyama can be a support of the physical practice.


Appendix

The asana table from Yogasanagalu
see translation here











The picture sequences below are intended as a rough visual representation of the list above. 


Primary group : Standing

Primary Group : Seated 

Middle Group

Primary Group : Finishing 

Proficient Group

Proficient series correspondence with David Williams Ashtanga Syllabus
Advanced A Series
1-9, 13-20, 37, 39-41, 53, 
Advanced  B Series
21-28, 30, 35, 38, 42-45, 47-51, 55-56
2nd series
10-12, 29, 31, 33, 52, 54
?

34, 36, 46,


A response to The Luminescent's article "VINYĀSA: Medieval and Modern Meanings

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Interesting article on '' from The Luminescent.
(My post below needs a drastic rewrite - it's more of a work in progress)

"VINYĀSA: Medieval and Modern Meanings

"The term vinyāsa rarely occurs in medieval yoga texts. However, it does appear more frequently in the ritual sections of medieval Tantras. Nonetheless, never does the term vinyāsa mean the movement that links breath with postures (āsana) as is the case in modern yoga."
The Luminescent 



A lot of focus is given to the term Vinyasa in the teaching associated with Pattabhi Jois, as well as 'methodologies' that have derived from his teaching which also emphasise 'Vinyasa', going so far as to name the latter approach to practice Vinyasa Yoga.

Pattabhi Jois, when asked what the method he taught was called supposedly just said Ashtanga. For Pattabhi Jois it seems Yoga was the eight limb Ashtanga methodology outlined by patanjali in his yoga sutras, 'though he focussed on asana as an entry point to that methodology it was still as far as he was concerened, just Yoga, Ashtanga yoga. Later with the focus on vinyasa coming to the fore, no doubt in the 90s especially when Lino Miele and John Scott focussed on the Vinyasa count it started to be referred to as Ashtanga Vinyasa, I tend to call it that myself to distinguish it from Patanjali's Ashtanga in my writing on the blog. Sharath oflate seems to be referring to the practice as Ashtanga Vinyasa Krama. To his crefit pattabhi Jois never wanted to refer to his teaching as Jois Yoga, unfortunately referring to it as Ashtanga has caused perhaps more confusion than it's avoided.

Vinyasa in Pattabhi Jois' teaching has come to be associated with the dynamic movement that perhaps characterises the style/approach/methodology, this is unfortunate. And it is this association of vinyasa with movement that the  Luminescent article seems to be addressing. Pattabhi Jois' methodology is claimed to be Old, going back to a mythological text Yoga Koruna, the only quote from which is supposedly "Hey yogi don't practice asana without vinyasa'. The Luminescent  article questions the understanding of vinyasa as movement historically by pointing out that nowhere is such a usage found in the ancient texts.

I argue here that vinyasa for Pattabhi Jois and his teacher Krishnamacharya is connecting each movement to and from an asana with a stage of the breath such that each stage can be counted, giving a vinyasa count. Also a point of attention is given (fixed) for each movement. For the purpose of shorthand perhaps we may refer to vinyasa as movement but what we are really saying is that each vinyasa is breath stage-movement-with fixed attention. In paschimottanasana in this system there are fifteen such breath stage movements with fixed attention leading too and from the asana. And this is still an asana practice, the vinyasa is the framework for the asana. Krishnamacharya suggests long stays in most of his asana with a pranayama kumbhaka aspect. Rather than just dropping down into one asana then get tingup and doing another, every movement in this approach to and from every asana is fixed on a stage of the breath and point of attention, the whole practice has a focus on the breath as well as perhaps cakra focuse (drishti).

Of course many of Pattabhi Jois students and Krishnamacharya's also were young and focussed on the dynamic aspect of this movement rather than perhaps the asana itself, the breath focus has always been there but the attention perhaps has shifted to the movement and this is perhaps why vinyasa has become associated with movement e specially perhaps to those looking in from outside or who focussed on different aspects of Krishnamacharya's later teaching

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''Vinyasa' has been used to ground the practice historically, it being suggested that the approach to asana practice derives from a text 'Yoga Korunta' by one Vamana Rishi, the only quote passed around being 'Hey Yogi, don't practice asana without vinyasa'. Pattabhi jois credits his teacher Krishnamacharya with his methodology but other later students of Krishnamacharya have perhaps down played the more dynamic aspect of vinyasa and reinterpreted the term or denigrated it's usage somewhat in Krishnamacharya and his early students teaching

The Luminescent article looks to Vinyasa's historical usage in this article to suggest perhaps that it gives no ground/foundation to the current practice in that vinyasa is rarely used in historical documents and suggest that current usage is a misuse of the term.

Krishnamacharya was a sanskrit scholar and creative debater, I would argue that he made full use of linguistic variants of the term in coining vinyasa in relation to his teaching. I argue below that vinyasa was one complementary aspect of his teaching of yoga and of asana. Vinyasa as breath linked movement acted as compliment to the static nature of his approach to asana with it's long stays and employment of kumbhaka.

Did Krishnamacharya invent this approach to practice, did it derive from his own teacher or a text, we may never know but asana is ancient, as is pranayama, the framework in which that asana is approached no doubt less so, it may only be 80 years old, this should not concern us, asana practice is old enough if such things interest us. As far as the framework is concerned perhaps its enough to ask if it's useful, beneficial and not to lose sight of what is contained within that framework rather than focus too closely on the framework itself.

Note. Some (Vinyasa Yoga ) teachers have sought to ground their teaching in historical accounts where 'vinyasa' is said to be employed, with suggested (perhaps tenuous) links to Krishnamacharya . However, this research never seems to be presented in journals of their peers but rather online magazines and downloadable online courses. I'm not a sanskrit scholar nor an historian, until such research is reviewed by it's peers it's pretty worthless to me, interesting perhaps fascinating even but worthless without review of the evidence by someone qualified to do so, without that it is perhaps f no more value than my own speculations here, based on Krishnamacharya's own texts ( freely downloadable) and my practice of them. 


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This line below from the Luninecent article struck me and seems to tie in with my own understanding of Vinyasa.

"In discussions on the practice of āsana and other techniques in medieval yoga texts, the term vinyāsa is not used. However, when related verbal forms (such as vinyasya) are used, they mean 'to fix or place'."

This makes sense to me, we tend to focus on the movement these days and think of that as 'the vinyasa' but my understanding is that the vinyasa is 'fixing' the movement to the stage of the breath. Arms going up say on the inhalation, folding over on the exhalation. The point is NOT the movement or the count (vinyasa count - which just follows) but that connection between the breath and the movement as well as the fixing of the attention ( generally the attention is placed between the eyebrows on the inhalation, at the tip of the nose on the exhalation). Lots of 'fixing' and 'placing' in this system. Given Krishnamacharya's fascination with language it would be surprising if he didn't have that usage in mind. I've never tended to believe the system/approach is that old, did Krishnamacharya come up with this inspiration to connect the breath and movement himself, his teacher... it hardly seems to matter.

My current theory is that Krishnamacharya's teacher connected an old text with his interpretation of the yoga sutras and it was that methodology he taught Krishnamacharya over a period of time. Krishnamacharya later sought out the text and perhaps copied out a table of asana with vinyasa and kumbhaka mentioned. Pattabhi Jois mentioned that Krishnamacharya was jumping in and out of asana before he went to teach at Mysore. Perhaps this approach suited the fitness ideas in vogue at the time and was deemed suitable for the boys of the palace. Krishnamacharya put the table in his 1941 text Yogasanagalu, it is clearly incomplete. If Krishnamacharya had developed the table himself surely he would have completed it, I could add the appropriate kumbhaks myself I suspect in a few minutes, Krishnamacharya seemed to want to keep it as it was. BUT Krishnamacharya in his writing always seemed more interested in the Asana, the attention is on long stays, on the breath, the point of attention. While the boys were being led through their dynamic asana practice krishnamacharya would be in an other room teaching private patients where the vinyasa played less of a role although perhaps always implied as it was in his later teaching. It's this weeks theory. 

Krishnamacharya only seemed to be interested in the hatha yoga pradipka and tantra inspired texts when it suited him, he seemed to be more concerned with whether his approach to asana was in keeping with Patanjali, his apprach to yoga sutra 2-47 is perhaps telling

'By making the breath smooth (and long), and by concentration or focussing the mind on the breath, the perfection of the posture is obtained'. See the Appendix for Ramaswami's treatment of this sutra.

"Note: Krishnamacharya interprets this sutra differently than other teachers. He gives the correct technical meaning (in this context) fromn prayatna or Jivana prayatna, or effort of life which is breath. he says that it is the breath that should be made smooth and effortless, not the posture. it is not physical; it is the breathing" p55 Ramaswami

Vinyasa has tended to strike me as being overrated in the Pattabhi Jois tradition or rather given too much attention. My main problem with Mark Singleton's book Yoga Body was that he seemed to look at the practice of Ashtanga Vinyasa yoga, focus on the dynamic, gymnastic, aspect that characterised it's modern practice and then look for gymnastic influences. However a close reading of Krishnamacharya's Yoga Makaranda balances out this view of the practice, the Vinyasa is there to complement the static aspect of the practice of asana, the long stays, the pranayama aspect.

In Krishnamacharya's own writing we do indeed see a focus on the physical quality of the practice, improving the physical condition of the nation was something he argued strongly for in Yoga Makaranda (1934), we see this too in his later Yogasanagalu (1941) where he suggests the vinyasa can keep us strong, even powerful but this for Kishnamacharya is in relation to the other limbs of ashtanga.

Krishnamacharya gives more attention I would argue to the actual asana, where Kumbhaka is practiced and the assumed benefits of the asana stressed. Krishnamacharya writes of long slow breathing, long stays, the vinyasa too and from the asana are more complementary a pratkriya t( counter or compliment  in Krishnamacharya usage) to the static nature of asana.

When the Young Americans came to India of course they focussed on the dynamic aspect of the practice, more so those who followed them. In the 1990s attention was given to the VINYASA COUNT, Vinyasa gained in ever more importance while in Krishnamacharya's own teaching it seemed to decrease as he focussed on older students and helping patients. The vinyasa was often implied more than practiced. Each asana may theoretically begin and end at samastithi but more often than not there would movements to the asana then variations of the asana ( also referred to as vinyasa) practiced. A movement back to Samasathi might come after several asana or even at the end of the practice and might have a more leisurely form not fitting in with the original vinyasa count of his table.

Later students of Krishnamacharya seeing the attention given to the dynamic aspect characterising the practice of the young boys of the Mysore Palace and continued into Pattabhi Jois' teaching and the spin off styles would talk almost dismissively of Vinyasa or they would reinterpret the term as Krishnamacharya himself may have done to more closely reflect their current teaching.

As ever we ended up focussing on one aspect of teaching. In the beginning I too focussed on the movement aspect of Ashtanga practice, a moving meditation, where the attention was fixed on the breath. No sooner had I arrived in one asana than I was ready to enjoy the transition to the next.

Later under Ramaswami's influence I began to focus more on the asana and it's variations as well as the study of Krishnamacharya actual text, again with Ramaswami and began to focus more on the actual asana, on the kumbhaka in particular and later with Shribhashyam's influence, the internal focus of attention during those kumbhaka.

At some point I had lost sight of vinyasa, I was practicing them less. It was only on coming back to reading Yogasanagalu yet again and the passage on vinyasa springing out of me that I rebalanced my practice, enjoying the benefits of the vinyasa as well as of the asana and it's accompanying kumbhaka and focus of attention. Krishnamacharya talked about giving equal attention to each and every breath, to each and every stage of the breath, the inhalation and exhalation but also the kumbhaka between.

The vinyasa approach was a stroke of genius, it allowed us to maintain focus to and from an asana, on every aspect of the breath throughout our postural practice, a ninety minute or more meditation but the vinyasa, the attention given to the movement to and from the asana, also complimented the static asana.

Always in Krishnamacharya the asana practice was integrated in the practice of the other limbs, in the yama and the niyama, the asana would be followed by pranayama, by pratyahara and the meditative limbs.

The mistake is to focus too far on the dynamic aspect of postural practice, it's a mistake made by practitioners and teachers as well as by commentators.


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Appendix


from Ramaswami’s Vinyasa Krama Newsletters June 2012

Asana and Vinyasa

Vinyása Krama was the mainstay of Krishnamacharya’s teaching of Hata Yoga. The word vinyása is used to indicate an art form of practice. This word is used in several arts, especially in South Indian Carnatic music, a fully evolved classical music system. Vinyása Krama indicates doing ásana with multiple aesthetic variations within the prescribed parameters. Yoga was considered one of sixty-four ancient arts. Hence if you approach yoga ásana practice as an art, that methodology is Vinyása Krama. The beauty and efficacy of yoga is eloquently brought out by Vinyása Krama. What about breath synchronization, another important ingredient of Krishnamacharya’s Vinyása Krama? What about mental focus on the breath while doing ásana practice, central to vinyása yoga? None of the yoga schools teaches yoga in this manner and no classic HathaYoga texts mention breath synchronization in ásana practice specifically. Where can one find references to these?


This was one of the few questions I asked my guru: Is Vinyása Krama an old, traditional practice? Sri Krishnamacharya quoted a verse indicating that reference to this practice can be found in a text called Vrddha Sátápata and also in the Yoga Sutras of Patañjali. There was no point in looking for an obscure text like Väddha Sátápata, but Yoga Sutra was at hand. But where is the reference? There are hardly two Sutras explaining ásana, and there is no reference to breath in them—or is there? Going back to my notes on Yoga Sutra classes with my guru, I found a very interesting interpretation of the sutra, Prayatna-saithilya anantasamápattibhyám. The word prayatna, very commonly used in India, basically means “effort.” saithilya indicates “softness.” So Prayatna- saithilya could mean “mild effort”; hence you find that many writers on the Yoga Sutras declare that the way to achieve perfection in a yoga posture is to “ease into the posture effortlessly.” This is easier said than done. There are hundreds of practitioners who cannot relax enough to be able to easily get into a posture like the Lotus, for example. So we have to investigate the meaning of the word prayatna as used by the darsanakáras in those days. Prayatna according to (Navya)Nyáya, a sibling philosophy to yoga, is a bit involved. Nyáya explains prayatna of three kinds (prayatnaê trividhaê proktam). Two of them are the effort put in for happiness (pravätti) and the effort to remove unhappiness (nivätti). Every being does this all the time. One set of our efforts is always directed toward achieving happiness and the other toward eradicating unhappiness. But the third type of effort relevant here is the effort of life (jàvana-prayatna). What is effort of life? It is the breath or breathing. Now we can say that prayatna-saithilya is to make the breath smooth. Thus in ásana practice according to Vinyása Krama, the breath should be smooth and by implication long (dàrgha).

The other part of the sutra refers to samápatti, or mental focus. Where or on what should the mental focus be? It is to be on ananta (ananta-samápatti). Now we have to investigate the contextual meaning of the word ananta, translated as “endless” or “limitless,” which many writers equate with infinity. So some schools tend to say that while practicing ásanas, one should focus the attention on infinity, which is inappropriate—and impossible, at least for the vast majority of yogàs. Ananta also refers to the serpent, Ädisesa, whose incarnation Patañjali is believed to be. So some schools suggest that one should focus on a mental image of Ädisesa or Patañjali. It may be possible, but it is uncomfortable to think that Patañjali would write that one should focus on his form for the success of ásana practice. So what might ananta symbolically signify? The word ananta can be considered to be derived from the root, “ana”— to breathe (ana sváse). We are all familiar with the group of words--prána, apána, vyána, etc., names of the five pránas derived from the root “ana.” So in the sutra, ananta could mean “breath”; ananta-samápatti is then translated as “focusing the mind on the breath.” In fact Ananta, or the serpent king, is associated with air. In mythology the cobra is associated with air; there is a common mythological belief that cobras live on air. If you look at the icon of Natarája (the dancing Siva), you will find all five elements of the universe (earth, water, air, fire, and space) represented symbolically in Siva. The matted red hair represents fire, the Gangá in his tresses, the water element; the air element is said to be represented by the snake around the Lord’s neck. So ananta- samápatti would mean focusing the attention on the breath or prána.

Thus this sutra means that while practicing ásana, one should do smooth inhalations and exhalations and focus the attention on the breath. Since Vinyása Krama involves several aesthetic movements into and within yoga postures, to achieve the coordination of movement, breath, and mind, one should synchronize the breath with the movement with the help of the focused mind. By such practice, slowly but surely, the union of mind and body takes place, with the breath acting as the harness. But why don’t other texts talk about it? There is a saying, “Anuktam anyato gráhyam.” If some details are missing from one text, they should be gathered from other complementary texts. Hatha-yoga- pradàpiká explains a number of ásanas but does not mention breath synchronization and other basic parameters. But Hatha-yoga-pradàpiká proclaims that its instructions are like a prerequisite for the Rája Yoga practice of Patañjali. These two texts are therefore compatible. Thus we can conclude that Patañjali gives the basic parameters of ásana practice (and also of the other angas like Pránáyáma), but for details we have to refer to compatible texts like Haôha-yoga- pradàpiká,Yoga-Yájñavalkya and others.

My Guru had written a book called “Yogasanangalu” in Kannada, a copy of which I have had for a long time, but never read it as it is in Kannada. Of course I have gone through the wonderful asana pictures of my Guru in it many many times. Recently I found a few pages of the translation in the blog pages of my friend Antony Hall and I am reproducing the relevant portion from it hereunder (Thank You Tony)

Sri Krishnamacharya wrote:

“Vinayasas” many people are curious about its secret. Some others want to know its basis. I agree.
“prayatnashithilyanantasamapattibhyam” (Yoga Sutra II 47)

Please see Patanjala yogasutra and Vyasabhashya (P 2, S 47)

Both type of people (practitioners), be happy . Vachaspathi Misra in that commentary

“Saamsiddhiko hi prayatnah shariradharako na yogangasyopadeshtavyasanasya kaaranam. Tasmat upadeshtavyasanasyayamashadhakah virodhi cha swabhavikah prayatnah. Tasya cha yadruchhikasanahetutayaa sananiyamopahamtyatvat.”

Here is my translation: 
Surely the innate effort--prayatna-- (in every being) is to sustain the body (which is prana, Prana and sariradharaka are considered synonyms). But it (the normal innate breathing) is not helpful in achieving the task on hand (achieving the yoga pose). Therefore the natural/involuntary effort/breathing (swabhavika prayatnah) is counterproductive in achieving the intended goal. Consequently a man, practicing the specific posture as taught, should resort to an effort(prayatna) which consists in the relaxation (saitilya) of the natural/innate(swabhavika) effort (breath). Otherwise the posture taught cannot be accomplished

Krishnamacharya continues to talk about using breath in asanas. “Therefore, how many breathings for which asana? When is inhalation? When is exhalation? In what way? When body is stretched forward, inhalation or exhalation? What about when you raise your head? To know this mystery and practice in order is called Vinayasa. These along with the significance of each asana will be discussed in 1 to 32.”


Original Ashtanga syllabus as a teaching tool ( Danny Paradise's copy) Evolution of the Ashtanga syllabus (Yoga Korunta?).

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On a previous post on the Ashtanga Advanced series my friend Gilad Harouvi posted the Ashtanga syllabus he was given by his teacher Danny Paradise, a cheat sheet for Ashtanga. I got in touch with Danny and asked him if it was OK to share here on the blog and after taking a look again (he hadn't seen this for years I suspect) he kindly gave me the go ahead.

We've seen this syllabus before of course, this is the original Ashtanga Syllabus ( see appendix at the end of the blog) given to David Williams and Nancy Gilgoff  (Danny Paradise's own teachers, he began the practice in 1976) on their first trip to Mysore to practice with Pattabhi Jois in 1973. Nancy too was kind enough to let me share the original ( and I have a copy framed in my home shala) but what I love about this one from Danny is that we can see it being used. I love all the little diagrams, the notes and check out the numbers, these correspond with the asana in BKS Iyengar's Light on yoga, more on that in a moment.

Gilad has this to say regarding the syllabus and Danny...

"As It Happens, Danny Paradise taught me first  in Summer 1986, This is how Ashtanga Started in my part of the Middle east (Israel. with Miri Harouvi Ashtanga-yoga and myself).  He Photocopied and gave me that above Mysore Syllabus, a few other cheat-sheets,the Mullabandha book and a worn out copyof  Iyengar's book (still got it!), spreading the  David williams and Nancy Gilgoff story,  and Sri KPJ. and Manju Pattabhi Jois.  Danny is the first OR among the very first few "Ashtanga Travelling persons",together with Marceau Baptiste- teaching the form  and breaking new Ashtanga ground in zillions of places around the known 5 continents - round about the same times or a bit before  Derek Ireland and Radha warrell started the first EU Ashtanga Hub in Crete. Danny Paradise was the first to be invited later to teach the high profile people like Sting and Madonna- and that started the Ashtanga BOOM and the Mysore craze. Can you Imagine, Ashtanga was not recognized at all. "Is that Yoga?" was the phrase used by Other Yoga Practitioners. Praise those first Babas!  forever indebted to them. BOM!"







Danny is one of those teachers who seems to have been teaching Ashtanga forever, (since 1979) so often we get stuck in the idea that Mysore is the centre of the Ashtanga world but there are many such centres and Ashtanga has spread out from these as much as from Mysore. There's Hawaii of course with Nancy Gilgoff, David Williams even Norman Allan is still teaching there. Encinitas and Tim Miller's Shala comes to mind of course, Boulder and Richard Freeman's yoga Workshop, Eddie's Stern's Brooklyn Yoga club in New York and that's just in the US. Manju Jois is of course is another home of Ashtanga but more of a gypsy caravan perhaps constantly traveling around the world to share his fathers teaching, likewise Danny Paradise... which corner of the world hasn't he taught Ashtanga in?

Danny is also a musician and song writer he has a charity film screening at Triyoga, Camden, London on 6th August 2016, 18:30-20:00 of a song he wrote recently on the issue of child trafficking. here are the details

If you're not in London you can watch it below


Details
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triyoga Camden
£5 recommended donation (all proceeds go to Children of the Forest)
fb page https://www.facebook.com/events/1573197859641446/

“Love will rescue you” is an animation made by Céu d'Ellia, and music by Danny Paradise and Matthew Kelly, illustrating the work done by Children of the Forest Foundation. It is short animated film which tells the story of refugees worldwide and in particular displaced and stateless children. 

Join Danny Paradise for the screening of this short film to conclude his weekend of workshops at triyoga. The film will be followed by a live auction at triyoga and then everyone is invited to the nearby bar Boho in Camden for buffet food and 1/2 price cocktails until midnight (address: 6 Inverness Street NW1 7HL)

Items being auctioned include:
- Diamond print by photographer Gem Rey, special edition signed
- Original signed + hand painted by Dom Pattinson (hand painted original)
triyoga 10 class pass
- 2 places for Danny’s Paradise 2017 triyoga workshop
- BodyTalk session with Merran Lusher
- 3 course vegan dinner for 2 at your home by Vegan Chef Day Radley, finalist of the vegetarian society chef competition (ingredients not included)
- Degustation Omnivore Menu dinner for 2 at your home by Cordon Bleu chef Alessandra Spagnoli (ingredients not included)
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I remember this Youtube video of Danny Paradise from a couple of years after I started Ashtanga.


Back in 2014 when I was in Rethymno, Crete at Kristina Karitinou's summer shala for three months (Crete, Greece is another 'spiritual' home of Ashtanga, so many European Ashtanga teachers studied with Derek Ireland here at the yoga place), Kristina fished out an old file of Derek's, inside were some old cheat sheets from the 80s and 90s, including this one which also included the numbers corresponding with Iyengar's Light on Yoga. Seems it was quite common in the early days to use Iyengar's book as a reference.





APPENDIX 1

The evolution of the Ashtanga syllabus

The story goes that while a student of Krishnamacharya, Pattabhi jois was asked by the Maharaja of Mysore to teach a four year yoga course at the Sanskrit college in Mysore. Pattabhi Jois needed a four year syllabus. It seems he took (with approval) his teacher Krishnamacharya's table of asana, added Surya namaskaras but kept primary and Intermediate pretty much as it was in the table ,with minor tweaking, and re arranged the Advanced group of Asana into Advanced A and B. We know from the 1938 video that Krishnamacharya was teaching many more Advanced asana than are listed in the table, Pattabhi Jois, who also practiced and demonstrated many of these asana, no doubt added them in.

It should be stressed that Krishnamacharya lists 'groups' of asana not sequences. Following Pattabhi Jois we are so accustomed to think of Ashtanga as consisting of sequences and to assume that Krishnamacharya later changed his teaching that it's hard to view the related asana Krishnamacharya taught otherwise. However,  Krishnamacharya barely mentioned sequences or series in his writing, he stressed related groups of asana. While we tend to think of Krishnamacharya as mostly teaching the young boys of the Mysore palace, the truth of the matter is that he may have had much less contact with the boys than we imagine. Iyengar mentioned that he was taught directly by Krishnamacharya a couple of hours at most. Generally the asana class in Krishnamacharya's Yoga school seems to have been Led by Krishnamacharya's senior students, Pattabhi Jois for example being one of them. No doubt the classes followed a loose structure not unlike the order in which the asana are placed in Krishnamacharya's table, while Krishnamacharya was in a side room teaching patients and private students a less dynamic approach to asana, the Vinyasa Krama perhaps that Krishnamacharya CONTINUED to teach throughout his life (in the 1938 video we see some of the variations that Ramaswami, Krishnamacharya's student of 30+ years teaches today). On occasion when Krishnamacharya wasn't teaching privates he no doubt worked the room, giving extra preparatory asana here, more advanced variations or progressions there, the mountain of asana that Pattabhi Jois refers to.

Did Krishnamacharya develop the Ashtanga method for the boys of the palace? 

It is tempting to think so, however, Pattabhi Jois mentioned that when he first encountered Krishnamacharya in Hasan giving a lecture and demonstration, Krishnamacharya was jumping from asana to asana. This was in 1924, several years before Krishnamacharya began teaching asana to the boys of the Mysore palace. Anyone who has worked on jumping back and through knows it takes several years to master, certainly for it to look good enough for a demonstration. We may expect then that Krishnamacharya had been jumping from asana to asana for several years, perhaps learning it from his own teacher several years before. The jumping suggests what we tend think of as vinyasa, the connecting each stage of the breath to each movement towards an asana and back to standing as well as the placing of the attention on a fixed spot (between the eyebrows or the tip of the nose).

I suspect ( and this is really only my own current theory) that there was indeed a text of some kind (not necessarily as old as is often suggested) that has become know as the Yoga Korunta that Krishnamacharya or his teacher Yogeshwara Ramamohana Brahmachari knew of, perhaps having the table with the asana, and perhaps the vinyasa and/or kumbhaka indicated in the form of notes and this was what either Ramamohana Brahmachari used to teach Krishnamacharya or that Krishnamacharya used in developing his approach to practice. I suspect that it was Krishnamacharya's teacher who used the table and perhaps knew of or had heard about a copy of the text existing in the Calcutta library (leading to the eaten by ants story). 

Of course it may well be that there was no text and that the asana table was Krishnamacharyas cheat sheet with notes from him or his teacher along with some vague reference that it was all or in part somehow connected with a text called yogakorunta, as with Danny Paradise's cheat sheet above perhaps.

Yogeshwara Ramamohana Brahmachari was said to have been recommended to Krishnamacharya because of his knowledge of Patanjali's Yoga Sutras, I suspect it was from him that Krishnamacharya encountered the unusual interpretation of yoga sutra 2-47 ( see Ramaswami below) as being concerned with the breath and that this became connected with the vinyasa count in the asana table in Ramamohana Brahmachari's teaching. The asana table Krishnamacharya gives us in his Yogasanagalu (1941) is incomplete, if he had come up with the table of asana himself I suspect he would have have completed it (I could no doubt come up with the appropriate kumbhaka I suspect in a few minutes to complete the table). Krishnamacharya seemed to want to keep the table just as it was.

It's worth noting perhaps that while Krishnamacharya doesn't mention a Yoga Korunta in the long bibliography for Yoga Makaranda (1934) he does mention a Yogakuranti in the short bibliography for Yogasanagalu (1941) which includes the table of asana.

Krishnamacharya
A vinyasa Krama variation from the 1934 Yoga Makaranda photo shoot?


from Srivatsa Ramaswami's newsletter June 2012

"My Guru had written a book called “Yogasanangalu” in Kannada, a copy of which I have had for a long time, but never read it as it is in Kannada. Of course I have gone through the wonderful asana pictures of my Guru in it many many times. Recently I found a few pages of the translation in the blog pages of my friend Antony Hall and I am reproducing the relevant portion from it hereunder (Thank You Tony)

Sri Krishnamacharya wrote:

“Vinayasas” many people are curious about its secret. Some others want to know its basis. I agree.
“prayatnashithilyanantasamapattibhyam” (Yoga Sutra II 47)

Please see Patanjala yogasutra and Vyasabhashya (P 2, S 47)

Both type of people (practitioners), be happy . Vachaspathi Misra in that commentary

“Saamsiddhiko hi prayatnah shariradharako na yogangasyopadeshtavyasanasya kaaranam. Tasmat upadeshtavyasanasyayamashadhakah virodhi cha swabhavikah prayatnah. Tasya cha yadruchhikasanahetutayaa sananiyamopahamtyatvat.”

Here is my translation: 
Surely the innate effort--prayatna-- (in every being) is to sustain the body (which is prana, Prana and sariradharaka are considered synonyms). But it (the normal innate breathing) is not helpful in achieving the task on hand (achieving the yoga pose). Therefore the natural/involuntary effort/breathing (swabhavika prayatnah) is counterproductive in achieving the intended goal. Consequently a man, practicing the specific posture as taught, should resort to an effort(prayatna) which consists in the relaxation (saitilya) of the natural/innate(swabhavika) effort (breath). Otherwise the posture taught cannot be accomplished

Krishnamacharya continues to talk about using breath in asanas. “Therefore, how many breathings for which asana? When is inhalation? When is exhalation? In what way? When body is stretched forward, inhalation or exhalation? What about when you raise your head? To know this mystery and practice in order is called Vinayasa. These along with the significance of each asana will be discussed in 1 to 32.”


*

My 2012 post on the original Ashtanga syllabus



The 'Original' Ashtanga yoga Syllabus given to Nancy Gilgoff and David Williams by Sri K Pattabhi Jois in 1974 Mysore 
Posted Thursday, 30 August 2012
The 'Original' Ashtanga yoga Syllabus given to Nancy Gilgoff and David Williams by Sri K Pattabhi Jois in 1974 Mysore

"In fact, David and I had no idea that there were two separate series until the end of that first four-month trip, when we were leaving, at which point Guruji gave us a sheet of paper with a list of the postures, which were listed as Primary, Intermediate, Advanced A, and Advanced B. At this point he told us to practice one series a day, and only once a day".
 from Ashtanga Yoga as it was (The long and the short of it )  Nancy Gilgoff






many thanks to Anon for passing it along and especially to Nancy for giving permission to post it this morning and share with the community at large.

Available as pfd download from googledocs
https://docs.google.com/open?id=0B7JXC_g3qGlWRzZWOUltVnh3RFU

See my earlier blog post on Nancy's article
http://grimmly2007.blogspot.co.uk/2012/01/dear-nancy-yoga-as-it-was-nancy-gilgoff.html

also here
http://grimmly2007.blogspot.co.uk/2012/01/dear-nancy-breath-in-73.html

and here
http://grimmly2007.blogspot.co.uk/2012/01/dear-nancy-head-updown-jalandhara.html



APPENDIX 2

What fascinated me seeing Nancy and David's original syllabus is how closely it resembles Krishnamachaya's table of asana in Yogasanagalu 1941

Thursday, 10 May 2012


Complete asana table from Krishnamacharya's Yogasanagalu, Primary, Middle and Proficient asana groups

Visit The ongoing Yogasanagalu (1941) Translation Project page for the translation we have so far.

Yogasanagalu ongoing translation page


'Therefore, how many vinysas for asanas? Asana position comes at which vinyasa count?  When do you perform rechanka and puraka?  When to do antah kumbhaka and bahya kumbhaka?  What are its benefits?  For yoga practitioners information, it is listed in the table below'.
Yogasanagalu

Yogasanagalu Asana table









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Notes

Kumbhaka
Antah kumbhaka (purakha kumbhaka) = retention of the breath after inhalation
Bahya kumbhaka (recaka kumbhaka= retention of the breath after exhalation
Ubhya kumbhaka = retention of the breath after both inhalation and exhalation

*In the Primary group above kumbhaka is indicated explicitly in only three postures, baddha padmasana, uttanasana and sethubandasana. In the earlier Yoga Makaranda (1934) however, kumbhaka is indicated other primary postures. This may be that while learning the Primary asana we may forgo kumbhaka in most of the primary postures until gaining familiarity and a degree of proficiency with those asana when we would then begin to work in the kumbhaka. this may be made clearer as the translation continues.

Kumbhaka (mentioned explicitly) in the Yoga Makaranda Primary asana
Tadasana (here implies samasthiti )- purakha kumbhaka
Uttanasana -purakha kumbhaka (we can perhaps presume that all the uttanasana variations would also include antha kumbhaka EG. padahastasana, parsvauttanasa
na, prasaritapadauttanasana.
Ardha baddha padma uttanasana - recaka kumbhaka
Urdhavamukhssvanasana - puraka kumbhaka
Adhomukhssvandasana - recaka kumbhaka
Paschimottanasana - purkha kumbhaka (recaka kumbhaka implied ?)
janusirsasana - purka kumbhaka & Rechaka kumbhaka
Upavistakonasana "recaka kumbhaka is the central principle for this posture"
badhakonasana - recaka kumbhaka
Suptapaddangusthasana- recaka kumbhaka
utthitahastapadangusthasana - recaka kumbhaka
Bhujapidasana - recaka kumbhaka
marichiyasana - recaka kumbhaka ?


Pictorial representation of the table (made up of my old file pictures ).






Krishnamacharya's Primary group (Incomplete ; made up of pictures from his Yoga Makaranada).
Original table


Taboo (menstruation) - August 2016 Newsletter from Srivatsa Ramaswami--

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Taboo 


One of the questions a yoga teacher is asked frequently is what asanas and other yogic procedures a female yogi may not do while in menstruation cycle. There are strong objections to doing sarvangasana and a few mudras like the bandhas. But this question may be looked at from a more orthodox or traditional point of view. When I was growing up in India and studying under Sri Krishnamacharya, most women during the monthly periods would sit out, usually confined to a room. In the olden days they would be called “bahishta” the female  stays out and may not do any work. . There were two reasons given for this approach in the olden days. One is that in that state the female tends to remain 'unclean' rather continually, that is what the grandmother would say. The other reason that is put forward is that since the woman is 'weak' at that time, nature demands she should be given rest, and all her needs would be met by the other members of the family. This is very old view and practice.

Since girls have to go to school and women work in outside places like office and fields regularly and with the advent of very hygienic facilities it is much easier for women to work during periods. But even in schools girls many times would be allowed to refrain from taking part in strenuous physical activities as attending the PT classes or sports activities. I thought Sri Krishnamacharya would not encourage women to come to study with him during such periods of time. He was teaching our whole family for a few years and I think my mother would not come to the practice during such times. When I first started teaching this idea that women should not do yoga or other strenuous physical exercise was well ingrained in me. So when I went to teach at Kalakshetra a dance school, I told the Director that girls during menses should not attend the class. The Director laughed and said that it is not possible in an educational institution. Then I suggested that they may attend the class but need not practice. She agreed. But it is a different story that many students would take advantage of this clause and sit out even when they did not have to.  

There is a view that it is predominantly hormonal and there is no need to avoid physical activity during such periods. There are women athletes and others who have to regularly perform at such times. There may be women who have won the Wimbledon Championship during such times. 

When I had started teaching, Krishnmacharya yoga Mandiram was just started by Sri Desikachar and I was one of the trustees. On behalf of the Mandiram I was asked to write a few articles on Yoga for a 100 year old but struggling monthly called “Indian Review”. I went on to write more than 25 articles. But then the monthly folded and I too stopped writing. But the Editor was happy with the contents of the articles and asked me if I would teach at a small charitable hospital in a very busy part of the city. We had about 30 participants of the hospital mostly paramedics and office staff. It went well, it was one of my earlier teaching efforts. It was an all men group. Then some of the wives of the participants asked if I could teach to a women group and I taught there for anther month. They were very enthusiastic participants. Many did asanas like Sarvangasana very easily and would do very vigorous Kapalabhati. I presumed that they would abstain from the class during their periods. But after 15 days of active enthusiastic participation a few women dropped out. The group started slowly thinning out and by the third week it was less half of the original size. The most depressing picture for a yoga teacher is to see the participants dropping out. I asked one of my friends who had come to the earlier program about why people were dropping out. He checked with his wife an active participant. He said that one woman had an unusually heavy discharge that particular time and she thought it was due to yoga practice especially such procedures as forward bends, inversions, kapalabhati and the bandhas. Maybe it was a cause but I was not sure. 

About ten years ago I started teaching the 200 hr teacher training program at LMU. In one of the early programs I had a very compact group. There was one young bright woman who was very good in all the procedures. However she was reluctant to do several procedures which are not recommended by some yoga schools like inversions especially shoulder stand and pranayama. But after  a week or so she started participating in all aspects including sarvangasana, pranayama and kapalabhati. At the end of the program, one of the directors of the program asked the participants to give their opinions about the program. The young friend said a few words. She said that for the first time in her life she had normal painless periods, and she attributed it to some of the pelvic exercises like kapalabhati and bandhas in inversions like sarvangasana.

A few days back a participant who was very active and participated fully in the asanaa vinyasa class, suddenly sat out in a corner of the room for two days. I thought something was wrong as she appeared not unwell at all. So I asked her if there was a problem with the class or instructions. She immediately said there was no problem and that she does not do yoga  during her periods.   Period

I was surprised, maybe not really  surprised; I was surprised because it was a western female who was following what I considered an old times eastern taboo

(Note: Ramaswami's wife is the gynecologist Dr. Uma Ramaswami).

*

See perhaps my earlier related blog post on this subject



***

We are half way through the 15 day, 100 hr Advanced Vinysakrama program here in Los angeles California at Loyola Marymount University. I have been teaching a 200 hr TT program in Vinyasakrama Yoga here for almost  decade. I decided to suspend the 200 hr program as I found it strenuous and difficult to be away from home and teach for 5 weeks. This program is more easy to manage and this 100 hours can be counted for continuing education with Yoga Alliance for those who care for it. I am lucky to get another wonderful group for this 100 hr program here. I have had good response in all the places I conducted the program,--- in Chennai, New Delhi and Saskatoon, Canada. I am scheduled to repeat the program in Madrid Spain in Sep/October and probably in Chennai in February 2017 and in April 2017 Sydney Australia. This basically consists of a 60 hr segment of asana vinyasas- hundreds of them- as taught by my Guru, then 20 hrs of Yoga Sutra study where we go through all the sutras word by word and then a 20 hr segment for pranayama. Mudras and their beneficial effects on the vital internal organs.
Here are a few pictures  nd a video from the current program at LMU. Thank you Fernando Alvarez  for the pictures









I also taught a 15 hr weekend workshop on Yogasutras at Yogashala, Ridgefield CT. It was a very nice group. Thank you Valerie.




I am scheduled to teach  a 4 day 'seminar' and a 5 day 20 hr Vinyasakrama progrm   in Germany in August Here are the links.



Srivatsa Ramaswami

Krishnamacharya recommended Four Key asana/mudra..... make that six..

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I was just sent an email asking for a recommendation

"What 3-5 yoga poses should all men practice daily?"

In several posts in the past I know I've referred to the four key asana Krishnamacharya strongly suggested should be included in daily practice but I can't for the life of me find a link to a particular post were I outline them clearly. 

The Four key Asana/Mudra that Krishnamacharya recommended to Ramaswami for daily practice are....


1. Paschimattanasana
2. Maha mudra ( Janu Sirsasana)
3. Sarvangasana
4. Sirsasana.

See my post on alternatives to headstand

Elsewhere Krishnamacharya also recommended....

Mayurasana

and

baddha konasana.


And of course Padmasana probably goes without saying as would pratkriya (counter posture).


*

The notes below are from my Proficient Primary Page ( at the top of the blog) of 10 key daily asana/mudra that might make up our practice or be perhaps stressed in our Ashtanga practice....., where longer stays might be encouraged.

Out of habit/familiarity/affection I tend to practice regular Ashtanga Primary series and once or twice a week the first half of second but give extra emphasis to these key asana/mudra such that I will often only have time for half a Series followed by my pranayama and a Sit.

See the proficient primary page perhaps for more on this


Note

Krishnamacharya presupposes that a posture begins and ends at standing, this is explicit in his early writing but implied later. Krishnamacharya often taught asana variations flowing into one another, one might start and end a group of asana at standing rather than each individual asana however each and every asana could start and end at standing which would give it a vinyasa count.


see also
http://grimmly2007.blogspot.jp/2013/08/what-would-krishnamacharyas-sun.html



1. Dandasana/Pascimattanasana/ Asvini Mudra




Asvini mudra locates between Dandasana and Paschimattanasana, before lowering into asana we may practice the posture as mudra. Krishnamacharya's third son T.K.Sribhashyam indicates that his father suggested practicing Kapalabhati here, 32 or 64 times. We may also practice 12 Ujjayi breaths, sama vrtti (equal) the same long slow inhalation, perhaps 8-10 seconds followed by kumbhaka (breath retention) as with the long slow exhalation and it's kumbhaka. After the exhalation we might engage uddiyana bandha more fully along with mula bandha. Jalandara bandha is engaged throughout.

As mentioned in the earlier post we might employ the default points of focus, Bhrumadhya (between the eyebrows) where the head is up or Nasagra (tip of nose) when the head is down as here with the jalandara bandha.

Mudras unite the body with the mind, internal points of focus and concentration may be employed, indeed they are recommended.

In Asvini Mudra we might shift the concentration on the inhalation from mula (perinium), to Sroni (centre of pelvis), to nabhi (navel), to hrdaya (middle of heart), to Kantha (back of throat). Focus on Bhrumadhya (between the eyebrows) on the kumbhaka after inhalation. Exhalation is always only one concentration point, here nabhi (navel).

Asvini Mudra is a recognised mudra however we might also take a 'mudra like' approach to Paschimattanasana itself. Given the deep fold, a longer exhalation is suited, kumbhaka and a deeper uddiyana bandha might be employed. On the shorter inhalation the jalandara bandha may be slightly relaxed we may even lift slightly out of the fold on the inhalation before folding back in on the next exhalation engaging jalandara fully again in time for the next kumbhaka.

Krishnamacharya suggests staying in Paschimattanasana for around ten minutes and indicates it is a key posture to be practiced daily along with its counterposture Purvotanasana.

For more on the practice of mudra and internal concentration points see T.K Sribhashyam's Emergence of Yoga.
see also this earlier post






2. Maha Mudra (great seal) 


Essentially the point of the Proficient Primary Project is to approach asana as mudra.
Traditionally hand gestures accompanying Mantras, Krishnamacharya's third son T.K. Sribhashyam informs us that mudras later entered yoga as full body postures, the intention was always the same however, to unite the body and mind.

Mudra have always been executed with Ujjayi breathing, the exhalation tends to be longer than the inhalation, the breathing is slower than in regular asana practice, a point of focus is maintained, kumbhaka is employed, traditionally after exhalation and bandha are employed. Maha mudra is called the great seal because mula bandha, uddiyana bandha and jalandara bandha are all employed effectively.

Ramaswami, following Krishnamacharya, encouraged us to practice maha mudra for five minutes each side every day, it was to be considered a key element in our daily practice. However mudra can be practiced at any time, I will often practice it in the evening followed by baddha konasana then settle into padmasana for pranayama and a Sit.

Maha mudra may also be practiced in regular Ashtanga practice, pausing the count for six, twelve perhaps twenty-four breaths before folding into Janu Sirsasana.





3. Sarvangasana (shoulderstand)




Krishnamacharya stressed the importance of including three key daily postures held for an extended period,Paschimattanasana(posterior forward bend), Sirsasana (headstand) and Sarvangasana (shoulderstand). On his Vinyasa Krama TT course Ramaswami would recommend spending five to ten minutes in Sarvangasana, the first three minutes or so with the legs relaxed.

We can employ sarvangasana as both a preparatory pose for Sirsasana as well as it's counterposture. On Ramaswami's advice I save the shoulderstand variations for the sarvangasana after the headstand.

Before sarvangasana preparatory postures are advisable, Dwi pada pitam (table posture) especially.

After the first long sarvangasana a counterposture is advised perhaps bhujangasana or its mudra equivalent Bhujamgi mudra (see tomorrow). Because of the longer stay a blanket or folded mat under the shoulders might be considered.

One of the key principles of sarvangasana is slowing the breathing, if sarvangasana is currently too challenging most of the postures mentioned earlier in this project, practiced as mudra may be suitable alternatives, so too laying with the feet up against a wall.

The breath may be slowed to two even one breath a minute, if a kumbhaka is included after the exhalation then it should be short, 2-5 seconds, if taken after the inhalation it may be longer.

See post and video here
http://grimmly2007.blogspot.jp/2010/10/5-minute-shoulderstand.html?m=0

Ongoing #proficientprimarypost page here
http://grimmly2007.blogspot.jp/p/proficient-primary-project.html?m=0


4. Sirsasana


Sirsasana #proficientprimaryproject 

Sirsasana, no variations.

twenty five breaths, 
two breaths a minute. 
10 sec. Inhalation
5 sec. kumbhaka 
10 sec. Exhalation
5 sec. Kumbhaka 

1. Start with slowing the breath down to 8-10 seconds for inhalation and the same for exhalation.

2. Add 2 second kumbhaka (breath retention) after inhalation (can't employ full jalandhara bandha here with the chin lock so instead, swallow at the end of inhalation to close throat.

3. Once 5 second kumbhaka is comfortable introduce 2 sec kumbhaka after exhalation with Mula and Uddiyana bandha- build up to five second.

Followed by ten minutes of variations in Sirsasana with appropriate breathing.


See my post on alternatives to headstand



See this post also perhaps for a range of inversion variations




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Two extras key asana

Krishnamacharya mentioned six key asana in Yoga Makaranda, the four above and most likely 

Mayurasana

and

Baddha konasana



Padma Mayurasana.

(or Vajrasana with stomach lock)


Padma mayurasana

Mayurasana, practicing on the toes or perhaps lifting up first one leg then the other would be perfectly acceptable.


Once again I break my own rules by including an asana outside of Primary in this project. However the Padma variation of Mayurasana might be considered more Primary than the regular version and Mayurasana is an asana Krishnamacharya recommended practicing daily, this will depend on the strength in your wrists, I tend to avoid the posture these days due to a recurring wrist injury. 

The important aspect for Krishnamacharya I believe was that the elbows dug into the belly, massaging the internal organs. If both Mayurasana and padma mayurasana are currently too challenging, mayurasana on the toes should be considered perfectly acceptable, perhaps lifting one leg from the ground for  six breaths before switching to the other leg for six breaths.

An alternative to mayurasana that I tend to practice is is the stomach lock that Krishnamacharya taught to Ramaswami. Take up virasana or vajrasna, press the heels of the palms into the lower abdomen a couple of inches apart, link the fingers and fold forward on the exhale, stay for six to twelve breaths. This perhaps has similar benefits/effect to mayurasana ( an no doubt nauli) and is I find excellent for digestion.





Mayurasana is also a posture Krishnamacharya recommended practicing regulated breathing (kumbhaka is perhaps suggested by 'proper practice' of pranayama, I include a two second kumbhaka after both inhalation and exhalation).

"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".

"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". 

This is from the Mayurasana instruction from Yoga Makaranda part II. Interestingly Krishnamacharya doesn't mention employing kumbhaka in the Yoga Makaranda instructions from part I which is where we usually find kumbhaka indications. And in the main body of the Yoga Makaranda part II instructions he specifically says NOT to include kumbhaka ( but this fits in with the apparent introductory focus of YM2.). The reference to practicing pranayama and thus kumbhaka comes as an addition at the end.

How Long to spend in Mayurasana

Three durations are mention for mayurasana, the shocking...

"This asana sthiti should be held from 1 minute up to 3 hours according to the practitioner’s capa- ability".
from Yoga Makaranda Part 1

which thankfully is followed immediately by...

"If we make it a habit to practise this asana every day for at least fifteen minutes, we will attain tremendous benefits".

And finally in Yoga makaranda part II

"For maximum benefit Pranayama should be done for 5 minutes, when the body is held as a plank in the horizontal position". 

Which is attainable.

I choose to include Padma Mayurasa in my shortened practice at the expense of the other Primary series arm balances and following Simon Borg-Olivier practice it with a soft abdomen rather than firmed.




 Baddha Konasana 




If we can promote advanced asana through Instagram then perhaps we can also promote Primary asana and work on proficiency there. Ramaswami and his teacher Krishnamacharya suggest timing how long we stayed in a posture, then repeat it staying the same length of time but taking only half the number of breaths.

Here I'm working on 8-10 second inhalation, equal exhalation and a 2-5 second kumbhaka (breath retention, here retaining the breath out) at the end of the exhalation. Staying in that posture for five to ten minutes. Padmasana is a counter posture and feels much more comfortable following a longer baddha konasana. For this reason I tend to shift it to the end of my practice just before my Pranayama and Sit.

If you don't want to explore such long stays in regular practice this makes a nice pre-Sit evening practice. Five minutes each side in Maha mudra (janu sirsasana A without folding forward and long slow inhalations and exhalations perhaps with jalandhara banndha and kumbhaka 5-10 seconds after the inhalation), then baddha konasana, Siddhasana for some Nadi Shodhana pranayama perhaps and then padmasana (or other preferred meditation posture) for your Sit.


In Yoga Makaranda Krishnamacharya also mentioned daily practice of trikonasana.


Trikonasana

"The inhalation and exhalation of breath must be equal and slow. Practise this on both sides as described here. This asana must be practised for a minimum of 10 minutes. However slowly and patiently we practise this, there is that much corresponding benefit".
Krishnamacharya : Yoga makaranda (Mysore 1938)



Photo is of the Vinyasa Krama version with the feet facing the frount.
Krishnamacharya also demonstrates this asana with his hand resting on his foot as well as off.





Also.....


Padmasana perhaps goes without saying


  Padmasana / Parvatasana / Bhairava mudra,



Arms above the head postured are helpful when exploring uddiyana bandha by lifting the ribcage, our breath and heart rate slow, the kumbhaka stills the mind. For these reasons taking the arms above our head at the end of our practice may be considered beneficial before moving into our pranayama practice. 

Parvatasana is the final asana in Ashtanga Advanced B Series but it can perhaps be seen as the final asana of our practice, whichever series we may practice Manju ends his led class with this asana. It can be practiced with a mudra like approach as with Vrikasana above ( longer exhalation than inhalation, kumbhaka after exhalation, focal point to unite the mind with the body) but with the focus perhaps on hrdaya (centre of the heart) and held for 6, 12, 24 breaths. 
Variation B, folding forward is optional but we might end our asana/musra practice as Manju Jois does with Bhairava mudra, sitting in padmasana with one hand resting on the other, taraditionally the right above the left for men, left above the right for women.





A counter posture/mudra


If you are including a regular vinyasa transition from standing to and from the asana then you will be getting a pratkriya (counter posture) in that transition. If not Bhujangasana and or variations might be introduced after the forward folds. Ramaswami recommends practicing it between sarvangasana (shoulderstand) and sirsasana (headstand).


 Bhujamgi Mudra / Bhujangasana   

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



Krishnamacharya/Ramaswami recommended practicing an asana like Makrasana / Bhujangasana / salambhasana as pratkriya (counter posture) to Sarvangasana (shoulderstand). Before practicing the asana we might practice it's sister mudra Bhujamgi or take a mudra like approach to makrasana, Slambhasana, dhanurasana

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

As Mudra

Bhujangi mudra can be practiced with the arms bent, hands beside the ribs, legs and feet on the floor, neck elongated, looking towards the horizon (trataka) rather than taking the chin forward, up and back.

Exhalation twice as long as the inhalation

The neck lengthened, kumbhakha after the inhalation
Focus of concentration Taraka (the horizon) or Bhrumadhya (between the eyebrows)

As asana, 

Bhujangasana

The chin can be taken forward and back

Throughout the project I've suggested full vinyasa following Krishnamacharya's Yoga Makaranda instruction, there are only around ten asana/mudra after all. Given the longer stay in several forward folding postures I will often include postures like Makrasana, Bhujangasana, salambhasana, dhanurasana after the chatauranga.


*


APPENDIX

notes from my proficient primary page

Notes on practice 1.

Uddiyana bandha

Most if not all of the pictures I will be posting in the Proficient Primary Project will show a deep uddiyana bandha, this is to draw attention to the focus on the breath (long and slow) and in particular the kumbhaka (retaining the breath in or out). Such a dramatic Uddiyana bandha as in the photos tends to be practiced on the hold at the end of the exhalation, however a more subtle, less dramatic, uddiyana may be employed and is perhaps advisable in the beginning stages of this approach to practice especially.

Exhale fully and before inhaling draw the belly, below and above the navel, in and up. Mula bandha will follow. Hold for 2-5 seconds.

Personally I tend to find the deep uddiyana a distraction from the stillness of the kumbhaka, bandhas should no doubt gain in subtlety, a background practice.

Krishnamacharya said that in the kumbhaka we see god.

I would go further and suggest that in the kumbhaka we see god... or the absence of god

Personally, when approaching my practice this way (and it's been around four years), I just find stillness, a quite profound stillness that on a good day joins up kumbhaka with kumbhaka throughout my practice, and stays with me for much of my day.


The photos tend to be screen shots taken from videos of my practice rather than being posed for, thus the poor quality.




The Proficient Primary approach to practice is based on the idea of rather than 'progressing' to ever more 'advanced' postures we instead explore proficiency within primary postures, longer slower breathing in asana, kumbhaka (where and when appropriate) and longer stays with an appropriate internal point of focus ( in short, merely Krishnamacharya's original instruction in Yoga Makaranda written in Mysore 1934 when Pattabhi Jois was his student) .

For this reason it is unlikely that we would be able to practice a full primary series and I tend to recommend a modified, flexible half Primary.

Note: an alternative is to go through the series as normal but pick out a different asana or two to explore as a longer stay and emphasise the full slow count in finishing.

Because of the static nature of so many of the postures I recommend and practice full vinyasa ( however vinyasa could be skipped between sides or only included between groups of asana) as well as including some variations in the long inversions, sarvangasana and sirsasana.

Kumbhaka (retaining the breath in or out) can be practiced after the inhalation and/or after the exhalation.

Most of the asana and mudra below present the kumbhaka after the exhalation, however we may 'balance out' the kumbhaka throughout our practice.

When sitting up we might practice the kumbhaka after the inhalation or exhalation, when folding forward (into the asana for example) we might include a short kumbhaka of 2-5 seconds after the exhalation).

Kumbhaka tends to be avoided in twisting postures

Below, my typical practice

Built around 10 key asana  and mudra ( a Rishi Series?) with optional variations and preparations 
see below for an approach to each asana and mudra
Surya namaskara
Tadasana

1. Trikonasana 
2. Dandasana/Pascimattanasana/ Asvini Mudra 
3. Maha Mudra 
4. Bharadvajrasana
5. Padma Mayurasana or Vajrasana
6. Sarvangasana 
7. Bhujamgi mudra 
8. Sirsasana 
9. Baddha Konasana 
10. Yoga Mudra/parvatanasana/padmasana

Pranayama/meditation



Can it...., should it, still be considered 'Ashtanga vinyasa', there is still the vinyasa, the focus on the breath, drishti, bandhas.... , it hardly seems to matter but Jois talked about practicing less asana at some point and staying longer in those postures we believe are of most value, giving more attention perhaps to the later limbs and from fifty he gave us carte blanche to practice what and as we will.


.......we don't necessarily have to wait that long of course.



*

Practice framework

Kapalabhati - 36
Pranayama 6-12rounds

Optional

Bhagirathasana

Short tadasana sequence of arm movements


A


Surya namaskara 3 A + 2 B 
( the first with 6 breaths at each stage, 12 breaths in Ardho Mukha Svanasana )

1. Trikonasana 
6 or 12 breaths each side

Optional extra standing posture(s) alternating each day

2. Dandasana/Pascimattanasana/ Asvini Mudra 
12 breaths
(followed by it's pratkriya purvottanasana)

One or more Optional Asymmetric asana approached as mudra 
(alternating daily) - 6 breaths each side

3. Maha Mudra 
12 - 24 breaths

4. Bharadvajrasana
12 breaths
(as an alternative to Marichiyasana)

5. Padma Mayurasana (optional )

Or Vajrasana with stomach lock.
6 -12 breaths
(Krishnamacharya recommended that we practice Mayurasana daily in Yoga Makaranda but it may depend on the strength of your wrists, I tend to avoid it these days due to a recurring unrelated wrist injury)

Tatka Mudra 
12 breaths


B


Dwi pada pitam
(sarvangasana preparation)

Urdhva Dhanurasana (optional)
6-12 breaths

6. Sarvangasana 
5 minutes
(Without variation, practiced as mudra)

7. Bhujamgi mudra 
6 -12 breaths
(as pratkriya to sarvangasana)

8. Sirsasana 
5 minutes as mudra - Viparita karani
5 minutes with variations

Vajrasana 
6 -12 breaths

Sarvangasana 
approx. 5 minutes with variations


C


9. Baddha Konasana - 6, 12, 24 breaths

10. Yoga Mudra
6 -12 breaths

Parsvatanasana 
12 - 24 breaths

Pranayama 
Bhastrika - 60 breaths
Nadi sodhana (6), 12, 24, 48 breaths

Formal Sit.
20, 40 minutes



Note:
Ideally practice A, B and C together early each morning.
If time is an issue ,A followed C might be practiced in the morning with B ( and perhaps C ) practiced later in the day.



*

Notes on practice 3

Hints/tips/cautions 

from


I'm never quite sure what to make of my Vinyasa Yoga practice book, on the one hand I feel like rewriting the whole thing but on the other, it's so tied to practice that I'm not sure where I would begin. I wrote the book as a separate blog over three months, doing my regular practice each morning then practicing a subroutine, filming it and then writing up the notes directly, the notes are very much a part of the experience of practicing that morning.



Paschimottanasana (posterior stretch) subroutine practice notes

VIDEO LINK



Paschimatanasana is one of the 4 Key Vinyasa Krama Asana that Ramaswami recommends we spend a considerable time in every day, the other three are Maha mudra ( day ) Sarvangasana ( shoulder stand) and sirsasana ( headstand).

'Yoga texts recommend vaseth, which means one should stay in this posture for for a long time. Even a stay of five minutes has a tonic effect on the posterior muscles, the abdominal muscles and the pelvic organs, because of the rectal and abdominal locks'. Srivatsa Ramaswami Complete Book of Vinyasa Yoga p 75

Paschimatanasana is one of only two asana that I remember Ramaswami giving hands on adjustment, he would push forward our sacrum as we folded forward into the posture (the other adjustment was in tadasana where he would grip the pelvis and lift and hold up while we would do the hand arm variations).


HINTS/TIPS/SUGGESTIONS

In dandasana (pic 1) stretch fully as in standing tadasana, lifting up out of the pelvis, fold forward from the pelvis, imagine pushing your backside back as when we practiced uttanasana (standing forward bend).

The slight bend you may find in the knees is GOOD, this is protecting your hamstrings, eventually, over time your legs will be able to stay flat.

It took me about a year before my legs would stay flat on the mat, there was always a slight bend of my knees.

Caution

Forcing the legs to flatten could damage your hamstrings, this is not fun and even a tweak of the hamstrings will take weeks if not months to pass completely. It's the pelvis we're most interested in working anyway in this posture, be kind to your hamstrings.

As you become more comfortable in the posture, a gentle way to work towards getting your legs a little flatter ( not necessarily all the way) is to spend a minute or so in the posture then shuffle your sit bones backwards this will gently lengthen your hamstrings and allow them to flat them a little more. Settle for another minute and then shuffle back a little further.

Engaging mula bandha ( drawing up the anus ) helps to protect your hamstrings, it seems to activate the gluteus maximus taking some of the stress off the hamstrings.

Engaging uddiyana bandha, sucking in the belly creates space for you to deepen your forward bend.
In Vinyasa Krama, in an extended stay in paschimattanasana we may lengthen the exhale and even hold the breath at the end of the exhalation and engage the bandhas strongly.

Inhalation 3-5 seconds, exhalation 5-10 or even 15 seconds.

In vinyasa Krama the chin is tilted to the chest and in an extended stay we may engage jalandhara bandha, the throat lock more strongly.

Occasionally I find tatkamudra a useful pre paschimottanasana posture, here's a link to a post concerning this http://tinyurl.com/6egyxoy Here's the gist of the post.

The other week, while practicing Primary series I was trying to settle into paschimattanasana but was feeling a little stiff. I laid back on the mat for a moment and figured while I was there I'd get my bandhas warmed up, better to engage them in the forward bend ( I tend to spend five to ten minutes in paschimottanasana, Vinyasa Krama style). So I raised my arms over my head for tatakamudra stretched and at the end of my exhale stopped the breath and drew up and back mula bandha, connected it to uddiyana, drawing my abdominal muscles inward and backward and bringing the small of my back onto the mat. A few long slow breaths and I went back to paschimottanasana, low and behold, the stiffness was gone and paschi felt comfortable enough for a long deep stay. 





Maha mudra (great seal) subroutine practice notes

VIDEO LINK

HINTS/TIPS/SUGGESTIONS

Ramaswami mentions mahamudra as a key posture in Vinyasa Krama and encourages us to include it in our daily practice.

Ramaswami also advises us to stay in the pose '...a long time, say about five or more minutes'.
Because we are encouraged to stay in mahamudra for a significant amount of time we may choose to practice just janusirsasana in this subroutine and then later, at the end of our practice, dwell in mahamudra as preparation for pranayama.

I like to practice it in this subroutine for the usual three to six breaths and then do an extended stay at the end of my practice followed by badha konasana before entering padmasana (lotus) for my pranayama practice.

Maha mudra is an excellent posture for working on mull, uddiyana and jalandhara bandhas.
As we take hold of our toe we have sit forward on our sit bones, grounded in this way it becomes easier to focus on exploring mula bandha, the holding of the toe, gives a sense of stability when engaging uddiyana bandha

Mula and Uddiyana bandha
'The other two bandhas, however, should be practiced in most of the asanas, especially after exhalation. The first is mula bandha, which means "constricting of the anus" It is done after a complete exhalation. After the exhalation is over, the abhyasi (yoga student) should anchor the body in the asana he or she is in and then slowly and deliberately close the anus and draw in the rectum by contracting the perineal and surrounding muscles of the pelvic floor. Then as if in a continuous movement, the abdomen, including the navel, is drawn in, pushing up the diaphragm into the now almost empty chest cavity, which is then called uddiyana bandha ( drawing in of the diaphragm)... This technique is one of the specialities of yogic breathing" p127
Leaning forward to grab our toe we allow our head to tilt forward bring our chin down. the chin tilted down is almost the default positing in Vinyasa Krama for the beneficial effect it has in the spine. We can practice it lightly or bring the chin tighter into the breastbone for Jalandhara bandha

Jalandhara bandha
'There are three important band has. the first is jalandhara bandha, or locking the chin against the breastbone. This may be done during kumbhkas and whenever the the posture requires the chin to be locked, which is normally the case during forward bends and when keeping the back erect. In backbends and twisting postures it is not possible to do jalandhara bandha'. p127 




Sarvangasana (shoulderstand) preparation subroutine practice notes

VIDEO LINK



Ramaswami states in The Complete Book of Vinyasa Yoga

'Even though all the vinyasas we have considered so far under the category of supine poses can be reckoned to be preparatory for the shoulder stand, three of them are considered essential before going in for the shoulder stand pose in the Vinyasa method of yoga practice.' p122

The three are

General Anapanasana (pictures 2-5) see Day 59 Dwipadapitam (pictures 6+7) see Day 60 Leg and arm lift (pictures 8+9) see Day 62

HINTS/TIPS/SUGGESTIONS

Ramaswami also recommends the hand and arm variations in tadasana (Day 1) from the On your feet sequence, as useful for relaxing and loosening up the neck and shoulders.

The practice sheet above represents my default preparation, I like to do all three of
the pavamuktasana, neck tilts, bringing the chin, nose and then forehead to the knee (anapanasana pose is when the head remains on the mat, pavamuktasana when the head tilts). Here I've done the both legs together version but you could just as well do the single leg version on both sides instead.

The same goes for the arm and leg lifts, here too, I've gone for the both legs together version but you could do the single leg vinyasas, either same arm/same leg or cross body.

In Dwipadapitam any of the vinyasas would be acceptable or even a long stay in just the ankle hold, lengthening breath and engaging bandhas.

Anapanasana (pictures 2-5) see Day 59
In all the anapanasana vinyasas the head stays on the mat, the hip lifts to bring the knee

or knees to the chest.

In all the pavamuktasana vinyasas the head lifts off the mat to bring with the chin, nose or forehead to the knee or knees.

It's acceptable to raise the head when catching the knee in anapanasana but once caught lower the head, and tighten the grip around the leg or legs and press the thigh(s) against the lower abdomen.
In the pavamuktasana vinyasas be careful not to strain when bringing your forehead to your knee, stretch up through the length of your spine and drop your shoulder blades down your back.
Engaging uddiyana at the end of the exhalation may also help to allow the forehead to reach the knee.

Dwipadapitam (pictures 6+7) see Day 60
Keep the legs strong throughout, push the feet into the mat especially the toes and stretch

though the whole length of the leg(s).

Explore nutation, tilting the pelvis upwards, to create more space for the spine to arch.


Take the weight on the shoulders rather than the neck, make sure the shoulderblades are dropped down the back and not hunched up and compessing the neck
Push the chest up and almost over the shoulders.

Leg and arm lift (pictures 8+9) see Day 62
Raise the arm(s) over the head on the inhalation, raise the legs on the exhalation Hold each posture for three to six breaths


Ideally we want to keep the sacrum, the small of the back on the mat while lifting the legs, difficult, engage mula bandha to anchor.



Sarvangasana (shoulderstand) lead in subroutine practice notes

VIDEO LINK

Ramaswami has Sarvangasana (shoulderstand0 along with Sirsasana (headstand) and paschimottanasana (seated posterior stretch) as the three postures his teacher, Krishnamacharya recommended practicing every day and for a considerable length time.

Sarvangasana, it is suggested, should be practiced for anything between five and twenty minutes daily.

Ramaswami recommended we spend three minutes in Sarvangasana with the legs relaxed then another two minutes with them straight in classic sarvangasana. After that first five minutes we might then consider exploring some of the vinyasas.

Looking ahead I think we have seven sarvangasana subroutines.

Ramaswami would also recommend a counterpose after sarvangasana so as to relieve the strain placed on the neck and shoulders, he suggests bhujangasana (cobra, Day 45) and especially makrasana (crocodile, Day 44) as ideal counterposes, stating that, 'The counterposes, as a rule, should be simple, effective and targeted' (Yoga beneath the surface p105).

HINTS/TIP/SUGGESTIONS

The above practice sheet shows the advanced lead in, it requires a degree of flexibility in the neck and shoulders at picture 8 that may not be available to you.

It is important that in Picture 8 the shoulders are on the mat rather than the back of the neck, engage jalandhara bandha ( the chin lock)

Rather than risk strain in the early stages one may consider the alternative approach on the following page.

Here a blanket is used beneath the shoulders, creating space for the neck and avoiding any strain.




INVERTED : Sirsasana (headstand) Lead in

VIDEO LINK


Ramaswami writes concerning Sirsasana (headstand) and it's subroutines
'...inversions should be considered as unique contributions of Yoga, for health. Within the first few minutes of Sirsasana practice, the leg and thigh muscles, the gluteal
muscles, relax. The chest, back, shoulders and neck muscles also relax as all these are not required to maintain the postural tone as in the upright position. It has been found that due to the relaxation of the leg muscles, the blood pressure in the legs drop to about 30mm.There is no great rush of blood to the head among the adept yogis due to
auto regulation; yet the gravity helps to open up many capillaries in the brain, head and face which may otherwise remain partially closed. People with high blood pressure and retinal problems will have to be careful. However persons with mild hypertension and under control with diet, life style change and even medication could benefit from
this posture if they had learnt it from early life. It appears to increase pressure on the shoulders which would result in the brain trying to reduce the blood pressure. Therefore if one would practice Sirshasana regularly for a sufficient duration, one’s pulse rate tends to reduce, thereby reducing the strain on the heart. Gradually there is a reduction in the blood pressure'.
Srivatsa Ramaswami Newsletter Aug 2009

There are several approaches to headstand, the above is the standard Vinyasa Krama approach.
If your new to headstands here is a link to a tutorial http://youtu.be/J68JvZtAHN4 

HINTS/TIPS/SUGGESTIONS

Consider using a wall while building confidence ( this us useful when kicking up into headstand as you can tap off the wall - see tutorial link above)

When interlacing the fingers, engage the little fingers (pic 2)

Make a firm base with your arms, your going to press down through your arms and take most, if not all, of the weight on them rather than on your head.

Headstand is an arm balance

Walk in bringing the hips over the shoulders and even beyond them to use as a counterweight for your legs. (pic 5)

Engage moola and uddiyana bandha,

Raise the feet off the mat while exhaling and bring the legs close to the body (Pic 6)
Press down through the length of your forearms, especially your elbows as you raise your feet.
Focus on the hips or the pelvis in space.

Drop the shoulder blades down the back, this should create space stop your neck getting pinched
Stretch out through the whole length of your body, engage your legs and bring your attention to the
furthest point, your toes

Focusing the mind on the toes will control the balance when fully extended. Come down by going back to half headstand, bring the legs to the chest Make sure the toes are turned up so you land safely. 


ALSO

Uttita Trikonasana subroutine practice notes

VIDEO LINK

HINTS/TIPS/SUGGESTIONS

I've re shot the video for the first Triangle subroutine. The older video was cut from the full Triangle sequence and at the time I was looking at Vinyasa Krama from a Sequence perspective. Here I'm focusing on Vinyasa karma at a subroutine level and find I'm noticing details I'd missed. I've mentioned several times that this series of posts or my practice book are no substitute for Ramaswami's book. I can't stress that enough, every time you dip into his Complete book of Vinyasa Yoga you find little details, subtleties that you missed in first, second or even tenth reading. What I present here and in my book are just cheat sheets, the broad brushstrokes of a practice.
So what did I miss first time around?

For one thing the jump. Actually, I didn't miss it, I avoided it and stepped my legs apart. There's a jump into the triangle postures in Ashtanga too but nobody seems to do them anymore, truth be told I think we feel a little ridiculous, Vanity vanity and in yoga too, now that really is ridiculous.
Iyengar always seemed to jump into the posture and I seem to remember Krishnamacharya did in the old 1938 video, he did it with a twinkle in his eye too. Ramaswami had us jump into triangle on his TT course.

We have become yoga mat centric and this leads to confusion. Ramaswami used to wonder why we didn't all have carpets rather than fancy yoga mats. On a yoga mat we have turn to the side before jumping our legs apart or we have to jump and turn to the side in midair before landing with our legs apart.

Better, in VK anyway, is to turn sideways on the mat.

Ramaswami has us raise our arms out to the side on the inhalation, exhale and then, before inhaling with our exhale still held, jump our legs apart.

Notice the feet, facing forward, turned out just a little.

I remember on the TT Ramaswami was asked or rather informed by a couple of the students that they had always practiced triangle poses with the foot your were bending towards turned out 45 degrees.

I loved Ramaswami's response. He didn't say his way was right, the proper way, the only true way and back it up with an anatomical or physiological argument but rather that it was just the way his teacher, Krishnamacharya, had taught him, that he had tried the other ways himself but found he felt more comfortable with the way he had been taught.

Later I managed to see Krishnamacharya book, the Yogasanagalu and there he is in several pictures just as Ramaswami had taught the posture to us along with everything else..

With triangle pose I tend to take a few minutes in the beginning posture trikonasana sthiti. I'll treat it like tadasa, the on the feet sequence, take a few breaths to move the hips back and forth and to the side, find the best point of balance. Then I'll do some hand variations, again similar to the on your feet sequence, just getting a feel for that starting position from which several of the subroutines will develop. I don't know of Ramaswami teaching this but it seems in keeping with his approach. Take a moment perhaps in all the stithi postures to the different sequences, asymmetric, seated, lotus, like an old Zen monk getting comfortable on his zafu.

As with the sideways bends and twisting in the On your feet subroutines, paying attention to the feet is important in triangle. Press down the opposite foot to the side your bending but also the inside of the foot on the side your bending in to, from the heel all the way to the big toe.

The more stable the base the more protected the knees, pushing down into the mat takes some of the stress off the knees.

Again as with the side stretches in On your feet, really stretch out of your hips before beginning your bend and keep stretching up along both sides of your body. The tendency is to stretch the outside and collapse the inside, stretch through both.

Breathe, strong ujjayi. Engage bandhas

Both will protect your knees.

When I first started asana practice I couldn't get much further than just below my knees, no rush, don't force it, it'll come. Besides the hand to the floor bit isn't the point of the pose, the stretch is. 


Badha konasana subroutine practice notes


I mentioned in the previous post that credited working on Upavishta konasana (Day 41) with a much improved badha konasana allowing me to bring me feet closer to the perineum and the knees to the mat. As it's a favourite posture I sometimes like to include some of the hand/arm variations we find in the tadasana sequence as well as Day 41's Upavishta konasana.

HINTS/TIPS/SUGGESTIONS

To get deeper into badha konasana prepare with extended stays in paschimottanasana and upavishtas konasana.

Sit up tall lifting up out of the pelvis

sit as far forward as possible on the sit bones

As you bring your feet closer towards the perineum, keep a little space between your feet to allow the turn outwards as if opening a book, turning your soles up to face you.

To allow this to happen there is a rotation in the hip joint, this should not be forced but something that will come over time as you work with hip opening postures like those in the Seated and Asymmetric particularly the janu sirsasanas.

Thinking.directing  the coccyx is coming through towards the heels seems to help, especially if folding forward to bring the chin to the mat.

Mula bhandasana
In this version you lift up and sit on the heels holding onto the feet (there is another advanced posture where you roll your feet over so that your heels face forwards and your toes point backwards before sitting on your heels), engage Mula, Uddiyana and Jalandhara bandha

Padmasana will be looked at in more detail in Lotus subroutines

Gomukhasana has too different versions, one where you sit on the heel and the one shown here practiced in Vinyasa krama where you sit between the heels. 



LOTUS : Padmasana (lotus) subroutine practice notes.

VIDEO LINK

Padmasana (lotus) can be a challenging posture and there are many places to work towards it in Vinyasa Krama.

In Asymmetric Sequence: Padmasana doesn't appear as such but there are several hip opening postures, janusirsasana leading to mahamudra in particular, that prepare you for ardha baddha padmasana (half lotus).

In Lotus sequence : The lotus sequence picks up where Asymmetric leaves off with more vinyasas in half lotus before moving on to full lotus.

In Seated sequence : Padmasana (lotus) follows the deep hip opening subroutines of upavishta konasana and badha konasana.

In Supine sequence : More half lotus variations, this time in dwipadapitam (table pose). In shoulder stand we have the half lotus vinyasas of Day 68 but also the extreme hip openers of the previous (Day 69 ) Urdhva Konasana subroutine.

In Inverted Sequnece : As with Supine and Seated the lotus vinyasas in headstand follow, konasana and badha konasana subroutine.
In all of the above sequences we can see that padmasana (lotus) follows hip opening postures, this is because padmasana (lotus) involves a rotation of the hip joint rather than a twisting of the knees.

HINTS/TIPS/SUGGESTIONS

Getting in to full Lotus
NB: THE most important thing to remember is to protect your knees, that it's the hip joints that do all the work, the knees only bend one way it's the rotation of the ball and socket hip joint that makes padmasana possible

Right leg
Bend the right knee and bring it up towards the chest. Reach with the right hand down inside the thigh and take hold of the right ankle.

Allow the right knee to drop out to the side through the rotation of the hip joint. Focus on that hip action, of the ball and socket joint, the femur head rotating in the hip socket, encourage it.

There's a tensing of the right buttock a lifting almost and a stretching of the thigh as you encourage the rotation in the hip joint that will bring the knee down towards the mat and the ankle to come up. This action should only happen at the hips joint your NOT pulling up the ankle and your NOT forcing the knee down.

If this isn't happening it might be best to work on more hip opening postures, mahamudra in Asymmetric, badha konasana in Seated.

Lift up through the torso, support the right foot with the left and right palms and guide NOT pull the foot to the left thigh.

Lift up again and bend forward slightly, roll onto the front of the sit bones and guide the right foot a little further up the left thigh into the groin.

Again lift and roll further onto the sit bones allowing the right knee to rest on the mat.

Left leg
Bend the left knee and again focusing on the hip joint allowing the left knee to drop out to the side.
Rock your body forward and draw the right knee out to the side through the thigh muscles. Lock the knee by pressing the calf muscles against the thigh.

Reach over the left foot and support the left ankle with the left palm, cupping under the foot with the right palm, encourage the hip joint to rotate further and allow the knee to drop further out and down. Again, your not pulling on the foot but rather supporting it to allow the hip joint to do it's work.

Lift up through the torso, rock further forward on the sit bones and stretch out through the left thigh to allow the foot to come up over the right leg.

Using the strength of the thighs bring the knees a little towards each other this will bring the right foot finally up onto the right thigh closer to the groin.

Shuffle around on your sit bones if necessary, encouraging more rotation of the hip joints to tighten the lotus, this is preferable to wrenching, tugging, pulling the feet.

Ultimately, for many of the lotus vinyasas you will require a nice tight lotus where the heels are digging slightly into the belly, the soles of the feet pointing up and the knees closer together. In fact, the heels can be considered to be massaging the inner organs in some of the vinyasas by pressing deep into the belly
To release
Sit up straight lifting up through the torso, focus on the left hip joint and encourage it to rotate by engaging the thigh muscles which will press the left knee into the mat this will allow you to very gently encourage the left foot off of the right thigh.


As you allow the knees to draw apart the lotus will unfold, again allow the right hip joint to do it's work bringing the right knee down into the mat and allowing the right foot to glide off the left thigh.

Padmasana subroutine
Ramaswami recommends coming into half lotus, taking a breath or two, continuing into full lotus, staying for a three breaths and then releasing the lotus before repeating six times.
You may wish to enter and exit your lotus for each of the vinyasa in this subroutine. Over time you may feel comfortable staying for a couple of the vinyasas and eventually the whole subroutine even sequence.

Lotus postures are excellent for working on the bandhas, the perineum is grounded allowing for greater focus on mula bandha, the lotus a stable base for deep uddiyana and jalandhara bandhas ( see practice guidelines Day 1 for more on bandhas).

Bhadrasana The hand position can be low on the thigh fingers tucked under the feet (pic 5) or closer to the knee (pic 6). If the knee be careful not to press the knees down, especially if the lotus position is still new to you.

Laghu yoga mudra (pic 8) is a deep forward bend, draw the buttocks back, come onto the front of the sit bones, engage mula and uddiyana bandha, sucking in the belly in to create more space for the body to fold forwards over your lotus. The same goes for the side vinyasas of yoga mudra (pic 11 & 12), be careful not to allow the opposite knee from the side your folding in to to raise, encourage it to stay down by grounding the sit bones.

Utpluthi (Pic 9) is all about hand placement. place the hands too far forward and the weight of the hip bones will keep your grounded, too far back and the weight of the knees will stop you from achieving lift. So place the hands just forward of mid thigh as close to your thighs as possible.
Bring your shoulders over your hands, bring your shoulders down, engage the shoulder girdle and after exhaling hold the breath out and push down into the mat through your hands and lift
Mula bandha should be engaged but engage it more strongly, tuck the tailbone under, the lower half of your body should feel tight and compact, draw your pelvis up into your torso and hold.
Keep the bandhas engaged and the tailbone tucked while your breath.

In this version of utpluthi you bend the body over the lotus, in a later version in the lotus sequence the body is more erect. 

On being held back and/or moving on to Ashtanga Intermediate, back bending and coming back up from UD (a response to a question on a 2008 post).

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I was sent an anonymous question/comment on an old old post, my response got quite long so thought I might as well turn it into a post, I was curious how my answer/response to this may have changed.


Comment question on an earlier post  'When to start intermediate. if you home practice'

It's been a while I saw this discussion ( on being held back). I have been practicing Ashtanga for many years but have not been able to come up from UD (Urdva Dhanurasana). I am still trying. Though it happened for a little bit - had a step on the floor - but it has gone away now! I am frustrated because - I am unable to come back up - when in Mysore - I do Primary and that's it. At home, I go up to Laghu and that's it. I enjoy part of the second - because I think it's helping open up back. Thoughts on what else can one do to come back up? Anonymous


It always seemed a bit of a cruel Ashtanga joke to me to have to try and drop back and come back up after Primary series with all it's forward bends, so so much easier after the first few postures of 2nd series.

As an experiment do Shalabhasana to Ustrasana (perhaps with blocks, yep props) then try Urdhva Dhanurasana, much much easier I find.

Even better the vinyasa Krama Bow sequence which has a couple more 'prep' postures that are excellent.

Link: from my Vinyasa Yoga Practice Book


I don't really think about 'backbending' much anymore Anon, I do the first half of second series once or twice a week and perhaps drop back when I remember and can be bothered. Better then to look back through the blog at earlier posts when I was working on it and having success. This link is to my progress post, the idea was that a reader could look through the videos, find where they are themselves then look at posts around that date to find what helped lead to the next video.

http://grimmly2007.blogspot.jp/2009/03/dropback-progress-jan-09-to-present-inc.html

One of the best pieces of advice ( or rather one of the few assists ) i received was at Ashtanga yoga London, when Louise, an assistant there moved me back in UD so my chest was further over my arms, that led to a deeper backbend i didn't know was available to me. IE. it allowed me to take tighter UD, my legs in a little closer, more under my hips I guess. That helped I think.

My first and second visit to a shala recounted at the bottom of this post
http://grimmly2007.blogspot.jp/2016/03/pushpam-yoga-magazine-published-by.html



Look for the posts on pelvic nutation too, that also seemed to help. Also Simon Borg-Olivier talks about engaging the muscles on the frount and sides of the stomach which relaxes the muscles at the back.

NOTE: Simon just commented on this on fb"one thing to clarify from me is that you mentioned that i say " about engaging the muscles on the frount and sides of the stomach which automatically relaxes the muscles at the back." - what i usually advocate in this case is engage the muscles at the front (rectus abdominis), which can reciprocally relax the back extensors, and activate the diaphragm (the muscle of 'abdominal' inhalation), which can reciprocally relax the muscles of forced abdominal exhalation which are our side abdominal muscles (the abdominal obliques) and which also attach to, and cause the over tension and compression of, lower back. I discuss this in detail in the following blog. https://yogasynergy.com/blog/how-to-relieve-back-pain-and-bend-backwards-without-hurting-your-lower-back/

Simon Borg-Olivier 
Perhaps one reason for holding somebody back a little to strengthen those muscles in primary.

I used to think everybody should just move on when they felt ready (assuming they also had some healthy common sense and body awareness) but I've since seen people with backs that just don't seem to bend or take years and years of work to drop back and even then it isn't pretty... and coming back up again will take even more years. I've seen teachers pulling a students into kapo with groans and even screams resounding around the shala followed by 'thank you thank you' - I've never understood it - surely more preparation postures are required (home practitioner speaking). I've never accepted a kapo assist nor would I actually, yet have got to the point of grabbing my ankles from the air without them. It makes more sense to me to just accept that for some, back bending is going to be a long slow process and shouldn't perhaps be holding somebody back from exploring other postures. It makes sense then to move on to the first part of 2nd series while still working on coming back up, skip kapo etc. and move on to the rest of the series while continuing to work on the more basic backbending(lengthening) postures.



The best and worst thing about Ashtanga teachers is that they are practitioners first, worst because often they latch on to ideas (dogma) that worked for them. They may have found being held back a profound experience for them personally so try and impose that on everyone else, others have something else that guides their teaching. Experience one would hope evens that out a bit and an experienced teacher would know when to hold someone back and when to move them forward.

Krishnamacharya seems to have worked in a different way than his student Pattabhi Jois. In an area where a student was strong he would give extra, more advanced variations, while the student continued to work on other areas at a more Primary level. If backbending was your strength then he would give you ever more advanced backbends, if leg behind head was your strength he would give the more advanced postures there. But then there was that demonstration aspect to his Mysore school, he wanted good demonstrators so would perhaps encourage a students natural facility for the sake of the demo.

Pattabhi Jois would move people along quickly in the beginning (dangerously so perhaps if we look at his Advanced led in a garage video http://grimmly2007.blogspot.jp/2014/03/sri-k-pattabhi-jois-advanced-ashtanga.html), Manju still does but with common sense, his assists more supportive than anything else while you yourself do all the work. Manju wont hold you at Mari D (which was originally in Krishnamacharya's Intermediate group) say, but will expect you to keep working at it while you move along in the series, likewise with moving along to 2nd series, he wouldn't hold you back at dropping back, he thinks the first half of second series very important.



Methodologies are always compromises.

I worry about the obsession with more and more advanced postures. Authorised and Certified teachers who constantly promote themselves under the guise of inspiration through social media, with pretty pictures of advanced series asana  are I believe doing the community a disservice although I like some of the full, unedited videos of advanced practice alone at home or in the shala. We used to joke that 3rd was the new 2nd, now it seems that 4th is the new 2nd. I no longer see the more advanced asana as important or necessary and don't tend to bother with them anymore but I do see the first half of second series as important as the first half of Primary and think it's worth moving on to relatively quickly.

Getting moved along quickly through Primary and on into the first half of second is a different issue altogether from moving along to 3rd/4th series asana. The first half of second are in a sense Primary postures. I would argue that the first half of Primary and the first half of Second series ( along with perhaps a few variations) constitute a good 'basic' all round (life long) practice and are more than sufficient.

Advanced asana are really not necessary. Ego, Ego, Ego Advanced. Often it's just ego, ego, ego although they can be fun, challenging and certainly nothing wrong with exploring them for a time if it's our inclination, I'm sure Krishnamacharya would have approved, nothing wrong either in sharing work in progress photos with friends, that whole process can keep us coming back to the mat, whatever it takes. See perhaps this post where I ask Krishnamacharya to convince me of thier value.
http://grimmly2007.blogspot.jp/2015/09/convince-me-krishnamacharya-are-there.html

It used to be that it was necessary to go to Myore, India to learn to practice Ashtanga but no longer, it's optional, there are excellent teachers all over the world, direct students of Pattabhi Jois and direct students of those students and even of those. The practice though, I strongly believe, teaches itself, inhale up/exhale down, focus on the breath for 30, 60, 90, 120 minutes day in day out for a few years and that's pretty much it, all is coming.

In my own practice these days  (See my Proficient Primary page) I tend to do pretty much the first half of both series on different days, my breathing as slow as possible throughout and including longer stays on different postures on different days. I'm more interested than ever in the finishing sequence ( I include a few variations in sarvangasana and sirsasana see this post http://grimmly2007.blogspot.jp/2015/02/inversions-krishnamacharyas-head-and.html) and pranayama.

After 50 Pattabhi Jois said you get a Pass to adapt your practice as you see best.... but honestly, you don't have to wait until then. See http://grimmly2007.blogspot.jp/2015/10/david-garrigues-and-flexibility-within.html

I had started to get back into regular Ashtanga because I was practicing alongside M. but as expected I quickly ended up slipping back into a slower practice and not enough time for a full series, Why you hurry.... Pattabhi Jois asked ( and Sharath still asks I hear), these days I hear him continue...

'Why you hurry, you're already here'.

My main daily backbend/back lengthening posture Bhujamgi Mudra, slipped in after Sarvangasana

Ramaswami's Upanishad Stories - September 2016 Newsletter from Srivatsa Ramaswami

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Upanishad Stories

One of the reasons many people do not show much interest in the 'spiritual' dimension of yoga and related philosophies is because it is made extremely academic and hence difficult. Further there are no peers. One becomes a lawyer, politician, a medical practitioner, builder or even an asana teacher
as we have many examples or peers one can follow. But many spiritual peers do not explain their experiences and even if they explain it is not easily understood due to the lack of empathy and practice. So even as the vedas and several old darsana (philosophical) systems like the yogasutras are replete with spiritual instructions they are not accessible to ordinary people. Even intellectuals are frustrated with these ancient works and tend to dismiss them as highly speculative, So some of the old rishis and authors chose to explain these in the form of narratives, stories, episodes. All the puranas and the epics like Ramayana and Mahabharata endeavour to explain these intricate atma vidyas or study of the self or 'subject' through captivating stories. I remember during my early schooling we had a book full of stories and at the end of each story will be a short statement saying “the moral of the story is.....”

Some of the upanishad stories are very apt and arresting.  Here is one constructed based on an episode in Brihdaranyaka Upanishad from Shukla Yajurveda. Yagnyavalkya was a great scholar, seer and is credited with bringing the entire shukla yajur veda from the Sun itself. His sharp intellect gave him an extraordinary capacity to discern great philosophical truths including Brahman the ultimate reality according to the upanishads. He was revered by all-- even feared by pundits. After a very successful life during which time he not only explained the great truths succinctly, he also accumulated considerable wealth, cattle heads and landed property. He had two wives one Maitreyi and the other Gargi. Suddenly one day he called both his wives and told them that he had decided to settle the property equally between them and that he himself would leave home for solitude in the forests. Gargi always obedient and would act as per her husband’s wishes agreed without a question. However, Maitreyi would not agree right away, She told him that she wanted some more information. "You, my dear, are giving up twice as much as I am going to get which is half of your belongings. You are not  an ordinary person. Even an ordinary mind can understand that what you are going for must be much more valuable than what you are giving up, the vast estate. Yagnyavalkya smiled and agreed with her. I have been studying and talking about it, the Atman/ Brahman and want to directly see and experience who I am, that Atman/Brahman. It is not an abstract idea. See if you can empathize with it.

The husband is dear to the wife not for the sake of the husband but for the sake of the wife herself. Likewise the wife is dear to the husband not for the sake of the lady but for the sake of the gentleman. All things that we love and that are dear to us are dear to us because they give us happiness and we love them because basically we love ourselves first and foremost. Everyone loves oneself most. This intrinsic love for oneself develops into love for the spouse, for the family, for the belongings, for the community and even for the world. So the logical question everyone should ask oneself is “Who am I whom I love so much?” This inquiry led many philosophers to slowly and step by step understand the true nature of the Self. So the goal of life is to understand the nature of one-Self. How does one do it? By first listening to the dissertations by the various upanishads (shravana) then contemplate upon those teachings with a focused mind (manana) and finally settle in the correct knowledge of the self which is Atman/Brahman. Then Yagnyavalkya explains to his wife about the nature of the real self as opposed to the physical being that is erroneously considered as the Self. Convinced, Maitreyi gives her share to Gargi and leaves home for solitude and contemplation on the Self. This particular approach of leading the disciple from the known to the unknown is resorted to by many upanishads


There is another interesting episode in KaThopanishad. A young boy Nachiketas saw his father performing a sacrifice ritual in which one is expected to give away in charity possessions that one considers very dear and valuable. The father was seen giving away cattle that have stopped eating grass, drinking water or giving milk. They were old and the giftee can get nothing out of it. Nachketas realized that what his father was doing was bordering on dishonesty and that this karma will not lead him to heaven as he would have hoped. So he jumped in and asked his father “To whom are you going to give me away as a gift, as he knew that he was very dear to his father. The father kept quiet, and Nachiketas asked him again and found his father saying nothing. And when he asked the same question a third time the angry father blurted out “To Yama”. And as we know Yama is the god of death. The boy without telling a word to his father left for the world of Yama. He went to yamaloka and stayed outside the abode of Yama, the story goes, for three full days without water food or rest. Yama was away from his abode at that time and there was no one else in that world of death (Who would be there in the world of death?) Then arrived Yama and profusely apologized  to Nachiketas for not attending to a spiritual guest like Nachiketas. He then offered Nachiketas three wishes(boons). Nachiketas requested that his father's anger with Nachiketas should be cooled down and that the father should accept Nachiketas with the same love and affection he had for Nachiketas before this incident. For the second wish he asked Yama to teach him the fire ritual that would lead one to heaven. The complicated procedure was taught by Yama and Nachiketas absorbed all the instructions and did it himself to the complete satisfaction  of Yama.  Immensely pleased Yama said that the rite would henceforth be known after Nachiketas and would be called Nachiketas yagnya. For the the third wish Nachiketas as led a simple question. Is there life after death? Some say that there is no future life whereas some philosophies like the Eastern ones say that there is life after death. There is no way of knowing it for sure except from Yama the god of death himself. Very reluctant to discuss that query, Yama is said to have offered many more goodies but the boy was steadfast and insisted that Yama should impart the correct knowledge. Yama then gives the unique instructions to Nachiketas. That is a beautiful story

( I am teaching the complete KaTopanishad at Chicago Yoga center on Sept 16 2016 in Chicago. Here is the link ) http://www.yogamind.com/workshop-ramaswami-upanishad_2016.shtml

Bhrigu is a highly venerated Vedic sage (rshi). One of the important vedic mantras are the seven vyahritis which also forms the first part of the pranayama mantra. Bhrigu is mentioned as one of the 7 sages associated with the 7 vyahritis. Every time one does mantra pranayama the name of bhrugu is mentioned with the nyasa. In the famous pratasmarana (morning prayer) Bhrugu's name is the first of 12 sages who are remembered for good morning/day. There is a story of how he attained brahma gnana or the realization of the Brahman the ultimate reality as per the upanishads. Bhrugu as a young boy heard about 'Brahman' and approached his father his first spiritual guru to teach him about Brahman. Brahman according to Taittiriya upanishad, is consciousness which is real and unbounded. In effect it would mean consciousness (gnana) unaffected by time (satya) and space (ananta), which would imply that it is immortal (satyam gnanam anantam Brahma) This definition of Brahma is known as svarupa lakshana of definition of Brahman. Bhrugu approached his father to teach him how to realize that. The father Varuna, whom some relate to the god of rain, asked his son to contemplate on That from which everything is born and by which everything is sustained and into which everything ultimately merges. This definition is known as tatasta lakshna or path showing definition of Brahman. If one follows this path one would be able to realize Brahman. In five steps Bhrugu by his own contemplation and egged on by his father at each stage realizes the nature of Brahman and is ecstatic. So this Bhrugurvalli of Taiittiriya upanishad in the form of a narrative leads the aspirant to reach the goal surely with baby steps.

Then there is this famous episode of Svetaketu, son of Uddalaka. Uddalaka wanted his son to be a wise spiritual person so at the age of twelve sent him to a famous teacher for studies. Svetaketu spends 12 long years in school. After commencement (samavartana) he returns home proud with his scholarship. The father while happy with his son's accomplishments was upset at the conceit of his son, asked him a simple question, if he knew That, knowing which everything becomes known. Stumped at this curved ball from his father Svetakaetu  first blames his teacher for not teaching about it but immediately realizes his mistake and pleads with his father to teach him That. Then in an interesting discourse Uddalaka teacher his son about Brahman and reveals that “You are That” or 'tat tvam asi' one of the four great sayings of the upanishad

Here is one more. A king became an emperor by doing Aswamedha yaga or Horse Sacrifice. Then he went on to do 100 of them and accumulated huge punya which led him to go to heaven and also become the head of the gods "Devendra" by replacing the incumbent Indra. Soon enough the highly rajasic new Indra wanted to completely remodel the entire heaven. He called Viswakarma the celestial architect to make many drastic changes. He asked him to design and  build new arches and towers at the four entrances of heaven and called the towers "Triumph Towers". Viswakarma worked feverishly and finally broke down. He sat under a tree and was feeling sorry for himself having to work under such a boss. At that time a sage was walking by and took pity on the great architect and asked him to share with the sage his problems. Viswakarma narrated his woes and the sage asked him to remain quiet and that he would go and talk to the new Indra. He approached the new Indra and asked him how he was doing. Indra started narrating all the various heavenly projects he had undertaken. The sage cut him short and pointed his finger to a corner of the heavenly palace. There through a small crevice an army or column  of ants could be seen marching . The sage pointed it to the King of gods. Indra became furious and sent for the harassed Viswakarma. As soon as Viswakarma came and before Indra could castigate him, the sage asked "Oh Indra, do you not know who these ants are?". No I am not interested, I want Viswakarma to immediately close all the crevices in all the heavenly buildings. The sage said "My dear friend you should know that these ants were all Indras in their previous births. And having exhausted their punyas they are continuing to take new birth like this to work out their karmas. This position that you occupy may last a while but it is temporary. So you must think of what you should do to transcend this repeated cycles of birth and death

There are several other stories in the upanishads,  the goal of which is to teach the reader about Brahman the ultimate reality. Once I asked my guru  why there were so many upanishad and so many upanishad vidyas to teach one principle, the Brahman. He said that different disciples were taught differently by different teachers all over the vedic world taking into account the stage in which the aspirant was.  Some of the outstanding ones were included in these classic upanishads.

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Note: See below for some Upanishad translation suggestions



Wish you a Happy September !

I completed the 15 day 100 hr Vinyasakrama Yoga  TT program at Loyola Marymount University. Again I had the good fortune of having an excellent group of participants. It is a pleasure to teach at LMU. There were a few others who participated in 60 hr Vinyasakrama Asana program a major component and also for the 20 hr Yoga Sutra and 20 hr Pranayama and Yoga for Internal organs segment. A very lively group indeed.




I spent four days with Sriram in Germany teaching different aspects of Krishnamacharya's teachings. We ended the program with Sriram and me chanting Arunam with many of the 100 plus participants doing 32 times the 12 vinyasas suryanamaskara. The whole process took abut 2 hrs.




Then on 30th August I started a 5 day 25 hr core vinyasakrama Asana program at  Hatha Vinyasa Parampara Yoga Schule Mainz in  Germany. The program will conclude on Sep 3rd 2016. It has participants from several countries in Europe.

In September I will be teaching the 100 hr Vinyasakrama program at Yogadhara in Madrid Spain. This will be the fifth time I will be teaching this program within a year of offering this program. I have taught this program already in Chennai and New Delhi in India and then in Saskatoon, Canada and at LMU in Los Angeles.  It is being organized by  Blanca San Roman  of  Dhara Yoga in Madrid, Spain. She attended my program in New Delhi early this year and also had attended some shorter programs in UK. Here is the link. I understand that a few spots are still available to spread your yoga mats.
http://www.dharayoga.es/

 I will also be teaching an expended weekend program at my friend Suddha Weixlers Chicago Yoga Center. One day I will be teaching KaTha Upanishad, one of the 10 major upanishads, and during the following two days it will be the three chapters of Hatayoga Pradipika. Here are the links

http://www.yogamind.com/workshop-ramaswami-upanishad_2016.shtml
http://www.yogamind.com/workshop-ramaswami-pradipika_2016.shtml

http://groups.google.com/group/vinyasa-krama


BLOG NOTES


I have a soft spot for Juan Mascaro's translations

The Upanishads (Penguin Classics) Paperback – November 30, 1965
by Anonymous (Author), Juan Mascaro (Translator)

but I also have Eknath Easwaran's on kindle, highly readable.

The Upanishads: A Classic of Indian Spirituality Paperback – August 28, 2007
by Eknath Easwaran  (Author)

Sri Aurobindo's Upanishad selections are also on kindle and include the sanskrit

The Upanishads, 1st US Edition Paperback – December 31, 1996
by Sri Aurobindo 



Richard Freeman recommends this one on his Yoga Workshop reading list, I always wanted to get hold of a copy.

The Principal Upanisads
translation/commentary by S. Radhakrishnan, Harper Collins


I have these for Sankaracarya's commentary...

Eight Upanishads, with the Commentary of Sankaracarya, Vol. I
Eight Upanishads, with the Commentary of Sankaracarya, Vol II



These pdf's are from my Yoga Reading List Page which includes 'Reading list's' from Krishnamacharya, Pattabhi Jois and Ramaswami.

Some Upanishads  Ramaswami studied with Krishnamacharya

Sad-Vidyá (?)Chándogya Upanishad pdf
Mándukya Upanishad pdf
Taittiriya Upanishad pdf
Prasna Upanishad pdf
Mundaka Upanishad pdf
Isvásya Upanishad pdf
Brhadáraóyaka Upanishad pdf
Svetavatara Upanishad pdf
Kausitaki Bráhmana Upanishad pdf

See also perhaps this earlier 'Story time' newsletter


One of my fondest memories of Ramaswami's month long TT at LMU in 2010 is 'story time'. At the end of two or three hours of asana and pranayama, we would gather round and he would tell us stories, one after another. I was and am still envious of his grandchildren. Come to think of it Ramaswami was always telling us stories, his Yoga sutras class would be interspersed/illustrated with relevant, related stories and chants. I think I'd like to spend a month with him with no set program of study, just listening to stories and discussing the cricket. 


Ramaswami's 200hr TT at LMU LA in 2010 (I'm over on the right)

On yoga practice and ageing

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You may have no problems at all up to the age of fifty or sixty. After that, the real problem arises when the tissues of the body do not bear the load. What I practise now is more difficult than what I did when I was young or struggled to learn. Though today, I don’t consider those practices as very hard although I practised ten hours a day then. Today, it is a big fight between the body and the mind. The body says, “I can’t do it.” The mind says, “Do not force me.” BKS Iyengar

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"Most people want to take joy without suffering, I'll take both. 
See how far suffering takes me" BKS Iyengar Light on Life.

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We may not attain samadhi but perhaps the work we do in exploring the limbs of Ashtanga practice may prepare us somewhat for the suffering and hardship that awaits us. Few if any manage to avoid suffering completely. We do not seek pain or suffering but when it can not be avoided, reduced , deflected, we must be prepared perhaps to face it unflinchingly with dignity and forbearance and learn too from this pervasive aspect of life what it can teach us. 

Below is perhaps the most affecting article I've read on yoga, I'm tempted to print it out, frame it, and put it on the wall of the home shala. I've also included some notes on Iyengar's passing and a couple more articles, titled 'Seeing is believing' on BKS Iyengar practicing in his 80s.



At 92 years of age BKS Iyengar continued to practise yoga for several hours each day. Here he describes how his practice changed with age and offers advice to students on yoga in later life.




You may have no problems at all up to the age of fifty or sixty. After that, the real problem arises when the tissues of the body do not bear the load. What I practise now is more difficult than what I did when I was young or struggled to learn. Though today, I don’t consider those practices as very hard although I practised ten hours a day then. Today, it is a big fight between the body and the mind. The body says, “I can’t do it.” The mind says, “Do not force me.”

Will over matter

Believe me, after a certain age, to practise āsana and prānāyāma is going to be very hard. I am doing it because of this reason only. The body ages. It descends towards deterioration. The rate of catabolism increases more than anabolism. The bones become brittle. The blood vessels get hardened. All these are known facts. I do not want to fall prey to these. If I surrender to the will of the body, then I am no more a yogic practitioner. When I practise, I watch how to stop this deteriorating process. That is the will over matter.
Then you say, “Iyengar doesn’t need anything because he has practised earlier”. But that is not the right way of thinking. In fact, I see how at this age I need to practise. I have to avoid the constriction of the sternum. I have to see how the diaphragm remains free. If I look at the possible deteriorations and maintain my practice of āsana, then people say that I am a physical yogi.

Increased timings

Often people think that at the old age they should do dhyāna (meditation) or japa (repetition of mantras) instead of āsana and prānāyāma practice. I am not that type of a sādhaka (practioner) to take shelter under the garb of old age. I will not run away from my practice because of the fear complex of old age. I do meditation in each āsana as in each āsana I see God who is infinite and beyond measure. Because of age I have increased timings in my practices. Mind and body want to give way. I daily charge my body and mind to stand with will power so that I do not surrender to the weakness of my body and mind.
Having a good background of philosophy, practising yoga, I now continue life without depending on anyone. I have to stick to the philosophy of the body as I am already ingrained in the spiritual knowledge.



The steadiness of intelligence

The only difference between now and the early days is that in the early days I was like all other youngsters. I was tempted to do the āsana one after the other. Today, I stay in Dwi Pāda Viparīta Dandāsana or in Kapotāsana for quite a length of time. At this age I clearly understand the sūtra (Yoga Sutras, II.46), sthira (stable, firm) sukham (sweet, easy) āsanam (posture) in its total sense. Now, I see in each āsana, the perfect freshness and firmness of body, the alert, steadiness of intelligence and the sweet, benevolence of the self. I see whether I can enjoy sthira and sukha in a long stay in Kapotāsana. Can I be sthira and sukha in Dwi Pāda Viparīta Dandāsana?
Sometimes I do ten minutes Pārsva Śīrșāsana, on each side. These are difficult āsanas. Nobody does the advanced or complicated āsana at this age. Nobody takes the risk of doing and staying in these āsana as it requires courage. To do and maintain an āsana when the muscles and nerves tremor and the loose joints shake, heart beats faster, it is not an easy thing. I am not that type of a person to sit in Padmāsana and say, “I am comfortable.” If you are doing yoga, you realise the difficulties as one ages. So, my advice to all of you is that as yoga frees one from the afflictions of actions, afflictions come in chains in old age. Therefore maintain and sustain what you have learnt and do to keep it up then.

Courage and faith

This needs not only will power but also courage and faith. By the proper chemistry of will power and courage along with discrimination, the yogic practices generate the energy in the nerve cells as you stay in those difficult āsanas for a long time with comfort. At this age I learn lots of things. It is the wisdom that comes at this age. I have not lost this freshness of intelligence.
When you do Pārsva Śīrșāsana, sometimes you may not know where the legs are, where the shoulders are, where the load is. For an aging person like me, it is more difficult to have the sensitivity; yet, I have not lost it. Every now and then I come back to the right position in case I deviate from my limbs or mind. I educate the cells that they have to remain where I want them. I try for sthira sukham āsanam in these difficult āsanas. It is easy to be sthira and have sukham in the simple āsana.
I regularly practise prānāyāma and dhyāna in Padmāsana. You do not see me early in the mornings to know what I do. You only see me practising āsana in the hall, but my approach is the same in prānāyāma, dhārāna and dhyāna. To be honest, this is ethics.
Tatah klesha karma nivrttih (YogaSutras, IV.30). With the end of afflicted oriented actions, see that the afflictions do not enter the system or you in old age.


Dipika, 2011
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Do follow the link (click the article title) and check out the website, the excellent BLOG (http://iyi.org.uk/category/blog/and the Resource page (https://iyengaryoga.org.uk/resources/articles/that has amongst much else all the Iyengar Yoga News Magazine mentioned above to view and download


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Two years ago I woke up to hear that BKS Iyengar had passed away. I was in Rethymno, Crete at the time, practicing Ashtanga at Kristina Karitinou's shala for three months. I mentioned to Kristina that the great man had passed and she informed the rest of the class and dedicated the mornings practice to his memory. At the end of my practice I quietly went out into the courtyard behind the shala and dropped back a 108 times just as I had once seen Iyengar do on perhaps his 80th birthday. It was only the second time I had attempted so many dropbacks (see this post) and I had to split it into four groups with a brief pause between each. At the time I wasn't exactly sure why I was doing it, wished after the first batch I hadn't started, and wondered why I was so moved by his passing,  I was an 'Ashtangi 'after all, I'd never been to an Iyengar class, still haven't..... reading this article now I wish now I had done that 108 twice.


Iyengar dropping back again and again and again 42 seconds into the movie below




On a workshop I was presenting at Stillpoint Yoga in London a few months later an Iyengar teacher who reads my blog occasionally sent me, via his student who was attending my workshop, some pages on Iyengar's late practice (from Iyengar Yoga News. Some sample pages below, the magazines are now available to view and download at the links)

The practice was stunning, bemusing even, long long stays one after another, five minutes here, ten, fifteen minutes there, asana after asana, what possessed the man...... the article above goes someway perhaps to explaining but only someway. I held off posting those pages at the time but now I see they are readily available online.





See Part one of Inyengar's practice on p36 of  issue 3 







Part two on p 33 of issue 4


UPDATE: Encountering these articles again on BKS Iyengar's practicing in his 80s and 90s, I wanted to read more of his later writing. I've just started reading his Light on Life, a quite wonderful book, did Iyengar suspect it might be his last? It feels like a summation of all that he had learned in his lifetime of Ashtanga enquiry. The book treats each of Ashtanga's (eight) limbs chapter by chapter, we have Iyengar on asana, pranayama practice, on approaching/exploring each of the other limbs with the same uncompromising will with which he investigated asana throughout his life. 

Asana practice often gets a bad wrap these days, "That's not yoga", they say. 'They' see the play perhaps, the promotional asana that can, at times, distract us too from our work, we can allow ourselves some distraction perhaps if we then rejoin the struggle with ever more commitment. 


It is work, that daily discipline that characterises practice as we understand it.Lineage is of no importance other than to cling to an illusion of authority, another distraction, a support perhaps in the beginning, at some point it may become a hinderance to enquiry and what else is yoga. Sincere, committed practice, ideally daily, in whatever form it takes, moving or static, a mix of the two. Practiced with resolve it forges the will, the discipline required of the other limbs it leads us towards. 


There is a line from Iyengar's Light on Life that came back to me looking at these pictures...,  


"Most people want to take joy without suffering, I'll take both. 
See how far suffering takes me"


Was Svātmārāma thus, Matsyendrasana, in their uncompromising enquiry? 


(When) will we see his like again?



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Note. The approach to Ashtanga I personally take now, at 53, is outlined in my Proficient Primary page http://grimmly2007.blogspot.jp/p/proficient-primary-project.html



Links

Do follow the link (click the article title) and check out the website, the excellent BLOG (http://iyi.org.uk/category/blog/) and the Resource page (https://iyengaryoga.org.uk/resources/articles/that has amongst much else all the Iyengar Yoga News Magazine mentioned above to view and download.



https://www.amazon.com/Light-Life-Journey-Wholeness-Ultimate/dp/1594865248



Iyengar yoga Institute UK

Krishnamacharya's bhardvajrasana - Also, a new blog title and layout

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Seeing as I don't post as often as I used to, I thought I might use the blog header photo as a place to occasionally present Krishnamacharya's asana/mudra instruction alongside either a photo of myself or ideally Krishnamacharya in the posture. I'm not sure how often I'll get around to changing the photo/instruction but perhaps I'll see about setting up a page at the top of the blog to include the previous photos/instruction/notes.

Starting off then with my current favourite asana (still) Bharadvajrasana. I've included my earlier post on the posture below but have added a note.

Note: in Yogasanagalu (1941) Krishnamacharya mentions bharadvajrasana in the Middle group of asana and that it formally has 18 vinyasa with #8 and #10 as the states of the asana ( so no jump back in between sides) Bhaya kumbhaka is also indicated.


Though in Krishnamacharya's later teaching he didn't seem to stress the vinyasa count/number he suggested to Ramaswami that it was still implied. one might still begin and end each asana from samastithi. In modern Ashtanga Vinyasa half vinyasa is practiced, in Ramaswami's presentation of his teacher's instruction one asana or mudra variation might flow into another, a transition to Samastithi coming either between subroutines or perhaps following a whole sequence.

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I've also changed the blog title to Krishnamacharya's 'original' Ashtanga yoga....at Home.

'Original' in inverted commas because Ashtanga of course goes back to Patanjali and his eight limbs and even then wasn't 'original', Patanjali seemingly bring together a collection of earlier teaching. 

It's clear from the table in Yogasanagalu (1941) that the Ashtanga presented by Pattabhi Jois was a continuation of much of his Krishnamacharya's, Mysore teaching, though somewhat simplified. The Primary and Intermediate series that Pattabhi Jois presented in his four year course at the Sanskrit college (along with the Proficient group divided by Jois into two more series) follow almost exactly the table in Yogasanagalu. Some of the changes are interesting however. Marichiyasana D placed in primary series by Pattabhi jois is in Krishnamacharya's middle list (and clearly it's an intermediate if not advanced posture) but there is an argument for placing it after marichiyasana A, B and C, in fact Krishnamacharya seems to have worked in a similar way. Less tied to a 'fixed' series Krishnamacharya may well have given students more advanced variations in areas where they were perhaps more flexible while they continued to work in areas they weren't on more primary asana. 









Stressing 'original' in reference to Krishnamacharya's Ashtanga allows us to look closer at what has perhaps been mislaid in Pattabhi Jois' presentation of Ashtanga. The more flexible groups rather than fixed series, the Kumbhaka option indicated for most of the postures Krishnamacharya presents, the longer stays in for example Bharadvajrasana, but in so many other asana Krishnamacharya taught. 

It's possible to practice (and indeed 'teach') the Primary list of Asana Krishnamacharya presented in Yogasanagalu just as Ashtanga is currently taught, whether as in a led class or in a Mysore setting. It may well be that this formed the hour beginner class that Pattabhi Jois would lead in the 1920s on Krishnamacharya's behalf while his teacher was in a side room perhaps teaching one to one in a manner which perhaps reflect's more closely the Vinyasa Krama presented by Ramaswami ' - see the inversion variations Krishnamacharya demonstrates in the 1938 documentary video which follow closely Ramaswami's presentation of inversions.

While we may practice Krishnamacharya's Primary group as a series we should perhaps always be aware of the options Krishnamacharya made available to us in his early writing, the kumbhaka as our breath in an asana steadies, the variations of asana, whether as preparation or progression, the longer stays, the employment of bandhas, exploring postures as mudra and also the focal points that makes dharana perhaps available to some extent for most if not all asana  See also my Proficient Primary page

Note: I was asked this week if I am currently teaching Krishnamacharya's yoga, the answer is no, I don't feel it's necessary or that I am particularly qualified. Krishnamacharya communicates his own teaching better than I or anyone else ever could in his texts, explore them in your own practice. 

If possible (although it is NOT necessary), at some point, go to Boulder or Encinitas, Hawaii, Rethymno...,to Mysore for inspiration.... to Manju Jois ideally or another very experienced, perhaps more local teacher of asana/pranayama (I'd argue ten years of self practice minimum). But also read closely Krishnamacharya's Yoga makaranda I and II and Yogasanagalu (available on my free download page). Be reminded that each Ashtanga teacher is presenting their own understanding of Ashtanga and no doubt clinging to it (just as I am to Krishnamacharya's early texts), go back always to Krishnamacharya himself, his is the earliest source we have of this approach to asana, it was complete, fully formed, integrated with the other limbs a simplification really wasn't necessary. Take workshops with those who focus on Anatomy and Physiology to help practice safely rather than those offering fancy, advanced asana, quick fixes. Take regular Iyengar classes perhaps to explore the possibilities of asana. Take Ramaswami's courses and workshops or buy his book for variations both preparations and progression and an alternative approach to practice consistent with Krishnamacharya's early and later teaching. If you can't go to a teacher Practice alone, with a good book, a good dvd, replace a teachers experience with your own body awareness along with common sense, listen to your body. Practice daily or practice two days on one day off or  later, three days with one day off. Dip into some of the texts in the yoga reading list at the top of the blog but don't worry too much about them, every word written is already coded inside us..., sit, breathe, watch/listen.
Have fun, enjoy practice, make it a routine, a discipline and when it deepens, practice with sincere commitment... for a long time and see what comes.

Below, my earlier post on Bharadvajrasana....

Krishnamacharya's Bharadvajrasana named after the sage (Rishi) Bharadvāja 12- 48 breaths

I'm becoming obsessed with exploring this asana, Krishnamacharya talks of staying from 12 to 48 breaths and introducing both types of kumbhaka (so holding the breath in after inhalation and out after exhalation). At first, the position of the arm reaching around to hold the foot seems to stop the blood, it takes some settling into the posture for the blood to flow. The nature of the posture, the twist and double bind both in front and behind challenges the breath, the kumbhaka, it's fascinating, feels quite profound. I intended to stay for 24 breaths but lost count and it's probably closer to twenty. The video runs for about five minutes so 48 breaths would take around ten for each side, twenty minutes one asana, stunning, it's an asana that thinks it's a mudra.

First time practicing on tatami.... Springy.



BHARADVAJASANA 
from Krishnamacharya's Yoga Makaranda Part II (formally Salutations to the teacher, the eternal one)

Note: in Yogasanagalu (1941) Krishnamacharya mentions bharadvajrasana in the Middle group of asana and that it formally has 18 vinyasa with #8 and #10 as the states of the asana ( so no jump back in between sides) Bhaya kumbhaka is also indicated. 

Technique:
1. Sit on a piece of soft folded cloth, with one leg stretched straight in front, and the other leg folded back at the knee, so that the foot is close and by the side of the buttocks, the sole of the foot upturned, toes stretched and the back of the foot touching the cloth. The knees should be as close as possible. The foot of the leg, stretched in front, should be upright, to the ground and not inclined sideways. The body should be erect and the spinal column stretched-chin lock.

2. Bend the stretched leg (say the right) at the knees and bring the right heel very near the umbilicus. The right knee should touch the ground. Both the knees should be as near to each other as possible.

3. The right hand is taken round the back to catch hold of the toes of the right leg. The palm to touch the back of the foot.

4. The palm of the left hand is placed on the cloth below the right thigh. The hand should be stretched and not bent at the elbow. The left wrist should touch the outside of the thigh.

5. Twist trunk to face front. Turn the head, so that the chin is over the left shoulder.

6. Take deep inhalations and exhalations with holding in of breath and holding out of
breath. Both types of kumbhakam are necessary. The total rounds of deep breaths may be slowly increased as practice advances, from 12 to 48.

7. Repeat with the other leg.

Note: This is contra indicated to those who have had abdominal operation.




Below from this post



Bharadwaja (Sanskritभरद्वाजIAST Bharadvāja, also spelled Bhardwaj) was one of the greatest Hindu sages (Maharshis) descendant of rishi Angirasa, whose accomplishments are detailed in the Puranas. He is one of the Saptarshis (Seven Great Sages Rishi) in the present Manvantara; with others being AtriVashishthaVishvamitraGautamaJamadagniKashyapa.[1]

picture from here

"Sage Bharadwaja is another renowned vedic rishi. He is considered to 
be a great vedic scholar and teacher. An episode found in the Kaataka 
portion of the Taittiriya sakha of Yajur Veda would be of interest. 
Bharadwaja was so much concentrating in studying the vedas that even 
as the life was coming to an end  he was still continuing with his 
studies. Indra, the Lord appeared before him and reminded him that it 
was almost the end of his life. He told Bharadwaj, “Bharadwaja!! If I 
give you another human life what would you like to do?” Back came the 
reply, “I will study the Vedas further”. Upon that, the Lord asked him 
to look at the three huge mountains the Lord created and took out from 
each one of them a handful of earth and placed them before Bharadwaja 
and said, “These mountains represent the three vedas and the three 
handfuls of dirt in front of you represent the vedas you have studied 
so far. You see the vedas are innumerable and infinite (ananta vai 
vedaH) and any number of births would not be sufficient to exhaust all 
the vedas. You try to understand the essence of the vedas, the source 
of all the Universe, the Brahman.” And Bharadwaja became a great 
spiritual teacher of the vedas. Again many families carry the 
Bharadwaja name".
from Srivatsa Ramaswami's Dec 2012 Newsletter

Curious how Krishnamacharya has us looking over the other shoulder, why? Both Iyengar and Jois would have us look over the back shoulder focusing on the twist. My guess it's to do with the breath, 12-48 breaths with both types of kumbhaka, Krishnamacharya doesn't tend to indicate kumbhaka in twisting postures. Having us keep the head over the front allows us to  explore the breath, the  kumbhaka, Krishnamacharya often seems to want to turn all asana into mudras.


from Light on Yoga



The Emergence of Yoga - A seminar with Sri TK Sribhashyam, T. Krishnamacharya's third son. (GUEST POST)

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My friend Chiara recently attended Sri TK Sribhashyam's workshop at Harmony Yoga organised by Steve Brandon, (I'm now living in Japan and unfortunately was unable to attend), Chiara kindly agreed to share the guest post below.

My own practice has been strongly influenced by Krishnamacharya's third son Sri TK Sribhashyam's teaching (more on this as well links to my earlier posts in the notes at the end of Chiara's guest post.) 

Krishnamacharya's third son Sri TK Sribashyam's replicated part of the 'acroyoga' scene from the 1934 Krishnamacharya documentary footage in the movie Breath of gods (see end of blog)



The Emergence of Yoga - A seminar with Sri TK Sribhashyam 
by Chiara (blog http://www.theyogicat.com/about/ - Post in Italian HERE).


Last July I attended a seminar with Sri TK Sribhashyam, one of the sons of Sri T Krishnamacharya. The topic of the seminar was an in depth coverage of his book on Yoga, which has already been published in several languages.

The Emergence of Yoga is an excellent and detailed book, offering a perspective more related to the Vedic tradition, excellent explanation sheets of asana and pranayama, as well as a large number of practice examples, including some of Sri T Krishnamacharya's personal practices.

Link to Amazon
available in several languages

In the book, almost against the flow, Patanjali and his Yoga Sutras are practically non referenced. Reference is made instead mostly to the Vedas and the teachings of Yajnavalkya, whose treatise was regarded as a very important text for Krishnamacharya.

I am very interested in studying with direct students of Sri T Krishnamacharya, because as his teachings *appear* to be reported in a different manner by each of his different students, this man is for me still a mystery.

In fact, as I practice and study, I realize that at the basis of the different interpretations there is a great consistency; the importance of letting conscious breathing guide the practice, be it designed for supple kids or shriveled adults; the respect for different human possibilities at the basis of the method; the practice designed in a way that it becomes a ritual leading towards deep meditative states.

But as teachings always tend to be coloured by the experience and personality of the students, whatever they say or want to admit, each student will re-enact them in a different way.

So the opportunity, created with typical dedication by Steve Brandon at Harmony Yoga, to sit by another important student of Krishnamacharya and practice under his leadership, was too great for me to ignore. Therefore I decided to exceed my budget for the year and enroll in the seminar of Sri TK Sribhashyam. I booked flights and accommodation and I waited expectantly the moment, re-reading the book and preparing some questions.

I was also expectant because I knew that I was going to face a different experience than what more 'secular' workshops tend to offer. A thorough reading of The Emergence of Yoga and my attempts to follow the rest of Sribhashyam's books on the Bhakti path, had me confront my instinctive rejection of all that contains the word 'God' and 'Devotion'. But Sri TK Sribhashyam's approach is firmly in the Vedic tradition, as was Sri T Krishnamacharya's even though we often do not think of this.
So I knew that somehow my participation in this seminar would be a challenge, a test of aspects that - if scaring me so much - have to be extremely important for me, I think.

I admit that I find it hard to swallow the concept of iśvarapranidhāna unless intended as deep commitment in the activities undertaken, going beyond one's personal interests. To this I adhere completely. It is the next step which I feel uncertain of .. But we'll come back to the iśvara problem.

That Sri K Sribhashyam is a traditional teacher was soon realized, when he asked to receive the questions we wanted to ask in advance to the seminar, reserving judgment on whether or not to give an answer. That he is a serious and committed teacher was also soon made clear, as we received a document before the seminar, containing many answers to our questions and the commitment to expand some of the explanations during the seminar.

The seminar was organized with theoretical sessions, practices and slots for expanded answers to the previously submitted questions and new questions about the practices carried out in the day. Some of his longtime students were also attending the seminar and the most gentle Brigitte Khan demonstrated the practical sessions under the guidance of Sribhashyam. Many of the participants were teachers, or students from other schools.

Sribhashyam promptly asked us to listen, set our previous knowledge on one side, let what we were learning settle, feel complete freedom to evaluate the usefulness of continuing to practice what we had learned or not, but only after the experience of the workshop would be over.
This silenced many questions related to comparisons with previous experience, possibly it silenced many questions altogether, and reminded me of what Ramaswami once said, with regard to the reading of texts: first read what the author has to say, emptying your mind from pre-existing thoughts, then re-read in the light of your thinking.
Difficult, already a meditation exercise in itself.

The practical sessions were based on the ones in the book; Sribhashyam did not make corrections to our practice, except for some fundamental aspects: that the standing posture was correct, that our backs were well straight in sitting positions and that our Sitali was practiced correctly. I admit I breathed a sigh of relief when I passed the 'test' of Sitali.

Sribhashyam asked us explicitly to: receive instruction, do not think about why we were being corrected, do not make comparisons with what we had learned before, do not let our mind be affected by the corrections. See above!

The practices begin and end with a pranayama and present a very important aspect, resting on the floor after each āsana or prānāyāma. Sribhashyam was quite clear that this lying down was not to be Savasana, but an attentive posture with legs together - although kept relaxed - arms alongside the body, what we know as urdhva mukha samasthiti, maintaining and observing the state of mind acquired. Until today I had rested after āsanas series, or in the case of tiring vinyāsas. A quiet moment before the next part of the practice session has always been important but I never used to observe it lying down, after each single exercise.
The initial feeling is of interruption, especially through a standing sequence, but the usefulness of this approach appears soon enough. We will see later that this 'stop' is crucial in the design and scope of practice. This lying on the floor makes it easier to observe mental state changes occurring during the practice, to evaluate the effect of āsana after having practiced it and not just during its performance.

Despite the fact that all practices (obviously?!) used vinyāsa to enter and exit from āsana, and that some āsanas were only performed dynamically; despite the fact that the number of breaths in the āsana were often no more than three, the overall experience was of a very steady, stable, still, practice. I must say that I have been feeling the need to 'be still' for a while now and as often happens, Sribhashyam arrived at the right time.

I also found very interesting, from a practical aspect, that the number of repetitions or breaths in the prone āsanas did not exceed the number of three. In fact, these are intense postures with a strong effect, they 'warm up' more than others and may disrupt the total effect of the practice.
Sribhashyam briefly introduced the Ayurvedic concept of shitha, ushna and shithoshna, which reminded me of langhana and brhamana concepts learned previously (here comes the mind, seeking footholds and comparisons with what you have learned before and do not allow the New to freely enter!!).
A good practice will bring about a perfect balance between shitha (soothing, refreshing) and ushna (stimulants, heating) actions in order not to create imbalances.
In the design of a practice according to the teachings of Sribhashyam, the number of āsanas, and in particular of certain specific āsanas, is dictated by the number of breaths performed in prānāyāma. Claude Maréchal also always reports the total number of breaths at the side of the practice sheet, summing up the number of breaths of each individual exercises, to help judge the overall balance of the practice session.

We worked a lot on dhārana, which we can translate as concentration, and the approach offered by Sribhashyam was based on moving the gaze (with closed eyes) along selected vital points along the body. These points are very similar to those described in the Yoga Yajnavalkya but with some differences, the choice perhaps linked to Krishnamacharya sensitivity in his personal exploration of the practice?

With your eyes closed, the gaze moves during the inhale, from the toes along the body, lingering on vital points along the legs, torso, throat, on the way up to the nose, forehead and top of the head. This is not an anatomical visualisation, nor does it run inside the body, but follows an imaginary line that connects the big toe to the tip of nose, as a projection of the point from the body to the line. It is not imagination but a real physical gaze operated with closed eyes.
During exhalation the eye movement stops, keeping the focus on some points of the torso or the head, Mula, Hrdaya, Nāsāgra, Bhrumadhya depending on the practice.
According to Krishnamacharya the points located between Mula and Śīrśa have greater spiritual value. The lowest points, such as the toes, are related to sensory experience, so we scan them, but we do not dwell there, since the practice compels us 'beyond'.

Compared to the Yoga Yajnavalkya, Krishnamacharya / Sribhasyam's practice involves a larger number of higher vital points. We try to disengage from the physical sensations of the body, which are connected to lower vital points in the body.
So when in paschimottanasana we desperately try to bring the nose on our lap at all costs, curving the back, we do nothing but obey the call of sensorial experience. But as these positions are called uttana, we must stretch, straighten, Mula to Sirsa, the back should be straight and extended.

Or, the gaze can stop at the infinite point of the horizon, Tāraka. And this focus is the prelude to the meditative state. Tāraka is the point at which we invoke the Divine.

Here I had a moment of discomfort, at the vigorous assertion that Dhyāna can only be possible when we let our mind fill with the Divine. In Dhārana we fill our mind with an object of attention, leaving a small space where Dhyāna can then grow, as the entire space is filled by the Divine.

What if we do not have a Divine? Well, if I got it right, according to Sribhashyam, Dhyana is not really possible at least in a practice linked to the Vedic tradition. Sribhashyam suggested the evocation of the Sun Disk, since the Sun represents for most of us the possibility of Life, for those who do not have a faith to follow.

But as a friend of mine remarked, millions of Buddhists in the last couple of thousand years could disagree... surely a meditative state which is not linked to the evocation of the Divine must be possible!?

Ultimately I found out that it is a word that scares me. Because if I substitute the word Divine with Reality, I feel much more at ease. Silly? To think that a word can define our mental state. And yet that is exactly what Patanjali means I think, when he says that objects shape our mind shape. And words are objects after all.

So in this seminar I had further evidence of how strong an impact can cultural influences have on the mind, sometimes all is needed is a little swap of cards on the table to change the game and let the mind open.

Sribhashyam spoke at length of the Movement / Non-movement concept, the pause in the breath, the pause between words in a speech, the pause before the choice between two foods.
He spoke of our attachment to movement and sensory perceptions, which reassure us of our existence. Of our fear to stop, to get into that suspension where reality with a capital R waits, which is not the reality of the daily grind, the constant search of sensations and emotions.
Only when we abandon feelings and emotions we can enter the Non-movement of the non-breathing and of meditation.

Because in the practice of Yoga, we should not seek physical sensations, but go further. The perception of the body, as interesting and rewarding it can be, is just another form of motion. Even when the body is still, if we focus on sensations, we are in full mental swing.

For this reason, the work on breath so important. Learning to voluntarily extend the breath, to equalize inhalation and exhalation, we also change our unconscious breath and prepare ourselves, so to speak, for the spontaneous suspension to occur. Because Reality with a capital R is not in Jacques Mayol's free-diving apnea, but in the spontaneous suspension of breath.

An effective practice must therefore take us to non/movement, as we find it in meditation or in the spontaneous pauses of breath. We move from the physical to the emotional, from the emotional to the spiritual. We use āsanas to reduce those unneeded movements of the body, so it is not important how many āsanas we perform but the total number of breaths we spend in them, which is in turn dictated by the total number of breaths in prānāyāma.
We use mudras to master emotions. For this reason are sarvangāsana and sirsāsana theoretically unavoidable (though the book offers alternatives).
We use prānāyāma to master physical impulses, beginning to prepare ourselves for the spiritual practice. For this reason prānāyāma is essential and Nadi Shodana sits above all prānāyāmas.  It can be a meditation in itself, especially if we apply the lightest possible breath, almost without touching the nostrils, without feeling the air flow.
And it is for the same reason that a practice beginning with prānāyāma put us in the right direction from the start; Krishnamacharya always started his practices with prānāyāma.

A practice built in this way becomes a ritual, a way to create a spiritual discipline. I have already written about the importance of ritual, of how we find it, subtle but strong, in the teachings of TKV Desikachar.
A ritual is - especially for Indians, whom Krishnamacharya primarily addressed, Sribhashyam said  - an order that can not be ignored nor altered.
Once a practice, a ritual, is assigned, changing it means operating a choice and letting our emotional side come into play, just the opposite of what we want in a practice that must lead to stillness.

It was a very important seminar for me, these notes are just a fraction of the insights I am still ruminating upon, maybe they also describe the most obvious part, certainly the easiest to transcribe; I could write pages and pages but I think you'd get bored, a stage comes where reading notes written by someone else, without having experienced, is pointless. Perhaps what I wrote above is trivial, I do not know.

Let's say that I found, in the words and practices offered by Sri TK Sribhashyam, what I think is the original Krishnamacharya, I believe what Sri TK Sribhashyam says is true, this was the way his father practiced, not necessarily what he taught others. Thinking also about Yoga Makaranda, what I heard and experienced resonates authentic and personal.

The almost absent references to Patanjali initially surprised me, considering the importance of the Yoga Sutras in the teachings of Krishnamacharya's other students. Perhaps this text did not initially hold for Krishnamacharya the relevance it acquired later, when student less tied to Veda increased in number.

It was a very important experience, which put me in front of some issues that I need to confront on this path, an experience which gave me some useful tools for teaching, but above all for my personal research.

I'm glad to have been invited.

The school's website: http://www.yogakshemam.net/English/homepage.html





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Thank you again to Chiara for sharing a taste of her experience this worksop with us.


NOTES

My previous post on T.K. Sribashyam, Breath of Gods (video) 
and the Emergance of Yoga (book).










The influence of Sri TK Sribhashayam on my own practice


I practice a reasonably standard although very slow breathing Ashtanga Suryanamaskara and Standing sequence as a 'warm up' (with some longer stays following Krishnamacharya's Yoga Makaranda and Iyengar's research) and for general fitness ( Krishnamacharya may have practiced less asana in his own practice but he was still practicing a full range of asana along with his students). 


Below: Krishnamacharya practicing along with his students

French article by Krishnamacharya's student Yvonne Millerand translated on this post
http://grimmly2007.blogspot.jp/2012/10/yvonne-millerand-student-of.html




Once I get to Paschimattasana  however, Sribhashyam's influence becomes more apparent perhaps. A mudra like approach to the few asana I include in my practice (which still tend to follow a rough Krishnamacharya/Jois Ashtanga framework), employment of focal points, exhalations twice as long as inhalation, kumbhaka's. 

My pranayama before and after asana/mudra follows the outline Sribhashyam presents in THIS article on Pranayama (see also the pranayama practice in the insights into my father's practice in Emergence of Yoga). 

If I have less time to practice I will tend to practice a couple of sauryanamaskara, skip the standing sequence and move directly to asana/mudra rather than sacrifice my pranayama for asana. I may however cut pranayama cycles from six to three,  making it up perhaps in a second evening practice.

From Emergence of Yoga. I tend to include the Ujjayi Anuloma before my asana/mudra practice as well as afterwards and rather than including the Vishnu Gayatri mantra in the final Nadi Sodhana I practice it with Bhya kumbhaka.

If I depart from Sribhashyam's book/guidelines then it's in the longer stays I carry over from Krishnamacharya's Yoga Makaranda and Yogasanagalu. 

I see Sribhashyam's teaching as very much consistent with Ramaswami's presentation of Vinyasa Krama. Ramaswami presents long sequences of related asana as a pedagogic tool in his books and workshop, the question has always been how to then move from those long sequences into daily practice, Sri TK Sribhashyam's 'Emergence of Yoga' can give a helpful framework in this, the key asana Ramaswami mentions tend to be included in most of the practices outlined albeit with shorter stays and perhaps less variations.




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Below Krishnamacharya and one of his daughters presenting a little 'acroyoga' in a scene from the 1934 film footage


Notice how, for Ashtangi's...

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An Ashtangi friend who has attended one of Ramaswami's Vinyasa Krama workshops finds himself confused perhaps at how now to proceed,  Ashtanga and Vinyasa Krama seem So far removed from each other....

Part of the problem perhaps is our perception of both. Ramaswami presents the 'Vinyasa Krama' asana in around ten medium to long sequences. Although he will stress that this is for pedagogic purposes and that we need to choose the asana we will practice each day it's hard not to fixate on the sequences, especially if you're an Ashtangi with the view that Ashtanga itself fixates on fixed sequences.

Our view of Ashtanga is often of a fast practiced, dynamic, cardio workout, it can be practiced like that perhaps but it's not the only way to practice and I would suggest not the approach to practice most Ashtangi's settle on over time.

Here however are some things to notice about Ashtanga that may allow us to see that Vinyasa Krama and Ashtanga are perhaps not so far removed from each other, if not essentially the same.


Notice how, for Ashtangi's...




- Notice how calm and focussed the practice of Ashtanga becomes as practitioners become more experienced.

- Notice how smooth and steady the breath

- Notice the longer stays in the same key asana as Vinyasa Krama,  Paschimattanasana, Janu Sirsasana, Sarvangasana, Sirsasana as well as in others.

- Notice that however Ashtangi's may approach the series they are working on, the finishing sequence might well be something else altogether, practiced more slowly, with more focus and with the longer stays indicated.

- Notice the variations of asana in the likes of prasarita series, paschimattanasana, Janu Sirsasana, Marichiyasana etc.

- Notice the variations in sarvangasana.

- Notice that many Ashtnagi's DO modify their practice.

- Notice that many Ashtangi's will emphasis certain asana on different days, depending on their perceived needs of the day, passing quickly through some asana, staying longer in others.

- Notice how many Ashtangi's will often repeat an asana, two or three times.

- Notice that many Ashtangi's do begin to integrate pranayama

- Notice that many Ashtangi's do have a separate seated practice

- Notice that though many don't have a 'sitting' practice more often than not they include a long focussed savasana.

- Notice that many Ashtangi's study Patanjali's Yoga Sutras as well as other texts or at least have a passing awareness of the basics of yoga philosophy.

- notice that many Ashtangi seek to integrate the Yama and niyama in their lives.

- Notice that most Ashtangi's begin their practice with a chant and many follow their practice with a chant or chanting also.

- Notice that many teachers DO modify their students practice.

- Notice how an experienced practitioner will often slow down their practice over time.

- Notice how many experienced and proficient Ashtanga practitioners will, at some point, let go of the intermediate and advanced series and come back to Primary asana and seek to practice them more deeply.

- Notice how the majority of Ashtanga teachers share the practice with humility in shalas that barely make a profit, as service.

-  Notice how teacher maintain their own practice

- Notice how experienced practitioners whether teachers or not are constantly seeking to deepen the understanding of their practice and how it relates to their practice of yoga as a whole.

- Notice how many teachers maintain a connection with their own teachers.

- Notice how Ashtangi's where possible eventually develop a daily practice

- Notice how Ashtang's bring focus, discipline and service into their lives through their practice

- Notice how at some point most practitioners always seem come back to the breath, for all the advanced asana they may explore, being present with the breath is the beginning, middle and end of their asana practice.



Final chapter from Krishnamacharya's Yogasanagalu Part I An asana sequence.

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UPDATE
First edit of the full English translation of Yogasanagalu can now be downloaded for personal study from here.
http://tinyurl.com/z9jy7cp
(future edits to come perhaps with some of my own notes on the text)



Thank you to Satya for coming back to Krishnamacharya's Yogasanaglu (Mysore 1941) for us and translating the final chapter that was added to the 3rd edition of the text in 1972, along with all the photos of Krishnamacharya practicing in his eighties.

The full text is being translated on this page above
http://grimmly2007.blogspot.jp/p/yogasanagalu-translation-project.html
and is now virtually complete, I will post the final section on pranayama next week.

Yogasanagalu was Krishnamacharya's second Mysore text following Yoga Makaranda ( Mysore 1934) and contains the table of Asana from which Pattabhi Jois, with some minor tweaks, taught his course at the Sanskrit College that formed the basis of today's Ashtanga Yoga 'style'.

This additional chapter added in 1972 will be more familiar to those who have been exposed to Ramaswami's teaching of 'Vinyasa Krama', however it appears that Krishnamacharya was teaching along these lines while in Mysore to private students and 'patients', perhaps in a side room while Pattabhi Jois, one of his assistants, would lead the boys of the palace through their group asana class. The slower breathing and Kumbhaka instruction we see here were all present in Krishnamacharya's first Mysore text Yoga makaranda ( available for free download above http://grimmly2007.blogspot.jp/p/free-downloads.html)


Note on Photos: In the original text of Yogasanagalu (1941) Krishnamacharya included instruction for twenty-one asana, these are the same instructions we find in the earlier text, Yoga Makaranda 1934 ( although that text contained twice as many asana). It seems likely that early editions of Yogasanagalu contained the same photos relating to the instruction as in Yoga Makaranda.

Krishnamacharya kept the instructions for the twenty-one Yoga Makaranda asana in the later editions of Yogasanagalu but not the photos. Instead, from the 3rd edition of Yogasanagalu onward, he included 120 photos of himself practicing, in his mid eighties,

In the additional chapter below, added in 1972, he gives instruction for seven of those asana in a short sequence. Although the photos are added at the end of the book I've embeded the seven relevant photos in the instructions just as Krishnamacharya did in Yoga Makaranda.

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Yogasanagalu Additional Chapter 1972 (first part)

Yogasana Style


Dandasana is the first posture among the sitting asanas. Vyasa has spoken highly of this (posture) in the Yogasutrabhashya.


First part: Please see photograph No: 1 shown in this book.

#1


Procedure to practice: Place a soft blanket not less than 6 feet in length, sit down facing eastern direction with legs stretching straight forward and lift both hands above the head. Left and right forearms are aligned with the respective left and right ears and stretched upwards without bending the elbows.  Hand fingers are interlocked tightly in such a manner that the palm is facing upwards and then the chin is lowered into the chest by bending the neck. The two feet are joined together with the heels touching the floor and the toes stretched upwards.  Without bending the knees, keep the thigh muscles stretched tightly and hold the back erect.  Softly close the eyelids and as explained before and take six deep inhalation and exhalations.  After exhalation, pull in the region of abdomen in all the way into the navel.  During inhalation, the chest is to be expanded. Breath should not be held for more than a second.  In the yoga shastra, exhalation is known as Rechaka and inhalation is referred to as Puraka.


Kumbhaka is retention of breath. When we are practicing breathing like this, our stomach, neck, head and chest should not be moving up and down. Rechaka has to be longer than Puraka and also must be subtle. One Rechaka, one Puraka and one Kumbhaka make one Avrutta.  Initially, only six Avrutta’s are enough and must be increased over time.


In this Asana, the body remains straight like a stick (Danda) and strengthens the spine, hands and legs and therefore is called Dandasana.


Benefits: Eliminates indigestion and rheumatic conditions


During each breath we should be practicing remembrance of God.


Dandasana part 2 (Photo # 2)


#2
In all respects this asana follows part 1 except that the palms of the two hands are now behind the back. In addition, both the palms are near the hips on the floor.  The elbows must be straight and Kumbhaka must be performed after exhalation (Bahya kumbhaka).  Please study the photo.


This posture is easy for obese as they have a hard time keeping the forearms up due to impediment from the lower half of their body.





Pashchimatasana (Photo #4)


#4
Although this posture has been practiced by yogis from ancient times, Swathma Rama yogi, the author of Hathayoga pradipika has praised this posture.


Practice: Please study the photo and practice


From Dandasana, take a deep Rechaka, pull in the stomach, keep the hand fingers interlocked, slowly bend forward, wrapping fingers around the legs with the palms facing on the outside.  Rest the forehead on the knee caps or slightly beyond, perform Rechaka and Puraka, and keep the knees stretched straight without bending.  Starting with three Rechaka and Puraka on the first week, keep increasing by one every week for a maximum of twelve Avruttis.  This state is called Paschimatanasana.  After this come back up from the posture and take rest.


Benefits: Pranavayu has two states called purvavahini gati and paschimavahini gati.  purvavahini gati is wheezing or difficulty in breathing such as ashtma.  This results from indigestion.  People’s health deteriorates resulting in enlargement of stomach. In paschimavahini gati, the movement is behind the muladhara chakra.  Enlarged stomach is made smaller by increasing the digestive fire, destroying indigestion and extending rechaka without wheezing.  Isn’t this enough? One should not practice this on a full stomach.  This posture is forbidden for pregnant women.


Purvattanasana (photo# 5)

#5


This is also called as the rejoinder to pachimattanasana.    


When pain is experienced due to a particular type of body situation, space between bones, movement of pulse nodules and discrepancy in musculature, practicing these counter poses will alleviate such pains.  This will help set the junctions, nodules and muscles into their original spaces. That means it will realign the body into original state.  This secret was not known for many years.  The reason?  Not receiving advice from a Guru.  


After experiencing this type of pain, people are deterred from practicing Yoga.  They have been hesitating and becoming more reluctant to take up yoga practice. Even though they may be breaking limbs and bleeding from sports injuries, they don’t hesitate.  In spite of spending lots of money on sports, they will continue to play, limp and make merry.


This Kali influence is said to be the main reason for disappearance of ancient Indian Arts and Sciences.  In this way, every yoga posture has a counter pose. If we learn this practice  from a Guru and yoga practitioners promote and teach others, it does not cause any harm to people.  The yogic sciences will not disappear.


Procedure: Please see photo # 5.  From Paschimattanasana position, inhale and lift both hands straight up and while exhaling deeply take the shoulders slowly behind the back and place the palm of the hands on the floor about 1 foot distance from the hips with the fingers facing forward. Similar to the second step in dandasana, push the chest forward and do a deep puraka kumbhaka.  Pressing the heels and the palms tightly against the ground, lift the entire body in a straight line and drop the neck backwards.  Close the eyes and keep still for at least 5 seconds.  This is Purvottanasana position.  After this, bend the neck to bring the chin to the chest, exhale and place the body down.  In this way, practice three times in the first week and gradually increase to six repetitions.


Benefits: Eliminates pain at the back of the body.  Eradicates fragility in the forearms and neck.


This posture is reciprocal to paschimattanasana since in paschimottanasana the entire body movement and position consists of bending forward in exhalation (rechaka) mode with the head bent forward.


Purvottanasana is the riposte with the body movement and position in contrast is not bent but straight, upward facing with hands behind in the mode of inhalation (puraka).


Chatushtada peeta (Photos # 6, #7 and #8)


After stepping down from Purvasana, sit in Dandasana pose and without changing the position of hands bend the two legs and join the heels and knees in front of the hips.  Keeping the back straight, bring the chin to the chest and perform rechaka. (see photo # 6).  


#6
Pull the abdomen in towards the navel while doing puraka for five seconds and expand the chest area outwards while keeping the heels pressed to the floor. Lift the midsection and hips upwards and tilt the head backwards.  Now the midsection of the body should look like a plank by lifting as much as possible #7. Remain still and do not change the positions of hands and legs.  This posture is called chatushtada peeta.  This will be hard for a couple of weeks.  Afterwards becomes easier.  Must be practiced slowly and patiently.

#7
Benefits: All types of indigestion are removed. Must be practiced twice during the first week.  After that three times.  After five seconds of lifting the midsection come down while slowly performing rechaka and rest.  Contra indicated after five months of pregnancy.




In yoga shastra, our body is divided into three parts: urdhva (upper) part, madhya (middle) part and adho (lower) part.  Above the neck is urdhva, neck to reproductive organs is madhya and from there to the sole is adho.  One can practice chatushtada peeta as tripada peeta by placing one foot in padmasana.  Thighs will get stronger in this pose.  Please see photo # 8 and practice.


#8


Navasana (Please see photo # 9 and practice)

#9
Come down from chatushta peeta and without changing the position of legs perform two rechaka and purakas and as illustrated in the picture without bending the knees lift the legs up while lowering the neck a little bit.  Staying in this position without movement, perform rechaka and puraka for as long as possible.


Benefits: Slims down the waist and creates appetite



Ardha baddha padma paschimatanasana, part 1, (photo # 10, #11)


Procedure for practice: As in pachimatanasana, stretch the left leg forward and bend the right foot and place it on the left thigh with the bottom of the foot facing up.  As shown in the photo, from the back, take the right hand and grab the right foot big toe with the palm facing down.  Extend the left hand with a forward bend and tightly hold the left foot big toe with index and middle fingers or if possible with all fingers. Keeping the back straight, pressing the chin to the chest, perform not less than three rechaka and purakas (see Photo #10).  


#10

While doing the 4th rechaka, fully extend the mid portion of the body and while lowering the head place the forehead on the knee (see photo #11).  Now repeat the corresponding posture with the right leg extending forward.  In this posture, one foot is like paschimatanasana and one foot is in baddha padmasana. Therefore, it is called ardha baddha padma paschimatanasana.

#11
When people with obese or lean body types start practicing yoga and pranayama vigorously, it is natural to experience some pain in bone joints and musculature.  Because there is no type of exercise that will not induce such pain, we should not hesitate.  If we can tolerate for a few days and continue to practice, it will be most beneficial.  


Without practice, no one can achieve the ideal posture shown in the photos.  By gradually increasing the practice daily, we can achieve the perfect posture.  We should not use force.

Ardha baddha paschimatanasana part 2 (photo #14)

#14

While sitting similar to part 1, if the left leg is stretched out, turn the left palm outwards and grab the left foot just beneath the big toe.  Turn your neck towards the right shoulder and look at the back.  Do not change the position of the right hand.


When the right leg is stretched out, turn the right palm outwards and grab the right foot underneath the big toe.  Turn the neck towards the left shoulder and look at the back.


The benefits are so many that it is impossible to discuss them all.  Many afflictions that have their roots in waist, neck, stomach, arms and vision will be removed.  


This posture must not be done immediately after eating or by women who are more than 5 month pregnant.


Matsyendrasana


This is divided into uttama, madhyama and adhama (full, half and quarter) stages.
If one can practice, adhama matsyendrasana adequately, they are ready for madhyama and once proficient they will be eligible for full matsyendrasana.  Otherwise, they will be the target of so many afflictions.


It is unfortunate to do yoga practice without knowing this secret. Those with obese body type  must become proficient in the two parts of ardha baddha paschimatanasana before jumping into matsyendrasana.  Some people have obesity from childhood.  Now a days, 70 percent of both male and female children have obese body type.  This is a danger to a healthy life and acts as seed for the development of asthmatic condition. These kids must be coerced into learning yogabhyasa.  


Adhama matsyendrasana (photo # 15)


#15
One must practice this posture for some time before moving on to other matsyendrasana postures.  Those who want to practice matsyendrasana and baddha padmasana must remain light eaters.  Otherwise, it will be hard to master these postures.  I’m going to stop providing detailed descriptions of postures now because I’m afraid that this manuscript will become huge.


I trust that those who are interested in practicing will learn from a qualified yoga teacher.  


*


Appendix


Including the sequence in a practice.


Krishnamacharya recommended practicing certain asana daily.

Trikonasana, Pascshimattanasana, Maha mudra ( janu sirsasana without the fold) Baddha konasana,  Sarvangasana, Sirsasana, Baddha padmasana.



We might start our practice with

A few hand/arm movements from the tadasana  (first ten or twenty minutes perhaps)



Surynamaskara (perhaps with with mantra)


or kaghasana (flying bird sequence),


Supposedly a favourite of krishnamacharya's, perhaps because of that full exhalation as we jump directly into utkatasana on the exhalation.

Trikonasana (variations perhaps)

The yogasanagalu sequence below

Sarvangasana ( shoulderstand) perhaps with some variations.

Sirsasana

Maha mudra (janu Sirsasana without the fold forward)

Baddha Konasana

Baddha padmasna

Padmasana

Pranayama

*


Note: 
I will be posting the final part of this chapter, completing the translation of Yogasanagalu next week.

Texts for Yoga Students - Ramaswami's October 2016 newsletter PLUS a Krishnamacharya reader

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Ramaswami with with his teacher of over thirty years T. Krishnamacharya


योगः कर्मसु कोशलम्
yogaḥ karmasu kouśalam

Texts for Yoga Students

Sri Krishnamacharya, apart from Hatayoga (asanas, pranayama, mudras and health applications of Hatayoga) also taught chanting several chapters of the Yajur Veda. In addition he taught several original texts for Yoga students. During the course of three decades of study with him I had the opportunity to study several of the texts which he considered useful for Yoga students. . I have of late been offering some of these texts for yoga teachers and students who would like to broaden their base with more textual studies

1.  Perhaps the most important text would be the Bhagavatgita. A couple of years back I taught the whole text verse by verse at Steve Brandon's Harmony Yoga in Wells, UK. It was a 13 day,70 hr program. Subsequently I taught several chapters of it at Sarah Mata's Studio in Los Angeles. Bhagavatgita even as it is known as a Brahma Vidya is considered a Yoga Sastra, My Guru would draw many parallels between Yoga Sutra and the Gita. This program can be done in about 50 hrs in ten days for interested yoga students

2. The Yoga Sutras is a unique text of Maharshi Patanjali and is a masterpiece. Yoga students interested in the philosophy of yoga should study this text. I have had the privilege to teach this subject several times as part of my 100 and 200 hr Teacher Training programs. This can be taught sutra by sutra in 20 hrs.

3. After we completed the study of YS, my Guru taught us at length the Samkhya Karika, an important text teaching the Samkhya philosophy, a sibling philosophy of Yoga. Several ideas of yoga become clear by studying this wonderful text written by a great scholar/philosopher Iswarakrishna. Some consider him to be an avatara of the great Sanskrit writer Mahakavi Kalidasa. This can be taught verse by verse in about 20 hrs

3. Hatyogapradipika is a standard text studied by Hatayogis. Written by Svatmarama, it is one of the most studied books by Hatayogis. This (the first three of the four chapters) may be taught sloka by sloka in about 20 hrs,

4. Sri Krishnamacharya in the course of my long study taught several other texts. He taught Yoga Yagnyavalkya. Though not so well known as Hatayogapradipika, discerning yogis pay attention to the teachings of this text. This can be taught sloka by sloka in about 20 hrs

5. Upanishad studies were an important part of Sri Krishnamacharya's teachings. Katopanishad was one of the important ones. In fact I learnt the chanting of the entire 3 chapters of Taittiriya Kataka (It takes about 2 hrs to merely chant the whole text), which is said to be the inspiration for the Katopanishad. All the 6 chapters of this upanishad can be taught in a 15 to 20 hr program.

6.Sri Krishnamacharya taught two major upanishads, Brihadaranyaka and Chandogya upanishds. Readings of some of the important Vidyas from these upanished can be material for a short 20 hr progra

7. Other smaller upanishads that Sri TK taught also may be of interest for serious yoga students--- like Mundaka, Mandukya, Prasna, Taittiriya, Svetasvatara etc.
Adi Sankara's Yoga Taravali is a masterpiece. This can be taught in about 20 hrs.

Sri Krishnamacharya even as he taught Yoga as it is popular in modern times, felt that the yoga students should also have a solid philosophical base and he was always willing to impart such knowledge to his students.

I am now in Madrid, Spain teaching a 100 Hr Certificate TT program in Vinyasakrama Yoga at Dhara Yoga. Yoga students and teachers from different parts of Europe are attending the program, a very talented and dedicated group. It will be over on Oct 8th, 2016



During September 2016 I taught an extended weekend workshop at Chicago Yoga Center in Chicago. There was a 6 hour program on KaTopanishad, in which we could cover the first three of the 6 chapters. I also taught the three chapters of HaTayogapradeepika during the weekend (12Hrs).


Earlier in September I completed the 25 hr Certificate program in Core Vinyasakrama Yoga at Hatha Vinyasa Yoga Schule Institute in Mainz, Germany.




Srivatsa Ramaswami
--
http://groups.google.com/group/vinyasa-krama



Appendix


from my Yoga Reading list page at the top of the blog

A Krishnamacharya Reading list (inc. Pdf Links).



from interviews with Pattabhi Jois

Namarupa Magazine, fall 2004. http://tinyurl.com/o9fz3j9

1.What did Krishnamacharya teach you?

"What my teacher taught me is exactly the same method I am teaching today. It was an examination course of primary, intermediate, and advanced asanas. He also taught me philosophy. For five years, we studied the great texts. He would call us to his house and we would stand outside and wait to be called in. Sometimes, we would wait the whole day. He would usually teach us for one or two hours every day: asanas early in the morning and, around 12 o’clock, philosophy class. He also taught us pranayama, pratyahara [sensory withdrawal], dharana [concentration], and dhyana [meditation]. And, in addition to the Yoga Sutras and Bhagavad Gita, he also taught Yoga Vasishta, Yoga Yajnavalkya, and Samhita. And all in Sanskrit". Pattabhi Jois

T. Krishnamacharya


Following on from my earlier 

Sri K. Pattabhi Jois' READING LIST from from the 'original' Ashtanga diploma syllabus list given to Nancy Gilgoff and David Williams in 1974

I thought it might be useful to make a similar post of a Krishnamacharya reading list.
Below are Krishnamacharya's own works as well as texts (Upanishads, sutras, samhitas etc.) mentioned by Krishnamacharya in his Bibliographies as well as texts Krishnamacharya taught to his student Srivatsa Ramaswami over a thirty year period.
Where possible I've linked to a free downloadable pdf version of the text.

Contents.

1. Main texts by Krishnamacharya

2. Complete list of Books/texts by T. Krishnamacharya

 3. Bibliography from from Yogasanagaly 

4. Bibliography from from Yoga Makaranda 

5. A course of study with Krishnamacharya

Appendix

Thirty Minor Upanishads

I'm adding this post to my Krishnamacharya Resource page and will add any other relevant texts mentioned by his students as I come across them.





1. Main texts by Krishnamacharya



Yoga Makaranda (Mysore 1934)pdf

Yogasanagalu translation (Mysore 1941) (link) 

Note I'm posting the last section of the translation this week ( on pranayama) followed quickly by the full text in book for for free download.

Selections from chapter 1

Selections from chapter 2

Selections from chapter 3

Selections from chapter 4 


Rare photograph of Krishnamacharya assisting.



2. Complete list of Books/texts by T. Krishnamacharya:
from http://krishnamacharya.net/works
unfortunately most of the articles mentioned have not been released


Yoga Makaranda (Mysore 1934)pdf
Yogavalli

Other works (essays and poetic compositions):
“Disciplines of Yoga”
“Effect of Yoga Practice”
“Importance of Food and Yoga in Maintaining Health”
“Verses on Methods of Yoga Practice”
“Essay on Asana and Pranayama”
“Madhumeha (Diabetes)”
“Why Yoga as a Therapy Is Not Rising”
“Bhagavad Gita as a Health Science”
“Ayurveda and Yoga: An Introduction”
“Questions and Answers on Yoga” (with students in July 1973)
“Yoga: The Best Way to Remove Laziness”
“Dhyana (Meditation) in Verses”
“What Is a Sutra?”
“Kundalini: Essay on What Kundalini Is and Kundalini Arousal (sakti calana) Based on Texts Like the Hatha Yoga Pradipika, Gheranda Samhita, and Yoga Yajnavalkya”
“Extracts from Raja Yoga Ratnakara”
“Need for a Teacher”
“Satvika Marga” (“The Sattvic Way”; philosophy/spiritual/yoga)
“Reference in Vedas to Support Vedic Chanting for Women” (philosophy/technical)
“Fourteen Important Dharmas” (philosophy)
“Cit Acit Tatva Mimamsa” (philosophy)
“Sandhya-saaram” (ritual)
“Catushloki” (four verses on Sankaracharya)
“Kumbhakonam Address” (catalog)
“Sixteen Samskaras” (rituals)
“Mantra Padartha Tatva Nirnaya” (rituals)
“Ahnika Bhaskaram” (rituals)
“Shastreeya Yajnam” (rituals)
“Vivaaha” (marriage rituals)
“Asparsha Pariharam” (rituals)
“Videsavaasi Upakarma Nirnaya” (rituals)
“Sudarshana Dundubhi” (devotional)
“Bhagavat Prasadam” (devotional)
“Narayana Paratva” (devotional)
“About Madras” (miscellaneous)





3. Bibliography from from Yogasanagaly 
T. Krishnamacharya (Mysore 1941)


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:

Yogakuranti (Yoga Korunta- lost?).

Learning’s from my Guru and self-experience





4. Bibliography from from Yoga Makaranda 
T. Krishnamacharya (Mysore 1934)



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


Bibliography
1. Rajayoga Ratnakaram pdf (in Telugu)
4. Yoga Balaprathipikai (?)
5. Ravana Nadi  (Article)
8. Yoga Ratnakarandam (?)
11. Brahmayameelam Pdf
12. Atharvana Rahasyam (?)
19. Siva Samhita pdf
22. Yoga Shika Upanishad


Srivatsa Ramaswami chanting with T. Krishnamacharya

5. A course of study with Krishnamacharya


from My studies with Krishnamacharya - Srivatsa Ramaswami (Namarupa article)

Ramaswami studied with Krishnamacharya for over thirty years, in this article he relates his studies of asana, chanting as well as some of the many he texts he studied with his teacher


"Normally, I had two to three sessions per week, but there were occasions when I had the privilege of going to him twice a day, for ásana practice in the morning and for chanting or the study of texts in the evening". 

Some texts Ramaswami studied with Krishnamacharya

Sad-Vidyá (?)Chándogya Upanishad pdf

The Yoga Sutras of Patañjali (Online ) was the centrepiece of our yoga studies.
(Note:I recommend the Bryant and/or Aranya editions)

Another philosophy he was keen to teach was Nyáya and the later version, Tarka. He started teaching..

TarkaSamgraha, pdf a compact text on Vedic logic.

Hathayogapradipika pdf in detail, except portions of the last chapter and some of the third, which he said contained obnoxious practices inconsistent with the teachings of sáttvika yoga and the Yoga Sâtras.

Yogayajnavalkyam pdf in detail.

Some of the other texts that he referred to and taught in portions included
Yoga Rahasya (Amazon) was not published, but he frequently quoted from the text and after a while taught a few chapters from it.

Ramaswami also mentions elsewhere that Krishnamacharya would teach the Ramayana extensively.

Link to article pdf



Thirty Minor Upanishads

tr. by K. Narayanasvami Aiyar

[1914]






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