Ashtanga Vinyasa Krama Yoga...at home

Update 2019

Spoiler Alert: This is all highly speculative.

I'm reminded, updating this post, that Insight meditation practice was were I started, I actually went to the library to pick up some books on yoga ( they just happened to be Ashtanga) to help me in my sitting. Perhaps it is no surprise then that I took so naturally to Krishnamacharya's 'breathing practice.

This post may be a little confusing as I've added a lot of sections to the original post rather than rewrite the whole thing. Here's a summary of the argument/suggestion that I wrote for instagram.

Summary.

1. Krishanamacharya went to Burma to study Burmese Yoga.

"He (Krishnamacharya) mastered Hindu yoga in the Himalayas and Buddhist yoga in Burma, then part of India". T.K. Shribhashyam - Life Sketch of my father in 'Moksa-Marga. An Itinerary in Indian philosophy' 2011.

2. Burma was part of India at the time ( until 1937), so this was entirely possible.

3. Burmese Yoga = Insight Meditation.

Insight Meditation had ‘taken off’ in Burma at the time thanks to the teaching of Ledi Sayadaw - Burmese monk (1846–1923) and his students.

4. “Ledi Sayadaw argued that one did not need to enter into such states (samadhi/Jhanas) in order to gain the mental stability for insight practice. It was excellent if they could (and Ledi Sayadaw claimed that he himself had done so), but really all one required was a minimal level of concentration that would enable the meditator to continually return, moment after moment, to the object of contemplation.

The message spread far and wide: forget the jungle or the cave. Meditation is possible in the city.”

5. Sayadaw taught a paying attention to the breath, counting the breath.

6. Krishnamachray introduced breath attention into his teaching of asana, every movement was counted thus every stage of every breath was counted and paid attention to.

7. Krishnamacharya's breath centered approach is intended to lead to a mental stability similar to the Burmese Insight tradition that might be employed ( for Krishnamacharya) in support of the path of Patanjali yoga or (for me) in support of my practice of Stoicism.

8. The post continues with the original post on Krishanamacharya, Burmese Yoga and focal points.

Did Krishanamacharya’s experience of Burmese yoga influence his attention to the breath ( perhaps more than he realised)?

It’s a tantalising thought.

*

"He (Krishnamacharya) mastered Hindu yoga in the Himalayas and Buddhist yoga in Burma, then part of India". T.K. Shribhashyam - Life Sketch of my father in Moksa- Marga 2011

I'd completely forgotten about writing this post. The original posts focus is mostly on 'focal points 'and Krishnamacharya's possible early experience of Buddhist meditation. In this update I'm more interested in the possible influence of Burmese meditation on the breath focus in Krishnamacharya's presentation of asana. In Krishnamacharya's table of asana, in his early Mysore text, Yogasanagalu, we find that every movement has a count but each movement also relates to a stage of the breath, thus, looked at from another way, every breath is counted, every stage of every breath is counted. A

Recently I've been bringing a somewhat more formal mindfulness of breath into my asana practice and the thought popped into my head that for a time I had wondered what influence Krishnamacharya's interest in Burma, visit to Burma and/or experience of Burmese Yoga may have had on his practice.

Of course I was thinking about asana and was searching google for something that might suggest a Burmese asana practice. But what if it was the attention to the breath in Sitting that made such an impact on Krishnamacharya and what he then introduced into his asana practice. That the breath focus didn't come from some questionable text or from Tibet but from Burma. It's a tantalising thought.

Were a 'Yoga Korunta' text to be found that clearly included a breath focus along the lines we are familiar with in Krishnamacharya's writing, it wouldn't necessarily negate the Burma influence argument. Of all the texts Krishnamacharya encountered in the libraries around India on his travels such a Yoga Korunta might have stood out for him precisely because it resonated with his interest in the breath, from his practice of Burmese yoga (meditation) and thus found it's way into his teaching.

In the period the young, impressionable Krishnamacharya may have visited Burma to study Burmese yoga (meditation) or at least encountered Burmese monks and learned from them, 'insight meditation' was....'in the air. Already enjoying a pranayama practice, it is perhaps no surprise that Krishnamacharya may have been drawn to a practice that focussed on the breath and may he not also, consciously or not, appropriated a counting technique, particularly for developing focus in his young students.

Ledi Sayadaw - Burmese monk (1846–1923)

"Prior to this time, the common belief was that anyone who wanted to practice insight meditation had first to enter into the deep states of concentration (samadhi) called the jhanas. But attaining these sublime modes of concentration required long periods spent removed from the world in intensive meditation, deep in the proverbial jungle or mountain cave. Now, however, Ledi Sayadaw argued that one did not need to enter into such states in order to gain the mental stability for insight practice. It was excellent if they could (and Ledi Sayadaw claimed that he himself had done so), but really all one required was a minimal level of concentration that would enable the meditator to continually return, moment after moment, to the object of contemplation.

The message spread far and wide: forget the jungle or the cave. Meditation is possible in the city.

This state of mind was thus called “momentary concentration” (khanika-samadhi), and it formed the basis of “pure” or “dry” insight meditation (suddha-vipassana or sukkha-vipassana), which did not include deep concentration. While this approach to practice was discussed in authoritative texts, never before had anyone promoted it on a widespread basis: Ledi Sayadaw was the first to put it at the centre of his teachings. The message spread far and wide: forget the jungle or the cave. Meditation is possible in the city".

History of Vipassana https://tricycle.org/magazine/meditation-en-masse/

Appendix

Was this the Burmese yoga krishnamacharya may have studied?

Counting in Burmese yoga

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IX. The Method of the Commentary

In the Commentary (Aṭṭhakathā) there are three main stages of effort, namely:

1. Counting (gaṇanā): attention is placed on the out-breaths and inbreaths by counting them.

2. Connection (anubandhanā): attention is placed directly on the outbreaths and in-breaths and is made stronger and firmer, but the counting is discontinued.

3. Fixing (ṭhapanā): the effort is intensified until the higher stages of attainment are achieved.

There are two places where the out-breath and in-breath may be grasped: the tip of the nose and the upper lip. For some people the striking of the breath is clearer at the tip of the nose; for others, it is clearer on the upper lip. Attention must be placed on the spot where the perception is clearest, which may be called the “spot of touch.” At the outset, effort must be made to keep the attention on the “spot of touch” by counting the number of times the out-breath and in-breath strike that spot. In the next stage, effort must be made to keep the attention on the out-breath and in-breath continuously, without the aid of counting. Finally, effort is applied to make the attention stronger and firmer.

Counting

There are two methods of counting—slow and fast—according as the attention is weak or strong. In the beginning, the mind is untranquil and disturbed and the attention weak, and thus one is not mindful of every breath that occurs. Some breaths escape detection. Only those breaths that are clearly perceived with mindfulness are counted, while those that are not clearly perceived are left out of the reckoning. Counting thus progresses slowly. It is the slow stage.

Counting is done in six turns (vāra). In the first, counting proceeds from one to five; then, in the second, from one to six; in the third, from one to seven; in the fourth, from one to eight; in the fifth, from one to nine; and in the sixth, from one to ten. After the sixth turn, one must begin again from the first. Sometimes these six turns are counted as one.

First place the attention on the “spot of touch,” and when an out-breath or in-breath is clearly perceived, count “one.” Continue counting “two,” “three,” “four,” etc., when the ensuing out-breaths and in-breaths are clearly perceived. If any of them are not clearly perceived, stop the progressive counting by continuing to count “one,” “one,” “one,” etc., until the next clear perception of out-breath and in-breath, when the counting advances to “two.” When the count reaches “five” in the first turn, start again from one. Proceed in this way until the sixth turn is completed. Since only those breaths that are clearly perceived are counted, it is called the slow count.

When the counting has been done repeatedly many times, the number of breaths that are clearly perceived will increase. The spacing between each progressive count will decrease. When every breath is clearly perceived the counting will progress uninterruptedly and become fast. One must proceed until no breath is missed out from the counting.

It is not necessary to do the counting orally; a mental count is sufficient. Some people prefer to count orally. Others count one bead at the end of each sixth turn, and they resolve to count a certain number of rounds of beads a day. The essential thing is to make the perception clear and the attention strong and firm.

Connection

When the stage is reached where every out-breath and in-breath is clearly perceived with the aid of counting, when no out-breath or inbreath escapes attention, the counting must be discontinued, and the connection (anubandhanā) method adopted. Here, the connection method means putting forth effort to keep the attention on the “spot of touch,” and to perceive every out-breath and in-breath without counting them. It means repeating the effort made in the counting stage in order to make perception clearer and attention stronger and firmer, but without the aid of counting.

How long is this effort by the connection method to be pursued? Until there appears the paṭibhāga-nimitta, the “counterpart sign” (i.e., a mental image that appears when an advanced degree of concentration is reached).

When attention becomes fixed on the out-breaths and in-breaths (i.e., when a certain degree of concentration is achieved), manifestations appear such as masses of fluffy wool, gusts of wind, clusters of stars, gems, pearls, or strings of pearls, etc., in various shapes, groups, and colours. These are called counterpart signs. The effort in the connection method must be continued until such time as the counterpart sign appears clearly on every occasion that effort is made.

Fixing

During the stages of counting and connection, attention must still be kept on the “point of touch.” From the time the counterpart sign appears, effort must be made according to the third stage, the method of fixing (ṭhapanā). Counterpart signs are manifestations and resemble new mental objects. Not being natural phenomena, they easily disappear, and once they disappear, it is difficult to invoke them into sight again. Hence, when a counterpart sign appears, it is necessary to put forth special effort with added energy in fixing the attention on it to prevent it from disappearing; one must strive to make it become clearer day by day. The putting forth of this special additional effort is known as the method of fixing.

When the stage of fixing is reached, the seven unsuitable things (asappāya; see just below) must be shunned, while the seven suitable things (sappāya) must be cultivated. The ten kinds of proficiency in meditative absorption (dasa appanā-kosalla), too, must be accomplished.

The seven unsuitable things are: unsuitable (1) place, (2) village where almsfood is obtained, (3) talk, (4) friends and associates, (5) food, (6) climate, and (7) bodily postures; these things are called “unsuitable” because they cause deterioration of one’s meditation. The seven suitable things are the exact opposites: the place, village, talk, friends, food, climate, and postures which cause one’s meditation to improve.

The ten kinds of proficiency in meditative absorption are: (1) cleanliness of body and utensils, (2) harmonising the five spiritual faculties (indriya), (3) proficiency in the object of attention, (4) controlling the exuberant mind, (5) uplifting the depressed mind, (6) making the dry mind pleasant, (7) composure towards the balanced mind, (8) avoiding persons who do not possess concentration, (9) associating with persons who possess concentration, and (10) having a mind that is always bent towards meditative absorption. Equipping and fulfilling oneself with these aforementioned qualities, one must make specially energetic efforts for days and months to fix one’s attention on the counterpart sign so that it becomes firm. This effort of fixing the attention (ṭhapanā) must be put forth until the fourth jhāna is attained.

The Signs

I shall now show differentially the signs that appear during the three stages of effort, and the types of concentration achieved during these stages.

The image of the out-breath and in-breath that appears in the stage of counting is called the preparatory sign (parikamma-nimitta). In the stage of connection, it is called the acquired sign (uggaha-nimitta). The manifestation that appears in the stage of attention is called the counterpart sign (paṭibhāga-nimitta).

The meditative concentration achieved during the appearance of the preparatory sign and acquired sign is “preparatory concentration” (parikamma-bhāvanā-samādhi). The meditative concentration developed with the attention fixed on the counterpart sign during the stage of fixing but before the attainment of full absorption (appanā) is called “access concentration” (upacāra-bhāvanā-samādhi). The four jhānas are called “concentration by absorption” (appanā-bhāvanā-samādhi).

In the counting and connection stages, the out-breath and in-breath— the objects of meditation—gradually become allayed and calm down. Ultimately they are apt to become so subtle that they seem to have disappeared altogether. When this occurs, one must continue to fix the attention on the “point of touch” and must attempt to grasp the outbreath and in-breath at that point. When the out-breath and in-breath are perceived again clearly, it will not be long before the counterpart sign appears, which signals that the access to jhāna (upacāra-jhāna) has been attained. Here, upacāra-jhāna means the access concentration of sensesphere meditation (kāmāvacara-bhāvanā upacāra-samādhi) which has overcome the five hindrances (pañcanīvaraṇa).

The calming down of the out-breath and in-breath to the point of disappearance, mentioned in the method given in the Commentary, occurs automatically and need not be specifically attempted. I have myself seen yogis in whom out-breath and in-breath have calmed down to the point of disappearance. In the sutta however, where it is said, “Passambhayaṃ kāyasaṅkhāraṃ assasissāmīti sikkhati, passambhayaṃ kāyasaṅkhāraṃ passasissāmīti sikkhati,” the meaning is that when the stage of connection is reached, the process of calming down the outbreath and in-breath must be specifically attempted.

When the out-breath and in-breath apparently disappear, people who are not proficient in the work of meditation are apt to think that the outbreath and in-breath have really disappeared or stopped. Then they are apt to discard the work of meditation. Let all be heedful of this fact.

- from Manual of Mindfulness of Breathing Ānāpāna Dīpani by Ledi Sayādaw Mahāthera,

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*

Carried over from April 2015 my main blog Ashtanga Vinyasa Krama Yoga at Home

"Those who practice yoganga, with the power of vinyasa and pranayama, have the ability to significantly decrease this number (of breaths). While practicing yoga with reverence, one can offer their essence to God during exhalation and during inhalation, imagine/suppose that God is entering your heart. During kumbhaka, we can practice dharana and dhyana. Such practices will improve mental concentration and strengthen silence/stillness. Eliminates agitation and restlessness".
Krishnamacharya Yogasanagalu (1941)

Now I'm no doubt reading too much into this and making connections where perhaps they aren't any or where none are necessary (these focal points are after all traditional points of mental focus in yoga) Still, it's been playing on my mind, something about the technique of linking focal points to the breath and bringing them into asana practice. Either way it makes for a good post and a chance to look at this material again.

http://www.longdriveholiday.com/bodhgaya/

For a number of years I've been fascinated by the Idea that Krishnamacharya either went to Burma to study 'Burmese Yoga' or , what now seems more likely studied Buddhism, and Buddhist meditation in the Burmese tradition in particular. I was quite excited then to see this account (below) of Krishnamacharya and his son TK Sribhashyam visiting the Mahabodhi/Bodhigaya temple, in the recent interview over at Harmony Yoga. Krishnamacharya sits down with some of the elderly monks who are supposedly old friends of his from when they studied Buddhism together. Krishnamacharya then went on to teach his son the differences between pranayama in Hinduism and Buddhism. Wouldn't you have like to be a mosquito on the temple wall for that conversation. What differences in particular did Krishnamacharya explain to his son, Samatha perhaps, mindfulness of breathing? Did any of these practices find their way into Krishnamacharya's own practice and teaching. ?

http://www.longdriveholiday.com/bodhgaya/

Now, I was just reading again Ajaan Lee's book, Keeping the Breath in Mind (free download available HERE - Thank you S.) and looking at this use of focal points (or bases of the mind) in the Meditation practice he presents based on the breath.

from Ajaan Lee Dhammadharo Keeping the Breath in Mind

Lessons in Samdhi

"5. Become acquainted with the bases or focal points for the mind—the resting

spots of the breath—and center your awareness on whichever one seems most

comfortable. A few of these bases are:

a. the tip of the nose,

b. the middle of the head,

c. the palate,

d. the base of the throat,

e. the breastbone (the tip of the sternum),

f. the navel (or a point just above it)".

Doesn't that remind you of Krishnamacharya's use of focal points to bring Dharana into his asana practice as outlined by his son TK Sribhashyam in Emergence of Yoga.

BUT Ajaan Lee is of course Thai not Burmese (There is a Thai tradition of focal point/bases for the mind breath meditation- see Dhammakya at the end of post). However, I checked Ajaan Lee's autobiography and it turns out he spent time in Burma and, get this, also India and at Maha bodhi in particular. Was the focal point/bases of the mind approach to Samatha in vogue at mahabodhi at the time Krishnamacharya may have studied there if indeed that was where he encountered Burmese and perhaps Thai Buddhism. Was there a cross fertilisation between this encounter with Samatha and Krishnamacharya's reading of Yoga Yajnavalkya ( see No. 4 below).

http://www.longdriveholiday.com/bodhgaya/

Krishnamacharya was always all about the breath, in Yoga Makaranda he only seems to employ two focal points, the tip of the nose and between the eyebrows, he was however well aware of the employment of the vital points in one of his favourite texts YogaYajnavalkya (includes a pranayama technique where the breath -and prana- moved from vital point to vital point). Krishnamacharya would of course have been fascinated had he encountered a meditative tradition based on the breath that focussed on traditional focal points (those from the heart up are considered to be spiritual focal points rather than those for the emotions or those for the body.

First up then the Question and answer from the interview with Sribashyam on Buddhism and Burma.
Next a page outlining the focal points in Emergence of Yoga along with an outline of Krishnamacharya's own practice
A couple of sections from Ajaan Lees book outlining the Meditation technique with a link to a free download for the full method.
Finally the relevant passages on moving prana from vital point to vital point in pratyahara and pranayama practice found in Yoga Yajnavalkya.

1. Krishnamacharya and Burmese Buddhist meditation

Interview with TK Sribashyam ( Krishnamacharya's 3rd son from this post http://grimmly2007.blogspot.jp/2015/05/an-interview-with-krishnamacharyas-3rd.html

"11) You mentioned in the Life Sketch of your Father that he mastered Buddhist Yoga in Burma. Would you be able to tell us more about this and what influence this had on your father’s teaching?"

"My father’s teaching of Indian Philosophy (Yoga Sutra, Vedanta, and even Hatha Yoga) had very often comparisons to the Buddhists thoughts – either to make us understand the flaws that existed in the Buddhist logic and analysis or to bring to light some similar views, especially in the psychology of Buddhism, so that we develop conviction in the Buddha’s teaching.

Apart from this, he used to receive Buddhist monks who would have long discussions with him on this philosophy. As often it was a private discussion, we did not dare to attend these lessons.

In the late sixties, when I went with my father on a pilgrimage to Allahabad, Varanasi and Gaya, he took me to Bodh Gaya for two consecutive days. It is here that he gave some important points of Buddha’s teaching, as also their method of Dhyāna, particularly their very significant mantra: Buddham Sharanam Gachami, Dhammam (Dharmam) Sharanam Gachami, Samgham Sharnam Gachami. I remember some elderly monks saluting him and expressing their happiness at meeting him. They sat in a corner in the Buddha’s temple and had more than an hour’s discussion. The meeting was completed by a silent meditation. Later, my father told me that they were his colleagues when he studied Buddhism. He taught me the technique and practice of Pranayama applied by the Buddhists and subtle differences between Hinduism and Buddhism. However, he was not criticising Buddhism in his lectures. My father had great respect for Buddha’s teaching.

We should not forget that Buddha is considered as one of the incarnations of Vishnu.

A successful Vedic ritual or even a meditation requires a healthy body and mind so that we can stay during the rituals and in a meditation for a longer period without getting disturbances from the senses and the mind".

full interview HERE

2. Concentration on the the sixteen vital points

from Emergence of Yoga by Krishnamacharya's 3rd son SRI T K SRIBHASHYAM

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

http://grimmly2007.blogspot.jp/2014/10/drishti-ashtanga-and-meditation-how.html

*Note in the second sheet ( EG. Baddha Konasana ) how the concentration moves from point to point, mula to sirsa, on the inhalation although the exhalation always remains on a single point

3. Keeping the Breath in Mind

Lessons in Samdhi

byAjaan Lee Dhammadharo

http://www.accesstoinsight.org/lib/thai/lee/inmind.pdf

Method 1
"Sit in a half-lotus position, right leg on top of the left leg, your hands placed
palm-up on your lap, right hand on top of the left. Keep your body straight, and
your mind on the task before you. Raise your hands in respect, palm-to-palm in
front of the heart, and think of the qualities of the Buddha, Dhamma, and
Sangha: Buddho me n›tho—The Buddha is my mainstay. Dhammo me n›tho —The
Dhamma is my mainstay. Saºgho me n›tho —The Sangha is my mainstay. Then
repeat in your mind, buddho, buddho; dhammo, dhammo; saºgho, saºgho. Return
your hands to your lap, and repeat one word, buddho, three times in your mind.
Then think of the in-and-out breath, counting the breaths in pairs. First think
bud- with the in-breath, dho with the out, ten times. Then begin again, thinking
buddho with the in-breath, buddho with the out, seven times. Then begin again: As
the breath goes in and out once, think buddho once, five times. Then begin again:
As the breath goes in and out once, think buddho three times. Do this for three inand-out
breaths.
Now you can stop counting the breaths, and simply think bud- with the inbreath
and dho with the out. Let the breath be relaxed and natural. Keep your
mind perfectly still, focused on the breath as it comes in and out of the nostrils.
When the breath goes out, don’t send the mind out after it. When the breath
comes in, don’t let the mind follow it in. Let your awareness be broad and open.
Don’t force the mind too much. Relax. Pretend that you’re breathing out in the
wide-open air. Keep the mind still, like a post at the edge of the sea. When the
water rises, the post doesn’t rise with it; when the water ebbs, the post doesn’t
sink.
When you’ve reached this level of stillness, you can stop thinking buddho.
Simply be aware of the feeling of the breath.
Then slowly bring your attention inward, focusing it on the various aspects of
the breath—the important aspects that can give rise to intuitive powers of
various kinds: clairvoyance, clairaudience, the ability to know the minds of
others, the ability to remember previous lives, the ability to know where
different people and animals are reborn after death, and knowledge of the
various elements or potentials that are connected with, and can be of use to, the
body. These elements come from the bases of the breath. The First Base: Center
the mind on the tip of the nose, and then slowly move it to the middle of the
forehead, The Second Base. Keep your awareness broad. Let the mind rest for a
moment at the forehead, and then bring it back to the nose. Keep moving it back
and forth between the nose and the forehead—like a person climbing up and
down a mountain—seven times. Then let it settle at the forehead. Don’t let it go
back to the nose.
From here, let it move to The Third Base, the middle of the top of the head,
and let it settle there for a moment. Keep your awareness broad. Inhale the
breath at that spot, let it spread throughout the head for a moment, and then
return the mind to the middle of the forehead. Move the mind back and forth
between the forehead and the top of the head seven times, finally letting it rest
on the top of the head.
Then bring it into The Fourth Base, the middle of the brain. Let it be still for a
moment, and then bring it back out to the top of the head. Keep moving it back
and forth between these two spots, finally letting it settle in the middle of the
brain. Keep your awareness broad. Let the refined breath in the brain spread to
the lower parts of the body...."

from Method 2...

"As soon as you find that your breathing feels comfortable, let this comfortable
breath sensation spread to the different parts of the body. To begin with, inhale
the breath sensation at the base of the skull and let it flow all the way down the
spine".

"Then let the breath from the base of the skull spread down over both
shoulders, past your elbows and wrists, to the tips of your fingers and out into
the air".

"5. Become acquainted with the bases or focal points for the mind—the resting
spots of the breath—and center your awareness on whichever one seems most
comfortable. A few of these bases are:

a. the tip of the nose,
b. the middle of the head,
c. the palate,
d. the base of the throat,
e. the breastbone (the tip of the sternum),
f. the navel (or a point just above it).

If you suffer from frequent headaches or nervous problems, don’t focus on
any spot above the base of the throat. And don’t try to force the breath or put
yourself into a trance. Breathe freely and naturally. Let the mind be at ease with
the breath—but not to the point where it slips away".

4. the Sixteen vital points in pratyahara

from Yoga Yajnavalkya (AG Mohan edition)

However, we know too that Krishnamacharya stressed the importance of the Yoga Yajnavakya and this text treats the vital points in the chapter on pratyaha, drawing the prana from one point to another. Perhaps then we don't need to look to Burmese Buddhist meditation to find the seeds of Krishnamacharya's employment of the vital points, to bring an element of Dharana to his asana and mudra practice.
from Yoga Yajnavalkya AG Mohan Translation

"The senses, by nature being drawn towards [their sensory] objects, their restraint by [conscious] effort is said to be pratyahara.
Whatever you see, look upon al of it as [being] in the self, and as the self. This is also called pratyahara by great souls who have realized [the essence of] yoga.
For all beings, the mental practice of the daily duties that are prescribed (by the Vedas), devoid of external actions, is also said to be pratyahara.
The following pratyahara is the greatest yogic practice and is praised and followed by yogis always. Having drawn the prana from one point to another, holding it in the eighteen vital points (marmasthanas) is spoken of as pratyahara. The Asvini Kumaras who are the best among the physicians of the celestials (devas) have spoken thus of the vital points in the body,
for the attainment of liberation through yoga".

p75

"I shall explain all of them in an orderly manner. Listen, disciplined [Gargi]!

The big toes, the ankles, in the mid-shanks, the root of the calves, the knees, middle of the thighs, the root of the anus, the center of the body (dehamadhya), generative organ, the nave], the heart, and neck pit, Gargi Then, the root of!he palate, the root ofthe nose, circular orb of!he eyes, the center of the eyebrows, the forehead, and crown of the head. [Gargi,] best among sages!

These are the vital points".

p76

"One must focus and retain the prana, using the mind, in these vital points. In one who does pratyahara, drawing the prana from one point to another, all diseases perish. Far him yoga attains fruition".

p77

This is perhaps the most interesting of all, employing the Vital Points in pranayama.

It should be noted that the seven vital points from the heart to the top of the head are considered those most important for spiritual practice, the others being for the emotions and the 'body', this approach then might be taken with just the seven 'spiritual' vital points depending upon ones intention.

"Some skilled yogis speak of[another] pratyahara. Listen, beautiful [Gargi], I will tell you [about] it. During the practice of pranayama, the prana must be held by the mind from the big toe to the crown of the head, like a totally filled pot. Drawing [the prana] from the crown of the head, one must focus it in the forehead. Again, drawing the prana from the forehead, one must focus it between the eyebrows. Drawing [the prana] from the center of the eyebrows one must focus it in center of the eyes. Drawing the prana from the eyes, one must focus it in the root of the nose. From the root of the nose, one must focus the prana in the root of the tangue. Drawing [the pranaa] from the roof of the tongue, one must focus it in the base of the throat (neck-pit). Drawing the prana from the neck-pit, one must focus it in center of the heart, from the center of heart in the center of the nave!, again from the center of the navel in the generative organ and then from the generative organ in the abode of fire (dehamadhya), from the dehamadhya (center of the body), Gargi, in the root of the anus and from the root of the anus in the [mid-] thighs , then from the mid-thigh in the center o fthe knees. Then, [from the knee] one must focus the prana in the root of the calf, from there in the middle of the shank, and drawing [the prana] from the middle of the shank in the ankle. From the ankle, Gargl, one must focus

it (the prava) in the big toes of the feet".

p78-79

Appendix

EG. Dhammakya meditation

(Phra Mongkhonthepmuni (Sodh Candasaro; 10 October 1884 – 3 February 1959), the late abbot of Wat Paknam Bhasicharoen, was the founder of the Thai Dhammakaya meditation school in 1914.

Samatha

As with many forms of Buddhist meditation Dhammakaya meditation has both samatha and vipassana stages. The goal of Dhammakaya meditation at the samatha level is to overcome the Five hindrances.When the mind becomes peaceful and stable as the result of successful practice for tranquillity, the mind will overcome the Five Hindrances and reach a state of one-pointedness (ekaggata) also known in Dhammakaya Meditation as the 'standstill of the mind' (i.e. to a state where it is free of thought). The indication of reaching this stage is that a bright clear sphere will arise spontaneously at the centre of the body. The mind should then be directed continuously at the centre of this sphere helping to transport the mind towards the ekalyânamagga path inside. attainment at the level of vipassana arises.

There are several ways of focussing the attention at the centre of the body, namely:

following down through the seven bases of the mind, namely: the nostril, the corner of the eye, the centre of the head, the roof of the mouth, the centre of the throat, the middle of the stomach at the level of the navel and two finger breadths above the previous point.

visualising a mental image at the centre of the body: characteristically, a crystal ball [alokasaññâ] or a crystal clear Buddha image [buddhânussati] and repetition of the mantra ‘Samma-Araham’ (which means ‘the Buddha who has properly attained to arahantship’).

placing the attention at the centre of the body without visualising

7 bases of the mind

Dhammakaya meditation was re-discovered by Phramongkolthepmuni on the full-moon night of September 1914 at Wat Bangkuvieng, Nonthaburi.[1] This monk had practised several other forms of meditation popular in Thailand at the time with teachers such as Phrasangavaranuwongse (Phra Acharn Eam) of Wat Rajasiddharam, Bangkok; Phra Kru Nyanavirat (Phra Acharn Po) of Wat Pho, Bangkok; Phra Acharn Singh of Wat Lakorn Thamm, Thonburi; Phramonkolthipmuni (Phra Acharn Muy) of Wat Chakrawat, Bangkok and Phra Acharn Pleum of Wat Kao Yai, Amphoe Tha Maka, Kanchanaburi.[2] He claimed that the Dhammakaya approach he discovered had nothing to do with the teachings he had received from these other masters - but he did have previous knowledge of the Sammā-Arahaṃ mantra before discovering the technique. The technique of directing attention towards the centre of the body is already described in an obscure 18th century Sinhalese meditation manual that was translated into English as Manual of a Mystic. It was probably introduced into Sri Lanka by Thai monks during the Buddhist revival in the mid-eighteenth century, and taught to forest dwelling monks of the Asgiriya Vihara fraternity in the Kandyan Kingdom, who wrote it down.[3] After rediscovering the technique, Phramonkolthepmuni first taught it to others at Wat Bangpla, Amphoe Bang Len, Nakhon Pathom in 1915.[4] From 1916 onwards, when he was given his first abbothood, Dhammakaya Meditation became associated with his home temple of Wat Paknam Bhasicharoen. It is said that Phramongkolthepmuni was the rediscoverer of Dhammakaya meditation, because members of the Dhammakaya Movement believe that the Buddha became enlightened by attaining Dhammakaya, and that knowledge of this (equated with Saddhamma in the Dhammakaya Movement) was lost 500 years after the Buddha entered Parinirvana.

http://en.wikipedia.org/wiki/Dhammakaya_meditation

T. krishnamacharya applying Tri-bandha from Paul Harvey Centre for Yoga Studies

Also

an earlier post on Pratyahara and marma points

Practicing Pratyahara - 10 techniques

If advanced asana can be endlessly promoted through Instagram then perhaps we can also promote Primary asana and the proficiency we can explore there, in postures that most can approach.

Krishnamacharya 1938 (aged 50)

In Krishnamacharya table of asana in Yogasanagalu (Mysore 1941) he included three groups of asana, Primary, Middle and Proficient. Primary and Middle were turned into the Primary and Intermediate (2nd) series by Krishnamacharya's student Pattabhi Jois mostly following the order of the table. The proficient group with other asana Krishnamacharya was teaching at the time came to be taught by Pattabhi Jois as Advanced series A and B (later 3rd,4th, 5th and 6th series). I'm choosing in this project to think of proficiency as an approach to asana rather than a category of asana. Few will manage to practice all the asana Pattabhi Jois and Krishnamacharya presented, Krishnamacharya never thought it necessary that we should ( although perhaps a few of us). Krishnamacharya never it seems intended asana to be fixed in a series, most will never complete 2nd series, many will not complete Primary. However if we maintain our practice for a number of years, even if we practice only half the primary group or series of asana along with our pranayama we can still develop proficiency in our asana practice, explore the asana we have in ever more subtlety of breath and bandha and focus. Advanced practice can look like this.

It is not necessary to switch ones whole practice overnight ( if at all) to longer, slower breathing with longer stays and perhaps kumbhaka, resulting in less asana practiced. We might begin with just one asana taken more slowly, a different asana each practice. Regular Ashtanga of course already includes longer stays in finishing.

Sharath in baddha konasana

Advanced asana were fun and interesting to explore over a period of three to four year but at some point it felt time to put the toys away and look for something more. Some manage to do both of course, play/explore/research the more intricate and physically demanding asana (and Krishnamacharya hoped a few would) and yet still go deeper into the practice. Personally I just wanted to breathe more slowly and this meant less asana, less asana at my age (52) meant less of the more Intermediate and Advanced asana.

I find it a useful reminder that it is challenging enough to remain steady and comfortable and focussed in even one primary asana and to carry that equanimity throughout the day and that this is considered proficient practice.... or just practice - no circus skills required.

2.46 The posture (asana) for Yoga meditation should be steady, stable, and motionless, as well as comfortable, and this is the third of the eight rungs of Yoga.

(sthira sukham asanam)

2.47 The means of perfecting the posture is that of relaxing or loosening of effort, and allowing attention to merge with endlessness, or the infinite.

(prayatna shaithilya ananta samapattibhyam)

2.48 From the attainment of that perfected posture, there arises an unassailable, unimpeded freedom from suffering due to the pairs of opposites (such as heat and cold, good and bad, or pain and pleasure).

(tatah dvandva anabhighata)

Pattanjali at Swamiji

http://www.swamij.com/yoga-sutras-24648.htm

Turn off and just Practise
It strikes me that no book is required for the above, no workshop on technique, no classes on alignment, no shala or studio pass, no journeys or pilgrimages, the 'source' is within us, me merely need to sit, breathe and focus our attention. At some point we may want to read more Patanjali and see what he suggests we do with the the concentration we develop.

Notes on practice

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

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

Because of the static nature of so many of the postures I recommend and practice full vinyasa as well as including some variations in the long inversions, sarvangasana and sirsasana.

However one might equally choose to practice half vinyasa between sides or after each asana or perhaps after a group of asana variations. Rather than taking Krishnamacharya's regular Vinyasa outlined in Yoga Makaranda and familiar to Ashtangi's one might enter and exit a seated asana via uttanasana as in Ramaswami's Vinyasa Krama presentation https://www.youtube.com/watch?v=1fR5MoNlzAs.

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

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

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

Kumbhaka tends to be avoided in twisting postures

Below, my typical practice

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

Surya namaskara

Tadasana

1. Trikonasana

2. Dandasana/Pascimattanasana/ Asvini Mudra

3. Maha Mudra

4. Bharadvajrasana

5. Padma Mayurasana or Vajrasana

6. Sarvangasana

7. Bhujamgi mudra

8. Sirsasana

9. Baddha Konasana

10. Yoga Mudra/parvatanasana/padmasana

Pranayama/meditation

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

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

The asana below might form our practice in and of themselves or they might form a framework around which one might add other asana or variations from Vinyasa Krama ( see my practice book or better still Ramaswami's Complete book of Vinyasa Yoga) or other asana variations and groups from regular Ashtanga series.
*

Practice framework

Kapalabhati - 36
Pranayama 6-12rounds

Optional

Bhagirathasana

Short tadasana sequence of arm movements

Surya namaskara 3 A + 2 B

( the first with 6 breaths at each stage, 12 breaths in Ardho Mukha Svanasana )

1. Trikonasana

6 or 12 breaths each side

Optional extra standing posture(s) alternating each day

2. Dandasana/Pascimattanasana/ Asvini Mudra

12 breaths

(followed by it's pratkriya purvottanasana)

One or more Optional Asymmetric asana approached as mudra

(alternating daily) - 6 breaths each side

3. Maha Mudra

12 - 24 breaths

4. Bharadvajrasana

12 breaths

(as an alternative to Marichiyasana)

5. Padma Mayurasana (optional )
Or Vajrasana with stomach lock.

6 -12 breaths

(Krishnamacharya recommended that we practice Mayurasana daily in Yoga Makaranda but it may depend on the strength of your wrists, I tend to avoid it these days due to a recurring unrelated wrist injury)

Tatka Mudra

12 breaths

Dwi pada pitam

(sarvangasana preparation)

Urdhva Dhanurasana (optional)
6-12 breaths

6. Sarvangasana

5 minutes

(Without variation, practiced as mudra)

7. Bhujamgi mudra

6 -12 breaths

(as pratkriya to sarvangasana)

8. Sirsasana

5 minutes as mudra - Viparita karani

5 minutes with variations

Vajrasana

6 -12 breaths

Sarvangasana

approx. 5 minutes with variations

9. Baddha Konasana - 6, 12, 24 breaths

10. Yoga Mudra

6 -12 breaths

Parsvatanasana

12 - 24 breaths

Pranayama

Bhastrika - 60 breaths

Nadi sodhana (6), 12, 24, 48 breaths

Formal Sit.

20, 40 minutes

Note:

Ideally practice A, B and C together early each morning.

If time is an issue ,A followed C might be practiced in the morning with B ( and perhaps C ) practiced later in the day.

Asana/Mudra

Uddiyana bandha

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

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

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

Krishnamacharya said that in the kumbhaka we see god.

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

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

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

Vrikasana / Bhagirathasana and Parvatasana (optional).

Vrikasana/Bhagirathasana (left). Parvatasana (right).

The beginning and end of our practice.

If we don't wish to disrupt our standard Ashtanga practice too much by approaching all our asana through longer stays and reducing the number of asana we have time to practice, then we might begin and end our practice, either with mudra or asana with a mudra like approach.

Vrikasana / Bhagirathasana. As the former it seems perhaps to have developed from or been a variation of the posture (Upasthana) in which yogi's and others since Vedic times would greet the rising of the sun (Sury Upasthana was standing to greet the sun). Was this perhaps the first asana? With the sun perhaps taking half an hour to fully rise, a long stay is required. As Bhagirathasana it is a Risi asana, named after King Bhagirath for his devotion to the practice of tapasya, (penance) often depicted as standing on one leg with his arms above his head in the hope of bringing back the Ganges.

If half lotus is currently too challenging, Uppasthana or Ardha Candrasana, with the sole of the foot on the inside of the thigh is a perfectly acceptable and perhaps even more traditional alternative.

Ramaswami referred to on one leg asana as tapas' postures.

We might then begin our practice with a stay of twelve breaths each side, the exhalation longer than the inhalation, a short kumbhaka after the exhalation, our focus of attention on Nasagra ( tip of nose), taraka (the horizon point and my choice) or bhrumadhya (between the eyebrows).

We might also introduce this asana as preparation or variation before binding in Ardha Baddha padmottanasana allowing us to steady the heart and breath perhaps after utthita Eka pasasana.

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

Parvatasana is the final asana in Ashtanga Advanced B Series but it can perhaps be seen as the final asana of our practice, whichever series we may practice Manju Jois ends his led class with this asana. It can be practiced with a mudra like approach as with Vrikasana above ( longer exhalation than inhalation, kumbhaka after exhalation, focal point to unite the mind with the body) but with the focus perhaps on hrdaya (centre of the heart) and held for 6, 12, 24 breaths.

Variation B, folding forward is optional but we might end our asana/mudra practice as Manju Jois does with Bhairava mudra, sitting in padmasana with one hand resting on the other, taraditionally the right above the left for men, left above the right for women.

Ardho Mukha Svanasana

(Downward facing dog) with bandhas

Along with Tatakamudra, Ardho Mukha Svanasana is considered one of the best postures for working on Uddiyana bandha, best of all we practice the posture again and again in our Surya namaskara.

Krishnamacharya mentions in Yoga Makaranda that this posture may be held for fifteen minutes.

"In this sthiti, the head should be properly bent inwards and the chin pressed firmly against the chest (jalandara bandha). After pulling the abdomen in and pushing it out, exhale the breath out. Holding the breath out firmly, pull in the abdomen. As a result of the strength of the practice, one learns to hold this posture for fifteen minutes." Krisdhnamacharya Yoga Makaranda (Mysore 1934).

Practiced as a mudra, the exhalation may be twice as long as the inhalation followed by a 2-5 second kumbhaka.

The aim of mudra is to unite the mind and body by employing dharana though concentrating on the appropriate 'vital point', internal drishti.

Nasagra, the tip of the nose is a default focal point with jalandara but explore also the preferred (in this case) Kantha (the throat).

Best of all, we get to visit this asana several times in our Surya namakara, in fact Krishnamacharya recommended staying at each stage of the Surya namakara for a significant period, a mudra like approach to each.

Note:

"Irrespective of the point indicated, dharana is executed without moving the position of the head in an asana, mudra or pranayama. Let us specify once more that dharana is practiced by directing the eyes towards the vital point and not imagining that point".

T.K. Sribhashyam. Emergence of Yoga (Krishnamacharya's third son).

1. Trikonasana

(post to come)

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

Krishnamacharya : Yoga makaranda (Mysore 1938)

Photo is of the Vinyasa Krama version with the feet facing the frount.

Krishnamacharya also demonstrates this asana with his hand resting on his foot.

2. Dandasana/Pascimattanasana/ Asvini Mudra

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

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

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

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

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

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

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

see also this earlier post

http://grimmly2007.blogspot.jp/2015/05/krishnamacharya-and-burmese-buddhist.html

Asymmetric asana approached as mudra

The Vinyasa serves the asana, it should surely lead us towards the asana rather than away. Too often we focus on getting into the posture rather than inhabiting the asana, why seek steadiness and comfort if in five rushed breaths we hurry back to our beloved Vinyasa. Surely this wasn't Krishnamacharya's intention when he presented the Vinyasa approach nor any of his students either. Krishnamacharya wrote of longer stays, he indicated long slow breathing (as did his student Pattabhi Jois in interviews), kumbhaka in most asana he presented, more often than not he appeared to approach asana not unlike mudra.

Mudra unites the mind and the body, in the previous post I presented Maha Mudra that we might inhabit before folding forward into the familiar Janu Sirsasana, where we also might remain longer; forward folding postures welcome the longer exhalation that characterises mudra.

Maha Mudra before folding into Janu Sirsasana

Just as with Janu Sirsasana we might pause before folding forward in other asymmetric asana and approach them as mudra, Tirieng Mukha Eka Pada Paschimattanasana and Ardha Baddha Padma Paschimattanasana for instance, maichiyasana also (see tomorrow).

Mudra approach to Ardha Baddha Padma Paschimattanasana

Mudra approach to Tirieng Mukha Eka Pada Paschimattanasana

Above, mudra approach to Janu Sirsasana A, B and C

Pause the Vinyasa count before folding, slow the exhalation for the mudra to twice the length of the inhalation 8 -10 seconds for the former, 4 - 5 for the later, tuck in the chin for jalandara bandha, engage uddiyana bandha at the end of the exhalation which in turn activates mula bandha.

Alternatively take your kumbhaka after the inhalation, 5, 10, 20 seconds perhaps with mantra (pranayama mantra) stay for five minutes or 6, 12 even 24 breaths then fold forward into the more familiar asana and take the shorter kumbhaka after the exhalation. Repeat directly on the other side or take your Vinyasa and enter the second side following a welcome Urdhva Mukha Svanasana.

We might choose approximately 10 asana to practice this way or in our regular practice we might choose one asana only to inhabit longer, a different posture explored each day or perhaps each week.

see the permenant #proficientprimary project page at the top of the blog

http://grimmly2007.blogspot.jp/p/proficient-primary-project.html

3. Maha Mudra (great seal)

‪

Essentially the point of the Proficient Primary Project is to approach asana as mudra.

Traditionally hand gestures accompanying Mantras, Krishnamacharya's third son T.K. Sribhashyam informs us that mudras later entered yoga as full body postures, the intention was always the same however, to unite the body and mind.

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

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

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

In the next ‪#‎proficientprimarypost‬ I'll present other asymmetric Primary postures that might be practiced/explored as mudra.

see perhaps my earlier full body mudra post.

http://grimmly2007.blogspot.jp/2010/04/full-body-mudra.html

4. Bhradvajrasana

Breaking my Primary asana only rule here to include Bhradvajrasana.

In my defence it's no more challenging perhaps than Marichiyasana D which Krishnamacharya placed in his middle group of asana and that Pattabhi Jois shifted to Primary. With old injuries to my knees playing up I switched to Bhradvajrasana for the twist in my Primary some time ago and have been obsessed with the posture ever since Kristina Karitinou stopped me from treating it as a rest pose in the Ashtanga 2nd series.

Krishnamacharya takes a mudra like approach to the asana and talks of staying from 12 to 48 breaths and introducing both types of kumbhaka (so holding the breath in after inhalation and out after exhalation). He practice's it in the regular form with the head looking back over the shoulder but also, as in the picture, with the head to the frount and in jalandara bandha, perhaps on account of the kumbhaka.

At first, the position of the arm reaching around to hold the foot seems to stop the blood, it takes some settling into the posture for the blood to flow. The nature of the posture, the twist and double bind both in front and behind challenges the breath, the kumbhaka.

See this post which includes a video and photos of Krishnamacharya

http://grimmly2007.blogspot.jp/2014/10/krishnamacharyas-bharadvajrasana-named.html

See also the ongoing #proficientprimarypost blog page for the previous asana/mudra and notes.

http://grimmly2007.blogspot.jp/p/proficient-primary-project.html

5. Padma Mayurasana.
(or Vajrasana with stomach lock)

Padma mayurasana

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

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

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

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

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

"For maximum benefit Pranayama should be done for 5 minutes, when the body is held as a plank in the horizontal position. Proper practice of Pranayama is difficult, but becomes easy after practice".

"If at this stage, regulated breathing is practiced in Padma Mayurasana position, it becomes easy later to practice Pranayama even in the ordinary Mayurasana position".

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

How Long to spend in Mayurasana

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

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

from Yoga Makaranda Part 1

which thankfully is followed immediately by...

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

And finally in Yoga makaranda part II

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

Which is attainable.

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

Tatakamudra (pond gesture)

Tatakamudra #proficientprimaryproject

Tatakamudra (pond gesture)

I tend to include Tatakamudra in any practice, usually before sarvangasana (shoulderstand). It can be practiced with the arms above the head, fingers entwined and turned palms outward or with the arms by the side palms downward.

As a mudra Tatakamudra can be practiced at any point in our practice or indeed, outside our regular practice.

Most of the pictures I'll be posting in the Proficient Primary Project will show a deep uddiyana bandha, this is to draw attention to the focus on the breath (long and slow) and in particular the kumbhaka (retaining the breath in or out). Such a dramatic Uddiyana bandha as in the photos tends to be practiced on the hold at the end of the exhalation.

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

Drishti/concentration: Inhalation - from big toe to the top of the head. Exhalation - tip of the nose.

Uddiyana bandha doesn't need to be this fully engaged it can be a much more subtle engagement such that it becomes possible on the retention after inhalation, indeed subtle uddiyana banddha might be maintained throughout the practice as in Ashtanga Vinyasa, engaged more fully at times depending on the asana.

Tatakamudra mudra along with Adho Mukha Svanasana (downward facing dog) are considered ideal postures for focussing on developing and exploring uddiyana bandha.

There's a video of my trying to explain how I approach and experience tatakamudra in my own practice from the Yoga-Rainbow Festival here https://www.youtube.com/watch?v=o1BtOp67FKg

6. Sarvangasana (shoulderstand)

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

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

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

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

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

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

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

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

7. Bhujamgi Mudra / Bhujangasana

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

Krishnamacharya Yoga Makaranda

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

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

Krishnamacharya Yoga Makaranda

As Mudra

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

Exhalation twice as long as the inhalation

The neck lengthened, kumbhakha after the inhalation

Focus of concentration Taraka (the horizon) or Bhrumadhya (between the eyebrows)

As asana,

Bhujangasana

The chin can be taken forward and back

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

8. Sirsasana

Sirsasana #proficientprimaryproject

Sirsasana, no variations.

twenty five breaths,

two breaths a minute.

10 sec. Inhalation

5 sec. kumbhaka

10 sec. Exhalation

5 sec. Kumbhaka

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

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

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

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

9. Baddha Konasana

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

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

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

Baddha konasana might also be practiced with a block or rolled up towel under each knee.

The following padmasana (lotus) postures may be practiced in half lotus or perhaps in the Burmese tailor posture.

10. Yoga Mudra

Ashtanga Vinyasa includes mudra, here Yoga Mudra at the end of the practice. The stay is longer than usual, ten breath instead of five and yet it is practiced as an asana, there is no kumbhaka, the breath samavritti, equal.

To practice Yoga Mudra as mudra, to approach most of the Primary asana as mudra, merely lengthen the exhalation to twice the inhalation (4-5 second inhalation, 8-10 second exhalation) introduce kumbhaka ( here holding the breath out at the end of the exhalation with the three bandhas engaged, unite the body and mind through concentrating the attention at an/the appropriate focal point here the default with jalandara bandha of the tip of the nose (nasagra), and stay for a significant period of time (most likely 6 or 12 breaths due to the tight bind). I say 'merely' but this is proficient practice.

Krishnamacharya recommended we include asana, Vinyasa and mudra in our daily practice along with our pranayama and more formal meditation practice. While he may have a mudra like approach to many if not most of the asana he presents in Yoga Makaranda his instruction includes Vinyasa to and from the asana and/or Mudra, we may begin at Samatithi and end at Samatithi.

Padmasana / Parvatasana / Bhairava mudra,

Parvatasana is the final asana in Ashtanga Advanced B Series but it can perhaps be seen as the final asana of our practice, whichever series we may practice Manju ends his led class with this asana. It can be practiced with a mudra like approach as with Vrikasana above ( longer exhalation than inhalation, kumbhaka after exhalation, focal point to unite the mind with the body) but with the focus perhaps on hrdaya (centre of the heart) and held for 6, 12, 24 breaths.

Variation B, folding forward is optional but we might end our asana/musra practice as Manju Jois does with Bhairava mudra, sitting in padmasana with one hand resting on the other, taraditionally the right above the left for men, left above the right for women.

Appendix

See this earlier post http://grimmly2007.blogspot.jp/2015/07/pattabhi-jois-recommend-up-to-fifty.html replicated below.

See also the Ashtanga Rishi Series
'Then, once one has mastered all of the asanas, one can practice "the rishi series", the most advanced practice. One does the 10 postures that one intuits will be the most beneficial and appropriate for that day, holding each posture for up to 50 comfortable breaths'. David Williams loosely quoting Pattabhi Jois.

Books

T. Krishnamacharya - Yoga Makaranda. Mysore 1934 (see free downloads page top of the blog)
T. Krishnamacharya - Yogasanagalu. Mysore 1941 (See translation project page - top of blog)
Pattabhi Jois. Yoga Mala. Mysore 1950s
(David Swenson - Ashtanga yoga the practice manual)
Srivatsa Ramaswami - Yoga for the three stages of Life
TK Sribhashyam - Emergence of Yoga.
Patanjali- Yoga sutras

Reflecting on Spinal Sequence footwork and how to improve/develop it. - Ankle bandha

Krishnamacharya's Pre-Jois Mysore 'Ashtanga' Primary Group Practice.

Krishnamacharya's Mysore Yoga students 1941 Yoga demonstration photos

Krishnamacharya and Burmese Insight meditation practice, breath and focal points.

February 2019 Newsletter from Srivatsa Ramaswami--Vasishta

March 2018 Newsletter from Srivatsa Ramaswami--Children Yoga

April 2019 Newsletter from Srivatsa Ramaswami--Texts

Spinal Movements by Tangkao Tan. Vertebrae by Vertebrae wave action.

A rambling post on Ashtanga and throwing babies out with bathwater

No longer identifying as an Ashtangi..... or a 'yogi' for that matter.

May 2019 Newsletter from Srivatsa Ramaswami--Angry Me

Ashtanga was/is not about the selfies but rather developing discipline.

'Ashtanga in crisis', what crisis?

"I honestly don't recognise the characterisation of Ashtanga by it's critics".

Returning to Ashtanga - a journal

Prana -June 2019 Newsletter from Srivatsa Ramaswami

after ashtanga

Proficient Primary

If advanced asana can be endlessly promoted through Instagram then perhaps we can also promote Primary asana and the proficiency we can explore there, in postures that most can approach.

Final chapter from Krishnamacharya's Yogasanagalu Part I An asana sequence.

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