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Final chapter from Krishnamacharya's Yogasanagalu Part II Pranayam. Plus the 1941 section on pranayama

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NOTE: With the translation of Krishnamacharya's second book Yogasanagalu ( Mysore 1941 - 3rd edition with additional chapter 1972) now complete, I'm just putting the finishing touches on a free to download edition of the full text that will be available for personal study on the Free Download page at the top of the blog.

UPDATE
First edit of the full text can 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)

First draft available for free download for personal study from here
http://tinyurl.com/z9jy7cp

My sincerest gratitude to Satya for doing all the hard work of translating, to Sraddha for sending me the original text back in 2010 and to Quique for formatting the asana table.

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Below is the final section on Pranayama from the additional 1972 chapter in the third edition of the text.

I've included the earlier sections on pranayama from the original text in the appendix.


Final chapter from Krishnamacharya's Yogasanagalu (3rd edition 1972) Part II Pranayam

Many of my old students from Kannada land are requesting me to write about pranayama practice for propagation.  Therefore, I’m writing about it.  Since the current generation are developing a keen sense of intellect:

अनन्तं पारं बहुवेदितव्यं अल्पस्च कालः बहवस्च विघ्नाः।
यत् सारभूतं तत् उपाददीतहंसो यथा क्षीरमिवांबु मिश्रं॥


As per this saying from a great man, since it is impossible to write about innumerable varieties of “pranayama”, I’m only going to write about three important one according to my Guru’s teachings.

1 ) Nadishodhana, 2) Ujjayi and 3) Sheetali are the most important ones.  These can be practiced by both men and women.  The first one purifies the blood and blood vessels.  The second one purifies the gut and the lungs, eliminates phlegm and provides good sleep. The third one eliminates poisons from nadis (channels), nodules, internal receptacles and joints and helps keep the body temperature in equilibrium.  Cures indigestion, improves life-span, energy and memory. These benefits are obtained from all three types of pranayama.

However, those who want to practice pranayama must be proficient mainly in shirshasana, sarvangasana, mahamudra and baddha padmasana.  They must also be be practicing brahmacharya, pativratya (faithful in relations), consuming satvic food, and practice japa and meditation with faith. From time immemorial, vedas, sutras, puranas and prose and poetry have been advertised in different times.  In Kruta yuga (time period) the dharma of mental psychology and yoga dharma was propagated through the vedas, in Dwapara yuga through vedas and sutras, in Treta yuga via the medium of vedas, sutras and puranas.  In Kali yuga (current period), vedas, sutras, puranas, prose and poetic medium is being utilized for the propagation of yoga dharma.  These prose and poetry are called smrutis, bhashyas  and suktis by people according to their custom.

If any dharma and custom is to be beneficial to society, it has to be written down as root manuscripts according to any civilization.  This is generally called law and justice.  Shouldn’t the yoga dharma be propagated by Indian’s in this period of Kali yuga by way of sutra, purana, prose and poetry?

After contemplating on all this, in order to bring out the essence, the great saint Sri Bhagat Patanjali created yogasutras, Vyasa rishi generated bhashya in prose style in order to demonstrate the correct way for mankind.  In doing so, they deserved glory.  Similarly many great rishis have written yoga manuscripts.  Yoga related upanishads are also well known.  These are eternal, immemorial and momentous.

Many Kannada writers have also published yoga dharma manuscripts in Kannada language. The three types of pranayama practices mentioned before are also discussed in these kannada manuscripts. Those teachers who study these manuscripts and teach the public will protect the people.  Those who don’t will cause much harm.

Nadi shodana pranayama



Before learning to practice pranayama it is very important to know the meaning of classical terminology:

Pranayama: duration of breath
Rechaka:Exhalation of breath
Puraka: Inhalation of breath
Antahkumbhaka: Holding of breath after inhalation
Bahyahkumbhaka: Holding of breath after exhalation ( do not inhale immediately after exhalation)
Kumbhaka: Holding of breath

These four states of pranavayu must be long.  Then only it is called pranayama. In order to learn the limit of these duration, we have to know the differences. There are two types of pranayama called samavrutti and vishamavrutti.  Householders must use baddhapadma and siddhasana for others.

If the duration of rechaka, puraka and antahkumbhaka are the same, it is called samavrutti pranayama.  If there are differences, then it is called vishamavrutti pranayama.

Example:

Rechaka 5 seconds,  puraka 5 seconds,  antahkumbhaka 5 seconds, is called samavrutti pranayama. Start with 5 seconds and gradually increase to 20 seconds.  Maximum should be not more than 30 seconds.  All rechaka and puraka practice  (not for kumbhaka), must be subtle, slow, long and must be accompanied by remembrance of house holder deity and mantra.  One must not indulge in surprise or fear of 30 second duration.  By gradual increase it is possible to reach it in 3 months.  Power of prana is the basis of long lifespan.

In vishamavrutti pranayama, puraka 5 seconds, kumbhaka 20 seconds and rechaka 10 seconds.  Rechaka must be twice the length of puraka and kumbhaka 4 times.  Here know that kumbhaka is antahkumbhaka.  First start with samavrutti and only after we are adept in it, we should start vishamavrutti.  Otherwise, you may get chest pain.  Those who are unable to do vishamavrutti can only practice samavrutti.  The basic tenet of Patanjali, Upavarsha and Varshaganya rishis is that one must practice yoga with deep inhalations and exhalations.  Sit facing east or north direction.

If we examine the Rishi traditions, rechaka puraka and kumbhaka is performed while holding both sides of the nose just below the bony part using right fingers.

Starting from the right thumb fold the second and third fingers on the inside and extend and join the pinky fingers and the ring finger next to it and press the left nostril while holding the right nostril pressed with the right thumb.

Mrugee mudra

This position is called the “Mrugee mudra”.  While holding in this position, our palm is in the form of a deer face.  Therefore, the name.  By employing this hold, prana flows only in the targeted nadis (channels).  Nitya and Kamya are two types of pranayama.  Mrugee mudra is used for nitya pranayama while Hamsa mudra and Sookari mudra are used for Kamya pranayama.  No need to discuss these details.  Patanjala yoga sutra bhashya only mentions “pranayama” and does not discuss details or different types.  Please see “Yogamakaranda” and “Yoganjali” texts for more details.

While doing rechaka and puraka on the right side, left nostril must be pressed tightly and while doing rechaka, puraka on the left side, right nostril is pressed tightly.  During kumbhaka, both nostrils are held tightly using “Mrugee mudra”


Om Shantih Shantih Shantih


APPENDIX 

Notes on Pranayama in the 1941 first edition of Yogasanagalu

A curious photo of Krishnamacharya seemingly practicing nadi sodhana while standing ( or is he merely demonstrating the mdura). in the text he mentions that pranayama should only be practiced whil in a suitable seated posture ( which might include the kneeling vajrasana)


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.

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Yoga practitioners must perform pranayama on an individual basis. However, yogasanas can be performed individually or as a group.


Most important asanas shirshasana, sarvangasana, mayurasana, paschimatanasana and baddha padmasana must be practiced daily without failure.



Other asanas are practiced according to their convenience as people become proficient.


By practicing shirshasana, sarvangasana and thier variations at very early morning, great benefits are obtained.

Those who want to expand intelligence, heart energy and Jnanendriayas (sense organs) must practice these asanas ( shirshasana and sarvangasana) for long periods.

After practicing this, practice 15 minutes of one of the pranayama routines followed by 5 minutes of shavasana, without failure.

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Pranayama

There are many types of pranayama.  The special pranavayu kriya sadhana that improves life expectancy, brightens prana, corrects inhalation and exhalation from lungs is called “pranayama.”

The radiance that shines on the face and other organs is called prana shakti.  Some people call it as atma shakti.

This radiance seems to disappear from the face and different organs in a person with disease.

We see that the radiance is totally lost in all parts of a dead body.

We need to try to improve this radiance day by day.

The only way to improve this is by the 4th step of yoganga called “pranayama.”

The basis of pranic energy is prana vayu(air).  This is not like the air around us. It is very subtle, with amazing lighting speed like a warm flood of radiance.

This is hidden in the chest cavity.  The cavity is between the two lungs.

The same place is the location of the atma and the antaryami (inner controller). The bright radiance exists because of them.

When its movement is normal, the pulse from the heart is regular and our life is full of hope and joy.

If this is poisoned, our movements become slow and ultimately  becomes stop and go.  Finally the heart and the organs stop working and the body’s radiant brightness disappears. This stage is called death in common language.

To summarize this,

“यावत्प्रानः स्थितो देहे तावज्जीवनमुच्यते”

“Yavatpranah sthito dehe tavajjivanamuchyate”

meaning, our bodies are only alive until the pranavayu and pranashakti takes residence and keep it radiant, once they are lost, there is no life according to people who have experience in yoga shastra.

In order to make this pranavayu and prana shakti always permeate our body, there are three important types of pranayama - 1. Suryabhedana 2. Ujjayi 3. Sheetali

Procedure -

Suryabhedana

Exhale slowly and deeply through the right nostril (keeping the left nostril closed with the right pinky and ring fingers). After a brief interval, inhale in the same way with the same nostril.  After, hold your breath as per capacity (5 seconds initially) exhale through the left nostril the the same way as described before (close the right nostril tightly with the right thumb and loosen the two fingers on the left side).  Inhalation and retention are same as before.  During retention, both nostrils must be closed by the respective fingers. 

Exhalation is “rechaka”, inhalation is “puraka” and retention is “kumbhaka” according to Yoga shastra.  How many rechaka we perform, the same number of puraka and kumbhaka must be performed.  This is Suryabhedana.  Right side puraka, left side rechaka, and no puraka on left side according to some.

This improves pranavayu, pranashakti, knowledge and life expectancy.
Ujjayi

Slowly and deeply Inhaling through both nostrils (puraka) while creating a sound in the back of the throat, hold (as per one’s ability) and then exhale (rechaka) through the right nostril.  After this, as before, puraka and kumbhaka and then exhale through the left nostril. Afterwards Puraka.  This increases appetite, improves digestive fire and cleanses the bile ducts.

Sheetali

Folding the tip of the tongue  like a boat and pushing it out about half an inch in front of the puckered lips, keeping it tight as per ability, perform puraka and kumbhaka through the boat shaped tounge.  During kumbhaka, the tongue must be withdrwan inside the mouth. Rechaka procedure is similar to that of Ujjayi pranayama.  

During exhalation (rechaka) phase of the second and third pranayama, hand and finger positions must be held as described in suryabhedana pranayama.

This reduces thirst, heat in the head, chest pain and vertigo. 


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Three Bandhas 1. Moolabandha 2. Uddiyanabandha and 3. Jaladarabandha. Bandha means - binding, tying or confining. When you are practicing the yoganga called pranayama, the central part of the body from the base of the reproductive parts to the neck region must be tied up on our own volition. Without these three bandhas, full benefits of pranayama can not be achieved for sure. Therefore, practitioners must do this carefully. 1. Moolabhanda characteristics (in Hatahyogapradipika) Procedure for binding पार्श्णिभागेन संपीड्य योनिमाकुंचयद्गुदं अपानमूर्ध्वमत्क्रुश्य मूलबंधोऽ भिधीयते॥ Parshnibhagena sampidya yonimakunchayeddgudam| Apanamoordhwamatkrushya moolabhandho bhidhiyate|| Summary: Sit while pressing the perineum with the heel, contract the rectum firmly, withdraw and hold the lower abdomen. Reason for the name अधोगतिमपानं वै ऊर्ध्वगं कुरुते बलात्। आकुंचेन तं प्राहुर्मूलभंदं हि योगिनः॥ Adhogatimapanam vai oordhwagam kurute balat| Aakunchena tam prahurmoolabhandam hi yoginah|| Summary: This forces the apanavayu to flow upwards rather than down the rectum which can cause weakness. Therefore, this is called Moolabhanda. According to yogi’s common usage, moola means, the bad vayu (prana) that can cause the musculature of the lower abdomen to become weak. Special procedure गुदं पार्श्ण्या तु संपीड्य पायुमाकुंचयेत् बलात्। वारं वारं यथा चोर्ध्वं समायति स्मीर​णः॥ Gudam parshrnya tu sampeedya paayumakuchayetat balat| varam varam yatha chordhwam samayati sameeranah|| Summary: Firmly press the perineum from the heels of both feet, contract the inner rectum tightly, move the lower abdomen back and forth. Benefits of moolabhanda प्रानापानौ नादबिंदू मूलभंदेन चैकताम्। गत्वा योगस्य संसिद्धिं यच्चतो नात्र संशयः॥ praanapanou nadabindu moolabhandena chaikatam| gatva yogasya samsiddhim yachhato natra samshayah|| Summary: By practicing moolabhanda, pranavayu, apanavayu, hrudayadhwani and veeryabindu are united resulting in yogic benefits. Special benefits अपानप्राणयोरैक्यं क्शयो मूत्रपुरीषयोः। युवा भवति व्रुद्धोऽपि सततं मूलभंधनात्॥ Apanapranayoraikyam kshayo mootrapurishayoh| yuva bhavati vruddhopi statam moolabandhanat|| Summary: The union of pranavayu and apanavayu reduces the frequency of urination and defecation. Those who practice regularly feel youthfulness even in old age. 2. Uddiyanabandha The basis for its name from Hathayogapradipika- बद्धो येन सुषुम्नायां प्रानस्तूड्डीयते यतः। तस्मादुड्डीयनाख्योऽयं योगिभिस्समुदाह्रुतः॥ Baddho yena sushumnayam praanastuddiyate yatah| Tasmaduddiyanachoyam yogibhissamudahrutah|| Summary: The part of the body when tightly bound makes pranavayu which is the basis of life move in the form of a fine thread along the spinal cord all the way to Brahma randhra (center of brain) within the Sushumna nadi (channel) is called uddiyanabandha. Characteristics of Uddiyanabandha उदरे पश्चिमं तानं नाभेरूर्ध्वं समाचरेत्। उड्डियाणो ह्यसो बन्धो म्रुत्युमातंगकेसरि॥ Udare paschimam tanam nabheroordhwam samacharet| Uddiyano hyaso bandho mrutyumatangakesari|| Summary: Along with the navel, draw in the lower and upper abdomen to press against the back bones (spine) tightly. When practicing this, perform a deep rechaka (exhalation) in the utkatasana state, draw in the abdomen tightly holding breath for a little while. This is like a lion for the intoxicated elephant, meaning the man who performs this has no fear of death. Those who have a big tummy must try to reduce the abdominal fat by performing many asanas and then can practice this. Such (obese) people must develop a solid paschimotanasana practice. In addition, strong rechaka (exhalation) must also be developed. Its benefits उड्डियाणं तु सहजं गुरुणा कथितं सदा। अभ्यसेत्सततं यस्तु व्रुद्धोऽपि तरुणायते॥ Uddiyanam tu sahajam kathitam sada| Abhyasetsatatam yastu vruddhopi tarunayate|| Summary: Those who practice this bandha daily according to the teachings of the guru, they will retain youthful vigor even in old age. नाभेरूर्ध्वमदस्चापि तानं कुर्यात् प्रयत्नतः। षण्मासमभ्यसेन्म्रुत्युं जयत्येव न संशयः॥ Naabheroordhwamadaschapi tanam kuryat prayatnatah| Shanmasamabhyasenmrutyum jayatyeva na samshayah|| Summary: Those who practice uddiyanabandha systematically by drawing in the upper and lower abdominal regions tightly so as to touch the back bone will achieve immortality. 3. Jalandharabandha कंठमाकुंच्य ह्रुदये स्थापयेच्चिबुकं द्रुढं। बंधो जालंधराख्योऽयं जराम्रुत्युविनाशकः॥ Kantamakucha hrudaye sthapayochhibukam drudam| Bandho jaalandharachyoyam jaramrutyuvinashakah|| Summary: Bend the neck down, press the chin against the chest and hold tightly - this is called Jalandharabandha. This overcomes old age and death. Reason for this name बद्नाति हि सिराजालमधोगामि नभोजलं। ततो जालंधरोबन्धः कंठदुखौघनाशनः॥ badnati hi sirajalamadhogami nabhojalam| tato jaalandharobnadah kantaduchoghanashanah|| Summary: The essence of brain is blocked from going down, this is called jalandarabandha. “Jala” means essense of the brain, a flood of this is called “Jaala” and to hold or bear this is called “jaalandhara”. The more concentrated this brain essence, greater will be the memory power. Special benefits जालंधरे क्रुते बन्धे कंठसंकोचलक्शणे। न पियूषं पतत्यग्नौ न च वायुः प्रकुप्यति॥ Jaalandhare krute bandhe kantasankochalakshane| Na piyusham patatyagnou na cha vayuh prakupyati|| Summary: In the practitioner who performs the above described bandha according to the instructions of his guru, brain essence can not be destroyed by the jataragni. In addition, relief from gas related abdominal bloating is also achieved. In Pranayama, all three bandhas must be practiced. After rechaka, one must do jalandharabandha, moolabandha and uddiyanabandha while after puraka, moolabandha and jalandarabandha must be followed without fail during pranayama. In yogashastra, one must do 320 pranayamas everyday. This means that it was classfied as 80 in the morning, 80 in the afternoon, 80 in the evening and 80 in mid-night. Since this is impossible, one can do 80 pranayama in one sitting. The reason is that now a days, you need to spend more time working to support your life. Benefits are delayed too. Rechaka, puraka and kumbhaka when practiced with equal time and equal numbers are called “Samavrutti pranayama.” When practiced with variations (increase and/or decrease) in time and numbers it is called “Vishamavrutti pranayama”. Those who learn it from a Guru will learn to practice properly. Those who are not proficient in yogasana will not be able to get expertise in pranayama. Women who are not pregnant have equal rights as men. Even in pregnancy they have the right to practice samasankya samavrutti pranayama. However, after the 6-month of pregnancy, they can not practice that (samavrutti pranayama) also. Yoganga applies equally to both men and women except during pregnancy - please remember this. Some are saying that Nauli, Neti, Vasti, Vajroli, Dhauti, Khechari etc., kriyas are also part of yoganga and propagating such information through various texts is very unfortunate. Any text that shows a list of yogangas does not say so. “Hatayogapradipika” lists them under a separate heading “Shatkriyas” and in the same text clearly states that everyone should not practice it. मेदःश्लेश्माधिकः पूर्वं षटकर्माणि समाचरेत्। अन्यस्तु नाचरेत्तानि दोषाणां समभावतः॥ Medha shleshmadhikah poorvam shatkarmani samacharet| Anystu nacharettani doshanam samabhavatah|| Therefore, we should pay attention to this rule and use it only as treatment for certain diseases such as those caused by excess fat.


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NOTE: With the translation of Krishnamacharya's second book Yogasanagalu ( Mysore 1941 - 3rd edition with additional chapter 1972) now complete, I'm just putting the finishing touches on a free to download edition of the full text that will be available on the Free Download page at the top of the blog.


UPDATE
First edit of the full text can be downloaded for personal study from here.
(future edits to come perhaps with some of my own notes on the text)

First draft available for free download for personal study from here
http://tinyurl.com/z9jy7cp

Origins of Ashtanga Vinyasa: Yogasanagalu and Yoga Korunta (yogakuranti) Also, Was Ashtanga designed for Young Boys?

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Perhaps some quick posts with some lines that have caught my eye in rereading Krishnamacharya's Yogasanagalu (Mysore  1941), finally translated into English.

First up, a tantalising Bibliography, Yogakurunti mentioned four books down.



An enjoyable speculative write up on the Yoga Korunta by James Russell HERE

....which includes this in the comments from Eddie Stern


"...In regards to your synopsis in the beginning about the discovery of the Yoga Korunta, this is not at all how I heard it from Guruji. I think Gregor might have that version in his first book, and a 1986 Yoga Journal published that as well. The way Guruji related to Sharath and I, on several occasions, in Kannada and English, was that Rama Mohana Brahmachari taught Krishnamacharya the Yoga Korunta during his 7+ years of study within him in the forests outside of Banaras (not Tibet), and that Rama Mohana told Krishnamacharya that he could find the text at the Calcutta University library. Guruji never laid eyes on the text, and he said that Krishnamacharya said the text, like thousands of others in India, was badly damaged. So, it's really not such an apocryphal story, though much has been made of it.

As well, the teachings in the Korunta, as you have surmised, would definitely not reflect Ashtanga Yoga as it is taught today. Guruji made many adaptations beginning in the late 1930's."


Not so many adaptations perhaps as we can now see from the Yogasanagalu Table of Asana .
See HERE for just the table as well as the Yogasanagalu translation ( link above).


Pattabhi Jois told several versions of of the Yoga Korunta story, I like the interview with David Williams from an earlier Bali conference (2013) where David relates that Pattabhi Jois was just about to launch on some great Yoga Korunta narrative only to be stopped by his wife Amma who says, "Now, now Pattabhi, the truth". Crestfallen, Pattabhi relates a less... grand tale.

Note: My understanding is that the 2017 Bali Conference has been cancelled, download this series of videos instead perhaps http://www.ashtangayogabali.com/resources/videos/

See also this comment from Pranhidi regarding our teacher Manju (Pattabhi Jois' son) on James Russel's article 

"...Manju Jois, recalls his father, Pattabhi Jois, and Krishnamcharya refining the sequences together- grouping asanas, transitions, etc. I thought I'd pass that along since not many people alive today knew KPJ at that time. Manju is a treasure that many ashtanga vinyasa practitioners could benefit from spending time with. It's clear to me from emerging research and from the stories of senior ashtanga teachers that the method certainly has a lineage but that it has evolved with time, and been adapted to suit the needs of each student..."

I had an enjoyable discussion myself with Manju on this very topic, he was pointing out the differences between the table and the practice he had just led us through in Rethymno, while I was pointing out all the similarities.  

Given what we know about Krishnamacharya's terrifying demeanour from Pattabhi Jois himself and also from BKS Iyengar, it seems unlikely to me that young Pattabhi Jois said much more to his teacher than than "Yes Sir, No sir". When Pattabhi Jois supposedly asked his teacher if the four year asana syllabus (clearly based on Krishnamacharya's own table of asana and the program Pattabhi Jois assisted in teaching at the yogashala) met with Krishnamacharya's approval, it may well have been the first formal question he actually addressed to his guru.

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The legend of the Yoga Koruntu (yogakuranti) is great fun of course but ultimately it's a distraction as are all methodologies which are of course ultimately means of control, ideally their job is to keep us distracted long enough to develop discipline whereupon we might freely discard them. No doubt all that would be taken from Yoga Korunta were it to be found is only that which confirms our current view of practice, it would then quickly be forgotten once more. It's presence is in it's absence.

As awareness rose within us so too did the potential to turn that awareness in upon itself. It requires opportunity, discipline, attention and time. 

Slowing the breath before battle is universal.

Sit, breathe, attend...... it's our birthright, no text or teacher required.


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First edit of the full text can be downloaded for personal study from here.
(future edits to come perhaps with some of my own notes on the text)

Krishnamacharya's yogasanagalu : Published Mysore 1941

Below. Photos from Krishnamacharya's Yoga Makaranda ( Mysore 1934)
Note: the Yogashala opened in 1933



Below. Krishnamacharya standing like Superman on the right
Pattabhi jois in Sarvangasana (shoulderstand) on the right side of the table?



The post below has been sitting in draft for some time, I may as well include it here


I was asked this old chestnut (yet) again recently.

Was Ashtanga designed/intended for young boys?


This question can be answered in a number of ways but the honest answer is.....

 YES

Sorry folks, but it kinda was.

The question is, in most cases, asking about the Ashtanga Vinyasa approach to asana taught by Pattabhi Jois.

Pattabhi Jois was one of Krishnamacharya's assistants when Krishnamacharya was teaching the BOYS of the Mysore palace.

The asana class Pattabhi Jois appears to have taken on Krishnamacharya's behalf at the Mysore palace seems to have been a led group class and supposedly of an hour duration. We can see from the asana table in Krishnamacharya's Yogasanagalu table of asana  ( Full English translation of the text finally completed and now availabe for download from my Free Download page) that Pattabhi Jois' Ashtanga Primary series and intermediate series closely follows how Krishnamacharya laid out his table of asana.

In the late 1930s/early 40s Pattabhi Jois was supposedly asked to teach a four year syllabus which he clearly based on his experience assisting on Krishnamacharya's behalf, as well no doubt as Krishnamacharya's table of asana which we must assume, given the close relation, that he saw ( it was also written in Kannada as was Yoga Makaranda, Pattabhi Jois' language). The Sanskrit college course was again for young boys although a few years older perhaps than those of the place school (late teen/early twenties?).

However, if we look to Krishnamacharya's own texts from the same period we see that Krishnamacharya taught in groups of asana rather than fixed series that needed to be completed. We see long slow breathing stressed in almost every asana, Kumbhaka (meditatively/pranayamaically restraining the breath), we see longer stays.

Pattabhi Jois may have talked of long slow breathing but in practice his students move quickly through their series. Pattabhi Jois could be flexible in his approach, to those with injury or illness perhaps, but essentially Ashtanga has kept close to the series.

It has been suggested that Pattabhi Jois and Krishnamacharya worked together at forming the sequences, this seems unlikely, given Pattabhi Jois' accounts of his teacher as well as that of BKS Iyengar it is surely unlikely that Pattabhi Jois said much more to Krishnamacharya than "Yes Sir, No Sir". When Pattabhi Jois asked his teacher to approve the four year syllabus based closely on Krishnamacharya's own table of asana it may well have been the first question Pattabhi jois had got up the nerve to ask his teacher.

Pattabhi Jois assisted Krishnamacharya by leading the boys of the palace through their paces because Krishnamacharya himself was often in a side room teaching private lessons, to patients, members of the court or in the palace proper perhaps giving lessons to the Maharaja himself. Perhaps these lessons more clearly followed the guidelines for practice we find in Krishnamacharya's Mysore texts of the period. The lessons are likely to have been more flexible, bespoke, less asana with longer stays and slower breathing, no doubt integrated with other limbs.

This approach to practice, unlike that Pattabhi Jois oversaw with the boys of the palace, was designed not just for boys but for whoever came to him for lessons. 

In this case then... 

NO, Ashtanga Vinyasa as krishnamacharya clearly conceived it was NOT designed for young boys...

It was an approach to asana practice that could be adapted for exuberant boys with the attention span of  guppy's ( not unlike us in the West perhaps with our push button society) as well as to practitioners of different ages and physical conditions. We will see in Yogasanagalu that Krishnamacharya considered practicing a great deal of asana to be beneficial in reducing weight and improving the physical condition of practitioners. Once in a healthier, fitter condition they would approach their asana practice with more subtlety.

Pattabhi Jois didn't invent Ashtanga Vinyasa and it's highly unlikely he worked out groups or series of asana with Krishnamacharya, it seems rather that he took Krishnamacharya approach to asana, the one Krishnamacharya had simplified for the boys of the palace, tweaked it a little and presented it in his four years course at the Sanskrit college and later to the Westerners who came knocking on his door,

This is not to take anything away from Pattabhi Jois, he was by all accounts a generous, tireless teacher of this aspect of Krishnamacharya's teaching as are so many of those teachers who studied with him.

Ashtanga vinyasa is how we often refer to the approach to asana Pattabhi Jois taught, this is to distinguish it from the Ashtanga of Patanjali's yoga sutras of which it forms a part.

Patanjali's yoga sutras and the eight limb (ashtanga) methodology it presents is of course intended for everybody.

This when somebody asks..

Was Ashtanga designed for young boys?

It's possible to answer NO, this is of course a category mistake. the Questioner asking about one category Ashtanga vinyasa, the responder replying from the perspective of another category, Patanjali's Ashtanga. It's an ingenuous response. It can also be a harmful response, believing the approach to be asana to be intended for everybody, practitioners as well as teachers might be tempted to teach and attempt asana that are not suitable for them at that time if ever.

Krishnamacharya mentions in Yogasanagalu that there is a need for demonstrators but for most the more significant task of exploring and seeking to understand the nature of self through patanjali is of higher importance, for that we only perhaps need one comfortable asana and three pranayama's.

Too often our perception of what is or is not correct is a hinderance, dictating and defending correct method is a hinderance to practice and development. Krishnamacharya approach to asana was flexible, it embraced all the limbs, it's approach to asana subtle, there is a lifetime of exploration to be found between the covers of Krishnamacharya's texts. But even this is a hinderance clinging to one teacher, one approach to teaching however broad and flexible. Our teacher('s) should be our guides only, leading us to explore for ourselves our practice and what is appropriate for us this, goes for teachers that are alive  and still teaching as well as for dead texts.

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This particular form of Ashtanga vinyasa may have been originally designed with young boys in mind however.......


See this post In defence of Ashtanga 2: Notice how....

http://grimmly2007.blogspot.jp/2016/09/notice-how-for-ashtangis.html


and....

In defence of Ashtanga 1.

Specifics of the breath in yoga asana - Notes from Krishnamacharya's Yogasanagalu (Mysore 1941)

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Krishnamacharya gets quite specific with regard to the breath in Yogasanagalu (Mysore 1941).



"In pranayama practice (yogangabhyasis), inhalation and exhalation motion is performed using both nostrils, trachea, tip of the tongue, between two lips and in between two rows of teeth.


Normally during yogasana practice, inhalation and exhalation is performed via the trachea deeply, subtly and with sound. This is 
common practice with everyone. This type of breathing is called anuloma ujjayi” 
Yogasanagalu  ( Mysore 1941).


Note: Krishnamacharya's use of the term Anuloma Ujjayi here should not be confused with the pranayama of the same name which tends to involve throat inhalation with exhalation through alternate nostrils. Anuloma means 'with the grain'thus...

"All expansion movements are usually done while inhaling and all contraction while exhaling"
Yoga beneath the Surface by Srivatsa Ramaswami and David Hurwitz 
See full quote in Appendix 2 below


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"When practicing asanas, we need to maintain deep inhalation and exhalation to normalise the uneven respiration through nasal passages.

In yoga positions where eyes, head and forehead are raised, inhalation must be performed slowly through the nostrils until the lungs are filled.


Then the chest is pushed forward and puffed up, abdomen tightly tucked in, focusing the eyes on the tip of the nose, and straighten the back bones tightly as much as possible. This type of inhalation which fills the lungs signifies Puraka.


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



Holding the breath is called Kumbhaka". Yogasanagalu  ( Mysore 1941)


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Note: A year or two I started to follow Simon Borg-Olivier's recommendation to breath abdominally see this earlier post The breath: Simon Borg-Olivier made me fall in love with asana all over again.

In the past I assumed Krishnamacharya breathed thoracically and yet in the instruction above he inhales fully AND THEN pushes out the chest and draws in the belly, does this suggest or allow for diaphragmatic abdominal breathing? 


Below Krishnamacharya in the 1938 Mysore footage, again, back when Pattabhi Jois was his student.




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It is perhaps important to point out once again that Pattabhi Jois seems to have been presenting a simplification of Krishnamacharya's Mysore teaching, perhaps just the approach to asana that Krishnamacharya taught to the boys of the palace in group classes (see the previous post).

Krishnamacharya suggest in Yogasanagalu that it is possible to split a class into physical condition and ability and teach asana as a group. The simplification then is perhaps Krishnamacharya's own rather than Pattabhi Jois', a necessity of teaching group classes.

"Yoga practitioners must perform pranayama on an individual basis. However, yogasanas can be performed individually or as a group. When teaching yoga in a group, it is advised to separate people with obese, lean, and short body types. Otherwise, they will not get their desired results. People with obese body naturally want to get lean. Drill and other exercises also follow this rule. All can not perform all types of practices (sadhanas)".

"In yoganga practice, asanas that are possible for a lean person are impossible for an obese person. However, we don’t need to increase the number of yoga instructors. Yoga practitioners may be divided approximately on the basis of body type and the same instructor can teach them. In the same way, practitioners with common disease types may be divided and treated (with yoga)". 


Given that the class Pattabhi Jois ( as one of Krishnamacharya's shala assistants) would present was only an hour in duration it's likely that the stays in asana were short and the breath less subtle than Krishnamacharya would present in his Mysore texts of the same period.

This simplified approach to practice, carried forward by Pattabhi Jois as Ashtanga Vinyasa, clearly works well as an introduction to asana practice. In the system Pattabhi Jois presented, you can come into the shala, jump on the mat run through your kata of asana, shower and head off to work. The whole system can fit on a double sided A4 card. It wasn't necessary to think about yoga philosophy, or concern yourself with the yama and niyama, all that would come.... or not, depending on your interest.

Unfortunately, the love and respect of his first students turned almost to worship for the person of Pattabhi Jois by those who followed, he became credited with the methodology he presented ( when I started it was hard to find much more than a line or two about Krishnamacharya) and thus the system became closed, ever more codified, defended, preserved in the shellac of lineage.

Parampara I would argue can be a hinderance.

Sharath preserves intact the presentation of the Ashtanga Vinyasa of Pattabhi Jois' later years for new generations of students and this is all to the good. Manju too, preserves the Ashtanga Vinyasa perhaps of Pattabhi Jois' middle period, a slightly more flexible, free approach, the asana followed by pranayama and chanting as a meditative activity.


But also preserved are Krishnamacharya own Mysore texts,  his Yoga Makaranda and Yogasanagalu, written at the time Pattabhi Jois was his student and in Pattabhi Jois' own Kanada language. Here we can find a practice not confined to the necessities of an hour long group class, a fuller presentation of the mature Krishnamacharya's understanding of yoga at that time than that of the twenty year old student.

The asana are not locked into series, more input is required on our part in choosing which asana to practice. Long stays are indicated/suggested/recommended for certain asana, the breath is more subtle than that required of a rushed group class. The breath is slowed, lengthened, kumbhaka (retaining the breath in or out) suggested in most asana presented, bandhas fully engaged, the mind focussed....., asana become mudra like, gestures.

Krishnamacharya insists the yama and niyama are prerequisite to asana practice, they go hand in hand with our asana practice as does the practice of pranayama, after some proficiency is attained in a few primary asana.The later limbs follow, asana for Krishnamacharya is part of a fully integrated practice.

"12. Caution
Especially those who want to start practicing the two yoganga’s “Asana” and “Pranayama” without following the aforementioned niyamas (and yamas?), following drawing charts and practicing on their own freewill will not receive benefits but may also be responsible for tarnishing the name and bringing disrepute".

We don't have to wait until given the  illusion of authorisation, another's permission, until we have begun third series....second. If we have been practicing for a time, our health and fitness under control, out breath steady in a few Primary asana, our practice grounded and some degree of discipline obtained then we can begin to explore the asana we have, the practice we have, in other ways than though ever more asana.

"Most important asanas shirshasana, sarvangasana, mayurasana, paschimatanasana and baddha padmasana must be practiced daily without failure.

Other asanas are practiced according to their convenience as people become proficient.

By practicing shirshasana, sarvangasana and their variations at very early morning, great benefits are obtained.

Those who want to expand intelligence, heart energy and Jnanendriayas (sense organs) must practice these asanas ( shirshasana and sarvangasana) for long periods.


After practicing this, practice 15 minutes of one of the pranayama routines followed by 5 minutes of shavasana, without failure". Yogasanagalu  ( Mysore 1941)



I would argue that often, for all the sweat and labour,  it's laziness on our part than makes us rather work on the next asana and series than focus on pranayama, on exploring the later limbs.


"Indeed, anyone—men and women of all ages, sick or weak—can practice yoga, except those who are lazy". Pattabhi Jois Yoga Mala (Mysore 1950s)


"Lazy people can not make progress in any work while energetic will not be left behind. India’s cultural and spiritual wealth was not only permeated by speech. The courageous overcome obstacles and practiced. In this edition, it is once again suggested that yoga sadhana is for people of all ages". Krishnamacharya. Yogasanagalu (Mysore 1941)


Krishnamacharya strongly recommends that in the beginning and for a time, we practice under the guidance of a guru, an appropriate teacher.... but where are we to find such a teacher when so many are inhibited by an imagined tradition, constrained by lineage, hindered by a parampara that seeks to protect, preserve and propagate an incomplete, simplification of the teaching of the very teacher who is the most complete source we have of that traditions, lineage and parampara.

Learn key Primary asana from an experienced teacher and practitioner 'authorised' or not who can teach their safe practice, look then to Pattabhi Jois' Yoga Mala and then to the texts of his teacher T. Krishnamacharya.

Manju Jois stresses freedom in practice, that yoga is indeed ALL about freedom, I tend to think of yoga as radical enquiry, enquiry into that which we most firmly believe to be the case. Krishnamacharya's texts contain suggestions, recommendations for enquiry through our own practice.

Here is a link to my Free Download page where there are links to downloads of Krishnamacharya's texts including the now complete English translation of Yogasanagalu.


http://grimmly2007.blogspot.jp/p/free-downloads.html



see also perhaps

In defence of Ashtanga 1.

In defence of Ashtanga 2




APPENDIX 1.

Comparison, ofPaschimottanasana in Krishnamacharya and Pattabhi Jois


Example of the asana description from Krishnamacharya's
Yoga Makaranda ( Mysore 1934) and reproduced in Yogasanagalu (Mysore 1941)

Pascimattanasana or Pascimottanasana



This asana has many kramas. Of these the first form has 16 vinyasas. Just doing the asana sthiti by sitting in the same spot without doing these vinyasas will not yield the complete benefits mentioned in the yoga sastras. This rule applies to all asanas.

The first three vinyasas are exactly as for uttanasana. The 4th vinyasa is caturanga dandasana, the 5th vinyasa is urdhvamukhasvanasana, the 6th vinyasa is adhomukhasvanasana. Practise these following the earlier instructions. In the 6th vinyasa, doing puraka kumbhaka, jump and arrive at the 7th vinyasa. That is, from adhomukhasvanasana sthiti, jump forward and move both legs between the arms without allowing the legs to touch the floor. Extend the legs out forward and sit down. Practise sitting like this with the rear part of the body either between the two hands or 4 angulas in front of the hands. It is better to learn the abhyasa krama from a guru.

In this sthiti, push the chest forward, do puraka kumbhaka and gaze steadily at the tip of the nose. After this extend both arms out towards the feet (the legs are already extended in front). Clasp the big toes of the feet tightly with the first three fingers (thumb, index, middle) of the hands such that the left hand holds the left big toe and the right hand holds the right big toe. Do not raise the knees even slightly. Then, pull in the stomach while doing recaka, lower the head and press the face down onto the knee. The knees should not rise from the ground in this sthiti either. This is the 9th vinyasa. This is called pascimottanasana.

In the beginning, everybody will find it very difficult. The nerves in the back, the thighs and the backs of the knees will feel as though they are being fiercely pulled and this will be extremely painful. The pain will remain for 8 days. After this, the pulling on the nerves will release and it will be possible to do the asana without any problem.

This pascimottanasana has many forms. After first practising this asana with the face pressed onto the knee, practise it with the chin placed on the knee and then eventually with it placed 3 angulas below the knee on the calf. In the 10th vinyasa raise the head. In the 11th vinyasa, keeping the hands firmly pressed on the ground, raise the entire body o the ground and balance it in the air without touching the ground. The 11th vinyasa is called uthpluthi. The 12th vinyasa is caturanga dandasana. The 13th is urdhvamukhasvanasana. The 14th is adhomukhasvanasana. The 15th is the first vinyasa of uttanasana. The 16th vinyasa is the 2nd vinyasa of uttanasana.

Afterwards, return to samasthiti. You should learn the intricacies of this vinyasa only from a guru.

Benefit: This will cure all diseases related to the stomach.

This asana can be done on the floor or on a mat according to the capabilities of one’s body. Learn some of the other forms of pascimottanasana krama by studying the pictures carefully. Pregnant women should not do this asana. But this can be done up to the third month of pregnancy. For men, there are no restrictions to practising this asana. If this is practised every day without fail for 15 minutes, all the bad diseases of the stomach will be removed.

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from pattabhi Jois' Yoga mala (1950s)


PASCHIMATTANASANA
There are sixteen vinyasas to this asana. The 9th is its state (see figures).
METHOD
To begin, follow the first Surya Namaskara through the 6th vinyasa. Then, doing puraka and with only the strength of the arms, jump the legs between the hands without allowing them to touch the floor, and stretch out the legs. Then press the hands to the floor on either side of the hips, straighten the chest and waist, lower the head a little, draw the anus up tightly, lift the lower abdomen and hold firmly, and sit erect, slowly doing rechaka and puraka as much as possible; this constitutes the 7th vinyasa. Next, doing rechaka, grasp and hold the upper parts of the feet; this is the 8th vinyasa (as your practice becomes firm, you should be able to lock your hands behind your feet). Then, doing puraka slowly, then rechaka, straighten both legs, and place the head between the knees; this is the 9th vinyasa and the state of the asana. While in the state, do puraka and rechaka slowly and deeply, as much as possible. Then, slowly doing puraka, lift only the head; this is the 10th vinyasa. Next, doing rechaka and then puraka, let go of the feet, press the hands to the floor, bend the legs, and lift the entire body up off the floor merely with the strength of the arms; this is the 11th vinyasa. The remaining vinyasas are the same as those for the Surya Namaskara.

There are three types of Paschimattanasana: 1) holding the big toes and touching the nose to the knees; 2) holding on to either side of the feet and touching the nose to the knees; and 3) locking the hand and wrist beyond the feet, and touching the chin to the knee. All three types should be practiced, as each is useful.

BENEFITS
The practice of this asana helps the stomach to become slender by dissolving its fat. It also increases jathara agni [the fire of hunger], helps food to digest well, and strengthens the organs of the digestive systems ( jir-nanga kosha). In addition, it cures weakness in the hands and legs resulting from a loss of appetite and low digestive fire, as well as indolence and giddiness stemming from an aberration in the liver, and gas problems in the stomach.


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Appendix 2
Anuloma (with the grain)
explained by Krishnamacharya's student of 30+ years Srivatsa Ramaswami

from Yoga beneath the Surface by Srivatsa Ramaswami and David Hurwitz

DAVID: In asana, when we do a vinyasa sequence that requires jumping, do we jump on hold after exhale or inhale? Far instance, in the sun salutation, we jump on hold after inhale from utatasana to chatarunga, and again from downward-facing dog to utkatasana, on hold after inhale. But, I've also done sun salutations where we jump  on uttanasana to chatarunga on hold after exhale. And, in trikonasana, we jump the legs apart on hold after exhale. Or, are these just guidelines and really we can do either?

RAMASWAMI: This can be answered better by understanding the reasoning behind the synchronization of breath and move­ment in vinyasa krama. All expansion movements are usually done while inhaling and all contraction while exhaling. When you raise the arms, you do it with inhalation. When you stretch the legs or bend back, it usually is done during inhalation. Likewise when you bend the knees and draw the legs toward your body, as in utkatasana or apanasana, it has to be during exhalation. Dropping your arms down or twisting the body or bending the body will be done with exhalation. When you do an expansive movement, such as raising the arms, if you also inhale, not only the muscles of the limbs stretch but also the muscles inside the chest expand with the inhalation. Thus, there is both an internal and external stretching taking place. This is anuloma (with the grain move­ment). On the other hand, if you do it without proper breathing, the full advantage of coordinated stretching is not obtained. Sim­ilarly, when you contract the body, as in bending forward, if you exhale it becomes easier to contract the internal muscles as you contract the external muscles.

Now, jumping is not a common occurrence in yoga practice. Since jumping is a swift movement, you cannot synchronize it with the breath as we do in slow vinyasa movements. So we hold the breath while jumping. Here, also, the reasoning will be to keep the internal muscles stretched as you stretch the external muscles. So when you jump from utkatasana to chaturanga-dandasana ( four-legged staff  pose), since there is an extension of the body and also the chest, it is logical to do it with internal breath holding. The same will be the case if you jump  from uttanasana to chaturanga­ dandasana. In the case of trikonasana, since only the legs are involved and not the chest, it is okay to jump after exhalation.
There is one more point to note. As discussed, people who are older or who are obese  find it dfficult to inhale and do some of the extension and backbending movements simultaneously. Applying the same logic, some may be advised to do the jumping from utkatasana to chaturanga-dandasana while holding the breath out after exhalation. But it is better not to ask older or obese people to jump as kids do.

On Vinyasa: "Yogasanas must be only practiced with vinyasas and never without it". Krishnamacharya. Yogasanagalu (Mysore 1934).

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from my book Krishnamacharya's Original Ashtanga, Print version available from Lulu HERE



from Krishnamacharya's Yogasanagalau (Mysore 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.

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.
(see Appendix 2)

Yoga practitioners must perform pranayama on an individual basis.

However, yogasanas can be performed individually or as a group.

When teaching yoga in a group, it is advised to separate people with obese, lean, and short body types. Otherwise, they will not get their desired results.

People with obese body naturally want to get lean.

Drill and other exercises also follow this rule.

All can not perform all types of practices (sadhanas).

Can an obese person run like a lean man?
Can he raise and bend hands and legs (in the same fashion)?.
For instance, if he runs hard due to drill masters orders, he could be put in danger due to elevated heart rate.

In yoganga practice, asanas that are possible for a lean person are impossible for an obese person.

However, we don’t need to increase the number of yoga instructors.

Yoga practitioners may be divided approximately on the basis of body type and the same instructor can teach them.

In the same way, practitioners with common disease types may be divided and treated (with yoga).

Yoga sadhana is without risk compared to many of the body exercises that require equipment.

Yoganga sadhana must be done standing, sitting, sideways and upside down.

All these types of asanas are given in this edition.

Interested practitioners and instructors must study carefully, practice and teach.

Many asanas are also printed for ladies.

From this, we can get an idea of our ancestors behaviour.

Lazy people can not make progress in any work while energetic will not be left behind. India’s cultural and spiritual wealth was not only permeated by speech.

The courageous overcome obstacles and practiced.

In this edition, it is once again suggested that yoga sadhana is for people of all ages".

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Here is a link to my Free Download page where there are links to downloads of Krishnamacharya's texts including the now complete English translation of Yogasanagalu.




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Appendix 1.

The Seven Vinyasa

"Yogasanas must be only practiced with vinyasas and never without it. Vinyasas from 1 to 7 are equal in all asanas". 

NOTE: Krishnamacharya is referring to the seven vinyasa from standing (samastithi) to seated (dandasana). The asana instructions in Yogasanagalu are carried over from Yoga Makaranda (Mysore 1934), unfortunately he doesn't carry over all of the key asana that form the seven vinyasa E.G. caturanga dandasana, urdhvamukhasvanasana and adhomukhasvanasana. Below I've lifted the instruction for those vinyasa  as well as those form uttanasana and paschimottanasana to give an outline of the seven vinyasa krushnamacharya is refering to.



Following the rules for tadasana (yogasana samasthiti krama) stand erect. 

1st. Vinyasa.
Afterwards, while exhaling the breath out slowly, bend the upper part of the body (that is, the part above the hip) little by little and place the palms down by the legs. The knees must not be even slightly bent. 

2nd. Vinyasa.
Raise the head upwards and fix the gaze on the tip of the nose. While doing this, draw in clean air through the nostril, hold the breath firmly and maintain this position. This is called sahitha kumbhaka. 

3rd. Vinyasa (Uttanasana).
After remaining here for some time, exhale the breath (that was being held) out very slowly through the nostril, lower the head and place it on the knees. This sthiti is called uttanasana.  


4th vinyasa (caturanga dandasana).
Press both palms down firmly while doing the 4th vinyasa from the 3rd vinyasa of uttanasana. Do only recaka and firmly hold the breath out without doing puraka. Keeping the weight balanced equally on both legs, jump backwards (keeping both legs parallel to each other) and holding the body straight like a rod, lie down facing downwards. At this time, only the palms and toes touch the ground. No other parts of the body touch the ground. That is, there must be 4 angulas of space between the body and the ground. In this position, if you keep a stick or rod on top of the body, the rod must touch the body completely. We need to keep our body this straight. But make sure to check gaps formed by the muscles and mounds of flesh to determine if all the adjustments are correct.

5th Vinyasa (urdhvamukhasvanasana).
In caturanga dandasana, there are 4 angulas of space between the body and the floor everywhere. In this asana, the palms and toes are as in caturanga dandasana. However even while keeping the lower part of the body from the toes to the thighs just as in caturanga dandasana, raise the upper part of the body. Make sure that the navel rests between the hands and do puraka kumbhaka. Try to push the chest as far forward as possible, lift the face up and keep gazing at the tip of the nose.

6th Vinyasa ( adhomukhasvanasana.).
In the 4th vinyasa only, even while jumping back as for caturanga dandasana, the entire body should be pushed back into a curve. Study the pic- ture and learn this. In this sthiti, the head should be properly bent inwards and the chin should be pressed firmly against the chest. After pulling the abdomen in and pushing it out, exhale the breath out. Holding the breath out firmly, pull in the abdomen.

7th Vinyasa. 
from adhomukhasvanasana sthiti, doing puraka kumbhaka, jump and arrive at the 7th vinyasa. That is, jump forward and move both legs between the arms without allowing the legs to touch the floor. Extend the legs out forward and sit down. Practise sitting like this with the rear part of the body either between the two hands or 4 angulas in front of the hands. It is better to learn the abhyasa krama from a guru. In this sthiti, push the chest forward, do puraka kumbhaka and gaze steadily at the tip of the nose.


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Appendix 2

Yogasanagalu Asana table


"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








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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 ).





Note: the suptakandasana is actually David Williams - I never could do that asana

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


A post on visiting Mysore after reaching fifty.

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I posted this question to an earlier post on fb this last week.

Krishnamacharya aged fifty (Mysore)
http://tinyurl.com/zsk5tmy

'After fifty can you practice what you want in Mysore?'

It's a nice idea.

"For people over fifty, it is enough to practice some of the easier and more useful asanas, as well as some of the pranayamas. Those who have been practicing for many years, however, can do any asana or pranayama without a problem". Pattabhi Jois -Yoga Mala

from this post regarding age - "When and how ashtanga yoga practise needs to be modified?"


I'm over fifty, let's imagine the scenario.

I go to Mysore, sometime early in the new year, I get my time slot from Sharath.

I turn up for the first day of my practice, knock out a couple of sury's A and B, then trikonasana, go straight to paschimottanasana and purvatanasana, Janu sirsasana, marichyasana A to C, bharadvajrasana in place of Mari D ( as Manju might suggest), navasana then baddha konasana, a modified setu bandhasna perhaps and on into sarvangasana and Sirsasana, baddha padmasana and padmasana. I then proceed to do my half hour pranayama practice and finally Sit for twenty minutes, Japa perhaps.

The whole practice takes no longer than a speedy full Primary followed by part of Intermediate so no problem...surely.

This, or a variation of it, often forms my practice and given Pattabhi Jois' own advice in Yoga Mala on modifying practise after reaching fifty, wouldn't this be perfectly acceptable.

Or perhaps half primary/half second with the odd posture from third as Manju mentions he now practices being over seventy.

or what of this...

A couple of sury's, trikonasana, paschimottanasana/purvotanasana, ten minutes in sarvangasana, forty minutes in Sirsasana, padmasana, pranayama, a sit.

The above are all variation of my practice since reaching fifty...., truth be told I tended to practice like this before I reached fifty. Rather than being a question of age it was a one of how to adapt my practise once I decided to breathe more slowly. As it happens, I do tend to practice a regular full Primary when M. and I get to practice together on Saturdays.

Note: Krishnamacharya indicated long slow breathing '...like the pouring of oil' in his early Mysore texts. Pattabhi Jois also recommended slow breathing, ten seconds ( or indeed longer) inhalations and exhalations throughout the practice but also recognised given the time this would take, faster breathing would be acceptible (and became the norm), to complete the series. My solution is to practice less asana, half a series, a third.

Truth be told I imagine there are many/some who for one reason or another ( injury perhaps) need to, and do, adapt their practice In Mysore just as in their home shala.

The argument might be that this makes it difficult for Sharath or his assistants to know how to adjust or assist me in my practice, not knowing for sure which asana I might be moving to next.

It be like asking for a runny egg and no ham on your egg macmuffin at Mcdonalds one morning.

Personally though I have no interest in receiving any adjustments or an assists from Sharath or anyone else for that matter. Not because I feel I know best but because it's not something I'm comfortable with or consider necessary or particularly beneficial as a home practitioner. Besides, how do I know if any of Sharath's assistants have ever opened an anatomy and physiology book, or Sharath either for that matter.

Having watched videos of Pattabhi Jois himself assisting I wouldn't have wanted him to come anywhere near me either.

That said, Pattabhi Jois' son Manju's assists tend to be supportive, no pulling cranking, yanking or twisting there, merely propping and perhaps guiding.

If I want advice on my alignment I think I'd rather go to an experienced Iyengar teacher who's focused on nothing else for years.

Note: There are of course many excellent ashtanga teachers (you're own home shala teacher perhaps) who have made a careful study of anatomy and physiology or at least attended several workshops with teachers who focus on this area.

Simon Borg-Olivier happens to be my go to for anatomy and physiology.

Sharath has a Primary only rule for the first trip I hear, that's fine by me and I'm happy to make it easy for him and just practice the first half of primary and move to sarvangasana after Janu Sirsasana, what do I care about the next asana, trikonasana, paschimottanasana, janu Sirsasana, (baddha konasana- I'll squeese it in while Sharath is dropping the room back) sarvangasana, Sirsasana, padmasana are plenty.

Come to think of it I'd be happy to be stopped at Paschimottanasana for that matter or after some long slow Sury's, an inhalation, an exhalation....., what do they care which asana they happen to be taken in.

I remember practicng partlicularly slowly on the last day of Manju's TT in Rethymno, Crete, I got as far as janu Sirsasana before moving to sarvangasana to catch up much of the rest of the room. Afterwards Manju called me over and I feared I might be in trouble but no, Manju just wanted to chat about something else entirely. And besides, hadn't Manju told us only a few days before how his father used to practice long stays in asana with long slow breathing.

Note: One of my favourite memories of Manju's Mysore in Rethymno was hearing, near the end of of my own practice, the breath of others also finishing along with the sound of the pranayama from those already finished or the soft chanting from those who had completed their pranayama (Manju teaches and recommend ten to twenty minutes of peace chants following pranayama, just as his father taught, an integrated practice). 

If I don't intend to practice the standard series, don't wish for any adjustments or to attend the Led class or the crush of Conference, then why you may ask come to Mysore at all.

Aren't I just taking up precious mat space.

But what if the main reason for making the trip, the only reason really, is to touch base, to check in with the international community of practitioners (though we may share no more than a glance on the the way to our mats). To pay my respects to Mysore itself, home of Pattabhi Jois (who generously shared this gift with us) and Krishnamacharya who, as far as we can tell, originated this particular pedagogic approach to practice that I indulge in each morning.

To broaden my intimacy with the context of the practice.

Sharath and others are continually stressing that the reason to come to Mysore is not so much for the asana as for the tradition, linage....., parampara.

I don't buy into any of those concepts personally, all too problematic. If Lineage mattered to me then it's taken care of by spending more time with Manju or any of Pattabhi Jois' experienced students now teachers, Sharath is but one of many. Manju put it nicely at the Confluence this year, parampara tends to suggest father to son but Pattabhi Jois considered all his long term students family, parampara resides in all of them.

Krishnamachartya, Sarvangasana variations, aged fifty ( Mysore 1938).
http://tinyurl.com/h3xxla8


Yoga has nothing more to do with India than anywhere else, hatha perhaps, but yoga... the turn inwards is as perennial as the grass (thank you Walt, you old Yogi - that's Whitman not White).

But perhaps there is a context to this practice, Krishnamacharya taught and practiced in Mysore, as did all the boys of the palace, Pattabhi Jois assisted, led at times on his teacher's behalf...., and later Pattabhi Jois generously welcomed his own students into his home, his shala, he welcomed us.

All walked those Mysore streets to practice in the early morning and/or late evening. However different those streets may be now, the morning air and later, the sounds of the birds, the insects, no doubt many of the sights the smells are perhaps the same as when Pattabhi Jois himself walked to practice with his teacher.

The thought is occasionally appealing but passes quickly.


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Note: There is an argument of course for hurtling speedlily through a whole series and creating time for your pranayama and a Sit or some chanting. Nancy Gilgoff for example, still recommends a speedy practice just as she learned it from Pattabhi Jois in the early 70s. A fast paced Ashtanga vinyasa asana practise, practiced daily, can bring about relatively quick results in health, strength, fitness... as well as, more importantly, develop discipline (hopefully without too many injuries),. Practiced sincerly with commitment and attention on the breath throughout, it is a moving meditation of 60-90 minutes or more duration. It was the practice Krishnamacharya put in place for the boys of the Mysore palace in their hour long group class based no doubt on the table of asana (Yogasanagalu), and it was that practice, a response to a particular pedagogic situation, that Pattabhi Jois, not much more than a boy himself, carried forward with some minor tweaking to his four year course at the Sanskrit college and continued to teach, with only minor adjustment throughout his life. It is arguably though, a first approach to practice (although whole philosphies, some more rewarding perhaps than others, along with tapastries of justification have formed around it) that we can develop (deepen?) further over time (even if our practice is only a few asana) by looking perhaps to Krishnamacharya's own writing from that period, Yoga Makaranda (Mysore 1934) and Yogasanagalu (1941) or to other students of Krishnamacharya less tied to a particular pedagocic environment, Srivatsa Ramaswami for example who began his studies with Krishnamacharya just after Krishnamacharya departed Mysore, in the 1950s .



Trailer: Mysore Yoga Traditions

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from my previous post

But perhaps there is a context to this practice, Krishnamacharya taught and practiced in Mysore, as did all the boys of the palace, Pattabhi Jois assisted, led at times on his teacher's behalf...., and later Pattabhi Jois generously welcomed his own students into his home, his shala, he welcomed us.

All walked those Mysore streets to practice in the early morning and/or late evening. However different those streets may be now, the morning air and later, the sounds of the birds, the insects, no doubt many of the sights the smells are perhaps the same as when Pattabhi Jois himself walked to practice with his teacher.

A new movie on Mysore is in the works that you may wish to support and/or look out for.

https://www.gofundme.com/yogafil




Mysore Yoga Traditions is an inquiry into the cultural background of yoga in Mysore, how it has evolved, and the philosophy upon which this global practice rests. The film will be an intimate glimpse into the yoga of Mysore as the elders, scholars, philosophers, yogis and spiritual leaders of the community express their views on what yoga is, its original intention, and how they feel about the way it is being taught and practiced around the world. Much has been said about yoga in Mysore by western scholars. Now it is time for the people who are the keepers of this vibrant yoga tradition to speak about how they see their own legacy.

Production of the documentary is underway. Funding is needed to finish this monumental documentary which will add to the rich cultural exchange between India and the international yoga community. To donate, https://www.gofundme.com/yogafil


The Story Behind the Film

In the spring of 2016 Andrew Eppler and a group of yogi friends including Joey Paz, Kelly O'Roke, Dallos Paz and Bryce Delbridge went to Mysore India to begin filming a documentary about Yoga. The original intention of the documentary was to commemorate the life and teachings of our teacher Sri BNS Iyengar. However, at the last moment Guruji changed his mind. He has always been firmly against self promotion and the egotism associated with it. He flatly refused to do a documentary. We knew better than to press him about the issue. This was a real yoga lesson for all of us. Because of our teacher’s decision not to be the main focus of the documentary, things took an amazing turn.

Undeterred, we decided to go ahead with a documentary about the cultural history of the yoga that has originated in Mysore. Through a series of unbelievable and unexpected twists and turns, we were able to secure interviews with many of Mysore's most respected yogis, philosophers, and scholars, including the Queen of Mysore, Maharani Sri Satya Pramoda Devi. During our interview sessions, we were invited into the royal palace of Mysore, the archives of Maharaja Sanskrit College, and the homes of some of Mysore's most well-respected citizens, the keepers of this ancient system of yoga knowledge. The access we were granted, and the information we were able to capture on film, is unprecedented.

The keepers of Mysore's vibrant yoga tradition granted us more than we could have ever asked for, and were gracious enough to speak to us on camera not only about yoga philosophy, but also topics such as the role of the royal family of Mysore in the development and preservation of yoga, cultural appropriation and the role of the west in the practice and propagation of yoga, whether western gymnastics had any influence in their yoga tradition, and the crisis we are facing of yoga texts in the form of palm leaf manuscripts being lost forever. Most documentaries and books come from an angle of deducing facts about the Indian traditions through extensive research. We simply want to give the intellectual community of Mysore a voice to speak candidly about the way they see their own tradition. We are now sitting atop a veritable gold mine of information, anecdotes, and philosophy that has never before been revealed to the world of western yoga. We believe this film will truly add to the richness of the cultural exchange between India and the international yoga community. If you ever wondered where yoga came from, you have to check this out!

Also happily worth noting, before we left Mysore, Sri BNS Iyengar agreed to sit with us in front of the camera after all, and proceeded to give us the most substantial interview about his life and teachings that we could ever have hoped for. We have begun cutting the documentary together, and hope to have it completed by January 2017. But in order for that to happen, we need to secure some funding so that our team can continue to dedicate itself to completing the film. We are beyond excited to share this information with the world and we hope you will consider taking part in this monumental work!


Sincerely,
Andrew Eppler, Bryce Delbridge, Dallos Paz, Joey Paz, & Kelly O'Roke
Ashtanga Yoga Studio, Norman, Oklahoma



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See perhaps my earlier post on  BNS Iyengar




Pranidhi Varshney Led videos: Full Ashtanga Primary, Hallf and 15-20 mins short practice 

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A while back I was looking for a couple of demonstration videos of the Ashtanga primary series devided up into full practice, half and short for a friend. I like this from one of Manju's favourite teachers Pranidhi Varshney, I like the mixture of abilities here. Ive included a couple of other offerings from Pranadhi and Yoga Shala West's webpages, Pranadhi's CD of some of the chants Manju presents in his workshops, a link to some high def practice sheets and a couple of articles I've read of Pranadhi's in the past.


Pranidhi Varshney

My teachers:

Manju Jois is my main teacher and mentor. I met him early on in my yoga journey and it is with his blessing that I teach. I’ve practiced with Sharath Jois at the Ashtanga Yoga Institute in Mysore, India and cherish his visits to the U.S. I’ve also spent time practicing with Nancy Gilgoff, soaking in the Maui magic. Jodi Blumstein and Jorgen Christiansson have been my teachers in Los Angeles.






Not a huge fan of Led classes generally but for the home practitioner they can be useful occasionally, Manju has an excellent DVD where he bluse call and response approach, he calls out the name of the asana as well as the vinyasa count etc.

See my review of manju's book, DVD and CD here
http://grimmly2007.blogspot.jp/2013/02/manju-jois-bundle-dvd-training-manual.html

I found Mark Darby's DVD useful, especially in the beginning to avoid injuries and for it's variations/alternatives, David Swenson's short forms, later Sharath's speedy primary in 60 minutes for a time before I decided to slow my practice right down. Richard Freeman's DVD's are always worth going back to , i find something new in them everytime I follow along. John Scott and Lino Miele's DVDs are also inspiring, a reminder that the Advanced series are very much surplus to requirements. Kinos has some nice extras (tutorials) on her videos as does David Garrigues. 
See my Ashtanga Review Page



Manju includes some chantingat the end of his workshops and Pranidhi has produced a cd that you can hear in full below and on her page (link below), there are also links to translations.


link to music page http://www.pranidhivarshney.com/music/

link to translations http://www.pranidhivarshney.com/mantra-translations/

Pranidhi and Yoga Shala West have produced a Primary series practice sheet, follow the link below which will lead you to a free higdef pdf download.

http://yogashalawest.com/primary-series-practice-sheet/


Pranidhi has an article page, these two I remember enjoying in the past... 

-published by DoYouYoga on 2/9/2015
"One of the most touching moments of the weekend came during the conversation about authorization. Many students were referencing Sharath as the lineage holder of this practice and David stopped us all, reminding us that on the panel was Guruji’s son, Manju. The room erupted into applause and everyone rose to give Manju a standing ovation. As I stood up, a tear ran down my face as I was just so happy to see Manju getting the credit he deserves. Manju then told us how moved he is by all these teachers putting their heart and soul into sharing his father’s teachings with the world. He said that to teach, all we need is a blessing- not a piece of paper. He also reiterated that yoga is about looking within and knowing oneself, not getting a certificate. When asked about parampara, he said that traditionally parampara is about maintaining the patriarchal lineage but that his father treated all his students as his children, so all the teachers on the panel (and by extension, all of us) are part of the parampara". 
-interview, published by The Confluence Countdown on 11/28/2011
What was a highlight of the week on Maui?
"3.All the stories!  Having both Manju and Nancy there was such a treat. David Williams also joined us for Manju’s birthday celebration and for a couple of morning mysore practices.  Talk about a confluence of energy.  We heard stories about how pranayama saved Manju’s life, how he tried to escape doing baddha konasana in his youth, how Ramesh, Manju’s brother, is responsible for everyone using a spray bottle for garbha pidasana, and many more.  It was also really cool to hear Nancy ask Manju about alignment points for different postures and listen in on them talking about how things have changed over the years.  It was a great reminder that one way is not the only way.  If these senior teachers are still open and humble enough to learn from each other, we need to make the effort to remain that way as well.  Also, for me personally, it was a delight to meet and spend time with the newest teacher-in-training, Sathu, Manju’s daughter.  She has ashtanga in her blood and she’s already quite a good adjuster, as many people in the training can attest to".
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More articles by Pranidhi here

Videos: Krishnamacharya's shoulderstand and headstand Vinyasas, Mysore 1938, Chennai 1972 and Madrid 2016

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My good friend Óscar Montero has put together some excellent videos of Srivatsa Ramaswami's recent Intensive in Madrid. Ramaswami', here teaching the very same Vinyasa's that his teacher of thirty plus years, Krishnamacharya, practiced and taught in Mysore in the 1930 and 40ss as well as in Chennai from the 1950s and up until the 1980s.

See Óscar blog for his presentation of these videos here
http://www.yogavinyasakrama.com/yoga-krishnamacharya-sirsasana-sarvangasana-vinyasas/

In the 1920s and 30s, while Krishnamacharya's student and assistant, Pattabhi Jois, would lead the boys of the Mysore Palace through the asana sequences familiar to many today as Ashtanga Vinyasa, Krishnamacharya himself would perhaps be in a side room teaching less familiar variations of these asana to students and patients on a one to one basis.

In the 1938 Mysore film footage, (full video in the Appendix to this post) while Krishnamacharya's student, BKS Iyengar, demonstrated jumping from one advanced asana to the next in the style of Ashtanga, Krishnamacharya himself demonstrated headstand and shoulderstand variations.

Krishnamacharya contiued to teach these asana variations throughout his life, including photos of himself, aged 84, demonstrating the vinyasas for the the 3rd edition (1972) of his text Yogasanagalu (Mysore 1941 ), displaying a clear consistency in his teaching throughout his life.

Note: The first full English translation of Yogasanagalu (Mysore 1941) is now available from the free downloads page
http://grimmly2007.blogspot.jp/p/free-downloads.html

Krishnamacharya's student of over thirty years, Srivatsa Ramaswami, continues to faithfully share his teachers asana variations in his Vinyasa Krama workshops and intensives, here, in Madrid this year (2016), sharing many of the shoulderstand variations we see in the 1938 Mysore film footage


Sarvangasana (Shoulderstand ) variations.

See also this post



Sisasana (headstand) variations

see also this earlier post



Overview of Ramaswami intensive in Madrid 2016
including early Krishnamacharya video footage and later photos



Overview of Ramaswami intensive in Madrid 2016
including early Krishnamacharya video footage and later photos



More videos from Srivatsa Ramaswami's 100 hour intensive in Madrid on Oscar's youtube channel

Óscar Montero 
I have a great affection for Óscar, his studio, students and family in Leon, Spain.

Several years ago Óscar got in touch with me, asking to come and practice some Vinyasa Krama with me. In those sessions we would practice together for four hours at a time without a break, exploring and discussing the sequences and subroutines Ramaswami presented in his Complete book of Vinyasa Yoga and Teacher training that I had attended in LA in 2010. 


Later Óscar invited me to Leon, Spain to present my first Krishnamacharya and Vinyasa Krama workshop, he his, students and beautiful family were the the most wonderful generous and kind hosts.

Óscar has since attended several of Ramaswami's workshops including Ramaswami's mammoth Baghavad Gita workshop in Wells. Óscar was key in encouraging Ramaswami to come to Madrid for the first time this year. The course was organized by DharaYoga

Unfortunately I was unable to attend, yet with all the messages of delight from so many friends and attendees along  with the videos Oscar produced, daily I felt almost as if I was.

Thank you Óscar for all the herd work putting these wonderful videos together that I think make the argument for consistency in Krishnamacharya's teaching beautifully.


Óscar's website



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some earlier related posts


Sirsasana Video Library



Krishnamacharya's trickly Eka pada Sirsasana variations from Yoga makaranda Part II



Krishnamacharya's Mysore headstand variations



David Garrigues new book and Video course on headstands


Lotus to headstand


ALSO

Krishnamacharya's alternatives to headstands




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APPENDIX

the full 1938 Krishnamacharya, his family and BKS Iyengar film footage.



Advice - Sanskrit Chants - Newsletter from Srivatsa Ramaswami November 2016

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NOTE: Not a huge fan of chanting but one of the great pleasures of attending Ramaswami's workshops, intensives or TT's is lying in savasana after a three hour practice (asana, pranayama, pratyahara, japa meditation) listening to him chant, either from memory of from the little chant book he seems to take with him everywhere. At LMU we practiced in a cavanous dance studio and Ramaswami's voice, so soft during his asana instruction, would resound around the space, it's something I'll never forget. I recorded a couple of these savasana chants and often play them still when 'taking rest' at home, I've even played them on a couple of the workshops I've had the opportunity to offer myself. Many of these chants are now available on youtube, Ramaswami lists a few of them in the second half of this newsletter.

See also this page of Ramaswami's for some excellent chant tutorials http://vinyasakrama.com/Chants

Also this earlier post with Ramaswami's Chanting the yoga sutras video
http://grimmly2007.blogspot.jp/2013/10/how-to-chant-yoga-sutras-ramaswamis.html


Ramaswami chanting with his teacher Krishnamacharya.


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Advice - Sanskrit Chants  -  Newsletter from Srivatsa Ramaswami November 2016

In October I completed teaching a 100 hr Vinyasakrama Yoga TT program in Madrid Spain. it was organized by Blanca San Roman of Dhara Yoga. There was  good participation from very talented dedicated yogis from different parts of Europe including different cities of Spain, Germany Switzerland, Bosnia, Luxembourg, Italy, UK, and also from Japan in East, Chile in West and Russia in North.

See this post for videos from the course
http://grimmly2007.blogspot.jp/2016/10/videos-krishnamacharyas-shoulderstand.html

For 2017 I have a few programs firmed up. Firstly in early January (from Jan 2  for 10 days) I will be teaching a 50 hour program "Bhagavatgita for Yoga Practitioners" at Yoga Vahini in Chennai. Then in January I will be teaching a 33 hour Core Vinyasakrama program with Pranayama and Dharana at Omyoga in Vasant Vihar in New Delhi.(Jan 25 to 30th). In Feb/March I will be teaching a 100 hr Vinyasakrama TT program at Yoga Vahini in Chennai . It starts on Feb 15th and runs for 15 days.  Then in March/April I will be doing the 100 hr Vinyasakrama TT program at The Yoga Institute, Sydney, Australia. For more details and links please use the following link in my website

www.vinyasakrama.com/Events

I am also likely to teach a 3 day 15 hour program in Samkhya Karika between Sep 15 to 17 at Chicago Yoga center in Chicago. In July/August I may teach a 50 hr Bhagavatgita for Yoga Practitionersand a 20 hour Core Vinyasakrama Asana program  at LMU, Los Angeles. Then I may teach a 100 hr Vinyasakrama Yoga program at OneYoga, Montreal in Canada. I will add the particulars in my website when these are finalized shortly


Advice

All through our lives  we freely receive and give advice. As a child the concerned parents advise the youngster to avoid bad company, study well, take care of health eat properly etc, As a youth one would receive advice from parents and well wishers and teachers, not to smoke or drink or take prohibited drugs etc, As an adult the spouse becomes the advisor in chief. Then friends, supervisors advise us on many matters. In certain situations one may seek professional advice, expect good healthy advice from doctors and advice of expediency from lawyers. When one becomes old, one's own grown up children become advisors in chief. Scriptures or dharma shastras contain advice about how one should face different situations in life according to the rules of dharma. They even advise what one should do in case conflicting dharmas (dharma sankata) like what to say when what one says may violate either of the two dharmas like satya and ahimsa. There is a well known commencement address (anusasana) by the vedic rishi to his graduating students (antevasai). In it he advises his students to follow some principles (dharmas) all through their life. Speak the Truth, follow the dharma, svadharma (duties) Never stop studying the scriptures never deviate from the paths of Truth, one's own dharma, or from the duties to devas and pitrus. Your mother, father, preceptor and guests should be treated with highest respect should be worshipped. And a few more like what one should do when in a dilemma.

But then sometimes ordinary advice may not be sufficient especially when one is emotionally strained, like what happened to Arjuna in the famous epic Mahabharata. Lord Krishna's advice running to hundreds of slokas is touted as the greatest and most comprehensive and exhaustive advice. Arjuna had two problems. One that was emotional and  other the  inability to decide what is the right dharma. All of us have similar comparable situations in our lives albeit rarely. Sri Krishna's approach to make Arjuna do what was right or what was the right dharma or duty, has become a framework for one to deal with such a conflict in life.

Arjuna found it difficult to bring himself up to fighting and most likely killing his own grandfather and teacher--who were in the opposite camp-- whom he loved and respected most. Except for a few, most of us would avoid a conflict even if dharma is on our side. Secondly even though there is no love lost between his clan and the opposing Kauravas, they were still his cousins, kith and kin. And this could also disturb ordinary minds even if the opponents are crooks and adharmic but happen to be relatives relatives. Avoid conflicts at all costs is the advice  one may usually get

What did Krishna do? What advice did he give Arjuna? He told Arjuna that he had no choice except to fight. What were the main reasons he gave him to pull himself up and fight the battle of Kurukshetra?

Here is a paerial  list the main arguments put forward by Krishna. He said that for a warrior (Kshatriya) this unwanted situation created by the Kauravas is the best that can happen to Arjuna a kshatria belonging to the warrior community-- fighting a just war (dharma Yuddha). If he wins he will, with his brothers, and family  rule a prosperous country. On the other hand if he loses and dies in the war he will reach the exalted heaven of warriors (Vira swarga). On the other hand if he would refuse to fight he would be a deserter and there is nothing more despicable than running away from the battlefield for a warrior and discharging one's duties (swadharma). Then if he runs away from the battlefield for whatever reason his reputation as a great warrior would nosedive and history will paint him as a coward. Since death is certain for anyone who is born, by avoiding the war he will not be making his teacher and grandfather live for ever. They will die in due course in spite of his sparing them. Further his bothers , their families. and a number of kings from other countries who have become his allies would be destroyed and he would be betraying all of them and they would be exposed to the fury of the Kauravas. And so on

But looking at these reasoned arguments one may say that it is a great advice but nothing extraordinary. Almost any wise person would give this kind of reasoned advice. A high school football coach may be able to motivate his wards on these lines. Then what is unique about Krishna's advice.

The Lord brings the spiritual aspect of his teaching right in the beginning. He makes it the central theme of his upadesa.  The above mentioned motivational talks may work but Krishna starts by telling Arjuna about the nature of the real Self.  Even before giving the above arguments he starts by saying that really the self which is pure unwavering consciousness is the one that should be called as "I" and is the one that experiences all that one experiences as a child, in youth, in old age and then the same atman or self takes a new birth. Thus when one is killed in a battle the atman of neither the killer nor the one that is slayed is affected at all. Krishna advises Arjuna to keep in mind this truth about oneself. He says "I, you, all these people in the battlefield have ever existed and will never cease to exist." Keeping this fact in mind that the real self is immortal do your duty "yogasta kuru karmani". Of course it takes lot more factors in his upadesa to Arjuna, but all of the advices will fall flat without legs to stand without this central theme of Krishna's advice.

This is the central theme of all upanishads-- that the true Self in all of us is immortal. it is the theme of Yoga Sutras and also Samkhya. Even though many know the upanishads and other subjects for most it is just an academic pursuit, and seldom one relates to the Atman as the real Self.  Krishna has chosen to make this the central theme of his important advice to ordinary non scholarly lay person like Arjuna--like all of us. Can one imagine advising a person in distress or confusion how one should perform one's duties remembering all the time the true nature of oneself?

It requires the Lord to do that.

Sankara in his commentary writes at the commencement of the Lord's upadesa in II chapter

"Now finding no means other than Self-knowledge for the
deliverance of Arjuna who was thus confounded as to his duty
and was deeply plunged in the mighty ocean of grief, Lord
Vasudeva who wished to help him out of it introduced him to
Self-knowledge in the following words"


*****************


Sanskrit Chants

 I have been writing about the recording pf my chants several times. Now I find that many of those chants are uploaded n Youtube by my producer through an agent, Aditya Musicals. Here are the details about some of them that I was able to locate. These, more than 20 titles were recorded during a 15 year period from 1980 to 1995. Hpe yu like some of them.

GANESA SAHASRANAMA
Some associate Mondays and Fridays with Ganesa Worship. Here is Ganesa Sahasranama stotra from I think Ganesa Purana. It contains 1000 names of Ganesa the beloved elephant faced deity worshiped all over India in the form of sthuti slokas (devotional verses). This was recorded more than 30 years back. Here is the link



MOOKAPANCHASATI
One of my favorite chants is Mookapanchasati. It consists of 500 slokas or verses in unusual Sanskrit meters. It is said to be the out pouring of devotion and high poetry from a dumb devotee who was able to speak due to the grace of Goddess Kamakshi whose beautiful temple is in the midst of the temple city Kancheepuram some 40 miles from Chennai, India. It consists of 500 verses divided into 5 chapters of 100 verses each. Mookapanchasati consisting of 500 mouthful verses takes about 3 hrs to chant. Here is my chanting of Mokapanchasati recorded some 30 years back by Sangeetha. Maybe you would like to listen to a few slokas



SUNDARA KANDA ALBUM
Sundara Kanda is an important section of the great epic Ramayana. It beautifully explains the story of Anjaneya/Hanuman's mission to discover Sri Sita in Lanka. Sundara means beauty, it also refers to Hanuman as fondly addressed by his mother. It is a story of hope from an utterly hopeless situation as Sri sita found herself. It is a little less than 3000 verses and is chanted at specific occasions either in one go or in spread over in about a week. More than 20 years ago I chanted the entire Sundarakanda which was recorded and marketed by Sangeetha. I find that the whole Sundarakana is now on Youtube. Maybe you would like to listen to it or a portion. It is in about 27 videos and runds for about 10 hrs total.

Here is the link to the playlist.


INDRAKSHI SIVA KAVACHAM
Here is a vedic chant I learnt from my Guru Sri Krishnamacharya. Sri Krishnamacharya spent a lot of time teaching me vedic chants. This one is the third chapter in Yajur Veda (Krishna). The video also contains a Sakti and Siva chant called "Indrakshi Siva Kavacham" very popular in sme parts of India especially Kerala. Hope you like it


TAITTIRIYA UPANISHAD
 Taittiriya upanishad is one of the 10 major upanishads. It is from Yajur Veda (Krishna). It is one of the most studied  and also the most chanted upanishad. I learnt to chant this upanishad from my Guru Sri Krishnamacharya. Here it is


VISHNU SAHASRANAMA
 Mahabharata is an epic like the Ramayana. Like the Ramayana which has given us Sundara Khanda that cntains the exploits of Anjaneya, the Mahabharata is the host for two outstanding works, the philosophical Bhagavat Gita and devotional Vishnu Sahasranama. Both these works from Mahabharata are very alive and studied and chanted by thousands of people in India every day. Sankara says that one may chant Vishnu Sahasranama daily and also study the Gita. Here is my chanting of Vishnu Sahasranama-- the 1000 names of Lord Vishnu. The video also contains purusha suktam and Narayana suktam, Sankara's famous Bhaja Govindam and a short sweet chant on Rama called Sri Ramajayam a 2 minute chant one says before going to sleep.


LALITHA SAHASRANAMA
There are several forms of worship of different deities. Adi Sankara organized them into six major groups. One is Ganapatya or worship of Ganesa.  The second is called Kaumara or worship of Kumara also well kmnown as Muruga is South or Kartikeya and Subrahmanya. The third is Vaishnava or worship of Vishnu. Then we have Saiva or worship of Siva. Soura is worship of Surya or Sun and then we hav Saktha or worship of Mother Sakthi. Sankara came to be known as " षण्मत स्थापनाचार्य ṣaṇmata sthāpanācārya" or one who established the six mathas or sects of worship.
There are many devoted to the worship of divine Mother Sakthi. The prayer "Lalitha sahasranama" or 1000 names of Lalitha another name of Goddess Sakthi is perhaps the most chanted prayer of Sakti. When I was young my mother used to have our family priest visit us every Friday and perform the Puja of Sakti with 1000 offerings of flowers etc to the Goddess. I used to look forward to Fridays because of the delicious offerings to the goddess towards the end of the puja which we children eat. Here is the chanting of the Lalitasahasranama from Markandeya Purana.


ADITYA HRUDAYAM AND SVADHYAYA PRAKARANA
Today is Sunday, sun's day. I have been mentioning about Complete Suryanamaskara chant from Yajur veda on several Sundays. There is another well known sun chant called Aditya Hrudayam or Sun in the Heart. It is said to be taught to Sri Rama by sage Agastya and is a highlight of the Ramayana. It is a short sun prayer which is chanted by many in India in the morning before they go to work. This chant was recorded during the 1980s . This video also contains chanting of the second chapter of Taittiriya Aranyaka of Yajur veda. It is known as Kushmanda Homa and also as Svadhyaya prakarana. It extols the greatness of the famous Gayatri mantra ,a sun mantra.



RAMODANTAM (Bala Ramayanam)
About 60/ 65 years back when I was in middle school, we were required to study three languages, Tamil, my mother toungue a very rich Dravidian language then English (or Indglish ) and thirdly either Hindi the national language / the majority language or Sanskrit. I chose Sanskrit. At that time a text calld Ramodantam used to be prescribed as a text. It is complete Ramayana absolutely abridged so that children can study and improve their vocabulary of Sanskrit and also get to know the great epic Ramayana. While Valmiki Ramayana is a very lengthy beautiful Kavya of about 24000 verses, this cute little work is about 200 verses.  I recorded this in the late eighties. I have it also as Bala Ramayana or Ramayana for children. Ramodanta would mean the life story of Rama. Rama+ut(d)+ anta Ut would refer to birth and anta the end






MAHANARAYANOPANISHAD
This is the last chapter of yajur Veda. It contains many mantras that are used on a daily basis like the pranyama mantra, Atmasuddhi mantra (Self Purificatin Mantras), pranahuti mantra (mantras used before taking food for the prper functining of the life forces r pranas) and others. This was recorded in early 1980s.




SANDHYAVANDANAM
Thousands of people initiated  do sandhya daily three times a day, dawnm midday and dusk, This video  cntains all the mantras. In addition it also contains a fire ritual called samidhadhana performed by bachelors twice a day morning and evening.



RAGHAVENDRA SAHASRANAMAVALI
Thosand names of the grest aint Swami Raghavendra



There are other videos floating around in the web

ASWAMEDHA (3 Hrs) from Yajurveda
DURGA SAHASRANAMAM
GAYATRI SAHASRANAMAM
SRI SUBRAHMANYA SAHASRANAMAVALI
DEVI MAHATMYA (3HRS)
SRI ANJANEYA SAHASRANAMAVALI


Videos: Krishnamacharya's shoulderstand and headstand Vinyasas, Mysore 1938, Chennai 1972 and Madrid 2016

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My good friend Óscar Montero has put together some excellent videos of Srivatsa Ramaswami's recent Intensive in Madrid. Ramaswami', here teaching the very same Vinyasa's that his teacher of thirty plus years, Krishnamacharya, practiced and taught in Mysore in the 1930 and 40ss as well as in Chennai from the 1950s and up until the 1980s.

See Óscar blog for his presentation of these videos here
http://www.yogavinyasakrama.com/yoga-krishnamacharya-sirsasana-sarvangasana-vinyasas/

In the 1920s and 30s, while Krishnamacharya's student and assistant, Pattabhi Jois, would lead the boys of the Mysore Palace through the asana sequences familiar to many today as Ashtanga Vinyasa, Krishnamacharya himself would perhaps be in a side room teaching less familiar variations of these asana to students and patients on a one to one basis.

In the 1938 Mysore film footage, (full video in the Appendix to this post) while Krishnamacharya's student, BKS Iyengar, demonstrated jumping from one advanced asana to the next in the style of Ashtanga, Krishnamacharya himself demonstrated headstand and shoulderstand variations.

Krishnamacharya contiued to teach these asana variations throughout his life, including photos of himself, aged 84, demonstrating the vinyasas for the the 3rd edition (1972) of his text Yogasanagalu (Mysore 1941 ), displaying a clear consistency in his teaching throughout his life.

Note: The first full English translation of Yogasanagalu (Mysore 1941) is now available from the free downloads page
http://grimmly2007.blogspot.jp/p/free-downloads.html

Krishnamacharya's student of over thirty years, Srivatsa Ramaswami, continues to faithfully share his teachers asana variations in his Vinyasa Krama workshops and intensives, here, in Madrid this year (2016), sharing many of the shoulderstand variations we see in the 1938 Mysore film footage


Sarvangasana (Shoulderstand ) variations.

See also this post



Sisasana (headstand) variations

see also this earlier post



Overview of Ramaswami intensive in Madrid 2016
including early Krishnamacharya video footage and later photos



Overview of Ramaswami intensive in Madrid 2016
including early Krishnamacharya video footage and later photos



More videos from Srivatsa Ramaswami's 100 hour intensive in Madrid on Oscar's youtube channel

Óscar Montero 
I have a great affection for Óscar, his studio, students and family in Leon, Spain.

Several years ago Óscar got in touch with me, asking to come and practice some Vinyasa Krama with me. In those sessions we would practice together for four hours at a time without a break, exploring and discussing the sequences and subroutines Ramaswami presented in his Complete book of Vinyasa Yoga and Teacher training that I had attended in LA in 2010. 


Later Óscar invited me to Leon, Spain to present my first Krishnamacharya and Vinyasa Krama workshop, he his, students and beautiful family were the the most wonderful generous and kind hosts.

Óscar has since attended several of Ramaswami's workshops including Ramaswami's mammoth Baghavad Gita workshop in Wells. Óscar was key in encouraging Ramaswami to come to Madrid for the first time this year. The course was organized by DharaYoga

Unfortunately I was unable to attend, yet with all the messages of delight from so many friends and attendees along  with the videos Oscar produced, daily I felt almost as if I was.

Thank you Óscar for all the herd work putting these wonderful videos together that I think make the argument for consistency in Krishnamacharya's teaching beautifully.


Óscar's website



*


some earlier related posts


Sirsasana Video Library



Krishnamacharya's trickly Eka pada Sirsasana variations from Yoga makaranda Part II



Krishnamacharya's Mysore headstand variations



David Garrigues new book and Video course on headstands


Lotus to headstand


ALSO

Krishnamacharya's alternatives to headstands




*



APPENDIX

the full 1938 Krishnamacharya, his family and BKS Iyengar film footage.


"Nowadays......." T. Krishnamacharya

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"So much of the traditional knowledge we had, even what I have seen in my early days, is now gone, lost."

T. Krishnamacharya


All quotes including the context of the quotes given below the photographs are from AG Mohan's excellent biography of Krishnamacharya (LINK TO AMAZON)


Krishnamacharya sometimes expressed sadness over the decline of ancient practices and authentic dedication to the deeper practices of yoga. "So much of the traditional knowledge we had, even what I have seen in my early days, is now gone, lost."

*

"Nowadays, the practice of yoga stops with just asanas."





In one class, when he was discussing the Yoga Sutras, Krishna­macharya noted that punaranveshana (literally, "re-search," or "to search once more") was needed now. He felt that the ancient practices that had declined over time needed to be explored once more and their value brought out.

"Subjects are of two categories,'' he said. "One category can be learned merely through words, by listening and understanding-these are theoretical subjects, like the rules and analysis of grammar. The other category needs to be practiced, like music, cooking, martial arts, and yoga as well. Nowadays, the practice of yoga stops with just asanas. Very few even attempt dharana and dhyana [deeper meditation] with seriousness. There is a need to search once more and reestablish the practice and value of yoga in modern times." p115-116


*

"Nowadays, all of you are dressed like foreigners, speaking this and that in English, touching everybody and everything unnecessar­ily." 


I remember that when I started studying the Bhagavad Cita with Krishnamacharya in 1976, I attended the  first class wearing trousers because I had come directly from work. As was the norm, Krishnamacharya was wearing the traditional dress, the dhoti, in a particular traditional way. (A dhoti is a rectangular piece of cloth that is wrapped around the lower body and knotted at the waist.) He chided me, say­ing, "If one is to study the Upanishads or the Bhagavad Gita, one should bathe, wear the mark on the forehead, and begin with  devo­tion. Nowadays, all of you are dressed like foreigners, speaking this and that in English, touching everybody and everything unnecessar­ily." He paused, and sighed. "Nowadays, I have stopped telling stu­dents all this. Okay. Let us begin."p51

*


"Nowadays you use something - an appliance - to blow air to clean­ phoos phoos. Like that, pranayama pushes out the impurities in the body and mind."



On New Year's Day 1976 I was attending a class on pranayama with Krishnamacharya. He was explaining this commentary on the Yoga Sutras by the famous sage Vyasa: "There is no greater austerity than pranayama to remove impurities." Around that time, vacuum cleaners were being introduced in India. Krishnamacharya had seen a vacuum cleaner but was unfamiliar with its English name. He said,"Nowadays you use something-an appliance-to blow air to clean­ phoos phoos. Like that, pranayama pushes out the impurities in the body and mind." Several Buddhist meditation techniques are linked with breathing, and there is hardly a Vedic ritual that does not include pranayama. Ancient texts link pranayama not only to the mind but also to chakras, kundalini, kríyas, mantras, bandhas, dharana, therapy, doshas, asana, pratyahara, rituals, nadanusandhana, and mudras. p58


*

Yoga should be useful either far bhoga [material enjoyment] or far apavarga [freedom]. Nadanusandhana Pranayama, Kriyas, Yoga Therapy [listening to the "heart-sound" as described in the fourth chapter] is not useful for either nowadays. 



The later classical yoga texts, namely the Hatha Yoga Pradipika, describe some tantric sex practices (sometimes called "left-handed tantric practices").

One day in the course of teaching the third chapter of the Hatha Yoga Pradipika, Krishnamacharya stopped. "It is sufcient to learn only viparitakarani [mudraJ from me," he said. "The rest [of the third chapter] is improper. My guru has advised me thus: 'Since you have an in-depth knowledge of Sanskrit, you can read and understand this, but do not teach it to your students."'
Krishnamacharya continued, "The rest of the third chapter will be useful neither to you nor to others. I will teach you viparitakarani, which is a subject related to headstand and shoulderstand. It will take about an hour. Whatever is said in the fourth chapter of this book is in the kaivalyapada [the fourth chapter of the Yoga Sutras], which you have already learned. Yoga should be useful either far bhoga [material enjoyment] or far apavarga [freedom]. Nadanusandhana Pranayama, Kriyas, Yoga Therapy [listening to the "heart-sound" as described in the fourth chapter] is not useful for either nowadays. In the past it was done in solitude, often in a cave. it is not necessary now. Take my advice." p66−67

*

"Nowadays, people often explain kriya yoga itself incorrectly. "





"Today, I am going to speak about kriya yoga [the cardinal prac­tice explained in the Yoga Sutras 2.1]. Para-vairagya [complete non­ attachment] is possible only for one person in many millions. For all others, kriya yoga is the means. Nowadays, people often explain kriya yoga itself incorrectly. Some teachers now say that everything is in the mind, and you don't need to practice at all." He was refer­ ring to some swamis who lectured about philosophy but were short on practice. p80


*


"Nowadays people speak of "love, love." What is it?"




"Nowadays people speak of "!ove, !ove." What is it? True love is devotion to the Divine. Such devotion is when we have such longing and care for the Divine as we have for our own body".

Krishnamacharya (in a lecture) p104

*

"What is this thing you say nowadays -in-shoo-rance?"




"What is this thing you say nowadays -in-shoo-rance?" Krishna­macharya asked me one day. "How can anybody give you real in­ shoorance?Only the Divine is really everyone's inshoorance." p125

*


"What is this 'boring' you all say? Nowadays even children say everything is 'boring' ! Nothing is 'boring.' 


He would say, "What is this 'boring' you all say? Nowadays even children say everything is 'boring' ! Nothing is 'boring.' None of you have control over your senses and so your mind becomes restless. Now some activity seems pleasing to the senses, and a little while later, another activity seems more pleasing. Because your mind is not able to stay steady and the senses pull the mind to different things, you want to keep on changing what you are doing. If you have sense control, there is never any question of 'boring."'

"Most important among the senses are food and sex. The whims of the tongue and the sexual organ must  be controlled if you are to steady the mind."This advice from the Bhagavata was a preferred quote of Krishnamacharya's. p131

*



"Nowadays, people are not interested in these sub­jects. You are showing interest and learning these. To me this is very useful to keep my mind continuously on the Divine. That is why I am than ng you."




My classes with Krishnamacharya continued undisturbed after a brief interruption due to his accident. In one of these classes, he was teaching me some important works by the famed Vaishnavite saint Vedanta Desika. He had explained devotion and surrender to the Divine. At the end of the class, as I was getting ready to leave, Krish­namacharya said, 'Thanks ! "

Surprised, I asked, "Why are you thanking me? I am your student; you are my guru. I should thank you for your teachings."

He replied, "Nowadays, people are not interested in these sub­jects. You are showing interest and learning these. To me this is very useful to keep my mind continuously on the Divine. That is why I am thankng you."p138


*

"Nowadays, people lead undisciplined lives and write down their activities in a diary. "




Krishnamacharya's personal diaries were not a chronicle of events in his life. He never wrote down life events, as others might in a diary. He once told me, "Nowadays, people lead undisciplined lives and write down their activities in a diary. If one is disciplined, there will be nothing to note down."p147


*


All quotes above from AG Mohan's excellent biography of Krishnamacharya (LINK TO AMAZON)


LINK TO AMAZON

Movie: BKS Iyengar, Leap of Faith (2008) - Did Krishnamacharya teach a three year diploma course based on the Yogasanagalu table of asana?

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BKS Iyengar 1938 - See Appendix 3. for the 1938 film footage

Now this is curious. I was just watching the documentary Leap of Faith, on BKS Iyengar (see below) and twelve minutes in in I came across this....

"In 1935 having cleared the Primary, Elementary and Advanced diploma course in yoga he (BKS Iyengar)  stood first in 98% marks (12:33)".

This suggests perhaps that at Krishnamacharya's Mysore yoga school in the 1930s, when Pattabhi Jois was a student, there seem to have been exams, a Primary, Elementary and Advanced course/diploma.

Mark Singleton's refers to this in Guru's of modern yoga (my bold).

"Iyengar has claimed that personal instruction in yogāsana with Krishnamacharya
was limited to three intense days, but Iyengar also practiced regularly
in the yogaśalā with the other students (Iyengar undated: 1–2). By October
1935 Iyengar reported that he was judged to have given the best performance
of all of Krishnamacharya’s students in all three grades of “elementary, intermediate,
and advanced courses” of yogāsana (Iyengar undated: 3). "
Guru's of Modern Yoga p155 LINK


Does this correspond to the Primary, Middle and Proficient asana groups in Krishnamacharya book Yogasanagalu (Mysore 1941)? See Appendix 1. below.

Krishnamacharya's 1941 Asana table -full translation in Appendix 1. below


I've often wondered where the table of asana originally came from. Did Krishnamacharya come up with the table himself  for the 1941 text, did it form the framework for the asana practice at the school, going back to 1933 when Krishnamacharya was asked to teach at the Jagamohan palace, did it form a syllabus for the school and the basis for the exams?

"In 1931, Krishnamacharya was invited to teach at the Sanskrit College in Mysore. The Maharaja, who felt that yoga had helped cure his many ailments, asked Krishnamacharya to open a yoga school under his patronage[6][32] and was subsequently given the wing of a nearby palace, the Jaganmohan Palace, to start the Yogashala, an independent yoga institution,[29] which opened on August 11, 1933". Singleton.

Or did the table perhaps go back even further, in many ways the table seems incomplete, did it derive perhaps from notes taken from an old text 'partly eaten by ants' ?

In the late 30s (1937?) Pattabhi Jois was himself asked by the Maharaja to teach at the Sanskrit college, supposedly a four year Diploma.  Pattabhi Jois states that he took the four year syllabus to Krishnamacharya to ask for his approval, which he received. Was the four year diploma in yoga that Pattabhi jois was to teach closely based on a three year diploma course in asana that Krishnamacharya was teaching, the two tables of asana do seem closely related.

And was the four year diploma course Pattabji Jois presented to Krishnamacharya for his approval in essence the same as the four year diploma syllabus Pattabhi Jois gave to Nancy Gilgoff and David Williams in 1973.



Pattabhi Jois' four year Ashtanga syllabus

given to Nancy Gilgoff and David Williams in 1937
full syllabus in Appendix 2 below.


Pattabhi jois has suggested that Krishnamacharya had a more flexible approach to asana, introducing a 'mountain of asana', asana outside of the syllabus perhaps that Krishnamacharya himself discovered in his ongoing research or developed himself as variations to other asana or to help students towards achieving a challenging asana.

We know that Krishnamacharya also taught privately, occasionally in a side room of the yogashala while Pattabhi  Jois, his assistant, led the regular students through their class (the syllabus?).

There seems to have been two approaches to asana that Krishnamacharya was presenting in Mysore.

The first, a yoga syllabus approach to asana, designed specifically to prepare the boys of the palace to take exams in asana as well as to present public demonstrations. The class an hour long, a guiding framework/syllabus, the asana perhaps taken at a faster pace (the class was said to be an hour long) that Pattabhi Jois carried forward as the 'Ashtanga' vinyasa we know today.

Secondly, a slower, arguably more flexible 'traditional' bespoke approach dependent on the requirements of the students, long slow breathing, kumbhaka (breath control), some longer stays, the asana integrated with pranayama and a meditative activity, (chanting, japa, more formal seated concentration practice) that we find outlined in Krishnamacharya first book Yoga Makaranda (1934) and that he continued teaching (and developing ) himself after leaving Mysore in the 1950s and that his student. Srivatsa Ramaswami from the 1950s until Krishnamacharya' passing in 1989 continues to pass along as Vinyasa Krama .








Appendix 1. 

Krishnamacharya's asana table ( yogasanagalu 1941)

See this post for more details


'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

UPDATE
NOTE: With the translation of Krishnamacharya's second book Yogasanagalu ( Mysore 1941 - 3rd edition with additional chapter 1972) now complete, I'm just putting the finishing touches on a free to download edition of the full text that will be available for personal study on the Free Download page at the top of the blog.








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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 ?



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Appendix 2


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 3.

Full 1938 Documentary footage
T. Krishnamacharya, his family and BKS Iyengar


Question: Was the Ashtanga Vinyasa count developed merely to test the boys of the Mysore palace?

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Above Krishnamacharya's Yoga school for the boys of the Mysore palace, set up in 1933 by Krishnamacharya's patron the Maharaja of Mysore (photo from Krishnamacharya's Yoga Makaranda pub. Mysore 1934).


Schools tend to have a syllabus, exams (diploma's)...., don't they?


"In 1935 having cleared the Primary, Elementary and Advanced diploma course in yoga he (BKS Iyengar)  stood first in 98% marks". (Leap of Faith 12:33).  See my previous post


How do you test yoga for a diploma?

Pattabhi Jois' daughter Saraswati mentions that the examination Krishnamacharya gave her in 1975 was based on the names of the asana as well as the vinyasa's to and from them. Krishnamacharya supposedly asked her to do Navasana say, and then asked her the number of vinyasas and which vinyasa she was in at the time etc. Here's the video in which Sarawaswati mentions this, there are two mentions in the first fifteen minutes. (see THIS post).



Was this perhaps Krishnamacharya's approach to testing the boys of the Mysore Palace including BKS Iyengar in 1935.  For the Primary, Intermediate and Advanced  diploma might students not be asked to present asana from the Primary, Intermediate and Advanced groups and tested on the corresponding vinyasa count.

If this was  indeed the case then Krishnamacharya would have needed a syllabus, especially as )according to Iyengar) it appears Krishnamacharya spent very little time actually teaching the boys of the palace himself.

Krishnamacharya was it seems often in a side room teaching other patients and dignitaries on a one to one basis. Krishnamachary's assistants, like the young Pattabhi Jois, would have led the boys through their paces in preparation for their exams and demonstrations. These assistants would surely have required some kind of syllabus on which to base the hour long classes and prepare the boys for their exams.

QUESTION: Did Krishnamacharya develop the 'Table of asana' included in the 1941 edition of his book Yogasanagalu, as a syllabus on which to prepare and test the boys of the palace? 

The table is grouped into primary, middle and proficient asana corresponding to the  levels of the diploma(s) Iyengar referred to.

The table included the vinyasa count for each asana as well as indicating the state of each asana,, also the appropriate kumbhaka as well as a related benefit of the asana.

See the appendix below for the full table of asana as well as Pattabhi Jois' four year diploma syllabus.

Krishnamacharya also makes a point in his earlier book, Yoga Makaranda (Mysore 1934), published the year following the opening of the school, of indicating the vinyasa count and stressing the state of the asana.

Upon leaving Mysore and the school environment, Krishnamacharya seemed to give less, if any, stress to the vinyasa count although he suggested to Ramaswami that the Vinyasa Krama was implied.

If we formally begin and end an asana at samastithi and every key movement is linked to a stage of the breath then the vinyasa count is indeed implied as is the state of the asana. It's only perhaps in a pedagogic/examined environment that the vinyasa count and state of asana needs to be explicitly stated.

Now teaching on a one to one basis, Krishnamacharya had no more use perhaps for the regimented count on which he was earlier to base group classes.

Krishnamacharya's assistant Pattabhi Jois seems to have been in a similar situation as his teacher Krishnamacharya had been earlier, upon being asked to present a four year course at the Sanskrit college for the older boys. He needed a syllabus and a manner of testing, this too seems to have been based on the vinyasa count.

When Pattabhi Jois started to teach western students he gave a four year syllabus to Nancy Gilgoff and David Williams that seems likely to have been the syllabus on which his earlier four year Sanskrit college course was based. The syllabus included the vinyasa count but not the count for the actual state of the asana.

The Vinyasa count seems to have been in the background of Pattabhi Jois' teaching of the western students (he would supposedly chant the count to himself while assisting students into the postures), the count was there on the syllabus but perhaps not stressed or made explicit until he was required to introduce led classes on his tours to the US. Lino Miele and John Scott focussed on the count in the early 1990s and in their respective books

Pattabhi  Jois' own book Yoga Mala, clearly based on Krishnamacharya own Yoga Makaranda, focusses on the vinyasa count  but was originally written in 1959 and not translated until the 1990s

By focussing on the count and making it explicit, the count became perhaps (seen at least as) the central feature of the practice ( the breath is implied by the count ) and following it correctly able to be used as criteria for the growth in authorisation to teach.

Although Krishnamacharya no longer stressed the count in his own teaching, he did employ as criteria when asked to test Pattabhi Jois' daughter Saraswati in 1975.

This is not to say that time focussed on the count isn't beneficial, it' can be beneficial because focus on the count is of course focus on the breath, the count is a tool that can assist us in this, just as the breath too is a tool.

CONCLUSION

For a time, I wondered if the seemingly incomplete Table of Asana presented in Krishnamacharya's Yogasanagalu might suggest a connection to a past text (Yoga Korunta?) or teaching by Krishnamacharya's teacher Ramamohan Brahmacharya. And yet, if this was the case, wouldn't Krishnamacharya have continued to stress the vinyasa count throughout his life. His lack of focus on the vinyasa count after leaving the particular pedagogic situation he found himself in Mysore may indicate that the Vinyasa count was purely introduced to teach large groups of restless boys and further, to test them.

In his later teaching, freed from focussing on a counted framework (series/sequence, however fixed) of asana that all the students could follow, Krishnamacharya could focus on selecting appropriate asana, subroutines and bespoke sequences as well as on the the breath itself (including perhaps kumbhaka). This is a characteristic of his teaching of Ramaswami, AG Mohan and indeed Krishnamacharya's  own son's TKV Desikachar and Sri Sribhashyam. It may well have characterised the private teaching Krishnamacharya conducted in a side room of the palace while Patabbhi Jois led the boys of the place through their places...., it may well have characterised Krishnamacharya's own studies with his teacher Ramamohan Brahmacharya.

It may well be that we have over emphasised the count and sequence(s) in modern Ashtanga, Pattabhi Jois defaulting to the tried and tested option when faced with growing numbers of students, as does Sharath in the large room in Mysore and when faced with the large numbers on his 'world tours'. In the Mysore rooms themselves doesn't the count and even the series perhaps naturally move somewhat in to the background, the focus returning to where it belongs, the student rather than a dogmatic methodology.

Pattabhi Jois' son Manju, generally teaching in smaller, more intimate, environments speaks of returning to traditional yoga. While Manju does still include led classes, his workshops and training tend to be more characterised perhaps by adapting the practice to the needs of the student, Manju stresses an integrated practice just as his father did when teaching him and as Krishnamacharya tended to do in his later teaching as well as perhaps the side rooms of the palace, the asana followed by pranayama and chanting the emphasis being on health, well-being and indeed joy rather than attainment and achievement.


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NOTE: I still consider my practice to be the Ashtanga I first began practicing ten years ago. I've been through a love affair with the vinyasa count, with full vinyasa, advanced series, with approaching my practice fast as well as more slowly, with short stays as well as long. 

The Ashtanga sequence is made up of a number of Subroutines and as such I see no significant difference between it and the Vinyasa Krama I also studied under Ramaswami, other than perhaps with how fixed the approach. 

These days I prefer to practice less asana more slowly, just as Patabbhi Jois suggested as an option in Yoga Mala.



See also

Consistency in Krishnamacharya's teaching



Appendix 1. 

Krishnamacharya's asana table ( yogasanagalu 1941)

See this post for more details


'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

UPDATE
NOTE: With the translation of Krishnamacharya's second book Yogasanagalu ( Mysore 1941 - 3rd edition with additional chapter 1972) now complete, I'm just putting the finishing touches on a free to download edition of the full text that will be available for personal study on the Free Download page at the top of the blog.










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Appendix 2


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

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Simon Borg-Olivier interview, the Bohr effect and why it can be beneficial to breathe less plus the healing benefit of kumbhaka

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In two recent fb posts Simon Borg-Olivier quoted a couple of sections of our interview from a couple of years back. I find It's hard to read anything more than a few lines on fb so thought I would re post here.

I will include the full video below but see this post for the full transcription


"Here is part of the (edited) interview my friend Anthony Grim Hall did with me when he asked me the following questions about breathing and pranayama in posture in movement (1.43 in the video posted in full at the end of the post).

In this interview I talk a lot about the benefits of breathing less than normal (hypoventilation) as opposed to what many people do in exercise and modern yoga which is to breathe more than normal (hyperventilation):"

ANTHONY: Does it make sense to you that Kumbhaka (holding the breath) can have a healing effect?

SIMON: Yes definitely, there are many benefits that can be attributed to various types of breath retention or Kumbhaka. There are several different ways you can do a kumbhaka and each of them will have a different effect. You can hold the breath in, you can hold the breath out, and you could hold the breath partly in, you could also get a similar effect to kumbhaka just by not breathing very much at all. You could also get a similar physiological effect from kumbhaka by breathing very very very slowly, for example by continually inhaling for 2 minutes. Breathing very very slowly would look to someone else like you are not breathing at all. It is important to note that deep breathing and all breathing in fact is moderated by how much air comes in and out of you every minute. This is called your minute ventilation. All of these factors have physical and physiological effects.

Depending on how much air you breathe per minute and which muscles you keep active or relaxed the benefits can be positive or negative. perhaps surprisingly for most people the most positive effects are seen when we breathe as little as possible, which is the essence of pranayama.

ANTHONY:When you say breathing very slowly do you mean long slow inhalations or do you mean just breathing regularly but very softly?

SIMON: You can do either. If I had to do a graphical analysis, say you put time in the horizontal axis, and amount of breath on the vertical axis.

For example, If I do what many people consider deep full breathing while sitting quietly at rest I could take a deep full breath in (inhalation) for 3 seconds and deep full breath out (exhalation) for 3 seconds and that is ten full breaths per minute. On a graph this will look like the graph goes up and down a lot, most people will get a a bit dizzy because this will bring less blood to the brain and the will seem to be many ‘fluctuations’ in the breath. But if you read most hatha yoga texts they say you need to still the fluctuations in the breath to get yoga.

So, if I do a kumbhaka after each part of the breath - inhale, hold the breath in, exhale, hold the breath out - the holding the breath will look like a straight line on the graph and there is then no ‘fluctuations’ in the breath. I can hold my breath in for about 6 minutes, which is average in world terms and the world record is about 10 minutes i recall.

But I could simulate that straight line, where there are minimal fluctuations in the breath, by just doing a very little breath in little breath out. On my graph, from a distance, a little breath in and a little breath out would look like a straight line. Physiologically, it has the same effect as kumbhaka.
In Sanskrit, in Yoga terms, that’s really what is Kevala Kumbhaka is. It’s what happens when you’re meditating. You feel like you’re not breathing at all, but actually if you study if you study a meditating person with a machine you find they feel like they are not breathing at sometimes but they are actually making very small breaths in and out that mostly are invisible and inaudible breath.

ANTHONY:Why does kumbhaka and meditation have a similar physiological effect as a very large inhalation and/or a very large exhalation?

SIMON: Holding the breath in or out for a long time and meditation have similar physiological effects because they both will build up carbon dioxide. Carbon dioxide is one of the main effectors in the physiological effects of kumbhaka. You can also get high levels of carbon dioxide, not just from holding the breath in or holding the breath out, but also by not breathing very much. So when we meditate we don’t breath very much, it’s a very little in breath, a very little out breath. So because the air is not exchanging much, you’ll actually start building up carbon dioxide. Therefore, on a physiological (energetic) level, one of the best ways of getting the positive effects of carbon dioxide build up is by doing meditation. You often hear of people who have cured themselves of cancer, by doing meditation. On a physiological level one can speculate that the increases in health from someone, say who has had cancer, may be because of the increases in carbon dioxide. Carbon dioxide is necessary to be present for oxygen to be deposited into cells via the Bohr effect.

ANTHONY:Can you explain the Bohr effect in simple terms’ and how it implies that when you exercise for many reasons it is essentially best to breathe as little as possible.

SIMON: The Bohr effect very simply would say that if you have oxygen which is carried on Haemoglobin, the red pigment in blood, and it’s travelling through your blood, it might come to say, your big toe, and would say "I’ve got oxygen, does anyone here in the big toe want oxygen?" And all the cells in the big toe will say, "yes I want oxygen", and before it releases its oxygen to the big toe’s cells, the Haemoglobin will say … “show me your carbon dioxide”. And if the big toe cells have no carbon dioxide then the Haemoglobin (in fact it is oxy-haemoglobin) will not release it’s oxygen. It will just travel off somewhere else. You need the local presence of carbon dioxide for oxyhaemoglobin to be able to release it’s oxygen and make it accessible to cells. This is the Bohr effect.

So, when there are high levels of carbon dioxide there’s a lot more deposition of oxygen into cells, and if there are low levels of carbon dioxide, you might get increased blood flow, but you might not get entry of oxygen into cells. When oxygen enters cells, you get much better healing, and also, you get much more energy. So for example a cell can run off glucose, glucose is a simple sugar, and glucose is used as the fuel to be ‘burnt' (or metabolised) for that particular cell, will get two molecules of ATP, the energy source of the cell, for every one glucose ‘ urnt'. But, if you burn glucose in the presence of oxygen you get 38 molecules of ATP, so it’s 19 times more energy can be generated in the presence of oxygen. Funnily enough cancer cells don’t function with this oxygen method, they don’t work on the aerobic pathway, they only have anaerobic metabolism happening (burning sugar without oxygen). So it’s not to say that the presence of oxygen will kill cancer cells, or the absence of oxygen causes cancer, but rather healthy cells, will not do very well, and cancer cells will do very well, in low levels of oxygen. Whereas with high levels of oxygen, healthy cells do very well, and cancer cells don’t necessarily do very much better than normal. So cancer, sometimes, is said to be helped if you can get more oxygen into your cells, and one of the ways of doing that is by putting it in a high CO2 environment, and one of the ways of generating high carbon dioxide is using either kumbhaka or minimal breathing which is Sanskrit terms is Kevalya kumbhaka, which is the type of breathing that happens when you sit in meditation. On a graphical level that’s a little breath in a little breath out little breath in little breath out, which looks like a straight line. Same as if you inhaled, held the breath in, looks like a straight line. But to simulate a straight line also, you could do a very slow breath in. If I inhale fast, the line goes up dramatically, but if I inhale slower, the line goes up slower still. If I inhale and I take one minute to inhale, the line goes up so slowly, that from a distance it looks like a parallel line and so very slow inhales, of say one minute for an inhalation would simulate kumbhaka on a physiological level.

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Some posts here from Simon's excellent blog on breathing less


Full video
The full transcription is on the earlier post here



NOTE:  "I have apologise that on the video at 7:30 - 7:45 I made a mistake in what I said - I actually meant to say "The only way to ensure oxygen gets to the cells is by increasing CO2" and by not by decreasing CO2 as in unintentionally spoke - thank you Mick Lawton for pointing this out.


And here's a more recent interview with love yoga Anatomy, two anatomy geeks chatting




And the corresponding page

http://loveyogaanatomy.com/interview-with-simon-borg-olivier/



See also perhaps, some of my earlier post on Simon's work.


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

Interview with Simon Borg-Olivier: Breath, Kumbhaka, Bandhas in Ashtanga and vinyasa Yoga. Yoga Rainbow Festival 2014

Just enrolled on Simon Borg-Olivier and Bianca Machliss' Essentials of Teacher Training Yoga Fundamentals Online course

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


Simon and Bianca's website and online courses



and their quite excellent blog




About Simon



Simon own page


This page includes links to online courses including two new ones, one of pranayama and another on 84 Postures for Strength, Flexibility, Fitness and Longevity. there is also talk of a new book and online course on Ashtanga.



Guna Physiology - Newsletter from Srivatsa Ramaswami December 2016

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December 2016 Newsletter from Srivatsa Ramaswami--Guna Physiology

 I am planning to go to India for three months from mid December. During 2017 I have scheduled two main programs . A 100 hour TT Vinyasakrama Yoga program which I will be doing in Chennai (Yogavahini, Feb 2017), Sydney Australia (Yoga Institute, April 2017) and Montreal, Canada (Oneyoga Sep 2017). I will also be doing a 50 hr Bhagavatgita for Yogis program at Chennai (Yogavahini Jan 2017) and  Los Angeles (LMU Aug 2017). A couple of shorter programs are also scheduled. A 5 day program of Core Vinyasakrama (Omyoga New Delhi Jan 2017) and a weekend Samkhyakarika program in Chicago (Chicago Yoga Center Sep 2017). For more details 
www.vinyasakrama.com/Events



Guna Physiology

सत्वं लघु प्रकाशकं इष्टं उपष्टम्भकं चकञ्च रजः
गुरुवरणकमेव तमः प्रदीपवच्चार्थतो वृत्तिः
satvaṁ laghu prakāśakaṁ iṣṭaṁ upaṣṭambhakaṁ cakañca rajaḥ
guruvaraṇakameva tamaḥ pradīpavaccārthato vṛttiḥ

The usual way  of describing prakriti or universe/nature is by the characterization of the constituent three gunas, satva rajas and tamas. Samkhya, Yoga and Vedanta all subscribe to the three gunas view of the Universe. In Bhagavat Gita the Lord goes to great extent to describe the manifestation of the gunas in different evolutes of prakriti. Iswarakrishna in his immortal work Samkhyakarika describes the gunas succinctly. Satva is lightness or buoyancy at the physical level and clarity or illumination at the mental level. Rajas is excited activity at the physical level and restlessness at the mental level. Tamas though is feeling of heaviness at the physical level and engulfing  darkness at the mental level. These three work in unison like a oil lamp or a candle with a wick functions. 

The Gita goes into great detail to describe the functioning of the Gunas in various aspects of  human activity.  I have written about it in an earlier article. The Gita urges everyone to become Rajasic if one is tamasic, then become satwic from being Rajasic and ultimately transcend all the three gunas. The Yoga system helps to achieve this goal systematically, sequentially. By asanas and pranayama according to yogis one can bring both Rajas and Tamas under control and then slowly strengthen the satvic aspect of one’s personality possibly by meditation

The gunas at the physiological level are related to the condition of the nervous system. There are two of them, the central nervous system, and the autonomic nervous system which again is made up of the parasympathetic and then the sympathetic nervous systems. The dominance of one of these systems leads to the preponderance of one of the gunas. The parasympathetic of which the vegas is an important part  is usually associated with low energy, phlegmatic, dominance of Kapha dosha and supports tamas. A high tone of this system is known as vegatonia could lead to some functional disorders.  It is katabolic. While vegatonia can be reduced by pranayama, many times one finds that the participant is so much low in energy that he or she would not be able to do any form of yoga. So if Tamas is very dominant one would like to increase Rajas so that one can start the process of yoga. Just as Lord Krishna would say ‘become rajasic if you are tamasic, one would do something to get some energy flowing. How to do that?


It is done by improving the tone of the sympathetic nervous system. A low tone of the  sympathetic and a high tone of parasympathetic , this imbalance leads to extreme lack of energy and laziness or tamas with disastrous long term consequences. How to improve the tone of the sympathetic?

Yoga comes out with a unique procedure or karani called sirsasana or head stand. If one would stay in sirsasana for a required amount of time,  the viscous cerebrospinal fluid slowly empties into the periphery of the brain. There are ventricles or openings in the brain and in the third ventricle in the recess is placed the pituitary gland. In sirsasana, the CSF fills this ventricle and exerts some pressure on the gland which helps to slightly increase its hormone secretion. It empties into the surrounding CSF. Then when one comes out of the pose, the hormone gets into the circulation and stimulates the adrenal gland. The adrenalin so produced excites and improves the tone of the sympathetic  nervous system. This will help to bring in some rajas and energy to the yagabhyasi. So if one is extremely tamasic such people will lack the energy and motivation to do pranayama to remove tamas. When I was studying with Sri Krishnmacharya, for a period of time I used to go for my asana classes in the evening after work. I used to feel tired especially in the hot humid Madras conditions. If he sees me very tired he would ask me first thing after the prayer to stay in headstand for a while. It used to be very relaxing for the whole body, the joints and the tired muscles. At the end of the sirsasana practice one would feel relaxed and little more energetic and can go on to do the asanas and vinyasas.

But then there are some who have high sympathetic tone or what you may call Rajasic or pitta dominated. Such people will have to use up the extra energy and asanas in general are supposed to help in reducing or utilizing the extra energy. 

‘Asanena rajo hanti says an Upanishad‘. There is another important asana which will help in reducing the rajas by improving the tone of the parasympathetic of which the vegas is an important part. The vegal nerve emanates from the occipital region of the brain The back portion of the brain is on the ground in Sarvangasana and the CSF is supposed to empty into the fourth ventricle which is in the occipital region and stimulates the vegas nuclii. So a proper balance between Sirsasana and sarvangasana would bring about the required equilibrium between the sympathetic and the parasympathetic nervous systems or bring about a parity between Rajas and Tamas physiologically.

Ultimately Yoga requires one to improve satva as it is the most desirable quality. The procedure that is used by Yogis to suppress Tamas and simultaneously increase satva is pranayama. Satva indicates a proper functioning of the brain and the central nervous system whereas Rajas and Tamas may be related to the functioning of the sympathetic and parasympathetic nervous systems. It is an ingenious approach of yogis to increase satva or bring the central nervous system under good control. Breathing is usually under involuntary mode. Sympathetic acts during inhalation and the parasympathetic is active during exhalation. So normal breathing is involuntary. The central nervous system consists of the brain and the spinal cord and is responsible for out thinking and all activities we do voluntarily including meditation. In voluntary breathing which is pranayama, the breathing is brought under the central nervous system-- there are two centers of breathing one voluntary and the other involuntary. By doing pranayama, the yogi is able to work with the central nervous system and increase the dominance of satva. Pranayama on one hand helps to reduce tamas and increase satva, as Patanali puts it “ tatah kshiyate prakas aavaranam and dharanasu ca yogtataa manasaH”

So Tamas Rajas and Satva dominate the three nervous systems the parasympathetic, the sympathetic and the central nervous system. And the Hatayogis bring about the required changes of the gunas by manipulating the tone of the three systems by unique yogic procedures of Sarvangasana Sirsasana and Pranayama.


Book Review. Richard Freeman and Mary Taylor The Art of Vinyasa. Awakening the Body and Mind through the practice of Ashtanga Yoga

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Here was my first reaction to Richard and Mary's new book on fb yesterday

Thank you to Shambhala for the review copy of Richard Freeman and Mary Taylor's long awaited 'Art of Vinyasa', my new desert island yoga book. All I'd hoped for and so much more besides, a smart, wry thought provoking...., practice provoking, palate relaxing delight. 



REVIEW


The Look inside feature on Richard website gives you the contents page and the first chapter.




We can see that the book has two parts, Part 1. Foundations and Part 2. Asana. I've been wondering whether the book would be suitable for all practitioners, beginners for example. I suspect that many beginners would read a few pages of the first part, wonder what the hell Richard was on about and skip to part 2 and the asana section. There they would find a nice clear layout of instruction for each asana, numbered by paragraph/instruction point. I think these instructions would be beneficial if not essential for beginners who may well avoid future injuries as a response to reading and following along, right from the start. These are good practical instructions provided by teachers who have been themselves practicing and teaching for decades.

Recently I came across a newly authorised teacher insisting that there were no props in Ashtanga vinyasa, that they go against the intention of the method. Richard and Mary however do include intelligent, responsible prop options throughout the text, for those with injuries, aches and pains or merely working towards a posture.


Richard doesn't have much time for dogma, this is why I've referred to his wry humour, it's the dogma he's gently, even affectionately, mocking occasionally in the text, I find it refreshing.

"It (the Palate-Perineum Reflex) is extremely pleasant and often relieves strain in a pose when we become too dogmatic and attempt to force the body into some contrived ideal form".

It is possible to work safely at a physical level on the postures that make up ashtanga vinyasa, to develop the discipline, focus and attention, this can all be found in part two of Richard and Mary's book and there is a helpful anatomy section included that one might refer to when necessary.

However, to go deeper into the practice then one might return, again and again over the years, however long we may have been practicing, to the first part of the book and there we find a garden of delights.

NOTE: All quotes below in italics are from the text, I've resisted putting page numbers as the text Shambhala sent me was a pre correction proof copy.

My photo choice
Bodhisattva Avalokiteshvara with One Thousand Hands and One Thousand Eyes, Metropolitan Museum of Art


"Imagine that you get a job as a model for an artist who’s going to carve a statue of Avalokiteśvara, the buddha of in nite compassion. Avalokiteśvara is to be seated holding the wishfullling gem in front of the lotus  fower ( padma) of the heart, and your alignment must be perfect! All you have to do is sit in that pose and not move.

It takes extraordinary focus to picture what Avalokiteśvara looks like, bringing your attention again and again to rest along the plumb line of your body. Releasing the palate in silent contact with a softening tongue and feeling a smooth, steady breath unfold, you begin to experience all the physical patterns associated with inhaling. You then drop even more deeply in, observing as the breath effortlessly turns around; the exhalation dissolves all those endless forms back to their roots, like petals falling from a flower.  The centers of your ears are directly over the centers of the shoulder joints, so they’re aligned exactly on the coronal plane of the body; your hip joints are centered in that same precise line.  The back of the diaphragm spreads, and you notice that right around the twelfth thoracic vertebra, a radiant point of awareness is forming a warm, vibrant circle. You envision yourself having four arms, but you know not to pinch any of the shoulder blades together or the artist will kick you out and hire someone else as the model. So you drop back into the breath and feel more arms growing—just a few at first, but then an infnite number sprout and reach up out of that warm, vibrant area in the middle of your lower back.  The center of each palm tingles, and you realize you can actually see through the palms as you reach out to all other sentient beings, but you’re not distracted by this visual stimulation. It’s hard work and you start to sweat, but if you release the palate and the muscles in the back of the tongue, your mind clears; you feel an extension along the spine, out through sides of your body, and then up through the crown of the head as if you are growing bigger and taller.  e pose feels easy, steady, and buoyant. You cultivate a vivid sense of concentration and form and, at the same time, the ability to dissolve and let go.

 This is how alignment was taught in ancient times before the study of anatomy and theories of biomechanics and postural alignment became the norm. In those days, alignment was embodied through visualizing deity forms, which brought the  finer qualities of the emotions, sensations, and thought patterns into the breath and body. Artists trained for generations in a highly disciplined manner to reproduce in their sculptures and drawings exactly what sages had discovered to be, through lifetimes of practice and visualizations, optimal forms of alignment. Forms that would facilitate a physiologically awake and open, integrated, and finely tuned state of being that is perfectly suited for contemplative practice. Symbolic representation of this kind of esoteric knowledge followed prescribed patterns and proportions that were described in minute detail so that one could meditate on a deity form and feel correct alignment. In those days, teachers didn’t bother describing the alignment of joints or any of that dry, boring anatomical stuff . Instead, they went right for the source—the deity form—and breathed right into it".



M. asked me why I thought Richard had written a book now when there are so many Ashtanga vinyasa books on the market. I think this is the reason, what Richard and Mary wished to communicate, share....suggest.

Deity visualization is akin to abstract thought, such as exploration of the idea of infnity, but visualizations can be em-bodied to give direct, visceral experience of what otherwise might be a complex construct.

Yoga alignment can and usually is approached from the point of view of classical anatomy, physical form, and biomechanics. And this is good. We look at similarities and diferences in the structure of bones, muscles, and interconnected patterns of breath and movement. Visualization bridges a gap in understanding movement between what happens in the mind and what happens in the body. As we breathe and move in and out of postures, we simply allow a visualized form to rest in the background as a subconscious context from which to experience whatever actually arises as feeling, sensation, or thought.  e visualization provides a reference point for our experience so we can be there with full attention.

Between the externally oriented perspective of studying form and movement from a classical anatomical perspective and the more abstract perspective of visualization lies another method for insight into alignment and form.  That is an understanding of the internal forms of the practice. Each of these perspectives is important and may be an effective means of establishing a context for understanding our practice. Merging visualization, abstract thought, and classical anatomy through an embodiment of the internal forms gives a full understanding of form and alignment.  This really is what the Ashtanga Vinysa system of yoga is all about: taking a multidimensional view of what happens when we practice yoga. Cultivating the simplest of circumstances in a context of open-minded awareness and a full range of movement, we invite the yoga practice to unfold like a  flower in bloom.



Richard goes on here to introduce BREATH, DṚṢṬI, BANDHAS and MUDRA



Also THE NĀḌĪS

By bringing awareness to the nuances of alignment that are revealed through the internal forms of practice, we discover a gateway to understanding the nāḍī system, part of the innermost structure and scaffolding of the practice. Nāḍī means“channel” or “little river” in Sanskrit, and from a yogic perspective, the nāḍīs are an intricate system of rivulets of Prāṇa and energy that  flow through and penetrate every area of the body. From a Western perspective, the nāḍī system could be considered somewhat parallel to the combination of the nervous and circulatory systems.  The nāḍīs bring a vibratory quality of breath and awareness to every point of sensation within the body".

and CAKRAS

"Another brilliant aspect of traditional imagery that invites an internalized, contemplative mind, is the cakra system; through this, we meditate on various stations along the central channel that correspond to distinct sensation patterns and perceptual modes. Cakras (wheels) are usually represented and felt as lotus  flowers or padmas.  They are strung together like a garland along the susumṇa  nāḍī.  they are imagined to be sacred spaces ranging in detail from simple geometrical yantras to elaborate maṇḍalas, temples, islands, and whole worlds populated with gods, goddesses, and (potentially) all beings. Cakras or padmas function to capture and absorb our attention fully and then to balance and deepen our insight into the actual nature of what we are experiencing. Each petal or segment of every cakra needs to be interlinked with its complementary opposites and then with its deeper background.

Smooth ujjāyī breathing introduces the natural vinyāsa of the attention to balance and illuminate the cakras. Evenly illuminated, brought to life and vibrancy, they open into the middle path of the susumṇ  nāḍī at the center of each padma where the nectar from the root of the palate can be felt. In normal distracted breathing, it is likely to feel as though half the petals are wilted while others are overinflated. But with mindful ujjāyī breathing practice, there is a sense of calm alertness within the body and mind, and the garland along the central channel feels alive, awakened, and evenly innervated".


My quotes are long but I felt it was important to give a clear idea of how Richard approaches subtle body, it's an approach I too have found appealing, not to abandon traditional imagery altogether in favour of a modern western supposed correspondence but rather seeking to understand the intention behind the traditional visualizations, not to get lost in them, but to employ them with discernment. It's a neat trick if you can pull it off, for the most part I feel that Richard does and it's perhaps why I/we are drawn back to him. We know intuitively that there is something to this practice we engage in each day, something deep and profound, more than the sum of it's parts, an untapped potentiality perhaps. With Richard we perhaps feel somewhat closer to catching a glimpse of what that might be.

At some point I started searching through the book for the pranayama section there isn't one, I was surprised at my reaction. In the past I might have felt frustrated, disappointed but if we can attain some small measure of what Richard is indicating is available to us in our asana practice then Pranyama holds less of it's allure. Besides, Richard has a pranayama courses where he is able to go into more detail than here, I've taken the course it's excellent.
I relish my pranayama practice, Richard reminds me to relish my asana practice also, I had begun to forget.

Below: Ashtanga Pranayama. Richard Freeman with Pattabhi Jois 1989 from the Advanced Series video see links at the end of the post.



"TRUSTING THE PROCESS
We may harbor a lot of resistance toward dropping in and practicing from an internal perspective.  The fear of feeling—deep inside the body— certain things like infnity, impermanence, emptiness or the fact that there is no ultimate frame of reference, can be terrifying. Yet it is for this very reason that the practices emphasizing the internal forms are so important and why we must take them slowly and work at them with great patience and kindness toward ourselves.  This is why a teacher encourages beginning students simply to have a direct experience within their own bodies of what it actually feels like to take a full, deep inhale and a smooth, long exhale, and why approaching these internal forms directly through  asana practice is vital".


*



Many are familar with Richard Freemans's use of strange visualisations, Kidney wings, Cobra hoody etc. Here he explins why he employs this sādhanā bhāṣā, practice language


"During the Italian Renaissance, an understanding of human form came to life as great artists of the time became anatomists, peeling back the skin of dead bodies and dissecting corpses to study the intricacies of form and structure in fine detail. Some, such as Leonardo da Vinci and Michelangelo, were inspired to explore and broaden their understanding of the body in action, and their art became infused with a level of realism never before imagined.  Their direct study of anatomy, merged with their innovative imaginations and artistic skill, transformed the face of art forever. As a yoga practitioner, fusing together a knowledge of anatomy with the art form of your imagination—deeply feeling movement and sensation, along with patterns of connection and breath—may not make you the Michelangelo of yoga, but it will add a uniquely clear means of inhabiting your own skin.
To begin experiencing our own subtle anatomy, it is helpful to have studied classical anatomy and artistic renderings of the body so we have a general idea of the landscape of human form. Imagining our own structure as an overlay to clear images of anatomy, while focusing on feelings and sensations as they arise, provides an embodied, broad-spectrum experience of the subtle body. In this context, it is helpful to establish a vocabulary specifc to these elusive layers of understanding. Doing so is referred to as sādhanā bhāṣā, or practice language. Every group or school (and ultimately every practitioner) has a unique and ofen abstruse sādhanā bhāṣā  ; words images, and myths that give us markers of understanding and serve as memory cues so we may easily return to and build on the insight that inspired the vocabulary".



Richard includes thirteen of these '...visceral visualizations that describe internal form of the practice'.  Some I remember from the five day intensive I took with Richard in London a few years back and have stayed a part of my practice ever since, others are new to me. As well as reading them here some pop up in Richard's led videos and apps in the context of practice. See also this post, my part transcription of Richard's backbending workshop at the Ashtanga yoga confluence a few years back to see how these concepts apply to practice http://grimmly2007.blogspot.jp/2012/03/richard-freeman-ayc-backbending.html


Mūlabandha
Releasing the Palate
Psoas Line
Cave of Sacrum
Kidney Wings
Psoas Buttons
Gaeśa Belly
Cobra Hood
Skin Flow
Holding the Tail of a Serpent
Feet Reflecting Pelvic Floor
Palate-Perineum Reflex
Plumb Line 


Here's an example of one of the above, the shortest.

"Cave of Sacrum
Awareness of the cave of the sacrum is another way of beginning to feel the pelvic  floor, Mūlabandha, and the lower under-belly version of Uḍḍīyāna Bandha.  The sacrum, to which the coccyx is attached, is set in the sacroiliac (SI) joints in the back of the pelvic basin. Together, the sacrum and coccyx form a contour that resembles a deep cave—almost a separate chamber—below the overall abdominal cavity.  The bladder, rectum, and uterus or prostate are housed in this area of the pelvis.
To feel and articulate the pelvic  floor, we need to develop a sense of emptiness or spaciousness, a suction sensation in this cave, as if we had spooned its contents back and up toward the lower lumbar vertebrae.  is feeling depends on having some feeling of tone in the pelvic  floor muscles attached to the coccyx—as if we were holding the coccyx in place to provide stability so we could scoop the spoon of the mind back and up along the front surface of the coccyx and sacrum to “clean out the cave.” Cultivating this cavelike feeling under the belly helps to fully integrate the internal form of nearly all poses and the movements between them.

Energetically the cave of the sacrum is the origin, the womb, and meditating there allows you to relax into the great irreducible mystery beyond thought. Be aware that clean and healthy bowels, as well as some of the less popular and strange kriya (practices) in hatha yoga, facilitate this ability to sense the cave of the sacrum. Most of these esoteric practices, like the ability to suck water up the anus, are actually rooted in train- ing the same muscles of the pelvic  oor that establish a sense of the cave of the sacrum. Overzealous practitioners are sometimes tempted to take the kriyas—like anything extreme or strange—too far, practicing the exercises to excess or believing they are the answer to everything when in fact they are simply another type of perspective or tool among many for connecting to the subtle layers of awareness in the body."



My advice is to read through these then find one or two that make the most sense at this time and tentatively introduce the concept into practice, play with it, explore it, before introducing another and so on. Trying to introduce them all at once may be bemusing and result in a shallow appropriation, we're in this for the long term aren't we, this is a lifetime practice, "Why you hurry?" was I believe the saying.



As mentioned Richard includes a short Anatomy section as reference


"Classical anatomy complements and greatly informs visualization and the idea of vinyasa in yoga practice.  This chapter includes a limited selection of anatomy topics that are of particular relevance to yoga poses and internal forms. Hopefully this basic information will serve as a springboard to deepen your ongo- ing study of anatomy."



Here are a couple of pages to give an idea of the approach.







Part two Asana

Richard and Mary take a surprisingly unconventional approach to the order in which they present the asana as far as Ashtanga vinyasa is concerned. I was delighted, it reminded me of Srivatsa Ramaswami, Krishnamacharya's student of 30+ years, approach in his books. Asanas are grouped together by type rather than their position within a series (although this is of course included in the Appendix). 

And not just Primary asana either, Richard and Mary present all the postures from Primary and Intermediate series, they also weave in a couple from Advanced series.



"For Aṣṭāṅga Vinyāsa practitioners, the simplest and possibly the “only” way to consider the poses is from the perspective of the order in which they appear in the traditional sequences: Sūrya Namaskaras, the standing poses, the specific series, and the  finishing sequence.  This is good. But we can also gain understanding by examining the postures in terms of some of their common features, regarding them as twists or backbends or balancing poses. Looking at postures in terms of the overall category into which they fall is informative in terms of alignment for any practitioner, and for Aṣṭāṅga practitioners, pulling poses out of the usual sequence can be a good practice for shifing perspective.
 This book presents the poses  first in detail within “families” to show the underlying patterns of breath and movement that tie them together. It also gives the traditional sequences as a quick reference. All poses found in the Primary and Intermediate series and a small number of other poses that demonstrate a particular form or idea are included. Some can be-long to more than one family. Yoga is a  fluid,  flowing, evolving system of breath, movement, and form, forever resisting our need to categorize it yet bene ting from our attempts to do so".


I wanted to share a couple of examples of Richard's presentation of asana in the book, here is one featuring Richard....








... and another featuring Mary. 

Note in this example the prop option and also how an Intermediate series posture follows one from Primary.









Hanumanasana from Advanced series, for example finds it's way into the text.






And here's Richard demonstrating Karandavasana just so I can link to my old 2009 Richard Freeman fourteen day karandavasana challenge post.





There are a lot of Ashtanga books these days, this one from Richard and Mary jumps straight to the top of my list. Shambhala sent me a PDF proof, I'll still be buying the print copy from Amazon.jp as soon as it beomes available so I can attack it with a hi-lighter and pencil.

If I were to recommend three modern Ashtanga/Yoga books to buy it would probably be these

Art of Vinyasa - Richard Freeman and Mary Taylor
Ashtanga Manual - David Swenson (especially for the home practitioner)
Yoga Mala - Pattabhi Jois

Also these from Krishnamacharya at some point for context, they are available on my Free Downloads page
http://grimmly2007.blogspot.jp/p/free-downloads.html

Yoga Makaranda - Krishnamacharya
Yogasanagalu - Krishnamacharya

I also highly recommend Srivatsa Ramaswami - Yoga for the Three Stages of Life, not Ashtanga but so closely related.

See also my yoga Reading list http://grimmly2007.blogspot.jp/p/yoga-reading-list.html



I'll leave you with Richard in Savasana








LINKS

 Here's the link to the book on Richard's website as well as his other book Mirror of yoga , DVDs, apps etc.

There is a Look Inside 'The Art of Vinyasa' feature on the above page



It's already available direct from Shambhala direct and from Amazon around the end of the month (29th December?). Postage could be expensive from Shambhala but they also have an ebook option. I imagine it will be available on Kindle from Amazon also.

My copy is an ebook/pdf, the print is a little small so if Kindle allows you to increase the font size that might be a benefit although you can of course zoom in on the ipad. Both kindle and Amazon are searchable of course which is useful especially for this review, Richard is using sanskrit diacritic marks however which makes searching tricky.

Although I've been sent this free ebook copy I'll still be buying it in print, so I can attack it with a highlighter and pencil.


Here's the book on Shambhala's excellent website, you could have on your ipad as an ebook today.

http://www.shambhala.com/the-art-of-vinyasa.html


NOTE: Supposedly there is a live interview with Richard and Mary about the book being streamed on Shambhala's facebook page. Monday Monday Dec 5th at 7 MST?
https://www.facebook.com/ShambhalaPublications/



Videos

Richard Freeman with Pattabhi Jois 






Interview: Richard Freeman and Mary Taylor




YogaGlo 15 day Free trial - Exploring Richard Freeman and Mary Taylor's Internal form of the practice'

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Richard Freeman on YogaGlo

Following on from my previous post and  my review of Richard Freeman and Mary Taylor's new book 'The Art of Vinyasa Awakening the Body and Mind through the practice of Ashtanga Yoga', I felt the need to revisit some of Richard's Led classes, to work through some of the '...visceral visualizations that describe internal form of the practice' , outlined in the book, in the context of actual practice.

My Book Review
http://grimmly2007.blogspot.jp/2016/12/book-review-richard-freeman-and-mary.html

*

Here's an example of one of the visualisations, the shortest.

"Cave of Sacrum
Awareness of the cave of the sacrum is another way of beginning to feel the pelvic  floor, Mūlabandha, and the lower under-belly version of Uḍḍīyāna Bandha.  The sacrum, to which the coccyx is attached, is set in the sacroiliac (SI) joints in the back of the pelvic basin. Together, the sacrum and coccyx form a contour that resembles a deep cave—almost a separate chamber—below the overall abdominal cavity.  The bladder, rectum, and uterus or prostate are housed in this area of the pelvis.
To feel and articulate the pelvic  floor, we need to develop a sense of emptiness or spaciousness, a suction sensation in this cave, as if we had spooned its contents back and up toward the lower lumbar vertebrae.  is feeling depends on having some feeling of tone in the pelvic  floor muscles attached to the coccyx—as if we were holding the coccyx in place to provide stability so we could scoop the spoon of the mind back and up along the front surface of the coccyx and sacrum to “clean out the cave.” Cultivating this cavelike feeling under the belly helps to fully integrate the internal form of nearly all poses and the movements between them.

Energetically the cave of the sacrum is the origin, the womb, and meditating there allows you to relax into the great irreducible mystery beyond thought. Be aware that clean and healthy bowels, as well as some of the less popular and strange kriya (practices) in hatha yoga, facilitate this ability to sense the cave of the sacrum. Most of these esoteric practices, like the ability to suck water up the anus, are actually rooted in train- ing the same muscles of the pelvic  oor that establish a sense of the cave of the sacrum. Overzealous practitioners are sometimes tempted to take the kriyas—like anything extreme or strange—too far, practicing the exercises to excess or believing they are the answer to everything when in fact they are simply another type of perspective or tool among many for connecting to the subtle layers of awareness in the body." The Art of Vinyasa Awakening the Body and Mind through the practice of Ashtanga Yoga'


*

I have Richard's early DVDs of course and some transcripts but was reminded that Richard and Mary have been presenting classes over the last few years on YogaGlo.

YogaGlo also have a fifteen day free trial, I've subscribed and am currently working my way through Richard and Mary's videos.

Richard currently has 59 class videos, while Mary has 63 ( bit of a  slacker Richard, clearly).

The classes range from 10 to 90 minutes, some focus on one element of practice others a full led practice with a particular focus ( although of course there is crossover, many elements/visualisations coming of in the same video).

So far I'm enjoying the classes, surprised how much I'd actually internalised on Richard's five-day intensive in London a few years ago. It's good to be reminded of why I practice in a particular way and to brush up on some elements that I've allowed to slip or that went over my head altogether.

*

Unfortunately I can't apply to Richard and Mary's teaching intensive in Boulder this year or probably next for that matter so these videos and the book are some consolation at least.

Details of the intensive here, open for application now I believe
http://www.richardfreemanyoga.com/teacher-intensives

http://www.richardfreemanyoga.com/

Below are fifteen video suggestions for a 15-day free trial, one for each of the 13 visceral visualisations that Richard and Mary outline in the book as well as two extras, one from Richard on Pranayama, the other from Mary on meditation. In the appendix below there are some other options that seem to focus on these areas should you wish to continue with your subscription past the free trial.

UPDATE Forgot to mention, the subscription costs $18 a month, you can supposedly cancel whenever you wish.

I put these together for my own use but thought why not share it on the blog with anyone else who's interested. I'll probably change things around a little as I work through the list as well as add some others that illustrate these ideas more effectively.

First impression of YogaGlow? It seems to work, very easy to subscribe and I hear to cancel your subscription should you wish to. As with any online subscription trial, Netflix, Amazon prime etc. It's a good idea to set up an alert on your diary to let you know a day before the trial runs out so you can have a think whether you actually wish to stick with it and have payments start coming out of your credit card.

My only complaint so far is with the optional Ipad app. This is supposed to allow you to download up to 10 videos at a time for offline viewing (although I believe they magically stop working should you cancel your subscription). For some reason the download is dreadfully slow and often cancels itself half way through. I thought it might be just me but a google search suggests I'm not alone.

Streaming however seems fine thus far.

The videos below are mostly of Richard, at some point I'll no doubt focus on Mary's videos as they relate to ideas that come up in the book.

Mary Taylor's 90 minute YogaGlo classes

I'm off now to practice with Backbending on the Wave of Internal Breath - 90mins which seems to be along the lines of the class Richard presented to the Ashtanga yoga Confluence a few years ago that I tried to follow along with and transcribe. The YogaGlo version has much better sound quality and viewing angle.


 

My  fifteen suggestions



Richard includes thirteen '...visceral visualizations that describe internal form of the practice'.  Some I remember from the five day intensive I took with Richard in London a few years back and have stayed a part of my practice ever since, others are new to me. As well as reading them here some pop up in Richard's led videos and apps in the context of practice. See also this post, my part transcription of Richard's backbending workshop at the Ashtanga yoga confluence a few years back to see how these concepts apply to practice http://grimmly2007.blogspot.jp/2012/03/richard-freeman-ayc-backbending.html

Mūlabandha

1. Backbending on the Wave of Internal Breath - 90mins
Use this practice to gain clarity as you learn to support the extension of your spine. These movements are required for full, deep and safe backbends. Begin by heating your body with sun salutations before systematically working through various stages of backbending, exploring the function of mula bandha, the optimal rotations of your femurs and the movements of your shoulder blades. Give yourself the delightful experience of a full, properly aligned backbend.

Releasing the Palate

2. Up and Down the Middle Spine - 60mins

Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.



Psoas Line

3. Radiant Extension - 90mins
This Mary Taylor and Richard Freeman tutorial practice will help you learn to articulate the hands and the feet while connecting the legs and the arms into the lower Psoas muscle. When the structural patterns of the arms and legs come to life, they radiate out from and simultaneously root strongly back into the central axis of the body. Includes detailed breath instruction, surya namaskars, standing poses, seated poses, back-bends and cool-down. Prop Suggested: a blanket or block.

Cave of Sacrum

4. The Four Angels - 30mins
The four angels represent the four corners of the pelvic floor; the coccyx in back, the pubic bone in front and the two sitting bones on the sides. Waking up these angels and getting them to work together is the key to structural alignment and to moving the internal breath back and up into the central channel.

Kidney Wings

5. Secret of Kidney Love - 90mins
A step by step exploration of the coccyx, kidney wing, cobra hood pattern which grounds and releases mental and physical patterns. This pattern is the key to mulabandha and one of the great secrets of Hatha and Tantric yogas. Slowly move through a modified Ashtanga sequence with deconstructed sun salutations, padangustasana, trikonasana, parivrita trikonasana, janu sirsasana, marichasana A & C, half lotus, navasana, fish and more.


Psoas Buttons

6. Breathing Through Your Psoas Line - 60mins
With simple yet powerful asanas we explore the art of mulabandha by learning to keep the psoas muscle relaxed and long through out the entire inhale. This involves some amazing full body movements that involve the arms, legs and beyond.

Gaṇeśa Belly

7. Ganesha's Belly - 30 mins
An exploration of the lower abdomen and the pelvic floor in the gradual discovery of good breathing and alignment.

Cobra Hood

8. Elegant Neck - 45mins
In so many postures there is either subtle or extreme backbending through your neck. In this methodically paced class, breakdown upward facing dog before moving into camel and ubhaya padangusthasana. Extending your lower neck, even in backbends, is a skill that takes many years to learn correctly. Once you learn that skill, discover that there are so many delightful moments in a vinyasa sequence where you dissolve into the present moment and wake up!

Skin Flow

9. Continuous Alignment - 90mins
Here there is an emphasis on continuous alignment, on the thread of intelligent, aligned, integrated movement - that links postures together. Often form is taught for a 'static' classical pose rather than in the linking together of complimentary breath and structural patterns that compose the movement between those 'beautiful' poses.


Holding the Tail of a Serpent


10. Tail First Head Last - 60 mins
Feed your practice, find mula bandha, and practice proper breathing and good alignment. Spend time in various down dog variations, padangusthasana, trikonasana and fish pose. Work with practiced principles of form and movement so that these fluid transitions are second nature. In many vinyasa movements, alignment is maintained by continuous sequential rolling of your spine in and out of the postures. Experience this in transitions between poses and within poses themselves.


Feet Reflecting Pelvic Floor

11. 108 Triangles - 60mins
After defining the four corners of the pelvic floor, work them in their various connections to reveal the "esoteric triangles." When the deeply asymmetrical Trikonasana is done this way, it solves structural problems and awakens the reflexes from palate to perineum upon which the Vinyasa practice is based


Palate-Perineum Reflex

12. Shoulderstand and Headstand Family - 90mins
Using special training postures and alternatives, you will construct a delightful way of making these difficult and subtle postures feel wonderful and contemplative. The emphasis will be on internal channels revealed through palate and perineum. Go upside down without sacrificing safety or comfort. Props Suggested: A blanket for shoulderstand and wall space for headstand.


Plumb Line 

13. Up and Down the Middle Spine - 60mins
Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.


+




14. Principles & Patterns of Pranayama - 15mins

After finding a correct sitting posture, we will explore core principles and patterns of this basic pranayama. Prop Needed: A blanket to sit on. Prop Suggested: A chair to sit on.



15. Establish Your Internal Landscape - 10mins (Mary Taylor)

Take part in a short meditation practice that includes guided cues that help establish a sense of the internal landscape of the body. This will support the unfolding of a silent sitting practice for the last few minutes of your practice. Props Suggested: A blanket or two.



*



APPENDIX




including some alternatives to the above.


Mūlabandha


Holding the Pot of Nectar - 15 mins 
The "pot of the belly" is a great internal source of energy, strength and intelligence. It is one source of nectar that spreads through your body in a deliberate and contemplative practice that leads to mula bandha. Gradually develop subtle awareness in your pelvic floor, lower back, psoas muscle, palate and along the central channel of your body, so that one day mula bandha appears.



Tail First Head Last - 60 mins
Feed your practice, find mula bandha, and practice proper breathing and good alignment. Spend time in various down dog variations, padangusthasana, trikonasana and fish pose. Work with practiced principles of form and movement so that these fluid transitions are second nature. In many vinyasa movements, alignment is maintained by continuous sequential rolling of your spine in and out of the postures. Experience this in transitions between poses and within poses themselves.


Backbending on the Wave of Internal Breath - 90mins
Use this practice to gain clarity as you learn to support the extension of your spine. These movements are required for full, deep and safe backbends. Begin by heating your body with sun salutations before systematically working through various stages of backbending, exploring the function of mula bandha, the optimal rotations of your femurs and the movements of your shoulder blades. Give yourself the delightful experience of a full, properly aligned backbend.



Releasing the Palate

Root of Palate - 15mins
Releasing the root of the palate is the key to alignment, Mula Bandha and many other contemplative techniques. Here are the basics and how to feel this gateway to the Central Channel.


Up and Down the Middle Spine - 60mins
Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.




Psoas Line

Breathing Through Your Psoas Line - 60mins
With simple yet powerful asanas we explore the art of mulabandha by learning to keep the psoas muscle relaxed and long through out the entire inhale. This involves some amazing full body movements that involve the arms, legs and beyond.


Touching Infinity - 90mins
Extend through your Psoas line. Through modifications of sun salutations and standing postures like trikonasana and revolved trikonasana, discover long lines through your whole body. This subtle movement creates a feeling of stretch to infinity and beyond.



Radiant Extension - 90mins

This Mary Taylor and Richard Freeman tutorial practice will help you learn to articulate the hands and the feet while connecting the legs and the arms into the lower Psoas muscle. When the structural patterns of the arms and legs come to life, they radiate out from and simultaneously root strongly back into the central axis of the body. Includes detailed breath instruction, surya namaskars, standing poses, seated poses, back-bends and cool-down. Prop Suggested: a blanket or block.







Cave of Sacrum





The Four Angels - 30mins

The four angels represent the four corners of the pelvic floor; the coccyx in back, the pubic bone in front and the two sitting bones on the sides. Waking up these angels and getting them to work together is the key to structural alignment and to moving the internal breath back and up into the central channel.






Kidney Wings

Secret of Kidney Love - 90mins
A step by step exploration of the coccyx, kidney wing, cobra hood pattern which grounds and releases mental and physical patterns. This pattern is the key to mulabandha and one of the great secrets of Hatha and Tantric yogas. Slowly move through a modified Ashtanga sequence with deconstructed sun salutations, padangustasana, trikonasana, parivrita trikonasana, janu sirsasana, marichasana A & C, half lotus, navasana, fish and more.

Crossing the Midline for Kidney Power - 90mins
In this class you will uncover a remarkable way of grounding which protects your joints and builds strength and stability. Fine and precise alignment details will be explored through standing postures into advanced, seated hip-opening and twisting postures that incorporate this oblique pattern across the body. Complete your practice with a few side body openers before resting in savasana.


Psoas Buttons


Breathing Through Your Psoas Line - 60mins
With simple yet powerful asanas we explore the art of mulabandha by learning to keep the psoas muscle relaxed and long through out the entire inhale. This involves some amazing full body movements that involve the arms, legs and beyond.


Radiant Extension - 90mins

This Mary Taylor and Richard Freeman tutorial practice will help you learn to articulate the hands and the feet while connecting the legs and the arms into the lower Psoas muscle. When the structural patterns of the arms and legs come to life, they radiate out from and simultaneously root strongly back into the central axis of the body. Includes detailed breath instruction, surya namaskars, standing poses, seated poses, back-bends and cool-down. Prop Suggested: a blanket or block.



Gaeśa Belly


Discover the Pelvic Floor 30mins
Discover the pelvic floor and dialectical conversations there. Props Needed: Two blocks and a blanket.


Ganesha's Belly - 30 mins
An exploration of the lower abdomen and the pelvic floor in the gradual discovery of good breathing and alignment.





Cobra Hood





Drinking the Moonlight - 20mins
Take a tutorial style class introducing proper alignment in two contrasting forms of cow pose (gomukhasana), revealing intelligence from your pelvic floor through the root of your palate. Tap into the limitless supply of nectar or compassion that rests at the root of your palate. Learn to extend through your neck while keeping your heart buoyant and sunny. Walk away feeling more open in your hips and shoulders. Props Suggested: A strap.



Elegant Neck - 45mins
In so many postures there is either subtle or extreme backbending through your neck. In this methodically paced class, breakdown upward facing dog before moving into camel and ubhaya padangusthasana. Extending your lower neck, even in backbends, is a skill that takes many years to learn correctly. Once you learn that skill, discover that there are so many delightful moments in a vinyasa sequence where you dissolve into the present moment and wake up!

Tail First Head Last - 60mins
Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.


Secret of Kidney Love - 90mins

A step by step exploration of the coccyx, kidney wing, cobra hood pattern which grounds and releases mental and physical patterns. This pattern is the key to mulabandha and one of the great secrets of Hatha and Tantric yogas. Slowly move through a modified Ashtanga sequence with deconstructed sun salutations, padangustasana, trikonasana, parivrita trikonasana, janu sirsasana, marichasana A & C, half lotus, navasana, fish and more.





Skin Flow


Continuous Alignment - 90mins
Here there is an emphasis on continuous alignment, on the thread of intelligent, aligned, integrated movement - that links postures together. Often form is taught for a 'static' classical pose rather than in the linking together of complimentary breath and structural patterns that compose the movement between those 'beautiful' poses.








Holding the Tail of a Serpent



Coiling Around the Sun - 10mins
A specially modified sun salutation to help discover the apana pattern and then to strengthen it. Within your sun salutations, hold bakasana for five breaths, down dog for five breaths and repeat the pattern. The idea is to keep the prana (heart) open, when there is full expression of the apana (serpent tail). This allows full grounding and compression free flexion.


Tail First Head Last - 60 mins
Feed your practice, find mula bandha, and practice proper breathing and good alignment. Spend time in various down dog variations, padangusthasana, trikonasana and fish pose. Work with practiced principles of form and movement so that these fluid transitions are second nature. In many vinyasa movements, alignment is maintained by continuous sequential rolling of your spine in and out of the postures. Experience this in transitions between poses and within poses themselves.






Feet Reflecting Pelvic Floor



108 Triangles - 60mins
After defining the four corners of the pelvic floor, work them in their various connections to reveal the "esoteric triangles." When the deeply asymmetrical Trikonasana is done this way, it solves structural problems and awakens the reflexes from palate to perineum upon which the Vinyasa practice is based.

Deconstructing Sun Salutations - 90mins
A step by step deconstruction of the forms used in Sun Salutations. This allows one to adapt the postures and movements to avoid discomfort and to reap the full benefit of this rhythmic practice. Prop Suggested: A blanket.



Palate-Perineum Reflex


108 Triangles - 60mins
After defining the four corners of the pelvic floor, work them in their various connections to reveal the "esoteric triangles." When the deeply asymmetrical Trikonasana is done this way, it solves structural problems and awakens the reflexes from palate to perineum upon which the Vinyasa practice is based.

Shoulderstand and Headstand Family - 90mins
Using special training postures and alternatives, you will construct a delightful way of making these difficult and subtle postures feel wonderful and contemplative. The emphasis will be on internal channels revealed through palate and perineum. Go upside down without sacrificing safety or comfort. Props Suggested: A blanket for shoulderstand and wall space for headstand.




Plumb Line 





Churning The Fire 10mins

Variations on jathara parivartana, a twist which can work your oblique abdominal muscles to deepen and balance twisting. It often frees lumbar movement, diaphragm movement and sacroilliac movement while building strength in your core muscles. A great class to add as part of a larger full body sequence.

Up and Down the Middle Spine - 60mins
Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.


*

Come back in 15 days perhaps for a follow up on the trial.

 I'll also see about putting some of Richard's videos in a different order reflecting the Ashtanga series.

Something like this (work in progress ).


Deconstructing Sun Salutations - 90mins
A step by step deconstruction of the forms used in Sun Salutations. This allows one to adapt the postures and movements to avoid discomfort and to reap the full benefit of this rhythmic practice. Prop Suggested: A blanket.

108 Triangles - 60mins

After defining the four corners of the pelvic floor, work them in their various connections to reveal the "esoteric triangles." When the deeply asymmetrical Trikonasana is done this way, it solves structural problems and awakens the reflexes from palate to perineum upon which the Vinyasa practice is based.

Squaring Your Hips - 15mins
Many twists and forward bends involve a subtle turning of your pelvis back and forth to find the optimal angle of rotation. This skill can make a huge difference in the quality of some of your yoga postures. Activate mula bandha in the process. Learn to square your hips in twisting triangle, upavista konasana, janu sirsasana and marichayasana C.

Splitting the Mountain - 30mins
A tutorial class that explores methods for deepening baddha and upavistha konasanas. You will experiment with the spiraling patterns around the hip joints to awaken the pelvic floor. As a practitioner or student of yoga, learn to safely support your knees and hips as you forward fold and circulate your hips open. Props Needed: Three blankets and two blocks. Prop Suggested: A strap.

Up and Down the Middle Spine - 60min
Deepen your practice by first connecting to the subtle layers of alignment and form that unify and illuminate the postures. Focus on awakening and tuning your pelvic floor as you gradually move up through your body to finally awaken your throat and palate. Find detailed instruction moving from baddha konasana and upavistha konasana all the way up to your head and neck with ubhaya padangusthasana and setu bandhasana.

Shoulderstand and Headstand Family - 90mins


Using special training postures and alternatives, you will construct a delightful way of making these difficult and subtle postures feel wonderful and contemplative. The emphasis will be on internal channels revealed through palate and perineum. Go upside down without sacrificing safety or comfort. Props Suggested: A blanket for shoulderstand and wall space for headstand.

Sitting Around Preparing for Padmasana - 15mins
A group of movements that can be done most anytime in order to prepare for full lotus. Various ways of folding your knees, rocking your legs and tilting your pelvis to create the opening for an extremely pleasant full lotus.

Ashtanga for (relative) beginners: Joey Miles: learning the Sanskrit names for Ashtanga Primary Series. Plus my old post on learning the Sanskrit count.

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A couple of videos from Stu Girling and Purple valley with Joey Miles

I thought the first one, a call and response of the Ashtanga vinyasa Sanskrit names, an excellent idea.

Learning the names of the asana along with the vinyasa count can help maintain focus, especially in the early years.


Pattabhi Jois' son Manju has a video out that is a call and response Led class of all the names as well as the vinyasa count in the Ashtanga Primary Series. 

See this post http://grimmly2007.blogspot.jp/2013/02/manju-jois-bundle-dvd-training-manual.html

This interview seems to have been recorded around the same time as the video above.


Joey teaches at Ashtanga Yoga Leeds

There is a free Primary series chart on the website

http://www.ashtangayogaleeds.com/downloads/ashtanga-primary-series-chart-a4

UPDATE: just noticed this fb post from Stu Girling

"Sneak Peak!! 
I have been working on a on-line video based Ashtanga Primary Series Intensive with the amazing Joey Miles since April and its now beginning to come together. Designed for students that really want to explore their practice in greater depth. There are over 130 videos and the idea is it will take about 4-6 months to complete. Aiming to have it all finished in the next few weeks, so more info coming soon. Couldn't think of a better xmas pressie!!!"



***

Below, an old post of mine from 2014 on learning the sanskrit count.
which can be useful, a nice point of attention when struggling to maintain focus.


Note on the count: Think of the count as perhaps akin to the formal definition/representation of Ashtanga Vinyasa yoga...., usage is something else altogether. The practice can be modified, asana dropped or replaced with a more suitable variations for you personally ( see David Swenson's Ashtanga Manual), props might be employed ( see Richard Freeman and Mary Taylor's new book The Art of Vinyasa). You can practice full vinyasa, I.E. coming back to standing after every posture or half vinyasa I.E. jumping back between postures or between sides or even perhaps between groups of asana (although you might want to introduce some form of counter pose perhaps lifting the seat up off the floor in a posture as in Vinyasa krama). You can practice a full series, half series, half Primary plus half second etc. The list of practice options is seemingly endless, yet there is much to be said for the traditional method, of building the formal practice slowly, adding on postures when it feels appropriate, sensible, to do so, employing variations perhaps, while flexibility and fitness grows.

Most important of all is the breath. Whether we know the names of the postures, the vinyasa count or the drishti (gaze), inhale and exhale calmly, fully, and keep the attention there, let the breath be a guide for whether you are doing too much or perhaps need to employ a variation, modification or employ a prop. 

If you do choose to use a prop or take extra breaths ( at any point) outside of the count make those extra breaths formal, exhale and reach for your prop, inhale as you pick it up, exhale fully, formally as you place it, if you need to get a prop from a cupboard, keep the breath the same as if you were moving through the series. The same goes for walking across the room to use the wall for your headstand, should you prefer to, make it a short walking meditation, attention on the breath, on the movement of your body as you move across the room... or to the bathroom for a loo break ( which btw can be an excellent investigation of bandhas).

One approach to learning the Ashtanga Sanskrit Vinyasa Count..... Sanskrit Numbers and Vinyasa chart with states of asana indicated plus 'meaning of asana'




John Scott recommends that we learn the Ashtanga Vinyasa count, not just Teachers but all of us, for him the count is a mantra, it focuses the mind.

"The Vinyasa Count, how did the Vinyasa Count come to mainstream Ashtanga?"

"So what happened...  In the early days of practice at the Lakshmipuram Shala (the original Mysore Self-Practice), we didn't know what Guruji was saying or meaning when he directed to us "Catvari!". We thought "Catvari" meant 'jump back', because Guruji would say "catvari - jump back". So we took that translation as 'jump back'. We took 'Panca' as upward facing dog. We took 'Sat' as downward facing dog, 'sapta' as jump through - We thought 'Sapta' meant jump through! 

It took us to Wake UP! To begin listening! To realise Guruji was actually counting in Sanskrit -4,5,6,7.
So it took a little student research to start the enquiry into Vinyasa. What did vinyasa actually mean.

Guruji called vinyasa "Counted Method" .

When my good friend Lino Miele was in France and witnessed Guruji counting the whole class through as One, he saw it all come together, and he took this counting on as a research project to document the Vinyasa.  Lucy and I became involved with Lino's project and became very much part of Lino's book. From that point onwards I made it my focus to learn Guruji's Vinyasa Count.

In Guruji's own book 'Yoga Mala' referring to the practice as a mala, a garland of postures, he refers to every posture having a 'State' and every state or 'Asana' has a specific number of counted vinyasa to enter and exit all choreographed to the Breath.
"The Vinyasa are all like beads, Choreographed breath/body movements, all to be counted and meditated on and it is the students requirement to learn this Counted method as a mantra for their own personal practice"
John Scott, Winter, 2013 Stillpointyoga London

So it doesn't matter whether we ever intend to present a Led Ashtanga Vinyasa class in Sanskrit it can be rewarding in and of itself. If nothing else there is no surer way to stop our faffing about than trying to stay on count.

A note about staying on count. The vinyasa count does not mean we have to rush in and out of a posture, wrenching our leg quickly into half padmasana for Marichiyasana D, so as to to keep up with the rest of the class. The count doesn't actually count each and every breath, there are 'official' extra inhalations and/or exhalations built in, found/taken throughout the practice, this means that we can ourselves  choose take extra breaths to get in and out of a posture, paying attention to our breath as we do so, keeping it long and full as long as we pick up the vinyasa count at the right place, at the right vinyasa.

Example. In Marichiyasana B we jump through on SUPTA inhale and are then supposed to bind in the posture before exhaling ASTAU into the state of the asana, staying for five breaths. There is no reason that I can think of why we can't step through, take two or three extra breaths as we bind into the posture and then, when we are ready, exhale into the state of the asana mentally chanting Astau. It may mean we are behind everyone else in a led room, they may be on their third or fourth breath count, that's OK we take just the one breath in the posture and then come out with everyone else. At home we can take our time to bind and take the full five breaths, or perhaps just three if we like to keep them long.

UPDATE more clarification at the bottom of this post

So here's an approach to learning the count.

One Approach to learning the Ashtanga Vinyasa Count.

The count here is based on John Scott and Lino Mile's books, Lino lists the count nice and clearly but John Scott seems to go into more detail about each vinyasa as well as the extra inhalations and exhalations in a more detail while still  keeping it concise and clear. Full vinyasa is a wonderful practice, I don't find it any more exhausting than half Vinyasa and if time is a concern just do half primary one day the second half the next. Practicing full vinyasa helps make sense of half vinyasa. I have a post to come that goes into more details of how we go from one to the other. this should of course not be considered authoritative there is no final authority on this other than the systems own internal logic, the relationship between that and our own practice. There may well be some discrepancies between this and the version taught by other senior teachers, whether it be  Manju, Sharath or the certified,  authorised (whatever list) and unauthorised teachers. These discrepancies/differences  should be a source of interest rather than conflict. Feel free to point out any discrepancies between this and Sharath in comments, I am myself exploring variations in the count between Krishnamacharya, Pattabhi Jois, Manju Jois Lino Miele/John Scott and Sharath for my upcoming Easter retreat.

1. First learn to count up to thirty in Sanskrit ( see the table below), actually, up to twenty-two will do you for most of the vinyasa. In fact, start with 1-9, that will allow you to work through Surynamaskara A.

1   = ekam
2   = dve
3   = trīṇi
4   = catvāri
5   = pañca
6   = ṣaṭ
7   = sapta
8   = aṣṭau
9   = nava

2. Practice some Sury's, mentally chanting the count (skip the five breaths in down dog so you don't forget where you are).

Then, for a week of practice, mentally count yourself through all of your Sury's A and B.

Notice how we tend to go up on the inhale and down on the exhale, this is obvious perhaps but it will help locate us in our count, it's like GPS Also we generally tend to inhale on odd numbers and exhale on even, more GPS

ekam  - Inhaling, arms go UP
dve  - Exhaling we fold over DOWN
trīṇi -  Inhaling we flatten the back effectively coming UP
catvāri  - Exhaling we jump back to Chatauranga ( kind of DOWN )
pañca  - Inhaling we come through and UP
ṣaṭ   -  Exhaling, backside comes up and we effectively fold in to look at the navel (DOWN)
sapta  - We jump our feet to our hands and Inhaling flatten the back as in DVE so UP
aṣṭau  - Exhaling we fold over so DOWN
nava  - Inhaling the arms come back UP

This is the end of the vinyasa, we drop our arms back down to Samastith, it's not counted.

3. Learn the number of vinyasas for each posture as well as the state of the asana ( see the table below) often these are the same.

EG. Ardha Baddha Padmottānāsana to Marichiyasana C all have 22 * vinyasa, each with the actual state of the asana being 8 and 15 (representing both sides of the asana).

4. We know the Sanskrit count now, we just need to know on which count we have to be for the actually state of the asana.

We know how to count our way through our vinyasa ( from our Surynamaskara practice) and we know the state of the asana we want to be in, any discrepancy means there has to be an extra breath or part of a breath thrown in somewhere.

EG. In the Prasarita's we want to be in the state of the asana for TRINI, Jumping the legs apart is EKAM (inhale) but if we fold straight over then we would be in the state of the asana on DVE not TRINI, that means there has to be an extra vinyasa in there. DVE (exhale) would be folding over and putting our hands on the floor. We can't fold in on the exhalation so there must be another extra inhalation, there is and it's not counted, we look up, flatten the back and then TRINI (exhale) our head towards the mat and take our five long full breaths.

HALF VINYASA: Below is the full vinyasa count, half vinyasa is a short-cut version of the practice but the full count is still implied. If we choose to do a half vinyasa practice we might not come all the way back to standing samastithi after the some/all of the seated postures, only going back as far as Adho mukha svanasana (downward facing dog). Despite this we would still begin the next count on SUPTA as we step or jump through for the next seated posture just as if we had gone all the way back to standing and back.... we're kind of pretending. Learning the number for the state of the asana helps us to understand where the short cuts of contemporary half vinyasa Ashtanga are.

5. Work in groups, so just learn the vinyasa and state for the standing sequence for a week, then the next week add on postures up to navasana, the following week work up to the end of primary and finally add on finishing.

6. Explore a couple of tricky vinyasa outside of your regular practice, just running through the count, perhaps in the evening,  so you don't disrupt your practice too much.

A book will help. John Scotts Ashtanga Yoga book is probably the best for outlining the vinyasas and explaining what happens as clearly concisely as possible, but Sharath's book works well too, it'll help you work it out at least. Both have a clear quick to check presentation for those practices when you still working it out and need to check. Pattabhi Jois' own Yoga Mala will make it even clearer away from the mat.

This is also an excellent Vinyasa Count resource ( among other things) by Dr. Ronald Steiner and team http://www.ashtangayoga.info/practice/

7. Practice along to some led CD's and DVD's. these help but really you have to work it out yourself. John Scott's New app is good for this. Sharath's CD is excellent, just the postures and the count, no explanation, Maju's DVD is of a led where every body repeats manju's count, excellent.


Counting In Sanskrit

1   = ekam
2   = dve
3   = trīṇi
4   = catvāri
5   = pañca
6   = ṣaṭ
7   = sapta
8   = aṣṭau
9   = nava
10  = daśa 
11  = ekādaśa 
12  = dvādaśa 
13  = trayodaśa
14  = caturdaśa 
15  = pañcadaśa 
16  = ṣoḍaśa 
17  = saptadaśa 
18  = aṣṭadaśa 
19  = ekonavimśatiḥ 
20  = vimśatiḥ 
21  = ekāvimśatiḥ
22  = dvāvimśatiḥ 
23  = trayovimśatiḥ 
24  = caturvimśatiḥ 
25  = pañcavimśatiḥ 
26  = ṣoḍavimśatiḥ; 
27  = saptavimśatiḥ 
28  = aṣṭovimśatiḥ

Sanskrit Numbers from here ashtangayoga.info 

Ashtanga Vinyasa Count Primary Series

CODE
First  number followed by * is the number of vinyasas
The numbers after the star are the states of the asana

So  Jānuśīrṣāsana A - C   22 *  8 , 15  signifies that all three versions of 
Jānuśīrṣāsanahave have 22 vinyasa each and that the states of the asana for each versions are 8 and 15 ( IE. Both sides)

I've grouped asana that have the same vinyasa/state code to aid in memorising.


STANDING SEQUENCE

Sūryanamaskāra A = 9 vinyasa  B = 17 vinyasa 

---------------------------------------------------------------------------------
Pādāngusthāsana 3 * 2

Pāda Hastāsana    3 * 2
--------------------------------------------------------
Uthitta Trikoṇāsana A and B         5 * 2 , 4

Uthitta Pārśvakonāsana A and B   5 * 2 , 4                
--------------------------------------------------------

Prasārita Pādottānāsana A to D      5 * 3           
--------------------------------------------------------

Pārśvottānāsana     5 * 2 , 4 


Utthita Hasta Pādāṅguṣṭhāsana    14 * 2 , 4 , 7 & 9, 11 , 14 

Ardha Baddha Padmottānāsana     9 * 2 + 7       

Utkatāsana 13 * 7

Vīrabhdrāsana  16 * 7 , 8 , 9 , 10



PRIMARY SERIES

Paścimattānāsana  16 * 9  

Purvottānāsana 15 * 8   
-----------------------------------------------
Ardha Baddha Padma Paścimattānāsana  22 *  8 , 15

Tiryañgmukha Ekapāda Paścimattānāsana  22 * 8 , 15 

Jānuśīrṣāsana A - C   22 *  8 , 15 

Marīcāsana A and B        22 *  8 , 15
---------------------------------------------------

Marīcāsana C and D  18 * 7 , 12  

Nāvāsana  13 * 7 

Bhujapīḍāsana 15 * 7 ,  8 

Kūrmāsana 16 * 7 

Supta Kūrmāsana  16 * 8 

Garbha Piṇḍāsana  15 * 8 

Kukkutasana   15 * 9 

Baddha Konāsana     15 * 8 

Upaviṣṭha Konāsana      15 * 8 , 9 

Supta Konāsana        16 * 8   

Supta Pādāñguṣṭhāsana     28 * 9 , 11 , 17 , 19 

Ubhyaya Pādāñguṣṭhāsana    15 * 9  

ūrdhva Mukha Paścimattānāsana         16  * 10  

Setu Bandhāsana     15 * 9    


FINISHING SEQUENCE

ūrdhva Dhanurāsana      15 * 9  
-------------------------------------------
Salaṁbā Sarvāṅgāsana      13 * 8 

Halāsana         13 * 8   

Karṇapīḍāsana          13 * 8 
-------------------------------------------
ūrdhva Padmāsana              13 * 9 

Piṇḍāsana                 13 * 9
--------------------------------------------
Matsyāsana          14 * 8  
----------------------------------------
Uttāna Pādāsana       13 * 8 

śīrṣāsana          13 * 8 

Baddha Padmāsana        13 * 8   
----------------------------------------
Yoga mudra          14 * 9  

Padmasana             13 * 8    

Uth Pluthi            14 * 8 


A note on Drishti

Pattabhi Jois doesn't talk about drishti much in yoga mala, nor does Krishnamacharya, mostly nasagra drishti [the gaze on the tip of the nose] or  broomadhya drishti [the gaze between the eyebrows] is implied. however Pattabhi jois does have this to say in relation to the 7th vinyasa of Surynamaskara B that holds for his whole system. Manju Jois says nasagra drishti is a kind of default drishti but that we are also free to close out eyes.

"SECOND SURYA NAMASKARA, 7TH VINYASA
This is the method for the first Surya Namaskara, which is often practiced while chanting mantras. For this, meditation is very important, as are the drishti, or gazing places, which include: nasagra drishti [the gaze on the tip of the nose] for samasthiti; broomadhya drishti [the gaze between the eyebrows] for the 1st vinyasa; nasagra dristri for the 2nd vinyasa; the gaze between the eyebrows for the 3rd vinyasa— in other words, for the odd-numbered vinyasas, the gaze should be focused between the eyebrows and, for the even- numbered ones, the gaze should be on the tip of the nose. In addition, for the even-numbered vinyasas, rechaka should be performed and, for the odd, one should do puraka. On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead. A sadhaka [spiritual aspirant] should learn it with patience". 
Pattabhi Jois Yoga Mala 1999 p46

A note on breathing.

The breath is long and full and slow, "...like the pouring of oil".  We seek to feel the breath at the back of the throat, the slightest of constrictions to make the soft hissing sound or the sound of waves. Some refer to it as ujjayi breathing others argue ( Sharath in particular) that it's not ujjayi because ujjayi implies kumbhaka (retaining the breath in or out) and thus is a pranayama. It's argued that there is no kumbhaka in Pattabhi Jois' Ashtanga vinyasa therefore it should only be referred to as 'breathing with sound'. Krishnamacharya however, Pattabhi Jois' teacher/guru, employed the appropriate kumbhaka in most asana and it could be argued that there is always the hint of a kumbhaka between the inhalation and exhalation and the exhalation, the slight pause between the stages of the breath, like throwing a tennis ball in the air there's a moment where it seems to hover before dropping back into your hand. Either way the breathing is long and slow and full.

During the count in the state of the asana there is free breathing, Krishnamacharya wrote about inhaling and exhaling ( long full and slow) as much as possible. In most seated postures the teacher leading the count will tend to count to five ( it used to be ten supposedly and then eight, now it's five). You can take five short breaths in this time depending on the speed of the count or, as I like to do, three long, slow, full breaths.

Remembering the names of the asana

Writing a blog helps

So does knowing what the different parts of the name means

Sanskrit Asana

Sūryanamaskāra 
sūrya = sun
namaskāra = salutation

Pādāngusthāsana 
pādāngusth = big toe
āsana = posture

Pāda Hastāsana 
pāda = foot
hasta = hand

Uthitta Trikoṇāsana
uthitta = extended
tri = three
koṇa = angle

Uthitta Pārśvakonāsana 
uthitta = extended
pārśva = to the side
kona = angle

Prasārita Pādottānāsana
prasārita = spread out
pāda = foot
uttānā = intense stretch

Pārśvottānāsana
pārśva = to the side

Utthita Hasta Pādāṅguṣṭhāsana
utthita = extended
hasta = hand
pādāṅguṣṭha = big toe

Ardha Baddha Padmottānāsana
ardha = half
baddha = bound
padma = lotus

Utkatāsana - Vīrabhdrāsana
utkata = fierce / powerful
vīra = hero

Paścimattānāsana
paścima = west

Purvottānāsana
purva = east / front

Ardha Baddha Padma Paścimattānāsana
ardha = half
baddha = bound
padma = lotus
paścima = west
uttāna = intense

Tiryañgmukha Ekapāda Paścimattānāsana 
tiriañg = transverse
mukha = face
ekapāda = one foot/leg
paścima = west
uttāna = intense

Jānuśīrṣāsana
jānu = knee
śīrṣa = head

Marīcāsana 
marīchy = sage Marichy
son of Brahma

Nāvāsana
nāva = boat

Bhujapīḍāsana
bhuja = arm / shoulder
pīḍa = pressure

Kūrmāsana, 
kūrma = tortoise
Supta = sleeping 

Garbha Piṇḍāsana
garbha = womb
piṇḍa = fetus

Kukkutasana
kukka + cock

Baddha Konāsana
baddha = bound
kona = angle

Upaviṣṭha Konāsana
upaviṣṭha = seated
kona = angle

Supta Konāsana
supta = sleeping
kona = angle

Supta Pādāñguṣṭhāsana
supta = sleeping
pādāñguṣṭha = big toe


Ubhyaya Pādāñguṣṭhāsana
ubhyaya = sleeping
pādāñguṣṭha = big toe

ūrdhva Mukha Paścimattānāsana
ūrdhva = upward
mukha = face
paścima = west
uttāna = intense

Setu Bandhāsana
setu = bridge
bandha = lock / seal / completion

ūrdhva Dhanurāsana
ūrdhva = upward
dhanurasana = bow

Salaṁbā Sarvāṅgāsana 
salaṁbā = supported
sarvāṅga = all limbs

Halāsana
hala = plough

Karṇapīḍāsana
karṇa = ear
pīḍa = pressure

ūrdhva Padmāsana
ūrdhva = upward
padma = lotus

Piṇḍāsana
piṇḍa = womb

Matsyāsana
matsy = fish

Uttāna Pādāsana
uttāna = intense
pādā = feet

śīrṣāsana
śīrṣa = head

Baddha Padmāsana
baddha = bound
padma = lotus

Uth Pluthi 14 vinyasa
pluthi = jump / lift



I've added a pdf of this post to google docs, pages 6-10 are the count
http://tinyurl.com/l9cjxye


NOTE: As far as we can tell Krishnamacharya developed the vinyasa count, it may have been a way to manage a large class of young boys or it may be something he inherited from his own teacher or perhaps a lost text, we'll probably never know. He did appear to drop the count in his later years however Ramaswami told me that although Krishnamacharya would link together postures if he was teaching one posture on it's own then it would begin and end from standing or perhaps a seated samastithi, perhaps the count was always implied in his teaching.

Does focusing on the count distract from the breath, not necessarily, after a while the count disappears into the background, it is perhaps the horizon of the breath.

***********


UPDATE
This from comments

Can you explain further: "So Jānuśīrṣāsana A - C 22 * 8 , 15 signifies that all three versions of Jānuśīrṣāsana have have 22 vinyasa each and that the states of the asana for each versions are 8 and 15 ( IE. Both sides)?"
Does this mean Jānuśīrṣāsana A has 11 vinyasa for right and 11 for left side, Jānuśīrṣāsana B has 11 vinayas for right and 11 for left and Jānuśīrṣāsana C has 11 for right and 11 for left side, with the sides done alternately? Does "8" mean right side and "15" mean left side?

Anthony Grim Hall28 February 2014 19:00
Hi Anon, I'm actually writing a post on How Full Vinyasa becomes half Vinyasa, looking at every posture in detail, showing were all the extra inhalations and exhalations come in to make the system 'fit' the count. I'm doing it because I'm not there in Japan with my wife to answer her questions about the count when they come up. This is should be stressed is my own explanation as I seek to make sense of the development of the vinyasa count historically, trying to expelling how it's been made to work, with it's extra uncounted inhalations and exhalations snuck in here and there.
No it doesn't mean each side has 11 vinyasa, doesn't work that way. If you were to separate the sides up and come back to standing after each side then they would both have 13 vinyasas. Confusing. Here's what I've written for janu Sirsasana, all three are the same even though C is more difficult to set up, it's all done on one inhalation whether A, B or C.

Anthony Grim Hall
Jānuśīrṣāsana A - C   22 *  8 , 15

CODE 22* = 22 vinyasa
8 = state of the asana on the first side
15= the state of the asana on the second side.

The count and the process is the same for all three Janu sirsasanas.

As with Ardha baddha pachimottanasana and Triyangmukha ekapada paschimottanasana the first six postures of the surynamaskara are implied ( as if we really had worked our way down from standing samastithi). We are in Downward facing dog exhaling (from the previous posture) which now becomes SAT we then jump through inhaling on SUPTA and immediately, still on the inhalation, bring the right foot into our groin, heel to perineum, and take hold of the toe of the other foot and look up, that’s all done on SUPTA. We exhale ASTAU (8) down into the state of the asana, traditionally head to knee (it’s in the name) but these days chin to knee or head to knee and then slide on to the chin. After our five breaths we sit up inhaling NAVA then take an extra uncounted exhalation allowing us to lift up on the next inhalation DASA while crossing our legs. We Jump back EKADASA and exhale into Chatuaranga. Up dog inhaling DVADASA, down dog exhaling TRAYODASA and then we are ready to Jump through again for the other side inhaling CATURDASA setting up to lower into the state of the asana, again all on on PANCHADASA (15). Now we repeat the exit, sitting up inhaling  SODASA, the extra uncounted exhalation again so we can lift up inhaling and crossing our legs SAPTADASA and jump back exhaling into caturanga on ASTAUDASA. UP DOG inhaling EKONAVIMSATAHI (19) Down dog exhaling VIMSATAHI
BUT VIMSATAHI now switches back to become SAT ready for the next posture.

If we were doing full vinyasa after VIMSATAHI we would jump the feet to the hands inhaling while looking up and flattening the back EKAVIMSATAHI then fold over exhaling DVAVIMSATAHI (22) which completes the 22 vinyasa, we just stand back up into samastithi (uncounted).

As with all these postures we notice extra uncounted inhalations and exhalations as we make the vinyasa ‘fit’ into the sequence of breath and movement, remember we want to inhale up, exhale down.

Janu Sirsasana is quite straight forward but Janu C can be tricky, I have a dodgy knee and like to take a couple of breaths while setting in preparation for the state of the asana. That’s OK, jump through on SUPTA and take a couple of calm, steady, unrushed inhalations and exhalations while setting up all but  the while saying to yourself SUPTA SUPTA SUPTA. When you ready to lower, take a final inhalation saying SUPTA to yourself one more time and then lower ASTAU into the state of the postures.

Coming out is the same come up inhaling NAVA and then take as many inhalations and exhalations as you need to allow your knee to come comfortably out of the posture, all the while saying NAVA NAVA NAVA mentally to yourself. When your ready take your exhalation, then back on count, lift up inhaling DASA crossing the legs and jumping back.



Your Jump back might not be fully developed, that’s OK go through the motions preparing to step back while inhaling on DASA then step back while exhaling EKADASA.


*

I had another,follow up post here

The Ashtanga Vinyasa Count: How it actually works - A Love Letter



Richard Freeman's Vicarious Yoga, being stopped at a posture and the hidden postures between postures.

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Long title but we're off to see snow monkeys (more on that later) so need to cram the two or three posts I've had in my mind into one.

This from Richard on fb this morning, always a good reminder.

http://www.richardfreemanyoga.com/

In my review of Richard Freeman and Mary Taylor's new book The Art of Vinyasa last week I think I failed to mentioned the section on the yama and niyama's. I expected these to be discussed at length in the book but the discussion is actually quite succinct, treated beautifully actually and perhaps my favourite section in the book. I might add a couple of quotes here later.



My review  of the book here

In the book Richard and Mary stack the yamas one on top on the other, one leading to the next, all of them based perhaps on Ahimisa which is ultimately described as being nice.


"Ahiṁsā, the first of the yamas, means to not kill or harm. On a simpler level, ahiṁsā  just means to be nice.  This refers to being nice to ourselves as well as to other beings. Because of the nature of biological life, we are largely unaware of the efect of our actions on many species, so we do the best we can, seeing ourselves in all beings and acting accordingly."

It's not THAT succinct, there's a lot more.

We should always hesitate before saying 'X is all about Y 'and think perhaps of another approach but I'm going out on a limb here to suggest that Richard's teaching is all about...., ok, so much about, ahimisa, about kindness, being nice. Being kind to ourselves in our practice, be nice to ourselves and to others, compassionate, whether to those we practice beisde, those we may teach, influence, or just come in  to contact with.

My own response to Trump's win was to read Gandhi's autobiography and from Gandhi I moved to his great influence,Tolstoy and the roots of the non-violent protest movement. Tolstoy starts from the airbrushed out (he would argue) gospel precept '...do not resist evil (with evil)'. It's a tough precept to even imagine following but for Gandhi it began perhaps with not hating his the enemy but loving them, compassionate resistance 

See Tolstoy's book 'What I believe'. If you're not much a  Christian (which includes myself but it was the worldview I was born into so figure I should try and make as much sense of it as I can ) it can be a heavy read at times ( but not that heavy, it's Tolstoy after all) but there are some wonderful passages, my favourite is where Tolstoy suggests that Science is coming from the same place as church dogma. Thinking it is in rebellion against religion, science, Tolstoy argues, is based on the same view of the world, that it's pretty crap and there can be a better world. For christian dogma it's the next world, for Science perhaps a world created here by science and later by technology which takes me back to my old mate Heidegger (The Question Concerning Technology).

"However privileged science, with her philosophy, may boast of being the judge and the guide of intellect, she is, in reality, not its guide, but its slave. The view taken of the world is always prepared for her by religion; and science only works in the path assigned her by religion. Religion reveals the meaning of life, and science applies this meaning to the various phases of life. And, therefore, if religion gives a false meaning to life, science, reared in this religious creed, will apply this false meaning to the life of man.
The teaching of the church gave, as the basis of life, the right of man to perfect bliss – bliss that is to be attained, not by the individual efforts of man, but by something beyond his own control; and this view of human life became the basis of our European science and philosophy.
Religion, science, and public opinion all unanimously tell us that the life we lead is a bad one, but that the doctrine, which teaches us to endeavor to improve, and thus make our life itself better, is impracticable". Tolstoy: What i believe p41-42

That may be being unfair to science but it's a wonderful characterisation to chew over. Tolstoy argues that what we should be really doing is following who he refers to as the Greeks, the Hindus, Confucius, the Hebrews, Marcus Aurelius and Epictetus and rather than creating another world, work on learning how best to live the life we have, in the world that we have. For Tolstoy Christ gives us the key for that, do not resist evil (with evil)... ahimsa.

I was reminded of this because in the YogaGlo class of Richard's that I was following along with this morning he mentioned that in baddha konasana, for some who are flexible, folding over might be an option. For those who were blessed with being less flexible, they might follow vicarious yoga. and watch, with affection, those who can and take delight in their practice. 

Something along those lines.

Vicarious yoga 

: )

I thought this was a good lesson too for those who get tapped out of one of Sharath's led intermediate classes, vicarious yoga.

https://www.yogaglo.com
my YogaGlo review of Richard's classes here


The class was the one above, Vinyasa Wave: Pause and Reverse. I particularly enjoyed it because Richard is talking about, the un-named postures between postures. In a post a few years back (see below) I wrote about the hidden asana. How there are perhaps an infinite number of asana between one asana and the next. At any point we might stop, pause and notice that the position we are in is a posture with opposing forces and might be treated as an asana,.... that we might breathe there.

This is important I think because for many marichiyasan D, say, may not be available to us, the variations David Swenson gives us say in his book the Ashtanga manual may be considered asana themselves rather than variations. Krishnamacharya certainly saw it that way, we have only to look at all the variations of asana his long time student Ramaswami presents in his book The Complete Book of Vinyasa Yoga.

But also, the extra breaths we might take as we work our way towards an asana. Rather than force our way into a complex posture on the count like Marichiyasana D,  or in the class above, Baddha konasana, we can take as many breaths as we wish as we work a little close towards it (but make each breath formal, complete see my previous post). At each breath we might consider the point at which we are, an asana, a hidden asana, unnamed.... but as Richard mentions, all the best asana are unnamed.

Thinking of all these hidden postures is perhaps a way to beat ourselves up a little less, to be kinder, nicer to ourselves ( and our students), ahimisa.

*

Re the snow monkeys.

See David Attenborough's Life for the BBC. Episode 10, 8 minutes in,

Off to see the snow monkeys, long ten hour journey via local trains. 
I hope to be waving at this live-cam at 10am japan time on the 23rd Dec.

http://www.jigokudani-yaenkoen.co.jp/livecam/monkey/index.htm
I can imagine that some might be dismayed at all those tourists ( soon to be us included) giving the monkey's no privacy during there bath. 

As it happens the Monkey's used to come and stare at the locals in a hot spring further down the valley, one money eventually plucking up the nerve to try it him or herself, others followed. It was decided that the monkey's would get their own hot spring built, the one you see above.

And as David point's out in the BBC documentary, these monkeys are hierarchical, only those at the top of the pecking order get to enter the bath the others stand around shivering along with the tourists but with one might suppose somewhat less delight. Not much ahimisa among the Nihonzaru, the Japanese macaques
*

Perhaps this was the earlier post I was thinking of...


Hidden Asana: The Asana before the Asana

Notice the bhrumadhya-drishti above, one of the' vital' marma points, an internal drishti employed here during kumbhaka....another Rabbit hole

Asana having been perfected, suspension of either of the processes of drawing in external air and exhaling internal air constitutes a pranayama.(Yoga Sutra: 2.49)

Now this could mean that after perfecting ALL the asana, all 84,000 of them...

But it could also mean that after you have perfected, mastered or to use Krishnamacharya's term, become proficient in an asana you can begin to explore the suspension of the breath in the asana.

It can of course also mean both and more besides.

Is this what Krishnamacharya was up to in Yoga Makaranda (1934) with his stress on the kumbhaka's within the asana?

Uttanasana
"Following the rules for tadasana (yogasana samasthiti krama) (Figure 4.1, 4.2), stand erect. Afterwards, while exhaling the breath out slowly, bend the upper part of the body (that is, the part above the hip) little by little and place the palms down by the legs. The knees must not be even slightly bent. Raise the head upwards and fix the gaze on the tip of the nose. While doing this, draw in clean air through the nostril, hold the breath firmly and maintain this position. This is called sahitha kumbhaka...." p51 Yoga Makaranda

One of the things Krishnamacharya does a lot in Yoga Makaranda is to explore the pose before the pose, the posture before the posture.

In uttanasana above, before folding all the way down into the full expression of the posture he will raise the head up, fix the gaze and at the end of the full inhalation , suspend the breath, kumbhaka.

The asana before the asana.

And this happens a lot, in purvottanasana too, before the fold, there's the full inhalation and kumbhaka.

Paschimottanasana, the janu sirsasana's in fact any forward bend there could be another asana before the asana, no wonder there were 84,000+.

We know this of course in Ashtanga, we transition into each asana through upward and downward dog, at each stage the breath is full. In the David Robson Primary with drums I explored recently there was no escaping it, each movement, each breath for the same regular cycle of the beating of the drum.

Ashtanga Vinyasa may have misplaced Krishnamacharya's kumbhakas but we shouldn't be in such a rush to get into the next posture. Savour that preceding inhalation, milk it for all it's worth, let it lead the body whether it's helping us to stretch up off the heads of our femurs and out of our pelvis in preparation for a forward bend or perhaps in a twist, lifting and twisting with the breath opening up ever further on the chariot of Vayu.

Hint: Those tricky postures that we struggle with, 9 times out of 10 the secret is in the preceding breath, the preparation.

In exploring Yoga Makaranda I've been paying more and more attention to those preceding inhalations and their kumbhakas, staying three five, ten breaths sometimes in that posture before the posture....

the asana before the asana.

And why not, the Sanskrit vinyasa count is intended to focus attention on the inhalations and exhalations, the matching stages of the vinyasa, The count is put on hold as we move into the full expression of the asana, that's why Pattabhi Jois, Sharath, your teacher etc. switch to English to count the number of breaths you stay in the posture before picking up the Sanskrit count as you exit the asana.

There is NO reason why you shouldn't put the count on hold at any stage of the vinyasa, because each of those stages is an asana in and of itself. That's perhaps why, in Yoga Makaranda Krishnamacharya breaks down each stage of the lead in and out of an asana and treats them as stand alone asana.

You might not feel happy about exploring kumbhaka in asana but there's no reason why you can't explore a couple of extra breaths at different stages of the vinyasa. Done absentmindedly, or while distracted or in hesitation it's just faffing about...but done mindfully it's the hidden asana.


Yoga 2017 - January 2017 Newsletter from Srivatsa Ramaswami

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WISH YOU A HAPPY AND PROSPEROUS 2017.

In January 2017 I am scheduled to teach a 50 hr 10 day program on Bhagavatgita for Yoga Practitioners at Yaga Vahini, Chennai starting Jan 2nd. Then I will be teaching a 33 hr Core Vinyasakrama asana and pranayama program by the end of the month at OmYoga in New Delhi.

Yoga 2017

January 1 of every year is Yoga Day for many people. It is a priority in the list of new year resolutions. Some yoga schools encourage many to start yoga by offering introductory yoga classes for free or at an attractive discount. Many people who either left yoga or yoga had left them, restart yoga on this informal yoga day. What about those for whom 'Everyday is Yoga Day?' Can January 1 be a different yoga day?

Many diligent yoga practitioners who faithfully follow a standard routine all along may start looking for more or modifications of the yoga practice. Many practice a standard routine of a few vinyasa sequences and asnans. They may consider slowly introducing a very important aspect of yoga which is acclaimed by both Hatayogis and Rajayogis and that is pranayama. Those who have been practising yogasanas for a period of time say a few years and those who have been teaching for some time the same set of asanas and sequences may consider introducing pranayama into their practice and teaching. In fact Pranayama is a very important part of both Hata yoga and Rajayoga. Pranayama is hatayoga according to some old time experts. While asanas and vinyasas are generally very useful for the skeletal system, pranayama is especially useful for cardiac and pulmonary functions. Specific pranayama have unique benefits. Nadishodhana helps the upper respiratory portion, ujjayi directly helps the trachia and bronchial portions of the respiratory tract, then bhastrika is a robust exercise for the lungs. Kapalabhati helps to improve the tone of the diaphragm and also improves vital capacity. It helps to lower tamas in the system and makes the mind clear and fit for finer aspects of yoga practice. If one is already doing Pranayama with asanas, learning the bandhas and mudras may be considered. They add to improve the functioning of the abdominal and pelvic organs. Pranayama and mudras bring about significant physiological improvements.

If one practices complete hatayoga—asana vinyasas, pranayama and mudras then for the new year one may consider setting foot on antaranga sadhana as described by Patanjali. Choose a simple dharana practice, a mantra, an icon or chakra meditation if you and your teacher are upto to it. A good hatayoga preparation will be helpful in achieving siddhi in antaranga sadhana. Then those who merely practice meditation without hatayoga preparation may learn a few asanas and a good pranayama practice so the system is better equipped for meditation. There is enough to learn in yoga so that one may maintain interest in yoga day, everyday.

May be you would like to get into the theory or philosophy of yoga during the new year. It is a powerful unique philosophy that some find really liberating. Learning the Yoga sutras sutra by sutra could be a very absorbing one in the year of yoga. Learning to chant the sutras could be an additional effort in Yoga Sutra study. After one learns to chant yoga sutra and also learn the meaning of each sutra word by word, it may be a rewarding practice to chant each sutra and contemplate on the meaning of the sutra, as Patanjali says about Japa on pranava. There he suggests chanting “OM” and follow it by contemplating on the meaning of pranava as he himself describes in the sutras. In a similar fashion in Sutra Study, the chanting and contemplation could be an absorbing new Yoga year.

If you have already done all these you may want to study the sibling philosophies especially Samkhya, its text Samkhya Karika. It opens the door for the Yogi to comparative study of all the various sibling vedic philosophies especially vedanta as enunciated by the upanishads, the gita and the brahma sutras. One can start with yoga day, extend it to yoga year and then possibly yoga life

Sri Krishnamacharya was a life long Yogi.
He taught Yoga that would last a lifetime.

Wish you a happy Yoga Year

Sincerely
Srivatsa Ramaswami


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