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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.

*

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.


*


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.

*

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


*

"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)


*

Note: A year or two I started to follow Simon Borg-Olivier's recommendation to breathe with a relaxed abdomen, a diaphragmatic focus rather than the chest- 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 ( into the chest with uddiyana engaged throughout) at this period of his teaching) and yet in the instruction above he inhales fully AND THEN pushes out the chest and finally drawing in the belly, does this suggest or allow for a diaphragm focus, relaxed abdominal breath? 



UPDATE from Simon''s intro to sharing this post on fb.

"There has been a great push over the last two decades for many 'modern yogis' to emphasise chest breathing and often disregard the diaphragm but it makes no anatomical or physiological sense. Most untrained adults can only breathe fully into their chest by inhibiting their diaphragm and putting themselves into a physiological state of 'flight or fight'.

The fact that the ability to expand the chest with air held out (exhalation retention) and the abdomen fully relaxed in the manner described to be Uddiyana bandha in Mr Iyengar's "Light on Yoga'' is not accessible for most people is reflective of the fact that most people can only expand the chest by engaging the muscles of forced abdominal exhalation (the abdominal obliques), which inhibit (reciprocally relax) the diaphragm, and thus cause chest breathing by default.

In addition, most people can not activate the lower abdominal muscles (the lower transverse abdominis) without activating the the muscles of forced abdominal exhalation (the abdominal obliques). You can easily test this by asking a group of average people to begin with a completely relaxed abdomen and then ask them to only draw in the lower abdomen without hardening or changing the upper abdomen. Most people simply can not do this and as a physiotherapist we routinely show this on people with real time ultrasound. If the upper abdomen hardens even a bit when the lower abdominal muscles engage, then the chest will expand by default because the diaphragm has been inhibited.

Once the diaphragm is inhibited then sickness or ill health is not far away. This is a big story and I believe many people are potentially damaging their health by attempting pranayama before they are adequately prepared for it.

In Saptanga (seven stage) Yoga, also known as hatha yoga, the first stage is kriya, then asana, then mudra, then pranayama, then dharana, dhyana and samadhi. This implies that kriya has to be learned before pranayama and an important kriya is basti kriya, which involves expanding the chest with the anal sphincter expanded and the diaphragm contracted. This is almost impossible for most people to do. This suggests that complete breathing, where the diaphragm functions without inhibition, before the chest expands, is almost impossible for most people, and that most people breathing into their chest in most exercise classes and 'yoga' classes are simply forcing the air into their chest by inhibiting the diaphragm and entering a physiological state of 'flight or fight' (over-stimulation of the sympathetic nervous system), in which the digestive system, immune system and reproductive system are inhibited and the dominant emotions become fear, anger, aggression and lack of safety; and that doesn't sound like yoga to me!


My point is that for effective pranayama both diaphragmatic and chest breathing are necessary as indicated by Sri Krishnamacharya and all his senior students, but the neuro-muscular control needed for this is simply not available for most people without causing damaging stress. Superficially, many people seem to breathing into their chest, but often they are simply increasing stress levels by trying it and there very few practitioners that can do like like Krishnamacharya and the other maha gurus demonstrated. I love pranayama including all the work with diaphragm, chest as well as the transversus abdominis but i still find that when i teach other people (especially in groups) it is more effective to teach natural invisible inaudible diaphragmatic breathing to most people most of the time in the same way that my teacher Mr BKS Iyengar taught 95% of the time to his students practicing asana".

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




*

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.

*

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.


***

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


How Krishnamacharya taught Ramaswami pranayama plus Why Patanjali's Yoga?

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"My one-to-one studies with my guru usually lasted one hour. One day, at the beginning of the class, he asked me to do this pranayama for the entire duration of the session and left the room. At the end of one hour he walked in to the room, asked me to join the end-of-the-session peace invocation, and left the room. He did not say anything, but looked pleased. There were many other occasions when he asked me to devote the entire session to pranayama". 
Srivatsa Ramaswami - Yoga Beneath the Surface P145


Below (from Yoga Beneath the Surface) is how Ramaswami would have us practice the approach to pranayama he learned from Krishnamacharya. Ramaswami however, would stay in the room and practice alongside us.


''" 1 :4:2 "'"

"DAVID: In YR (Yoga Rahasya ) II, 59, the pranayama ratio of 1:4:2 is spoken of as special. Is this ratio risky? Who can do it?

RAMASWAMI: In fact, almost all yoga texts mention or detail this particular pranayma. Because of the preponderance of antah kumbhak far a disproportionately long period, many people shy away  om this pranayama. The ratio you refer to is one time unit of inhalation, four time units of holding the breath, and two time units of exhalation. Normally, we breathe at the rate of about  fifteen times per minute. Our inhalation and exalations are usually are about 2 sec­onds each. So if you introduce this ratio, keeping the inhalation at about 2 seconds, you will have to hold the breath for about 8 sec­onds, and take 4 seconds  for exhalation. In this manner,you will do just about four breaths per minute as opposed to fifteen breaths per minute. Of course, one who is uninitiated can do it once or twice, but if required to do it for a number times in succession, he/she may find it difficult to maintain the ratio.

Many people  find the exhala­tion swift  and uncontrollable after the long breath-holding.
This ratio is used in mantra pranayama. There are a few well­ known mantras, such as the Vedic pranayama mantra and the "siva-siva" mantra. The Vedic pranayama mantra, consisting of sixty-four syllables (mantras), takes about 20 seconds to chant mentally. According to several texts, including Manu Smriti (clas­sic on Hindu way of life), the mantra is to be chanted while hold­ing in the breath. So one should be able to hold the breath for 20 seconds, during which time the mantra is chanted. If so, with the 1:4:2 ratio, the inhalation has to be 5 seconds and the exhalation 10 seconds. It will thus take about 35 seconds, and if you take a 5- second bahya kumbhaka, then it couid be about 40 to 45 seconds. It is the normal practice in Vedic pranayama to do at least ten rounds in one sitting, which would mean that the practitioner should be able to sit in a yogic posture steadily for this duration and do the pranayamas without losing control. If you go by the Hatha Yoga Pradipika, one can go up to eighty pranayamas at a stretch. This would mean that one has to sit in a posture for about an hour and do pranayama and  follow the ratios correctly, without panicking or without discomfort. So the texts suggest holding out the breath for 20 seconds, especially texts of Hatha yogis and Kundalini yogis.

My one-to-one studies with my guru usually lasted one hour. One day, at the beginning of the class, he asked me to do this pranayama for the entire duration of the session and left the room. At the end of one hour he walked in to the room, asked me to join the end-of-the-session peace invocation, and left the room. He did not say anything, but looked pleased. There were many other occasions when he asked me to devote the entire session to pranayama.

lt is sad that yoga students seldom practice pranayama and that contemporary teachers appear to have disdain far pranayama. It is a very important and a very useful aspect of yoga. Pranayama reduces tamas or darkness  and increases satva or clarity". p.143-145

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And here on p193, where Ramaswami discusses the (different?) objectives of Hatha and Raja yoga.

"My teacher used to say that one should do pranayama  for twice the amount of time one practices asana. Dharana should be  forr twice that time, and dhyana twice longer. Only then will one be able to stay in samadhi  for a  fleeting moment. With continuous practice, one will be able to stay in samadhi for longer and longer periods until, like the yogis of Himalaya, one can remain in samadhi for days.
But are the two goals, kaivalya of the Raja yogi and the posi­tioning of prana in Brahmarandhra (a chakra) of the Hatha yogi, the same? Well, one leads to kaivalya or total release and the snapping of the cycle of samsara, but what of the other? One is not sure if the Hatha yogi's goal will give total release  from samsara. What do you think?" p193 Yoga beneath the Surface.


Amazon link

NOTE on learning the mantra and building up the kumbhaka

One way to build up to the above pranayama is, at first, to skip the kumbhaka (holding the breath out) after the exhalation. 

Also, divide the pranayama mantra into three and learn each section on a shorter kumbhaka (breath retention) after the inhalation, five seconds perhaps while chanting

Om bhUh . Om bhuvaha . Ogm suvaha . 
Om mahaha . Om janaha . Om tapaha . Ogm satyam 

Then chant the first part of the mantra above on the inhalation and learn the second part of the mantra on the kumbhaka.

Om tat savitur varENiyam bhargO dEvasya dhImahi .
dhiyO yO nah pracOdayAte ..

Build up to ten seconds kumbhaka perhaps chanting the first two parts above and then learn the third part while exhaling

OmApO jyOti rasO’amRutam brahma bhUrbhuvassuvarOm



Build up to a fifteen second kumbhaka chanting the full mantra quickly and then gradually slow the mantra down to twenty seconds.

Finally, reintroduce the  short five second  kumbhakla after the exhalation



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Why Patanjali's Yoga?

Hatha yogi's have developed seemingly endless approaches to pranayama, likewise, countless postures and techniques to 'force' the prana into the sushumna channel, raise kundalini, conserve bindu etc.

Perhaps proficiency in some basic (Primary) key asana and a few variations, a straight forward traditional nadi sodhana pranayama practice, a simple pratyahara method of sense withdrawal and samatha, (calm abiding) Sitting, is quite sufficient...., until at least samadhi is attained. If Samadhi is attained , in this lifetime, then we can start to worry about how to apply, Pattanjali has a whole chapter on this.

Kaivalya (liberation) may not necessarily be our objective ( for now at least), we may not even believe in the concept/metaphysics/philosophy on which Patanjali's Yoga sutras are based, and yet the methodology outlined in the sutras may still lead to a more orderly life, greater compassion, improved discipline, emotional stability, and perhaps some insight into the formation and workings of who or what we believe we are as well as providing us with the tools to put 'that' under question on an experiential rather than purely intellectual level.

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NOTE: Krishnamacharya/Ramaswami have written about 'Yoga for the Three Stages of Life', being completely fixated on asana for a time may be considered..... appropriate but at some point we may wish to introduce a steady pranayama and sitting practice. These are practices that will take decades to master, we may as well begin now as later, even six rounds of pranayama once or twice a day may be beneficial and a ten minute 'Sit' may well feed back into our asana practice. Many traditional teachers from Yoga to Zen to Vipassana, seem to feel that in the west we are... unsuited to meditation practice. There is often a cultural snobbery involved and is clearly nonsense as we too have several thousand years of contemplative traditions, we called it prayer.



This is a quite superb book on Yoga
Link to Amazon




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Appendix 
Pranayama Mantra

Note: Ramaswami and indeed Krishnamacharya have stated that we should maintain own religious tradition. If for example you are of the Christian faith you might prefer to mentally recite The Lord's Prayer ( which also takes 20 seconds).... in latin perhaps which is rather wonderful on the tongue.

Pater noster, qui es in caelis,
sanctificetur nomen tuum,
adveniat regnum tuum,
fiat voluntas tua,
sicut in caelo, et in terra.
Panem nostrum supersubstantialem da nobis hodie;
et dimitte nobis debita nostra,
sicut et nos dimittimus debitoribus nostris;
et ne inducas nos in tentationem;

sed libera nos a Malo


or why not a version of Loving Kindness


May all beings be well and safe, may they be at ease.
Whatever living beings there may be, whether moving or standing still, without exception, whether large, great, middling, or small, whether tiny or substantial,
Whether seen or unseen, whether living near or far,
Born or unborn; may all beings be happy.
Let none deceive or despise another anywhere. Let none wish harm to another, in anger or in hate.”



Or even the first four of Patanjali's Yoga Sutras which are considered a summary of the whole text, again, 20 seconds if chanted slowly.

atha yoga-anuśāsanam ॥1॥
yogaś-citta-vr̥tti-nirodhaḥ ॥2॥
tadā draṣṭuḥ svarūpe-'vasthānam ॥3॥
vr̥tti sārūpyam-itaratra ॥4॥








Here it is again so you can format it as you wish




Pranayama Mantrah

प्राणायाम मन्त्रः 

ओं भूः  ओं भुवः  ओं सुवः 
ओं महः  ओं जनः  ओं तपः   ँ् सत्यं 

Om bhUh . Om bhuvaha . Ogm suvaha . 
Om mahaha . Om janaha . Om tapaha . Ogm satyam 

ओं तत् सवितुर्वरेण्यं भर्गो देवस्य धीमहि 
धियो यो नः प्रचोदयात् 

Om tat savitur varENiyam bhargO dEvasya dhImahi .
dhiyO yO nah pracOdayAte ..

ओमापो ज्योती-रसोऽमृतं-ब्रह्म भूर्भुवस्सुवरोम् 


OmApO jyOti rasO’amRutam brahma bhUrbhuvassuvarOm


Learn more chants by Srivatsa Ramaswami HERE





A TRANSLATION OF  THE PRANAYAMA MANTRA


And here's a link to a page that translates (below) and explains the mantra

AUM bhUH, AUM bhuvaH, AUM svaH, AUM mahaH
AUM janaH, AUM tapaH, AUM satyam

AUM, the primordial sound, resides in all elements of the universe. It permeates the earth (-bhUH), water (-bhuvaH), fire (-svaH), air (-mahaH), ether (-janaH), intelligence (-tapaH) and consciousness (-satyam).

AUM tatsaviturvarenyM bhargo devasya dhImahi
dhIyo yo nH prachodayAt.h.

We pay homage to Gayatri, the one who shines like the sun (tat savitur), the one who destroys all our sins through her everlasting and effulgent light. Dear Goddess Gayatri, please illuminate our path towards our higher consciousness and lead us to our true purpose in life

AUM Apo jyotiH rasomRRitaM
brahma bhUR bhuvaH svar AUM..

Please shine your light (-jyotiH) in our path so we may partake of the everlasting nectar (rasomRRitaM) of brahman while chanting the primordial sound, AUM'!



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Appendix 2. 



Ramaswami's Mantra meditation Newsletter February 2012

MANTRA PRANAYAMA

Considerable amount of literature is now available on Pranayama (from
ancient and contemporary yogis), an important anga of Yoga, even
though a smaller and smaller number of Hatha yogis do a smaller and
smaller number of pranayamas. In fact according to Brahmananda who
wrote an important commentary of Hathayogapradeepika, Hatha yoga is
indeed Pranayama. Patanjali in his Yoga Sutras succinctly gives the
parameters of pranayama along with the benefits. Hathayoga pradeepika
and several other hatha yohga texts talk about a variety of pranayamas
with different ratios in considerable detail and as I said enough
literature is available on pranayama. However since it is also the
anga prior to the antaranga or meditation, parts of yoga pranayama has
been used to prepare oneself for meditation. If in pranayama you can
introduce some noble thoughts for meditation like an uplifting mantra,
bhava thought or an image such pranayamas are called sagarbha
pranayama or pranayama pregnant with lofty ideas. Sri Krishnamacharya
in his “Nathamini's Yoga Rahasya” says that sagarbha pranayama is
several times more beneficial; more than the mechanical pranayama done
generally by hatha yogis.

Sagarbha pranayama done with pranayama mantra from the vedas, which
also includes the potent gayatri as a part of it, has been in vogue
since the vedic times. Sri Krishnamacharya in his yoga work
“Nathamuni's Yoga Rahasya” gives a number of instructions for doing
pranayama towards the end of the first chapter. He commends the use of
Pranava and the pranayama mantra with gayatri while doing pranayama
practice. Usually pranava (OM), the most potent mantra and the mother
of all mantras, as a stand alone mantra is used by renunciates like
consummate yogis and advaitins. And the gayatri impregnated vedic
pranayama mantra is used by householders and others in all pranayama.
In fact Manu in his famous Manusmriti says that the pranayama mantra
which consists of prnava, the seven vyahritis, the gayatri and the
head or siras portion should be recited while holding the breath in
Kumbhaka three times to be called as pranayama. Sri Krishnamacharya
also emphasizes the need to meditate on the meaning of the mantras
like the suggestion of Patanjali in YS.

Most people who do ritualistic pranayama in India use the pranayama
mantra referred to earlier. Manusmiti says as follows

“sa vyahritim sa pranavaam
gayatriim sirasa saha
trifpateth ayataf pranah
pranayamassa uchyate

Here is the translation“Pranayama is that in which the seven vyahritis
(bhuh bhuvaha...) each preceded by pranava (OM) then the gayatri, then
the siris are (silently) recited.”

It should be chanted (silently) while holding the breath (kumbhaka).
When it is done three times it is called panayama. The pranayama
mantra is 64 syllables and takes about 20 seconds to chant, more or
less. The verse quoted above says three times and some interpret it as
chanting the mantra three times while holding the breath, but
generally it is chanted once and three such pranayamas will make one
bundle of pranayama. If you try to do the chant thrice in one go it
would taken a minute and holding the breath for one minute could be a
real challenge to most and so most people stick to the earlier
option.

What about the duration for inhalation and exhalation? Sri
Krishnamacharya says in Yoga Rahasya that it should be vishamavritti
indicating that the time duration for inhalation exhalation and breath
holding would vary. So many go by the 1:4:2 ratio.

One may inhale for 5 seconds then chant the mantra during internal
holding for 20 seconds and then exhale for 10 seconds. The breath
holding after exhalation is considered a hathayoga practice and many
orthodox people who do pranayama as part of the Puja or Japa ritual
dispense with bahya kumbhaka and the bandhas. The quickie pranayama is
three times but it is recommended that on should do 10 times the
samantra pranayama.  (Contrast this with the hathayoga approach of
going up to 80 times mantraless pranayama).

Since children sometimes as young as 5 were initiated into vedic
studies, it becomes obligatory for them to do sandhya and hence mantra
pranayama and silent gayatri chant. But then because they are young
they may not be taught to do calibrated pranayama. Usually in course
of time they would learn to do long inhalation and exhalation say in
nadishodhana. Later they will be taught the whole vishamavritti
pranayama as explained earlier.

So the mantra is chanted silently in pranayama. But most people just
chant the mantra without the pranayama--they may merely touch the nose
but not do the pranayama. So we have one set of people who do
pranayama without mantras as most hatha yogis do and another group
especially in India who chant the mantra faithfully but do not do the
prnayama at all and thus both lose out. It even led the much revered
previous Sankaracharya of Kanchi to remark that if only Indians would
hold the breath (kumbhaka) rather than just touch/hold the nose they
would all become great yogis and spiritual persons.

My Guru also said that when doing any mantra in japa, in pranayama or
meditation, one should think of the meaning or import of the mantra.
That makes it lot more powerful and meaningful. What does this mantra
signify, many times we get initiated into a mantra routine without
knowing what it means. All yogis know that Patanjali insists on
contemplating on the meaning of pranava when doing pranava japa to get
the grace of Iswara.

“Om Bhuh, om bhuvah, om suvah, om mahah, om janah, om tapah, om
satyam; then the gayatri and then the siras which runs like this, ”om
apah jyoti rasah amrtam brahma bhurbhuvassuvarom” is the pranayama
mantra. This mantra appears in Mahanarayana Upanishad, the last
chapter of Yajur veda. This upanishad also contains several beautiful
mantras used on a daily basis like the offering to the five pranas
(before taking food), meditating within the heart etc. I got the whole
chapter (about 45 minutes of continuous chanting) recorded some 25
years back by “Sangeetha” and I believe it is available in some stores
in Chennai, India. You may learn the pranayama mantra—visit my website
www.vinyasakrama.com/chants and click on the “Learn Pranayama Mantra
chant” tab.

So what is the meaning of this wonderful pranayama mantra? Again there
are different interpretations. The conventional meaning for the seven
vyahritis is seven different worlds starting with the world we live in
to six other higher worlds. But the word loka is interpreted in a more
esoteric sense by a few scholars. They say that the words loka and
look are derived from the same root . And the seven lokas are the
seven perceptions of the ultimate reality which is Brahman the pure
non changing consciousness.

So this approach which gels with the advaita philosophy would be as
follows: According to the Upanishads, Brahman in its pristine state is
alone and there was no time or space (aksha and avakasha) in
contention. The Brahman once thought that it should become many
(bahusyam praja yeyeti). Then in the next stage It deeply contemplated
as to how it should create the universe and make many microcosmic
individual consciousness. This state was known as the stage of tapas
of the Brahman (sa tapo tapyata). Then after deep contemplation and
planning It created the entire Universe (idam sarvam asrujata). After
this creation the Brahman entered and permeated the entire Universe
(tat eva anupravisat) and every being as the individual Self.

The seven vyahrutis are considered as representing the seven states of
the same consciousness four at the microcosmic level and three at the
cosmic level. So when doing pranayama during breath holding
internally, one would say 'om bhuh', contemplate on the consciousness,
represented by pranava or 'om during the waking state. Then as the
second vyahriti 'om bhuvah ' is recited, one would think of the same
consciousness being aware of the individual dream state.

'om suvah” would refer to the same consciousness witnessing the deep
sleep stage. Om mahah, the fourth vyahriti is the consciousness beyond
the three earlier mentioned known amongst the vedantins as the fourth
state of the mind (turiya) or the yogi's kaivalya state. The same
consciousness now is identified with the Brahmana that created the
Universe (Om Janah). Then the next mantra, the sixth “Om tapah” would
represent the Brahman as one deeply contemplating and finally the
pristine state of consciousness “Om satyam” the one and only Brahaman.
With this the abhyasi is able to identify and meditate upon the same
one Brahaman as seen in different states. The theory that there is
only one consciousness that exists both at the cosmic and at the
microcosmic level is the bedrock of the advaita (No two
conciousnesses) viewpoint. So an advaitin while doing pranayama is
able to reinforce the advaitic conviction.

Then the second part of the pranayama mantra is the gayatri mantra. It
again refers to the ultimate reality as the inner light. Just as the
sun with its lustrous orb lights the entire world, the Brahman/Self
lights the entire chitta or the internal world of the meditator, so
that the chitta vrittis are experienced or 'seen' in the mind's eye .

The last portion known as the siras or the head, is an encomium to the
ultimate Brahman. It refers to It as OM., pure consciousness, the
universal light, the essence of the entire Universe, immortal
(unchanging), the source of the universe, and is known to the
individual as the inner Self during the three states of waking, dream
and deep sleep.

This meaning of the pranayama mantra is vividly brought to the mind as
the pranayama mantra is recited silently during antah kumbhaka. Then
it is known as samantraka or sagarbha pranayama. According to Manu
this samantra pranayama is the greatest Tapas/meditation.

It is said that those who are well versed in the chakras are able to
identify the seven vyahritis with the seven chakras in the body using
the respective bijakshara or seed mantras. Some make an effort   to
visualize the cosmic Brahman  in the seven chakras in the microcosm
itself.

There are other types of mantras used. For instance saivaites tend to
chant the siva mantras as they hold the breath as mentioned in the
Tamil Saiva classic “Tirumandiram”. The mantra “sivasiva” of four
syllables is chanted 16 times during one breath hold corresponding to
64 syllables as in the pranayama mantra referred to earlier.

Here is a pranayama for renunciates:

While doing puraka or inhalation the thought would be that the entire
universe is ultimately drawn into the Brahman. Then while in
antahkumbhaka the contemplation would be that the outside Universe and
I are no different from the Brahman. Then while exhaling the ego “I'
with the entire Universe is discarded as nothing but an illusion, not
real, not significant. And in bahya kumbhaka one would contemplate
that pure Brahman alone is real, It alone exists.

Those who believe in the reality of world and the trinity (Brahma,
Vishnu and Siva), would use pranayama to reinforce their faith.

Inhaling through the left nostril one should think of the four faced
Brahma the creator aspect of the trinity and of blood red hue (rajas
guna) while chanting Om 16 times. Then closing both the nostrils  and
holding the breath in  kumbhaka one should think of the white colored
(satva guna) Hari, the protector/sustainer chanting pranava 64 times.
Then while exhaling through the right nostril one should meditate on
Siva of dark color (tamo guna) chanting pranava 32 times. Then one
should start inhaling through the right nostril for 16 matras chanting
pranava 16 times and continue the pranayama for a predetermined number
of times with both mantra and bhava.

Different smritis and very old yoga texts refer to a variety of
pranayamas with and without mantras. Almost all the puranas have a
section on yoga which describe different asanas and pranayamas. (I
think with all this evidence one may say with some conviction that
Yoga is more than 100 years old). For more information on pranayama
you may consider referring to my book “Yoga for the Three Stages of
Life” pages 189 to 211.

Sri Krsishnamacharya's Yoga teachings were unique and very rich. In
Vinyasakrama asana practice, breath synchronization with slow
movements is an essential element. One would start the movement with
the beginning of inhalation or exhalation and complete the movement
with the completion of that breathing phase. The time taken in actual
practice may be between 5 to 10 or 12 seconds depending on one's
capacity and control. If it goes below 5 seconds one would stop the
practice and rest to regain the vinyasa krama acceptable breath. My
Guru, Sri T Krishnamacharya would say 'breathe with hissing sound' (a
la cobra, refer to ananta samapatti in YS) or 'with a mild rubbing
sensation in the throat'.

In this way, with long deep inhalation and exhalation, the intercostal
muscles are stretched and toned up and by the time pranayama is
started the accessory muscles of breathing are well exercised so that
one has a well oiled breathing apparatus for a very productive
pranayama practice. And while doing pranayam introduction of mantras
and bhavas helps to bring the mind to a focus which will be of
considerable help when one starts the meditation process. Thus Sri
Krishnamacharya following the tradition of yoga described in old yoga
texts like the yoga sutras, the puranas, smritis and other ancient
texts helped to understand and achieve the best of an outstanding
ancient system called Yoga.

You may access the earlier Newsletter by visiting my website
www,vinyasakrama.com and clicking on the Newsletter tab. Any comments
or suggestions please e mail to

Best wishes

Sincerely
Srivatsa Ramaswami

New Mysore Traditions Movie Trailer and why go to Mysore

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Great new look at the Mysore Yoga Traditions movie currently in production, looking beautiful, and a whole bag full of quotes in this trailer alone. I'm going to need a bigger notebook when it finally comes out.

Perhaps I'm inclined to go to Mysore after all, do my practice in my room then go around and try to hear more about yoga from some of these fascinating Mysore Yoga teachers.

Mysore Yoga Traditions Official Trailer from Dallos Paz on Vimeo.




"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."from the webite

It would be great if somebody organised a Mysore 'confluence' or 'festival', two weeks or better still a month where you could just turn up and attend public talks by some of the teachers and practitioners we see here. A two tier pass perhaps so you could include asana or pranayama or just attend lectures/talks. We focus on asana but really, it has so little to do with yoga (or does it), breathe through your asana practice, include some straight forward pranayama (nadi sodhana), then go learn (seek to better understand) some (your) yoga. 


BNS Iyengar

I'm happy enough with my asana practice, with my pranayama...., I'm sure an Iyengar teacher could make my asana better aligned, that Simon (Borg-Olivier), could make my asana choices and approach more beneficial anatomically and physiologically but it'll....do, an ongoing work in practice. I have no desire to learn more asana ( I've let go of plenty in preference to a slower practice), no wish for strong adjustments, to go deeper into a posture ( why for heaven sake), no need of promotional, tricks, floats and/or flourishes, my steady, comfortable, familiar physical practice feels quite sufficient.


But yoga, what it is and why it is and what/where it's directed and why that should be relevant/desirable to me? That strikes me as worth traveling to Mysore to reflect upon. To reflect more deeply on Yama/niyama, on how to live and practice in this world. Are the responsibilities of the householder also to concern oneself with the location of that household, to make it, safe and good and just... for all, not merely those within the household, your household..., before one retires to the metaphorical forest and pass the task along? How does one work with withdrawing the senses, how do we support that hardest perhaps of practices? Is Hatha really of any relevance or did Krishnamacharya ultimately distract us, do I, should I, want to be free (kaivalya)? What is the experience of progressing through the sheaths and are they a model that's still of value, are the yoga body, subtle body models of any benefit to us today or should we just abandon it and go back before the 8th century or so and the models construction, go back before kundalini, before shushumna, before bindi, before bandhas and mudras? What was Mysore yoga then? And is Mysore yoga really any different from the yoga of my own culture, traditions and world view? where are the similarities, the resources I already have within me, the amrita/ambrosia in the marrow of my own bones and being? Is there any reason to leave this lake, my own Manasarova and what it can teach me?

Is there any reason to leave this lake, my own Manasarova and what it can teach me of yoga?



Resource: Puraka (inhalation), Recaka (exhalation) and Kumbhaka (retention) in Pattabhi Jois' teacher Krishnamacharya's early Mysore works

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Q: Not only have I been to a class of yours but I use your vinyasa book and just bought your Krishnamacharya book! Please tell me if he (krishnamacharya) REALLY holds his breath for 10 minutes? In your Krishnamacharya book he talks about 10 min rechaka ! Many thanks! best wishes.


from my Krishnamacharya Book
see my Free Downloads page


Response: Ahhh, yes, 10 minutes recaka (exhalation). This is when Krishnamacharya is talking, for example, about folding into a posture like janu Sirsasana, placing the head on the knee and doing recaka for 5, 10 minutes. However, if necessary, he says you can lift up to take puruka (inhalation).


"Janusirsasana

For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.

The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done. This rule must be followed in all asanas". YM 80




My interpretation, and this would tie in with how Ramaswami taught I think, is that certain postures have a recaka principle, others puraka.

"Upavistakonasana: This has 15 vinyasas. Recaka kumbhaka is its primary principle. All the vinyasas must be done following the instructions for pascimottanasana". YM 83

By principle I mean that either recaka is stressed in the posture, or puruka this may or may not include the appropriate kumbhaka (retaining the breath in or holding it out). So in Janu Sirsasana where the body is folded over the focus would be on the long slow recakas possibly with kumbhakas, the puraka would be shorter. In postures where the head,/body is up, the focus would be on puraka, long slow inhalations followed perhaps by a kumbhaka and a shorter exhalation.


puraka, recaka and kumbhaka in the yogasanagalu asana table
See THIS post for the complete table
The book is available to download from my Free Downloads page.

I hope that helps clear it up a little. Below I've included all mention of Puraka and Recaka in Yoga Makaranda part 1 (Mysore 1934), Yogasanagalu ( Mysore 1941), Yoga Makaranda part 2 also known as 'Salutations to the teacher the eternal one'. (Chennai 1950s?), Questions to Krishnamacharya from his students (1970s/80s?).


My Krishnamacharya Book
Also available on amazon but in lulu I'm able to discount 50% and bring it down almost to the cost of printing.
There's also a copy on my Free Downloads page.
In Part One of the book I've trimmed the asana sections from the public domain translation of Yoga Makaranda down to just Krishnamacharya's asana instruction, for ease of practice. Part Two includes some of my Krishnamacharya posts/articles



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On practice

from my Krishnamacharya Book
Few seem to practice Krishnamacharya's early instruction. Pattabhi Jois appears to have taken the speeded up, simplified version, that Krishnamacharya  taught to the boys of the Mysore palace and presented that as his Ashtanga vinyasa system. Over the years the breath seems to have speeded up, the stays becoming shorter. According to his son Manju Jois however, Pattabhi Jois himself seems to have returned, in later life, to the slower breathing and longer stays that he would refer to in interviews as the ideal and that Krishnamacharya outlined in his early works, and no doubt taught to the young Pattabhi Jois in the smaller, more personal classes he had with his teacher (Pattabhi Jois later refer to the long long stays in Kapotasana while his teacher would stand on him and lecture).

Krishnamacharya's instruction in his early works retains the same 'vinyasa' (moving from standing to the asana and back) familiar to most Ashtanga students, the count is the same. However, Krishnamacharya would indicate long, slow breathing 'like the pouring of oil, kumbhaka (retaining the breath in or holding it out) and often, longer stays. Although Krishnamacharya stressed the count less in later life he retained the slower form of the practice, the longer stays, the kumbhaka as well as the variations to the key asana that he would teach in side rooms of the palace to individual students and patients, while Pattabhi Jois and his other assistants might lead the boys through their paces, perhaps in preparation for possible demonstrations.

I spent two years practicing the instructions in Krishnamacharya's Yoga Makaranda, the longer stays, the kumbhakas, the slower breathing and this formed the basis of the 'Krishnamacharya's original Ashtanga Yoga' book and the workshops that I presented two years ago. I personally found that practice consistent both with how Ramaswami taught us Vinyasa Krama ( Ramaswami would have us stay in the key asana for ten, fifteen minutes and taught Krishnamacharya's Yoga Makaranda line by line on his TT) and The Ashtanga Vinyasa I had practiced for several years prior.

Ramaswami with Krishnamacharya

In my current asana practice I still rely on Krishnamacharya's Yoga Makaranda and Yogasanagalu. To allow for the slower breathing and longer stays I only practice half Primary and very occasionally half Intermediate series, but even to practice half a series I need to choose which asana to stay in longer that morning apart from key asana (as indicated by Krishnamacharya, trikonasana, paschimottanasana, maha mudra, badha konasana, sarvangasana, sirsasana and padmasana), which to emphasise kumbhaka, which to slow the breathing further, basically which asana to practice more as mudra than asana ( see my proficient Primary page).

And yet, here is a place for a faster practice as pattabhi has shown us, calm abiding with the breath, throughout the practice however speedily and yet efficiently, we may practice.

When I started Ashtanga, only ten years ago this month, Krishnamacharya was barely mentioned, he would get perhaps a line in a text and yet we have shown how closely modern Ashtanga vinyasa follows his presentation of asana, how closely the current series follow the table of asana in Yogasanagalu (Mysore 1941), and yet the essence of Krishnamacharya's teaching seems to be left further and further behind.

Rather than deepen our practice by slowing the breath, lengthening the stay, introducing kumbhaka and that experience of timelessness, infinity, between rechka and puraka, followed by pranayama and dharana, practiced as rigorously as we practice our asana we look to the next asana, the next series, the next trick or flourish, too often we are encouraged in this by the 'International yoga teachers, the Instagram stars promoting themselves and their workshops - if the intention is to truly promote the practice, go to places where there are no teachers and few students rather than the big cities with several excellent teachers already).

Advanced practice has become measured by how many asana we can do, how deeply we can fold or twist our bodies into an asana rather than how deeply, how profoundly, we can inhabit it. Advanced practice is measured by how fancy, how floaty the transition rather than it's calm efficiency. Advanced practice is measured by how intricate the contortion rather than the intricacies, the subtleties, of the breath.

Richard Freeman refers to those less bendy as being blessed. With all the so called Intermediate and Advanced asana closed to them, even perhaps much of the Primary series, the less flexible have the opportunity to deepen their asana, explore slower breathing, longer stays, possibly kumbhaka and a standard, straight forward pranayama and dharana practice. Unfortunately, the less, or no longer AS, bendy, exposed to the idea of proficient practice as being indicated by ever more challenging asana often see their practice as limited, second class, hardly worth bothering with such that they may often give up practice, rather than the realising the rich opportunity a more modest practice offers for deepening the experience of practice, of leading to rather than away from yoga.

I hear that in the fashion industry 'modest' is becoming quite the rage, perhaps a more outwardly modest and yet deeply profound practice will follow it into vogue.

I no longer teach or offer workshops and yet if I did, it is Krishnamacharya's Original Ashtanga, as outlined in his early texts that I would wish to share. I find this work intensely rewarding, Krishnamacharya and his practice in this period, in these texts, endlessly fascinating. I don't teach because I don't need to, these texts are available to all, you don't even need to buy the printed copy of my own book, all these texts are available on my Free Download page.

But you don't even need to read the books, just choose to practice half a series and breathe more slowly, choose to stay longer in certain postures (explore which), notice the momentary automatic kumbhaka between the stages on inhalation and exhalation, exhalation and inhalation and lengthen it slightly, from one second to two, two to four. if the body is up the puraka principle tends to apply, if the body is down the recaka principle kicks in. Attend to the breath throughout, don't worry how an asana looks, learn enough anatomy to stay safe but otherwise merely attend to the breath, come back to the breath. Follow asana with a simple, modest, nadi shodhana pranayma practice with or without kumbhaka, the exhalation twice as long as the inhalation and the sit, calm abiding. Repeat daily for ten, twenty years and then see where you are.



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Appendix

Resource: Puraka (inhalation), Recaka (exhalation) and Kumbhaka (retention) in Pattabhi Jois' teacher Krishnamacharya's early Mysore works


1. Puraka and Recaka in Yoga Makaranda Part 1 (Mysore 1934).

1.1 puraka
1.2 recaka
1.3 puraka and rechaka

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2. Puraka and Recaka (Rechaka) in Yogasanagalu (Mysore 1941).

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3. Kumbhakam in Yoga Makaranda Part 2 
(Salutations to the teacher the eternal one) - (Place/date unclear).

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




Note: Update to come in the next few days with photos


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1. Puraka and Recaka in Yoga Makaranda Part 1 (Mysore 1934)
The book is available to download from my Free Downloads page.


puraka 
inhalation of the breath into the body, filling it up 

recaka 
exhalation of the breath 

kumbhaka 
retention of breath, either inside or outside the body

YM - Glossary of terms



1.1 Puraka

puraka: inhalation of the breath into the body, filling it up YM - Glossary of terms


Brahmana kriya means to take in the outside air through the nose, pull it inside, and hold it in firmly. This is called puraka kumbhaka. YM 27



Vanhi Sara Dhauti: The stomach along with the navel should be pulled in to touch and press against (stick to) the spine and then should be pushed forward again. Repeat this several times. While pulling the stomach in, do recaka kumbhaka and while pushing it out do puraka kumbhaka while pushing it out do puraka kumbhaka. YM 38-39


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.


Benefit: This will remove diseases like indigestion, agni mandam (low agni), stop stomach pain and leave you happy. This is raja yoga. YM 49


Ardhabaddha Padmottanasana 

From tadasana, do puraka kumbhaka. After this, choose either leg and place its foot on top of the opposite thigh. Slowly, little by little, move the foot up until the back of the heel is pressed against the lower abdomen. Whichever leg is raised, move the same hand behind the back and clasp the big toe of that foot (from behind the back). Keep the other hand in tadasana sthiti and do puraka kumbhaka. After this, slowly exhale through the nose and bend the upper part of the body forward down to the floor. Place the palm down by the foot and keep it firmly pressed against the floor. Release the breath out completely, and without inhaling, practise (rechka) kumbhaka and lower the head, placing it on top of the kneecap of the extended leg. Repeat this from the beginning with the other leg following all the instructions mentioned earlier. This has 10 vinyasas. YM 61


Urdhvamukhasvanasana 

This has 4 vinyasas. Vinyasas 1, 2, and 3 are exactly as for uttanasana. The 4th vinyasa is to be done following the same method as for caturanga dandasana. But 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. Make the effort to practise until it becomes possible to remain in this posture for fifteen minutes. YM 65


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. YM 69

Janusirsasana

For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.
The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done. This rule must be followed in all asanas. YM 80


Baddhapadmasana 

This has 16 vinyasas. The 8th and 9th vinyasas are the asana sthiti. The other vinyasas are like pascimottanasana. Study the pictures (Figures 4.52, 4.53) and learn how to keep the gaze. In this asana, one must do puraka kumbhaka. YM 103





25 Marichasana (Figure 4.66, 4.67, 4.68, 4.69)

This has 22 vinyasas. This needs to be done on both the left and the right sides. Study the sannaha sthiti (the preparatory state) of marichasana in the picture. This sthiti is the 7th vinyasa.
The right-side marichasana paristhiti is shown in the second picture. Maricha Maharishi was known for bringing this asana to public knowledge and hence it is named for him.

Stay in the 7th vinyasa for some time doing puraka kumbhaka. After this, do recaka and come to the 8th vinyasa. Stay in this position for as long as possible. In case your head starts reeling (you get dizzy), come back to the 7th vinyasa, do puraka kumbhaka, close the eyes and remain here for some time. YM 115

Ekapada Sirsasana 

This has two forms: dakshina ekapada sirsasana and vama ekapada sirsasana. Both these forms together have 18 vinyasas. The first picture depicts dakshina ekapada sirsasana and the second picture vama ekapada sirsasana. The 7th and 12th vinyasas are the asana sthitis of these di erent forms. For this asana, you need to do sama svasauchvasam (same ratio breathing). In the 7th vinyasa, the left leg, and in the 12th vinyasa the right leg, should be extended and kept straight from the thigh to the heel. No part should be bent.
Keep the hands as shown in the picture. In this sthiti one needs to do equal ratio breathing. When the hands are joined together in ekapada sirsasana paristhiti, one must do puraka kumbhaka. One must never do recaka. YM 120

Dvipada Sirsasana 

This has 14 vinyasas. It is the same as for pascimottanasana up to the 6th vinyasa. While practising the 7th vinyasa, place both legs on top of the shoulders, and do uthpluthi as in the 7th vinyasa for bhujapidasana. Then lean the rear of the body forward and sit down. After this, do recaka and slowly and carefully place the left foot on top of the right foot on top of the back of the neck. That is, the right heel should be by the left ear and the left heel should be by the right ear. While remaining in this state, do puraka kumbhaka and raise the head.  YM 123

Yoga Nidrasana 

This has 12 vinyasas. The 7th vinyasa is yoga nidrasana sthiti. The first 6 vinyasas for kurmasana are the first 6 vinyasas for this. In the 7th vinyasa, sit like you did in dvipada sirsasana and instead of keeping the two legs on the back of the neck, first lie back facing upwards. Then lift the legs up and place them on the back of the neck.
In dvipada sirsasana, we joined the hands together in prayer and placed them next to the muladhara cakra. In this asana, following the krama, take the shoulders (that is, the arms) on both the left and right sides over the top of the two thighs, and hold the right wrist tightly with the fingers of the left hand beneath the spine. Study the picture.
In the 7th vinyasa, after doing only recaka, arrive at the asana sthiti. Then, one should do puraka kumbhaka and lie down. YM123

Bhairavasana (Figure 4.78)

This has 20 vinyasas. The 8th and the 14th vinyasas are the right and left side asana sthitis.
From the 1st until the 7th vinyasa, follow the method for ekapada sirsasana. In the 8th vinyasa, instead of keeping the hands at the muladhara cakra (as in ekapada sirsasana), hug both arms together tightly as seen in the picture and lie down looking upwards. While remaining here, do puraka kumbhaka, raise the neck upwards and gaze at the midbrow. The 15th to the 20th vinyasas are like those for kapilasana. This asana must be practised on both sides. YM 129

Cakorasana (Figure 4.79)

This has 20 vinyasas. This is from the Kapila Matham.
After observing that this follows the form of flight of the cakora bird, this came to be called cakorasana. In the Dhyana Bindu Upanishad, Parameshwara advises Parvati that “There are as many asanas as there are living beings in the world”. We readers must always remember this.
The 8th and 14th vinyasas are this asana’s sthitis. The 7th and the 13th vinyasas are like the 7th and the 13th vinyasas of ekapada sirsasana. In the 8th and the 14th vinyasas, press the palms of the hand firmly into the ground, do puraka kumbhaka, raise the body 6 angulas o  the ground and hold it there. Carefully study the picture where this is demonstrated. Keep the gaze fixed on the midbrow. The other vinyasas are like those of bhairavasana. YM 132

Durvasasana 

This has 20 vinyasas. The 8th vinyasa is right-side durvasasana and the 14th vinyasa is left-side durvasasana. In the 7th and the 13th vinyasas stay in ekapada sirsasana sthiti. From there, in the 8th and the 14th vinyasas, get up and stand. Study the picture carefully. While remaining in this asana sthiti, the leg that is being supported on the ground must not be even slightly bent and must be held straight. Keep the gaze fixed at the middle of the nose. You must do sampurna puraka kumbhaka. The head must be properly raised throughout. YM 132


Trivikramasana 
This has 7 vinyasas. From the 1st to the 5th vinyasas and then the 7th vinyasa, practise following those for utthita hasta padangushtasana. Practise the 2nd and 7th vinyasas as shown in the picture (study it carefully) and remain in these positions. The 2nd vinyasa is the right-side trivikramasana sthiti. The 6th vinyasa as shown is the left-side trivikramasana sthiti. The picture shown here only demonstrates the left-side trivikramasana. It is important that equal recaka and puraka kumbhaka must be carefully observed while practising this asana. Keep the gaze fixed on the midbrow. Both legs must be held straight and must not lean or bend to any side. YM 136


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1.2 Rechka


recaka: exhalation of the breath YM - Glossary of terms


Langhana kriya means to exhale the air that is inside the body out through the nose and to hold the breath firmly without allowing any air from outside into the body. This is called recaka kumbhaka. YM 28



While pulling the stomach in, do recaka kumbhakaYM38-39

Bahish Kritha Dhauti: Position the mouth like a crow’s beak and suck in the air to the extent possible. Hold the air in (kumbhaka) and then exhale it out (recaka) through the nostril. This is only for those who are beginning the practice of recaka kumbhaka. Repeat this 25 times a day. This has to be done either before eating in the morning or before eating in the evening. If one keeps increasing the practice of this correctly, it develops the ability to hold the breath (kumbhaka) for long periods. 

Ardhabaddha Padmottanasana 
From tadasana, do puraka kumbhaka. After this, choose either leg and place its foot on top of the opposite thigh. Slowly, little by little, move the foot up until the back of the heel is pressed against the lower abdomen. Whichever leg is raised, move the same hand behind the back and clasp the big toe of that foot (from behind the back). Keep the other hand in tadasana sthiti and do puraka kumbhaka. After this, slowly exhale through the nose and bend the upper part of the body forward down to the floor. Place the palm down by the foot and keep it firmly pressed against the floor. Release the breath out completely, and without inhaling, practise (rechka) kumbhaka and lower the head, placing it on top of the kneecap of the extended leg. Repeat this from the beginning with the other leg following all the instructions mentioned earlier. This has 10 vinyasas. YM 61


Caturanga Dandasana (Figure 4.15, 4.16)
For this, there are 4 vinyasas. Vinyasas 1, 2, and 3 are as for uttanasana. The 4th vinyasa alone is different. 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. YM 65


Adhomukhasvanasana (Figure 4.18)

For this, there are 4 vinyasas. Vinyasas 1, 2, and 3 are exactly as for ut- tanasana. 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 picture 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. As a result of the strength of practice, one learns to hold this posture for fifteen minutes.

Benefit: Bloating of stomach, bad belching, ajeerna vayu, all such diseases will go away. The 4th vinyasa itself is the asana sthiti. Because of the strength of recaka, you will receive best results by practising this asana in recaka. YM 69

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. YM 69


Ardhabaddhapadmapascimottanasana 
This has 22 vinyasas. The 8th and 15th vinyasas are the asana sthiti. Up to the 7th vinyasa, practise according to the pascimottanasana vinyasa krama. But in the 7th vinyasa, extend the left leg out in front. Place the right foot on top of the left thigh, such that the right heel touches the left lower abdomen. Take the right hand behind the back and clasp the right big toe with the fingers. Hold the big toe of the extended left leg with the fingers of the left hand. For the rest of the vinyasas, follow the same method as for pascimottanasana following the krama. In the 8th vinyasa itself, place the head on top of the knee of the left leg. The 9th, 10th, 11th, 12th, 13th and 14th vinyasas are as in pascimottanasana. But in the 14th vinyasa, extend the right leg and place the left foot onto its thigh such that the left heel touches the right lower abdomen. Take the left hand behind the back and take hold of the left big toe with the fingers. Hold the big toe of the extended right leg with the fingers of the right hand. Lower the head and place it on top of the outstretched kneecap. This is the 15th vinyasa. Do the 8th and the 15th vinyasas with recaka, pulling in the stomach and extending the legs straight. YM 75


Janusirsasana
For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.
The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done. This rule must be followed in all asanas. YM 80

from my Krishnamacharya Book


Upavistakonasana 

This has 15 vinyasas. Recaka kumbhaka is its primary principle. All the vinyasas must be done following the instructions for pascimottanasana. YM83



Baddhakonasana 
This has 15 vinyasas. The 8th vinyasa is the asana sthiti. The 1st to the 6th vinyasas are like the 1st till the 6th vinyasas for pascimottanasana. In the 7th vinyasa, just like the 7th vinyasa for pascimottanasana, keep the hands down and bring the legs forward in uthpluthi. But instead of straightening them, fold the legs and place them down on the ground. Folding them means that the heel of the right foot is pasted against the base of the right thigh and the heel of the left foot is pasted against the base of the left thigh. When the legs are folded in this manner, the soles of the feet will be facing each other. Hold the sole of the left 
foot firmly with the left hand and hold the right sole firmly with the right hand. Clasping the soles together firmly, do recaka kumbhaka, lower the head and place it on the floor in front of the feet. After practising this properly, press the head against the top of the soles of the feet. While keeping the head either on the floor or on the soles of the feet, make sure that the seat of the body does not rise up from the floor and remains stuck to the floor. This sthiti is baddhakonasana. YM 85-86






Utthitahasta Padangushtasana .....
After the leg has been raised about 3/4 of the way without any assistance, take the first three fingers of the corresponding hand (the same as whichever leg was raised) and tightly clasp the big toe of the raised foot. Remain in this position for some time. Keep the other hand on the hip. Inhalation and exhalation of the breath must be slow and of equal duration. One says the sthiti is correct if there is the same measure of distance between the standing leg and the raised leg. In this there are many other forms.
After staying in this sthiti for some time, take either the face or the nose towards the knee of the raised leg and place it there. Recaka kumbhaka must be done in this sthiti. YM 99



Baddhapadmasana

....Only in yoga mudra sthiti should one do recaka. YM 103

Bhujapidasana 
This has 15 vinyasas. Vinyasas 1 through 6 are like pascimottanasana. With- out allowing the feet to touch the floor, jump very carefully from the 6th vinyasa 
to the 7th vinyasa and hug the shoulders with the legs as shown in the picture. In the 8th and 9th vinyasas, take the legs back in between the shoulders, keeping them centred, and remain in this position using the strength of the shoulders. The hands must not move from the place where they are initially placed. The 7th, 8th and 9th vinyasas must be done only in recaka. While taking the legs towards the back in the 11th vinyasa, make sure that they do not touch the ground. The other vinyasas are like those for pascimottanasana. YM 108

Ubhaya Padangushtasana 
This has 14 vinyasas. The 8th vinyasa itself is the asana sthiti. Study the picture carefully. Pull in the stomach with the strength of complete recaka and hold it in this position. While doing this, keep the arms and legs extended. Keep the chin firmly pressed against the chest. YM 112

Supta Konasana (Figure 4.64, 4.65)
This has 14 vinyasas. The 9th vinyasa is the asana sthiti. In the 7th vinyasa, stay as shown in the picture. 
The 8th vinyasa is uthpluthi. From uthpluthi, move to the position shown in the second picture and then do recaka.  YM 112


Marichasana 
This has 22 vinyasas. This needs to be done on both the left and the right sides. Study the sannaha sthiti (the preparatory state) of marichasana in the picture. This sthiti is the 7th vinyasa.
The right-side marichasana paristhiti is shown in the second picture. Maricha Maharishi was known for bringing this asana to public knowledge and hence it is named for him.
Stay in the 7th vinyasa for some time doing puraka kumbhaka. After this, do recaka and come to the 8th vinyasa. Stay in this position for as long as possible. In case your head starts reeling (you get dizzy), come back to the 7th vinyasa, do puraka kumbhaka, close the eyes and remain here for some time. YM 115



Niralamba Sarvangasana 
This has 14 vinyasas. The 8th vinyasa is the asana sthiti. The form depicted in the picture is the 8th vinyasa. This is niralamba sarvangasana paristhiti. In order to get to this sthiti, slowly raise the arms and legs either together or one-by- one in the 7th vinyasa . Do only recaka at this time. Never do puraka kumbhaka. YM 115


Dvipada Sirsasana 
This has 14 vinyasas. It is the same as for pascimottanasana up to the 6th vinyasa. While practising the 7th vinyasa, place both legs on top of the shoulders, and do uthpluthi as in the 7th vinyasa for bhujapidasana. Then lean the rear of the body forward and sit down. After this, do recaka and slowly and carefully place the left foot on top of the right foot on top of the back of the neck. That is, the right heel should be by the left ear and the left heel should be by the right ear. While remaining in this state, do puraka kumbhaka and raise the head.  YM 123

Yoga Nidrasana 
This has 12 vinyasas. The 7th vinyasa is yoga nidrasana sthiti. The first 6 vinyasas for kurmasana are the first 6 vinyasas for this. In the 7th vinyasa, sit like you did in dvipada sirsasana and instead of keeping the two legs on the back of the neck, first lie back facing upwards. Then lift the legs up and place them on the back of the neck.
In dvipada sirsasana, we joined the hands together in prayer and placed them next to the muladhara cakra. In this asana, following the krama, take the shoulders (that is, the arms) on both the left and right sides over the top of the two thighs, and hold the right wrist tightly with the fingers of the left hand beneath the spine. Study the picture.
In the 7th vinyasa, after doing only recaka, arrive at the asana sthiti. Then, one should do puraka kumbhaka and lie down. YM123

Kapilasana
This has 24 vinyasas. Kapila Maharishi discovered this and because he helped spread its practice, it came to be called kapilasana.
The right-side kapilasana is the 9th vinyasa and the left-side kapilasana is the 17th vinyasa.
Up to the 8th vinyasa follow the buddhasana krama. Then, as though you are doing pascimottanasana, place the chin on top of the bones of the front of the knee of the extended leg. Do recaka in this sthiti. YM 127

Skandasana 
This has 20 vinyasas. The 8th and the 14th vinaysas show the asana sthiti. The other vinaysas are exactly as for cakorasana. In pascimottanasana, we hold the big toes with the fingers of the hands as we place the face down on the knees. In this asana, instead of doing that, extend the arms out further forward, clasp the hands together in the manner of prayer, slowly bend the body forward and place the face down in front of the kneecap. You must do recaka in this sthiti. The gaze must be fixed on the midbrow. YM 132

Richikasana 
This has 24 vinyasas. The 9th and the 17th vinyasas are the richikasana sthiti. The 7th and 15th vinyasas are like ekapada sirsasana. The rest of the vinyasas are like cakorasana.
The first picture shows the right-side richikasana and the second picture show the left-side richikasana.
In the beginning of the 7th vinyasa, remain in ekapada sirsasana. In the 8th vinyasa, practise following the rules for the first vinyasa of uttanasana. The 9th vinyasa is like the 2nd vinyasa for uttanasana. The 9th vinyasa has been demonstrated in the picture. While remaining in this sthiti, the legs and arms that are supported on the ground should not be even slightly bent. Only recaka must be done. YM 136


*


1.3 Puraka and Rechka

Surya Cakra
This cakra is situated in the third angula above the navel. Pranayama practised with an equal ratio of exhalation and inhalation (recaka and puraka) with a focus on this cakra gives rise to caitanya in this cakra. YM 11


Ajna Cakra

This cakra is situated between the two eyebrows. If caitanya can be held (focussed) here, one acquires the power to control everybody. Through the movements of recaka and puraka in the nadis of the two nostrils, if one practises pranayama by keeping the breath in the nostrils and circulating and moving the prana vayu, then the nadis below the nostril get purified. YM 12

Andam (Macrocosm) means the entire world. Pindam (microcosm) consists of all the mobile and immobile beings and objects in this world. Caram is that prana which is between the andam and pindam uniting and di erentiating the two and causing them to function. That is, Svasam (breath) is vayu (air). Acaram is the state of compressing the vayu and bringing together andam and pindam in a state of unity, that is, uniting the jivatma and paramatma together. To get to the state where the prana vayu can help the jivatma and paramatma unite, we need to practise recaka puraka kumbhaka according to the krama of yoga in order to regularly be able to bring this vayu under our control. This is similar to a man taming wild animals in the forest and slowly bringing them under his control. The yoga practitioner should similarly gradually bring the vayu under his control. YM 35


Vanhi Sara Dhauti: The stomach along with the navel should be pulled in to touch and press against (stick to) the spine and then should be pushed forward again. Repeat this several times. While pulling the stomach in, do recaka kumbhaka and while pushing it out do puraka 




kumbhaka. Practise this before eating. If you want to do this after eating, wait at least three hours. Otherwise it will be dangerous. This exercise needs to be practised daily, repeating it 84 times in a day. This belongs to raja yoga. YM 38-39


Prasarita Padottanasana (Figure 4.10)


Stand in tadasana krama. Jump the legs apart, placing the feet 3 mozhams apart on the ground. Practise jumping and placing the feet at the correct distance all in one jump. While jumping, either puraka kumbhaka or recaka kumbhaka can be done. YM61


Trivikramasana 


This has 7 vinyasas. From the 1st to the 5th vinyasas and then the 7th vinyasa, practise following those for utthita hasta padangushtasana. Practise the 2nd and 7th vinyasas as shown in the picture (study it carefully) and remain in these positions. The 2nd vinyasa is the right-side trivikramasana sthiti. The 6th vinyasa as shown is the left-side trivikramasana sthiti. The picture shown here only demonstrates the left-side trivikramasana. It is important that equal recaka and puraka kumbhaka must be carefully observed while practising this asana. YM 136

Gandabherundasana 
This has 10 vinyasas. The 6th and 7th vinyasas show the asana sthiti. The first picture shows the 6th vinyasa and the second picture shows the 7th. In the 4th vinyasa, come to caturanga dandasana sthiti and in the 5th vinyasa proceed to viparita salabasana sthiti. In the 6th vinyasa, spread the arms out wide, keeping them straight like a stick (like a wire) as shown in the picture. Take the soles of both feet and place them next to the ears such that the heels touch the arms and keep them there.

Next, do the 7th vinyasa as shown in the second picture. This is called supta ganda bherundasana. In this asana sthiti and in the preliminary positions, do equal recaka puraka kumbhaka.Keep the gaze fixed on the midbrow. This must not be forgotten. YM 136-142



2. Puraka and Recaka (Rechaka) in Yogasanagalu 
(Mysore 1941)
The book is available to download from my Free Downloads page.

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. p8

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. Thistypeofexhalationis called Rechaka. p8



Holding the breath is called Kumbhaka. p8


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 in formation,it is listed in the table below. p10



Special Direction


When practicing the above listed yogasanas people with heavy bodies must do more rechaka while people with lean bodies must be doing more puraka. These are called langhanakriya and brahmanakriya, respectively. p77

Exhalation is “rechaka”, inhalation is “puraka” and retention is “kumbhaka” according to Yoga shastra. p79




Characteristics of Uddiyanabandha
उदरे पि मं तानं नाभे समाचरेत्। उि याणो सो ब ो ु ुमातंगके सिर॥
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. p83


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. p84


Rechaka, puraka and kumbhaka when practiced with equal time and equal numbers are called “Samavrutti pranayama.” p85



NOTE: The asana section in the original edition of Yogasanagalu is the same as in Yoga Makaranda but with less asana listed



Additional chapter 4th edition.

Dandasana is the first posture among the sitting asanas. Vyasa has spoken highly of this (posture) in the Yogasutrabhashya.

Procedure to practice: Place a soft blanket not less than 6 feet in length, sit down facing eastern direction with legs stretching straight forward and lift both hands above the head. Left and right forearms are aligned with the respective left and right ears and stretched upwards without bending the elbows. Hand fingers are interlocked tightly in such a manner that the palm is facing upwards and then the chin is lowered into the chest by bending the neck. The two feet are joined together with the heels touching the floor and the toes stretched upwards. Without bending the knees, keep the thigh muscles stretched tightly and hold the back erect. Softly close the eyelids and as explained before and take six deep inhalation and exhalations. After exhalation, pull in the region of abdomen in all the way into the navel. During inhalation, the chest is to be expanded. Breath should not be held for more than a second. In the yoga shastra, exhalation is known as Rechaka and inhalation is referred to as Puraka. Kumbhaka is retention of breath. When we are practicing breathing like this, our stomach, neck, head and chest should not be moving up and down. Rechaka has to be longer than Puraka and also must be subtle. One Rechaka, one Puraka and one Kumbhaka make one Avrutta. Initially, only six Avrutta’s are enough and must be increased over time.

In this Asana, the body remains straight like a stick (Danda) and strengthens the spine, hands and legs and therefore is called Dandasana. p110

Paschimatanasana.

From Dandasana, take a deep Rechaka, pull in the stomach, keep the hand fingers interlocked, slowly bend forward, wrapping fingers around the legs with the palms facing on the outside. Rest the forehead on the knee caps or slightly beyond, perform Rechaka and Puraka, and keep the knees stretched straight without bending. Starting with three Rechaka and Puraka on the first week, keep increasing by one every week for a maximum of twelve Avruttis. This state is called Paschimatanasana. p112


from my Krishnamacharya Book




Purvottanasana 
Procedure: Please see photo # 5. From Paschimattanasana position, inhale and lift both hands straight up and while exhaling deeply take the shoulders slowly behind the back and place the palm of the hands on the floor about 1 foot distance from the hips with the fingers facing forward. Similar to the second step in dandasana, push the chest forward and do a deep puraka kumbhaka. Pressing the heels and the palms tightly against the ground, lift the entire body in a straight line and drop the neck backwards. Close the eyes and keep still for at least 5 seconds. This is Purvottanasana position. After this, bend the neck to bring the chin to the chest, exhale and place the body down. In this way, practice three times in the first week and gradually increase to six repetitions. p114

Chatushtada peeta 


After stepping down from Purvasana, sit in Dandasana pose and without changing the position of hands bend the two legs and join the heels and knees in front of the hips. Keeping the back straight, bring the chin to the chest and perform rechaka. Pull the abdomen in towards the navel while doing puraka for five seconds and expand the chest area outwards while keeping the heels pressed to the floor. Lift the midsection and hips upwards and tilt the head backwards. Now the midsection of the body should look like a plank by lifting as much as possible. Remain still and do not change the positions of hands and legs. This posture is called chatushtada peeta. This will be hard for a couple of weeks. Afterwards becomes easier. Must be practiced slowly and patiently. p115

Navasana

Come down from chatushta peeta and without changing the position of legs perform two rechaka and purakas and as illustrated in the picture without bending the knees lift the legs up while lowering the neck a little bit. Staying in this position without movement, perform rechaka and puraka for as long as possible. p117





Ardha baddha padma paschimatanasana, part 1, 
Procedure for practice: As in pachimatanasana, stretch the left leg forward and bend the right foot and place it on the left thigh with the bottom of the foot facing up. As shown in the photo, from the back, take the right hand and grab the right foot big toe with the palm facing down. Extend the left hand with a forward bend and tightly hold the left foot big toe with index and middle fingers or if possible with all fingers. Keeping the back straight, pressing the chin to the chest, perform not less than three rechaka and purakas.While doing the 4th rechaka, fully extend the mid portion of the body and while lowering the head place the forehead on the knee. Now repeat the corresponding posture with the right leg extending forward. In this posture, one foot is like paschimatanasana and one foot is in baddha padmasana. Therefore, it is called ardha baddha padma paschimatanasana. p118



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 diety 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. p124-125




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3. Kumbhakam in Yoga Makaranda Part 2 (Salutations to the teacher the eternal one) - (Place/date unclear).
The book is available to download from my Free Downloads page.


This text is thought have been written/begun after Krishnamacharya left Mysore, possibly in the the late 1940s/early 50s

Puraka and recaka are refered to as inhalation and exhalaion in text, below i've listed mention of Kumbhakam (retaining the breath in or holding the breath out).


The word ‘kumbhakam’ is generally used in the ancient texts to depict pranayama as well as the holdings of the breath. The original translation is incorrect and inconsistent in some places due to such translation. p2


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

In SARVANGASANA, there should be no deliberate practice of ANTHAR kumbhakam, 10
but BAHYA kumbhakam can be practiced up to 5 seconds in each round.
These deep breathings along with the asana help in slowing down the breathing rate with a consequent elongation of life. Sayanacharya prescribes that the number of deep breaths one should practice per day should not be less than 320. This number could be spread out during the day-some may be done along with asana in the morning and evening, some along with pranayama, morning, noon, evening and at midnight, or whenever some spare time is
found. p10-11

KRAUNCASANA
Technique:
1. Step (1) is the same as for the preliminary exercise.
2. Interlock the fingers, stretch the arms upward and while exhaling lower the stretched
arms, so that the palms touch the sole of the foot stretched in front. Now. lift the stretched leg, without bending the knee, as far back as possible. In the final stage, the knee will be by the side of the ear. No undue force should be used. As practice advances, the abdominal muscles become supple, and the final position will become attainable with ease.
Note: The trunk should be kept erect throughout or slightly leaning to the back. The backbone should be kept straight and stretched.
3. A few deep breaths can be taken. Maximum benefit is obtained when in this position the breath is kept out (Bahya Kumbhakam).
4. While inhaling, lower the leg to the position in position (1).
5. Repeat movements in steps (2) & (3) a few times.
6. Repeat with the other leg. p22


VAJRASANA (b)
Technique:
1. Kneel on a piece of soft cloth with the knees together, the heels together, the soles of the feet upturned, toes stretched and the back of the feet touching the cloth. The body should be erect, the spinal column stretched and the chin locked.
2. Stretch the arms and place the palms to enclose the knee caps.
3. Take deep inhalations and exhalations with hissing sound in the throat with holding
in of breath after inhalation has been completed. It is important to do both types of Kumbhakam to get the full benefit from this asana. The total number of deep breaths should be slowly increased as practice advances from 6 to 16. p25

29. BHARADVAJASANA
Technique:
1. Sit on a piece of soft folded cloth, with one leg stretched straight in front, and the other leg folded back at the knee, so that the foot is close and by the side of the buttocks, the sole of the foot upturned, toes stretched and the back of the foot touching the cloth. The knees should be as close as possible. The foot of the leg, stretched in front, should be upright, to the ground and not inclined sideways. The body should be erect and the spinal column stretched-chin lock.
2. Bend the stretched leg (say the right) at the knees and bring the right heel very near the umbilicus. The right knee should touch the ground. Both the knees should be as near to each other as possible.
3. The right hand is taken round the back to catch hold of the toes of the right leg. The palm to touch the back of the foot.
4. The palm of the left hand is placed on the cloth below the right thigh. The hand should be stretched and not bent at the elbow. The left wrist should touch the outside of the thigh.
5. Twist trunk to face front. Turn the head, so that the chin is over the left shoulder.
6. Take deep inhalations and exhalations with holding in of breath and holding out of
breath. Both types of kumbhakam are necessary. The total rounds of deep breaths may be slowly increased as practice advances, from 12 to 48.
7. Repeat with the other leg.
Note: This is contra indicated to those who have had abdominal operation. p30


BADDHA PADMASANA
This asana is the counter pose to the ARDHA MATSYENDRASANA - Section A, and should be done immediately after that asana.
Technique:
1. Sit upright, with both legs stretched in front. Bend one of the legs, say the right, at the knee and place the foot on the left thigh as high as possible. The heel should be as near
39
the navel as possible. Now bend the left leg at the knee and place the left foot on the right thigh as high as possible, and the heel as near the navel as possible. The knees should be as close as possible and touch the ground.
2. Take the left arm around the back and catch hold of the toes of the left foot by the right hand. Next, take the right hand behind the back and catch hold of the toes of the right foot by the fingers of the right hand.
Note: Which hand is taken round first is important. In the position described above, it will be observed that the LEFT leg is crossed over the right leg, and it is the LEFT arm that is taken round the round back first, to catch hold of the toes. When the asana is repeated on the other side, the right leg will be over the left leg and right arm will be taken round the back first.
3. Chin lock, chest forward. In the case of those who are married, the gaze should be to the tip of the nose, and in the case of the others the gaze should be to the midpoint of the eyebrows.
4. Take deep breaths. The deep breaths in this asana can with advantage be with control both after inhalation and after exhalation i.e., both ANTHER AND BAHYA Kumbhakam. The retention of breath, in the beginning stages, should not be more than 5 seconds after inhalation and not more than two seconds after exhalation. The breathing in and breathing out should be as thin and as long possible, with rubbing sensation in the throat. The number of rounds can be as many as it is conveniently possible without strain. 
5. Get back to the position in step (1) and repeat on the other side.
This is one of the asanas specifically recommended for doing Pranayama. When a large number of Pranayamas are done there is a feeling of hunger, but it is a false sensation. Benefits: This benefits all parts of the body, reduces the waistline, strengthens the lungs and the blood vessels. p40

APPENDICITIS AND CHRONIC STOMACH ACHE:
These are generally due to defective functioning of liver, spleen or the intestines and this asana helps in toning up these organs. If the person has undergone any abdominal operations before, this asana has to be modified somewhat in that it has to be done in combination with halasana. One leg will be as in Karnapidasana. This is done by getting to the halasana variation (3) position and by bending each leg alternately to bring the knee near the ear. This way the pressure on the abdominal region is reduced. In the case of those not operated, Karnapidasana is done in combination with ardhapadmasana to increase the pressure on the abdominal region. Start with Sarvangasana position, keep one leg upright, bend the other at the knee, bring the heel to rest near the groin (ardhapadmasana position) on the other side, the left heel near the right groin, and vice versa. Now exhale and bring the upright leg behind the head as in Halasana, then bend the knee and bring it near the ear as in Karnapeedasana.
Another variation which is effective combination of Exapadasarvangasana-front with Karnapidasana. In this variation, one leg is kept upright and stretched, the other leg is taken behind the head as in Halasana and then the knee bent and brought back near the ear as in Karnapidasana. In the final position the thigh should press the abdomen. Repeat with the other leg.
In all these positions pranayama is to be done with holding out of breath after exhalation. Pranayama will have therefore periods of both Anther and Bahya kumbhakam. These two periods will be equal and be for 2 or 5 seconds. The number of bending of each leg will be as a maximum. The number of each leg should be the same so that both sides of the body may be equally exercised.
The above variations of the asana are according to RAJA YOGA. p44

SUPTAPADA ANGUSHTASANA

Stage IV
1. Lie flat on the ground, on the back, both legs stretched, knees together, arms stretched and by the side of the body, the palms open and touching the ground.
2. While exhaling, bring both legs to an upright position by bending at the hips, keeping the knees together, and the legs stretched, the toes pointed.
3. Turn head to the left, so that the left ear touches the ground. Bring the left arm stretched, with s sweeping motion on the ground, to a position at right angles to the body.
4. Take one or two deep breaths.
5. While exhaling, bring both the legs together to lie on the ground, on the right side of
the body. The knees should not be bent, but the legs kept stretched. The toes should now be at the level of the shoulders, so that when both the toes are caught hold by the thumb and forefinger of the out-stretched right arm, the right arm and the left arm may be in a straight line at the shoulder level and at right angles to the body. As far as possible, try to keep the left side of the back near the ground as possible.
6. Do not less than six rounds pranayama. The pranayama should be done with both Anthar and Bahya Kumbhakam of two to five seconds duration each, the period of Anthar Kumbhakam being kept equal to the period of Bahya Kumbhakam.
7. While inhaling, bring the legs to the upright position, after releasing the toes. Bring the head to the normal position.
8. Repeat on the left side. The legs are straight away brought from the upright position to lie on the left side of the body without taking the legs to the position in step 1.
9. Do the same number of rounds of pranayama as on the right side, the periods of Anthar and bahya kumbhakam being the same as on the right side.
10. While inhaling bring the legs to the upright position after releasing the toes.
11. Bring the head to the normal position, the arms to the normal position by the side of
the body, and take one or two deep breaths.
12. While inhaling lower the legs to lie flat on the ground as in step one.
In some treatises on Yoga Stages II and III of Supthapadaangushta asana are called JATHARA PARIVRITTI though the asana affects other regions of the body besides the abdominal region. 
p65-68


NOTE:
See text for Kumbhaka in the pranayma and in yoga therapy section.


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



19. What is meant by jitasvasam?
When a person is capable of doing any length of bhya kumbhaka (hold after exhalation) and anta kumbhaka (hold after inhalation) without getting tired, such a person is called a jitasvasi

23. What about the practice for women after child birth?
They can begin to practice three days after the childs birth, if they do not have any illness. They should begin with ujjayi pranayama, without kumbhaka, twenty-four breaths three times a day, for one week. They can then proceed to lie on their backs, legs bent, in desk pose and move their arms with breathing. Still later, they can raise their legs to touch the toes. After 15 days they can do dandasana. After a month they can do parvatasana and nadisodhana pranayama. After two months they can do sarvangasana. However, during pregnancy they should not do sirsasana and sarvangasana after the 5th month. They should not do paschimottanasana and similar postures. they may do mahamudra.


28. What is the procedure one follows for yoga?
Asanas are the means of reducing illness and for promoting health. The practice of asana makes a person agile. The asanas should be taught according to the individuals requirements and must be taught in vinyasa. There should be a niyama in the breathing while practicing asanas. Inhalation and exhalation should be decided according to the movement of the body. The length of the recaka and puraka depends on the asana and this is what helps the healing of illness. If the correct breathing is not done the practice is a waste of time. It is important to learn from a guru. If a person learns from a book then there is no point blaming the sastras from not realising the benefits mentioned therein.


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Simon Borg Olivier's 84 key postures course - Three ways to approach it.

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This is the Appendix from yesterdays post, I wanted to give it a stand alone post to make it easier to find.

Nice to see this post on Janu Sirsasana from Simon Borg-Olivier (See below). I was watching and exploring in practice Simon's Janu Sirsasana instruction just yesterday, while following his new, and really quite excellent course '84 key postures for strength and flexibility' .

http://simonborgolivier.com/84-key-postures/


I'm quite excited by this course actually (see appendix below for more details of the course content), just the kind of thing I asked him for a while back after studying his spinal sequence videos on YouTube, how he would put his physiotherapists hat on and explain exactly what is going on in the body during a posture and why the transformational effect of the slightest tweak in our approach. Here in Janu Sirsasana it becomes a 'kidney stretch' rather than yet another hamstring stretch. And then he's teaching how to keep these postures safe for beginners or those with injuries or just different approaches for those with different intentions. Marvellous.

For me, following Krishnamacharya's suggestion to stay in certain key asana longer (although Simon is beginning to make me question why I would want to if the asana, or its variation, is practiced effectively enough), to practice with more efficiency and benefit without causing injury today or after ten years of practicing the posture in this way it's a godsend. My Ashtangi friends will also love this course I suspect, blog posts to come soon although I'm only ten videos in ( but also some skipping around as we can follow the order of the videos or jump to the asana we are particularly interested in -see appendix below) and there are another forty to go (videos seem to be around 10-30 minutes each).


Three ways to approach Simon Borg Olivier's 84 key postures course

1. Following the course presentation - recommended

2. By asana

3. By Ashtanga primary/intermediate series sequence ( I've included a concordance ) 

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Course Overview

In this short course Simon Borg-Olivier, who has been teaching yoga and treating people’s injuries as a registered physiotherapist for 30 years, shares his insight into 84 popular hatha yoga postures by giving detailed instructions for each joint complex in each posture to help you enhance the efficiency of your practice in the safest possible way.  By applying these carefully developed instructions, you will be able to create strength and flexibility, and improve circulation in order to generate and move energy inside your body more effectively.

WHO IS THIS COURSE FOR

For anyone from beginners to advanced practitioners who want to practice safer and more effective yoga, or want to teach safer and more effective yoga to others.

WHAT YOU GET

Cost $387

54 sessions
(total duration: 20 hours)
Unlimited access to the online streaming videos

Discussion boards to interact with Simon Borg-Olivier and other students


Intro video


 

There is something curious about this course, one of those glorious accidents perhaps. It's not Simon's normal format. I suspect but don't know for sure but I get the feeling Simon was invited to teach the asana element of a teacher training or perhaps just asked to teach a workshop on 84 postures. Either way, many of the participants in the course seem to be experienced practitioners, teachers or teacher trainees. This allows/encourages Simon to give perhaps more information than he perhaps would on a regular workshops. The amount of information he shares on the course, the detail he goes into, is quite astounding yet because it is demonstration based it's palatable on several levels. I suspect you could come back to this course again and again and discover things you missed the first eight times you watched/followed it.  

With the 84 posture format it would be excellent I'm sure for my Ashtangi friends and readers of the blog as well as for those also coming from Vinyasa Krama. Hopefully it will promote safer practice, for our bodies during practice tomorrow morning as well as ten years down the line, it should promote a more efficient, more beneficial practice

Three ways we might follow the course, see lists below.


1. Following the course presentation - recommended

2. By asana

3. By Ashtanga primary/intermediate series sequence

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1. In the order the course is presented



SBO-84P | 84 Postures

1. INTRODUCTION

Video 1: Introduction 6:27

2. PRACTICE GUIDELINES

Video 4: Purpose  of  YOGA 5:45
Video 3: Practice Guidelines 1:21
Video 8: Practice Guidelines 2 7:09

3.  ANATOMY AND PHYSIOLOGY OF YOGA 1.

Video 2a: Anatomy and Physiology of YOGA 14:56
4. ANATOMY AND PHYSIOLOGY OF YOGA 2.

Video 2b: Anatomy and Physiology of YOGA 14:10
5.  ANATOMY AND PHYSIOLOGY OF YOGA 3.

Video 2c: Anatomy and Physiology of YOGA 18:29
6. ANATOMY AND PHYSIOLOGY OF YOGA 4.

Video 2d: Anatomy and Physiology of YOGA 16:58
7. ANATOMY AND PHYSIOLOGY OF YOGA 5.

Video 2e: Anatomy and Physiology of YOGA 16:33
8. BANDHAS – USE IN BREATHING 1.

Video 5a: Bandhas 1_Use in Breathing 14:53
9. BANDHAS – USE IN BREATHING 2.

Video 5b: Bandhas 1 Use in Breathing 22:27
10. BANDHAS – USE IN BREATHING 3.

Video 5c: Bandhas 1 Use in Breathing  16:41
11. BANDHAS – USE IN BREATHING 4.

Video 5d: Bandhas 1 Use in Breathing 21:33
12. BANDHAS – USE IN BREATHING 5.

Video 5e: Bandhas 1 Use in Breathing  18:02
13.  BANDHAS – USE IN BREATHING 6.

Video 5f: Bandhas 1 Use in Breathing 29:21
14. BANDHAS – USE IN POSTURES                

Video 6:  Bandhas 2 Use in Postures 23:32
15. BREATHING AND DIET 1

Video 7: Breathing and Diet 1 4:25
16. BREATHING AND DIET 2

Video 28a: Breathing and Diet 2 19:28
17. BREATHING AND DIET 3

Video 28b: Breathing and Diet 2 24:02
18. SYSTEMS OF YOGA

Video 10: Systems of Yoga – Difference Between Ashtanga Vinyasa and  Iyengar Systems 2:20
19. BASIC POSTURES AND BENDING FORWARD 1.

Video 9a: Basic Postures and Bending Forwards 20:07

20. BASIC POSTURES AND BENDING FORWARD 2.

Video 9b: Basic Postures and Bending Forwards 29:59
21. STANDING POSTURES 1.

Video 11a: Standing Postures 1 Triangle Postures 16:50
22. STANDING POSTURES 2.

Video 11b: Standing Postures 1 Triangle Postures 30:14
23. STANDING POSTURES 3.

Video 12a: Standing Postures 2 Lateral Postures 25:11
24.  STANDING POSTURES 4.

Video 12b: Standing Postures 2 Lateral Postures 20:00
25. STANDING POSTURES 5.

Video 12c: Standing Postures 2 Lateral Postures  19:17
26.  STANDING POSTURES 6.

Video 12d: Standing Postures 2 Lateral Postures 25:23
27. STANDING POSTURES 7.

Video 13: Standing Postures 3 Wide-Legged Forward Bending Postures 26:20
28.  STANDING POSTURES 8.

Video 14: Standing Postures 4 Single-Legged Forward Bending Postures 19:02
29. STANDING POSTURES 9.

Video 15a: Standing Postures 5 One –Legged postures 16:21
30.  STANDING POSTURES 10

Video 15b: Standing Postures 5 One –Legged postures 24:31
31. STANDING POSTURES 11

Video 18: Standing Postures 6 13:08
32.  ABDOMINAL POSTURES

Video 27: Abdominal Postures 12:39
33.  BENDING BACKWARDS 1.

Video 16: Basic Postures and Bending Backwards Warrior and Cobra Postures 17:37
34.  BENDING BACKWARDS 2.

Video 25: Backward bending postures 23:41
35.  POSTURES WITH FORWARD AND BACKWARD BENDING COMPONENTS

Video 17: Postures with forward and backward bending components 08:33
36. SALUTE TO THE SUN POSTURES 1.

Video 20: Salute to the Sun Postures 1 12:51
37. SALUTE TO THE SUN POSTURES 2.

Video 21: Salute to the Sun Postures 2 11:30
38. SALUTE TO THE SUN POSTURES 3.

Video26: Downward Facing Dog Special Features 11:48
39. FLOOR POSTURES 1.

Video 19a: Floor Postures 1 17:15
40. FLOOR POSTURES 2.

Video 19b: Floor Postures 1 14:44
41. FLOOR POSTURES 3.

Video 19c: Floor Postures 1 25:43
42. FLOOR POSTURES 4.

Video 19d: Floor Postures 1 30:30
43. FLOOR POSTURES 5.

Video 24a: Floor Postures 2  26:01
44. FLOOR POSTURES 6.

Video 24b: Floor Postures 2 32:09
45. FLOOR POSTURES 7.

Video 29a: Floor Postures 3 20:09
46. FLOOR POSTURES 8.

Video 29b: Floor Postures 3 28:10
47. FLOOR POSTURES 9.

Video 32: Floor Postures 28:25
48. FLOOR POSTURES 10.

Video 31: Floor Postures 4 32:21
49. INVERSIONS, PREPARATIONS AND RELEASE 1.

Video 33a: Inversions, Preparations and Release 23:18
50. INVERSIONS, PREPARATIONS AND RELEASE 2.

Video 33b: Inversions, Preparations and Release 28:34
51. SEATED FINISHING POSTURES

Video 22: Seated Finishing Postures 7:20
52. SEATED MEDITATION AND SUPINE RELAXATION

Video 34: Seated Meditation and Supine Relaxation 05:31
53. LED-PRACTICE

Video23: Led-practice 27:51
54. DEMONSTRATION PRACTICE

Video 30: Demonstration Practice 25:05


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2. By Asana

84 KEY POSTURES – LIST OF POSTURES WITH INDEXES

1; Tadasana (Mountain Posture)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

2; Utkatasana (’Upward-facing Squat Posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

3; Pascimotanâsana (Back-spinal-lengthening forward-bending posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

4; Uttanasana (Standing hands-to-floor Posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

5; Parsvotanasana (Standing One-sided Forward-bending Posture)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

6; Trikonasana (Triangle Posture).

Video 11a: Standing Postures 1_ Triangle Postures

Video 11b: Standing Postures 1_ Triangle Postures

7; Ardha Candrâsana (Half Moon Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

8; Parivrtta Ardha Candrasana (Revolving Half Moon Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

9; Parivrtta Trikonasana (Revolving Triangle Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

10; Parsvakonasana (Side-spine Lengthening Postures)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

11; Parivrtta Parsvakonasana (Revolving Side-spine Lengthening Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

Wide-legged forward bending postures like the Paddotonâsana -series.

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

12; Palms flat to the floor

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

13; No hands, hands on the hips

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

14; Hands interlocked

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

15; Grab the big toes or the ankles

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

Single-Legged Forward Bending Postures like Parsvotonasana (Standing One-sided Forward-bending Posture).

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

16; Interlock the hands behind the back

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

17; Fingers interlocked behind the back of the neck

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

18; Hands out in front

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

19; Vriksasana (Tree Posture)

Video 15a: Standing Postures 5_One –Legged postures

20; Garudasana (Eagle Posture).

Video 15a: Standing Postures 5_One –Legged postures

Padanghusthâsana-series (Forward-bending One-legged Postures)

Video 15b: Standing Postures 5_One –Legged postures

21; Forward-bending

Video 15b: Standing Postures 5_One –Legged postures

22; Side-bending

Video 15b: Standing Postures 5_One –Legged postures

23; Natarajasana (Dancer’s Posture)

Video 18: Standing Postures 6

24; Navasana (Boat Posture)

Video 27: Abdominal Postures

25; Ardha Navasana (Half Boat Posture)

Video 27: Abdominal Postures

26; Virabhadra Asana (The Warrior Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

27; Shalabasana (Locust Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

28; Bhujang asana (The Cobra Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

29; Dhanurasana (Prone Backward-bending Posture)

Video 25: Backward bending postures

30; Ustrasana (Camel Posture)

Video 25: Backward bending postures

31; Eka Pada Rajakapotasana (One-Legged Pigeon Posture)

Video 25: Backward bending postures

32; Utthita San Calanâsana (Standing Lunge Posture)

Video 5: Basic applied anatomy and physiology of yoga

Video 17: Postures with forward and backward bending components

33; Hanumanasana (Front Splits Posture)

Video 5: Basic applied anatomy and physiology of yoga

Video 17: Postures with forward and backward bending components

Salute to the sun postures

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

34; Urdhva Hastasana (Arms Up)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

35; Uttanasana (Forward Fold)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

36; Ardha Uttanasana (Flat Back Position)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

37; Ardha Uttanasana (Flat Back Position)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

38; Chaturanga Dandasana (Four-Legged Staff Pose)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

39; Urdhva Mukha Svanasana (Upward Facing Dog)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

40; Adho Mukha Svanasana (Downward Facing Dog)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

41; Ardha Baddha Padma Paschimottanasana (Half Lotus Seated Forward Posture’ )

Video 19a: Floor Postures 1

Video 19c: Floor Postures 1

42; Kasyapasana (Half Lotus One-Arm One-Leg Balance)

Video 19a: Floor Postures 1

Video 19c: Floor Postures 1

43; Vashistasana (Side Plank Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

44; Sukhasana (Pleasant Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

45; Swastikasana (Auspicious Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

46; Siddhasana (Accomplished Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

47; Purvotanâsana (Front-spinal-lengthening backward-bending Posture)

Video 19d: Floor Postures 1

48; Janu Sirsasana (Head-to-knee Posture)

Video 19d: Floor Postures 1

49; Upavistha Konasana (Wide-Legged Seated Forward Bend Posture)

Video 24a: Floor Postures 2

50; Samakonasana (Side Splits Posture)

Video 24a: Floor Postures 2

51; Kurmasana (Tortoise Posture)

Video 24b: Floor Postures 2

52; Upavistha Konasana (Wide-Legged Seated Forward Bend Posture)

Video 24b: Floor Postures 2

53; Eka hasta bhujasana (Leg-over-shoulder Posture)

Video 24b: Floor Postures 2

54; Lolasana (Pendulum Posture)

Video 24b: Floor Postures 2

55; Astavakrasana (The Eight Angled Arm Balance Posture)

Video 24b: Floor Postures 2

56; Titibasana (Firefly Arm Balance Posture).

Video 24b: Floor Postures 2

57; Ghomukasana (Cow Posture)

Video 29a: Floor Postures 3

58; Bhadrasana (Ankle-Seated Cobbler’s Posture)

Video 29a: Floor Postures 3

59; Bhagasana (Heel Raise Cobbler’s Posture)

Video 29a: Floor Postures 3

60; Kandasana (Feet On Chest Cobbler’s Posture)

Video 29a: Floor Postures 3

61; Tiryam Mukha Eka Pada Paschimottanasana (Half Kneeling Forward Bend)

Video 29b: Floor Postures 3

62; Ardha Matsyendrasana (Half Seated Spinal Twist Posture)

Video 29b: Floor Postures 3

63; Marichyasana (Seated Half Squat Posture)

Video 29b: Floor Postures 3

64; Matsyendrasana (Seated Spinal Twist Posture)

Video 32: Floor Postures

65; Marichyasana (Seated Half Squat Posture)

Video 32: Floor Postures

66; Bharadvajasana (Seated Half- Lotus Half-Kneeling Twist Posture)

Video 32: Floor Postures

67; Supta Padangusthasana (Reclining Big Toe Posture)

Video 31: Floor Postures 4

68; Jathara Parivartanasana (Revolving Abdomen Posture)

Video 31: Floor Postures 4

69; Parsva Savasana (Side Corpse Posture).

Video 31: Floor Postures 4

70; Malasana (Squatted Garland Posture)

Video 33a: Inversions, Preparations and Release

71; Bakasana (Crow Arm Balance Posture)

Video 33a: Inversions, Preparations and Release

72; Headstand

Video 33a: Inversions, Preparations and Release

73; Handstand

Video 33a: Inversions, Preparations and Release

Neck-releasing postures:

Video 33a: Inversions, Preparations and Release

74; Uttansana with the palm on the floor

Video 33a: Inversions, Preparations and Release

75; Uttansana with palm to calves and elbows behind the knees

Video 33a: Inversions, Preparations and Release

76; Uttansana with interlocked hands behind the back

Video 33a: Inversions, Preparations and Release

The Prerequisites of Sarvangasana (Shoulderstand)

Video 33b: Inversions, Preparations and Release

77; Legs up the wall posture (Salamba urdhva prasarita padâsana)

Video 33b: Inversions, Preparations and Release

78; Unsupported arms-up bridge posture (Niralamba urdhva hasta setu bandhâsana)

Video 33b: Inversions, Preparations and Release

79; Back-spinal-lengthening forward-bending posture (Pascimotanâsana) 


Video 33b: Inversions, Preparations and Release

80; Toes-to-floor unsupported half sit-up two-knees-to-chest posture (Padangustha niralamba uttana supta pavan muktâsana)

Video 33b: Inversions, Preparations and Release

81; Front-spinal-lengthening backward-bending posture’ (Purvotanâsana)

Video 33b: Inversions, Preparations and Release

82; Sarvangasana (Shoulderstand)

Video 33b: Inversions, Preparations and Release

83; Halasana (Plough Posture)

Video 33b: Inversions, Preparations and Release

84; Uttana Padasana (Supine intense neck-extending-releasing posture)


Video 33b: Inversions, Preparations and Release


***

3. Concordance with Ashtanga Primary and Intermediate asana 

UPDATE: I've added a concordance list between Ashtanga Primary/Intermediate series and the course videos to my post on Simon Borg-Olivier's new 84 key postures course.

Following the 'guidelines for practice' (videos 2-6 ) one might choose to watch one or two videos before getting on the mat and work the suggestions into practice of the related asana.

The videos 9a, 9b - 20, 21, 26 - 33a along with the practice guidelines would make for a safer approach to our practice of all standing and forward bending asana.

LIST 3. Concordance with Ashtanga Primary and Intermediate asana

Note: I haven't included the handful of related Advanced series asana that Simon mentions on the course - see the above list 8on blog post).

There are some question marks below beside certain asana especially in the second half of intermediate - It may be that some of these asana are mentioned in passing in relation to similar asana on other videos that I've missed (for example, I'm sure he mentioned kukkutasana in passing but need to find it again) - I  may update the list if I come across them or I may add links to posts in which Simon mentions these asana in his blog or on his Youtube channel E.G. Simon has posted several videos on Mayurasana.


Simon’s 84 Postures course - Primary Series Asana List


Samasthiti - 9a, 9b

SURA NAMASKARA A+B

-Uttanasana - 9a, 9b - 20, 21, 26 - 33a

-Chaturanga Dandasana - 20, 21, 26

-Urdhva-Mukha-Shvanasana - 20, 21, 26

-Adho-Mukha-Shvanasana - 20, 21, 26

-Utkatasana 9a, 9b

-Virabhadrasana - 26

STANDING

Padangushtasana Padahastasana - 9a, 9b - 20, 21, 26 - 33a

Utthita Trikonasana - 11a, 11b

Parivritta Trikonasana - 12a-12d

Utthita Parshvakonasana - 12a-12d

Parivritta Parshvakonasana - 12a-12d

Prasarita Padottanasana A  B  C  D - 13

(Hanumanasana) - 5, 17

Parshvottanasana - 14

Utthita Hasta Padangushtasana - 14, 15b

Ardha Baddha Padmottanasana - 15b

Utkatanasana - 9a, 9b

Virabhadrasana (A & B) - 26

PRIMARY

Dandasana - 9a, 9b

Paschimattanasana (3 types) - 9a, 9b

Purvatanasana - 19d, 33b

Ardha Baddha Padma Paschimattanasana -19a, 19b

Tiriangmukhaikapada Paschimattanasana  -19a,19b , 29b

Janu Shirshasana A B C  - 19a,

Marichyasana A B C D - 29b - 32

(Bharadvajrasana) - 29b

Navasana - 24

Bhujapidasana - 33a

Kurmasana - 24b

Supta Kurmasana - 24b

Garbha Pindasana ?

Kukkutasana ?

Baddha Konasana - 58 - 29a

Upavishta Konasana - 24a

Supta Konasana - 24a

Supta Padangushtasana - 31

Ubhaya Padangushtasana - 31

Urdhva Mukha Paschimattanasana 31

Setu Bandhasana - 33b

FINISHING

Urdhva Dhanurasana - 25

Paschimattanasana - 9a, 9b

Sarvangasana - 33b

Halasana - 33b

Karnapidasana - 33b

Urdhva Padmasana Pindasana Matsyasana - 33b

Uttana Padasana - 33b

Shirshasana - 33a

Baddha Padmasana - 19b, 19c

Padmasana - 19b

Uth Pluthi - 24b


INTERMEDIATE
Pashasana ?

Krounchasana- 29b

Shalabhasana A Shalabhasana B - 16

Bhekasana - 33a

Dhanurasana - 25

Parshva Dhanurasana- 25

Dhanurasana - 25

Ustrasana- 25

Laghu Vajrasana

Kapotasana A  B - 25?

Supta Vajrasana ?

Bakasana A B - 33a

Bharadvajasana - 32

Ardha Matsyendrasana - 29b - 32

Eka Pada Shirshasana -24b?

Dwi Pada Shirshasana - 24b?

Yoga Nidrasana -24b?

Tittibhasana A B C - 24b

Pincha Mayurasana ?

Karandavasana ?

Mayurasana ?

Nakrasana ?

Vatayanasana ?

Parighasana ?

Gomukhasana A  B - 29a

Supta Urdhva Pada Vajrasana ?

Mukta Hasta Shirshasana A B  C ?

Baddha Hasta Sirshasana A  B  C  D ?



***

What is it about Mudra? Also... Simon Borg-Oliver on Janu Sirsasana and an intro to Simon's new 84 key postures course

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This post was basically an fb share this morning but I want to post it here to come back later to this idea of mudra I'm starting to circle

What is it about the profound experience I encounter in mudra that makes it different from Pranayama and other forms of sitting. Mudra, it's asana but not, Pranayama but not, Sitting but not. As gesture, mudra expresses, indicates, signals....., enquires. For Heidegger a philosophical question is a formal indication (ontology) towards that which can not be answered (Ontic). Perhaps mudra then is 'gesture towards' and as such, earns its keep.

See my proficient primary (a mudra approach to asana) page
http://grimmly2007.blogspot.jp/p/proficient-primary-project.html

also this earlier post on mudras
http://grimmly2007.blogspot.jp/2013/01/mudras-sri-k-pattabhi-jois-and-dasa.html



Plus I'm too excited by Simon's new course not to hold off mentioning it any longer.




Nice to see this post on Janu Sirsasana from Simon Borg-Olivier (See below). I was watching and exploring in practice Simon's Janu Sirsasana instruction just yesterday, while following his new, and really quite excellent course '84 key postures for strength and flexibility' .

http://simonborgolivier.com/84-key-postures/


I'm quite excited by this course actually (see appendix below for more details of the course content), just the kind of thing I asked him for a while back after studying his spinal sequence videos on YouTube, how he would put his physiotherapists hat on and explain exactly what is going on in the body during a posture and why the transformational effect of the slightest tweak in our approach. Here in Janu Sirsasana it becomes a 'kidney stretch' rather than yet another hamstring stretch. And then he's teaching how to keep these postures safe for beginners or those with injuries or just different approaches for those with different intentions. Marvellous.

For me, following Krishnamacharya's suggestion to stay in certain key asana longer (although Simon is beginning to make me question why I would want to if the asana, or its variation, is practiced effectively enough), to practice with more efficiency and benefit without causing injury today or after ten years of practicing the posture in this way it's a godsend. My Ashtangi friends will also love this course I suspect, blog posts to come soon although I'm only ten videos in ( but also some skipping around as we can follow the order of the videos or jump to the asana we are particularly interested in -see appendix below) and there are another forty to go (videos seem to be around 10-30 minutes each).

Note: I mentioned above that Simon is making me question my (Krishnamacharya's) long stays in certain asana, why practice an asana ( for a long time) as a mudra if I can tweak the asana to get the maximum of any physical benefit in a shorter time and thus save more time say for Pranayama and perhaps a longer sit. Mudra is considered a gesture. Is the experience of exploring this gesture, the breath, of the space between the breath in a mudra of sufficient value outside of any physical benefits.

What is it about the profound experience I encounter in mudra that makes it different from Pranayama and other forms of sitting. Mudra, it's asana but not, Pranayama but not, Sitting but not. As gesture, mudra expresses, indicates, signals....., enquires. For Heidegger a philosophical question is a formal indication (ontology) towards that which can not be answered (Ontic). Perhaps mudra then is 'gesture towards' and as such, earns its keep.

Heidegger's Method: Philosophical Concepts as Formal IndicationsAuthor(s): Daniel O. DahlstromSource: The Review of Metaphysics, Vol. 47, No. 4 (Jun., 1994), pp. 775-795


Here's Simon's fb post in italics on Janu Sirsasana that I hope he doesn't mind me sharing here....




"The ‘Head to knee posture’ (Janu Sirsasana) with its simple to complex variations has many things that are important to realise before simply practicing or teaching them. While there are many potential benefits to these postures if you do them correctly and your body has the prerequisite abilities, there are many potential risks and dangers if they are done incorrectly or if you are if you are physically unprepared. 

In our beginner level courses Bianca Machliss and I have chosen to teach mainly ‘Sukha (simple) Janu Sirsasana', where the bent leg hip and knee are not taken so far back. This does not require any axial rotation (twisting) of the spine to bend forward over the straightened knee. In this version the two hips the same distance from the straighter limbed foot. In this simple form the spine is mainly in flexion. However, in the full (paripurna) form of this posture (shown in the first photo here as ‘Janu Sirsasana’ but also known as 'Paripurna Janu Sirsasana’)) for the more flexible or experienced people, the bent (flexed) knee is drawn further backward so that its hip is further away from the opposite knee. This means that when the posture is complete the spine is not in pure flexion but in a combined movement of spinal flexion (bending forward), spinal axial rotation (twisting) and spinal lateral flexion (side-bending), which is obviously more difficult to do safely and effectively.

’Sukha Janu Sirsasana’ is effectively a simpler version of the 'Half lotus forward bend' (Ardha Baddha Padma Pascimottonasana) that is in practiced two postures earlier than 'Janu Sirsasana' in the Ashtanga vinyasa primary Series. For a natural-bodied person with hips that are open from a life-time of sitting cross-legged the ‘Half lotus forward bend ‘ is actually much easier than 'Paripurna Janu Sirsasana’. This helps explain why the 'Half lotus forward bend' (Ardha Baddha Padma Pascimottonasana) is placed earlier than the ‘Janu Sirsasana' postures in the Ashtanga vinyasa primary series. However, most normal people today do not have ’natural bodies’ and hence traditional yoga designed for natural bodies has to be approached very carefully by most ’normal’ people.

In our advanced classes and in the Ashtanga vinyasa yoga of Sri K Pattabhi Jois, we practice the full (paripurna) form of 'Janu Sirsasana'. To prepare for this there are other postures that are more difficult for the modern body including a ‘Bound half lotus forward bend posture’ (Ardha Baddha Padma Pascimottonasana) and a ‘Half kneeling forward bend posture’ (Triang Mukha Eka Pada Pascimottanasana).

In the Ashtanga Vinyasa yoga system 'Paripurna Janu Sirsasana' is followed by two more difficult versions of this posture where the bent (flexed) knee is in a more difficult position. The first of these postures actually has the perineum sitting on one heel and is called ‘Bhadra Janu Sirsasana' (also called 'Janu Sirsasana B’) (shown in the attached photo). The second of these difficult postures is called ‘Bhaga Janu Sirsana' (also called Janu Sirsasana C) and has the ball of the foot to the floor and the heel raised. 

Both of these postures give a different movement to the hip and knee joint, both movements prevent excessive hip flexion (especially Janu Sirsasana C), which forces your spinal flexors to be used and forces the spine to bend forward, rather than just allowing simple hip flexion. In Bhadra Janu Sirsasana (Janu Sirsasana B) sitting on the heel stimulates the marmas and acupuncture points both on the foot and on the part of the body your heel touches, which ideally should be the perineum (also really stimulating the mula bandha (the root lock) and the muladhara cakra (root energy centre)). In 'Bhaga Janu Sirsasana' (Janu C) having the ball of the foot to the floor with the heel raised stimulates the marma and acupuncture points on the ball of the foot but it also internally rotates the knee, and thus can prevent hip flexion (but which can strain many knees if unprepared), but which is a movement that has to be learnt to get advanced meditation postures such as siddhasana (a more advanced version of the lotus posture), which is the best posture also for pranayama (breath control) but in it the hips are prevented from hip flexion.



I love sharing this sort of information and if you want to get more please join me for part or all of our very practical course on the ‘Applied Anatomy and Physiology of Yoga’ in Sydney from the 19-28 May 2017 (https://yogasynergy.com/upcoming-events/interactive-applied-anatomy-physiology-of-yoga-sydney/ )

You can see more about all our international live and online teaching on my professional Facebook at https://www.facebook.com/pg/simonborgolivierpublic/events/ and also at https://yogasynergy.com/upcoming-events/

Simon Borg-Olivier

________________________


Krishnamacharya aged 83 I think  from the photos added to the later edition of his Yogasanagalu
(Originally published Mysore 1941)
The completed translation of Yogasanagalu is available on my free downloads page 






Appendix 

Three ways to approach Simon Borg Olivier's 84 key postures course

Course Overview

In this short course Simon Borg-Olivier, who has been teaching yoga and treating people’s injuries as a registered physiotherapist for 30 years, shares his insight into 84 popular hatha yoga postures by giving detailed instructions for each joint complex in each posture to help you enhance the efficiency of your practice in the safest possible way.  By applying these carefully developed instructions, you will be able to create strength and flexibility, and improve circulation in order to generate and move energy inside your body more effectively.

WHO IS THIS COURSE FOR

For anyone from beginners to advanced practitioners who want to practice safer and more effective yoga, or want to teach safer and more effective yoga to others.

WHAT YOU GET

Cost $387

54 sessions
(total duration: 20 hours)
Unlimited access to the online streaming videos

Discussion boards to interact with Simon Borg-Olivier and other students


Intro video




There is something curious about this course, one of those glorious accidents perhaps. It's not Simon's normal format. I suspect but don't know for sure but I get the feeling Simon was invited to teach the asana element of a teacher training or perhaps just asked to teach a workshop on 84 postures. Either way, many of the participants in the course seem to be experienced practitioners, teachers or teacher trainees. This allows/encourages Simon to give perhaps more information than he perhaps would on a regular workshops. The amount of information he shares on the course, the detail he goes into, is quite astounding yet because it is demonstration based it's palatable on several levels. I suspect you could come back to this course again and again and discover things you missed the first eight times you watched/followed it.  

With the 84 posture format it would be excellent I'm sure for my Ashtangi friends and readers of the blog as well as for those also coming from Vinyasa Krama. Hopefully it will promote safer practice, for our bodies during practice tomorrow morning as well as ten years down the line, it should promote a more efficient, more beneficial practice

Three ways we might follow the course, see lists below.


1. Following the course presentation - recommended

2. By asana

3. By Ashtanga primary/intermediate series sequence

*
2. In the order the course is presented



SBO-84P | 84 Postures

1. INTRODUCTION

Video 1: Introduction 6:27

2. PRACTICE GUIDELINES

Video 4: Purpose  of  YOGA 5:45
Video 3: Practice Guidelines 1:21
Video 8: Practice Guidelines 2 7:09
3.  ANATOMY AND PHYSIOLOGY OF YOGA 1.

Video 2a: Anatomy and Physiology of YOGA 14:56
4. ANATOMY AND PHYSIOLOGY OF YOGA 2.

Video 2b: Anatomy and Physiology of YOGA 14:10
5.  ANATOMY AND PHYSIOLOGY OF YOGA 3.

Video 2c: Anatomy and Physiology of YOGA 18:29
6. ANATOMY AND PHYSIOLOGY OF YOGA 4.

Video 2d: Anatomy and Physiology of YOGA 16:58
7. ANATOMY AND PHYSIOLOGY OF YOGA 5.

Video 2e: Anatomy and Physiology of YOGA 16:33
8. BANDHAS – USE IN BREATHING 1.

Video 5a: Bandhas 1_Use in Breathing 14:53
9. BANDHAS – USE IN BREATHING 2.

Video 5b: Bandhas 1 Use in Breathing 22:27
10. BANDHAS – USE IN BREATHING 3.

Video 5c: Bandhas 1 Use in Breathing  16:41
11. BANDHAS – USE IN BREATHING 4.

Video 5d: Bandhas 1 Use in Breathing 21:33
12. BANDHAS – USE IN BREATHING 5.

Video 5e: Bandhas 1 Use in Breathing  18:02
13.  BANDHAS – USE IN BREATHING 6.

Video 5f: Bandhas 1 Use in Breathing 29:21
14. BANDHAS – USE IN POSTURES                

Video 6:  Bandhas 2 Use in Postures 23:32
15. BREATHING AND DIET 1

Video 7: Breathing and Diet 1 4:25
16. BREATHING AND DIET 2

Video 28a: Breathing and Diet 2 19:28
17. BREATHING AND DIET 3

Video 28b: Breathing and Diet 2 24:02
18. SYSTEMS OF YOGA

Video 10: Systems of Yoga – Difference Between Ashtanga Vinyasa and  Iyengar Systems 2:20
19. BASIC POSTURES AND BENDING FORWARD 1.

Video 9a: Basic Postures and Bending Forwards 20:07

20. BASIC POSTURES AND BENDING FORWARD 2.

Video 9b: Basic Postures and Bending Forwards 29:59
21. STANDING POSTURES 1.

Video 11a: Standing Postures 1 Triangle Postures 16:50
22. STANDING POSTURES 2.

Video 11b: Standing Postures 1 Triangle Postures 30:14
23. STANDING POSTURES 3.

Video 12a: Standing Postures 2 Lateral Postures 25:11
24.  STANDING POSTURES 4.

Video 12b: Standing Postures 2 Lateral Postures 20:00
25. STANDING POSTURES 5.

Video 12c: Standing Postures 2 Lateral Postures  19:17
26.  STANDING POSTURES 6.

Video 12d: Standing Postures 2 Lateral Postures 25:23
27. STANDING POSTURES 7.

Video 13: Standing Postures 3 Wide-Legged Forward Bending Postures 26:20
28.  STANDING POSTURES 8.

Video 14: Standing Postures 4 Single-Legged Forward Bending Postures 19:02
29. STANDING POSTURES 9.

Video 15a: Standing Postures 5 One –Legged postures 16:21
30.  STANDING POSTURES 10

Video 15b: Standing Postures 5 One –Legged postures 24:31
31. STANDING POSTURES 11

Video 18: Standing Postures 6 13:08
32.  ABDOMINAL POSTURES

Video 27: Abdominal Postures 12:39
33.  BENDING BACKWARDS 1.

Video 16: Basic Postures and Bending Backwards Warrior and Cobra Postures 17:37
34.  BENDING BACKWARDS 2.

Video 25: Backward bending postures 23:41
35.  POSTURES WITH FORWARD AND BACKWARD BENDING COMPONENTS

Video 17: Postures with forward and backward bending components 08:33
36. SALUTE TO THE SUN POSTURES 1.

Video 20: Salute to the Sun Postures 1 12:51
37. SALUTE TO THE SUN POSTURES 2.

Video 21: Salute to the Sun Postures 2 11:30
38. SALUTE TO THE SUN POSTURES 3.

Video26: Downward Facing Dog Special Features 11:48
39. FLOOR POSTURES 1.

Video 19a: Floor Postures 1 17:15
40. FLOOR POSTURES 2.

Video 19b: Floor Postures 1 14:44
41. FLOOR POSTURES 3.

Video 19c: Floor Postures 1 25:43
42. FLOOR POSTURES 4.

Video 19d: Floor Postures 1 30:30
43. FLOOR POSTURES 5.

Video 24a: Floor Postures 2  26:01
44. FLOOR POSTURES 6.

Video 24b: Floor Postures 2 32:09
45. FLOOR POSTURES 7.

Video 29a: Floor Postures 3 20:09
46. FLOOR POSTURES 8.

Video 29b: Floor Postures 3 28:10
47. FLOOR POSTURES 9.

Video 32: Floor Postures 28:25
48. FLOOR POSTURES 10.

Video 31: Floor Postures 4 32:21
49. INVERSIONS, PREPARATIONS AND RELEASE 1.

Video 33a: Inversions, Preparations and Release 23:18
50. INVERSIONS, PREPARATIONS AND RELEASE 2.

Video 33b: Inversions, Preparations and Release 28:34
51. SEATED FINISHING POSTURES

Video 22: Seated Finishing Postures 7:20
52. SEATED MEDITATION AND SUPINE RELAXATION

Video 34: Seated Meditation and Supine Relaxation 05:31
53. LED-PRACTICE

Video23: Led-practice 27:51
54. DEMONSTRATION PRACTICE

Video 30: Demonstration Practice 25:05


***


2. By Asana

84 KEY POSTURES – LIST OF POSTURES WITH INDEXES

1; Tadasana (Mountain Posture)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

2; Utkatasana (’Upward-facing Squat Posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

3; Pascimotanâsana (Back-spinal-lengthening forward-bending posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

4; Uttanasana (Standing hands-to-floor Posture’)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

5; Parsvotanasana (Standing One-sided Forward-bending Posture)

Video 9a: Basic Postures and Bending Forwards

Video 9b: Basic Postures and Bending Forwards

6; Trikonasana (Triangle Posture).

Video 11a: Standing Postures 1_ Triangle Postures

Video 11b: Standing Postures 1_ Triangle Postures

7; Ardha Candrâsana (Half Moon Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

8; Parivrtta Ardha Candrasana (Revolving Half Moon Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

9; Parivrtta Trikonasana (Revolving Triangle Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

10; Parsvakonasana (Side-spine Lengthening Postures)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

11; Parivrtta Parsvakonasana (Revolving Side-spine Lengthening Posture)

Video 12a: Standing Postures 2_Lateral Postures

Video 12b: Standing Postures 2_Lateral Postures

Video 12c: Standing Postures 2_Lateral Postures

Video 12d: Standing Postures 2_Lateral Postures

Wide-legged forward bending postures like the Paddotonâsana -series.

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

12; Palms flat to the floor

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

13; No hands, hands on the hips

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

14; Hands interlocked

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

15; Grab the big toes or the ankles

Video 13: Standing Postures 3_ Wide-Legged Forward Bending Postures

Single-Legged Forward Bending Postures like Parsvotonasana (Standing One-sided Forward-bending Posture).

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

16; Interlock the hands behind the back

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

17; Fingers interlocked behind the back of the neck

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

18; Hands out in front

Video 14: Standing Postures 4_Single-Legged Forward Bending Postures

19; Vriksasana (Tree Posture)

Video 15a: Standing Postures 5_One –Legged postures

20; Garudasana (Eagle Posture).

Video 15a: Standing Postures 5_One –Legged postures

Padanghusthâsana-series (Forward-bending One-legged Postures)

Video 15b: Standing Postures 5_One –Legged postures

21; Forward-bending

Video 15b: Standing Postures 5_One –Legged postures

22; Side-bending

Video 15b: Standing Postures 5_One –Legged postures

23; Natarajasana (Dancer’s Posture)

Video 18: Standing Postures 6

24; Navasana (Boat Posture)

Video 27: Abdominal Postures

25; Ardha Navasana (Half Boat Posture)

Video 27: Abdominal Postures

26; Virabhadra Asana (The Warrior Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

27; Shalabasana (Locust Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

28; Bhujang asana (The Cobra Posture)

Video 16: Basic Postures and Bending Backwards_Warrior and Cobra Postures

29; Dhanurasana (Prone Backward-bending Posture)

Video 25: Backward bending postures

30; Ustrasana (Camel Posture)

Video 25: Backward bending postures

31; Eka Pada Rajakapotasana (One-Legged Pigeon Posture)

Video 25: Backward bending postures

32; Utthita San Calanâsana (Standing Lunge Posture)

Video 5: Basic applied anatomy and physiology of yoga

Video 17: Postures with forward and backward bending components

33; Hanumanasana (Front Splits Posture)

Video 5: Basic applied anatomy and physiology of yoga

Video 17: Postures with forward and backward bending components

Salute to the sun postures

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

34; Urdhva Hastasana (Arms Up)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

35; Uttanasana (Forward Fold)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

36; Ardha Uttanasana (Flat Back Position)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

37; Ardha Uttanasana (Flat Back Position)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

38; Chaturanga Dandasana (Four-Legged Staff Pose)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

39; Urdhva Mukha Svanasana (Upward Facing Dog)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

40; Adho Mukha Svanasana (Downward Facing Dog)

Video 20: Salute to the Sun Postures 1

Video 21: Salute to the Sun Postures 2

Video26: Downward Facing Dog Special Features

41; Ardha Baddha Padma Paschimottanasana (Half Lotus Seated Forward Posture’ )

Video 19a: Floor Postures 1

Video 19c: Floor Postures 1

42; Kasyapasana (Half Lotus One-Arm One-Leg Balance)

Video 19a: Floor Postures 1

Video 19c: Floor Postures 1

43; Vashistasana (Side Plank Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

44; Sukhasana (Pleasant Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

45; Swastikasana (Auspicious Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

46; Siddhasana (Accomplished Posture)

Video 19b: Floor Postures 1

Video 19c: Floor Postures 1

47; Purvotanâsana (Front-spinal-lengthening backward-bending Posture)

Video 19d: Floor Postures 1

48; Janu Sirsasana (Head-to-knee Posture)

Video 19d: Floor Postures 1

49; Upavistha Konasana (Wide-Legged Seated Forward Bend Posture)

Video 24a: Floor Postures 2

50; Samakonasana (Side Splits Posture)

Video 24a: Floor Postures 2

51; Kurmasana (Tortoise Posture)

Video 24b: Floor Postures 2

52; Upavistha Konasana (Wide-Legged Seated Forward Bend Posture)

Video 24b: Floor Postures 2

53; Eka hasta bhujasana (Leg-over-shoulder Posture)

Video 24b: Floor Postures 2

54; Lolasana (Pendulum Posture)

Video 24b: Floor Postures 2

55; Astavakrasana (The Eight Angled Arm Balance Posture)

Video 24b: Floor Postures 2

56; Titibasana (Firefly Arm Balance Posture).

Video 24b: Floor Postures 2

57; Ghomukasana (Cow Posture)

Video 29a: Floor Postures 3

58; Bhadrasana (Ankle-Seated Cobbler’s Posture)

Video 29a: Floor Postures 3

59; Bhagasana (Heel Raise Cobbler’s Posture)

Video 29a: Floor Postures 3

60; Kandasana (Feet On Chest Cobbler’s Posture)

Video 29a: Floor Postures 3

61; Tiryam Mukha Eka Pada Paschimottanasana (Half Kneeling Forward Bend)

Video 29b: Floor Postures 3

62; Ardha Matsyendrasana (Half Seated Spinal Twist Posture)

Video 29b: Floor Postures 3

63; Marichyasana (Seated Half Squat Posture)

Video 29b: Floor Postures 3

64; Matsyendrasana (Seated Spinal Twist Posture)

Video 32: Floor Postures

65; Marichyasana (Seated Half Squat Posture)

Video 32: Floor Postures

66; Bharadvajasana (Seated Half- Lotus Half-Kneeling Twist Posture)

Video 32: Floor Postures

67; Supta Padangusthasana (Reclining Big Toe Posture)

Video 31: Floor Postures 4

68; Jathara Parivartanasana (Revolving Abdomen Posture)

Video 31: Floor Postures 4

69; Parsva Savasana (Side Corpse Posture).

Video 31: Floor Postures 4

70; Malasana (Squatted Garland Posture)

Video 33a: Inversions, Preparations and Release

71; Bakasana (Crow Arm Balance Posture)

Video 33a: Inversions, Preparations and Release

72; Headstand

Video 33a: Inversions, Preparations and Release

73; Handstand

Video 33a: Inversions, Preparations and Release

Neck-releasing postures:

Video 33a: Inversions, Preparations and Release

74; Uttansana with the palm on the floor

Video 33a: Inversions, Preparations and Release

75; Uttansana with palm to calves and elbows behind the knees

Video 33a: Inversions, Preparations and Release

76; Uttansana with interlocked hands behind the back

Video 33a: Inversions, Preparations and Release

The Prerequisites of Sarvangasana (Shoulderstand)

Video 33b: Inversions, Preparations and Release

77; Legs up the wall posture (Salamba urdhva prasarita padâsana)

Video 33b: Inversions, Preparations and Release

78; Unsupported arms-up bridge posture (Niralamba urdhva hasta setu bandhâsana)

Video 33b: Inversions, Preparations and Release

79; Back-spinal-lengthening forward-bending posture (Pascimotanâsana) 


Video 33b: Inversions, Preparations and Release

80; Toes-to-floor unsupported half sit-up two-knees-to-chest posture (Padangustha niralamba uttana supta pavan muktâsana)

Video 33b: Inversions, Preparations and Release

81; Front-spinal-lengthening backward-bending posture’ (Purvotanâsana)

Video 33b: Inversions, Preparations and Release

82; Sarvangasana (Shoulderstand)

Video 33b: Inversions, Preparations and Release

83; Halasana (Plough Posture)

Video 33b: Inversions, Preparations and Release

84; Uttana Padasana (Supine intense neck-extending-releasing posture)


Video 33b: Inversions, Preparations and Release


***

3. Concordance with Ashtanga Primary and Intermediate asana 

UPDATE: I've added a concordance list between Ashtanga Primary/Intermediate series and the course videos to my post on Simon Borg-Olivier's new 84 key postures course.

Following the 'guidelines for practice' (videos 2-6 ) one might choose to watch one or two videos before getting on the mat and work the suggestions into practice of the related asana.

The videos 9a, 9b - 20, 21, 26 - 33a along with the practice guidelines would make for a safer approach to our practice of all standing and forward bending asana.

LIST 3. Concordance with Ashtanga Primary and Intermediate asana

Note: I haven't included the handful of related Advanced series asana that Simon mentions on the course - see the above list 8on blog post).

There are some question marks below beside certain asana especially in the second half of intermediate - It may be that some of these asana are mentioned in passing in relation to similar asana on other videos that I've missed (for example, I'm sure he mentioned kukkutasana in passing but need to find it again) - I  may update the list if I come across them or I may add links to posts in which Simon mentions these asana in his blog or on his Youtube channel E.G. Simon has posted several videos on Mayurasana.


Simon’s 84 Postures course - Primary Series Asana List


Samasthiti - 9a, 9b

SURA NAMASKARA A+B

-Uttanasana - 9a, 9b - 20, 21, 26 - 33a

-Chaturanga Dandasana - 20, 21, 26

-Urdhva-Mukha-Shvanasana - 20, 21, 26

-Adho-Mukha-Shvanasana - 20, 21, 26

-Utkatasana 9a, 9b

-Virabhadrasana - 26

STANDING

Padangushtasana Padahastasana - 9a, 9b - 20, 21, 26 - 33a

Utthita Trikonasana - 11a, 11b

Parivritta Trikonasana - 12a-12d

Utthita Parshvakonasana - 12a-12d

Parivritta Parshvakonasana - 12a-12d

Prasarita Padottanasana A  B  C  D - 13

(Hanumanasana) - 5, 17

Parshvottanasana - 14

Utthita Hasta Padangushtasana - 14, 15b

Ardha Baddha Padmottanasana - 15b

Utkatanasana - 9a, 9b

Virabhadrasana (A & B) - 26

PRIMARY

Dandasana - 9a, 9b

Paschimattanasana (3 types) - 9a, 9b

Purvatanasana - 19d, 33b

Ardha Baddha Padma Paschimattanasana -19a, 19b

Tiriangmukhaikapada Paschimattanasana  -19a,19b , 29b

Janu Shirshasana A B C  - 19a,

Marichyasana A B C D - 29b - 32

(Bharadvajrasana) - 29b

Navasana - 24

Bhujapidasana - 33a

Kurmasana - 24b

Supta Kurmasana - 24b

Garbha Pindasana ?

Kukkutasana ?

Baddha Konasana - 58 - 29a

Upavishta Konasana - 24a

Supta Konasana - 24a

Supta Padangushtasana - 31

Ubhaya Padangushtasana - 31

Urdhva Mukha Paschimattanasana 31

Setu Bandhasana - 33b

FINISHING

Urdhva Dhanurasana - 25

Paschimattanasana - 9a, 9b

Sarvangasana - 33b

Halasana - 33b

Karnapidasana - 33b

Urdhva Padmasana Pindasana Matsyasana - 33b

Uttana Padasana - 33b

Shirshasana - 33a

Baddha Padmasana - 19b, 19c

Padmasana - 19b

Uth Pluthi - 24b


INTERMEDIATE
Pashasana ?

Krounchasana- 29b

Shalabhasana A Shalabhasana B - 16

Bhekasana - 33a

Dhanurasana - 25

Parshva Dhanurasana- 25

Dhanurasana - 25

Ustrasana- 25

Laghu Vajrasana

Kapotasana A  B - 25?

Supta Vajrasana ?

Bakasana A B - 33a

Bharadvajasana - 32

Ardha Matsyendrasana - 29b - 32

Eka Pada Shirshasana -24b?

Dwi Pada Shirshasana - 24b?

Yoga Nidrasana -24b?

Tittibhasana A B C - 24b

Pincha Mayurasana ?

Karandavasana ?

Mayurasana ?

Nakrasana ?

Vatayanasana ?

Parighasana ?

Gomukhasana A  B - 29a

Supta Urdhva Pada Vajrasana ?

Mukta Hasta Shirshasana A B  C ?

Baddha Hasta Sirshasana A  B  C  D ?



***

Notes from Krishnamacharya in AG Mohan's new edition of Hatha Yoga Pradipka

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Friends have been getting in touch this week to ask me if I've seen or yet have a copy of AG Mohan and Dr. Ganeseha Mohan's new edition of the Hatha Yoga Pradipka with notes from Krishnamacharya.

I don't, not yet.

I had a look on Amazon but there was no Look Inside preview feature, I mentioned this on the Svastha fb page ( LINK) and one appeared this morning, perhaps I was not the only one to ask.

So I've been having a look at the generous preview on amazon this morning and it appears to be quite marvellous, I just ordered my copy.

To be perfectly honest, I haven't been that interested in the Hatha Yoga Pradipka for some time, the texts in Mallinson and Singleton's Root's of Yoga strike me as being of more interest and besides, I generally lean more towards Raja than Hatha and have become quite dismissive of the later. 

Was hatha a wrong turn ( the turn towards tantra), a distraction?

More recently still, I've turned my gaze back to the West and the contemplative traditions that form(ed) my own horizon/worldview. Why try to appropriate another tradition when I have one of my own, learn about others surely, it's always of value, but if we seek to inquire on a deep level, look perhaps to our own ground (of being). It struck me some time ago, while listening to Ramswami lecture on Patanjali's Yoga Sutras, his weaving in of songs and chants, commentaries and illustrative stories from his grandmother, that I could never know the text on a similar level however much I studied it, the text wasn't organic for me, unlike say, the Greeks ( I originally went to Uni to study Classics, switching to single honours Philosophy after a Greek philosophy lecture but I of course also grew up with the Greek myths and legends as much as stories from the bible or Jesus of Nazareth and Ben Hur every Easter and Christmas rather than say the Ramayama and Mahabharata ). I remember too Kristina Karitinou reminding us of our own culture in my interview with her a while back Entelechy : An Interview with Certified Ashtanga Teacher Kristina Karitinou

Anthony: I noticed on your alter a small bust of Socrates do you have any thoughts regarding Ashtanga as a philosophy, yoga sutras etc and Greek philosophy?

Kristina: It is of paramount importance for the practitioners to develop awareness of the cultural heritage of the place they are in. Being in Greece we bear great responsibility towards our ancestors and our roots, so having a small bust of Socrates triggers the energy that surrounds us and constantly reminds us why we actually practice. "Knowing thyself" is the epitome of knowledge, and it should always be there in our practice, in our breathing in our everyday life. "Practice and all is coming" incorporates the true meaning of knowing oneself as this is the only way given to us to actually manage and have some results. Greek and Indian civilisations appear to be connected on a spiritual level throughout the centuries, and they have both set the foundations for the development of philosophical thinking so much in the East as well as in the West respectively. Socratic inquisitive way of approaching discourse and the mental freedom he offers to human existence match uniquely the legacy of practice Patanjali has bequeathed us. Both of them have offered a means to free the mind from the conventionality of life as they give you alternatives and they both require freedom of thought so that man can reach the higher level of existence and the ultimate point of liberation and self - fulfillment. Freedom works as a prerequisite while it is the final destination of each of these two methods. Therefore the presence of both philosophies on my alter seemed like a natural thing to do.

I may hold on to my asana and pranayama practice out of fondness and habit (although I could I suppose just as well run or swim perhaps) but I'm leaning more towards Lectio Divina as a contemplative approach of late rather than the chanting of vedic mantras, to Plotinus rather than Patanjali, Marcus's meditations rather than the Yama/Niyama's and to my old friend Heidegger rather than Shankara.

Note: Lectio Divina, the contemplative approach of the early church. Read, recite or listen to an appropriate a text (traditionally the psalms and/or gospels but it could just as well be the Enneads. There should be no sense that one needs to complete a reading, when a word or phrase strikes you, sit with it, allow it live within you for a time..... for ten minutes, an hour, a month, years.

That said, Krishnamacharya still fascinates, and inspires my practice and here he is in the pages of AG Mohan and his son's wonderful new book, I look forward to revisiting the text.

Below, a selection of pages from the Amazon preview.

Link to Amazon
Amazon intro

The Hatha Yoga Pradipika, authored in the 15th century is one of the most well-known texts on physical yoga. This translation offers unique perspectives and insight from Sri T. Krishnamacharya, who had perhaps the most influence in physical yoga in the modern era. Drawing upon extensive notes of private studies with Krishnamacharya, his long time student, A. G. Mohan, presents critical analysis unavailable in any other translation to date. This translation includes summaries, notes on which practices may be more or less useful or even harmful, and comparisons to the Gheranda Samhita. This book is a worthwhile read and companion to any serious yoga aspirant, especially those interested in knowing what one of the most influential yogis of the modern times had to say on the esoteric practices of hatha yoga: on pranayama, mudras, and bandhas.

About the Author
A. G. Mohan was a student of “the father of modern yoga,” Yogacarya Sri T. Krishnamacharya (1888-1989), for eighteen years. He is the author of several books on yoga, including Yoga for Body, Breath, and Mind; Yoga Therapy; and Krishnamacharya: His Life and Teachings. Co-founder of Svastha Yoga & Ayurveda and YogaKnowledge.net, he is respected internationally as a teacher of rare authenticity and knowledge.

Paperback: 164 pages
Publisher: Svastha Yoga (May 8, 2017)
Language: English
ISBN-10: 9811131333
ISBN-13: 978-9811131332
Product Dimensions: 6 x 0.4 x 9 inches


Link to Amazon



AG Mohan's website




Looking Inside



Krishnamacharya's practice guidelines from the introduction




Also from the introductory notes....






Layout, a nice summary of the chapter




Presented in sanskrit, it's transliteration and translation into English, notes by Mohan and in many cases Krishnamacharya.









A nice section from Chapter III



from chapter III















Not all the verses have a note from Krishnamacharya, at times the notes are short but also in some case quite long, this section from Chapter II gives a good indication perhaps.









see too 






Yoga Yajnavalkya: Trans: AG Mohan  
( My preference over Hatha Yoga Pradipka)


Amazon Link

Book Review: Yoga for the three stages of Life. My 'all time favourite' book on yoga.

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Despite this being my favourite book of Ramaswami's and probably the best book on yoga I've come across, I don't seem to have given the book a standalone review on the blog. Time to make amends, so coming soon a full review with all or at least many of my favourite bits....

This first post is more of an introduction to a series of posts that I'm considering for each chapter, a 'Look Inside' preview if you like, based on Ramaswami's own introduction on fb this week. I've come back to this book so many times over the last ten years, discovering something I'd missed completely each time that has frankly rocked my thinking and approach to my own practice of Ashtanga. The book reminds me of practicing to Richard Freeman's dvd's (Who's new book is called the 'Art of Vinyasa' btw)  or attending his workshops, the first few times (make that twenty) most of it goes over your head but at some point you find that it perhaps seeded anyway and the next time or the next a little more makes sense or starts to bear fruit in some aspect of your practice.

Amazon Link


Sharath Jois has, of late, has begun to refer to the Ashtanga Vinyasa he teaches as a 'Vinyasa Krama', this is also the name of the approach to asana presented by Ramaswami. This should not be surprising, Pattabhi Jois, Sharath's grandfather, studied with Krishnmacharya for twenty-five years, Ramaswami for around thrirty-three.

There was the suggestion when I first started practicing Ashtanga ten years ago that there was an early Krishnamacharya and a late Krishnamacharya, perhaps it suited students, teachers and indeed the family to perpetuate that, I hope in this blog I've gone some way to question that assumption.

On the evidence of many of the glossy self promotional videos of a few Ashtanga teachers and practitioners, of led classes perhaps, Ashtanga vinyasa can appear fast paced, flashy, dynamic, obsessed with asana and with appearance. The less glossy videos hidden away on YouTube however, show something different. If we look at videos of actual Mysore rooms, both shala and home, we see practitioners, teachers, moving through their practice at their own pace, their attention focussed on the breath, we see an honesty, a humbleness even, a dedication to developing a daily discipline through the practice of asana.

If we look to Krishnamacharya's early work, Yoga Makaranda (Mysore 1934) and Yogasanagalu Mysore 1941), written when the young Pattabhi Jois was his student and occasional assistant we find, the slowness of the breath emphasised '...like the pouring of oil', Kumbhaka ( retaining the breath in or out) indicated for almost every asana presented and, in the 1938 Mysore documentary footage, the young BKS Iyengar (also Krishnamacharya) running through a demonstration of advanced asana that were it in colour, in a fancy location and with a euromix soundtrack would garner tens of thousands of followers on Instagram today.




But we also see Krishnamacharya himself, moving through head and shoulderstand variations that aren't to be found in Pattabhi Jois' Ashtanga Vinyasa method perhaps but are presented in the books of Srivatsa Ramaswami, Krishnamacharya's student from just after he left Mysore up until Krishnamacharya's passing thirty plus years later.



There are differences between the teaching of Pattabhi Jois and Ramaswami but these tend to be pedagogic, related more to the teaching environment the student and teacher found themselves. Pattabhi Jois was a young boy when he was Krishnamacharya's student, his peers were boys, his students when he first started teaching were college students. Ramaswami practiced with Krishnamacharya from his teens to middle age when Krishnamacharya was mostly teaching on a one to one basis, people of all ages, just as he did in the side rooms of the Mysore palace. As well as asana and pranayama Ramaswami studied yoga philosophy, endless chanting, the close study of yoga texts, he studied yoga for the three stages of life.

Srivatsa Ramaswami's Yoga for the Three stages of Life is a marvellous book. If the final third of the book focusses on a seemingly different approach to asana than that which you may practice yourself or are familiar with it is still worthy of exploration, injuries happen, whether a result of asana practice or just of life generally. Ramaswami's book presents variations of asana that can be of benefit when injuries arise, or to better help us in moving towards more challenging asana, or as options for our students new to asana practice, just as Manju Jois mentions his father, like Krishnamacharya before him, would offer variations of an asana to struggling students.

As we get older we may choose to let go of the more challenging asana and look to variations and alternatives to those asana we love, as we mature mentally in our practice, not just physically, many of those fancy 'demonstration' asana may start to seem faintly ridiculous, or at least unnecessary, even a hindrance to practice. We may indeed, finally, be in a place, situation, frame of mind to look to the other limbs and adapt our physical practice accordingly.

But, if for now, we are quite happy merely exploring asana. If building that discipline through our asana practice seems quite enough thank you very much and we find ourselves somewhat irritated/frustrated by the comments on the likes of the fb Ashtanga discussion page, that what we are doing is NOT yoga, Ramaswami's Yoga for the three stages of life comes to our defence, an asana dominated practice may well be perfectly appropriate, in the mid stage of life less asana and more pranayama may be more appropriate and at a still late stage, more philosophy and the later limbs.

Photo: Three stages of life







Below I've merely slipped in a page from each chapter to illustrate Ramaswami's comments from his fb post. In coming blogs I will look more closely at each section, perhaps chapter by chapter, sharing some of the gems I continue to discover in the text.


*


I wrote a book "Yoga for three stages of Life"--An Art, A Therapy, A Philosophy. I thought it was a comprehensive book of Yoga with some depth, all inspired by my studies with Sri Krishnamacharya. I followed the thought sequence of Patanjali in this book. 





The first chapter was on "My studies with Sri Krishnamacharya" wherein I attempted to bring the various subjects Sri Krishnamacharya taught. 




Then there is the story of Patanjali based on the work "Patanjali Carita" written by a Sanskrit scholar Ramabhadra Dikshitar from South India. 





The third chapter is "What is Yoga". It is based on the introduction my Guru gave when he started teaching the Yogasutras. 

Advanced Yoga contains discussion beyond Hatayoga. 





There is then a chapter on Mantra Yoga. 




Introduction to Ashtanga Yoga and the yamaniyamas is then. 

The next several chapters deal with asanas following Vinyasakrama-- 

the standing poses, 




Supine, 


Inversions,

prone poses, 


paschimatanasana, 



Padmasana. 




Then there are yogic breathing exercises and health benefits, 


then there is one section on Yoga for Women, 


then reference to Yoga texts,




followed by Internal yoga practices (antaranga sadhana--meditation) 



and finally Freedom or Kaivalya, 


in all 17 chapters. 

I enjoyed writing this book. 

The book also contains some stories and graphic illustrations like siva's dance. 



This is still available from Amazon. Here is the link
https://www.amazon.com/…/…/ref=pd_bbs_2/103-1755689-4479843…
I understand the publishers, Inner Traditions, have also a Spanish edition of this book


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See also my Srivatsa Ramaswami resource page for a look at Ramaswami7s other books and more besides.




Breathing in Ashtanga: Langhana Kriya - the reduction, exhalation, principle

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from Srivatsa Ramaswami's Complete Book of vinyasa yoga 
Based on the teaching of T. Krishnamacharya
(Ramaswami was a student of Krishnamacharya's for 30+ years).

"In some of these back bends, it may be easier and more desirable to use a smooth exhalation rather than an inhalation. People who are obese, old and therefore less supple, anxious and tense, or have some medical conditions, such as hypertension, would do well to adopt exhalation, or langhana kriya, during these back bends".

LANGHANA KRIYA: literally, activity ofreduction; exhalation

"Please note that all the vinyasas in this (backbending) sequence can also be done with langhana breathing if, and only if, you are tense, old, obese, or have somewhat elevated blood pressure."
Ramaswami - from The Complete Book of Vinyasa Yoga p143

"Though the default breathing in all the back-bending move­ments in this sequence is inhalation, because of the pressure this places on the abdomen, some find it easier to use the langhana mode of breathing (exhalation). Each method of breathing confers different benefits".
Ramaswami - from The Complete Book of Vinyasa Yoga p146



We get so used to the idea in Ashtanga Vinyasa that breathing can and should be only be one way,  inhale going up exhale going down, that anything else is.... unnatural.

Also that the inhalation and exhalation should be equal..

That there should be no kumbhaka (retaining the breath after the inhalation or out after the exhalation).

"In addition, for the even-numbered vinyasas, rechaka (exhalation) should be performed and, for the odd, one should do puraka (inhalation). On the whole, the method for doing rechaka and puraka is the same for all the vinyasas and asanas ahead". Pattabhi Jois Yoga Mala (Mysore 1950s)

"In each section for each particular asana, we have included a description and an enumeration of its vinyasas. The vinyasas in which the head is raised are to be done with puraka kumbhaka and the ones in which the head is lowered must be done with recaka kumbhaka. Uthpluthi (raising the body from the floor with only the support of both hands on the floor is called uthpluthi) should be done on recaka kumbhaka for a fat person and on puraka kumbhaka for a thin person". 
Krishnamacharya Yoga Makaranda (Mysore 1934)

A close reading of Pattabhi Jois' teacher Krishnamacharya's early texts however shows there is a lot more subtly, more variation ,dependent on several parameters.

My own recent exploration of of moving in and out of a posture through an inhalation or through an exhalation as been curious, an education, revelation. Simon Borg-Olivier, talks about breathing naturally in the beginning, not even thinking about the breath but leaving it to it's own devices, later he talks about long slow inhalations of thirty seconds or more while vinyasa may or may not be taking case, likewise with exhalation.

Or perhaps breathing into the abdomen during 'exertion' (lifting to handstand)...

"Simply breathing into my abdomen (firmed by posture), or rather breathing with my diaphragm into the abdomen causes an increase in the intra-abdominal and intra-thoracic pressure which straight away puts strength into my arms. Here I simply breathe into the abdomen as my legs are lifting and the instant strength comes to the body. It doesn’t feel like a strain to lift the body. Whereas you can lift up to a handstand with just brute force."Simon Borg-Olivier How to lift to Handstand

See also this post from Simon

But Krishnamacharya too wrote concerning 'reverse' breathing, of, for the old, the obese, the tense. perhaps switching the standard breathing around such that we might exhale where we generally tend to inhale, and inhale where we generally tend to exhale, particularly if/when challenged by 'back bends'.

Here then, Krishnamacharya's, and his long term student Ramaswami's, treatment of Langhana kriya, 'the exhalation principle'.




from Yoga Makaranda

Langhana kriya

"In yogabhyasa, there are two types of kriyas — langhana kriya and brahmana kriya. One who is obese should practise langhana kriya. One who is thin should practise brahmana kriya and one who is neither fat nor thin should practise yogabhyasa in both.
Brahmana kriya means to take in the outside air through the nose, pull it inside, and hold it in firmly. This is called puraka kumbhaka.
Langhana kriya means to exhale the air that is inside the body out through the nose and to hold the breath firmly without allowing any air from outside into the body. This is called recaka kumbhaka.
In vaidya sastra, they describe brahmana kriya as meaning a prescribed diet and langhana kriya as meaning to fast. But in yoga sastra it does not have this meaning. Without understanding these intricacies and secrets of yoga, some people look at the books and try to do yogabhyasa (like looking for Ganesa and ending up with a monkey). They get disastrous results and bring a bad name for yoga sastra. We need not pay any attention to their words". P28-29

from Yogasanagalu

"Normally during yogasana practice, inhalation and exhalation is performed via the trachea deeply, subtly and with sound. This is common practice with everyone. “anuloma ujjayi”

from"Special Direction - 2. ASANAS

"When practicing the above listed yogasanas people with heavy bodies must do more rechaka while people with lean bodies must be doing more puraka. These are called langhana kriya and brahmanakriya, respectively".

"Samakaya
This is an important characteristic of the eight step yoga practice. In our land of Bharata, there are three types of people: sthoola, krusha and vakra. Sthoola is obese type, krusha is lean and emaciated and vakra is crooked and curved. Crooked body is an abnormality and a disease. Obese body type have a tendency to breathe short and shallow. Although the lean can breath deeply, they get tired quickly. The crooked body type have a difficult time in stretching the limbs. Without bending and stretching, such body type do not get proper blood and oxygen circulation. This also applies to obese and lean type.
Practicing yoga with deep breathing variations known as langhanakriya and brahmanakriya can eliminate these body variations and impart strength and beauty.
Recently, we are seeing people who are extremely obese and suffering from heart diseases. We are also seeing people who are lean due to lack of proper nutrition. Some have experienced a hard life of growing up on the streets from childhood and have become crooked. Primary reason for these are overeating, eating only dry food or other unhealthy practices.
Yoganga practice with appropriate vinyasa will eliminate and normalise all three types of body variations".

"While practicing yoganga, according to samakaya or vishamakaya state correspondingly Brahmanakriyala-langhanakriya or samakriya vinyasa must be performed.
Samakriya means, equal inhalation and exhalation.


Yoga Beneath the Surface - Srivatsa Ramaswami and David Hurwitz

DAVID: In general, should we make our inhale and exhale of equal ( in length) when moving into and out of forward bends and twists, but when we stay in a forward bend or twist, make inhale short and exhale long? Can we say the reverse about backbends?

RAMASWAMI: Mostly in forward bends, it is easy to extend your exhalation, and so the abhyasi (one who practices) can take advantage of the forward-bend position to lengthen and smooth the exhalation. And in forward bend, deep or full inhalation is more difficult, again because of the position: the stomach cannot  freely expand to accommodate fuller breathing and hence we would do a shorter inhalation.
Can we say the similar things about inhalation, will the con­verse be true? Bending back is a different cup of tea. While it is natural and beneficial to do  fuller inhalation while bending back, for some backbends done while in a prone position, such as the cobra or locust pose, the inhalation could restrict the backbend due to the pressure on the expanding abdomen. So, many people, primarily the obese and/or tense, are advised to do backbends on exhalation (langhana kriya). We may therefore say that, although inhalation is the breathing of choice in backbends, there are compelling reasons for some practitioners to use exhalation for these movements.
If we really want to work on our inhalation it may be best to do it while practicing pranayama in a cozy seated pose such as vajrasana or padmasana. p64-65

"BRAHMANA AND LANGHANA KRIYA "

DAVID: In the version of the Yoga Makaranda that I have,  Krishnamacharya, in writing about asanas, states,

  "Those who are over­ weight should follow langhana kriya (activity of reduction) and those who are underweight should follow brahmana kriya (activ­ity of expansion)...In brahmana kriya, the breath is held in  after inhalation, for some time, before exhalation. This is known as antah kumbhaka. In langhana kriya, the breath is held after exha­lation,  for some time, before allowing air in. This is known as bahya  kumbhaka."

Is this different  from the way you were taught?

RAMASWAMI: The Sanskrit word brahmana means "to grow, to expand;' whereas langhana means "to reduce, to diminish back to its cause:' So exhalation is considered langhana and inhalation is considered brahmana kriya. Actually, inhaltion is expansion of the chest, and holding the breath keeps the chest expanded, so both will be brahmana kriya, whereas langhana kriya is the oppo­site of it. p70


from The Complete Book of Vinyasa Yoga - Srivatsa Ramaswami

The smooth inhalation accompanying expansive movement is known as brah­ mana kriya, or expansive (breathing) action; the exhalation during contraction of the body is langhana kriya, or reducing or contracting (breathing) action. When you inhale while making an expansive movement and correspondingly exhale during contraction, this is known as anulo­ma, or "with the grain" movement/breath­ing. Anuloma exercise creates harmony between the tissues of the breathing organs and the body.
Though anuloma is the general rule, there are situations in which one might or should exhale during an expansive move­ ment. (The converse, however, is never the case because contractive movements can­ not be performed while inhaling.) This might be recommended when the practi­ tioner is tense, obese, old, or sti . Take the example of the cobra pose. From the lying­ down position, moving into cobra pose is an expansive movement should be done on inhalation. But some especially tense peo­ ple find this extremely uncomfortable because they tend to stiffen their muscles and  rtually prevent their back  om bend­ ing. A similar situation may arise with obese people because the belly tends to add pres­ sure while inhaling. So, people with these conditions may breathe out while doing expansive movements. It is for the student and/or teacher to determine what type of breathing is appropriate for a particular vinyasa. One general rule is, "When in c doubt, do the movement while exhaling:'
xviii

Desk pose Dwipadapitam

"...Please note: Moving into this pose and other variations of the desk pose should be done on inhalation. However, there arc some exceptions. In the introductory chap­ter I explained that in langhana kriya some expansive movements are done during exhalation, rather than on inhalation. Persons who are obese, older, or stiff may use langhana kriya because the exhalation will relax their muscles and create less pressure in their abdomen. It is a trade-off between expanding your chest and working on your inte al thoracic muscles and doing the exercises without much pressure. 109


Crocodile pose - Makarasana

"...In this group there are several poses involving back bending. These back-bend­ ing movements are generally to be done while inhaling, as you could see in the makarasana vinyasas just explained. In the introduction I discussed viloma breathing (viloma means "against the grain"), which should be used for back bends in certain circumstances. In some of these back bends, it may be easier and more desirable to use a smooth exhalation rather than an inhalation. People who are obese, old and therefore less supple, anxious and tense, or have some medical conditions, such as hypertension, would do well to adopt exhalation, or langhana kriya, during these
back bends. Because these are belly-down positions, persons belonging to this group will be more comfortable and will achieve better results in langhana kriya.
The procedure in langhana kriya is as
follows:
While in the lying-face-down (prone) position, take a short breath. As you exhale, slowly raise your head, neck, and torso to the greatest extent possible, without raising your elbows off the floor. This is makarasana performed in langhana kriya. Take a short inhalation i n the position, and while ex­
haling lower your trunk". 138

Frog pose - Mandukasana

"...Raising your trunk can be clone in langhana kriya also."
139

Cobra - Bhujangasana

"You may, if required, use langhana breathing."
139


Salabhasana - Locust pose sequence
141

"Langhana kriya may be used."

Bow -Dhanurasana

"Please note that all the vinyasas in this sequence can also be done with langhana breathing if, and only if, you are tense, old, obese, or have somewhat elevated blood pressure."
 143

Backbending postures

"Though the default breathing in all the back-bending move­ments in this sequence is inhalation, because of the pressure this places on the abdomen, some find it easier to use the langhana mode of breathing. Each method of breathing confers different benefits.
146

Glossary

"LANGHANA KRIYA: literally, activity of reduction; exhalation"


See also this post perhaps















"Huge variety of Krishnamacharya`s teachings" - Wild Yogi Interview - September 2017 Newsletter from Srivatsa Ramaswami—

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Warm Greetings

Warm Greetings from NJ. In August I taught a well attended 50 hr ten day program on Bhagavat Gita at Loyola Marymount University based on the teachings of Sri Krishnamacharya. I will be doing this program again in New Delhi from about Mar 8 2018 at Mini Shastri's Omyoga. I will have the information posted im my website when the details are finalized. I also taught a 20 hr Vinyasakrama yoga program to a small group at LMU



Two years back thanks to the efforts of my senior yoga teacher friends Sara Mata and Arun Deva, I taught a 25 hour Bhagavat Gita program to a compact group of long time yoga practitioners in Los Angeles. During that period I was able to cover about 10 chapters all of which were professionally videographed.My friend Jacquelin had kindly taken up the onerous task of editing it professionally. Hopefully some of it will be ready in the next few days. I was able to have alook at the rough edited work and it appears good. I intend making one chapter Chapter II ( about 3 hours of lecture) available in Youtube when it is ready and after getting the necessary permissions. Thank you Sara Mata, Arun Deva, Lisa Leeman, Kija Manhare, Neerad Reddy and of course Jacquelin.
I am scheduled to teach a 15 hr Samkhya Karika program at Chicago Yoga Center, Chicago.SSSamkhya is one of the six systems of orthodox Vedic philosophies. It is one of the three nivrittie sastras, or philosophies of liberation—liberation from the repeated cycles of birth. The other two philosophies are Yoga and Vedanta. Smkhya Karika, written by Iswarakrishna, is considered the most authentic text on this subject. It is considered to be the theoretical basis for Yoga darsana, and hence, many yogis, including Sri T Krishnamacharya, would urge study of this text in addition to Patanjali's Yoga. It consists of 72 slokas, or verses, and is considered one of the great Sanskrit works. The author, some consider to be the avatara of the great Sanskrit poet and philosopher Kalidasa. All the slokas will be gone through verse by verse in this program. Here is the link for registration
http://www.yogamind.com/workshop-ramaswami-samkhya_2017.shtml
I can teach a few programs in 2018. I plan to be in India during the early months of the year. In addition to the Bhagavat gita program mentioned earlier at Omyoga in New Delhi, I am scheduled to teach two programs at Yoga Vahini in Chennai. I will be teaching the 100 hr Advanced Vinyasakrama Yoga program there for the third year in succession between February 14 to March 2, 2018. Earlier in January I will be teaching a 5 day 20 hour program of Samkhya Karika as I studied with my Guru Sri Krishnamacharya. It will be between January 3 to 7, 2018. Here are the links of these programs
http://yogavahini.com/specialized-workshop.html#r
http://yogavahini.com/specialized-workshop.html#r3
I would like to teach as many subjects as possible from the teachings of Krishnamacharya.
100 hr Advanced Vinyasakrama yoga program (60hrs of asanas and vinyasas. 20 hrs Pranayama, yoga for Internal organs and 20 hrs yoga sutras)
Samkhya and Yoga (40hrs) The twin nivritti philosophies. About 20 hrs each of Yoga sutras and samkhya karika
or the two subjects can be taught separately 20 hrs each
Hatayogapradipika (20 hrs)
Yoga Yagnyavalkya (15 hrs)

Taittiriya Upanishad (20 hrs)
Bhagavat Gita in the teachings of Krishnamacharya for Yoga practitioners (50 hrs)
Katha Upanishad (15hrs)
Yoga for Internal Organs (10 hrs)
Pranayama and introduction to meditation (10 hrs)
Other subjects that I studied with Sri Krishnamacharya include Chandogya Upanishad, Brahadaranyaka Upanishad, Mandukya Upanishad, Mundaka Upanishad, Svetasvatara Upanishad, catussutri-- the first four sutras of Brahma Sutra, Prasna Upanishad which also can be taught.
***

Interview (Wild Yogi)

Several years ago Yuri Sharonin an eperienced yogi attended my 200 hr Teacher Training program in Vinyasakra yoga at Loyola Marymount University. Towards the end of the program he interviewed me for about 3 hrs or so and had the interview published in a web yoga magazine Wild Yogi. The interview published is about 20,000+ words. Not many people have read this interview. Many times when I teach a program some ask about my experiences with my Guru Krishnamacharya. I am reproducing it hereunder. Thank you Yuri, Ilya Zhuravlev and Wild Yogi magazine.

S. Ramaswami (born 1939 in Madras, Tamil Nadu, India) was a student of the father of modern yoga, Shri T. Krishnamacharya, and studied under him for 33 years, from 1955 until 1988 shortly before Krishnamacharya's passing. He is Krishnamacharya's longest-standing student outside of Krishnamacharya's immediate family. Нe currently lives and teaches in the U.S.


Interview with Srivatsa Ramaswami

http://wildyogi.info/en/issue/huge-variety-krishnamacharyas-teachings-interview-srivatsa-ramaswami


Questions: Yuri Sharonin, Ilya Zhuravlev


   

Yuri: Lets talk a about your Guru, Sri Krishnamacharya (1888-1989). You were studying with him until the end of his life, for 33 years. It seems  that his teaching was represented by two major periods: teaching in Mysore (1926-1953), and teaching in Madras (Chennai) (1955-1989).  Each period spans roughly 30 years. Nearly entire former period went under a patronage of the Mysore royal family, in his prime years. His Chennai years started in his mid-50s, and lead into the sunset of his life. How did you meet him?

Shrivatsa Ramaswami: Yes, in fact, I had described this in my book [Yoga for the Three Stages of Life, see also an extract published as "My studies with Sri Krishnamacharya" in Namarupa magazine]. 
What happened is that I have a brother, who is somewhat handicapped. My father was told by one of his friends that there were a yogi from Mysor that settled down in Madras, and he was coming and teaching at the college where my father's friend was the Principal. And he suggested - "Why don't you try him?" My father met him, and brought into my house. He started to teach my brother, and all the members of my family one by one joined him. In fact, Krishnamacharya was coming to my house about 4-5 years every morning - about 4-5 days a week he would come and teach for an hour, hour and a half. After a long period of time my farther discontinued studying with him, but I continued. Later on I started going into his house, and this went on for a long, long time.

What was your first impression of him?

First impression was that he appeared to be a bit stern. But once he started to teach - the first thing he said was "Inhale, raise your arms. Breath with hissing sound, rubbing sensation in the throat." - I had never seen a yoga teacher doing it with breathing. I used to have a few teachers, seen a few books. I was young - just 15 at the time. Like all Indians, I had some exposure to yoga. First thing that struck me was the use of breath, the way he was teaching vinyasas. He was very clear with his instructions. And then also types and number of vinyasas he was able to teach - that was also very impressive. Even with the first few classes I can see that yoga was much different than how we were practicing in India at that time. I had started  studying with him, this went on, he started to teach lots of other things. Soon he started teaching pranayama, then afterwards he started teaching Vedic chanting. I had some exposure to chanting when I was young; I liked the way he taught Vedic chanting. Then he started to teach various texts, like Yoga Sutras, Samkhya Karika... So this went on. I never knew he was a scholar, I thought he was just a yoga teacher. But later on I found he was an exceptional scholar.

Did you have any background in sports, any martial arts?

Me? No, not in martial arts. But I used to play cricket at school; I was playing tennis also. I had some exposure. In fact, I was in college tennis team, captain of the team. I used to play ping-pong. Once I started studying with him, I slowly cut down on these, and concentrated more and more on yoga.

Do you feel it helped you?

No, it feels so different, you know. Yoga was so different. But I used to be interested in yoga as a physical culture. Even in school we had a yoga teacher. I've learned many simple asanas. But the big difference was use of breath. I had never seen anyone to teach like this. And look at the vinyasas - the number of vinyasas he taught was quite enormous!

Was yoga in India then considered to be mostly physical, as it is now in the West?

Yes, in India yoga was considered mostly physical, but still, the way yoga was practiced is not the way yoga is practiced in the west. It was still a physical practice, but more -  subtle. They would practice some of the well-known asanas, like headstand, shoulderstand, and few forward bends. But not the kind of difficult postures you would find in the West. A few teachers used to do it, but by and large, general public had about half a dozen - ten different asanas that they would practice. Most of them would be able to sit in vajrasana, or padmasana; most of them would be able to do a shoulderstand, or headstand. That's about all the practice we used to do. And a few people will do Surya Namaskara. But of course there are other people who are yogis. Usually yogis are known for their extraordinary feats, like getting buried in the pit, or laying down on the bed of nails, or thorns. These are few exceptions here and there. General public were interested in yoga, but their interest were limited to a few asanas. You would practice for 15 minutes or half an hour every morning. Not the kind of intense practice you find in the West. That is my understanding.

When did you realize that he is your Guru?

I just started going to him - I thought everything he has to offer was very useful to me. I did not have any plan. I was very young then. I used to be interested in Indian philosophy at that time. When he started teaching I found that was another dimension to his teaching, which I thought was very good for me. I did not know he was able to do that. One day, I think it was his son, Desikachar - we started chanting together – came and asked "I am going to study Yoga Sutras with my father. Would you like to join? My father asked me to find out from you." I got interested, and started to study Yoga Sutras also. After we went through Yoga Sutras, we went through the commentary of Vyasa. By that time 4-5 years are gone by. Then he was started saying "why don't you study Samkhya Karika?" So we went on studying Sankya Karika. Like that, he would suggest which subject I should study, and I studied with him.


Young Ramaswami & Krishnamacharya

How did you came to know T.K.V. Desikachar?

I came to know him, because he is Krishnamacharya's son. He was studying somewhere else; after he completed his studies he came to Madras, and started to work with his father. He also started studying with his father. We came to know each other very well, because we are more or less the same age. I studied number of chants with Desikachar; we used to sit and chant along with Krishnamacharya. Yoga Sutras we studied together, Samkhya Karika we did once. A few Upanishads we did together. Then after some time, some common classes, Krishnamacharya stopped teaching, and asked his sons to teach. I was asked to study with Desikachar; I studied with Desikachar for a while. But then when Krishnamacharya started teaching texts, he said, he did not want me to have two teachers - he would take over and teach me.

How old were you at that time?

When I started studying I was 15, after he came to Madras and settled down. Then when Krishnamacharya stopped teaching for a year or so, at that time I was maybe 27-28, and after that I went back to study with him, until year before he passed away.


Did he ever talk about his Guru, memories of his studies, or his students?

No, no. In fact, he never spoke about his guru, at least to me. Maybe he told about it to his son. But basically our classes were confined purely to studies. I would go there, he would start with his prayer, go through the class, and then at the end another prayer, and then I used to come out. Very, very minimal communication on anything. Once in a while he would ask me, "How is your father?" Otherwise there were little or no talk. He never spoke of his guru. And I was not interested in that, I have never asked him. About his students, I don't think he spoke, except once or twice about Iyengar, I think. But about Pattabhi Jois I have never heard him saying anything. Or Indra Devi. Not for any reason, it just happened that way. There were no need for him to talk about it. Sometimes when you would ask questions which are not entirely connected with the subject, he would not encourage you to ask those questions.

I don't know his lineage as far as his teachers. I've never asked him, he never told me. There is a saying “don't investigate the Nadi Mulah and a Rishi Mulah. Mulah means the origin, Rishi means the sage. Don't try to find out his antecedents. Likewise, don't try to find out the source of a river. What I wanted from him, is whatever he could give. And he was interested in giving that. I am still not interested in all the gossip that goes on, what his teacher was, how did he develop his asana practice. Sometimes people say he borrowed his techniques from gymnastics... Then I get upset a little bit. Otherwise, let people say what they want to say. I go with what I directly was able to see from him.

These days it is pretty common to indicate which lineage of yoga one follows, how did one came about it, and so on.

Yes, but you see, at that time I went to him, I liked what he taught. He knew he had a proper lineage. And moreover, the way he was talking about scriptures, vaishnavite philosophy, and all that - you could see he was a great scholar. Subsequently I came to know through Desikachar that he had different degrees, in Samkhya, in Vedanta, in Vedas, number of other degrees. I knew he was a great scholar by the way he was teaching. And it is very difficult to find in India a teacher with such a comprehensive background. Normally yoga teachers have a very limited understanding of the shastras - only physical aspect. But this was one man, who had tremendous control, tremendous knowledge about yoga - I am talking about physical aspect, and also knowledge of the shastras.  You can't find a person like that. That made me go to him - I thought I can get anything I want from him.

Looking back, what do you think was most unique about him?

His scholarship, his understanding. And one more thing - in India, when you want to study some of these texts, want to study Vedanta, you won't find anybody who would be prepared to teach you at your level. I did not have a necessary background. But Krishnamacharya was able to come down to my level and teach. He was not just a scholar - he could explain it to you so you can understand. Initially it was a bit difficult for me - I had to raise my own level. But at the same time he would come down to your level; he would talk to you so you would see he wants you to understand the basic principles. Whereas if you would go to lectures of scholars, you would get just a scholarly presentation. And you don't really get the feeling that these are all Atma Vidyas, things that are meant for our own good. So when you study Yoga Sutras, Vedanta with him, you would get the feeling these are all meant for us.

How he selected his students? Was he teaching to anyone who is willing to listen?

I don't know. So far as I am concerned, he came to my house, I saw him, and I started to study with him. He did not reject me, nor I did went about searching for a guru. I don't think he was very choosy about anybody who wanted to study with him, but then unfortunately not many people at that time came and studied with him. Of all those people who came to him, 90% of them came for some ailment or other, so he came to be known better a person who used yoga therapy. They did not know what he can offer. Most people came for some ailment or the other, and after that they used to go - very few people stayed with him for a long time. There were one or two who studied with him for a long period of time, but they did not want to teach, they had other avocations.  He did not specifically ask me to teach, until twenty years or so. One day he asked me "would you like to teach?" Until that time, I did not think of teaching, because when you sit in front of him, and study with him, you get a feeling you do not know anything. When this started, I started to think about various things I don't know, rather than what I knew. As I was studying I was also teaching - it helped me to improve my teaching, I asked more questions. I was able to broaden my base much better once I started teaching. As you start teaching, you start developing. It is a parallel development: you go back, refer to whatever he had said. That was a very good experience: studying with him on one side, on the other side going and teaching.
Most of his teachings really are not well-known. If you say that most of his teachings limited to few of the sequences that you find in the modern Ashtanga Yoga, I think that's not fair to him.

Have you observed his practice?

No, no. Ekagrata. Everyone has his own practice. But occasionally - suppose I was five minutes early to his class, I could probably sometimes see him doing his headstand, or shoulderstand, or sitting in mahamudra, or some of those postures. But then, he would be completing his practice. So I would stand outside. Of course he did not object me observing his practice, but you don't really go sit down and look. Sometimes he used to show some pranayama, some postures. Beyond that I did not observe his practice. And he also had daily puja which he was  performing, so I had a good idea how he spent his time.

India had changed tremendously during those years. How is his teaching had changed through the years you had studied with him?

I studied with him on one-to-one basis. I have no idea how he taught others, except when he asked me to come and observe if he wanted. For instance, when he was treating some people, occasionally he would ask me to come and observe. That was very rare, not frequent. I really have no idea how he taught others.  But I can't believe that he taught anybody without breathing, synchronizing the breathing with the movement. Every time - it was thirty years - every class I go to, he would start with the breathing.  Another thing - he gave a lot of importance to pranayama, he gave a lot of importance to chanting. That is why I try to combine all of them, whenever I try to present this program [LMU 200hr TT], because he taught all these subjects.


What was it like to study with him?

His main goal was to convey the subject to the student, that's all. He would be focused totally on that. His focus would be teaching, and you would be always thinking whether you are able to understand what he was talking about. Usually he would close his eyes and speak for 5-10 minutes, because most of the Sutras he knew by heart. And then suddenly he would open his eyes to see if you were sitting there, then close his eyes and continue. With him, there were nothing extraneous. From the moment you come to the class and start with the prayer, go through the class, and end with the prayer. After the prayer is over, I would just stand up, and go out of the room, and then come back next class. He was totally focused on whatever he wanted to teach. Not merely the subject, but how to convey it so you will be able to understand. That is the main thing. I think the impression you get from studying with him was this: these are the shastras, scriptures. His life goal was to understand it, bit by bit, so they will become part of his own psyche, his own way of thinking. And then convey it to the next generation. The rest of the things were secondary. I don't know how he was earlier. You can see a fierce intent in transmission of knowledge. Of course he used to charge fees. He needed money, everybody needs money. But that was not the main thing. If you can show that you are really interested, he came out of his way to help you by explaining, that's about all. And normally I never used to ask questions. If I had a doubt, I would keep it to myself. I tried to understand it myself by thinking about what he said, did I miss something. Sometimes I refer to other notes, other commentaries. But usually, if I had a doubt, in two-three days time, I don't know how he knew, but he would explain it. That was something very good about him. You can see that he was really interested in you, in your development.

Was he willing to be patient with a student, explain things over again?

I had never asked him many questions. Very rarely asked him. I think one time I'd asked him a question, because I did not understand, he said, “What is wrong you? You are not being observant.” You are not listening. I kept quiet. Then I realized, yes, he mentioned about it. Why didn't I notice? One day he said, “your absorption is not good”. So I used to be very attentive. Not because of compulsion, but because the way he used to put it. But then again, I had studied with him for thirty years, and subjects came up again and again; I had plenty of opportunities to reflect...  Sometimes when he was teaching a new subject, even then things were explained again in a different way. The time factor, the length of time I could spent with him – that played a very big role. 
So what you should do is try to develop your own studies.

Krishnamacharya's scholarly qualifications are so numerous and impressive, he could have easily been a stellar scholar. Why do you think he chose to be a Yogacharya?

I will put it this way: There are hundreds and hundreds of yoga teachers, who just teach asanas. There are hundreds and hundreds of scholars who just teach philosophy. Very rarely you can find a person, who combined yoga practice, and also philosophy. And his approach was this: that without yoga it is not possible to achieve all those things that were mentioned in the shastras. If you want to be a Bhakti yogi, or you want to be a jnana yogi - whatever spiritual height you want to achieve, you have to have a solid yoga base, at least a solid hatha yoga practice, consisting of different asanas and pranayama. It is quite obvious: asana and pranayama are necessary to control one's rajas and tamas; without controlling rajas and tamas, you cannot really go into many of the meditative procedures mentioned. It was very clear the way he was teaching.

Which part of Krishnamacharya's teachings is least explored?

I think therapeutic applications of his teachings. His Chikitsa Krama. But then, I think more than giving simple movements or exercises to people, I think his approach to the Six Koshas is very important.  It is not therapeutic application, it is more fundamental. This is something you can find in Yoga Rahasya, he mentioned these things. In Yoga Makaranda, see the kind of importance given to Pranayama, and also Bandhas, the inversions – few things that are unique to Yoga. They have to be put in a way, so that ordinary people will be able to appreciate things that could happen – rather than talk about chakras, and some of those things which are very difficult to explain. But you have to quantify it. The only reason why it is not brought about, is that we have to validate all those things. Once validated, it will become very popular, I am sure. It is quite logical. It will be quite useful. More people will do Pranayama, more people will do the Bandhas, headstand, shoulderstand, more people will meditate. My wife is a doctor – she says they appear medically sound. Only thing is – she says, it will be better if you can validate it. I tried to do that, but I was  able to do some minimal work. In fact, two-three years back I was start thinking about coming up with a book called “Yoga for Internal Organs”.  I can use my wife's help, so she can deal with professional terms used my modern medical practitioners, so they can appreciate what's been said.  But the only thing is, I need some more studies to be done.

I tried for two years, and initially got something done. But then I started coming here. Here, in the USA I cannot do anything. In India I stayed for two-tree months, I cannot organize anything in that time. But still, I got it clear in my mind; I know what I want to do. What I need is some good technical design some experimental studies, so whatever  I want to do he will be able to implement. I don't know kinds of various equipment available now. I don't even need a doctor. See, these people are trying to say how it won't work. First thing they say, oh yes, this won't work. So I need a technician, I want this to be done, studied. I think this time when I will go I will be able to get something done.

This is one project I would like to do. If I can't do it, it is OK... Maybe this time I will do this...
Otherwise his emphasis was on Yoga Sutras, Philosophy, Vedanta, Bhagavad Gita... There is a group of people which was interested in India, studying with him, they were not interested in asanas. In fact, I know a person who is two-three years older than me, about 75-76. He was a long time student of Krishnamacharya. He studied asanas, but not very much. But he studied a lot of philosophy, not even chanting. Very good in Yoga Sutras and all that. But he did not want to teach. He became a Public Prosecutor, he is a lawyer. He did not want to leave his profession. But because of his law background – very very sharp fellow.  Likewise, there are few people who studied with him, but at the same time they were not prepared to teach.

In your time of studying with Krishnamacharya, were there any Indians who were seeking yoga as sadhana? Not for health reasons, or mental peace, or studying philosophy?

People who came during his Madras/ Chennai stay, many people came for some therapy. Some chronic back problem, or neck problem, or scoliosis... Or sometimes they came due to inability to sleep, physiological problems. Sometimes people came for treatment of bronchial asthma. That was one group. The other group was people who were interested in vaishnavite philosophy. They came to him because he had a lot of knowledge about Vaishnavism. In fact, once he was considered for a top post, to head Vaishnava Mutt - Matha is a particular vaishnavite denomination. He was a great vaishnavite scholar, and many people came to study with him. He used to teach Bhagavad Gita, Ramanuja's works, Desikan's works. That was another group. The third group was coming and studying asana. People like us, to whom he also taught related subjects like Samkhya, Hatha Yoga Pradipika, Upanishads...

And were there other ones who seeking yoga as sadhana?

Many of the real yogis keeping it to themselves. At that time there were number of renown yoga teachers - Kuvalayananda in north India, there was a yoga teacher called Sundaram in Bangalore area, Krishnamacharya was in Mysore... His book was popular at that time, people would look at his pictures and practice. But again, as I told you, it is all confined to few asanas.

What was Brahmacharya for Krishnamacharya?

Brahmacharya, of course is a strict celibacy. Patanjali talks about two types of Brahmacharya. Brahmachayas, they called Naishtika Brahmachayas, people who maintained Brahmacharya throughout their life, and have no problems. They can live without sex all their life. There are very few people like that. On the other hand, if you don't have this capacity, don't have this mental control, you are not allowed to remain a Brahmacharya throughout your life. In Brahmacharya Ashrama [first stage (Ashrama) of life in Vedic Ashram System, student life] you are expected to maintain the celibacy. But then , after completing studies, you must get married [enter the next stage, Grihastha, or householder], so you are not a nuisance to society. But still, as a Grihastha you can practice Yoga, then become Vanaprastha [next stage, in which one partially giving up material desires], ultimately, once all your duties are done, you can become a Sannyasi [the final life stage of the renouncer] and proceed. So Krishnamacharya used to say, that during Kali Yuga [current epoch, or Yuga, in the cycle of four yugas described in the scriptures], this particular period of time, Brahmacharya is not possible. There are more distractions, they are not as disciplined as during previous Yugas. 
Brahmacharya is not a choice. You can't just decide “I want to become a yogi. I want to become a Brahmachari.” They won't allow that. If you even have thoughts about sex, you are not a Brahmachari, you must get married. This is a simple test. Unless you can maintain real Brahmacharya, you don't fool around, trying to say you are a Brahmachari. Because later on, all these people create problems.
That is why in Vaishnava philosophy, they don't allow to remain Brahmachari – even the heads of the Mutt. Whereas in the Advita Shankaracharya tradition, boys are taken and then made into Shankaracharyas. This system of maintaining celibacy all life in several religions have been less than 100% successful.  Unfortunately sometimes they make mistakes. When they make mistakes, they create lots of problems. 

So basically, for him it was faithfulness to the marital vows.

Yes.


It is said that in his late years he practiced only Bhakti Yoga, as he was a great devotee of Lord Vishnu all his life. Does this mean that he came to conclusion that Patanjala ashtanga yoga, and samadhi is not a practical way to achieve Kaivalya?

No, that is not so.. He did not become a Bhakti yogi in his late years. He was a Bhakti yogi from the very beginning, it was his family tradition. If you want to categorize Krishnamacharya whether he was a Bhakti yogi, or a jnana yogi, or a hatha yogi, I would say he was a Bhakti yogi. That was a main thing. Everything else he did would have to lead to Bhakti yoga. But then he also used to tell, that various procedures and practices mentioned in Yoga Sutras are very important, because Bhakti Yoga does not deal with that. That is why he started teaching. He used all angas of ashtanga yoga, or Patanjala yoga darshana, and simultaneously developed a Bhakti yoga practice. He used to say there is only one dhyana - that is Bhagavat dhyana - meditation on the Lord. Once you practice your pratyahara, next thing for you would be meditating on the Lord. So all those things mentioned in Yoga Sutras become very academic, because that's not what you want. His purpose was to have a vision of the Lord, everything would be directed towards that.

And what is the predicament of non-believer?

If you have no faith in God, then you can go through the procedures mentioned there. Yoga Sutra provides provisions for that: do your pranayama, your meditation, try to develop one-pointedness, and then try to understand True Self. None of them requires belief in God. There is a royal path available. But if you believe in God, you got additional support, additional help. You can use that.

Have you seen him practicing asana in his late years?

Yes, that is what I told you before. But not the same kind of asana you see him doing in 1938 film, not that kind of yoga. He himself used to say that you have to change your approach to yoga as you get older. Clearly, more emphasis on pranayama. And then, I've seen his pranayama - something extraordinary was in a way he was able to expand his chest, and then do the bandhas afterwards. He insisted that everybody should practice pranayama. Unfortunately, nowadays pranayama is neither taught, nor encouraged.

It is said that Krishnamacharya was continued to call himself a student because he felt that he was always “studying, exploring and experimenting” with the practice. It seems like his practice changed through the years. His yoga as presented in Yoga Makaranda seems quite different from yoga he taught you.

I would not say Yoga Makaranda and Yoga Rahasya are complete representation of the way he taught. Sometimes when you write a book, you are writing about some asanas, how particular asana should be done.

Watching snippets of his 1938 movie, one get impression of very active, fast practice.

Right, right. I will tell you that all those things were done with a purpose of demonstration. For the purpose of people knowing it. See, when he was teaching in Mysore, he was teaching youngsters. He was also teaching the royal family. I don't think he was teaching those things to the royal family. They were not jumping through, or doing those difficult things. He would adopt to individual requirements. People like to see those things, so he presented things that people like to see. And that does not mean that this was what was he teaching. Even at that time he was teaching differently to different people.

It is clear that he was leaning towards individual, one-on-one approach in his later years.

No, even in earlier years. Whatever you see in the movies, in those photographs, or whatever is mentioned in Yoga Makaranda - he wanted to present a particular view of the whole thing. Whereas in Yoga Rahasya he says that the whole thing have to change, depending upon your age, view not found in Yoga Makaranda. So books are not a complete picture of how he was teaching. That is what I feel reading Yoga Makaranda, Yoga Rahasya, those movies. And I think he himself would say it sometimes that those were made to attract people towards yoga. Because people like to see those things, and shown them. He was capable of that. I would not say that his teachings were confined to what you see in 1938 movie, or what was mentioned in some of the earlier books. That is my view.

There is a saying "Success is 99% practice." Pattabhi Jois used to say: "Practice and all will come." Is the secret is just practice, or studying shastras is essential?  What place study of scriptures should take in one's progress?

Again, it all depends on individual interests. If you are happy with asana practice, and maintain that, that is good. But the way Krishnamacharya used to teach, it may not be sufficient. Practice changes as we get older. That is why he had three different kramas: srishti krama when you are young and growing, with emphasis on asanas and vinyasa; in midlife chikitsa, or sthiti krama to maintain a good health, and then as you get older, anta, or samhara krama. Philosophy helps to guide you in the old age. Many times in India, after they get to 60 years, they retire, and start studying Vedanta philosophy - it is difficult to understand it then. You have to have a good grounding even when you are young. I think people who practice only asana, and try to be satisfied with that - after some time... It is not a complete picture.

So much written about Yoga Sutras, it is so commented, that frequently comments obscure the original meaning rather than clarify it. What was Krishnamacharya's method of studying scriptures, Yoga Sutras in particular?

He considered Yoga Sutras as the most important text if you want to study yoga. It is the most important text, because it contains yoga philosophy. And yoga philosophy considered to be one of the fundamental philosophies belonging to the Vedic period. If you want to study yoga philosophy, you want to study Yoga Sutras. And then he said, once you have understanding of Yoga Sutras, you can compare it with other texts. If other yoga text is consistent with Yoga Sutras, then it is acceptable. Because Yoga Sutras by itself cannot explain everything in great detail. It can only explain basic parameters, because it was meant to be brief. It gives overview of the whole thing, and at the same time gives all the necessary details about the important things. If you want to know more about asanas, yes, Yoga Sutras gives only two sutras to explain parameters of asanas. It does not tells you about various asanas. There is a general rule "anuktam anyato grahyam" if the main text does not explains certain things, you have to go to other texts, which will help you to understand. That's a common approach.

When I studied Hatha Yoga Pradipika with him, he said that most of it is quite acceptable, but there are certain areas that are not acceptable, you do not have to read them. Especially some portions of the Third Chapter. How do you tell they are not acceptable? They are not consistent with Patanjali Yoga Sutras, go against principles of Raja Yoga. HYP is a very good text, but don't take it as a Gospel Truth. But otherwise, it is an excellent book – especially for Pranayama, the varieties of Pranayama discussed, you get idea about that. But in the olden days there were number of yoga systems which seem to violate some of the Yamas Niyamas mentioned in the Yoga Sutras. So he would say, be careful about that. People who study the Yoga Sutras will know - this is not according to main teachings of the Yoga Sutras.

Can you give any example of that?

There are many practices that are not helpful to maintain brahmacharya. They are considered to be OK in some traditions, if they encourage that, or experimenting along those lines. He would say, don't go near those practices. This kind of information is available when you go to traditional yoga teacher, like Krishnamacharya. But if you go to a teacher who does not belong to this tradition, you do not know. There was a lot of mixing up in yoga practices in the olden days. and more so nowadays.

Ramaswami teaches.

How did he study actual source? There is actual text, which is very terse, and there are a lots of translations and commentaries. How did he approached it?

Let us take Yoga Sutras. The fist time around, he would just take the sutra, word by word meaning. Give a brief understanding of the sutra. Give a derivation of each and every word. The first reading itself, you are very close to the text. Then whenever you read the commentary it goes much easier. But nowadays what happen is that people do not read the sutras, because some understanding of Sanskrit is necessary. Krishnamacharya would break down every word, every word in the source, and then explain etymology. That way you get very close to the Sutras. That is the first reading. Second reading you go to the commentary. Then it becomes that much easier. If you read only the commentary, and don't have understanding of sutra, what it means - I read a commentary, write a book, then somebody reads my book, he writes another book... Over the period of time meaning becomes completely different, watered down - this is not acceptable.

When I was young, there were not many people who were teaching Yoga Sutras at that time, because Yoga Sutras was considered to be a very difficult text to deal with. Whereas people would teach Vedanta very easily. Brahma Sutras were taught. At that time, I remember Yoga Sutras were taught more in Western universities than in Indian universities. You apply to the shastri position in Sanskrit college (teacher learned in the texts and commentaries) - people would prefer to study Nyaya Shastra, or Nyaya, Vyakarana (grammar), or Mimamsa, or Vedanta. Very few people were studying Yoga Sutras, because many people did not have necessary background to teach yoga. Yoga studies were very limited at that time, and only Krishnamacharya and few people like that could teach. Now, of course, almost everybody teaches Yoga Sutras. I remember we were very, very reluctant to explain Yoga Sutras at that time, because we were afraid we were not explaining it properly. Now because yoga is popular, people started to teach Yoga Sutras.

He taught only Vyasa's commentaries. And then there were another comments by Shree Shankaracharya.  But more than anything else, I would say that Krishnamacharya interpretation of Yoga Sutras was the most important thing. Again, the way he was approaching it was - go to the Sutras. Try to understand the Sutras without any of these frills. Then when you want a little more about it, and these commentaries will be helpful. But you can't understand Yoga Sutras by reading commentaries alone. You must have a basic understanding of the whole thing by reading the Sutras.

When you start to explain Yoga Sutras through commentaries - "this commentator says this", "this commentator says this", - this way you are not really explaining the Sutras. There is little point in saying "X says this", "Y says this", etc. What is it you want me to understand? This is exactly what you would get from Krishnamacharya: he would explain what it means. You would study it, and then think about it. Because there should be cogency. Some of the things he would say - Yoga Sutras are divided into three parts and addressingmeant for three different groups: the born yogi, an entry-level yogi, and a life-long yogi. This kind of representation you cannot find in modern commentaries. Then what happens, you try to take one sutra from here, one sutra from there, and then try to paste some meaning out of it. There is a structure to it, you know. That he was able to present properly. Again, you don't find that even in traditional commentaries. This makes you understand Sutras structure, whom Patanjali is addressing, all these things. It becomes easier when you study with a guru like him.

What other works he considered to be essential?

After the Yoga Sutras, he asked us to study Samkhya Karika, because a lot of things that are taken for granted in Yoga Sutras you find in Samkhya Karika, that is a theoretical basis for Yoga. [Yoga philosophy piggybacks on Samkhya philosophy.] He taught Samkhya Karika shloka by shloka, and then he also used Gaudapada's brief commentary on that. First you go through the Samkhya Karika text, and then - the commentary. There is also equally good commentary by Vachaspati Mishra; both are available in English translation. Traditional translations are available. That was the second most important text.
Then he went on to teach several of Upanishads. Not the complete Upanishads - he would take one section, they called Vidyas, Upanishadic Vidyas. Like the Panchakosha-Vidya, or Panchagni-Vidya, or Sad-Vidya, Bhuma-Vidya... That went on for a number of years. And of course, in addition to that - chanting, a lot of chanting. I have learned a lot of chanting.

Was it part of part of Bhakti Yoga?

No, the interpretation of Svadhyaya in Yoga Sutras is study of the Vedas. Chanting of the Vedas. [Traditions of Vedic chant are considered oldest unbroken oral tradition in existence, dating back to early Iron Age.] He would teach chanting of mere Yoga Sutras, some portions of Upanishads. Upanishads portions of Jnana - the knowledge portion. And some Bhakti - like Purusha Sutra, Rudram Chamakam. They are Bhakti portions. And some of them are rituals. You take Surya Namaskara mantra, the chanting is done every Sunday. Those supposed to have a very laudable benefits - if you chant Surya Namaskar, you are supposed to have a very good health. He used to say, even if you only hear those mantras, you are bound to feel healthier. That kind of belief is there. We used to study and chant Surya Namaskar every Sunday along with him for a number of years. There were number of other sections he taught. Mere chanting itself has an effect. Chants are supposed to vibrate in different chakras in the body, they are very auspicious sounds. If you believe in that and chant, it has a very salutary effect on your system.

Vedic chanting must be done in a very particular way, and it is not singing, is it? [The oral tradition of the Vedas consists of several pathas, recitations, or ways of chanting the Vedic mantras.]

Yes, you cannot change that. He himself studied the Vedic chanting when he was young, and he was able to teach us.

Krishnamacharya wrote several books throughout his life. He wrote in his mother tongue, Kannada. What was his target audience - who was he writing for? E. g. Yoga Makaranda has a very different form than Yoga Rahasya.

I think Yoga Makaranda was written for Indians in general. It was not addressed for Western audience per se. He wanted  many Indians who were not practicing yoga to start practicing. He was probably directed by Maharajah of Mysore to write a book, and I understand he wrote it in two-three days time; pictures were taken, and he wrote the whole thing. It was two things - one is the instructions for Maharajah, and two - he wanted more Indians to practice yoga.

Whereas Yoga Rahasya is a text which was lost, remember, I told the story of Natamuni wanting to transmit a knowledge to his grandson. He wanted to represent the Vaishnava Yoga, yoga based on vaishnavite philosophy, and also number of other things that he wanted to say: the therapeutic benefits of some of the procedures, like pranayama, etc. So he wrote that book. I don't know when he wrote that, because during the class he used to quote from Yoga Rahasya, he would say "this is what Yoga Rahasya says." I used to note down many of those things. But later on Desikachar was able to collect all of them and publish it as a book, I found that some of the shlokas he taught in the class are not there, and some of the shlokas the he did not teach were actually there. Let us assume that he wrote everything himself, with the inspiration from Natamuni, if you take it that way.  It was addressed partly the vaishnavite philosophy, partly the therapeutic applications. And also I could see he was talking about three stages of practice. There were few other ideas you do not find in Yoga Makaranda.

I think later on, towards the end of his life, he wrote a commentary for first chapter of Yoga Sutras. He wrote it in Kannada, translated to Tamil, and then published. Unfortunately, I don't know why it was not translated in English. I don't know if he wrote the commentaries on the other three chapters.

In his writings he sometimes comes across as severe, categorical, and sometimes angry. Is it sign of times, or his character?

A bit of disciplinarian he was. And all of that was directed by his firm belief in the shastras. It is not only him - most of the elders at that time were very forthright. They won't mince words, they tell you right in your face. Maybe is is the case in every civilization. He was one of those. 
Yes, he was very stern, but at the same time there was a very beautiful element in him, very nice things about him. He was interested in Yoga, how many teaches are there like that?

He was also a patriot. India was not independent at that time.

Yes, he believed that by following yoga, by maintaining good health Indians should be more disciplined and not be so easily swayed by Western influence at that time.

Krishnamacharya was speaking only in Kannada?

No, that's very interesting about him. He knew Kannada, his mother tongue virtually. He lived in Mysore. Then when he came to Madras, he learned Tamil, and started to teach in Tamil. He learned Tamil. He was in Madras for about two years before my father met him, and by then he learned it. The only thing, he had a very strong accent. He would use many Sanskrit terms, that was very helpful. Initially, for first few days it used to be funny,  like the way we speak English sometimes. Like that, he had an accent, he had an odd choice of words... But then, over the period of time you get used to it, and it was very good. No problem at all.

Did he understand or speak English?

He spoke English, but it was worse than his Tamil. English was very difficult. But at the same time he had Western students, and they were able to understand him.

Did he have Western students?

Yes, at that time there was an American Consul General in Madras. He learned Tamil, and then he would study with him.

What was his name? I wonder what become of him?

His name was Dr Albert Franklin. He is no more. But he was a very, very good friend of his. He was my father's age. He was a good friend of his, and he and his wife used to come there. I don't know if he wrote anything about Krishnamacharya, but I think he studied with him for a number of years, because he was living in Madras, and he was US Consul General. He was one of those people who did not merely studied asanas. He also studied number of other things. I think he studied Bhagavad Gita, Yoga Sutras, and all that. He was a Harvard Ph. D in Political Science, great scholar. A very nice man.

Were there any other western students?

This one I remember. May be there were a few others. Because sometimes after his class was over, I used to go for my class. I used to meet him just outside the class and speak for couple of minutes. He knew Yoga very well. I wish people like him teach Yoga. Unfortunately... This man would have been a very good teacher. I don't know why he chose not to teach.  Indra Devi was there.

Indra Devi was born and brought up in Russia, actually. She emigrated after the revolution, but visited USSR a couple of times after she settled in Argentina.

I've met her just once, for a few minutes. She came to see him on his 99th birthday or something. I did not speak to her; somebody introduced me, she said “Hello.”

Did he ever share his thoughts about Tantra?

You see, Tantra itself is a huge subject. There are some practices that were considered to be not acceptable from the Vedic approach. They called it Sadachara  and Vamachara. He was pretty severe about Vamachara practices, objectionable practices. If it is an idol-worship, some people say it is Tantra. He himself used to practice that. He had an icon, and worshiped it on a regular basis, but that is acceptable. And then some other practices, like I told you, in Hatha Yoga Pradipika, that are not acceptable. He would say "Be careful about those practices."

Are you familiar with tradition of Tamil siddhis (sittars), and Tirumantiram scripture? Do you think this tradition is still alive?

In fact, I wrote an article about Tirumantiram in Namarupa magazine (there was also an article about Tirumular and Tirumantiram in Vinyasakrama Oct 2009 newsletter).
Tirumular was a great yogi, supposedly a contemporary of Patanjali. He was more known as siddha. The entire Tirumantiram consists of 3000 verses or so. There is one section, one eights of it, is on ashtanga yoga. The others is about Tapa Siddhi. If you want to understand those, it is a very good text. Some shlokas hit you as very very meaningful.

In your opinion, why in lineages originated from Krishnamacharya (B.K.S. Iyengar, Pattabhi Jois, T.K.V. Desikachar, you, A.G. Mohan) Shatkarmas (cleaning procedures) are not taught? In his early work, e. g. Yoga Makaranda, he gave plenty of attention and importance to these practices. In traditions of Sivananda, Bihar school of yoga, Vivekananda, and followers of Dhirendra Brahmachari place great emphasis on teaching these procedures.

In fact, Krishnamacharya, when he started teaching us, never gave much importance to them. Only the kriya that he said was important was Kapalabhati kriya, because you are not putting anything external into the system. See, Kapalabhati takes the air to cleanse the whole system, whereas other kriyas introduce a lot of foreign material. And they are not very pleasant. He said, in fact I do remember him indicating it, he mentioned them because they are all in the texts. It does not mean you should practice them. He himself would say, I think it is mentioned somewhere, that these are not necessary for everyone, only people who got a lot of toxins that should be removed. They should practice this. So when we were practicing, he said, "it is not necessary for you, your breathing is normal, you do not have to do all those kriyas." When you talk about the system, you must know that these are various things available, use it if it is necessary, not on the regular basis. You don't need to use Neti Pot daily, just because it is mentioned there.

To be able to use it, one needs to know how.

Yes, you have to learn how to use it.

Did he teach it?

No, at the time he said, "It is not necessary for you." At that time I was not thinking of  teaching, so he was teaching only for my own requirements. I did not ask him how to do this, and he did not teach me. I do not teach it to anybody, because I don't know how to use this. And then Hatha Yoga Pradipika clearly says this is not for everybody, but only when absolutely necessary. Shat-kriyas need not be practiced by everyone. They are there if needed, it is an option we have.

Did he give any recommendations on massage, oil bath, other cleaning procedures?

Yes, oil bath is something that people in India, especially in South India, do it regularly. He did not give any particular recommendations, but he would say don't let anybody do an oil bath or a massage to you, as a yogi, a practitioner of yoga. You have to massage your own body, allow 20 minutes to half an hour for oil to soak, and then have a bath. And then there are some materials that are available to remove excess oil from the body. Usually this was done twice a week. He would also recommend taking castor oil twice a year for cleaning digestive tract. These were accepted practices. 
Normally in Madras we take a warm water bath in the morning. Many times we take a cold water bath, it is more refreshing. But Krishnamacharya insisted you take warm water bath. Of course yogis take cold water bath, we know that. But he said, at your age, this is what you should do. Naturally the condition of yogi who lives in Himalaya will be different. But from that day on, I take a warm water bath before my yoga practice.

Did he give any other recommendations on diet, sleep, or monitoring one's health?

As far as sleep is concerned, he would say, go to bed early, and get up early in the morning. Because morning is the best time for you to practice your yoga, or chanting, or meditation, or whatever. He himself used to wake up at 3 o'clock in the morning. But he used to go to bed around 8:30 at night. Of course, this would be difficult in theWestern countries. In India sunset is always around 6pm, whether it is winter or summer. So he used to go to bed around 8-8:30, be up by 3 in the morning. By 6 or 7 would have completed all his morning ritual, and the ready to receive anybody for a class, about 7 o'clock in the morning. He would say, "go to bed early, get up early in the morning, try to get at least 6 hours of sleep." 
"Don't put on weight, be careful about your diet." I think I mentioned to you, that he would say "don't allow your thighs and waist to spread."

Did he recommend measuring thighs, waist, and heart rate on a regular basis?

Yes. Another thing he would say, "don't allow a heart rate to go up, don't allow a breath rate to go up." Even though you are practicing asanas, you have to take a rest frequently. Whenever you find a student struggling for breath, don't ask him to go on. If the breath rate is above the normal, allow them to settle down. The whole purpose was to slow down the breath rate. The metabolic breath rate should come down.

He was also an Ayurvedic practitioner. It seems that in old days, yogic approach, including shat-kriyas, was prevention of diseases, and was independent from Ayurveda.

Yes. Yoga texts in general don't talk about Ayurveda practices. Whereas Ayurveda, I understand, mentions that if diseases cannot be cured by Ayurveda, it should be tackled by Pranayama. That is what I hear. I did not study Ayurveda practices. But then you must also understand that yogi was usually a recluse. He did not have facility of Ayurvedic doctor/vaidya. They would have to manage the everything by themselves. So yoga, over period of time, develop its own techniques of maintaining the good health. The first thing they would have to do is to have a good health, so they could sit down, meditate, be alone. From that point of view, yoga got enough material to maintain a good health.

How did he come up with Ayurveda? Did he use it in his own practice? Did he use it for healing?

For his own sake, I don't know if he used Ayurvedic preparations, I don't know. But whenever students came to him, he would teach them asanas. But asanas were not sufficient, because they did not have same discipline that he had. So he would supplement them with Ayurvedic preparations. I don't think Krishnamacharya himself was an Ayurvedic expert, Ayurvedic Vaidya. He had a good working knowledge of Ayurveda. That is my understanding. He would use them as a supplementary method. When students come to him, he used to prescribe medicated oils, for joint pain, or things like this. He also gave certain lehyam [Ayurvedic jam], powder. And he had a good understanding of human anatomy, physiology. He used pulse. He had his own methods of diagnostics. He would check your pulse, check your marmasthanas [vital body regions]. Few things he developed and used. I don't think he taught this to anybody. Maybe his son learned about it. He had a good working knowledge how to treat patients - with asana, with pranayama, with few Ayurvedic preparations. And sometimes he would teach some mantras to chant. Like that, he would draw from different sources, and then make a recommendations to his students.

Let's talk about Pranayama. In his writings he says numerous times, that Pranayama is the key to the whole practice; it is the most important anga. Vinyasa Krama you teach is centered around the breathing.

Right.

And yet, Pranayama, by and large, taught on the fringes, and sometimes has an air of being remote like samadhi. Often presented as dangerous. How Krishnamacharya taught it, and how soon?

I don't remember when he started to teach me Pranayama. I know it was very early, because he had started to use breathing on day one. That itself is half Pranayama: long inhalation, long exhalation. You start from day one. And then Pranayama practice is regular. I think I mentioned, Pranayama practice is an integral part of daily routine in olden days. You are required to do ten times Pranayama with Gayatri Mantra, and all that. Pranayama is considered essential part of your daily life. You are required to do, say, ten in the morning, ten in the afternoon, ten in the evening, and there two or three in addition in every sitting. Virtually you do forty pranayamas every day. Everybody - you don't have to be a yogi to practice Pranayama. Everybody is required to practice Pranayama forty times every day. So, what's the big deal?

Samantraka Pranayama (pranayama with Mantra)?

Samantraka Pranayama. But still a pranayama. In fact it's a more difficult pranayama. If everybody, even non-yogi do forty times pranayama, why yogi should shy away from that? And I don't think Krishnamacharya told anybody not to teach Pranayama. He might have not told somebody to teach specifically pranayama, I don't know what happened. But he didn't prevent anybody... He taught Pranayama from very beginning. In fact, almost anybody who has studied with him learned Pranayama from him. He would himself teach Pranayama. Normally your asana practice ends with pranayama session. I have never come out from his class without practicing Pranayama. I think I've mentioned it several times. You see, Pranayama is the one that makes Yoga unique. In all other systems there is no control over the breathing. In all physical exercises, there is no control over the breathing. Here you try bring your breathing under voluntary control. If there is something very big, very unique about Yoga - it is the breathing. Any people who want to meditate, to achieve samadhi, achieve kaivalya, some of those things that are mentioned - if you shy away from Pranayama, how can you progress? You have to use this vehicle, you got to use Pranayama. Krishnamacharya was insistent that without Pranayama, there is no Yoga. 

In fact, word Hatha, as in Hatha Yoga, means Pranayama. You look in the Hatha Yoga Pradipika, the commentator says Ha is Prana, Tha is Apana, Yoga is a Union, Hatha Yoga is a union of Prana and Apana, which is Pranayama. So Hatha Yoga Is Pranayama. How can you say, "I practice Hatha Yoga without Pranayama?"
I don't know why people are unnecessarily discouraged from Pranayama. Everything is dangerous. If you do Pranayama in very unorganized way, then perhaps... But then enough instructions are given in the books. And they say you have to be careful, you have to learn from a teacher. Yes, you have to learn from a teacher. See that it is within your limits. In fact in Hatha Yoga Pradipika, the first instruction is "Inhale as much as you can." Yetashakti "Exhale as much as you can." Slowly build your capacity. You have to work along these lines. People who discourage Pranayama are doing a disservice to Yoga. That may not be their intent, but they are creating unnecessary fear in people, and they are doing a disservice to Yoga.

One reason why people are reluctant to teach Pranayama because they are afraid of teaching it. They don't teach Pranayama because they don't want to get into any problem. They don't want to teach Sirsasana, or Sarvangasana because they don't want to get any problem. These postures, these procedures are a bit tricky. If you understand, if you are able to practice them – well and good; but sometimes you make a mistake, you feel very uncomfortable...

If Hatha Yoga is Pranayama, then Pranayama is Kumbhaka?

Kumbhaka is holding ones breath. It has to be proceeded by inhale, or exhale. Pranayama is control of the breathing. Kumbhaka is the most essential aspect of that. You have to use your inhalation or exhalation before you are able to hold your breath.

How would Krishnamacharya teach it?

After you practiced your asana, he would ask you to sit in padmasana, vajrasana, etc. do your Kapalabhati, 108 times, or whatever. And then he would ask you to do - one day Ujjai, another day Sitali, another day Nadi Shoddana, like that he would slowly build up the practice, and then later on you have to practice Pranayama on your own. You don't have to teach forever. Once he knew that you practice your Pranayama properly, he would say at the end of the class, "practice Pranayama for 15 minutes."

Which Pranayamas were taught, and which ones were mostly frequently used?

Mostly, in Vinyasa Krama practice, he would use Ujjai breathing, because we use Ujjai in our practice, so it becomes easier. Ujjai and Nadi Shoddana are the two most important pranayamas. And then if you combine those two, you get Anuloma Ujjai, Viloma Ujjai, Pratiloma Ujjai. Occasionally he would ask me to do Sitaly pranayama. When weather is very hot, he would say "you look tired, why don't you do a Sitali pranayama." The main emphasis was on Ujjai and Nadi Shoddana. Normally for Mantra Pranayama, they use Nadi Shoddana pranayama. Inhale through one nostril, chant the Pranayama Mantra, exhale through the other nostril. Nadi Shoddana pranayama is mentioned in the texts also.

What about Bhastrika, Brahmari?

Brhastrika, Brahmari are special pranayamas. 
They are not as common as Nadi Shoddana and Ujjai pranayamas. Because most of benefits expected from Pranayama you can get from these two procedures. Next question is how long you can inhale, what ratios you can maintain [puraka - antar kumbhaka - rechaka - bahya kumbhaka]; there are different parameters that come into play.

He did not use much of Bhastrika?

No. He would ask you to do Kapalabhati. Because Kapalabhati is a cleansing kriya. Bhastrika is a specific pranayama, for certain conditions.   

What scriptures did he use as authority on Pranayama?

Hatha Yoga Pradipika talks about it. And then there are number of Smritis (texts) which refer to Pranayama, how to use the Mantras. Pranayama has two things: one is technique of doing pranayama; the other is how to use the mantra in this pranayama. There are several Upanishads, several Smritis which talk about Pranayama. So, lot of material available on Pranayama.

Pranayama, according to Krishnamacharya, not effective without Bandhas. Just as Bandhas not viable without Kumbhakas.

Yes, without Bahya Kumbhaka, especially.

How did he teach the Bandhas? And how soon?

Once your breathing is comfortable, you have long inhalation and exhalation, and you can hold the breath for a short period of time, Bandhas can be done. I think he taught Trataka Mudra as the best procedure positioned to teach Mulah Bandha, and Uddiyana Bandha. Once you are able to do Bandhas in that position, then the next thing for you would be to try it in Adho Mukha Svanasana, then some of the seated postures, especially Padmasana and Vajrasana. These are the postures he would ask you to practice the Bandhas.

I think considerable confusion exists about Bandhas, and perhaps it may be useful for many people if we will discuss it. Let's go through three major bandhas. In case of Mula Bandha, queues can be very simple - yet books written about it.

He gave simple instructions, he did not elaborate on this. He would say draw your rectum and tighten lower abdomen. That is all instructions he would give. He would observe how your Bandha is, and say, it is fine. That's about all.

Uddiyana Bandha, anatomically, is a passive stretch of a diaphragm, done by exhaling, closing one's voice box and lifting the chest. But that description does not make it possible to do Uddiyana Bandha on inhale. Yet Hatha Yoga Pradipika talks about it. How is it done? Some lineages talk about Uddiyana Bandha vs. Uddiyana Kriya.

I don't know about Uddiyana Kriya, so I can't talk about it. Hatha Yoga Pradipika talks about Uddiyana Bandha, I think, even at the end of your inhalation, Antar Kumbhaka. I asked my teacher, he said, "this is not for Grihasthyas" [non-Brahmachari]. The idea appears to be getting the union of Prana and Apana, by pushing the Prana in the Antar Kumbhaka, pushing up Apana. It is a difficult procedure. Probably you can learn from a teacher. He himself practiced this, it is not impossible. But, the most benefit you get from certain things - for instance if you want to work with your heart, it is better to do it on exhalation. Depending upon the requirements, your condition. If you want Prana Apana Vayu to enter Sushumna and all that, maybe you would like to do your bandhas on inhalation. On the other hand, if you want them to be helpful to massage your internal organs, probably you want to do your Uddiyana on exhalation.

Do I understand it correctly, Uddiyana on exhale is not only passive lifting a diaphragm, but also active pressing of abdomen against the spine?

Yes, pinning of abdomen against the spine.

So Uddiyana on inhale, it is only pressing abdomen against the spine, because you cannot lift the diaphragm?

But there would be pressure there, you see. What I am trying to say, we do the Jalandhara Bandha, and then you got the air inside your chest. When you try to pull Uddiyana Bandha, it may be not as deep, but at the same time we produce enormous amount of pressure inside your chest. That way they say the Apana is moved up, and you get the union between these two, that's the idea. You can't lift the diaphragm as much as you can during Bahya Kumbhaka, it may be a negligible movement, but at the same time you will be able to feel the pressure. I don't know why it is mentioned there, I've not been taught that, but he said, it is not for us. Because he was not talking in terms of the Kundalini Yoga, Prana, Apana through Sushumna and all that. He was using Uddiyana Bandha, Mula Bandha, for the six koshas of the body. If you look at it from this point of view, it appears to be very logical. It all depends on who is asking you to do what. 

I guess it is confusing to me because on exhale the diaphragm is relaxed, and this normally continues in Bahya Kumbhaka, where as during inhale, it is contracted, and after inhale completed, in Antar Kumbhaka, it can be either left contracted, or be relaxed.

Yes, but increasing chest pressure is what they are wanting to do - they wanted to get Prana and Apana closer.

Jalandhara Bandha. How did he teach it?

In Jalandhara Bandha, he showed me, saying, "get the chin to the breast bone, and then pull it up." Try to bring chin down, he would say four inches below the neck pit, some of the texts talk about it. Then lock the chin, and then straighten your back. What happen is the whole chest moves up along with it. And that is the correct Jalandhara Bandha.

And this bandha is let go once you start inhaling or exhaling?

Yes. The main thing you want to do it when spine is straight, while you hold your breath, that is during kumbhaka. You inhale, bring your chin down, pull it up and lift your chest. During this kumbhaka period, Antar Kumbhaka, you maintain Jalandhara Bandha. In Bahya Kumbhaka also, you bring it down down and pull it up. In Bahya Kumbhaka you maintain Jalandhara Bandha, Mula Bandha, and Uddiyana Bandha. The bandhas are very important during kumbhaka period. Naturally during inhale or exhale you will relax your bandha, but still you have to control the breath. You still control the breath by maintaining Jalandhara Bandha. You maintain the control with Jalandhara Bandha in Ujjai; you maintain the control with your fingers in Nadi Shoddana pranayama.

Jalandhara Bandha aids Ujjai.

Definitely! Jalandhara Bandha aids Ujjai. It also has a number of other benefits. It helps you to keep your back straighter. Once you pull up the spine, your Mula Bandha and Uddiyana Bandha also become more effective. Because the pelvic muscles are pulled up, there is more space between the pelvis and ribcage, so you are able to do the bandhas much better. They are all related.

What asanas recommended for its practice?

Usually Padmasana, Vajrasana are two main postures, which are helpful. You can do it in Maha Mudra, you can do it in Maha Bandha and all that. Sidhasana is very good for that too, you can keep the back much straighter.

What about practicing bandhas during inversions?

Yes, in Sarvangasana, Shirshasana - if you can develop good Mula Bandha and Uddiyana Bandha it is helpful, both from the Kundalini point of view, and for helping your body koshas.

Jalandhara Bandha is natural during the Shoulderstand and the Plough.

Yes, Jalandhara Bandha is natural during the shoulderstand. But it is better than in the Plough, because you keeping your whole body up. You don't get a gravity advantage in your Halasana. If you want to work with Jalandhara Bandha, you can do it in Halasana. But there is no point for staying in Halasana for 15 minutes, as you are able to stay in Sarvangasana. Benefits you will be able to get for staying in shoulderstand for 15 minutes are entirely different from what you will probably get with Jalandhara Bandha in Halasana.

What about Viparita Karani?

Viparita Karani is just an intermediate procedure for a shoulderstand, so your legs and the whole body can relax, and then get into a proper shoulderstand.

How is Drishti used in Vinyasa Krama?

Drishti is mentioned in many of Pattabhi Jois works, but for all those years I've been studied with Krishnamacharya, he never mentioned about Drishti. He never mentioned about it. Only thing he will say, whenever you do Trataka you gaze at the lamp, and then internalize it. That's about all. But whether you must look at the toe, and all that I find,  that kind of thing he never mentioned. Keep your head down, and your eyes closed. Most of the time our eyes are closed, we are following the breath. Most of the asanas you keep the eyes closed and work with the breath. Concentrate on breath, except in standing poses. When you are doing Paschimottanasana, you better have your eyes closed, so that you will be able to focus on the breath and the bandhas. Everything is happening inside, you don't need to keep your eyes open.

Did Krishnamacharya teach Jihwa Bandha, Kechari Mudra?

No, no. Whenever we do Ujjai breathing, we will ask you to roll the tongue back.

But that is not comparable to the real Kechari Mudra, it is much deeper.

No, no, no. All those things mentioned in Hatha Yoga Pradipika, or Yoga Makaranda, - any of the fancy things you find in those books - undercutting the tongue, or the Neti Pot, or the Sutra Neti, all that he mentioned in Yoga Makaranda, he did not teach in the later years. And people won't do it in India. He was not teaching yogis, he was teaching ordinary people, you know. Ordinary people were coming, and I was part of that gang. You go and study. Fortunately over the period of time, I developed interest in that. I think I had a very deep interest in the subject. Otherwise, most people... He won't be teaching all these things. And then he was not teaching teachers. He did not try to develop teachers or anything. During his later part of his years, he was teaching to people whatever is required for a particular individual.

Yuri Sharonin & Shrivatsa Ramaswami


Why didn't he teach yoga teachers, or yogis? Prepare, so to speak, a replacement for himself?

No, the whole thing is, we have a different impression about him, as some... But he, at that time, what he was trying to do - he was in Mysor, he has come to Madras, and what do you do? There are not many people who want to become yogis, yoga teachers. Even now in India, yoga teachers... It is completely different. What is going on in the West is different from what is going on in India. Nowadays a few people are interested because it is more popular in the West. In my time, you don't even tell anyone that you are practicing yoga. The elders used to discourage it, they think you will become a recluse. Lots of misconceptions were there in India at that time. It was very difficult to get married if you were to become a yoga teacher at that time. He had to teach for anybody wants to come to him and wanted to learn something. And he would teach. Most of the people never knew what he was capable of. Nobody knew. They would come, take few lessons and go away. A few people, like us, got interested in that. Because of our own personal interest. I wanted to know what it is all about. Not because you wanted to become teacher, or become this, or that. I wanted to know. He was the man who can give you the knowledge that you need.

What about Dharana and Dhyana? Since they are entirely internal practices, antaranga sadhana, and teacher's options are quite limited. How did he teach?

Not much here that he would teach. See, what I was found with him, rather than teaching Dharana, Dhyana directly, he started teaching the Chanting. I think I told you, chanting also helps your mind to become focused. You take a particular chapter; the chapter has got a theme. As you chant, if you know the meaning, you are able to get this particular theme in your mind. For instance, Pancha Kosha Vidya in the Taiitriya Upanishad, it slowly leads you, from Annamaya Kosha, to Pranamaya Kosha, to Manomaya Kosha... Like that it leads you... So if you chant for fifteen minutes, you have done a meditation on that. 

It develops Ekagrata [focus]?

Yes, instead of taking a mantra and repeating it, - that's one way of getting your mind focused - now you take one particular concept, one particular idea, and then you remain focused on that. The same approach is done in the Puja also. You take one Akriti, one particular deity you want to meditate upon, that has a physical form, that helps you to bring your mind to it, then you do Archana to it [chanting names of the deity], then it helps you to do Akara Dhyana [form of a meditation]. There are hundreds of methods by which this can be done. The one that we do is one method, it is not the only method. If you are Bhakti Yogi, you don't have to go through all this. That's why he would say, there is only one Dhyana, Bhagavad Dhyana. If you are doing Bhagavad Dhyana, start doing all these things. Every day for 15 minutes or half an hour, if you are doing Bhagavad Dhyana, it can be a Puja, it can be Akara Dhyana, or chanting sahasranama, a thousand names of a particular deity, like that. I thought he was insisting more and more along these lines, rather than going through the various parts of Patanjali. Because either you go through Bhakti Marga [path of devotion] or Jnana Marga [path of knowledge].

This is in addition to practice of Dharana, Dhyana?

He taught that you practice it. But he also brought all these other things. So if you really look at him, he did a lot, he did a lot to develop your Ekagrata, he did a lot for your meditation. He did not stop with taking a mantra and asking to do your Dharana, Dhyana, because other mantras are also available. It is also a very conventional way. And then the problem with most people of other backgrounds is that it will be difficult for them to do the chanting; it will be difficult for them to attach to this kinds of practice. In such cases it is better to go through Patanjali's procedure. He taught both of the methods. But I prefer after some time to go through the chanting procedure. I chant and meditate upon that. Surya Namaskara you chant for one hour. Entire one hour your mind will be on that. You can't think of anything else.

It is peculiar that here in the West, people seeking to start meditation practice come to Vedantic or Buddhist meditation, and think of Yoga only as a source of health benefits. Why do you think that is? Why not Yogic Meditation?

The whole problem is, nobody teaches that. Nobody teaches the yogic meditation. You look at some older teachers, they don't teach meditation at all. So people who practice Yoga, when they want meditation, because meditation is mentioned there, what do they do? They have to go to Vedantic school, because they can teach some Vedantic mantras, like Aham Brahmaasmi, So-Ham, Shivo-Ham, and all that. Or, they go to Buddhist meditation, or, sometimes they take a mantra. They go to religious people, take a mantra, and trying to meditate.

It may be that the format of typical yoga studio does not allow it. You have 1.5 hour class, and it is invariably a drop-in. It is very difficult to teach Pranayama or Meditation to someone who just shows up.

It is true, but at the same time the studio can offer programs on Pranayama, or Meditation. If you come to study yoga for three years, if you say, I am going to teach Pranayama, a few people may be interested. Have one class every week, whereas you can have classes all through the week for asanas.  Have one class for Pranayama, then slowly introduce the Meditation. Then it will grow. Once two or three people will study Pranayama, and they will practice... It goes the same way with asanas. If people won't teach, it won't spread. Unfortunately this will not be done, because most teachers have not studied Pranayama, so they can't teach. And they won't let anybody else come and teach Pranayama. You will ask them, how to learn Pranayama, and they will say, oh, it is dangerous. Because they can't teach. I am telling you, the reason why Pranayama is not taught, is not nearly because it is considered to be dangerous, but because they not taught about it. It is not so difficult if you apply your mind to it. All yoga teachers can learn safe simple Pranayama and teach. First you learn it for your personal practice, because you need Pranayama to teach it. And then when you go to yoga school to learn some yoga asanas, there should be a provision for it, there should be some classes available. Unfortunately it is completely shut out here.

Is it different in India?

In India, again, asana people practice only asanas. There is no seriousness. And then yoga is not practiced with so much of enthusiasm as it is done here. 
Krishnamacharya has taught Pranayama, that is all I know. How can his students, and thousands of thousands of people who follow them say they are following Krishnamacharya traditions? But they don't do Pranayama. They say, “don't do Pranayama, it is dangerous.” It is not fair to Krishnamacharya ,his teaching.

Can you describe the Vinyasa Krama, the method you are teaching? It's uniqueness?

Vinyasa Krama is a method, by which you do asanas, with a number of movements leading to asanas, movements in the asanas, counterposes to the asanas. And then all the asanas are done with a proper breathing. There is an appropriate breathing for each of these movements. And then the mind is focused on the breath. These are the main differences between Vinyasa Krama and other methods. The term Vinyasa means Art. Vinyasa Krama is practicing yoga as an Art. That's why it got so many movements. All of the various movements body can do, falling within common definition of asana. One more advantage of Vinyasa Krama is that you are able to access different parts of the body, which you won't do, if you doing fixed number of movements, fixed number of asanas. There are so many different movements, you are likely to reach and exercise all parts of the body. Prana goes to those areas, Rakta [blood] goes to those areas.

How does Vinyasa Krama relate to Chikitsa Krama [therapeutic approach to practice]?

Vinyasa Krama, if you learn and practice it, will give you a lot more, the bigger base for you to apply in Chikitsa Krama. Because in Vinyasa Krama we have, say about 700 vinyasas or so. If you want to teach somebody for a particular condition, you can study the patient, and then try to pick and choose. Those vinyasas are going to be helpful. But if you learned only a few asanas, then you don't have that scope. Again, if you have Vinyasa Krama, then you can teach for different people: young people, old people, middle-aged people. There is no need to have a same structure that you teach to youngsters, and then ask old people to perform it. Of course in a group class, like the teacher training, some people may find it difficult to do a difficult posture. But at least they will know, that when they would teach youngsters, they will have enough material to teach them. At the same time, when if they need to teach older people, they have enough material to teach accordingly.

How does Vinyasa Krama relates to long hold asanas?

Long hold asanas are there, because they require time to give proper benefits. You want to go into shoulderstand, headstand, you have to stay there for a long period of time, because if you stay for only a minute, the body won't relax. It takes time for a body to relax; it takes time for internal muscles to relax and then move, so you have to provide time for that. That's why we give more time for headstand, shoulderstand, and also for Paschimottanasana.

In his early works, Krishnamacharya recommends 10-15 asanas [held for a long time] for a regular practice. You mentioned he asked four asanas for constant long hold practice: Maha Mudra, Paschimottanasana, Sarvangasana, and Sirsasana. 

Yes, that is what I remember, because, for instance, he also talks, for example, about Mayurasana in the Yoga Makaranda. But I remember these four. He would insist, almost every day he would ask us to do these four asanas.

Do you think this reduction in number of poses was due to maximizing effectiveness, or a concession to students?

No, no. You are required to do vinyasas. There are number of movements you will do. Everyday practice consists of dynamic movements, and also static postures. Among the static postures, he would say these four are important. My practice should have a number of movements and also should have these postures. I can't just go on for an hour and just keep on moving. Nor remain in one posture for a long period of time. I have to have a mixture of these two. 
The reason why I have to do movements, I have to access different parts of the body. The human body is so unique. Each part has its own set of movements. So what yogis are done, they came up with all the movements the body can do, so we can access all parts of the body. I have to find out the way so I can exercise the whole body. And that's what they have done.
 Why do you want to stay in those static postures for a long period of time? Because these postures take time to give you benefits. I will keep it in mind and adjust the practice in such a way. 
In addition, Pranayama was another must.

He practiced Maha Mudra as one of the main poses. Did he practiced it by itself, or with conjunction with Maha Bandha, and Maha Vedha, as text recommends?

Basically he would teach only Maha Mudra, followed by Badha Konasana. He was teaching Maha Mudra to almost everybody. Usually about 5 minutes on each side. Normally he would say number of breaths, "do twelve breaths." If a breath is short it will take a short time, if the breath is long, it will take a longer period of time. Twelve breaths for five minutes is quite acceptable.

How spesific was Krishnamacharya in Vinyasa sequences? Did he require to stick to a particular sequence, or did he encourage variations?

Yes, he would teach you the way I go about teaching this class. Once you learned these vinyasas, then in your own practice you will pick and choose on a daily basis. That is your responsibility. But, on the other hand, if you come to me for a treatment, then I will pick and choose the vinyasas and give it to you. But if you are doing it for yourself, and you had learned these vinyasas, then you have to design your program on a daily basis. You don't need a teacher to come and tell you. I've done this, tomorrow I think I should do something for my neck and shoulders, or sometimes I feel heavy in my legs, so I probably spend more time doing vinyasas in my shoulderstand, or headstand. I vary my procedures from day to day.

Did he taught Surya Namaskar, was it a part of a daily practice? You mentioned earlier it was a part of weekly routine.

No, no. That was a chanting, not the physical aspect. Just a chanting. We used to do only chanting part. We never used to do the physical part. He taught it, but then he never insisted on a physical part of the Surya Namaskar. Not as it is being done in the West.

So physical Surya Namaskar sequence was not practiced at all?

No, no. It was just taught out, that's about all.

Even the physical Surya Namaskar sequence you taught us is quite different from what I practiced before in Ashtanga-Vinyasa-style practice – it is slow, done with long kumbhakas while mantra is chanted, and includes prostration. In effect, it is a Samantraka Pranayama.

Yes, because these mantras are there, Surya Namaskara mantras. He was insisting on mantra portion more than the physical portion.

So he did not taught sequences like Surya Namaskara, or Ding Namaskara.

Ding Namaskara he taught. That's why I teach it. Because, we do Ding Namaskara on a daily basis, in our morning procedure, I told you. You do it every day. It is done anyway. The mantras are there already. The only thing, instead of doing it in haphazard way, he brought out a system. He just organized it.

Things like Chandra Namaskara?

I've never heard of Chandra Namaskara. Surya Namaskara he merely taught, but he did not insist. He did not make it a part of regular practice. There is a big difference with doing108 Surya Namaskara. But then Hatha Yoga Pradipika commentary clearly says: “don't overexert your body with heavy weight lifting, or doing multiple Surya Namaskaras”. It clearly says that. Read the commentary to Hatha Yoga Pradipika. He uses the term Kaya Klesha. What  makes Kaya Klesha? Pain. Kaya means body. What are the examples of that? Bahu bhara vahanam carrying very heavy weights. Then the second will be Surya Namaskara. Bahu Surya Namaskara. He didn't say, “don't do Surya Namaskara” -  but don't do too many Surya Namaskara, which will exert the system.

How specific he was about alignment, in any vinyasas or asanas?

He would make minor adjustments. Few minor adjustments I've made in the class, similarly to that he will do. [very minor, gentle physical touch, rare; occasional verbal suggestions.] Supposing your shoulderstand is very uncomfortable, so he would come and help you out. But it won't be rough. Not a very meticulous kind of adjustment to the posture.

Some things, especially after Ashtanga Vinyasa-like practice, look odd in Vinyasa Krama. For instance, legs together in Adho Mukha Svanasana; flexing a knee more than 90 degrees in Virabhadrasana sequence, Uthita Prasvakonasana; Jalandhara Bandha in Urdva Mukha Shvanasana; different sthiti in Trikonasana.



When you jump through your hands and you cross your legs, or bring legs one after the other, there will be asymmetry. You will have to shift to one hand and then to the other hand. If you want to maintain symmetry you got to keep your legs together. It is better to keep the legs together and do all these movements, rather than allowing them to flay  without any control.

Hips seems to open better if legs are apart and internally rotated.

No, but then hips also need to be closed. That is another position for the hips. Why they should always be open? Normally when you walk you keep your hips open. When do you keep the legs together? Tadasana requires you to keep your feet together. You better off to keep your feet together and do the entire sequence.

For instance, the Iyengar school insists that knee does not over-project forward.

Oh yes. If you properly keep your feet position, a good base, not overextended, and not a narrow base, you got a stable position so you can do these movements properly. If you are overextended, it is not going to be helpful. That is not a critical aspect. Maybe for some people, sometime... The critical aspect is that I am able to stretch. I am not saying that everybody should project the knee out. If that is going to be helpful for me to lower my body and get to a Virabhadrasana properly, I may as well do it. I won't make it an issue at all. I won't make a forward knee position an issue in Virabhadrasana, Uthita Parsvakonasana. I think it is more stable if your knee goes forward. I've never been told that this should be a factor to be considered at all.

As long as the knee does not projects to the side?

No, no, that has to be straight! You should not move the knee inward or outward, it should be straight. The movement is lateral.

Was Krishnamacharya teaching Jalandhara Bandha in Urdva Mukha Svanasana, Adho Mukha Svanasana?

Yes, you can see it in his book also. In fact, I would say that default position of the head is head down – any posture. Unless you are required to turn your head, or take head back – otherwise you keep the head down. That keeps your neck relaxed, your back is straighter. And it is going to aid your balance, if you keep the head down. Stretching of the spine is easier, if you keep your head down. A lot of importance is given, advantages are there if you keep the head down. If you keep the chin down, the you can stretch the spine better. I got to lock the chin, it is a very beautiful procedure, for you to pull up the spine. Jalandhara Bandha pulls the whole chest up, along with that the spine pulled up. If you keep head straight, you need somebody to come and pull up your waist, or pull up your ribcage.

In your opinion, why Ashtanga Vinyasa Yoga follows strict sequences, no variations allowed? Pattabhi Jois was stating that he was teaching strictly according with Krishnamacharya tradition. 

Right. I can only speculate. One is that Krishnamacharya taught only those vinyasas at that particular time. They belong to much earlier group, 1940s maybe. And another thing, it is all depends on how long they studied. I studied with Krishnamacharya for a long, long period of time. I specifically asked him for more vinyasas, when I started teaching. I realized that that I was not able to teach much more, so I went and asked him, are there more vinyasas? I said, I am not able to teach my students, is there something more? Yes, then he started, “did you teach this vinyasa, this other vinyasa”. Like that, he kept on teaching more and more... I used to practice, and then go and teach.

How many new vinyasas would he teach?

No, it is all went on for a long period of time. One class I would learn these vinyasas, I will go and teach. Maybe the next class, or two or three classes he will teach another set of vinyasas. Like that it went on and on for a long period of time. This opportunity some of the earlier teachers did not have.

Do you have any observations on how Krishnamacharya was able to provide an individual instructions for a diverse group, such as in your family, and otherwise.

Because of background, because of enormous knowledge he had. He knew how to apply it to individuals. He would study the person, and then design what is required for him or her. In fact, he used to say that everyone should have a capacity to draw from this and then adopt the procedure on a daily basis. You can't mindlessly practice yoga. You have to know, “why am I doing this particular procedure?”, “what does it do for me?”, “if I change it, what will happen?” You can change any of these vinyasas, provided you know why you are changing it. That kind of attention and that kind of application is necessary for a practitioner. You can't mindlessly practice the same thing over and over again. In any walk of life, you can't blindly do the same thing over and over again, you must know why you are doing it. Likewise, there should be some understanding, why am I doing this? Is it only to see how it feels, does it affect my body, does it give me any benefit? If I know this, then my practice becomes more and more intelligent, if I can use the term. That is why you need adaptation on the daily basis. I feel more tamasic, let me do more Pranayama today. I feel more energetic, I will do more vinyasas today. This kind of thought should be in my daily practice.

Does practice needs a plan?

You need a plan, yes. You think about it, plan it, then execute it. Daily practice need not be the same, because you change. Some days you are lazy, some days energetic, some people very pensive, immersed in thoughts. 
This is my advice: if you really want to make personal progress, and also be able to share with other people – don't stop with asanas.  I am not saying – don't do asanas. Don't stop with asanas. I feel very sorry for people who practice Yoga for ten years, and then after ten years they know only asanas, nothing else.

How hard the practice should be? Where should be the balance between making an effort and centering on your inner peace? How did Krishnamacharya managed this? Did he sometimes make you work harder?

When I was young, naturally he would ask me to do more and more vinyasas. As you get older, he said, try to cut down on your vinyasa practice. Try to do more of the stable postures, and then also start doing a lot of Pranayama. Then, chanting, meditation, all of them become part of your practice. Asanas are still there, but they are not the major part of the exercise. When you were young, that was the major part. During the middle part of the life, when I was working and running around, and all these things, he started slowly introducing all of these things – study of the texts, chanting, more and more pranayama, and the stable postures... They take over.

Was this a meaning of the title of your book, “Yoga for Three Stages of Life”?

Yes, that's right. In fact, that is what he mentioned in Yoga Rahasya also. You can't teach the same practice to everybody.

Can you tell a bit more about your books?

The first writings I did for a journal, called Indian Review journal. I think it was way back in 1978 or so. At that time I was a trustee of Krishnamacharya Yoga Mandiram (KYM). When the Mandiram started, I was one of the trustees. Desikachar, myself, and one of his class fellows, we were all the trustees. So at that time, what we did, Desikachar said, we should publish to make Mandiram known, and this particular magazine was interested. He asked me to write those articles, so I started writing. In about six months time I got out of Mandiram. But the publishers said, why don't you keep on writing? I went on writing, it went on for about 28 months or so. First few issues I used to type the article, give it to Desikachar, and he would, whenever  find time, read it to his father, explain it to him. And then he would make suggestions. Not corrections, suggestions. He used to be very happy about what was going on. 
Then after a few years, one of the Desikachar students, Paul Harvey from the UK who studied Yoga Sutras with me at that time, asked me to write a book, an introductory book on Yoga Sutras.
So I wrote a book called “Basic Tenets of Patanjala Yoga”. It was not a great success, not many people read that. When the book was published in 1982, I was not going to classes for three-four months, I had something going on. But when Krishnamacharya came to know about it, he came all the way to my house. One Sunday, he and Desikachar came to my house, I was surprised. He said, “I understand you have written a book, and I want to bless you. It is a very good thing, you must write more books.” He was very positive, very supportive. He used to encourage you very well. So he wanted Vinyasa Krama, he wanted these teachings be known.

At that time, Pattabhi Jois and Iyengar were teaching, but not directly in contact with him; Desikachar started to go to different parts of the world. He was very supportive.
And then another thing  started doing, I first recorded the Yoga Sutras, then wanted to have a recording company do it. Ultimately I was able to find a Recording company, they recorded it and released it. Then subsequently they  asked me to come up with a number of other subjects. So over the period of 15 years, most of the chanting I have learned from Krishnamacharya I was able to record about 30 in all, about 30 hrs of Sanskrit chants, and this company released it. This was another important aspect of Krishnamacharya's teaching.

These were two early publications. Then in 1999-2000 I wrote “Yoga for the Three Stages of Life”, and in 2005 I wrote “The Complete Book of Vinyasa Yoga”, a Vinyasa Krama book, and in 2006 a book with David Hurwitz, “Yoga Beneath the Surface”. These are the publications. And subsequently, I started to send Vinyasa Krama newsletters, so I can share whatever I consider is important. It was good to keep on writing, one way or the other.

What do you think is your best work so far?

Of course “Yoga for the Three Stages of Life”, I really, really enjoyed writing it. 
But then Vinyasa Krama book is also good. Reason why I wrote this particular book, is that I found that even though I go and teach workshops, not many people heard about it. I thought I will not teach, so I wanted to put everything I knew in form of the book, and publish it, so it is out of my mind. And then LMU fortunately started this program [LMU 200 hr Teacher Training with Srivatsa Ramaswami in LA, California, USA]. Few people now had studied this. And then book with David was good – I could see what kind of questions arise in people, that was good.

It is a wonderful format, Q&A.

Yes. We started without intent to write a book. He asked me, can I ask a few questions? I agreed, he sent me an email, I replied, he kept them with himself. Then after some time, after I wrote a Vinyasa Krama book, I asked him; David put the whole thing in a form of the book, and we submitted it to a publisher. Initially they hesitated, but ultimately, published it.

Any other books, besides essential scriptures, that should be studied?

As yoga teachers you must be familiar with various texts. Bhagavad Gita, Hatha Yoga Pradipika, Yoga Yajnavalkya – these three texts... Yoga Upanishads are there, but they are not very accessible, some of them are repetitive. You can still have a look at them. This is all with respect to Hatha Yoga. There is also other text – it is not a text, it is part of the Purana – it is called Sutra Samhita. It is not very important, just an additional material.

Then you can probably think about Samkhya Karika. It is work of 75 shlokas or so, like Yoga Sutras it is also very concise, and a beautifully written text. Lot of things that are taken for granted in Yoga Sutras can be found there. For instance, the three Gunas, the evolution from the Mulah Prakriti explained very well, Transmigration; number of other concepts that are taken for granted by yogis can be found there. English translations are available; English commentaries are also available. Samkhya is one of the six traditional Indian Philosophies. Samkhya, Yoga, and Vedanta form a compact group. They  all talk about Nivriti Shastras – how to stop the Transmigration.

Go through the Yoga Sutras, get a good outline of that, then try to support it by Bhagavad Gita from one side, and Samkhya Karika on the other side. Bhagavad Gita will be very helpful, because it is very “user-friendly”, not like the Yoga Sutras. Yoga Sutras are very dry – Bhagavad Gita tries to explain. In fact, you don't need any commentary for it, because same ideas explained over and over again. Arjuna was a warrior, not an intellectual.

Then once you are familiar with these texts, then you can read some of the Upanishads, Upanishad Vidyas. 
Vedas per se might not be of much importance to us. It contains lot of rituals, things like this. More important thing for people who study Yoga is to study Upanishads. The Upanishads portions is the Thought, philosophical ideas are contained there, and there are many.

Can you give some advice on approaching Upanishads study?

There is one called Chandogya Upanishad, another one called Brhadaranyaka Upanishad. Katha Upanishad is another Upanishad that is very important. Another important Upanishad is Prashna Upanishad. It is a series of questions and answers. 

Smaller ones are Taittiriya Upanishad -  Panchakosha Vidya discusses 5 koshas (sheaths): Annamaya, Pranamaya, Manomaya, Anandamaya, Vijnanamaya, Anandamaya. They are dealt with in Taittriya Upanishad. Again, it is the same subject, but approached in a different way: body made of 5 koshas, like in Yoga Sutras we have 24 Tattvas (principles). Then there is another Upanishad, called Mandukya Upanishad; it talks of the meaning of Pranava Mantra, Om. Om divided to 3 phases, states (Avasthas), A-U-M. Akara related to a waking state (Jagrat), Ukara – dream state (Svapna), and Makara is a deep sleep state (Sushupti). Omkara, AUM is the state that is beyond all three, called Turiya-avastha, or Turiya-samadhi. These ideas are taken up in the  Mandukya Upanishad, and commentaries been written. This is another important Upanishad Krishnamacharya taught. 

In Chandogya Upanishad there is a Vidya called Sat Vidya. Sat means “that which is true, unchanging, permanent, or that which exists”. That refers to anything that exist forever - Brahman or the Ultimate Reality, according to them. The way they go about explaining it, it is all anecdotes – it is a nice story. It is a dialog between father and son. The son goes to the teacher and excels, after studying for a number of years. Then he comes home proud of this knowledge, thinking his father doesn't know anything. His father gets upset of his attitude, and teaches him a lesson, teaches him. It is a beautiful story. In that they say main Mahavakya (great pronouncement), called “tat tvam asi”. Tat is the Ultimate Reality, Tvam “you are one of the same”. There is another Vidya called Bhuma Vidya. There are number of them. Same idea, but they are trying to put it in so many different ways. I asked my teacher, “There is only one Brahman, why are there so many different Vidyas?” He said, it all depends on attitude of different people. Different people – different questions arise. They tried so many ways to put across the idea... If you like, go and buy a book on Upanishads, and then look for these Vidyas. Otherwise what happens, you give it a general reading, there are a lot of things that may not be of much interest to us. 

There is also another Upanishad I told you about, Brhadaranyaka Upanishad. It has another Vidya, Madhu Vidya. Madhu means the sweetest part of the flower, nectar. In that, they try to tell you what is the sweetest thing – again they go to the Brahman. It is where Sage Yajnavalkya tells his wife he was going to partition  his property and become a recluse. I've told you this story. So there are stories, sometimes direct discussion between a teacher and the student, that way they made it very interesting.
Take some of the Upanishads, try to find out which interpretation you like, whether it is Vashishtadvaita, or Advaita, or Dvaita. Advaita seems to be most popular, more and more books has been written on that.
So like that, you take one of these, and then when time permits, try to go understand. You can interest yourself by studying Upanishads, doing one Upanishad after the other. Because you may not find teachers straight away, it may be a good idea to read them, try to find a book that explains them in easily understandable terms. Just don't go to the scholarly/academic works, they are going to make it difficult.

In 2010 or so, there were 5000 yoga teachers registered with Yoga Alliance in the USA, countless others are not registered.  Do you find modern teacher preparation satisfactory?

At my stage of life, what I want to do is to be able to teach what I know. If the few people  can learn... You see, it is very difficult, people come with different expectations. Different teachers teach different approaches, so many different practices are there. What I can do is to teach what I had studied with my teacher. Whatever I practiced, whatever I thought about that. That is all I can do. Initially, when I came here, I thought, now you teach what you want, others may teach what they want. It is ultimately up to the people to find out what is good for them and practice.

Do you feel that someone with a serious practice of several years has a duty to teach?

My feeling is, anybody who practicing Yoga for five years should start thinking about it. Where am I going, what I am trying to do? Some introspection is necessary. You can't just keep doing the same thing over and over again. That is not an intelligent approach to Yoga. You try to find out, what else is there in Yoga. 
Suppose somebody says, don't do Pranayama - why you should not do Pranayama? Or if somebody says, don't do shoulderstand – what are the problems? Why shouldn't I do shoulderstand? Otherwise it is all the same routine. As they get older, it will not going to be helpful, I am sure. Practices that are good when you are young will not be helpful when you get older. You need a different set of practices.

How did your teaching career proceed?

I was teaching in India, in the Dance School. It was mostly dealing with youngsters. There was no scope for teaching other things. It was asanas, asanas, over and over again. It went on for about 20 years. I did not have much opportunity to teach Philosophy. When I started teaching here, I asked University (LMU) if I can also teach it. This program (TT) has Yoga Sutras. I've taught Samkhya Karika a couple of time here. One or two Upanishads. Mandukya Upanishad... Like that, I was able to teach, what was not possible  back then. Because it was a school, a junior college. Basically, children. I've taught some one-on-one, but not much. That is what Desikachar told me, “you seem to work with groups”, whereas he was concentrating on one-to-one basis, like his father was doing. But then Krishnamacharya was teaching groups when he was in Mysore. It  so happened, because I went on to school to teach.

You are teaching for more than thirty years now. How did your teaching evolve?

When I first started teaching, I was concentrating on teaching asanas. I hesitated teaching Pranayama, hesitated teaching Mantras. Hesitated talking about philosophies. Initially, first few years were just asanas. I hesitated to talk about all that. Slowly I started to teach that, now I am comfortable. It lets you teach as wide a spectrum of yoga practices as possible. I find more people liking aspects of yoga that are not fancy – people are able to settle down for the Pranayama, for the Yoga Sutra class. All these things are happening. These things interested me when I studied with Krishnamacharya. I always felt there should be few people with a similar temperament that I have. By and large, people who come to my program seem to be interested. Nobody said “what is this fellow talking about?” That is good. I am sure, that just because this appeals to me, there should be a few people around who may have a similar temperament, to whom this may appeal. So what I should do is keep on teaching, as many people as possible. If they like that approach - good, well and good.

Like attracts like, student find his/her own teacher.

Yes, if I feel that it has something to offer to me, then I will like it.

Can you please share your opinion about sources of modern Hatha Yoga? All Indian schools widely known in the West, trace their origins from Sri T. Krishnamacharya, Swami Shivananda, Dhirendra Brahmachari. We know only names of their Gurus. Further lineage is invariably unknown. On the face value, lineage of modern yoga can be traced no further then 19th century. Natha order Natha Sampradaya that authored medieval Hatha Yoga scriptures are not practicing Hatha Yoga for several centuries now, and does not teaching it in their ashrams. There is also a modern research, which suggests that Asana practice adopted a lot from modern western bodily exercises.

My Guru used to say that lots of the written works of that period are lost. They used to be  written on palm leaves, many are Agraharam (habitats with scholars), Agraharam means that almost in every village used to be a yogi who would have written about his own experiences. In fact, in early part of my studies with him, one day he said, you people should go out into the villages, and then find out people who practice yoga. They all may have different personal experiences, or how they develop asanas, and all that. But then, unfortunately, all of them are lost. I am not saying this because of the materials are not available, but because books were not written, until about a hundred years back. Where are the books? Even in the western world, where are the books? Books are written only recently. In fact, if you look at Indian background, Puranas written a long time back, those texts are available, if you really look for old sources on yoga, they are available only in India. And then if you look at some very very old texts, like Puranas, Smritis, and Vedas, Asanas are mentioned. If you look at Ramayana, Rama was supposedly sitting in Virasana, the first shloka of Valmiki Ramayana says. It means Virasana was known at that time. But lots of details were lost. Just because we don't have it, it does not mean they were not available. Most of them were Karna Parampara. Take the Vedas, you learn from the teacher, there is no written records on that. Just because there is no written records you cannot say it does not exists. These are very big mistakes these modern scholars are making. They say the way Krishnamacharya teach is only a hundred years old. I don't know. Krishnamacharya used to say he taught according to traditions. I tend to believe him more. And then look at some very old books, very very old books. Yoga Sutras. Brahma Sutras says that one should sit in the yogic posture before asana for a meditation. The Padmasana is mentioned by Puranas. I don't believe just because no records are available it was not there. I don't have my financial records 20 years back. If somebody would ask me in the court, what happened? I do not have them. That does not mean it didn't happen.

It is common knowledge that Patanjali in Yoga Sutras defines asana as comfortable still pose for pranayama and meditation. Usually sitting postures.

Right, sitting postures.

Asanas as body exercises seems to originate from Natha Yoga. Do you think in old times these were entirely separate lineages of yoga? In your opinion, does modern Hatha Yoga merges these two traditions satisfactory? 

Hatha Yoga and Raja Yoga? Even though Hatha Yoga says it leads to Raja Yoga, there are some people who specialize in Hatha Yoga. They develop more and more asanas. Several sages are supposed to have developed different asanas. The focus was on physical and physiological development, as far as Hatha Yogis were concerned. Raja Yogi was bent on more on ability to concentrate, with a spiritual development. There was a division on specialization, if you want to call it. But they were complementing each other. Raja Yogis say that unless your body physical health is maintained, physiologically you won't be able to control the mind.  So they said, you practice asanas, and Pranayama, I don't want to mention it, because texts are available. There were teachers available that would teach you Asana and Hatha Yoga. I will concentrate on different aspects. That is why in Yoga Sutras, he did not talk much about asanas. But he gave a lot of importance to Yama Niyama. But Hatha Yoga Pradipika does not say anything substantial about Yama Niyama. They complement each other. There is no point in everyone writing about Asanas. Patanjali writing about asanas, Swatmarama writing about asanas, Puranas writing about asanas... There is a saying Anuktam anyato grahyam, if you don't find some information in the text, you go to a complementary text, and then you will be able to find that information. You have to study them in the group.

Do you feel these traditions merged in modern yoga satisfactory?

It is a specialization, I would say. Some people are specialized, and they are very good in that, so they  developed that particular branch. At the same time they recognized that this is not the end of the story.

Can you share your thoughts on the future of Yoga – in the West and in India? Any observations on changes in spirituality and ideas of dharma in the modern world?

No. See, I will tell you this: Yoga is an old discipline. So what I would say is, if you want to teach Yoga, you must understand, what is there, what practiced there, what is the philosophy behind that, and then teach. If you would say, it is not necessary, I want to create my own yoga – call it Contemporary Yoga, and practice. It is up to you. 

Do you feel like in the West people are reinventing the Yoga?

Yes, many people are now inventing Yoga, because they don't have access to tradition, like Krishnamacharya had. What happens – yoga is popular, so I run my own yoga, or stick to the same routine. I am not saying that everybody is doing it... At least in olden days, I used to know many people who come to India to study. Nowadays it is all gone. They say that “who knows Yoga in India? Now it has become established here.” My approach  would be: alright, I had studied with Krishnamacharya, and the only reason I had stayed with him for a long period of time, was because he was interpreting the shastras with his experience to me. If he would have said, it is a yoga he is invented, I would not have gone to him. I would not have gone to him. Because I had wanted to know what was Yoga, Vedanta have to offer. I wanted to know that. And he faithfully interpreted those shastras to tell you what they are all about, which he did admirably. Whatever I understood from him, now I want to explain to people the way I understood. It is not as good as he taught, but that is the best I can do. I will do whatever I can do to explain the way I understood. And I should be happy about it.

What is your advice for those times when one feels uncertain, even discouraged about yoga practice, practice progression? Everyone has those moments at some point.

Right. I get that feeling quite often even now (laughs). 
It should not be frequent, it could happen once in a while. What I can tell you from my own experience, 90 people out of 100, when they start on Yoga, after some time they don't find any improvement whatsoever. “What am I doing? Why am I doing this?” That is why I would say, the reason why we are getting this feeling is, we are not getting everything that practice supposed to give. Yogis promise so much, but they are very sincere. They have no ax to grind, they tell you what they had experienced. The only problem, I am not able to experience it, that is the only thing – at least when I was young. The reason why it does not work for me is I don't know what they are talking about. Maybe I am not doing it properly, not understood it properly. I have to persist. That faith I must have in this. I had that faith in my Teacher. I have the faith in subject also. These two things you must have. That's what they call Shraddha (faith with love and reverence). So first starting point - you must have Faith.

And then another thing, what happens in our life – sometimes there are other problems. They come into our life...
Here Yoga Philosophy comes more importantly. You try to understand Yoga Philosophy, what does it say about Three Gunas... One of the reasons sometimes we get more depressed, or more and more angry – that can be due to preponderance of other two Gunas: Rajas and Tamas. Philosophy is the only way they can help us. We must try to find out situations that causing these problems. Sometimes you must find a permanent solution for a chronic problem. All of us – we don't solve the problem, we expect it will go away.  So we have to devise a solution, and then deal with it. 

Then there is certain problems which you cannot completely eliminate. Then you must at least learn to make use of Yoga so you can overcome those difficulties. Sometimes it can be Pranayama practice, sometimes it can be Asana practice. But to greatest extent – the Philosophy.
Personally, I will tell you: Yoga Philosophy, the Upanishads, they were very helpful. These thoughts contained there... You are able to see that those people in olden days – they were able to see those problems; it is nothing new to me. It has happened to many people earlier, only details may be different. All of us have our own set of problems. If we can make use of Yoga to deal with these problems better, it will be good. There is no other way. If we don't deal with the problems at this level, then we have to depend on external help. We must slowly try to see that these problems do not affect us. They may not go away completely, but at least they won't affect us so much. I am not saying it is going completely solve the problem, but to some extent Yoga Philosophy may be very very helpful. Like you, I too have or had my own problems, but it is much easier to deal with them, if you understand philosophy. Maybe Asana and Pranayama can help on physiological level. On psychological level you have to sit down and analyze. Frankly speaking, many problems we come across in life are of our own creation. When you solve the problems, you also have to give up certain things. You have to sit down and analyze, what do you want to give up, what do I want to get rid of. Analyze and choose a course. Sometimes, though, we take ourselves too seriously, and get affected by outside factors too much.

Practice sustained by Yoga Philosophy.

For the mind to become quiet, it should have an anchor. The mind should know it can be peaceful without any external things, things you depend upon, health, relationship. So long as everything OK, all is fine, but if something goes wrong, mind is shattered. I should not allow myself to get shattered. Once I allow  it to get shattered, it is a big problem. It is very difficult to rebuild it. That is why these things will be helpful: Practice to some extent, Philosophy to some extent. Between them, mind is reinforced so I can deal with problems better. Mere Practice won't do.

Can any Philosophy support practice? Do we have a choice?

All practices must be supported by a strong philosophy. You must know why you are doing it. Just because “I practice Yoga, it will do me good” – it is good. But to appreciate the whole thing – you must have a strong philosophy. That is why sooner or later –   whether you like Upanishads, Buddhism, or Vedanta, or any other philosophy, I don't know about Western Philosophy, I think there should be something very strong, that is possible – some kind of a philosophy should be there. Personal philosophy you will have to develop. All these things will help. What you value most in life. We must have some kind of guiding philosophy in our life. Once you will be able to develop certain peace of mind in yourself, once you start valuing it more than other things – lots of problems will get solved.  But Yoga Philosophy will help you to get this particular state of mind, which is not dependent on the external circumstances. I may be peaceful with a lot of money, with no money, with problems, or without problems – and this is to be maintained. But you have to believe in this philosophy, and I am not saying blindly follow philosophy. I want to give mind some peace – that is all I am trying to do. This we lack – I can give a lot of happiness, pleasure to the mind, I can do that. But I am not able to get right kind of peace. What is why I say, have your practice, do your Pranayama, do your Meditation, and also support yourself with a good, solid Philosophy. I don't know if it is Yoga, Samkhya, or something else. But you must have a guiding philosophy in life.

Any books you are currently reading?

No, nothing in particular. Now I tend to read Advita books. There are some very good books written by Shankaracharya's students. I tend to sit and read them. Because you need to go over them. When you teach Yoga, you do not teach Vedanta, but you read them, go over them. There are very good works. There is one written by Adi Shankaracharya called Dakshinamurthy Ashtakam [Shiva Devotional Stotram (hymn) ], there is a commentary, beautiful commentary written by one of his students. There is another text, called Panchadasi, 15 chapters written by one of the Shankaracharya students. They explain it in terms accessible by ordinary people, not just scholars. These are very interesting books that are available. I tend to read these books in my mother tongue, their translations and interpretations are more faithful. And they  use terms close to original. Where are in English translations,  it is very difficult to understand those English terms. When I find Tamil translation, that's my mother tongue, I tend to read that. So whenever I am not doing anything, I read a few shlokas every day, think about it. It keeps you going.

Do you have any advice for teachers who are only starting? Or do you wish, you had done something differently in your own teaching career?

I will say that Yoga is a very very rich subject, it is very rewarding. It helps you physically, psychologically, disciplines your mind. Only thing is, try to understand all these things, reflect on all the practices. Even if you do your asana practice, reflect upon that: how do you feel after  this particular asana, this particular vinyasa, kriya? How do you feel after Pranayama? And look for long-term effects. Over the period of time – maybe practice for a month or two, and see how you feel. I am sure that the whole system was designed in such a way that it was going to benefit the individual. It meant to benefit the individual. They have done a lot of research, a lot of practice on this. It is a result of accumulation of lots of individual practices, and practices of gurus, like my Guru, Krishnamacharya. Teachers must teach with certain amount of conviction. You practice, see how you feel, and start teaching – that should be helpful.
Try to maintain practice, try to enlarge your base, so you make it really useful for yourself first. Before you start teaching others, find usefulness to yourself. And then, share it with others.

Thank you very, very much for your time.

Thank you. I hope it will be useful. 


Yoga Teacher Training with Srivatsa Ramaswami, Loyola Mormont University (LMU), Los Angeles, California.  Class of 2012, July-August.

Krishnamacharya on Pranayama and Bandhas from the Wild Yogi interview with Srivats Ramaswami.

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In Ramaswami's newsletter this month ( see THIS blog post), he included his long interview with Wild Yogi, below is the section on how Krishnamacharya taught Ramaswami Pranayama and Bandhas over the thirty years Ramaswami spent with his teacher


The full interview along with many other excellent interviews can be found at the Wild yogi website

Questions: Yuri Sharonin, Ilya Zhuravlev

Krishnamacharya - Pranayama

Let's talk about Pranayama. In his writings he says numerous times, that Pranayama is the key to the whole practice; it is the most important anga. Vinyasa Krama you teach is centered around the breathing.

Right.

And yet, Pranayama, by and large, taught on the fringes, and sometimes has an air of being remote like samadhi. Often presented as dangerous. How Krishnamacharya taught it, and how soon?

I don't remember when he started to teach me Pranayama. I know it was very early, because he had started to use breathing on day one. That itself is half Pranayama: long inhalation, long exhalation. You start from day one. And then Pranayama practice is regular. I think I mentioned, Pranayama practice is an integral part of daily routine in olden days. You are required to do ten times Pranayama with Gayatri Mantra, and all that. Pranayama is considered essential part of your daily life. You are required to do, say, ten in the morning, ten in the afternoon, ten in the evening, and there two or three in addition in every sitting. Virtually you do forty pranayamas every day. Everybody - you don't have to be a yogi to practice Pranayama. Everybody is required to practice Pranayama forty times every day. So, what's the big deal?

Samantraka Pranayama (pranayama with Mantra)?

Samantraka Pranayama. But still a pranayama. In fact it's a more difficult pranayama. If everybody, even non-yogi do forty times pranayama, why yogi should shy away from that? And I don't think Krishnamacharya told anybody not to teach Pranayama. He might have not told somebody to teach specifically pranayama, I don't know what happened. But he didn't prevent anybody... He taught Pranayama from very beginning. In fact, almost anybody who has studied with him learned Pranayama from him. He would himself teach Pranayama. Normally your asana practice ends with pranayama session. I have never come out from his class without practicing Pranayama. I think I've mentioned it several times. You see, Pranayama is the one that makes Yoga unique. In all other systems there is no control over the breathing. In all physical exercises, there is no control over the breathing. Here you try bring your breathing under voluntary control. If there is something very big, very unique about Yoga - it is the breathing. Any people who want to meditate, to achieve samadhi, achieve kaivalya, some of those things that are mentioned - if you shy away from Pranayama, how can you progress? You have to use this vehicle, you got to use Pranayama. Krishnamacharya was insistent that without Pranayama, there is no Yoga. 

In fact, word Hatha, as in Hatha Yoga, means Pranayama. You look in the Hatha Yoga Pradipika, the commentator says Ha is Prana, Tha is Apana, Yoga is a Union, Hatha Yoga is a union of Prana and Apana, which is Pranayama. So Hatha Yoga Is Pranayama. How can you say, "I practice Hatha Yoga without Pranayama?"
I don't know why people are unnecessarily discouraged from Pranayama. Everything is dangerous. If you do Pranayama in very unorganized way, then perhaps... But then enough instructions are given in the books. And they say you have to be careful, you have to learn from a teacher. Yes, you have to learn from a teacher. See that it is within your limits. In fact in Hatha Yoga Pradipika, the first instruction is "Inhale as much as you can." Yetashakti "Exhale as much as you can." Slowly build your capacity. You have to work along these lines. People who discourage Pranayama are doing a disservice to Yoga. That may not be their intent, but they are creating unnecessary fear in people, and they are doing a disservice to Yoga.

One reason why people are reluctant to teach Pranayama because they are afraid of teaching it. They don't teach Pranayama because they don't want to get into any problem. They don't want to teach Sirsasana, or Sarvangasana because they don't want to get any problem. These postures, these procedures are a bit tricky. If you understand, if you are able to practice them – well and good; but sometimes you make a mistake, you feel very uncomfortable...


The pranayama mantra sheet Ramaswami gave us on our 2010 TT at LMU
See my pranayama page for more
http://grimmly2007.blogspot.jp/p/pranayama.html

If Hatha Yoga is Pranayama, then Pranayama is Kumbhaka?

Kumbhaka is holding ones breath. It has to be proceeded by inhale, or exhale. Pranayama is control of the breathing. Kumbhaka is the most essential aspect of that. You have to use your inhalation or exhalation before you are able to hold your breath.



How would Krishnamacharya teach it?


Krishnamacharya teaching pranayama
After you practiced your asana, he would ask you to sit in padmasana, vajrasana, etc. do your Kapalabhati, 108 times, or whatever. And then he would ask you to do - one day Ujjai, another day Sitali, another day Nadi Shoddana, like that he would slowly build up the practice, and then later on you have to practice Pranayama on your own. You don't have to teach forever. Once he knew that you practice your Pranayama properly, he would say at the end of the class, "practice Pranayama for 15 minutes."

Which Pranayamas were taught, and which ones were mostly frequently used?

Mostly, in Vinyasa Krama practice, he would use Ujjai breathing, because we use Ujjai in our practice, so it becomes easier. Ujjai and Nadi Shoddana are the two most important pranayamas. And then if you combine those two, you get Anuloma Ujjai, Viloma Ujjai, Pratiloma Ujjai. Occasionally he would ask me to do Sitaly pranayama. When weather is very hot, he would say "you look tired, why don't you do a Sitali pranayama." The main emphasis was on Ujjai and Nadi Shoddana. Normally for Mantra Pranayama, they use Nadi Shoddana pranayama. Inhale through one nostril, chant the Pranayama Mantra, exhale through the other nostril. Nadi Shoddana pranayama is mentioned in the texts also.


Standing pranayama?

What about Bhastrika, Brahmari?

Brhastrika, Brahmari are special pranayamas. 
They are not as common as Nadi Shoddana and Ujjai pranayamas. Because most of benefits expected from Pranayama you can get from these two procedures. Next question is how long you can inhale, what ratios you can maintain [puraka - antar kumbhaka - rechaka - bahya kumbhaka]; there are different parameters that come into play.

He did not use much of Bhastrika?

No. He would ask you to do Kapalabhati. Because Kapalabhati is a cleansing kriya. Bhastrika is a specific pranayama, for certain conditions.   

What scriptures did he use as authority on Pranayama?

Hatha Yoga Pradipika talks about it. And then there are number of Smritis (texts) which refer to Pranayama, how to use the Mantras. Pranayama has two things: one is technique of doing pranayama; the other is how to use the mantra in this pranayama. There are several Upanishads, several Smritis which talk about Pranayama. So, lot of material available on Pranayama.


Ramaswami chanting with Krishnamacharya

Pranayama, according to Krishnamacharya, not effective without Bandhas. Just as Bandhas not viable without Kumbhakas.

Yes, without Bahya Kumbhaka, especially.


How did he teach the Bandhas? And how soon?




Once your breathing is comfortable, you have long inhalation and exhalation, and you can hold the breath for a short period of time, Bandhas can be done. I think he taught Trataka Mudra as the best procedure positioned to teach Mulah Bandha, and Uddiyana Bandha. Once you are able to do Bandhas in that position, then the next thing for you would be to try it in Adho Mukha Svanasana, then some of the seated postures, especially Padmasana and Vajrasana. These are the postures he would ask you to practice the Bandhas.

I think considerable confusion exists about Bandhas, and perhaps it may be useful for many people if we will discuss it. Let's go through three major bandhas. In case of Mula Bandha, queues can be very simple - yet books written about it.

He gave simple instructions, he did not elaborate on this. He would say draw your rectum and tighten lower abdomen. That is all instructions he would give. He would observe how your Bandha is, and say, it is fine. That's about all.

Uddiyana Bandha, anatomically, is a passive stretch of a diaphragm, done by exhaling, closing one's voice box and lifting the chest. But that description does not make it possible to do Uddiyana Bandha on inhale. Yet Hatha Yoga Pradipika talks about it. How is it done? Some lineages talk about Uddiyana Bandha vs. Uddiyana Kriya.

I don't know about Uddiyana Kriya, so I can't talk about it. Hatha Yoga Pradipika talks about Uddiyana Bandha, I think, even at the end of your inhalation, Antar Kumbhaka. I asked my teacher, he said, "this is not for Grihasthyas" [non-Brahmachari]. The idea appears to be getting the union of Prana and Apana, by pushing the Prana in the Antar Kumbhaka, pushing up Apana. It is a difficult procedure. Probably you can learn from a teacher. He himself practiced this, it is not impossible. But, the most benefit you get from certain things - for instance if you want to work with your heart, it is better to do it on exhalation. Depending upon the requirements, your condition. If you want Prana Apana Vayu to enter Sushumna and all that, maybe you would like to do your bandhas on inhalation. On the other hand, if you want them to be helpful to massage your internal organs, probably you want to do your Uddiyana on exhalation.

Do I understand it correctly, Uddiyana on exhale is not only passive lifting a diaphragm, but also active pressing of abdomen against the spine?

Yes, pinning of abdomen against the spine.

So Uddiyana on inhale, it is only pressing abdomen against the spine, because you cannot lift the diaphragm?

But there would be pressure there, you see. What I am trying to say, we do the Jalandhara Bandha, and then you got the air inside your chest. When you try to pull Uddiyana Bandha, it may be not as deep, but at the same time we produce enormous amount of pressure inside your chest. That way they say the Apana is moved up, and you get the union between these two, that's the idea. You can't lift the diaphragm as much as you can during Bahya Kumbhaka, it may be a negligible movement, but at the same time you will be able to feel the pressure. I don't know why it is mentioned there, I've not been taught that, but he said, it is not for us. Because he was not talking in terms of the Kundalini Yoga, Prana, Apana through Sushumna and all that. He was using Uddiyana Bandha, Mula Bandha, for the six koshas of the body. If you look at it from this point of view, it appears to be very logical. It all depends on who is asking you to do what. 

I guess it is confusing to me because on exhale the diaphragm is relaxed, and this normally continues in Bahya Kumbhaka, where as during inhale, it is contracted, and after inhale completed, in Antar Kumbhaka, it can be either left contracted, or be relaxed.

Yes, but increasing chest pressure is what they are wanting to do - they wanted to get Prana and Apana closer.

Jalandhara Bandha. How did he teach it?

In Jalandhara Bandha, he showed me, saying, "get the chin to the breast bone, and then pull it up." Try to bring chin down, he would say four inches below the neck pit, some of the texts talk about it. Then lock the chin, and then straighten your back. What happen is the whole chest moves up along with it. And that is the correct Jalandhara Bandha.

And this bandha is let go once you start inhaling or exhaling?

Yes. The main thing you want to do it when spine is straight, while you hold your breath, that is during kumbhaka. You inhale, bring your chin down, pull it up and lift your chest. During this kumbhaka period, Antar Kumbhaka, you maintain Jalandhara Bandha. In Bahya Kumbhaka also, you bring it down down and pull it up. In Bahya Kumbhaka you maintain Jalandhara Bandha, Mula Bandha, and Uddiyana Bandha. The bandhas are very important during kumbhaka period. Naturally during inhale or exhale you will relax your bandha, but still you have to control the breath. You still control the breath by maintaining Jalandhara Bandha. You maintain the control with Jalandhara Bandha in Ujjai; you maintain the control with your fingers in Nadi Shoddana pranayama.

Jalandhara Bandha aids Ujjai.

Definitely! Jalandhara Bandha aids Ujjai. It also has a number of other benefits. It helps you to keep your back straighter. Once you pull up the spine, your Mula Bandha and Uddiyana Bandha also become more effective. Because the pelvic muscles are pulled up, there is more space between the pelvis and ribcage, so you are able to do the bandhas much better. They are all related

My favourite photo of Ramaswami: From our 2010 TT at LMU. Photo by Barry Wadsworth

Full interview here

Ashtanga Authorisation 1980 - Present. Includes first ONLINE teaching list (Ashtanga.com 2004) and first AYRI teachers list (2008).

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Update 14th feb 2018

New KPJAYI list

This post will end up as an update on my Ashtanga Authorisation 1980s to present post and page.


http://www.kpjayshala.com/australia-and-new-zealand.html


The new KPJAYI (not the Sharathjois.com) list is up. 

There seems to be some consternation that this list, while reinstalling many of the names clumsily removed by Sharath, is at least one year old. 

If it's the case that Sharath wasn't a director, as is being suggested ( we need actual confirmation of this from Saraswati), but merely an employee, then the list, all the names on it and the fees received surely belong to the KPJAYI, having the original link to direct to sharathjois.com is, I imagine, misappropriation. 

Sharath is surely legally bound to release all information regarding teachers he has authorised on behalf of the KPJAYI and thus allow them to update the list ( that's probably still the case if he was a director) and remove the redirect from kpjayi.org to Sharathjois.com. 

If Sharath intends to go his own way with sharathjois.com (the appropriation of the Jois name rather than his own family name is another question altogether) then I perhaps he needs to be starting from scratch and ‘authorise’ teachers in his own name rather than in that of the KPJAYI, it's messy. 

There are more than enough lawyers in Ashtanga to confirm if this is the case. 

No doubt many teachers, who consider Sharath their teacher will prefer to be on the sharathjois.com list rather than the KPJAYI list. 

This is one reason I've supported the Ashtanga.com list and championed the idea of a non profit foundation, perhaps along the lines of the KYM ( Krishnamacharya Yoga Mandiram) with a public audit

The Ashtanga Yoga Confluence last week did a good job I thought of dismissing lists altogether (I'm hoping to transcribe some of the comments from Richard, David, Dena, Tim and Manju if no videos appear sharable on YouTube) but also of showing how hurtful it was to be removed, a betrayal of the decades of devotion and dedication to practice and the passing along of the practice as well as the personal blessing of KPJ. 

See this post for the backstory.

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Update: march 2018 Manju's list - see Appendix end of post





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Update 8th feb 2018 :

A new 'honorary' category has appeared on the kpjayi (now Sharathjois.com) teachers page. Only a handful of teachers added however compared to the number removed.




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"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". 

This post will become a permanent page at the top of the blog, a work in progress attempt to chart the development of the Ashtanga Authorisation process alongside my other pages on Ashtanga Vinyasa History.


It's become a long post.

Original post 1980

Update 1. 2018

APPENDIX 
to original post. Includes...

1. First ONLINE mention of the cost of studying at AYRI - Dec 2001
2. First mention ONLINE of Authorisation process - Ashtanga.com - Jan 2004
- Includes request for all teachers to sent in their Authorization letters to be replaced/renewed

"Starting in January 2003, the Ashtanga Yoga Research Institute will issue NEW official authorization letters to authorized Ashtanga Yoga teachers. All authorized teachers are requested to send their original authorization letters to AYRI in exchange for official authorization letters on AYRI letterhead. AYRI will then notify Ashtanga.com of the teachers' names that can be re-listed on Ashtanga.com. Failure to turn in your original authorization letter may result in removal from the teachers' list."

3. First ONLINE List of teachers - Ashtanga.com Jan 2004 (basis of the AYRI list)
4. First AYRI Authorisation details mentioned on AYRI website - May 2007
5. First AYRI ONLINE Authorised/Certified List - 22 Aug 08 


APPENDIX 2

Jan 17th 2018 - Certified teachers removed from the list.

KPJAYI Authorised and Certified Teachers list Current  Jan. 2018 )and Archive (pre June 2017).


APPENDIX 3 Jan 27th. 2018

 Sharath’s new Authorization/Certification code of conduct

Update

Sharath's response to recent criticism on the kpjayi.org/Sharathjois.com website

Update

Original 1984 message to students from  R. Sharath and Pattabhi jois on changes to Authorisation and the list.


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Original post
1980
"Guruji gathered us together for one final meeting.  At this gathering he told us which westerners he felt were qualified to teach.  It was a fairly short list—David, Brad, Nancy, Gary, and a few others.  Since Brad had decided to move to Maui, he wanted me to take over his school in Encinitas.  He asked Guruji, “What about Tim?”  Guruji looked perplexed and said, “Who?” “Tim,” Brad repeated,  and pointed at me.  “Oh, that man,” Guruji replied, and studied me for a moment.  “Yes, that man is some better, okay.” 

And so, on the magical island of Maui in December of 1980, Guruji reluctantly granted me permission to teach.  One stipulation was that I was to send him Guru Dakshina (one tenth of my earnings as a yoga teacher) every month.  It seemed a small price to pay for his blessing"
Tim Miller 'Dust'.




2016

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

He explained that his father was very generous with his teachings—that his primary concern was with the practice spreading throughout the world because of his firm conviction that Ashtanga Yoga is the very best thing one can do to insure physical, mental, and spiritual health." 
Tuesdays with Timji



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This from KPJAYI Certified Ashtanga teacher Mark Robberds on fb today addressed to the Yoga community

"Dear yoga community, 

This is my Certification from KPJAYI or AYRI as it was called back then. I'm not sure if you are aware of this, but this is the only institute in the world that can 'Certify' Ashtanga teachers in the lineage of Sri K Pattabhi Jois. I am writing this because I've noticed that there are a lot of people selling Ashtanga Teacher Trainings to unknowing students out there. I have devoted the greater part of the last 20 years to this practice and tradition, for more than 15 years almost every dollar that I have earned I have put into my continuing education and study with my teachers. I am not alone in this: I have seen thousands of dedicated practitioners pouring their heart and soul into this practice day after day and year after year. 

     I am by no means a perfect human being, so I cannot throw the first stone - but I feel a need to voice my opinion about this since I've noticed that there are students going to Mysore and practicing with Sharath, and then going and running these Ashtanga Teacher Trainings. First of all, there are so many long time students that I know who could not get into the shala this year because it was too full - so those people are taking the place of others that are actually students of Sharath, and not just going to Mysore to get their photo taken outside of the shala, and then claiming to be Ashtanga teachers. Secondly, by 'Certifying' students you are making the word 'Certified' a joke, and you are lying to the students who are paying you. 

     Call it something else - Hatha, Vinyasa, Power, or clarify that you are teaching Patanjali's Ashtanga Yoga philosophy, but don't mislead people by calling it an Ashtanga Yoga Teacher Training. 

     I know there is a want and need for people to deepen their studies, so I would recommend you to go to the teachers who have been teaching for 20 years or more, like Richard Freeman, Tim Miller, Dena Kingsberg to name just a few. Don't go to these opportunists who are running a business out of the trainings - because no one can teach you to be an Ashtanga teacher overnight. It takes more than that. You need to be a student first and practice at the source or with teachers connected the lineage".


If you are a friend of Mark's on fb he includes a very cool photo of his certification that looks more 1970 than 2010. 


I am very much in agreement with Mark's last paragraph but while I too feel that what characterises our practice of Ashtanga vinyasa is a dedicated daily practice over a period of years I do not feel that KPJAYI should have sole authority to Authorise teachers on behalf of the Ashtanga community ,which is the subject of my post below.



******

UPDATE 1
 2018

This from Mark Robberds on fb today ( I just checked, he posted this on his public page as well as his personal page).

Mark Robberds 9 hrs · 
"To end any speculation as to why I have been taken of the KPJAYI list I feel the need to tell my story. In April last year I noticed I had been taken off the list and then a friend informed me that there were rumours going around about it. I wrote to Usha in June to ask if it was true and she replied that, “Yes, we have been told that you are not teaching traditionally and mixing in different things and we are waiting for you to explain yourself”. I wrote back saying that I am teaching 5 days a week Mysore classes and one Led class per week. I teach chanting and philosophy and technique workshops to help students better understand the postures”. She wrote back saying, “Ok, I will inform Sharath.” The next thing I knew I was back on the list. 
So, I’m not surprised that I am now off the list again, as anyone who reads my social media posts would know that I am sharing more than only traditional (KPJAYI) Ashtanga Yoga. So, I’m ok with it, as it is Sharath’s shala and his call. Of course it saddens me because I had such a good connection with him and I have so many fond memories of the times I had as his student. However I don’t agree with everything that is taught, for example I don’t believe that ‘catching’ your ankles or knees in a backbend should be a requirement. I also believe that just as we modify the practice for pregnant women or for disabled people, we need to modify the practice in some way, and address dysfunctional movement patterns in almost all individuals because we all come to the practice with imbalances - otherwise people end up getting injured and leave the practice feeling bitter. All I’ve ever tried to do is help my students practice in a more intelligent and sustainable way so that they can continue to enjoy the practice and integrate it into the rest of their lives for their lifetime. But, I accept that Sharath doesn’t have to agree with my approach, and therefore I accept his decision and I will move forward with no hard feelings. I will continue to share all that I can in the best way that I can and I hope that some of you will continue to practice with me despite what has happened. I also hope that there will be no ill feelings towards/from my friends in Mysore who continue to practice with Sharath and of course no ill will between Sharath and myself. In the end we are all doing the best we can in this life. Big love to all. ❤️  "



Just to illustrate the above...





And screenshots taken from May-June 2017 using Way back machine (internet Archive)

Just by glancing at the certified teachers in RED we can see that Dena Kingsberg, Mark Robberds, Ian Clarke, David Roche and John Scott are no longer on the list, and this is just to mention Certified teachers on the Australia and new Zealand region page. 

If you are inclined to go through the other pages using way back machine, visit https://web.archive.org/ then paste in http://kpjayi.org/teachers-directory/asia/  Click on one of the dates from perhaps the end of last year, (30th December 2017 for example) then visit the other regions on the page that comes up - I might do this myself and add the screenshots to an appendix), feel free to add names you notice that have been removed in the comments section to this post.













*

In the next few days/weeks I intend to include quotes by the early teachers, from different sources, relating to how they first received blessing to teach directly from Pattabhi Jois (beginning with the quote at the top of the post from Tim Miller).

Around the time of Pattabhi Jois' passing all teachers of Ashtanga were requested to send in their Authorisation letters or those letters by Pattabhi Jois giving his blessing to teach to have them replaced with new Authorisation letters on the new letterhead

"All authorised teachers are requested to send their original authorisation letters to AYRI in exchange for official authorisation letters on AYRI letterhead. AYRI will then notify Ashtanga.com of the teachers' names that can be re-listed on Ashtanga.com". 

This was perhaps the first souring of the Ashtanga teacher authorisation process. It may go back further however, to the move from a general letter of blessing from Pattabhi Jois to a more formal Authorisation  from the institute in the late 90s


"In addition to receiving certification or authorisation to teach, you are required to teach Ashtanga Yoga in the TRADITIONAL FORMAT. The traditional format consists of daily classes in the Mysore style in correct sequential order and without deviation from the traditional form of the asanas as taught by Sri K. Pattabhi Jois at the Ashtanga Yoga Research Institute in Mysore, South India. The traditional format includes the practices outlined in the Yoga Mala, Astanga Yoga by Lino Miele, and Ashtanga Yoga by John Scott. Explicitly indicate on your website and brochures that such traditional Ashtanga Yoga is offered". 2004


Currently I'm hearing, unofficially, that Authorisation follows a minimum of three extended visits to Mysore and a cost of more than a $1000 dollars paid to the institute for an authorisation letter which will expire after 2 years? I've heard Certification costs between $2000 and $4000. 

Update - Certification is supposedly a one-time-only payment of somewhere from 2-3 lakh


1 lakh = 100,000 IRP
200,000 IRP = $3137.62
300,000 IRP = $4706.44


There seems to be a growing consensus of opinion among many that there needs to be a reevaluation of the Ashtanga Authorisation process.


The first AYRI ONLINE teachers list (2004) has 133 teachers mentioned

The current (2016) KPJAYI  list has 547 teachers mentioned
(Africa -2, Asia-113, Australia and NZ- 40, Central and South America-26, Europe-131, North America-235)

( I'm hoping that under a promise of anonymity some recently authorised teachers may get in touch with me to reveal the ACTUAL cost of authorisation and certification to give a more up-to-date accurate figure as well as the cost of renewal, is it $1000 to renew your letter of authorisation each year, if so KPJAYI would supposedly be raking in $250,000 a year in renewal fees and growing all the time.)

---------------------------------------------------------------------------------------------------------------------
Ashtanga.com picked up on the dramatic increase in teacher authorisation between 2002 and 2006

"Here we take a close look at the trend in Ashtanga yoga teachers during the past four years. It looks like the number of Ashtanga yoga teachers, authorized or certified by the Ashtanga Yoga Research Institute grew by 179% from February 2002 to December 2006 (which means that we underestimated student growth earlier).
Not only that, but it also seems that the rate of teacher authorizations is increasing.

Number of teachers authorized or certified by AYRIDo you detect a trend?
This data comes from Ashtanga.com’s monthly newsletters which publishes new teachers’ names every month – we looked at all the newsletters from March 2002 until December 2006.

The total number of authorized Ashtanga teachers was 176 (including 34 certified teachers) as of December 29, 2006. Since early 2002, a total of 113 new teacher authorizations have been announced on Ashtanga.com".
----------------------------------------------------------------------------------------------------------------------------------------------------


My personal feeling is that the KPJAYI can no longer claim that only authorisation by the institute is valid.

"The list on this website constitutes the official record of teachers approved by the KPJAYI, which is the only authority able to authorise or certify individuals to teach the ashtanga yoga method as taught by Shri K. Pattabhi Jois and R. Sharath. There are no teacher training programs approved by this Institute under any name (e.g., Ashtanga Teacher Intensive); teachers that are listed on this website are experienced practitioners and dedicated students who have shown a considerable degree of proficiency and appreciation of ashtanga yoga in its traditional form and who continue to study regularly at the KPJAYI."


KPJAYI's authorisation should be recognised as a letter of approval by THAT institute to teach on THEIR behalf rather than the only authority to grant authorisation, similar institutes, schools and programs of excellence around the world, led by senior teachers should perhaps be instigating their own programs of teacher training, mentoring and teacher development leading to approval to teach in their name that carries equal standing ( in many ways this is happening already).


I lean towards returning to the criteria and values represented by the Ashtanga.com referral teachers listing this was the list originally employed by AYRI until around 2007 


"To obtain a teacher directory listing on Ashtanga.com, you must be referred by a senior Ashtanga yoga teacher who is listed on Ashtanga.com.

The determination of whether a person may be considered a "senior Ashtanga yoga teacher," for the limited purpose of referring junior teachers to the Ashtanga.com teacher list, is based on multiple factors, including: the number of years of consistent Ashtanga yoga practice and study with a teacher; which teacher (e.g., Sri K. Pattabhi Jois); special certifications within the lineage; number of years teaching Ashtanga yoga; works created (e.g., articles, books, videos, CDs and other instructional aids, yoga schools); and general standing within the yoga community. - full criteria HERE

The current Ashtanga.com list can be found here http://ashtanga.com/html/classes.html



But perhaps David Swenson had a better idea. At this years (2016) Ashtanga Yoga Confluence he (perhaps only half jokingly) suggested that rather, all students should be sent on a certification course to recognise good teachers rather than trusting in a piece of paper of authorisation.


*

One suggestion

Bring together all the members of the Ashtanga Yoga Confluence panel from the last few years, forming a panel of trustees for a nonprofit International Ashtanga Federation. Approval to teach is given by the federation (for a nominal administration fee) to those who have practiced Ashtanga for a significant period and shown, perhaps through assisting, mentorship, or apprenticeship programs or course or past teaching experience that that they can pass on the practice safely and with integrity.  
Other senior teachers will be encouraged to join the federation recommending perhaps students of their own who have already been through such a period of apprenticeship of have perhaps already been teaching.

Supposedly Lino Miele had the same idea a few years back and tried to set up a Federation of Ashtanga Centres.

"In 1993, he (Lino Miele) created the Federation of Astanga Yoga Centres with a few other dedicated students". http://www.linomiele.com/?pagina=aboutlino.php

Unfortunately he set a fee of 100-150 US$ to be affiliated per year and the idea never took off.

I feel it's important that any future federation be nonprofit with free affiliation (sell T-Shirts to cover administration if necessary) and with a board of respected trustees to remove any suggestion of centralisation.


*


NOTE: I'm just a home practitioner  (9 yrs this month) and blogger living in rural Japan with no particular desire or intention to formally teach Ashtanga vinyasa, either now or in the future. I look forward however to more informed debate and discussion on the topic from others more qualified than I to do so.


“I get it. Working this system is like counting dog years. 7 years of human practice = 1 ashtanga year.” Stanka Kordic

So my nine years is like a year and a bit in Ashtanga years, which puts it in perspective.


*





*



APPENDIX


1. First ONLINE mention of the cost of studying at AYRI - Dec 2001

2. First mention ONLINE of Authorisation process - Ashtanga.com - Jan 2004
Includes request for all teachers to sent in their Authorization letters to be replaced/renewed

"Starting in January 2003, the Ashtanga Yoga Research Institute will issue NEW official authorization letters to authorized Ashtanga Yoga teachers. All authorized teachers are requested to send their original authorization letters to AYRI in exchange for official authorization letters on AYRI letterhead. AYRI will then notify Ashtanga.com of the teachers' names that can be re-listed on Ashtanga.com. Failure to turn in your original authorization letter may result in removal from the teachers' list."

3. First ONLINE List of teachers - Ashtanga.com Jan 2004
(basis of the AYRI list)


4. First AYRI Authorisation details mentioned on AYRI website - May 2007


5. First AYRI ONLINE Authorised/Certified List - 22 Aug 08 


*


1. Ashtanga Yoga Nilayam 15 dec 01

If you'd like to attend classes at the Ashtanga Yoga Research Institute in Mysore please write to:
Sri K. Pattabhi Jois
876/1 First Cross
Laxmipuram, 570004 Mysore
 Karnataka, India
Please include your full name, home address, arrival date, and duration of your stay.
The class fees are $350 US per month, with a $200 registration fee the first month. Please allow for a minimum stay of one month, however three months are recommended in order to have time to learn the practice properly. Food and lodging are not provided, but there are good hotels and restaurants nearby.



***


2. Authorized Teachers  


Part 1 Before the the Authorised teacher list on Ashtanga.com there was the 'Classes' page.

from Wayback machine Feb. 1999

Yoga Schools



To be listed on this page, your ashtanga school must meet all of the following criteria:
1. Offer at least one class in TRADITIONAL ASHTANGA (ASTANGA) YOGA (e.g., Mysore-style, Primary Series);
2. Explicitly state or indicate on your Web site and brochures that traditional ashtanga yoga is offered; and
3. Provide your address, instructors' names and teaching backgrounds, types of ashtanga classes, and studio history.
4. If you also would like your logo listed, e-mail it to betty@ashtanga.com in GIF or JPEG format in a 10K or smaller file size. Logos are subject to editing for easy loading.
5. Listings are subject to removal if classes no longer meet the above criteria.


*Note: If you are PERSONALLY AUTHORIZED by Sri K. Pattabhi Jois to teach ashtanga yoga, an asterisk will be placed next to your studio name (subject to confirmation by Sri K. Pattabhi Jois). (Please be patient if the asterisk has not yet appeared next to your listing.)

Namaste. United States Australia Canada Finland France India Israel Italy New Zealand United Kingdom UNITED STATES NORTHERN CALIFORNIA Ashtanga Yoga School of San Francisco Robert Brook, Director Shotwell Studios 3252A 19th Street San Francisco, CA 94110 Center of Balance 1220 Pear Avenue, Suite I Mountain View, CA 94043 (650) 967-6414 Center of Balance Beverly Frederick Ashtanga Vinyasa Yoga Marin/Sonoma Emily Griffith Ashtanga Vinyasa Yoga Monterey/Pacific Grove Cathy Hall Finnish Brotherhood Hall 1970 Chestnut Street Berkeley, CA It's Yoga 848 Folsom Street San Francisco, CA 94107

Monkey Yoga Shala Tim Thompson 3215 Lakeshore Ave Oakland, CA 94610 Piedmont Yoga Studio 4125 Piedmont Avenue 4131 1/2 Piedmont Avenue Oakland, CA San Francisco Yoga Shala 1500 Castro Street @ 25th Street San Francisco, CA 94114 Soma Yoga 30 Minna Alley (between 1st and 2nd Streets & Mission and Howard Streets) San Francisco, CA Yogasource 525 Alma Street Palo Alto, CA 94301 (650) 328-YOGA The Yoga and Movement Center 2940 Camino Diablo, Suite 200 Walnut Creek, CA 94596 The Yoga Studio* John Berlinsky 650 East Blithedale Mill Valley, CA 94941 Yogic Arts Studio 1097 54th St. #C Oakland, CA 94608 (510) 595-YOGA 4th Street Yoga 1809C 4th Street Berkeley, CA 94710 (510) 845-YOGA SOUTHERN CALIFORNIA Astanga Yoga Center* Tim Miller, Director 118 West E Street Encinitas, CA 92924 San Luis Obispo Yoga Centre Peter Sterios, Director 967 Monterey Street P.O. Box 653 San Luis Obispo, CA 93406 Yoga Works* (two locations) Maty Ezraty and Chuck Miller 2215 Main Street Santa Monica, CA 90405 1426 Montana Avenue, Second Floor Santa Monica, CA 90403 COLORADO The Yoga Workshop* Richard Freeman 2020 21st Street Boulder, CO 80302 DISTRICT OF COLUMBIA Ashtanga Yoga Center David Ingalls 4435 Wisconsin Ave N.W. Washington, D.C. 20016 FLORIDA Boca Yoga 450 NE 20th St Boca Raton, FL 33431 ILLINOIS N.U. Yoga Center Suddha Weixler 3047 N. Lincoln Avenue, Suite 320 Chicago, IL 60657 MASSACHUSETTS Harvard University Ashtanga Yoga Practice Joji Montelibano Eliot House - Dance Studio (Mon-Fri, 6-9am) Harvard University Cambridge, MA 02138 (Note: need Harvard ID to enter Eliot House; otherwise, contact Joji for admittance.) NEW YORK Astanga Yoga Shala* Eddie Stern 611 Broadway, Room 203 New York City, NY 10012 Jivamukti Yoga Center 404 Lafayette Street, 3rd Floor New York, NY 10003 Power Yoga Thom Birch and Beryl Bender Birch OHIO Joyful Practice Yoga Martha Marcom 479 North Columbia Avenue Columbus, OH 43209 PENNSYLVANIA Yoga Sport 950 Colwell Lane (@ Superfit Gym) Conshohocken, PA 19428 TEXAS The Center For Awareness Jeri-Sue Barron 2507 Lazydale Drive Dallas, TX 75228 UTAH Yoga Central 1550 E. 3300 So. Salt Lake City, UT 84106 VERMONT Yoga Vermont Kathy McNames, Director Box A23 Chace Mill Burlington, VT 05401 WASHINGTON The Ashtanga Yoga School 1412 12th Avenue Seattle, WA 98122 INTERNATIONAL AUSTRALIA Ashtanga Yoga Moves* The Verona Building 17 Oxford Street Paddington 2021 NSW Centre of Balance Dena Kingsberg P.O. Box 1443 Byron Bay 2481 NSW Gold Coast Yoga Centre 2 Fleay Court Burleigh Heads West Queensland 4220 CANADA Downward Dog Yoga Centre Ron Reid and Diane Bruni 110 Spadina Avenue @ Adelaide St.W. Studio #212 Toronto, Ontario M5V 2K4 Kaivalya Yoga Centre Allison Ulan, Director 401 Richmond St. W., Studio 1 Toronto, Ontario M5V 3A8 FINLAND Astanga Yoga Helsinki* Vilhonvuorenkuja 20 F 00500 Helsinki Finland FRANCE Centre Samasthiti - Ashtanga Vinyasa Yoga Caroline Boulinguez Paris France INDIA Astanga Yoga Research Institute* Sri K. Pattabhi Jois, Director R. Sharath, Assistant Director 876/1 First Cross, Lakshmipuram Mysore 570004 Karnataka State, South India ISRAEL Ashtanga Yoga--The Israeli Center Gilad and Miri Harouvi 10 Shoken Street, First Floor Tel Aviv 65153 Israel Shimon Ben-Avi 7 Ha'Etzel Street Karkur 37068 Israel ITALY Astanga Yoga School* Lino Miele Via Cassia, 698 00189 Rome Italy NEW ZEALAND Auckland Yoga Academy 33 High Street Auckland City, NZ UNITED KINGDOM Astanga Vinyasa Yoga in the North 3 Owlers Walk Todmorden Lancs, OL14 8HY UK John C. Scott Yoga Therapy Centre Royal London Homeopathic Hospital 60 Great Ormond St London WC1 Oxford Ashtanga Timetable December 1998 - April 1999 (courtesy of Ian Macdonald)
Raphael Dabora Colemans Hatch (near Forest Row) E. Sussex Sangam Yoga Studio 80A Battersea Rise Clapham Junction London SW11 1EH UK The Yoga Centre 16 Canning Street Edinburgh EH3 8EG UK
*


Part 2 - in 2000 the classes page turned into the first
list of teachers authorised by Pattabhi Jois.

Yoga Schools This list contains only teachers PERSONALLY AUTHORIZED by Sri K. Pattabhi Jois.
See the Ashtanga.com Requirements for Listing for more information. UNITED STATES Arkansas California (Northern) California (Southern) Colorado District of Columbia Hawaii Illinois New York Ohio Oregon Texas Washington ASIA AUSTRALIA & NEW ZEALAND CANADA EUROPE UNITED STATES ARKANSAS Louise Ellis 2332 Hatfield Street Fayetteville, AR 72703 NORTHERN CALIFORNIA John Berlinsky The Yoga Studio 650 East Blithedale Mill Valley, CA 94941 Betty Lai Center of Balance 1220 Pear Ave, Suites I & J Mountain View, CA 94043 Leigha Nicole (2 locations) San Francisco Yoga Shala 1500 Castro Street (@ 25th Street) San Francisco, CA 94114 7th Heaven Body Awareness Center 2820 7th Street Berkeley, CA 94710 Mark Yeo 7th Heaven Body Awareness Center 2820 7th Street Berkeley, CA 94710 (510) 665-4300 SOUTHERN CALIFORNIA Manju Jois Certified (son of Sri K. Pattabhi Jois) 2428 CMTO Ocean Cove Cardiff, CA 92007 Tim Miller Certified Astanga Yoga Center 118 West E Street Encinitas, CA 92024 ashtangayoga@home.com Maty Ezraty Chuck Miller Certified Yoga Works (2 locations) 2215 Main Street Santa Monica, CA 90405 1426 Montana Avenue, Second Floor Santa Monica, CA 90403 Kimberly Flynn Noah Williams Ahimsa Yoga 3820 Sunset Blvd Los Angeles, CA 90026 Jorgen Christiansson Maha Yoga 13050 San Vicente Blvd #202 Los Angeles, CA 90049 Steve Dwelley Santa Barbara Yoga Center 32 East Micheltorena Street Santa Barbara, CA 93101 David Miliotis Santa Barbara, CA (805) 692-9469 Andrea Werner Santa Barbara, CA COLORADO Richard Freeman Certified The Yoga Workshop 2020 21st Street Boulder, CO 80302 The Yoga Workshop Annie (Grover) Pace Certified Box 125 Crestone, CO 81131 DISTRICT OF COLUMBIA David Ingalls Kelly Lynch Ashtanga Yoga Center 4435 Wisconsin Ave N.W. Washington, D.C. 20016 HAWAII Nancy Gilgoff House of Yoga & Zen Makawao, Maui, HI 96768 Norman Allen Kona, HI David Williams Maui, HI ILLINOIS Suddha Weixler N.U. Yoga Center 3047 N. Lincoln Avenue, Suite 320 Chicago, IL 60657 NEW YORK Eddie Stern Certified Patanjali Yoga Shala 611 Broadway, Suite 203 New York, NY 10012 Guy Donahaye (2 locations) Astanga Yoga Shala (at Segue Performance Space) 303 E. 8th Street New York, NY 10009 Patanjali Yoga Shala 611 Broadway, Suite 203 New York, NY 10012 Chris Buhner Patanjali Yoga Shala 611 Broadway, Suite 203 New York, NY 10012

David Life Certified Sharon Gannon Jivamukti Yoga Center 404 Lafayette Street, 3rd Floor New York, NY 10003 OHIO Martha Marcom Joyful Practice Yoga 479 North Columbia Avenue Columbus, OH 43209 OREGON Vance Selover Gillian Lerner Portland Ashtanga Yoga 3736 N.E. 17th Avenue Portland, OR 97212 TEXAS David Swenson Ashtanga Yoga Productions 3350 Highway 6, #194 Sugarland, TX 77478 WASHINGTON David Garrigues Certified Catherine Garrigues Certified The Ashtanga Yoga School 1412 12th Avenue Seattle, WA 98122 ASIA - AUTHORIZED TEACHERS INDIA Sri K. Pattabhi Jois, Director Sri R. Sharath, Assistant Director Astanga Yoga Research Institute 876/1, 1st Cross Lakshmipuram Mysore - 570004 Karnataka State, South India Sharmila Rao's Tutorials (granddaughter of Sri K. Pattabhi Jois) 5th Block Jayanagar Bangalore - 560041 Karen Haberman Certified Gerald Disse Bharat Nivas P.O. Poste Restante 605101 Auroville Tamil Nadu, South India Rolf Naujokat Certified Kirsten Berg Goa, India MALAYSIA/SINGAPORE Mark Yeo markyeo@hotmail.com (Mark is currently teaching in Berkeley, California. See Northern California classes) AUSTRALIA - AUTHORIZED TEACHERS Carl Nelson's Australia Ashtanga page Eileen Hall Certified Peter Sanson Tim Burns Paul Frechtling Mike Berghan Victoria Grouden Ashtanga Yoga Moves The Verona Building 17 Oxford Street Paddington 2021 NSW Dena Kingsberg Certified Centre of Balance P.O. Box 1443 Byron Bay 2481 NSW Iain Clark Certified Astanga Yoga Shala PO Box 5828, West End Brisbane Qld 4101 Monica Gauci Gregor Maehle 8 Limbs Ashtanga Yoga (2 locations) 2nd Floor, 3 Mouat Street Fremantle 6160 Western Australia 8 Limbs Ashtanga Yoga 220 Carr Place Leederville 6007 Tel 61 9 93854743 Graeme Northfield Certified Leone Northfield Brisbane David Roche 47 Sixth Avenue St. Peters, South Australia 5069 NEW ZEALAND Peter Nilsson Jude Hynes Auckland Yoga Academy 1st Floor 33 High Street, Central City Auckland, New Zealand CANADA - AUTHORIZED TEACHERS Ron Reid Downward Dog Yoga Centre 110 Spadina Avenue Studio #212 Toronto, Ontario M5V 2K4

EUROPE - AUTHORIZED TEACHERS


Finland
France
Greece
Italy
Spain
United Kingdom


FINLAND
  
Astanga Yoga Helsinki
Kolmas linja 21 C 60
00530 Helsinki, Finland


FRANCE

Caroline Boulinguez
Centre Samasthiti - Ashtanga Vinyasa Yoga
Paris, France


Brigette DeRose Certified
74 Bd Gambetta
62100 Calais

Philippe Mons Certified
86 Rue De La Gare
59350 St. Andre

Odile Morcrette Certified
20 Rue Fenelon
59000 Lille


GREECE

Radha and Pierre
Yoga Plus
Crete


ITALY

Lino Miele Certified
Tina Pizzimenti Certified
Astanga Yoga School
Via Vasi 18/A
Rome Italy


SPAIN

Tomas Zorzo Certified
Camino Diez
Astanga Yoga Center
C/ San Bernabe 7-3ª
33002 Oviedo
Spain


UNITED KINGDOM

Oxford Timetable

Michael Taylor
Elisabeth Wilson
Astanga Vinyasa Yoga in the North
3 Owlers Walk
Todmorden
Lancs, OL14 8HY


John Scott Certified
Lucy Crawford Scott
The Space at Number 8
8 Chapel Street
Penzance, Cornwall TR18 4AJ
England


Hamish Hendry
Yoga Therapy Centre
Royal Homeopathic Hospital
60 Great Ormond Street
London WC1N


Cathy Louise Broda
Yoga Therapy Centre
Royal Homeopathic Hospital
60 Great Ormond Street
London WC1N


The Yoga Centre
1 Meadow Place
Edinburgh EH9 1JZ
Scotland




*

Part 3 Teachers' Listings on Ashtanga.com updated January  2004

The procedure for obtaining a teacher's listing on Ashtanga.com is outlined below. Only Sri K. Pattabhi Jois and Sharath Rangaswamy of the Ashtanga Yoga Research Institute (AYRI) can issue teaching authorizations and certifications for Ashtanga Yoga. Inquiries about teachers' qualifications should be directed to the individual teachers. Teachers are responsible for verifying the accuracy of the information in their listings. Ashtanga.com and its creators, producers, and deliverers assume no liability or responsibility for any errors or omissions in the class listings on this site. The teachers' listings on the Classes pages are approved by Sri K. Pattabhi Jois.

1. Starting in January 2003, the Ashtanga Yoga Research Institute will issue NEW official authorization letters to authorized Ashtanga Yoga teachers. All authorized teachers are requested to send their original authorization letters to AYRI in exchange for official authorization letters on AYRI letterhead. AYRI will then notify Ashtanga.com of the teachers' names that can be re-listed on Ashtanga.com. Failure to turn in your original authorization letter may result in removal from the teachers' list.


2. "Certified" Teachers: Contact betty@ashtanga.com to send a photocopy of the official government certificate via email (scanned image of certificate), fax, or post in order to be listed on Ashtanga.com.


3. Verbally Authorized Teachers should write to AYRI to request the new official authorization letter. Please enclose a photograph of yourself with your correspondence.


4. Class Schedule Requirement: In addition to receiving certification or authorization to teach, you are required to teach Ashtanga Yoga in the TRADITIONAL FORMAT. The traditional format consists of daily classes in the Mysore style in correct sequential order and without deviation from the traditional form of the asanas as taught by Sri K. Pattabhi Jois at the Ashtanga Yoga Research Institute in Mysore, South India. The traditional format includes the practices outlined in the Yoga Mala, Astanga Yoga by Lino Miele, and Ashtanga Yoga by John Scott. Explicitly indicate on your website and brochures that such traditional Ashtanga Yoga is offered.


5. Omissions from the List: Teachers' names may be omitted from the list if they are on hiatus or are not currently offering classes in the style or quantity required for a listing.


Please send all AYRI correspondence regarding authorization letters to:


R. Sharath

Gokulam, Mysore 570002
Karnataka, India


***



Teachers LIST Jan 2004 Ashtanga.com 
( this list was clearly used as the basis for the later AYRI list)
Note: 87 teachers mentioned on this list

United States | Africa | Asia | Australia & NZ | Canada | Europe | South America | Traveling Teachers

United States



California


Louise Ellis Certified

Ashtanga Yoga Center

Fayetteville, AR 


Northern California



John Berlinsky

Lea Watkins 
YogaStudio - Mill Valley, CA 

Leigha Nicole 
YogaStudio - Larkspur Landing CA 

Vance Selover

Zoe Slatoff

7th Heaven Yoga
Berkeley, CA 

Clayton Horton

Greenpath Yoga Studio
San Francisco, 



Manju Jois Certified

(son of Sri K. Pattabhi Jois)

Leucadia, CA 92024


Tim Miller Certified

Astanga Yoga Center
Encinitas, CA 

Mary Jo Mulligan

San Diego, CA


Maty Ezraty

Chuck Miller Certified

Yoga Works Montana

Santa Monica, 


Kimberly Flynn Williams

Noah Williams Certified

Ashtanga Yoga Shala

Los Angeles, 


Jorgen Christiansson

LA Yoga Center
Los Angeles, CA 



Steve Dwelley

Ashtanga Yoga Shala

Santa Barbara, CA 


David Miliotis

Andrea Werner Miliotis

Santa Barbara Yoga Center





Colorado

Richard Freeman Certified

The Yoga Workshop
Boulder, CO 


Annie (Grover) Pace Certified

Crestone, CO 

Gary Damsky

Telluride, CO





Wisconsin

David Ingalls

Ashtanga Yoga Center

Wisconsin Washington, D.C.


Florida

Keith Moore
Florida



Wayne Krassner

Miami Beach, FL


Hawaii



Nancy Gilgoff

House of Yoga and Zen
Makawao, Maui, HI 

Bhavani Maki

Ashtanga Yoga Kaua'i


Cathy Louise Broda

Purple Yoga Hawaii
Honolulu, HI 

Nicki Doane

Eddie Modestini

Maya Yoga
Paia, HI 

Norman Allen

Kona, HI



David Williams

Maui Fitness Plus 
Kihei, Maui, Hawaii



Illinois


Amy Beth Treciokas

YogaNow
Chicago, 


Louisiana

Melanie Fawer Certified
The Yoga Room
New Orleans, LA 


Michigan


Matthew Darling


New York




Guy Donahaye

Ashtanga Yoga Shala


New York, NY 

Govinda Kai

New York, NY 

James Butkevich



Texas



David Swenson

Ashtanga Yoga Productions

Houston, TX 


Seattle



David Garrigues Certified
 
Catherine Garrigues Certified

The Ashtanga Yoga School
Seattle, WA 98122


Carola Schmid

The Practice Space

Seattle WA 



Africa - Authorized Teachers

Egypt

Charlie Taylor-Rugman

Ashtanga Yoga Cairo
 
Zamalek, Cairo






Australia & New Zealand - Authorized Teachers

Australia


Eileen Hall Certified

Paul Frechtling

Ashtanga Yoga Moves
Paddington, NSW




Dena Kingsberg Certified

Centre of Balance
 Byron Bay 2481 NSW



Iain Clark Certified

Ashtanga Yoga Shala




Monica Gauci

Gregor Maehle

8 Limbs Ashtanga Yoga 
Leederville, Western Australia


Graeme Northfield Certified

Leonie Northfield

Absolute Astanga 
Yoga
 Cooroy  QLD



David Roche Certified

St. Peters, South Australia 5069



New Zealand

Peter Nilsson
Jude Hynes




Mike Berghan

Victoria Grouden
Te Aro Astanga Yoga

Wellington, Aotearoa
 


Canada - Authorized Teachers

Ron Reid

Downward Dog Yoga Centre

Toronto, Ontario 



Mark Darby Certified

Joanne Darby Certified

Ashtanga Yoga Studio

Montreal, Quebec 

Fiona Stang

City Yoga
Vancouver, BC 



Europe - Authorized Teachers

Denmark | Finland | France | Greece | Italy | Spain | Sweden | United Kingdom

Denmark

Gwendoline Hunt

Astanga Yoga Skole 
København
Copenhagen



Finland

Juha Javanainen

Petri Räisänen

Monna Gronlund

Astanga Yoga School of Helsinki 

Helsinki, Finland


Anne Nuotio

Helsinki, Finland

France

Caroline Boulinguez


Ana Maria Magalhaes
 
Paris 


Brigitte Deroses Certified

Calais

Philippe Mons Certified

St. Andre



Odile Morcrette Certified
 
Lille


Greece


Radha Warrell

Pierre Seghir

Yoga Plus
Crete


Kristina Karitinos Ireland

Yoga Practice in Mani Greece

Maria Papaioannou

Aerodromio Mykonos 


Italy

Lino Miele Certified

Tina Pizzimenti 
Certified
 Ashtanga Yoga School Roma


Spain

Tomas Zorzo Certified

Astanga Yoga
 Oviedo, Spain


Camino Diez
 
Lanzarote, Spain



Sweden

Charlotte Lindstrom


United Kingdom

Michael Taylor

Elisabeth Wilson

Astanga Vinyasa Yoga in the North

Todmorden,Lancs, 


John Scott Certified

Lucy Crawford Scott

The Yoga Studio

Newlyn, Penzance, Cornwall 





Hamish Hendry Certified

Anna Wise 

Astanga Yoga London 
 NW1 London



R. Alexander Medin 
Certified
Yoga Place E2
Bethnal Green Road, London 

Tracy West

Birmingham 

South America - Authorized Teachers

Chile

Gustavo Ponce

Yogashala

M. Sanchez 
Las Condes, Santiago, Chile



*

Traveling Teachers - Authorized

Ashtanga Yoga teachers who are always on-the-go. See Workshops for individual workshop locations and details.

Joseph Dunham


Anthony Carlisi


Rolf Naujokat (Certified)


Kirsten Berg


Dominic Corigliano (Certified)

Saisha Stephanie Petersen


Michael Gannon



Randy Parrish




The current Ashtanga.com list can be found here

----------------------------------------------------------------------------------



4. AYRI.org
Ashtanga Yoga Research Institute, Mysore, India
(Now KPJAYI)


May 2007

1. How do I become an authorized/certified Ashtanga Yoga teacher?

You must receive an official Authorization Letter or Certification Certificate through the Ashtanga Yoga Research Institute (AYRI) located at #235, 8th Cross, 3rd Stage, Gokulam, Mysore 570002, Karnataka, India. Only the Ashtanga Yoga Research Institute issues valid teaching authorizations and certifications for Ashtanga Yoga. Participation in the Sri K. Pattabhi Jois workshop tours and trips to AYRI locations outside of Mysore do not count towards authorization or certification.

NOTE: A student should by no means visit AYRI in Mysore for the sole purpose of getting authorized. Their visit should primarily be for their own education of the lineage to further their own practice under correct guidance of Pattabhi Jois.

2. What is the difference between Authorization and Certification?

There are two categories of teachers, "authorized" and "certified." Both types of teachers receive documents from the Ashtanga Yoga Research Institute indicating their teaching status. Authorized teachers generally are permitted to teach only the Ashtanga Yoga Primary Series and generally have made at least four trips to AYRI Mysore of 3+ months. The student must also demonstrate appropriate attitude, devotion to the practice, and proficiency in the Primary Series (and usually at least half of the Second Series) as determined by the directors of AYRI. Certified teachers have completed at least the first three series of Ashtanga Yoga and must demonstrate an appropriate level of proficiency in these series as determined by the directors of AYRI. These students generally have made 8 or more annual trips to AYRI Mysore and have at least 8-10 years of daily Ashtanga Yoga practice.

NOTE: AUTHORIZATION SHOULD NOT BE REQUESTED BUT GIVEN. The decision to give authorization or certification to teach is by no means solely dependent on the number of times a student has visited Mysore. It is based upon Guruji and Sharath’s evaluation of the person, his/her commitment and full respect of the lineage of the practice. Authorization is given with the trust that an AYRI student will teach as he/she has been taught in Mysore by Guruji and Sharath.

These guidelines are subject to change and do not constitute an official published policy of the Ashtanga Yoga Research Institute in Mysore, India. Please use these guidelines for your personal information only.





5. First AYRI ONLINE Authorised/Certified List
22 Aug 08 


Asia | Australia & New Zealand | Central & South America Europe | North America (Canada & USA 
* Certified


ASIA


India


Shri K. Pattabhi Jois, Director
K. Pattabhi Jois Ashtanga Yoga Institute, Mysore
www.kpjayi.org

Shri R. Sharath, Assistant Director
K. Pattabhi Jois Ashtanga Yoga Institute, Mysore


Saraswathi Rangaswamy *
K. Pattabhi Jois Ashtanga Yoga Institute, Mysore
www.saraswathiashtanga.com



Sharmila Mahesh
K. Pattabhi Jois Ashtanga Yoga Institute, Bangalore

Rolf Naujokat *
Goa, India

Louise Ellis *
Rishikesh, India

Maya Rao
Mumbai

Monica Marinoni
Ashtanga Yoga Auroville

Gabriella Pascoli
Ashtanga Goa


China


R. Alexander Medin *
The Landmark Mandarin Oriental Hotel, Hong Kong

Hortario Perez
Oriental Spa, Hong Kong


Japan


Govinda Kai * 
Mae Yoshikawa
Fukuoka

Ken Harakuma
Ashtanga Yoga Japan, Tokyo

Barry Silver
Ashtanga Yoyogi, Tokyo

Kranti
Under the Light, Tokyo


Singapore

James Figueira
The Yoga Shala, Singapore


Taiwan


Russell Altice Case 
Sally Evans
Ashanga Sangha, Taipei


Huang Chih Jo (Gladys Huang)
Space Yoga, Taipei


Thailand

Kirsten Berg  
S Mitchell Gold
Ashtanga Yoga Koh Phangan
Koh Phangan, Thailand




 Australia & New Zealand 


Aus - New South Wales

Eileen Hall *
YogaMoves, Bondi Junction

Dena Kingsberg *
Centre of Balance, Byron Bay

Nikki Fulford
Yogamat, Bondi Junction


Aus - Queensland

Iain Clark *
Ashtanga Yoga Shala, Paddington

Graeme Northfield *
Absolute Astanga Yoga, Cooroy


Aus - South Australia

David Roche *
Have Yoga - Will Travel, St. Peters


Aus - Victoria


Karyn Grenfell
Melbourne - Western Australia

Rob Schütze  
Jean Byrne
The Yoga Space, West Perth


New Zealand

John Scott *
Stillpoint Yoga, Nelson

Michael Norman Berghan
Te Aro Astanga Yoga, Wellington


Central & South America 


Brazil

Praça Santos Dumont,
 Rio de Janeiro - RJ, Brazil

Fábio Sayão
Ashtanga Yoga São Paulo

Ana Maria Magalhaes
Via Corpo, Salvador-Bahia

Sara Dubois
Ashtanga Yoga Atibaia


Chile


M. Sanchez Fontecilla,  S
antiago, Chile


Loreto Cortés
Ashtanga Yoga Chile, Santiago


Costa Rica


Mariela Cruz
Namasté Ashtanga Yoga Studio, San José



Europe

Austria

Horst Rinnerberger
Pure Yoga - Ashtanga Yoga Vienna


Belgium


Anne Pinette Meadows 
Brussels


Denmark

Susanna Finocchi & Jens Bache
Astanga Yoga School of Copenhagen


Finland


Juha Javanainen
Astanga Yoga School Helsinki


France

Brigitte Deroses *
Calais

Odile Morcette *
Lille

Germany

Bettina Anner
Köln, Germany


Heike Katharina Schmidt
Dvipada Studio, Cologne

Greece


Limni Evias 
Greece


Italy

Lino Miele * 
Tina Pizzimenti *
Scuola di Ashtanga Yoga, Roma


Norway

Taran Bhattal
Puro Yoga, Oslo


Poland

Basia j Lipska
 Wroclaw, Poland


Portugal

Casa Vinyasa,
  Lisbon, Portugal


Russia

Mikhail Konstantinov
Ashtanga Yoga Center, Moscow

Spain

Tomas Zorzo *
Centro de Yoga Ashtanga, Oviedo

Katia Garcia
Ashtanga Yoga Sadhana, Oviedo

Camino Diez
Centro de Yoga Ashtanga, Lanzarote

C Juanelo  
Madrid, Spain

Paseo Isabel 
Barcelona, Spain

Calle Pelayo 
Barcelona, Spain

Nick Evans
Yoga Studio, Barcelona

Eva Oller Ribosa
Estudio de Yoga, Barcelona


Sweden

Charlotte Lindstrom
Ashtangayoga.nu, Stockholm

Maria Boox
Yogashala Stockholm

Bill Brundell
Planet Ashtanga Yoga, Stockholm

Switzerland

Brett Prozio
Zurich


United Kingdom


Hamish Hendry * 
Anna Wise
Astanga Yoga London

Roberta Giannotti
Astanga Yoga London

Katie Heller
Astanga Yoga London

Lynne Pinette
West London Ashtanga Yoga, London

Cary Perkins
Yoga Place, London

Sarai Harvey-Smith
London

Beverley Sowerby
Ashtanga Yoga Bath

Simon Chandler
Ashtanga Yoga Bath


 North America (Canada & USA )
* Certified

Canada

Mark Darby *
Joanne Darby *
Sattva Yoga Shala, Montreal

Paul Gold 
Rachelle Gold
Ashtanga Yoga Shala, Toronto

David Robson
Ashtanga Yoga Centre of Toronto

Jeff Lichty
Harmony Lichty
Living Breathing Yoga


USA 


Arizona

Lisa Schrempp
Tucson, 

JB Linsky
USA - Northern California

Vance Selover
Ashtanga Yoga Berkeley

Heidi Lender & John Wilhelm
Ashtanga Yoga San Francisco

Adarsh Williams
Ashtanga Yoga Palo Alto



USA - Southern California

Manju Jois *
Leucadia

Tim Miller *
The Ashtanga Yoga Center, Carlsbad

Maia C. Heiss *
Ashtanga Yoga Malibu

James Butkevich
Ashtanga Yoga Los Angeles

Diana Christinson
Pacific Ashtanga Yoga Shala, Dana Point

Steve Dwelley
Ashtanga Yoga Shala, Santa Barbara


USA - Colorado

Richard Freeman *
The Yoga Workshop, Boulder

Annie Pace *
Shakti Sharanam, Crestone

Leigha Nicole
Splendid Yoga, Crestone

USA - District of Columbia

Keith Moore
Ashtanga Yoga Center DC

Faith Scimecca
Woodley Park Yoga, Washington DC



USA - Florida


Kino MacGregor *
Miami Life Center, Miami Beach

Tim Feldmann
Miami Life Center, Miami Beach

Greg Nardi
Miami Life Center, Miami Beach



USA - Hawaii

Noah Williams *
Pahoa, Hawaii

Anthony "Prem" Carlisi *

Chuck Miller *
Honokaa, Hawaii

Pamela Luther
Simply Ashtanga, Maui

Kimberly Flynn
Pahoa

Eagle
Pineapple Yoga, Kauai



USA - Illinois

Amy Ananda, 
Chicago



USA - Kentucky

Laura Spaulding
Yoga East, Inc., Louisville


USA - Louisiana

Melanie Fawer *
Asthanga Yoga Room, New Orleans

Jessica Blanchard
Balance Yoga & Wellness, New Orleans

Jill Ainsworth
Mysore New Orleans



USA - Massachusetts

Dominic Corigliano *

George Whiteside & Jean Cho
Cambridge, MA 



USA - New Mexico

Mary Jo Mulligan
Santa Fe, New Mexico



USA - New York

Eddie Stern *
Broome Street  New York NY

Sarah Plumer
Broome Street #2 New York NY 10013 

Karri Jinkins
Broome Street #2 New York NY 

Barbara Verrochi
The Shala Yoga House, New York

Matt Corigliano
New York

Stacey Platt
Tapovana, Sag Harbor


USA - Oregon

Olaf Kalfas *
Portland, OR 97214

Anne Finstad
 Portland

Kevin Kimple
Eugene, OR

David Miliotis 
Andrea Werner Miliotis
Bend, OR 

Stacey Lee
Bend, OR 97701



USA - Pennsylvania

Mary Flinn
Yoga Sutra School, Philadelphia



USA - Texas

Shelley Washington
Austin



USA - Vermont

Christine Hoar
Bristol Yoga, Bristol



USA - Washington

David Garrigues *
Catherine Garrigues *
Ashtanga Yoga School, Seattle


The current KPJAYI Authorisation list can be found here



APPENDIX

Update 2 - Feb 17th 2018

Note: As far as I can tell these are the Certified teachers names left OFF the current KPJAYI List
please correct me if you find them on a different regions list.

This is just the certified teachers, easy to check because the names are in red, i have no idea how many Authorised teachers have been left off the current list.

As you scroll through the list, pause to think of how much each had to pay to be authorised let alone certified as well as all the shala fees they have paid to KPJAYI over the years.

Clayton Horton
Louise Ellis
Anthony Calisi
Dena Kingsberg
Mark Robberds
Ian Clarke
David Roche
John Scott
R. Alexander Medin
Tomas Zorzo
Joanne Darby
Mark Darby
Manju jois
Tim Miller
Annie pace
Richard Freeman
Chuck Miller Melanie Fawer
Dominic Corigliano
Mary Jo Mulligan
Guy Donahaye
John Campbell
Olaf Kalfas
David Garrigues.

*


Update 3
(arising from discussion)


But there is still another list. 

As well as those who have been left off (removed from) Sharath's current 'official' list of certified teachers...

There are the women who inexplicably never made it onto the 'Certified' list in the first place, wives and partners of some of the men who WERE Certified, fellow practitioners who practiced as long, in some cases longer, and with no less devotion and dedication.


Note: most of the men below have since been removed from the current official list

Simi Roche (David Roche)

Nina Kalfis (Olaf Kalfis)

Maty Ezraty (Chuck Miller)

Jocelyne Sterm (Eddie Stern)

Anna Wise (Hamish Hendry)

Mary Taylor (Richard Freeman)

Kiki (Kimberley) Flynn Williams (Noah Williams)

Note: Kimberley Flynn Williams is now certified and on the current list, my understanding however is that She was certified many years after Noah.

Lucy Scott (John Scott)

Leonie Northfield ( Graeme Northfield)

Nancy Gilgoff ( David Williams) Although David was never certified either 

Tina Pizzimenti (Lino Miele)


Note: 
Catherine Garrigues (David Garrigues late wife) was certified



*

Women Certified but no longer on the official list.

Louise Ellis

Annie Pace

Dena Kingsburg 

Joanne Darby

Brigitte Deposes

*

Women certified currently on Sharath's list

Philippa Asher

Sharmila Desai

Eileen Hall

Karyn Grenfell

Lucia Andrade

Pia Lehtinen

Maria Tsarina

Harmony Slater

Magnolia Zuniga

Maia Heiss

Kino Macgregor


*





UPDATE 1
 2018

This from Mark Robberds on fb today ( I just checked, he posted this on his public page as well as his personal page).

Mark Robberds 9 hrs · 
"To end any speculation as to why I have been taken of the KPJAYI list I feel the need to tell my story. In April last year I noticed I had been taken off the list and then a friend informed me that there were rumours going around about it. I wrote to Usha in June to ask if it was true and she replied that, “Yes, we have been told that you are not teaching traditionally and mixing in different things and we are waiting for you to explain yourself”. I wrote back saying that I am teaching 5 days a week Mysore classes and one Led class per week. I teach chanting and philosophy and technique workshops to help students better understand the postures”. She wrote back saying, “Ok, I will inform Sharath.” The next thing I knew I was back on the list. 
So, I’m not surprised that I am now off the list again, as anyone who reads my social media posts would know that I am sharing more than only traditional (KPJAYI) Ashtanga Yoga. So, I’m ok with it, as it is Sharath’s shala and his call. Of course it saddens me because I had such a good connection with him and I have so many fond memories of the times I had as his student. However I don’t agree with everything that is taught, for example I don’t believe that ‘catching’ your ankles or knees in a backbend should be a requirement. I also believe that just as we modify the practice for pregnant women or for disabled people, we need to modify the practice in some way, and address dysfunctional movement patterns in almost all individuals because we all come to the practice with imbalances - otherwise people end up getting injured and leave the practice feeling bitter. All I’ve ever tried to do is help my students practice in a more intelligent and sustainable way so that they can continue to enjoy the practice and integrate it into the rest of their lives for their lifetime. But, I accept that Sharath doesn’t have to agree with my approach, and therefore I accept his decision and I will move forward with no hard feelings. I will continue to share all that I can in the best way that I can and I hope that some of you will continue to practice with me despite what has happened. I also hope that there will be no ill feelings towards/from my friends in Mysore who continue to practice with Sharath and of course no ill will between Sharath and myself. In the end we are all doing the best we can in this life. Big love to all. ❤️  "


Just to illustrate the above...




And screenshots taken from May-June 2017 using Way back machine (internet Archive)

Just by glancing at the certified teachers in RED we can see that Dena Kingsberg, Mark Robberds, Ian Clarke, David Roche and John Scott are no longer on the list, and this is just to mention Certified teachers on the Australia and new Zealand region page. 

If you are inclined to go through the other pages using way back machine, visit https://web.archive.org/ then paste in http://kpjayi.org/teachers-directory/asia/  Click on one of the dates from perhaps the end of last year, (30th December 2017 for example) then visit the other regions on the page that comes up - I might do this myself and add the screenshots to an appendix), feel free to add names you notice that have been removed in the comments section to this post.








FULL KPJAYI Authorised and Certified Teachers list Current and Archive.


 Africa current Feb 2018


archive - pre June 2017


Asia - current Feb 2018





Asia Archive - pre June 2017






Australia/ NZ - Current Feb 2017




Asutralia/ NZ - Pre June 2017 




Central and South America - Current Feb 2018



Central and South America Archive - pre June 2017



Europe Current Feb 2018









Europe Archive - pre June 2017










USA and Canada current Feb 2018










USA and Canada Archive pre June 2017










UPDATE 3


This is a stand alone post for now but will end up as an update to my 'Ashtanga Authorisation 1980s to present' post as I kind of feel I've retired from posting and want to keep my end of year post as the last.

Note: This post will likely be updated over the coming days/weeks

Update: 

As well as KPJAYI authorised teachers writing to me concerned about the new authorisation code of conduct, there are other authorised teachers who are writing to tell me that they personally are comfortable following it. They perhaps tend to maintain a small, humble shala, offering morning Mysore,they have the habit of Moon and Rest days and welcome the clauses regarding sexual harassment and discrimination. Nor perhaps do they have any interest in offering teacher trainings or intensives, I suspect they find running a Morning Mysore program pretty much plenty to be going on with, the code is basically representative of how they have been teaching all along. Also, several teachers have mentioned that Sharath is not, in practice, as strict or as rigid as he can often appear in writing. All the students of his I've come into contact with have tended to stress his warmth and good humour.

That said, in the context of the recent removals of Certified teachers from the list I still have concerns, those are expressed below, the relationship between finances and the list in particular, I still don't understand for instance why there is an authorisation fee, especially one so large when all of these perspective teachers have already been paying a small fortune in shala fees over the years. That a livelihood can be removed or at least compromised so easily. As well as teachers struggling to maintain their shala and wanting the freedom to explore their teaching of Ashtanga with integrity I also find myself uncomfortably in the same camp as teachers who are constantly self promoting themselves through social media, something that bemuses me as much perhaps as it seems to Sharath. I however am prepared to let them get on with it (and unfollow those who share their posts) and allow them explore their practice in their own way, it's a long term practice after all, such obsessions with self are no doubt passing. My anger perhaps comes from the recent treatment of senior teachers of the tradition who I have looked up to. In his forties now I would have thought that like me, in my fifties, Sharath would be looking to them for the wisdom that comes with practicing, from a youth into middle age and beyond.

Note: I've also removed the over the top 'Sign it or Else' from the title, the word 'demand' with regards to signing the code and clarified the paragraph on teachers who have and haven't spoken out about the recent allegations. 

*

UPDATE 2 

Sharath's new post on the KPJAYI website, Changes to the Teachers List, a response to the recent criticism. has been added to the end of this post.

My original post follows.....

*

Hard on the heels of Sharath's culling of 20+ senior Certified teachers from the KPJAYI list last week is this new 'Authorization/Certificate Code of Conduct' which has been sent out to all teachers to be signed and returned. 

It's assumed that if a teacher doesn't sign it they too will be removed from the list.

Note: In the post title I've referred to the list as Sharath's, the iconic kpjayi.org address now directs to Sharathjois.com.



Many teachers are upset by being forced to sign this legal sounding document (such that a couple have sent a copy of it to me to share), many have criticised it online in groups, shared their confusion and frustration, some have refused to sign and have returned their authorisation.

I've been getting a lot of mail this morning telling me that first 'this teacher' is suddenly off the list and now 'that teacher', it could be that the list is being updated as signed copies of the code are returned to Sharath, we may have to wait a week or two until the dust settles to see who remains on the list and who has been removed.

"To be respectful in conduct, speech and dress".

I'm hoping this clause wont be used against those who question or speak up regarding the current and future administration of KPJAYI or those who may have written comments or shared  posts in support of Karen Rain and the accusations of sexual assault by Sharath's grandfather Pattabhi Jois (for unwanted fondling and sexual touching while bound in a posture and under the guise of an adjustment/assist). I've seen no direct evidence of this, quite the opposite in fact regarding the latter, some who have spoken out have remained on the list.

I'm hoping that it's not nor will be the case. In this climate however it may explain why so few teachers have spoken out in support, out of fear perhaps of their own Authorisation being revoked.

This is especially ironic as one of the new clauses on the code include

"To provide a safe and professional environment free from sexual harassment or discrimination of any kind".

While I appreciate this clause and the insistence that it be on prominent display I can't understand why Sharath STILL hasn't issued a public statement as well as an apology on behalf of the KPJAYI for the actions of his grandfather, that he himself is said to have witnessed and attempted to stop.


*

Lets take a moment perhaps to remind ourselves who these Authorised and certified teachers are who are having their authorisation/certification removed and or living under the threat of it.

These aren't teacher's who have practiced yoga for six months or less, attended a Yoga Alliance 200hr TT and then started to teach .


These are teachers who have made a commitment of time and money over years, decades in many cases. They have practiced daily, visited Mysore year after year for several months at a time, been given authorisation after paying a large Authorisation fee and then struggled to open and maintain a shala while continuing to return to Mysore.

The commitment is anywhere between five and ten years, between $4000 and $8000 in shala fees, Authorisation fees of $1000 each for level 1 and level 2 certification. Another decade or more of shala fees for Certification and a Certification fee of perhaps $3000. On top of that, the flights and accommodation.

Revoked on a whim.


Where then is the tradition
where the loyalty.

*See running the numbers in the appendix below


*

There is much more in the code one has to agree to that gives cause for concern.

There seems little understanding of how hard it is to set up and maintain a shala in a climate of cut price yoga classes on more corners than Starbucks.

The unfortunate necessity of using social media
(however much I might find it grotesque at times some recourse to social media seems to be largely unavoidable)

Is one only to teach as Sharath teaches today rather than how Pattabhi Jois taught in the decade you may have spent with him?

What if an Intermediate series student turns up at your shala, do you have to turn her away, can you adjust, assist or leave them to their own devices. or if you are level 2 and somebody working on 3rd comes into your shala, must you say to them "Sorry, only Second" or if L1 then "...only Primary"

And clause nine, DRESS!!!!

To be respectful in conduct speech and dress

A say in what one wears in his own shala is one thing but is Sharath really seeking to dictate what one wears in ones own shala?

It should all be common sense, but with certification/authorisation being revoked without reason being given and respected senior, certified teachers treated like children, it is perhaps a little vague.

Do you really have to contact kpjayi (Sharathjois.com) to ask about each and every workshop focussing perhaps on practicing some aspect safely, or on Yoga philosophy, a reading group on the Gita?

Does Sharath even understand why you might wish to attend an Anatomy training course or one on Yoga therapy rather than think that Primary is all the therapy you need.


And is it even legal to demand that you return your Authorisation certificate or that you sign this one.


*

A friend pointed out that there is perhaps nothing in that code that should be that much of a surprise to KPJAYI teachers, that may be true but context is everything. In this case the context is of twenty certified teachers having their Certification revoked. You can do pretty much anything you like when the criteria is vague and unclear.


Here is the criteria from the kpjyayi.org 2008, the year before Pattabhi Jois' passing.


2008 criteria

and this one from 2012 which i like because it mentions the commitment and dedication of the teachers



2012 criteria



Note: I was informed by a couple of Authorised teachers recently that after Saraswati took back control of the main Shala, Sharath was showing students land outside of Gukulam where a 'mega shala' was planned that might include accommodation. If this is indeed the case, will students and teachers be expected to attend the new shala, paying for accommodation and one might imagine food  there which would affect the local economy surrounding the present shala. 



from my earlier fb post

Thank you A. (for referring to the community as family) it's helpful. Like many home practitioners I often wonder what, if anything, this list, the recent allegations, or the lesser perhaps Ashtanga debate of the day, has to do with me as a home practitioner, why do I feel so....invested. But that's it, it feels like family, however extended. We all do this same practice in our own way, in our homes, our corners our practice rooms or hallways but have all felt perhaps, at one time or another, somewhat connected, on a Friday perhaps when most around the world are practicing Primary ( we conveniently forget about the time difference). And don't we take delight in and for friends who visit Mysore for the first time or become authorised, however much it doesn't seem to concern us because we know it means so much to them. And thus we are equally hurt and dismayed perhaps when and if they are taken off that same list. The waves in Mysore often..., occasionally, ripple through our own practice, put us off our stride, off our breath. Though the wider family shouldn't perhaps concern us, it does, on occasions, seem to help ground us. For many, that centre might be a senior teacher or not so senior, authorised or not, that we may never have met other than perhaps on a workshop or through a book or video, rather than the actual Jois family, depending on which teacher perhaps first inspired us.

This practice often feels absurd, how we often ground or build our lives around it. The wider community, the senior teachers, the Jois family...., Mysore the place, whether going there interests us or not, can make the practice seem a little less nonsensical at those times when the practice doesn't quite seem to justify itself alone. The abuse in the past affects us, the discord in the Jois family affects us, Sharath's recent actions with regards to the list affects us, the latter perhaps because the list feels like a family register and he shouldn't get to screw with it, nobody should..., like those old lineage charts because whether being on it or not interests us we are connected to many who are, however far removed. However much of a prodigal son (or daughter) we may feel, we're related, connected by those same or similar movements we make on a bit of cotton or rubber or both, each day or most days. And I may have little interest in Mysore today, whether the place or a room but perhaps one day...., perhaps one day I may happen to find comfort and warmth in one of those rooms, I have in the past, I no doubt shall again. We remember and tell tales of those big family arguments on family get togethers, holidays, and so easily forget those other times when family was peaceful, accepting and nourishing even if only felt from afar.


*

Surely there has to be a better way to go about this whole list business, hopefully all the teachers themselves will come up with a better option that removes the control of one party as well as the financial aspect altogether.




*Appendix


Lets run the numbers

Shala fees for 24 months worked out around 500,000 Rp
that's approx. $8000.00

* note: the 500K rs is an adjusted figure, taking into account shala fees when a teacher perhaps firsts started going ten or more years ago and the fees now.

Authorisation Level 1 $1000
Authorisation Level 2 $1000

Note: Some teachers get authorised L2 straight away so only the one fee 8 not sure if that's higher).

- and remember there are flights and accommodation on top of that.


All that commitment of time and money, a decade or more of ones life revoked on a whim as well as perhaps ones livelihood.

That's around 8 -10 trips over a decade, not unusual although more recently teachers are being authorised much more quickly, half that time perhaps although shala fees are higher.

so lets use another example,

12 months of shala fees - corresponding to 4-6 extended trips  $4000
Authorisation  L1 and L2 $1000

That's $5000 not including flights and accommodation

UPDATE: Just been sent the actual figures for L1 and L2 authorisation
L1 = 88,000rs  $1383.36
L2 = 112,000rs   $1760.64

So 200,000 Rs  - $3000 for both L1 and L2 if done separately, not including the years of shala fees




       *  



Note: Sharath has Authorised around 375 teachers since Pattabhi Jois' passing.
(tricky to calculate as several have since been removed)

on the first example

375 x $8000 =  $3 million
375 x $1000 (authorisation fee) $375,000


on the second example

375 x $4000 -= $1.5 million
375 x $1000  = $375, 000



- That of course is only those teachers authorised, there are all the shala fees of those on their way to being authorised, as well as shala fees of those who have no interest or likelihood of being authorised.

I worked it out before that Sharath's world tours brought in approx. $1,000,000 a year.

Certification is confusing.

There were 23 certified in 2008,
29 on the current mid Jan. 2018 list
but he's decertified 22,

so I guess 28 Certified at around $3000 each, so another $80,000

Authorisation fees $1,000,000
Shala fees              $3,000,000
Certification fees   $80,000

And of course all the fees those 28 teachers paid between authorisation and certification.

Authorised and Certified teachers are expected to keep coming back or, as we have seen they will be deauthorised/decertified, so more and more shala fees.


Appendix 2

Another earlier update, a comparison of the KPJAYI Authorisation/Certification list, pre June 2017 and the current list.

Certified teachers names that appear to be left of the list are, I've double checked but it may be that I missed a name if they have appeared on another region. I find it quite shocking, I wouldn't be practicing had it not been for many names on the list. Note too that the archive I checked was the last couple of years before June 2017, other well know names have been left off the list in previous years. others have been Certified by Pattabhi Jois' son Manju (also, absurdly, removed from the list ) and are not recognised on Sharath's KPJAYI List. The list on Saraswati and Shamilla's www.kpjayshala.com/ still hasn't been put up although the online shop was up on day one.

Note: apologies to Tarik Thami, he is still on the list under the Asian region.
I not too this morning that Dena Kingsberg is BACK on the list


Clayton Horton

Louise Ellis

Anthony Carlisi

Mark Robberds - See Mark's response on his fb page 16th January

Ian Clarke

David Roche

John Scott

R. Alexander Medin - See Alex's 'Letter to Sharath'

Tomas Zorzo

Joanne Darby

Mark Darby

Manju jois

Tim Miller

Annie pace

Richard Freeman

Chuck Miller

Melanie Fawer

Dominic Corigliano

Mary Jo Mulligan

Guy Donahaye

John Campbell

Olaf Kalfas

David Garrigues.

NOTE: I went through the current list (Jan 2018) against the pre June 2017 archive list and found four authorised teachers names missing. Originally I had a list of thirteen that seemed to be missing but nine of those names turned up in different regions.

See this post http://grimmly2007.blogspot.jp/…/ashtanga-authorisation-198…

*

UPDATE 2 - 28th January 2018

I've added below Sharath's response to the recent criticism.

Personally I'm too disappointed to do more than post a screenshot.




I will however, post again the list of names of Certified teachers recently removed from the list, some, one at least, has just been put back on . It's clear some authorised teachers have also been removed, it seems likely that others will be removed in the future

Perhaps it is Sharath who is going 'his own way' and rather than disrupt the living tradition, partly represented by the KPJAYI  List, he should perhaps step down from his position at the KPJAYI ( the actual shala seems to have returned to Saraswati anyway). With the iconic kpjayi.org URL now directing to Sharathjois.com he could perhaps start his own Shala/Institute as well as his own list. 
There, I commented after all.

Below the certified teachers removed from the list (only those removed from between June 2017 and January 2018m, some inspiring teachers never went on to the list in the first place, E.G. David Williams, Nancy Gilgoff, Danny Paradise, David Swenson...). At a VERY rough calculation, around thirty to forty years or more of practice each, I make it as representative of 500 years of daily Ashtanga practice.


Clayton Horton

Louise Ellis

Anthony Carlisi

Mark Robberds - See Mark's response on his fb page 16th January

Ian Clarke

David Roche

John Scott

R. Alexander Medin - See Alex's 'Letter to Sharath'

Tomas Zorzo

Joanne Darby

Mark Darby

Manju jois

Tim Miller

Annie pace

Richard Freeman

Chuck Miller

Melanie Fawer

Dominic Corigliano

Mary Jo Mulligan

Guy Donahaye

John Campbell

Olaf Kalfas

David Garrigues.


*

Update 3

Original 2008 message from R. Sharath and 'Pattabhi  Jois' regarding changes to the List.

I was sent this letter from 2008 ( nine months before Pattabhi Jois’ passing ). The letter is Signed by R. Sharath and Pattabhi Jois, suggesting that Sharath’s actions now are in keeping with that earlier letter. Personally, I don’t believe for a moment Pattabhi Jois wrote it or that he was very much aware of what was in it. Sharath I suspect wrote it with somebody else and this seems to signify when Sharath sought to take an over firm grip of the business. With division currently in the family, Saraswati now taking back control of the Shala and Sharath changing the KPJAYI website to Sharathjois,com Sharath seems to be resorting to the same approach to maintain control of the business. Sharath of course may believe he’s acting in the best interests of what he sees as the tradition, I believe he’s mistaken.

Note that it’s stated in the letter that the ‘list’was being moved from Ashtanga.com to AYRI (Ashtanga Yoga research Institute), my suggestion is that it merely be moved back again.






fb - Jan 29th

Perhaps it's the (terribly) amateur historian in me but even though, as a non teaching home ashtanga Vinyasa (krama) practitioner, the (KPJAYI) list should be meaningless to me, I admit to finding a certain.... resonance in it such that I feel (perhaps overly) protective. So many of those names inspired me in the beginning, and later kept me coming back again and again to my mat. It's an imperfect list, so imperfect, a snapshot only and out of shot so many other practitioners who should have ended up on the list, so many men, so many women, often partners of those Certified who practiced no longer than they did and with no less dedication or aptitude...unrecognised, passed over, missed, an imperfect list. But you don't, you really don't, airbrush historical documents, certainly not if you endlessly talk of tradition, you leave it alone, treasure it, respect it, learn from it and through it, you add to it perhaps rather than take away and continue to move onwards. Those names that have been removed are the history of the practice, the tradition of the practice, countless hours of practice, of sweat and devotion and reflection, decades of practice, cumulatively, hundreds of years of daily practice. Why would anyone want to be on a list without such names, doesn't it lose it's magic somewhat? 
I've heard from some who feel that their practice has lost it's sheen of late. I'm somewhat surprised to find quite the opposite (perhaps out of defiance), the practice, or rather being within the practice feels somewhat like the eye of the storm, the nonsense and foolishness drops away. When we lose our way it's there waiting for us however modified however 'unkosher', unauthorised.... and lets face it there is a freedom to unauthorised, unsupervised unapologetic practice...,there is also understanding to be found perhaps off the straight and the oh so narrow. And isn't that what we've looked to those Certified teachers for, to those names on the list as well as the unnamed.., to go off piste, to mine the practice for it's possibilities, it's secrets..., over decades into middle age and beyond, just as Jois did perhaps, as Krishnamacharya certainly did, to search out the hidden ways to face and still yet overcome what is ahead of us and to practice, maintain the practice.



Update: March 2018

Manju Pattabhi Jois has been making his own 'list' on his fb page, including many of those removed from the KPJAYI (now Sharathjois.com) list. It's not clear what the list represents, Authorisation, Blessing to teach, or just an all round good egg list. As I happen to be on it it, I happen to prefer the latter.

“All these people I mentioned in the list are wonderful human beings I know them I worked with them I love them...." -Manju Pattabhi Jois

There is no particular order, Manju just listed a few names as he thought of them over the space of a week or so, some more names may have been added since I posted this or happen to be buried away in the comments.


“Those who have been authorized (blessed) by Pattabhi Jois are good as gold, no body can take it away from you. “ -Manju Pattabhi Jois

“All these people I mentioned in the list are wonderful human beings I know them I worked with them I love them all these people have great respect for Ashtanga and my beloved father Sri k Pattabhi Jois the man who worked hard to put together this system he created many good teachers in the Ashtanga world now he is gone now it's time for us come together make Ashtanga great for ever. 
Love to my ASHTANGA family. By the way English is my 4th language” -Manju Pattabhi Jois

“The list of great yogis and Yogini’s”. -Manju Pattabhi Jois


Niina Valtanen

Vanessa Brouillet

Natasha Symeonidou

Natasa Cvetkovic

Gyöngyvér Pápa

David Williams
Nina savolainen
Tim Miller 
David Swanson

Nanny Gilgoff 

Kristina Karitinou 
(“All my love and respect to Derek Ireland who influenced many Europeans god bless him”.)
 

Margarida Tree

John Scott 

Scott Johnson
Danny Paradise 

Jock Orton 

Petra Visser

Beata Darowska

Alessandro Ciaurri

Giuliano Ananta Vecchiè 

Gerald disse

Linda Munro 

Andrea Lutz 

Cosmin Lance

Alexander Medin

Basia Lipska Larsen

Anthony Grim Hall

Luise Elliss 

Greg Tebb

David Michael Hollander 

Jody Manley

Tina Pashumati 
James
 Ginetta
 Bernard 
Terrilee Bulger

Tihomira Somleva

Anna Bjärkvik

Camila Silver

Prem CARLISI 

Heather Radha
Erik Marrero
Peg Koller
Sean O Tuathalain
Tiffany Jane. 
Laura Fulton Renkes
Gary Herlich
Zoe Mai
Anetta Alexandridi
Alexandra Dimitriou-Mara
Anna Kapetaniou-Fox
Kiros Tzannes
Nektarios Mitritsakis
Katerina David 
Valerio Pandolfi
Cathrin Queins 
Johanna Chemnitz
Tim Miller
Rachel Cieslewicz
Macarena Ferrada
Sandra Howling 
Pranidhi Varshney 
Andrés Alexander Wormull
Patricio Moralo Rueda
Laura Prandino
Minna Wahlman
Madhava sundhara Das
Shuddha Wexler
Shana Marie Stitzel
Teresa Samantha Taylor
Julie Southwell
Aris Kapetanakis
Bryan Burns
Shana Marie Stitzel
Ruta Cypiene
Sarah Florence
Louise hunt

Ashtanga Yoga: Inappropriate adjustments/Sexual abuse.

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0
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Given that I have promoted Ashtanga for the last ten years on this blog, I don't feel I can justify not sharing the links below, both here and on my Patabbhi Jois Resource page. 

That said, this blog is about HOME practice, Krishnamacharya's approach to asana and the context in which he placed it. Assists, Adjustments, Mysore have little to do with home practice, the practice, I believe, stands on it's own. 



UPDATE
Julty 2019

NOTE: Following a number of enquiries, I wish to state that I personally will not be signing or promoting any 'Pledge' regarding a response to Pattabhi Jois' sexual abuse. Following Sharath's acknowledgement (however frustrating) of his grandfather's actions,  I consider it now up to the Ashtanga community (of which i consider myself periphery ) to respond individually, as practitioners, in whatever way they/we see fit. There will of course be some who seek to take advantage, to promote themselves on the back of the abuse, we've seen this already, but on the whole I believe the community is seeking to come to terms with what happened in the past. As well as the physical aspect of  the sexual abuse that took place there is the psycho/spiritual aspect, a sense of betrayal by Jois and as such we are perhaps all victims here. That said I do feel that the minimum response is of course to take down Jois' photo from public shala's (keep his picture in your private practice space if you still feel you have to/want to) and to refrain from posting his photo or posting on 'Oh how wonderful you found him personally' on social media, keep it to yourself. Beyond that it is perhaps enough to begin to question other aspects of his influence. With his judgement questioned we can and should question other aspects of his physical adjustments, the forceful aspect. Jois was clearly making it up as he went along under the guise of 'research', we should question these practices before we employ them ourselves. Likewise, our own approach to practice, the manner in which we 'force' ourselves to practice should come under question. We should also question perhaps the whole sense of 'guru' in this context as well as Sharath's promotion of himself as THE Paramaguru, we should question the role of the Jois family and look perhaps to the practice itself, perhaps to it's origins in Jois' teacher Krishnamacharya who always sought to adapt the practice to the benefit of the individual.



UPDATE 
July 2019

Public acknowledgement of K. Pattabhi Jois' sexual abuse of his students by his grandson Shrath Jois.

Note: The statement below was attached to a black and white photo of Sharath adjusting with his Grandfather, K. Pattabhi Jois in the 'old shala' in Lakshmipuram, Mysore. I haven't included the photo avoid the possibility of a 'trigger' for those who may have been abused by Pattabhi Jois coming to this page.


While it is somewhat of a relief that Sharath has finally acknowledged publicly, and in writing, that his grandfather K. Pattabhi Jois, sexually abused his students, it is disappointing that he then sought to deflect blame to his regular target the now 'famous teachers' who were then students at the shala. 
It was also disappointing that Sharath then asks for forgiveness for his grandfather from those who were abused and ends with the suggestion that now he has acknowledged the abuse we can all 'move on'. 

Rather than posting on his social media Instagram account, it should have been a letter posted on his website. there should have been no attempt to shift the blame to anyone else (that is another ongoing discussion), nor should there have been a call for forgiveness or to 'move on'. Finally, the statement shouldn't have been attached to a possibly triggering photo of his Grandfather adjusting (precisely the situation in which Jois abused his students while Sharath looked on).  

Many who commented on the instagram post have suggested that Sharath was brave  to make the statement. But brave were those victims (see below) who spoke up and faced constant online abuse, likewise those who spoke up in support who also faced constant online abuse from their peers, dethorisation from Sharath (his power and status, just as with his grandfather, serving to silence dissent) and essentially ostracisation and 'excommunication' from the Ashtanga community while Sharath continued to remain silent while in full knowledge of the historical abuse.

It is not the case that this was something that 'came out of the blue'. Sharath did not wake up one morning to hear that his Grandfather had abused students and then needed to take time to process the shocking news. This was no shock. Sharath admits in his statement that this was behaviour he was aware of all along, he has had decades to process the information. I accept that Sharath didn't feel able to stand up to his grandfather back then, it's understandable why he didn't and why others didn't, sharath was weak then, he's weak now as are all those who continue to remain silent, Ashtanga it seems does not develop moral and spiritual strength after all, perhaps Jois should have stress the yama and niyama after all as his teacher Krishnamacharya did.  

Less concerned with Sharath's weakness in the distant past, I'm more concerned with how he responded since he took more control and then full control. Sharath has profited by association, he promoted his grandfather, commented endlessly in conferences as to his grandfather's 'profound' influence on him and the students of the methodology. He has placed large photos of him at the frount of all his world tours and taught in frount of giant photos of Pattabhi Jois that form a shrine to the abuser in the Mysore Shala. When authorised teachers began to speak up he deauthorised them, excommunicated them despite knowing all along that what they were saying was true. 

Sharath needs to listen more, he needs to hear and he needs to respond more appropriately and it is up to the community to keep up the pressure on him until he does.

Below is the statement again as text.

"Growing up I was very close to my grandparents. When I recall learning asana from my grandfather it brings me immense pain that I also witnessed him giving improper adjustments. I did not understand and felt helpless. I am sorry that it caused pain for any of his students. After all these years I still feel the pain from my grandfather’s actions. 
We must have zero tolerance towards abuse, mishandling, or touching students inappropriately. Teachers should respect students at all times. 
We all have a responsibility to govern the teachings and protect against wrongs. Many times I have wondered why the senior students who were at the Lakshmipuram shala did not support the other students when they saw these things occur? They have moved on to become famous teachers worldwide. Why did they not act in support of their fellow students, peers, girlfriends, boyfriends, wives, husbands, friends and speak against this? 
My grandfather was my guru. He taught me everything I know about Asana, and I loved him, but I'm extremely sorry for those students who are going through this trauma. I understand your pain. It is my humble request to all those students harmed to forgive him for his actions. By acknowledging the past wrongs I hope you will be relieved from this terrible burden. It is my sincere hope that we can prevent abuse from ever happening again. 
Namaskara". 

Note: Pattabhi Jois' son Manju Jois made an equally unsatisfying statement (again, on Social media rather than his website) just over a year ago.

May 2018
"My humble apology to those women who have been inappropriately touched by my father I am sorry to hear about it.you have all my support.
Much love to all". Manju Pattabhi Jois


*

December 2017 
Update to my Pattabhi Jois Resource page


The response below to allegations of assault ('fondling and unwanted sexual touching') against Pattabhi Jois strike me as merely a start, work in progress...


See this article from Mary Taylor and Richard Freeman


"In fact, it is well documented that my own teacher, Sri. K. Pattabhi Jois, (whom I love dearly) had certain “adjustments” that he gave to female students that were sexually invasive and inappropriate...."

and a follow up piece


Note: I provide the link above for Karen's comments/response rather than for the writer of the articles treatment of those comments. See too Karen's discussion with Jan Peters (12/12/17) on the later's recent public post. 


Karen has collected her posts on this here

Karen Rain: Ashtanga Yoga and #MeToo










  • Yoga and #MeToo: Toward A Culture With Zero Tolerance For Sexual Assault
  • Actionable Steps Toward Restorative Justice
  • When ‘I Believe You’ Is Not Enough
  • Ashtanga Cooperative
  • A Step Forward

    Also, the best article I've read on this thus far

    Panic and Emptiness - Ashtanga yoga Northampton

    and this detailed, careful treatment of the issue from Kino McGregor today (27th December 2017).

    Update: A disappointing interview with Kino on the topic here however.
    https://www.jbrownyoga.com/yoga-talks-podcast/2018/4/kino-macgregor

    Look out too for Greg Nardi's response on facebook on the 18th December 

    also see

    Why The Abused Don't Speak Up - Anneke Lucas


    and this

    http://www.insideowl.com/2018/01/07/voice/


    ***




    Update 1- Jan 2018

    I hear this week that Sharath has addressed the issue in conference at least in Mysore, indicating that his Grandfather, Pattabhi Jois, acted wrongly and that there was an obligation to speak out. As yet there are no more details or an official statement.



    Update April 2018 - from my fb post



    “Jois’s host for the Hawaii event asked not to be identified but did tell me about the incident. After hearing about the behaviour that was taking place in class, the host intervened by calling a meeting with Jois, his daughter, Saraswathi Rangaswamy, and his grandson, Sharath Rangaswamy (who’s known more commonly as Sharath Jois). Saraswathi and Sharath often travelled with Jois and are now the lead teachers of his shala in Mysuru, now called the K. Pattabhi Jois Ashtanga Yoga Institute. Today, the Ashtanga community calls Sharath “Paramaguru,” a name that implies he now holds his grandfather’s “lineage”—a putative combination of ancient techniques and inherited authority. “It was not my intention to shame him,” the host wrote in an email, referring to Jois. “But to delicately inform him that in the West, such behavior could result in a law suit.”
    The host writes that Saraswathi interjected: “‘Not just the West, but anywhere!’” Sharath, the host adds, then said that if Jois continued such behaviour, he would not teach with his grandfather anymore. (The Walrus has reached out to Sharath multiple times about these allegations and his response to them. He has yet to comment.) Up until then, it had been an accepted practice for Jois to squeeze the buttocks of women who lined up to greet him after every class and kiss them on the lips. According to the host, this behaviour stopped after that confrontation and Sharath and Saraswathi no longer allowed Jois to say goodbye to practitioners at the end of class.”

    Matthew Remski isn't someone I tend to read but this article is too important I feel, for the testimony of the nine woman abused by Pattabhi Jois, skip past the narrator perhaps to the actual accounts, as I have done in the appendix to this post.


    See too  Matthew Remski's interview with Karen Rain where he raises with her many of the questions and responses people have had to her revelations of abuse by Pattabhi Jois allowing her the opportunity to respond directly.






    Update: 27th April 2018 



    My Initial Response to Karen Rain’s Interview About Sexual Abuse - Gregor Maehle

    I’m posting here with a heavy heart the full transcript of Matthew Remski’s interview with Karen Rain.

    www.matthewremski.com/…/karen-rain-speaks-about-pattabhi-j…/

    Matthew forwarded me the interview last night and I read the first half then but couldn’t continue because I found it too distressing. I lay in bed for a long time and reflected, a process that continued through the night and in half daze this morning when reading the rest. I have known Karen as Karen Haberman and have practised close to her for around 10 or 11 months through 1996 and 1997 in KP Jois little Lakshmipuram studio. I will address you, Karen, now directly and will get Matthew to forward you my response.

    I want to thank you for coming out with your story. I was trying through the night to remember how close your mat must have been to mine. The old shala held 12 mats and my spot was front row, left corner in the 4:30am time slot. Sharath’s spot was front right and I think you practised next to him. This would have placed your mat about 3 metres maximum from mine. I am completely shocked that you had to go through all of this a few metres away from me and I was ignorant of it. I am deeply sorry.

    I am asking myself how I could not notice the extent to which these things were going on. I didn’t initially. We all focussed on our drishti (focal point) and practised as if the devil was breathing down our necks, literally. But I remember at some point I performed a twist, while KP Jois adjusted the girl next to me in drop backs. When I spun around I saw what looked to me like him grabbing her buttocks and rubbing himself against her while he stood between her legs and she was back arching. I was totally shocked. After practise I approached her, told her that I saw what happened and that I was happy to accompany and support her if she wanted to take it up with him. I remember to this day her clarity and steely determination in her eyes when she looked straight at me and said with a smile, “Forget about it. That did not happen. You are making it up”.

    I had two similar smaller occurrences when the girls in question simply smiled at me, shook their heads and walked on. At that point I decided that I must have hallucinated or made things up or maybe it was my ego or deviant nature that projected my own problems on the guru. I’m deeply and truthfully sorry. I’m sorry that you, and other women had to go through all of this and that I was so close to you and didn’t know nor did I feel what was going on in you. I should have trusted in my intuition and pursued that until it would blow up in some form or another. In my lack of action, I made myself complicit.

    At this point, after having read in the wake of MeToo so many accounts of sexual abuse by women conducted by men, I feel an almost primal shame of being male. I totally agree with you, Karen, that sexual abuse is not about sex. It is a ritual of domination. How much of that have men done to women through the ages. I think it behoves all us men to start treating women with more respect.

    Reflecting back now on Mysuru (new de-colonialized name for Mysore) it was a classic example of The Emperor and His New Clothes. The whole story was hidden in plain sight. I made a few attempts to discuss these things with senior teachers (I was a newie then and didn’t practise enough series to be taken seriously) but the response was usually along the lines of “Do your practice and all is coming” or “Yoga is 99% practice and 1% theory”. I think I’ll spew if I hear those sentences once more. Questioning the guru was certainly considered theory.

    During my last stay in Mysuru in 1999 I shared all of my doubts with a friend. I talked to her about the process of projection, about idealizing a person, about giving up one’s power, hypnotizing oneself into beliefs and finally about taking self-responsibility. She said to me, “What you say sounds much too difficult and tiring. I just want to totally surrender to a person that fixes all my problems in return”. I think these really sums up the crux of the matter nicely. I realized then that I was a member of a cult. Shortly thereafter I packed up and left.

    Again, I am really sorry that all of this happened and that it damaged you and other women so much. Again, I’m sorry that I did not do enough to protect you and the others. I want to contribute to your healing by providing a safe space in which you can come forward and express all this. I will continue to post on my media and blog all new revelations in this matter. I also want to thank and acknowledge Anneke Lucas who apparently was the whistle blower on this affair. That must have been really scary to be the first person. Braver than I was.

    I would like also to thank you, Karen, for being so clear in your interview what constitutes assault and going through all the intellectualizations and rationalisations, that are trying to explain KP Jois behaviour away. I hope that we as a movement, the Ashtanga culture, can stop doing that and be truthful about what happened. I hope that we can show that we are more than a cult. And I believe we are or should I say that we can become that?

    Now here I am talking about providing a safe space where you can heal but I have to actually thank you for providing a safe space to me where I can come out.

    The year when you left, 1998, I wasn’t there. I came back in 1999 for a short period with unstable knees. My knees were getting better at the time and I could again do most of my practise. I shared my knee problem with Sharath Jois (then R. Sharath) and asked to be adjusted gently or not at all. In the coming weeks Sharath almost daily mounted me in Baddha Konasana by standing on both my knees with his full body weight. As he stepped up forcefully from behind, he found it hard to catch his balance and had to hold on to my shoulders to not fall over me. For a few moments he swung back and forth on my knees and it felt as if he was grinding them to dust.

    After the first day my knees were swelling to the size of footballs and I could hardly walk. Somehow, I thought the guru knows better and knows my body better than I (where did I get that idea from?) and I kept coming back for more. My knees were really saved by a senior teacher who came around to me and said, “Do not go back into that room! They don’t know what they are doing! If you don’t take responsibility for your body, you will end up in a wheelchair!” There was somehow an implied knowledge of that but nobody spoke out. I left Mysuru shortly thereafter and never went back to practice in the Jois shala. I am glad that I strongly advised any of my students not to go there.

    I am not writing that with any resentment. I have forgiven Sharath long ago. After years of healing my knees came good and I have a well-going daily Ashtanga practice 20 years on. The reason why I’m writing this is because there is still an emperor with no clothes in Mysuru. I think an apology should be issued by the Jois family for sexual assault and violating adjustments. More importantly I think there needs to be a disclaimer that Sharath has any form of guru status, that he knows our bodies better than we do. Let’s stop projecting our power on gurus and let’s cease worshipping people who insist on passing on knowledge and especially sacred knowledge in vertical relationships. That doesn’t work anymore (did it ever?).

    As all these things are being revealed the cult-like, fundamentalist tendencies in Ashtanga Yoga have only increased. More than ever one person defines exactly what is correct practice. Even just recently Sharath has accepted the title parama guru, claiming the fact that he is the only true representative of an ancient lineage and the only person to authorize teachers, etc. I am concerned that the wool is still being pulled over the eyes of young, unsuspecting people. To my knowledge the title was actually conferred to him by a Western senior teacher. The bogus-parampara juggernaut is still being propelled forward. Karen, you have brilliantly explored the issue of complicity in your interview, so I need not embark here on the issue.

    And the cover-up is still going on. In the last 24 hours I have hear from several sides that the video showing KP Jois sexually assaulting and adjusting violently students has been taken down several times by petitions of Jois followers. This has to stop. The cover-up has to stop and what has been done has to be owned. What we need here is a Truth and Reconciliation process and it needs to start with the truth. And not with cover-up.

    Until that has been done and apologies have been made a call to boycott the Jois shalas in Mysore is only fair. Also, those who are still touching the feet of that emperor without clothes should think whether they are not continuing that trajectory of power transfer that leads to unhealthy relationships and abuse.

    One woman commenting on my last post signed off with #gurufreezone. I have not explored that link but after all that has happened I think we need to make modern Ashtanga Yoga a guru free zone. Let’s be a collective of equals in which any form of teaching is not handed down in vertical relationships and where gurus can do as they please. Let’s turn modern Ashtanga Yoga into a collective of equals where teachers are mere facilitators and servants of growth for students. Let’s take our power back and stop projecting it on people who are as flawed as we all are.

    PS This post is only a fragment of what needs to be said but I hope to be addressing all that later down the track. Thanks to all of you who commented on my initial post of M. Remski’s article. I found them very valuable and will continue to read all.  

    Gregor Maehle 


    Also this month, from Gregor's wife Monica

    An this follow up from Monica...







    Update May 2018

    Many will feel, justifiably (see note), that the expression 'inappropriately touched' does not go far enough in acknowledging the sexual abuse committed by Manju's father Pattabhi Jois upon a number of his students, but this still strikes me as a remarkable statement from a son regarding his father and is surely a welcome first step from the Jois family. Hopefully it will also lead to more general acceptance of the abuse that took place and more compassion for those who experienced it directly. 

    I also feel that this is an acknowledgement that shouldn't be lost in an fb timeline but should at some point be turned into a letter addressed to those Manju acknowledges here, perhaps posted on his website as well as something similar on the KPJAYI websites.

    "My humble apology to those women who have been inappropriately touched by my father I am sorry to hear about it.you have all my support.
    Much love to all". Manju Pattabhi Jois

    *"Sexual abuse is unwanted sexual activity, with perpetrators using force, making threats or taking advantage of victims not able to give consent. Most victims and perpetrators know each other. Immediate reactions to sexual abuse include shock, fear or disbelief. Long-term symptoms include anxiety, fear or post-traumatic stress disorder. While efforts to treat sex offenders remain unpromising, psychological interventions for survivors — especially group therapy — appears effective". Adapted from the Encyclopedia of Psychology 


    ***

    I don't normally listen to J Brown's podcast or read Kino Macgregor for that matter, but I did listen to most of this one (https://www.jbrownyoga.com/yoga-talks-podcast/2018/4/kino-macgregor) and I too was frustrated with Kino's response to Pattabhi Jois' sexual abuse, as I have been to much of the response in the Ashtanga community. This article from Karen Rain, one of the nine contributors in the above article, addresses the problem head on and is important I think, however uncomfortable.




    UPDATE 4th May 2018


    Letter to Karen Rain from Kino Macgregor (posted - public setting - on Kino's fb page)


    Dear Karen Rain

    I am so sorry for the harshness of my words and the inconsiderate statements I made on the J. Brown Podcast. Thank you for calling me out in your recent blog and bringing attention to my failures. At the time of the interview I had not read your extensive first person accounts. I was ill-prepared to speak on this subject and I regret my defensive and dismissive demeanor. While not an excuse, it should be said that I did not expect to speak on this subject and I was a bit taken aback by J.’s questions. Nevertheless, my lack of compassion for your pain goes against everything I believe yoga stands for, that is, the commitment to do no harm. I have harmed you further with my insensitive words and I apologize to you and to all to all the other victims.

    The reality of your experience is devastating, heartbreaking and world-changing. I am personally still trying to process it all and, as a survivor of sexual assault at the hands of a yoga teacher myself, I can truly empathize with how deeply this has impacted and continues to impact you. I am sharing your blog now so that others can hear from you directly:


    You write of the need for Ashtanga Yoga to reinvent itself. Despite your pain, you do not seek to destroy the Ashtanga Yoga system. Thank you for your forgiveness. My hope and prayer is that we, the students and teachers of the Ashtanga Yoga community worldwide, come together to heal this wound and establish a truly safe space for spiritual practice going forward where the awful accounts of abuse that you describe never happen again.

    With love, respect and gratitude,

    Kino





    Update June 2018






    "Dear fellow students of Pattabhi Jois and practitioners of Ashtanga Yoga,

    We have been silent for too long. Most of us have witnessed or experienced both physical injury and sexually invasive touch by Guruji. Those who continued to practice with him and promote his teaching found ways to rationalize his behavior. Many of us lived with ambivalence - were his actions intentional or accidental? Today we can be in no doubt that Pattabhi Jois sexually assaulted many of his female students:

    https://thewalrus.ca/yogas-culture-of-sexual-abuse-nine-women-tell-their-stories/

    If you have not done so already, please take a moment to read Karen Rain’s testimony:

    https://karenrainashtangayogaandmetoo.wordpress.com/

    It is not easy to do. If you practice Ashtanga Yoga, if you love Guruji, if you teach Ashtanga - reading this will distress you. It threatens the whole purpose behind your yoga practice, it threatens your business and it undermines a relationship that may be very close to your heart, but it is your duty, not just to the victims of abuse, but also to yourself.

    I think by now most of us have come to accept that Pattabhi Jois' adjustments were questionable at times but to recognize that he actively and persistently sexually assaulted some of his students is very difficult to accept and acknowledge for several reasons:

    To acknowledge that one has been pursuing a "spiritual practice" with devotion to a sexual abuser with the implicit ramifications for one's own practice would be hugely distressing. The closer a teacher was to Guruji, the more their authority rests on his - if his authority is undermined, so is theirs. To speak out would be to risk alienation from the Jois family and the Ashtanga community. The ramifications are potentially damaging to our financial, social and spiritual wellbeing. 

    I believe it is important for all of us to acknowledge the truth. If we deny the victims' testimony, we stand in the way of their healing process: if their words cannot be shared and accepted as true, it is very difficult for them to find release from their pain. But it is also important for us to be honest for our own sake! What is yoga if it is not a path of truth?

    One of Pattabhi Jois' most quoted sayings is: "Do your practice and all is coming!" Guruji practiced for decades and what came to him included behavior that caused harm to many people. Can we accept this as yoga? Do Guruji’s imperfections invalidate his teachings? This is a question we are compelled to ask. 

    ~

    My initial reaction to Karen’s account was to question/doubt her experience: If she was being abused on a daily basis, why did she continue a daily practice with Pattabhi Jois for two years? I wanted to find justification for rejecting her testimony. Then I reflected on my own experience: Guruji had badly injured me several times in my first few months of practice and thereafter and I continued to come back for more: the desired fruits were so attractive that we were prepared to go through a great deal of suffering to grasp at them. 

    I wanted to find independent confirmation and so I went back and reviewed old video footage of Jois teaching in Mysore and saw several clear cases of sexual harassment. Then I also spoke to a member of a small inner circle of students who hosted him on his world tours and who confirmed that they had known about a persistent "problem" of sexual assault going back over many years. 

    Why has no one with this knowledge spoken out? If a teacher has been knowingly denying Guruji's sexual abuse and promoting his teachings as a spiritual practice then he has participated in cultivating a deception in a most cult-like way. 

    By sending students to study with him, he is also open to allegations of "grooming". These failures could be hugely damaging to a teacher's reputation. But being close to the family would make it almost impossible to speak out, considering the pain it would cause them.

    It is not surprising that almost no teachers have spoken out yet or acknowledged the truth. Teachers wanted to show how close they were to Guruji, how perfect that relationship was and how perfect their practice was in Mysore. This conferred authority and authenticity. To speak badly would be to undermine the brand and to alienate oneself from the source. But now to acknowledge one has had huge admiration, love, respect and has even represented and promoted a sexual abuser for many years will initiate a severe existential crisis. The truth will be acknowledged by all but it will take some time.

    ~

    Since his death, Guruji has been elevated to a position of sainthood. Part of this promotion has been due to the book of interviews I collected and published with Eddie Stern as "Guruji: A Portrait of Sri K Pattabhi Jois" which paints a positive picture of his life and avoids exploring the issues of injury and sexual assault. In emphasizing only positive stories it has done more to cement the idea that he was a perfect yogi, which he clearly was not. 

    By burnishing his image, we make it unassailable - it makes us doubt the testimony of those he abused. This causes further harm to those whose testimony we deny and to ourselves.

    I would like to offer my sincere apologies to all victims who were harmed by Guruji or by his teachings as passed through his students for my part in cultivating this image of perfection that denies the suffering and healing of many. I would also like to apologize for taking so long to write this - it was not easy to do.

    I believe it is our duty to ourselves and to all those who were hurt by Guruji and whose words and truth and healing has been ignored and rejected for so long, to listen with open hearts, without judgment, without defensiveness, for to do otherwise is to cause more and more pain for everyone."


    ***


    UPDATE : May 2019

    "Eddie (Stern) and I (Guy Donahaye)  met yesterday and decided to request that our publisher withdraw the book of interviews from publication as a recognition of the wrong message it sends."

    *

    Context to the above...


    also...

    Beryl Bender Birch on Jois and the late 80s Ashtanga scene, via J. Jason Brown: "My God, everybody knew."




    Appendix 1. 


    April 2018


    Matthew Remski isn't someone I tend to read but this article is too important I feel for the testimony of the nine woman abused by Pattabhi Jois, skip past the narrator perhaps to the actual accounts as I have done here.


    Yoga's Culture of Sexual Abuse: Nine Women Tell Their Stories
    Full article by Matthew Remski here

    The nine testimonies from the article.

    1. Katchie Ananda was thirty-five and living in Boulder, Colorado, when she encountered Jois at a yoga intensive held there in 2000. She told me about being both physically and sexually assaulted by Jois over the span of several days. In one encounter, she says, Jois wrestled her into a deeper standing back bend than she was ready for. Her hands were on her ankles—already an extreme position. Jois moved her hands sharply up to behind her knees until she heard an internal rip. Later, an mri showed a disc herniation, to which she believes Jois contributed.

    During that same event, Jois leaned into her and pressed his groin directly onto hers while she was on her back with both legs behind her head. “I remember registering that this was wrong,” she wrote in a public Facebook post. “But I was also completely absorbed in the sensation of having my hips opened, probably past what they could handle.”

    2. Charlotte Clews’s experience at an event in Boulder followed the same arc. At twenty-seven, Clews was living in Boulder and felt she’d found a home in the yoga community’s athleticism and was progressing toward the most demanding postures. During one practice, Jois tore her hamstring attachment as he stood on her thighs and pushed her torso into a deep forward fold, with her legs open in a wide V. She persisted through the pain until Jois again approached her to hold her steady as she bent over backwards into a series of “drop backs.” He pressed his groin directly against hers as he supported her as she arched up and down. She had never been touched in that way in that posture before.

    Clews tells me that she was trained to believe that pain in practice was irrelevant and that injury was a risk in Ashtanga. But part of her also believed that a “good” student—who properly submitted to the teacher—would not get hurt. The group considered it to be a special honour when Jois assisted them. Clews remembers no impulse to tell her friends about the pain she was in, nor to resist Jois, in part because he was supporting her lumbar spine, which made resistance nearly physically impossible. She says Jois later insisted that she fold her right leg in lotus position despite her ankle being sprained. When she didn’t comply, she says, he aggressively torqued her legs into position and badly reinjured the ankle. It didn’t occur to Clews at the time to blame Jois for the pain, she says. She felt she was choosing the experience.

    3. In November 2017, Karen Rain published a #MeToo statement to her Facebook page. She described being regularly assaulted by Jois between 1994 and 1998. Like other women I spoke with, Rain says that Jois assaulted her when he was adjusting her. In her case, the assaults occurred in various postures, including one in which she was lying on her back with one of her legs pulled up straight alongside her body and with her foot over her head. “He would get on top of me,” she says, “as he did with many women, in the attempt to push our foot down over our head, and he would basically hump me at the same time.”

    4. Marisa Sullivan remembers sitting on the stairs outside the open door of Jois’s shala on her first day in Mysuru in 1997 and seeing him put his hand on a woman’s buttock and stare off blankly into space. She watched, aghast, as he kept pawing the women. As the days stretched into weeks, she commiserated with two other American students who were also appalled. When it was her turn to practise in the room, she was hypervigilant, trying to time her postures to avoid vulnerable positions whenever Jois passed. When he did touch her, she froze.

    But she had also prepared for years for this opportunity, had come a long way from New York City, where she lived, and felt socially invested. “I feared my position in the community if I spoke out,” Sullivan says. “But much more than that—I had lived through sexual abuse at home and my truth was denied. I did not want anyone taking away my truth that the way I and other women were being touched was wrong. I heard too many devotees support Jois’s actions with varying excuses.” She made a choice to stay. “I said, ‘I’m here. I’m just going to dive in. Enough with this questioning.’ I’d always been on the outside of communities.”

    After that moment, she began to let Jois physically adjust her. Suddenly, he began showering Sullivan with attention. She felt that she blossomed. Soon, she would either kiss his feet or bow down at the end of each session. But, a few weeks later, he assaulted her while she was standing in a forward bend, her legs spread wide and her arms raised up and over with her hands reaching toward the floor. First, he pushed her hands to the floor, which she found agonizing. In that position, she was immobilized. Suddenly, she says, Jois walked his fingers over her buttocks, landing on her groin, where he began to move his fingers back and forth over her leotard.

    5. Hawaii-based Michaelle Edwards describes a similar incident that took place in 1990 at an event with Jois on the island of Maui. Edwards was in Paschimottanasana (an intense seated forward fold) when Jois laid down on top of her, pushing her deeper until she could barely breathe. He then reached underneath her hips to use his fingers to grope her. “I was shocked and thought maybe he was confused about what he was doing,” she says. “And then I really felt molested and very uncomfortable to have his weight on me.” Edwards told Jois “no” repeatedly. Then she tried to move him off of her. Finally, she was able to stand, only to see Jois smiling. “He began to call me a ‘bad, bad lady.’” At the end of the class, she saw people treating him “as though he was some kind of deity or enlightened being.”

    6. In 2000, says Anneke Lucas, Jois sexually assaulted her during a yoga intensive in the ballroom of the old Puck Building in downtown Manhattan. Lucas, a New York City–based writer and now the executive director of a non-profit, had come to Ashtanga practice as part of her path to healing after surviving sex trafficking as a child. Jois groped her a few days into the workshop. “I sensed that if I were to respond in public, he would have experienced the humiliation he’d just made me feel. He would be angry, and send me off,” Lucas wrote in an article first published on a prominent New York yoga website in 2010 and reissued in 2016. “I thought I might be banned from my community that had come to feel like home. I felt confused, felt helpless, and held my tongue.”

    7. Michelle Bouvier told me that Jois groped her groin twice at a 2002 event in Encinitas, California. Then twenty-four years old, she remembers at first being shocked and then trying to ignore him by syncing up her energy with that of the older woman beside her. “I thought, ‘This is not really real anymore,’” Bouvier tells me. “[But] if I had thought there was anything spiritual about this scene, that feeling was gone.”

    8. Maya Hammer visited Jois’s Mysuru shala in the late ’90s, at the same time as Sullivan (the two later travelled together). She was twenty-three at the time and living in Kingston, Ontario. Early into her practice at the shala, Jois groped Hammer’s breast. At first, she thought it might have been an accident. By the third day, he was leaning forward into her buttocks and groin region. She was shocked. After a call home to her father, Hammer set out to confront Jois. She told me that he denied groping her, then promised that he wouldn’t keep doing it, and then waffled when she demanded a refund. She stood her ground until he reluctantly fetched $200 in cash from the back room and thrust it at her. She left the shala soon after.

    9. At another event, in 2002, Micki Evslin, who was then fifty-five, attended an event with Jois in Hawaii, where she lives, as part of his American tour that year. Evslin remembers being excited by the prospect of meeting the master. She was in a standing forward fold when she saw Jois’s feet approach from behind. He then penetrated her vagina with his fingers. “He had to use a lot of force,” says Evslin, in order to stretch the fabric of her clothing. Before she could react, Jois moved on down the line of bent-over practitioners.

    "Jois’s host for the Hawaii event (2002) asked not to be identified but did tell me about the incident. After hearing about the behaviour that was taking place in class, the host intervened by calling a meeting with Jois, his daughter, Saraswathi Rangaswamy, and his grandson, Sharath Rangaswamy (who’s known more commonly as Sharath Jois). Saraswathi and Sharath often travelled with Jois and are now the lead teachers of his shala in Mysuru, now called the K. Pattabhi Jois Ashtanga Yoga Institute. Today, the Ashtanga community calls Sharath “Paramaguru,” a name that implies he now holds his grandfather’s “lineage”—a putative combination of ancient techniques and inherited authority. “It was not my intention to shame him,” the host wrote in an email, referring to Jois. “But to delicately inform him that in the West, such behavior could result in a law suit.”

    The host writes that Saraswathi interjected: “‘Not just the West, but anywhere!’” Sharath, the host adds, then said that if Jois continued such behaviour, he would not teach with his grandfather anymore. (The Walrus has reached out to Sharath multiple times about these allegations and his response to them. He has yet to comment.) Up until then, it had been an accepted practice for Jois to squeeze the buttocks of women who lined up to greet him after every class and kiss them on the lips. According to the host, this behaviour stopped after that confrontation and Sharath and Saraswathi no longer allowed Jois to say goodbye to practitioners at the end of class".  

    - Matthew Remski: Yoga's Culture of Sexual Abuse: Nine Women Tell Their Stories


    ***







    Appendix 2


    While we live in hope that Sharath may eventually speak out (officially) against his grandfather's sexual abuse (he has supposedly spoken against it in a conference), we might turn our attention to the the authorised teachers and indeed the 'Princes of the Church', the Certified teachers.

    Practitioners may wish to speak to their 'authorised' teacher in person, in private, regarding the issue, but we might perhaps expect Certified teachers, to speak out publicly.  

    Below is a list of the certified teachers currently on Sharath's 'list' (March 2019), a google search might be enough to see who has and hasn't or hasn't returned their certification, condemned Pattabhi Jois' actions publicly and the manner in which they have done so or indeed defended and /or excused his actions. 


    Asia

    Clayton Horton * Greenpath Yoga,

    Philippa Asher * Ashtanga Nirvrta, SAKLESHPUR, HASSAN DISTRICT

    Sharmila Desai * GOA

    Govinda Kai * FUKUOKA

    Kranti * Under the Light Yoga School, TOKYO

    Tarik Thami * Mysore Tokyo, TOKYO




    Australia/New Zealand

    Dena Kingsberg * Centre of Balance, BYRON BAY

    Eileen Hall * Ashtanga YogaMoves, SYDNEY

    Mark Robberds * SYDNE

    Karyn Grenfell * Ashtanga Yoga Melbourne, MELBOURNE



    Central and South America 

    Lucia Andrade *



    Europe


    Pia Lehtinen * Mysore Yoga Helsinki, HELSINKI

    Maria Tsakona * ATHENS

    Luke Jordan *
    Gabriele Severini * Ashtanga Yoga Roma, ROME
    Tomas Zorzo * OVIEDO

    Hamish Hendry * Astanga Yoga London Dharma Shala, LONDON




    North America 


    Harmony Slater * CALGARY

    Andrew Hillam * Jois Yoga Encinitas, ENCINITAS

    Jörgen Christiansson * Omkar108 Ashtanga Yogashala, LOS ANGELES

    Magnolia Zuniga * Mysore SF, SAN FRANCISCO

    Maia Heiss * Ashtanga Yoga Malibu, MALIBU

    Noah Williams * LOS ANGELES
    Annie Pace * Shakti Sharanam, CRESTONE
    Eddie Stern * Ashtanga Yoga New York, BROOKLYN

    John Campbell * Pure Yoga, NEW YORK

    Olaf Kalfas *



    Honorary certified Teachers


    • CANADA - QUEBEC

      • Joanne Darby * Sattva Yoga Shala, MONTREAL

      • Mark Darby * Sattva Yoga Shala, MONTREAL


    • NEW ZEALAND

      • Peter Sanson * Ashtanga Yoga Hawke’s Bay, NAPIER

    • USA - CALIFORNIA

      • Dominic Corigliano *

      • John Smith * SEBASTOPOL

      • Tim Miller * The Ashtanga Yoga Center, CARLSBAD


    • USA - COLORADO

      • Richard Freeman * The Yoga Workshop, BOULDER


    • USA - HAWAII

      • Chuck Miller * HONOKAA



    These teachers were originally on the Certified list but were removed by Sharath.

    Louise Ellis
    Anthony Carlisi
    Mark Robberds
    Ian Clarke
    David Roche
    John Scott
    R. Alexander Medin
    Joanne Darby
    Mark Darby
    Tim Miller
    Chuck Miller 
    Melanie Fawer
    Dominic Corigliano
    Mary Jo Mulligan
    Guy Donahaye
    John Campbell
    David Garrigues.


    Learning the 'Original' Ashtanga Vinyasa Yoga

    $
    0
    0
    This has been sitting in draft for some time, finally finished it off.



    To reclaim the 'original' Ashtanga vinyasa yoga we need just two texts, published and provided freely by the Mysore Palace (free downloads of both texts on my free download page above)

    Yoga Makaranda (Mysore 1934)

    Yogasanagalu (Mysore 1941)

    Both texts were written by Pattabhi Jois' teacher T. Krishnamacharya


    ---------------------------------------------------------------------
    I say 'original' but really we have no idea if Krishnamacharya invented his approach to asana or carried it on from his teacher who possibly received it from his own teacher turn indeed or from an old text, the 'Yoga Korunta'. Krishnamacharya said he received it from his teacher and going by reports ( by Pattabhi Jois 1924) of an early demonstration Krishnamacharya was supposedly jumping from asana to asana shortly after he says he left his teacher. Anyone who 'jumps through' will tell you it takes a couple of years perhaps to become accomplished at it. It seems likely to me that Krishnamacharya received much if not all of his approach to asana from his teacher. However Krishnamacharya's texts are our earliest Primary sources other than possibly the texts he refers to in his bibliographies.
    ---------------------------------------------------------------------


    Yoga Makaranda provides us with instruction on how to practice asana. It's basically how we already practice them in Ashtanga, Pattabhi Jois replicated the instruction format in his book Yoga Mala.

    There are three significant differences however.

    - Yoga Makaranda contains full vinyasa as does Yoga Mala, these days we tend to practice half vinyasa, jumping straight through between asana and sides of an asana rather than coming back to standing each time.

    - Kumbhaka: Yoga Makaranda tends to indicate holding the breath in after the inhalation or out after the exhalation depending on the asana. This might be considered optional. We can skip it altogether and continue to practice without it as most do now, employ it on certain asana, employ it while taking less breaths in an asana or employ it on every asana but practice less asana, perhaps half a series.

    - Yoga Makaranda contains a selection of asana, Primary Intermediate and Advanced asana and not in any particular order. See the second text Yogasanagalu.

    Yogasanagalu includes a table of asana, three groups of asana, Primary Middle and Proficient. The asana in the table corresponds to lesser and greater degrees to Pattabhi Jois' Primary, Intermediate and Advanced Ashtanga series. Jois' Primary series follows quite closely the order the asana are presented in Krishnamacharya's Yogasanagalu table, the Middle group in  the Yogasangalu will be quite familiar to those who practice Jois' Intermediate series, the Proficient group is completely different, just a collection of advanced asana although we can see from the 1938 Mysore demonstration video that Krishnamacharya was teaching the asana found in Jois' later advanced series.

    - It appears that Krishnamacharya didn't tend to follow a strict sequence and took a more flexible approach

    - Krishnamacharya did include surynamaskara before moving on to standing asana.


    ****

    As ashtanga grew in popularity Pattabhi Jois' presentation of his teacher's teaching become more strictly codified. It's a convenient approach.

    However, we can reclaim Krishnamacharya's Original Ashtanga whenever we wish by freely downloading the original texts.

    If we want to look to authority then we have only to look to those texts, we have no need to go to India, to Mysore or to practice with any members of the Jois family, the original, texts, the practice, is freely available.


    On looking for a teacher.

    Teacher's authorised by the Jois family have tended to practice the method daily for a number of years, as such they can be an excellent resource, they can occasionally however  be perhaps too strictly aligned with the approach as they were taught it at a particular time.

    Update: Sharath has taken control of the KPJAYI list and is authorising and de-authorising, certifying and decertifying as he sees fit on shifting criteria. Teachers who have spent thousands of dollars going to Mysore again and again, paying thousands more for the actual authorisation certificate as well promising to return regularly and continue paying fees for a month or more as well as perhaps 'offering' to assist for free in the shala are having their authorisation revoked resulting in a possible loss of livelihood as they return their authorisation certificate. Likewise several teachers who have gone on to pay shala fees in Mysore over twenty years or more, as well as thousands more to be certified on top of their authorisation are also having their certification revoked for not showing loyalty. As all authorised and certified teachers are asked to sign yet another Authorisation Code, many have no idea if they will remain on the list one month to the next.

    See my post Authorisation 1980s to present.

    Many of those de-authorised and decertified teachers are still on the 'other 'list of Ashtanga teachers held by Ashtanga.com. These teachers have gone onto the list at the written recommendation of senior teachers, a fairer system perhaps that holds in trust the lineage of the practice in a meaningful way.

    There are other Ashtanga teachers who have never been to Mysore, are not authorised by the family and not on either list but have nevertheless practiced daily for a number of years, as long perhaps as some of those certified by the Jois family. They often, but not always, can have a more flexible approach to the practice.

    There are other yoga teacher who also happen to teach Ashtanga, they may have practiced several styles and have less commitment to Ashtanga, they can still be an excellent resource for learning the series however.

    The ideal perhaps is a teacher who has practiced the Ashtanga method for a large number of years but is also flexible to the needs of the student rather than preserving a shifting ideal of the practice. More important than any of the above is perhaps a teacher with good anatomy and physiological awareness who is unlikely to harm you or bring you to harm yourself in anyway. There is no evidence as far as I can tell that that Sharath, Saraswati, Manju, Pattabhi Jois or Krishnamacharya ever opened an anatomy book in their lives, Iyengar however surely did, to what degree he took it into account is another matter.

    Personally I mostly learned my Ashtanga from books, videos, dvds, YouTube and finally a close reading of Krishnamacharya's texts. (I did however, later attend Srivatsa Ramaswami's TT as well as workshops and trainings with Manju and Richard Freeman as well as spend three months at Kristina Karitinou's wonderful shala in Rethymno Crete).

    There is then no need of authorisation, of traveling to Mysore, of lineage and parampara. We have the original texts that explain the practice, stage of breath by stage of breath (Yoga Makaranada and Yogasangalu see above). Learn the Primary asana where we will, in a sequence if we wish (It's a convenient approach) but deepen our understanding through exploring the texts. But all that is really required to deepen the practice is to actually practice it, daily if possible, that is where the learning and any transformation actually takes place.

    Krishnamacharya was clear, we look to our own traditions, our own texts, pray in our our holy tongues, for me I take that to  imply looking to Greece and Rome, to Greek and Latin.

    Patanjali and the Gita will do us no harm however, they all say the same thing after all.

    Krishnamacharya was clear on one point, the practice goes hand in hand with a moral code of behaviour, they support each other. For Krishnamacharya that was the Yama/Niyama, we can look to our own tradition, mostly it involves treading kindly and lightly and looking inwards to look outwards.

    Should we learn the count?

    It can be beneficial, it gives us something to focus on rather than myriad distractions that float through the mind. However the tyranny of the count probably can be blamed for many an ashtanga injury as we try to throw ourselves into an asana on the count.

    It's important to remember that the count can be paused anywhere we wish and then taken up again. So, for example, in Marichiyasana D we might pause the count at the bind and take extra breaths while we  take as much time as we require to bind safely before taking the count back up again, likewise when unbinding.

    It can be useful to learn the count in your native tongue first. Just count the stages of the breath, start with the sun salutation A then later count through B and so on adding on asana until you can count through the whole practice. By counting in your own tongue you will quickly see the patterns, how similar movements happen on the same count.

    At some point you will see that there are a couple of inconsistency in the ashtanga system, an extra uncounted inhalation seems to be taken occasionally, this doesn't happen often but can be confusing, most can't agree on why this happens, a quirk of the system.

    If you wish to learn the sanskrit count, start with Sury A then with Sury B, that will give you most of the sanskrit numbers you need for most of the asana. I have a post on learning the Sanskrit count here.

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

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

    Once you've learned the count and practiced that way for a time forget it and just worry about the breath..... and then forget that too.




    Why Meditation? Plus Yoga's Sister philosophy, Samkhya - Full text of the Samkhy karika

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    Clearing out the 'draft post' drawer

    Contents

    1. From the Samkhya Karika
    2. Why Meditation?  What is the goal for Patanjali of Yoga
    3. The Complete Samkhya Karika
    Appendix 1. Samkhya - Ramaswami's Newsletter
    Appendix 2. DHYANA - from YOGA BENEATH THE SURFACE
    Appendix 3. On Samyama - More from Yoga Beneath the surface -
    Appendix 4. Video -Yamini Murthanna ( a long time student of BNS Iyengar ) dances 'Manas'.


    Yamini Murthanna, Bharatanatyam dancer (dates back 1000 years) and  a long time student of BNS Iyengar see Appendix 4 below for videos ( Dancing 'Manas') and a link to my review of her book The power of yoga.

    1. from the Samkhya Karika

    I find this section of the Samkhya Karika beautiful, quite marvellous...


    // 58 //
    Just as [in] the world actions are performed for the purpose of removing [i.e. fulfilling] a desire, so does the unmanifest perform for the purpose of the liberation of purusa.

    // 59 //Just as, having displayed herself before the gaze of the audience, the dancer desists from dancing, so prakrti desists, having manifested herself to purusa.

     // 60 //
    She, being endowed with the gunas, moves without any benefit [to herself] for the sake of pums (i.e. purusa), who, being without gunas, does not reciprocate.

     // 61 //
    In my view there is no one more tender than prakrti, who, saying ‘I have been
    seen,’ never again comes into purusa’s sight.

     // 62 //
    No one, then, is bound, nor released, nor wanders; it is prakrti, in its various abodes (afraya), that wanders, and is bound and released.

     // 63 //
    Prakrti binds herself by herself with the use of seven forms; and, for the sake of each purusa, liberates herself by means of one form.

     // 64 //
    Thus, from the assiduous practice of that-ness, the knowledge arises that ‘I am not,’ ‘not mine,’ ‘not I’; which [knowledge], being free of delusion, is complete, pure, and singular.

    *

    NOTE: Meter (Wikipedia)
    Each verse of the philosophical Samkhya-karika text is composed in a precise mathematical meter, that repeats in a musical rhythm of an Arya meter (also called the Gatha, or song, meter). Every verse is set in two half stanza with the following rule: both halves have exactly repeating total instants and repeating sub-total pattern in the manner of many ancient Sanskrit compositions. The stanza is divided into feet, each feet has four instants, with its short syllable counting as one instant (matra), while the long syllable prosodically counts are two instants.

    Each verse of Karika are presented in four quarters (two quarters making one half), the first quarter has exactly three feet (12 beats), the second quarter four and half feet (18 beats), the third quarter of every verse has three feet (12 beats again), while the fourth quarter has three and a half plus an extra short syllable at its end (15 beats). Thus, metrically, the first half stanza of every verse of this philosophical text has thirty instants, the second has twenty seven.


    I remembered one of the Richard Freeman's Yoga Matrix CD's is devoted to Samkhya and sure enough Richard chants a verse and it's one of my favourites, perhaps the most beautiful of all.

    The link is to Amazon's sample, unfortunately it's back to frount. The sample begins with the second line but then Richard repeats it so we do get the first line.

    61. Prakrteh sukumarataram na kinchidastiti me matir bhavati/
    ya drstasmiti punar na darshanam upaiti purusasya

    In my view there is no one more tender than prakrti, who, saying ‘I have been seen,’ never again comes into purusa’s sight.


    https://www.amazon.com/Chant-Sankhya-Karika-Ishvarakrishna/dp/B000QWMEBU



    The dancer
    From Ramaswami's 'Yoga for the Three Stages of Life', the best secondary text on yoga I've come across


    I remember Ramaswami telling this story on his 2010 TT, it's probably changed a little in my memory but I remember it going something like this.....

     ...the dancer dances for the king, but he seems disinterested, she puts ever more effort into her dance, leaping and spinning, at last she completes the dance looks up to the king for a sign of approval but nothing. As she leaves she mentions to the first minister that the king didn't seem to enjoy the dance. The minster smiles kindly and asks... "Did the king ask you to dance?".


    *


    2. Why Meditatation? 
    What is the goal for Patanjali of Yoga  



    Our understanding of what constitutes yoga shifts and changes. After ten years of practice, this seems to be my current understanding...., it may of course like much else on the blog be mistaken.

    These notes are more notes (reminders) to self than to anyone else.

    Patanjali's yoga is Raja yoga. In the Yoga sutras, 'yoga' is not 'union' but (the path to) concentration, focussed one pointed attention, ekagrata. The goal is (permanent) liberation, which may or may not suggest 'union'.

    'It can be seen that Patanjali's definition of Yoga does not suggest the usual connotation of Yoga as union. Yoga meaning union requires at least two separate principles to come together and ultimately unite, like prana and apana in Hatayoga, but in this sutra only cittavritti is dealt with and no union with another principle is suggested. Vyasa in his commentary says Yoga is samadhi, or a state of mind and not union. Sankara in his exposition of Yogasutras refers to yoga as samadhana or unalloyed peace. He says that Patanjali has used the word not in the meaning of yoga as union (yukti) but as samadhana or peace of mind. The word Yoga can be derived from two different roots yujir meaning yoga as in union and yuja as in samadhi meaning absolute peace of mind and the sutras use Yoga in the (second) sense,that of absolute peace'. Srivatsa Ramaswami April 2012 Newsletter
    Patanjli's yoga is built upon Samkhya's metaphysics/model.

    These days (perhaps even for the last thousand years) Raja yoga tends to be mixed up with and perhaps confused with tantra/hatha yoga. Where, we might ask, does one end now and the other begin. Hatha seems to have become enamoured with ever more asana, complex and challenging pranayamas, techniques, strategies....., it also seems to find itself in communities.

    Meditation practice too often seems to become an end in itself, an opportunity for self 'home' psychoanalysis perhaps or merely to de-stress, it's intention lost (although overcoming stress and the pattern of it's causes is highly recommended) if it was every there in the first place.

    Raja yoga's path is perhaps clearer, more straightforward, although the path long and difficult and no doubt solitary and few if any of us will reach it's conclusion (perhaps why tantra/hatha seek 'shortcut' after shortcut), and yet perhaps the path and what we may learn concerning our nature along the way, reason enough to embark however far we may travel.

    In Raja yoga, fewer and perhaps less challenging asana are no doubt sufficient (enough to keep us healthy and reduce the rajas - agitation), less challenging pranayamas (sufficient for health, mental/emotional stability and reducing tamas - lethargy).

    -personally I continue to practice Ashtanga vinyasa but these days mostly half Primary or Intermediate along with finishing, practiced more slowly with longer stays, a Vinyasa Krama approach to the subroutines that make up Ashtanga-






    The asana and pranayama, prepare us (make us more satvic - balanced) for the journey itself, the yama/niyama give us the will, the discipline perhaps to stay upon or return (when we inevitably stray) to the path.

    Most teachers are asana teachers, intentionally or not they promote and prolong students engagement with asana.

    Most of those who come to Yoga  come for the asana and have little interest in the yoga of which asana forms a  part. Getting, fitter, healthier, having some fun, being a part of a community feels perhaps sufficient (and perhaps it is), whether they move on to other elements of Yoga, to yoga as a whole may depend on the teacher.

    In the past Krishnamacharya promoted Yoga through asana, these days teachers are promoting themselves through asana rather than yoga.

    Jumping back is just jumping back (ignore the first four years of this blog).

    Yoga history is just that (ignore the second four years of this blog).

    Anatomy of yoga is also (but beneficial).

    We seem to do everything we can to distract ourselves from actually practicing yoga (eg. Blogging).

    Krishnamacharya, Pattabhi Jois' teacher recommended twice as long spent on pranayama as asana and twice as long spent on Dharana as pranayama. Going by this If your asana practice is twenty minutes, pranayama should be forty and perhaps two forty minute sessions a day of 'Dharana'.

    Note: It might (tenuously) be argued that our sun salutations don't count as asana, the standing sequence we might argue is preparation for asana and the finishing sequence... winding down.


    The path.
    For Patanjali in the Yoga Sutras, once achieving (a) samadhi (which may or may not take a lifetime itself) on one object ( the breath, a mantra, an image, a candle flame perhaps) we may then begin to work through/with each of the tattvas seeking to attain samyama (see appendix 3.) on each and in that state realising experientially that none correspond to the 'self', the seer, observer (purusha) each is discarded ('not that') until all that remains is Purusha. Purusha's nature is, it is said, merely to observe. Finally, with nothing left to observe purusha observes/knows itself and is supposedly liberated.
    Samyama on Ishvara is considered a possible fast track option for those more religiously inclined
    The yama/niyama and asana/pranayama support each other, they prepare us for and keep us in state to sit effectively.

    Krishnamacharya said that asana and pranayama clean the room, why would we not then want to remain (sit) in it.

    When to Sit
    Being wrapped up in asana, in WHATEVER form that may take (assuming we are not injuring ourself) is perfectly fine - let nobody tell you it's not yoga (or better still just let it go) - it's part of the method. We are gaining, discipline, will, hopefully letting go of more attachments than we form. At some point, at a time in our life when this feels appropriate, we may wish to explore other elements of the method.
    We may as well start the long job of working on developing concentration/one pointedness outside of asana sooner rather than later.



    Srivatsa Ramaswami - Yoga for the Three Stages of life 


    *


    3. The Complete Samkhya Karika


    "Sri Krishnamacharya taught the text relying on Gaudapada's commentary word by word, verse by verse along with Gaudapada's commentary  http://www.universaltheosophy.com/sacred-texts/samkhya-karika/. The study of the text took about one year, we used to meet once or twice a week for an hour. At the end I realized why he was keen to teach this text to us. It made a lot of the yoga sutras accessible. Even though he had a degree in Samkhya called Samkhya Siromani (crest jewel) he was able to come down to the non scholarly students like us. I had read some books on sankhya karika by scholars and academicians and used to be overawed by their scholarship, but Krishnamacharya while capable of engaging scholars in an intellectual debate was able to breathe a lot of life into this rather abstruse text. I think all students of yoga who want to study or have studied yoga sutras may do well to consider having a look at all the Samkhya Karika verses. " 
    Srivatsa Ramaswami Newsletter July 2014 - the full Samkhya Newsletter in Appendix 1 below.


    Translation from the Appendix to Mikel Burley's excellent 'Classical Samkhya and Yoga'
    The book includes includes the Sanskrit Devanagari and Roman script as well as the english translation below.

    Note: the diacritical marks didn't transfer but are present in the text.






     // 1 //
    Due to the affliction of threefold distress, the inquiry into its removal [arises]; [if said to be] pointless because obvious [methods exist], this is not so, for such methods are neither singularly directed nor conclusive.

    // 2 //
    The heard [method] is like the obvious, as it is conjoined with impurity, corruption, and excess. The superior and opposite of that [comes] from the discrimination of the manifest, the unmanifest, and the knower.

     // 3 //
    Mulaprakrti is uncreated; the seven – ‘the great’ (mahat) and the others – are creative and created; the sixteen, meanwhile, are [merely] created; purusa is neither creative nor created.

     // 4 //
    The attainment of knowledge is based on [certain] ways of knowing; the accepted ways are three – perceiving, inferring and reception of verbal testimony – as these cover all ways of knowing.

    // 5 //
    Perceiving is the discernment of particular objects; inference, which is said to be threefold, is the tracing of the mark-bearer from its indicating mark; reception of verbal testimony, meanwhile, is reception of Śruti.

     // 6 //
    Inference by analogy ascertains what is beyond the sense-capacities; and what is unaccomplishable even by that is established by verbal testimony.

     // 7 //
    [Something may be imperceptible] due to: remoteness, closeness, sensory impairment, instability of mind, subtlety, obscuration, suppression, similarity with something else.

     // 8 //
    The non-apprehension of that [i.e. prakrti] is due to subtlety, not non-existence; it is apprehended by means of its effects. Its effects – mahat and the others – are both with and without the nature (rupa) of prakrti.

    // 9 //
    The [formally] existent [is] an effect due to the non-causation of non-being; the apprehension of a material cause; the non-production of everything [from everything]; the possibility of causation [only] from that which is capable; and the nature of the cause.

    // 10 //
    The manifest is caused, temporal, spatially limited, active, non-singular, dependent, a cipher, composite, conditioned; the unmanifest is the opposite.

     // 11 //
    The manifest as well as pradhana (i.e. the unmanifest) are tripartite, undiscriminated, objectual, universal, non-conscious, productive; and puman (i.e. purusa) is the opposite of these.

    // 12 //
    Of the nature of gladness, perturbation and stupefaction; serving to illuminate, activate and restrain; the strands (gunas) subjugate, support, generate and combine with one another.

     // 13 //
    Sattva is light and illuminating; rajas is impelling and moving; tamas is
    heavy and delimiting; and their purpose is to function like a lamp.

     // 14 //
    Undiscriminatedness and the other [qualities] are established due to the tripartition, and to the non-existence [of the three gujas] in the opposite of that. The unmanifest is established [as having the same nature as the manifest] due to the guna-nature of the effect being also that of the cause.

     // 15 //
    Due to: the finitude of differentiated [objects], homogeneity, the procession from potency, the distinction between cause and effect, and the undivided form of the world.

    // 16 //
    – the unmanifest is the cause, productive due to the combination of the three gunas, and transformable fluidly in accordance with the specific abode [character?] of each of the gunas.
                               
    // 17 //
    Purusa exists due to composites [being] for another’s sake, the opposite of the three gunas etc., [the need for] a controller, [the need for] an enjoyer, and the process [being] for the purpose of aloneness.

     // 18 //
    Due to various patterns of birth, death, and capacities, and to the disjunction of activities, purusa’s multiplicity is established; and also due to contrariety of the three gunas.

     // 19 //
    And thus, due to [its being] the opposite [of prakrti], the witnessing, aloneness, equanimity, awareness and inactivity of purusa is established.

    // 20 //
    Due to the conjunction of those [two, i.e. purusa and prakrti] the non-conscious linga appears as though conscious, and similarly, owing to the activity of the gunas, the non-engaged appears as though active.

     // 21 //
    For the purpose of perceiving pradhana, and for the purpose of purusa’s aloneness, the two [come together] like the blind and the lame; that conjunction is creation, emergence.

     // 22 //
    From prakrti [comes] the great; from that, egoity; and from that, the group of sixteen; again, from five of those sixteen, [come] the five elements.

    // 23 //
    Buddhi is discernment, its lucid (sattvika) form [comprising] dharma, knowledge, non-attachment, [and] masterfulness, and its darkened (tamasa) form [comprising] the opposite.

    24 //
    The thought of self is egoity; from that, a twofold emergence proceeds, namely the group of eleven and the five tanmatras.

    // 25 //
    The lucid (sattvika) eleven proceed from the modified egoity; from the source of the elements, which is opaque (tamasa), the tanmatras [proceed]; from the fiery (taijasa), both [proceed].

     //26 //
    Sense-capacities is the term for seeing, hearing, smelling, tasting and touching; voice, hand, foot, anus and underparts are called action-capacities.

    // 27 //
    In this regard, of the essence of both is mind (manas), which is synthesis and is, due to its similarity, a capacity. Variousness and external differences are due to the specific modifications of the gujas.

    //28 //
    The operation (vrtti) of the five [sense-capacities] is held to be bare awareness of sound and so forth; speaking, grasping, walking, excreting and [sexual] pleasure are [the operations of] the five [action-capacities].

    // 29 //
    Each of the three is distinguished by its own operation, which manifests differently [from those of the other two]. Their common operation consists in the five vital currents, [namely] praja and the others.

    // 30 //
    The operation of the four with regard to what is present to perception is both instantaneous and progressive; while in the case of what is imperceptible, the operation of the three is preceded by that [i.e. by the perception of a present object].

     // 31 //
    The respective operations are performed in co-operation with one another from a common impulse, the sole end being that of purusa; nothing else activates the instrument.

     // 32 //
    The instrument, comprising thirteen parts, is grasping, holding and illuminating; and its object (karyam), which is tenfold, is grasped, held and illuminated.

     // 33 //
    The inner instrument is threefold, the outer is tenfold [and] is held to be the domain of the three; the outer [operates in] the present moment [alone], the [inner] instrument in all three times.

     // 34 //
    Of these, the five sense-capacities have specific and non-specific objects; the voice manifests sound-phenomena whereas the other remaining [action- capacities] have [all] five modes of phenomena.

     // 35 //
    Because buddhi along with the other inner instruments is immersed in all objects, the threefold instrument is the chamber, the rest being the doorways

     // 36 //
    These specifications of the gunas, distinct from one another, present the whole [world] to buddhi, illuminating it like a lamp for the sake of purusa.

    // 37 //
    [This is] because buddhi gives rise to every particular enjoyment of the purusa
    and, furthermore, discloses the subtle [difference] between pradhana and purusa.

    // 38 //
    The modes of sensory content (tanmatras) are non-specific; from these five [come] the five elements; these are regarded as specific, and as tranquil, disturbing and delusive.

    // 39 //
    Subtle, born of mother and father, and elemental are the three specific types; of these, the subtle are permanent, [whereas those] born of mother and father are corruptible.

     // 40 //
    The linga is already existent, unrestricted, permanent, comprising ‘the great’ and the rest, down to the subtle; wandering without enjoyment, endowed with dispositions (bhavas).

     // 41 //
    Just as there is no picture without a support and no shadow without a post or suchlike, so the linga does not exist without the support of the specific.

     // 42 //
    This linga, motivated for the sake of purusa, by means of the association of causes and effects, and due to its connection with the manifestness of prakrti, performs like a dancer.

     // 43 //
    The dispositions, [namely] dharma and the rest, both natural and acquired, are perceived to abide in the instrument, and the embryo and so forth abide in the object (or effect, karya).

     // 44 //
    By means of virtue (dharma) there is movement upwards, by means of non- virtue (adharma) there is movement downwards; by means of knowledge liberation is attained, and bondage is due to the opposite.

     // 45 //
    Prakrti’s dissolution occurs as a result of non-attachment, wandering is due to attachment, which is impulsive; removal of obstructions is due to master- fulness, the reverse of that is due to the opposite.

    t // 46 //
    This is the emergence of mental phenomena (pratyaya), comprising delusion, weakness, contentment and excellence; and these are divided into fifty kinds according to the respective imbalance of the gunas.

     // 47 //
    There are five kinds of delusion, and twenty-eight kinds of weakness due to
    defects in the instrument; contentment is ninefold, excellence eightfold.

     // 48 //
    There are eight kinds of dullness, and also of perplexity, ten kinds of great perplexity; depression is eighteenfold, as is intense depression.

     // 49 //
    Impairments to the eleven capacities along with buddhi are said to constitute weakness; impairments to buddhi are seventeen, due to the opposites of contentment and excellence.

     // 50 //
    Nine modes of contentment are distinguished; four are internal, concerning respectively disposition (or natural constitution, prakrti), acquisition, time and fortune; five are external, due to abstinence from [sensory] objects.

     // 51 //
    The eight ways of attaining excellence are: reasoning, [reception of] verbal instruction, study, eradication of the threefold distress, friendliness, and generosity; the previous three are hindrances to excellence.

     // 52 //
    Without the dispositions (bhavas) the linga cannot operate, and without the linga the dispositions cannot operate; therefore a dual emergence proceeds, distinguishable as linga and disposition.

     // 53 //
    There are eight varieties of divine beings and five of [non-human] natural beings; mankind is singular; such, in brief, is the elemental realm (sarga).

     // 54 //
    The upper realm is pervaded by luminosity (sattva), and the base is pervaded by opacity (tamas); the middle is pervaded by activity (rajas); [such is the case] from Brahma down to a blade of grass.

     // 55 //
    Purusa, consciousness, acquires there the suffering created by decay and death until its deliverance from the likga; hence one’s own nature is associated with distress.

    // 56 //
    This prakrti-creation, from the great down to the specific elements, is for the sake of the liberation of each purusa, for the other’s benefit as though for its own.

     // 57 //
    Just as the profusion of unknowing (ajña) milk brings about the nourishment of the calf, so the profusion of pradhana brings about the liberation of purusa.

    // 58 //
    Just as [in] the world actions are performed for the purpose of removing [i.e. fulfilling] a desire, so does the unmanifest perform for the purpose of the liberation of purusa.

    // 59 //Just as, having displayed herself before the gaze of the audience, the dancer desists from dancing, so prakrti desists, having manifested herself to purusa.

     // 60 //
    She, being endowed with the gunas, moves without any benefit [to herself] for the sake of pums (i.e. purusa), who, being without gunas, does not reciprocate.

     // 61 //
    In my view there is no one more tender than prakrti, who, saying ‘I have been
    seen,’ never again comes into purusa’s sight.

     // 62 //
    No one, then, is bound, nor released, nor wanders; it is prakrti, in its various abodes (afraya), that wanders, and is bound and released.

     // 63 //
    Prakrti binds herself by herself with the use of seven forms; and, for the sake of each purusa, liberates herself by means of one form.

     // 64 //
    Thus, from the assiduous practice of that-ness, the knowledge arises that ‘I am not,’ ‘not mine,’ ‘not I’; which [knowledge], being free of delusion, is complete, pure, and singular.

     // 65 //
    Then purusa, abiding [in itself] like a spectator, sees prakrti, who has returned to inactivity and retreated from the seven forms due to her purpose being complete.

     // 66 //
    ‘I have seen her,’ says the spectating one; ‘I have been seen,’ says the other, desisting; although the two remain in conjunction, there is no initiation of [further] emergence.

     // 67 //
    Due to the attainment of perfect knowledge, virtue (dharma) and the rest have no impelling cause; [nevertheless,] the endowed body persists owing to the momentum of impressions, like a potter’s wheel.

    // 68 //
    Pradhana being inactive, her purpose having been fulfilled, [purusa], upon separating from the body, attains aloneness (kaivalya), which is both singular and conclusive.

     // 69 //
    This esoteric knowledge of purusa’s goal, examining the existence, arising and dissolution of entities, has been expounded by the highest sage.

     // 70 //
    The quiet monk first passed on this supreme means of purification, compassionately, to Asuri; Asuri, again, to Pañcasikha, and by him the teaching was widely distributed.

     // 71 //
    Communicated along a lineage of disciples, this has been thoroughly expounded in arya metre by the noble-minded Isvarakrsja, attainer of ultimate knowledge.
                             
     // 72 //
    The topics of the seventy [verses] are indeed those of the entire ‘sixty doctrines’ (sastitantra), though excluding illustrative stories and the consideration of opposing views.



    *


    Appendix 1.

    SAMKHYA,


    I have mentioned earlier that in the 1970s Sri Krishnamacharya stopped teaching for a short while and asked his long standing students to study under his sons. I was asked to study yogasanas with Desikachar, whom as we all know was an excellent teacher. One day at the end of the class he said that he was going to start studying Samkhya Karika under his father. We had just completed studying Yoga Sutras with our teacher. My mind was already highly charged with the unusual thought process contained in the Sutras. I demurred. Desikachar continued and said “Father said that I should find out if Ramaswami would be interested” I said immediately yes and then joined the class the next day with Desikachar. Since I did not have time to get a book (Sankhya Karika books were not easily available and one has to order from a few publishers in the north to get a copy). Desikachar was kind enough to gift a copy of the text with Gaudapada's commentary in Sanskrit with no translation in Tamil or English. I still have that copy.

    Sri Krishnamacharya taught the text relying on Gaudapada's commentary word by word, verse by verse along with Gaudapada's commentary. The study of the text took about one year, we used to meet once or twice a week for an hour. At the end I realized why he was keen to teach this text to us. It made a lot of the yoga sutras accessible. Even though he had a degree in Samkhya called Samkhya Siromani (crest jewel) he was able to come down to the non scholarly students like us. I had read some books on sankhya karika by scholars and academicians and used to be overawed by their scholarship, but Krishnamacharya while capable of engaging scholars in an intellectual debate was able to breathe a lot of life into this rather abstruse text. I think all students of yoga who want to study or have studied yoga sutras may do well to consider having a look at all the Samkhya Karika verses. The author Isvarakrishna is considered to be an avatara of Kalidasa an outstanding Sanskrit poet. Many people who study Ayurveda, vedanta philosophy find it necessary to study Samkhya. I do not know Buddhism but I have heard that HH Dalai Lama once mentioned that Samkhya would be a very useful text.

    Each verse in Samkhya Karika is important as every sutra in Yoga sutra is. It is perhaps the first vedic philosophy to proclaim the immutability of the Atman or Self which is considered to be pure consciousness. It clearly distinguished between the ego which is commonly but erroneously considered to be the Self and the Atman or Purusha which should be called the Self. Even though there are differences among the three nivritti sastras, Samkhya, yoga and vedanata, in the nature of the Self they are in agreement even as they agree on the need to find a way to terminate the vicious cycle of repeated transmigration but differ on the unity or multiplicity of the selfs.

    One of the outstanding features of Samkhya is the clear enunciation of the steps of creation of the Universe from the primordial mula prakriti. It is very interesting to see that according to them evolution took place in two streams from the mulaprakriti, the subjective and the objective streams, the microcosmic and the macro cosmic evolution. Life force is considered a vritti or activity of such a subtle body created in the microcosmic stream. It differs distinctly from the commonly held view that the first living organism, a single cell bacterium evolved after a long time of the original blast. Samkhya is the forerunner of the thesis that consciousness is distinct and different from and not a product of matter as is normally presumed.. It also lays down the framework of the powerful, even the contentious theory of transmigration, a corner stone of the vedic teachings. Its thesis is that a creature is made of several layers, a subtle body-- primordial body-- called the linga sarira, then the genetic body made from the parents called the matru-pitruja sarira (the embryonic Body) and then the physical or bhuta sarira made from the five gross elements. It also postulates the theory of the difference in the experiences of different beings due to the karma/dharma which gets accumulated, the bundle of karmas being responsible for ceaseless transmigration. It is perhaps the most logical explanation to the theory of transmigration.

    As the name indicates Samkhya (samyak khyapayati) attempts to throw light on all one should know to transcend the otherwise endless migratory nature of the mundane painful existence . Correct knowledge of the 25 tatwas that make up the evolved universe and the distinctly different purusha the pure consciousness with which one should identify oneself as the real self is the means of overcoming permanently and definitively the threefold dukkha or pain/sorrow most creatures experience most of the time in the innumerable lives. Thus it is known as a nivritti-sastra or a body of knowledge that removes (nivritti)  dukkha or pain/sorrow. While Samkhya lays down the theoretical framework for duhkh nivritti, Yoga details the steps one has to take for such achievement. Vedanta harmonizes the few inconsistencies and the three vedic sibling philosophies are thus known as nivriti satras by old timers. 

    Samkhya also details the need to develop a right attitude or pratyaya to take the path of nivritti. It recognize these pratyayas in the context of permanent release from duhkha, the goal of Samkhya and the other nivritti sastras. The first pratyaya referred to is viparyaya or the wrong convictions is an unhelpful state of mind. Patanjali refers to as the conviction which is not based on truth (a-tad-rupa-patishtam). Holding on to wrong conclusions or dogma even in the face of overriding considerations against one's beliefs is viparyaya, like the earth is flat or the body is the self . The second pratyaya that is not conducive to the permanent relief of duhkha or pain and sorrow is tripti or complacence. Taking no corrective action but hoping everything will be ok in course of time, or nature will take care of everything, luck and chance will do it or resigning to fate completely will come under this category of pratyaya. According to Samkhyas it will only perpetuate avidya and so will not deliver from the three fold pain of samsara.

    The other unhelpful pratyaya is asakti or infirmity. Physical, physiological and mental weaknesses impede the aspirant in the spiritual progress. Then what is the helpful pratyaya? Samkhyas call it Siddhi pratyaya. How can one attain the spiritual goal? Dana or dispassion and purity of mind is one. Then svadhyaya or study of the appropriate texts is another helpful aspect of siddhi pratyaya. Sabda or study with a competent teacher is another helpful aspect of siddhi and then suhrit prapti or association with others who are also spiritually inclined and of course analysis and deep contemplation (uha). Then constant vigilance to avoid and overpower the basic causes of the threefold misery. In a similar vein. Patanjali talks about helpful and unhelpful cittavrittis which includes pramana or correct knowledge and viparyaya or wrong conviction, two opposite citta vrittis. Patanjali divides all the chittavrittis as helpful (aklishta) and unhelpful/harmful crittis (klishta )

    Samkhya is said to be a vedic philosophy. How so?

    The Mahanarayana Upanishad is the last chapter of Yajur veda. There is this beautiful mantra which succinctly describes the essential tenets of Samkhya. It is a colorful narration

    ajamekam lohita suka krishnam

    Bahvim prajam janayantim sarupam

    ajohyeko jushamanonusete

    jahaatyenam bhuktabhogamajonyah

    There is one without birth (beginning) made of three colors (gunas) of red (lohita/rajas), white (sukla/satva) and black (krishna/tamas). It produces numerable objects similar in nature (consisting of the three gunas). There is a second one again without birth (a beginning) which interacts with and experiences the various products of the first (and is in bondage). Then there is the third one again without a beginning which keeps aloof from all the products of the first (prakriti) and hence is in Freedom.

    This explains the nature of prakriti of three gunas, the individual self in bondage and the third an individual self completely free or in kaivalya. The whole purpose of samkhya is to help the innumerable individual selfs in bondage to attain freedom from the endless involvement with prakriti.

    The Bhagavat Gita explains the basic tenets of Samkhya in the beginning itself if you consider the first chapter as just the preamble. According to several acharyas the main purpose of the Gits is to emphasize that the real self is consciousness immutable and all the concerns about oneself is misplaced.

    Srivatsa Ramaswami

    *

    Appendix 2

    DHYANA  from YOGA BENEATH THE SURFACE 
    Srivatsa Ramaswami  & David Hurwitz 




    DAVID: (YR I, 20) Can we practice dhyana? Or is this, again, something that may or may not happen after practice? Is mantra japa a way to practice meditation? We may repeat the mantra, but whether the mind quiets down and stays focused on the mantra, isn't this a siddhi, something we can't control?

    RAMASWAMI: Dhyana, or what is translated as "meditation;' is, according to Patanjali, an aspect of antaranga sadhana (inter­ na! practice). So it is to be considered a practice. Dhyana comes  om the root word dhyai, "to think deeply:' The word dhyana is not used  r ali involved thinking. It is used to signify deep think­ ing of a sublime object, that meditation which will uplift the practitioner. According to my    and s era! experts on Bhakti yoga (yoga of devotion), the word dhyana can be used only with respect to thinking of the Lord, when it is also known as Bhaga­ vat dhyana. In fact, so e of the Bhakti yogis do not at ali recog­ nize  e higher stage of yoga, s adhi. Tuey would say that the ultimate goal ofthe individual is to be in dhyana ofthe Lord until death. Deep or obsessive thinking ofwordly objects or actions will normally be considered chinta, and not dhyana.

    Does it happen to ordinary people? Mostly not, but  the causes of that nonaccomplishment are dealt with clearly by yoga texts. If one c  work it out correctly, dhyana practice and accom- plishments are possible. The mind, or chilla, being an aspee! of prakriti, is also made up of the three gunas: satwa, rajas, and lamas. Yogic dhyana is not possible until the mind becomes satwic. This is where many people  nd they are not able to do dhyana, basically because their minds are predominantly rajasic or tamasic. In the Gita, also, the Lord says that ifyou are tamasic, become rajasic; ifyou are rajasic, become satwic; and ifyou are satwic, go beyond the three gunas (nistrigunya). He does not give the procedures to be adopted to achieve this. But yoga sadhana clearly tells us how to proceed.
    Basically our chitta is nothing but the remainder of our s ­ skaras, our past actions/habits: Samskara sesham hi chittam. So, unless the individual takes steps to replace the old, bad sam­ skaras with newer, wholesome samskaras, he/she will continue to operate on the path driven by the old samskaras. Yoga is the process or practice by which this transformation (pminama) is achieved. Since there are individuals and individu s, the set of practices that one can do may not work far another because he/she may not be    r that kind ofpractice. For instance, ifa person is tamasic, he/she tends to be disorderly, ignorant, sense­ pleasure oriented (aviraga), and usually is slavish. Most people  ll into this category. Rajasic people tend to be  ckle-minded, power hungry, possessive, and uneven tempered. Satwic ones are orderly (in their thinking and actions), knowledge oriented, and dis­ criminative (especially between selfand nonself), and become moral and spiritual leaders of mankind. People fall into these categories (this is only a gross generalization) mainly because tbe  past actions tended to develop tose samskaras.

    In dhyana, we are concerned witb the chitta. Per definition, dhyana is the practice or activity of focusing easily on an object, gross or subtle, for any lengtb of time, without other thoughts inter­ vening in the flow of attention during the period of concentration. So e are able to do it easily, and for so e it is impossible. Yoga tries to help tbose whose minds get easily distracted to become ones    minds able to concentrate easily  r a length of time.

    So it reduces to the question of mental transformation: a mind  at gets easily distracted is to be made into one that habitually is able to concentrate. How is this done?
    Classical Ashtanga yoga does it. We have seen that dhyana becomes possible if tbe mind is satwic. lt is not possible if it is raja­ sic or tamasic. So tbe practice should be to make tbe mind pre­ dominantly satwic.

    The yama niyamas help to reduce the rajas and tamas consid­ erably. That is why tbey are very important. Then asana practice helps to reduce tbe rajas (asanena rajo hanti). So, regular, classi­ cal vinyasa and asana (with breathing) practice  ll reduce  e rajas. When rajas is reduced, tbe space vacated in tbe mind can be occupied by eitber tamas or satwa. But we want only satwa to arise in tbe mind. So immediately after tbe practice of asana, Patanjali and otber classical yoga practitioners have prescribed practice of pranayama. According to Patanjali, pranayama destroys tamas (tatah kshiyate prakasa avarana [avarana = blinding, or tamas]). Therefore, by tbe practice of asana and pranayama, one is better prepared for the interna! practice. Traditionally, in India, you will  nd tbat tbe meditator, or one who does mantra japa or puja (worship) or tbe morning ablutions, will sit in a classic posture and do pranayamas befare embarking on any mantra japa such as the Gayatri. When one starts doing japa or meditation  thout object to  e exclusion of all o er , during  e  e period.    s requires practice, one starts with a mantra or an icon or a point inside the body. The  rst step is to repeatedly bring the mind to the object every time the mind wanders because of the previous samskaras. Here, so e willpower is needed, but you are not forc­ ing your mind. You have only to co  the mind back to your object every time you realize that your mind has gone off it. This aspect is called dharana, the anga (part) before dhyana or that leads to dhyana. Eve  time someone mediatates with a mantra, at the end of the meditation, he/she should r iewthe meditation practice: Did my mind wander too often? Was the time duration of my way rd mental activity predominant? With time, the mind will be with the object for a longer span of concentration and the frequency of the distracted state will go  own. Then the practitioner knows that he/she is making progress. There may be day-to-day variations. But what is to be seen is whether the qual­ ity of dharana is improving. Eventually, the practi oner will be with the object almost the entire duration of the meditation ses­ sion. Then he/she can conclude that he/she has achieved dhyana. So dhayana is the result of dharana practice. Furthermore, the advice of Patanjali in japa is very important. He says that the mantra japa should be as follows: First chant  e mantra and immediately think of the meaning or import of the mantra. Chant the mantra again and then think of the import (Tat japah tadarthabhavanam). In this manner, the involvement of the med­ itator with the mantra is more intense and the chances of the mind wandering are less. Un rtunately, many people chant the man as mechanically. reducing the tamas and rajas (that is, without doing  e asana and pranay a preliminaries), then during the time of dhyana , the mind either wanders because of rajas or goes to sleep because of t as (and so e mistake those petite episodes of sleep as trance).
    Dhyana is there re the ef rt to keep the mind focused on one

    When you continue with dhyana practice, the intensity of con· centration improves, and you reach the stage where only the object alone is remembered. You even farget yourself in the o ect, which is the state of samadhi. In essence, dhyana, preceded by dharana and fal!owed by samadhi, is a continuous practice, resulting in the trans rma on of  e mind. Born yo s do not need the preliminaries, but most do.

    "" PRACTICE FOR MEDITATION '"

    DAVID: A  friend writes: I have to teach a class on yoga and meditation. What is your advice far a class emphasising the meditative process?

    RAMASWAMI: I suggest the following agenda far meditation class:

    l. Begin with a short prayer.

    2. Do a tadasan group: Choose about sixteen vinyasas. Do
    each vinyasa about three times and rest at the end. It may
    take about 10 minutes.

    3. Do vajrasana or paschimatanasana vinyasas and rest at
    the end. It may take about 8 to 10 minutes far this.

    4. Do kapalabhati 108 times (36 times in each of the  three
    positions of the hands).

    5. Do ujjayi pranayama sixteen times using the ratio
    5:5:10:5 with the bandhas in bhaya kumbhaka (about 10
    minutes).

    6. Do shanmukhi mudra far 5 minutes.

    7. Do trataka (external gazing at a picture of sunrise or
    flame of a candle or an oiil lamp) for 5 minutes. Gaze until the eyes start watering, and then close the eyes. Repeat for a total duration of 5 minutes.

    8. Meditate on rising sun or flame. Image the object between the eyebrows or in the heart region. Then image the light dispelling the darkness/depression  from the heart or the mind--imagine the light dispelling the darkness or depres­sion like the dew disappearing in the morning with sunrise. Do  this alternately for 5 minutes. Open  the eyes  and review the quality of the meditation. How often the mind wan­dered from the object of meditation, how long were the dis­tractions? Repeat the exercise for the reminder of the time.

    9. At the end, have a short review. Ask a few students to describe the quality of their meditation. Ask them to fol­low the routine for four weeks. They may change the asana routine, but the other aspects of the regimen may remain the same.

    10. End the class with a short prayer.

    I hope these ideas are useful. (Por the asanas and pranayama, you may refer to The Complete Book ofViny a Yoga and Yoga far the Three Stages of Life.)

    OBJECTS FOR MEDITATION -  Jyotismati

    DAVID: As we acquire deeper and deeper habits of ahimsa (nonviolence) and santosha (contentment), anger will diminish. Let me ask about another approach. 1 often think of anger and hatred and similar things as a kind of d kness in the heart. In YS !, 36, one of the suggestions Patanjali offers for dealing with an unsteady mind is jyotismati, meditation on a radiant light. So, 1 wonder if this could be helpful: to meditate on the Sun in the heart, a bright, radiant light in our heart, as a way of dispelling the darkness and reducing our anger.

    RAMASWAMI: Yes, meditating in the heartwith a bright object like the sun is recommended in the Vedas. I have dealt with this subject in some detail in my book  ga for the Three Stages of Life, pages 58-59. But again, the question is: how well can a person meditate when his/her mind is distracted? (Please refer to my answer to the question on dhyana.) Again, the jyotishmati  itti practice is mentioned in the first chapter, which is for the highest adhikarai (  person). So unless one is basically highly satwic, this meditation may not work or may not be possible to do as the mind will always be wandering or showing signs of tamas. So in the scheme of things, we should say that the ability to do any high degree of meditation such as the jyotishmati has a prerequisite of reduced rajas and lamas. This can be achieved by the  ma, niya- mas, asana, and pranayama, as I have explained in an earlier answer. If a person is predominantly satwic, then he/she can do jyotishmati visualization easily, and possibly he/she need not prac- tice yama niyamas, as he/she was probably born as an ahimsaite, possessing ali the other traits as well. I would say for the general populace, yama niyama comes  rst; and then, adding asana and pranayama will enable a yogi to successfully meditate and visualize.
    DAVID:   I using the word meditate correctly? Would it be more correet to say the bhavana (visualization) of bringing the sun into the heart?

    RAMASWAMI: Yes, bhavana will be a better term for abstract­ object meditation. In fact, my    would say, "Image the rising sun between eyebrows" (the area known as bhrumadhya). He would use the English word "imagine."

    Breath
    DAVID: Is the breath considered an uplifting object to focus on?
    RAMASWAMI: Yes, sir.

    Patanja/i's Suggestions

    DAVID: You've mentioned a few times that chapter 1 of the Yoga Su as is meant for the more advanced yogi, the one who is already capable of samadhi, a  cused and steady mind. Does this mean (as in your answer on jyotismati) that the su estions Patanjali gives for steadying an unsteady mind (YS !, 32-39) are really not of much practica! use for the average or beginning yoga student?

    RAMASWAMI: Since we seem to be coming back to this ques­ tion, !et us try another approach. One who wants to meditate but  oes not care for all the preliminaries should start doing medita­ tion of jyotis in one's heart or middle of the eyebrows, focusing on the light principie  r, say, 15 minutes, both mo ing and evening,  r  ur weeks. As 1 mention in my answer to the question on dhyana, one should review one's experience of meditation peri­ odically. At the end of this four-week exercise, one should look back on the experience to see   the quality of one's meditation has improved. Is one's attention span greater? Are the distractions fewer? Does one feel refreshed at the end of the meditation? Or fall asleep during meditation? Do other thoughts intervene at reg­ ular inter s? If it is yes, and emphatic s for   answer, then this meditation is really good for the person. If there are no improve­ ments, if the student becomes less and less enthusiastic about the practice, if the student forces him/herself to do this in the hope that somehow it will work in the course of time, as if by a mira­ cle, then perhaps he/she can conclude that he/she still has to prepare himself be re practicing meditation.
    In the preamble to his commentaryto the second chapter ofYS, Sadhana Pada (the chapter on practice), Vyasa is quite clear in helping to demarcate the levels of yoga. He says, "The yoga attained by a yogi with engrossed mind (samahita chitta) has been stated. This sutra (the first of the second chapter) starts to indicate how a devotee (yogabhyasi) with a restless mind can
    also attain yoga."

    So it is a question ofwhether the beginner or average yogi has the capabili  to be engrossed-s ahita chitta is the character­ istic of the yogi of  e highest order, described in the first chap­ ter. For such a yogi the means are abhyasa (practice) and vairagya (dispassion). The yogi who has the capability to remain engrossed in an object transforms himself into a yogi whose mind is com- pletely in a state of nirodha. This presupposes that unless a yogi has the capability to be completely in samadhi, he/she will not be able to progress to the leve! of kaivalya attained by vair a prac- tice. Such a yogi, even as he/she practices to trans rm his/her mind, may occasionally slip into a state of distraction due to so e remaining past karmas or carelessness. To prevent such slippage developing into a fall, the  rst chapter suggests a few well established yoga practices in YS !, 32-39, as you mention. It is vir- tually a safety net. In this is included the jyotishmati practice as well. O iously, a beginner-level practitioner will not be able to practice correctly and successfully. Conversely, if a beginning student is able to successfully practice these yoga meditations, one can conclude that he/she is actually a high-level yogi   for samadhi yoga as described in the  rst chapter.
    Others should go through the sadhana detailed in the second chapter. Then  ey will see that, after ali these extemal (bahiranga) practices, the yoga practitioner is ab]e to be more focused, prac­ tice dharana and dhyana,  d then achieve samadhi. These are again described in the third chapter.
    You will see that the s e jyotishmati practice men oned as a corrective device in the first chapter is described as a siddhi in the third chapter. In YS lll, 31, it is said that by doing s y a or jyotishi in the middle of   eyebrows,   yogi is able to see the siddhas (those who have attained extraordinary achievements).

    Similarly samyama in hradaya (heart) (YS III, 33) will lead to understanding one's own mind. Likewise other practices men­ tioned in YS !, 32; maitri karuna (friendliness, compassion) and others mentioned as practices for siddhi in the third chapter, YS III, 23, Maitriyadisu (yogic contemplation on friendliness).

    So I may summarize by saying that if a yo  does not have the capabilityto be engrossed or totally focused, then he/she has to do practices that will enable him/her to get the necessary capability. The entire second chapter with ali the externa! practice is to pre­ pare the yoga practitioner to become a yogi.

    LINK to Amazon.com


    Appendix 3

    More from Yoga Beneath the surface on Smayama and the  tattvas






    *

    The 25 tattvas

    from HERE 

    The Tattvas

    In the Samkhya doctrine there are 25 Tattvas:

    1. Purusha (Transcendental Self)

    2. The uncreated (unmanifest) Prakriti (primordial nature)

    3. Mahat/Buddhi (intellect)

    4. Ahamkara (ego, consciousness of self)

    5. Manas (mind)

    6-10. The five sense-organs
    11-15. The five motor-organs
    16-20. The five subtle elements
    21-25. The five gross elements

    Tattvas 3-25 evolve from primordial nature. 

    All of the Tattvas account for the totality of the unverse as a whole, and each individual human being.



    Appendix 4

    “Vinyasa means ‘art form,’ such as in music or dance,” he said. “Certain parameters are there, and it allows certain variations.” Ramaswami.


    I wanted a blog post photo to represent the dancer image in the Samkhya passage at the top of the blog. I remembered Yamini, a Bharatanatyam dancer and yoga teacher (also a long time student of BNS Iyengar) and couldn't resist sharing a couple of videos of one of her performances, especially as Bharatanatyam is as old if not (considerably) older than the Samkhya Karika itself,it may well have been a Bharatanatyam dancer that the writer of the samkhya Karika had in mind when he constructed the passage. 

    There are other connections, Ramaswami's first experience teaching yoga was at a dance school, the sflexible students caught on so quickly that Ramaswami had to go back to his teacher Krishnamacharya and ask for ever more asana to teach the dancers.


    "How is it that the system I teach is different from other schools of the same lineage. I started studying Yoga with Sri Krishnamacahraya when I was about 15 years old . I studied several asanas, vinyasas, pranayama and after several years he stared teaching vedic chanting and the study of the texts like Yoga Sutras and the Upanishads. One day after about 20 years I had been his student, he said that I could teach Yoga if I wished. I had absolutely no such plan, but after a few days, I was asked by Sri Desikachar if I would be interested in teaching at Kalakshetra an institution considered to be of national importance by the Government of India. I met the director, the well known dancer and administrator Smt Rukmini Devi. From then on I taught yoga to the students of Kalakshetra for about 20 years. When I started teaching I was asked to teach yoga for the first two years of the under graduate program. I was very enthusiastic and taught them whatever I had learnt from my Guru. Since they were young, very agile and talented, many of them could do asanas beautifully. You could feel that Yoga is really an art when you see them do asanas slowly gracefully with the breath. In fact I have some videos of them doing yoga way back in the 1980s uploaded on my channel in YouTube". Srivatsa Ramaswami June 2014

    Krishnamacharya would explain Vinyasa by reference to other indian arts, to dance and music, formal yet allowing for creativity.

    “Vinyasa means ‘art form,’ such as in music or dance,” he said. “Certain parameters are there, and it allows certain variations.” Ramaswami.



    Yamini Murthanna is a Bharatanatyam dancer (Dating back to 1000 BC) and teacher 
    and a long time student of BNS Iyengar

    My review of her book, The power of Yoga 





    Yamini Muthanna 

    Manas




    Yamini Muthanna presents her dance production Manas at Bangalore on January 26th. Manas is set to selected hymns and verses from the Bhagavad Gita, The Upanishads and the Vedas. Breaking the choreography into 5 sections, inspired by the hymns in the Taittiriya Upanishad where it is said that the human organism has 5 layers (Annamaya Kosha, Pranamaya Kosha, Manomaya Kosha, Vigyanamaya Kosha, Anandamaya Kosha).  She has explored this concept in the production ‘Manas.’ The slokas were selected by Dr. Girija Khanna and Prof. Balaji, English Professor and Sanskrit Pundit from the Mysore University. The music composition is combined with classical ragas rendering slokas, swaras and jathis".


    See also perhaps this article by Navtej Johar

    Why Yoga is Important to Me as a Dancer, as a Person

    "I am firmly of the belief, that suggestion through imagery, poetry, music, are all secondary, what is integral is the clearance that my bones and joints open within the body and freely allow it to submit to a new experience. Abhinaya is then neither an idea nor a projection, as it is often considered, it is actually a real emanation that comes forth out of my body, a revelation of the body. It is precisely here that yoga has not only helped me but I would say made me a dancer. By letting me realise that emotion, heart, soul, spirit, inspiration, all of these are not foreign elements that are introduced into my body from above, a chance gift of another dimension or a muse, but are all contiguous extensions of the material body. Actually this idea is neither novel nor original, though it seems radical in our times, but a direct import of the Samkhya philosophy which is purely “materialist” and does not entertain the idea of God, and upon which the yoga of Patanjali is based. And interestingly this same idea gets further elaborated in the tantra of Abhinavagupta (10th century CE), who further adds into it the magical dimension of poetry and resonance".

    Navtej Johar is a dancer and a yoga practitioner in the tradition of Sri T Krishnamacharya and Sri TKV Desikachar. He is the founder and director of Studio Abhyas, New Delhi, a space dedicated to yoga, dance, urban activism and the care of stray animals.


    Yoga and Osteoarthritis

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    This is from an instagram post I put up yesterday that I feel should also be here on the blog.

    It's probably going to be another rolling post that I will add to over time. 





    So this happened.

    Standing up from my seat on the train Friday I experienced intense lower back pain, I barely managed to stumble off the train and down the stairs to some seats. It was so bad that M. managed to talk this Englishman into actually going to the hospital. The X-Ray above ISN’T mine, it’s from a random image search (I'll try to find a link to where i found it), I forgot to ask for a photo of my own X-Ray, this is the closest one I could find to my own, bone spurs degenerative disks etc.

    It turns out I have Osteoarthritis. I'm glad I dropped ( get it) the advanced backbends a few years back, perhaps it would have been worse. Lumbar spine is where the problem is (for now) but I think I’ve done my last Sarvangasana (shoulderstand), if as it appears I’m susceptible to disk degeneration I don’t want to stack the odds against my cervical spine.

    Perhaps I’ll go back to forearm vinyasas instead of Sirsasana (headstand) Vinyasa.

    I remembered I have Simon Borg-Oliver and Bianca Machliss' excellent Online/Download Yoga Synergy Yoga Therapy course, it has more videos addressing the spine (and Osteoarthritis directly) than I remembered (around thirty of the 80 or so videos).

    Simon and Bianca’s Yoga Synergy Spinal movements are pretty much designed with such concerns in mind, so glad I was turned on to this approach to practice a few years ago, it’s not going to be such a traumatic adjustment.

    Here's a link to another of my blogs where I recently brought together all my old blog posts on Simon and Bianca's approach to practice http://activemovementyogaathome.blogspot.com/

    *

    There is a conversation here of course, how many of us pop off for an X-Ray to check out our spines before we start Second series asana say as well as more extreme postures - or indeed, Primary postures. We may think we are being careful in the short term but rarely consider possible long term effects.

    Of course my spine might have been a lot worse without my ten plus years of practice, I worked in construction for a time in my travelling days, building houses, laying concrete, raking tarmac but it might also of course not been as bad or not perhaps for another ten years or more further down the line.

    I've had a couple of periods of back pain recently. Something similar to Friday in the UK a few years back, also about 15 years ago when I couldn't even get out of bed, this though is the first time I went to a doctor.

    The pain has passed for now, I’m good thanks but this is the life now.

    You can't reverse this condition but you can seek to manage it, to slow it down, limit future damage and build a tool box of techniques for releasing the spinal compression to relive the pain as well as working on pain meditation for when those bone spurs catch a nerve.

    There’s a book ‘Back care basics’ that writes about the little adjustments we can make in our daily lives to manage the condition somewhat (E.G. I bought a lumbar cushion for my 90 minute commute).


    Proficient Primary

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    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

    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


    A


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

    1. Trikonasana 
    6 or 12 breaths each side

    Optional extra standing posture(s) alternating each day

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

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

    3. Maha Mudra 
    12 - 24 breaths

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

    5. Padma Mayurasana (optional )

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

    Tatka Mudra 
    12 breaths


    B


    Dwi pada pitam
    (sarvangasana preparation)

    Urdhva Dhanurasana (optional)
    6-12 breaths

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

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

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

    Vajrasana 
    6 -12 breaths

    Sarvangasana 
    approx. 5 minutes with variations


    C


    9. Baddha Konasana - 6, 12, 24 breaths

    10. Yoga Mudra
    6 -12 breaths

    Parsvatanasana 
    12 - 24 breaths

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

    Formal Sit.
    20, 40 minutes



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



    *


    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




     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



    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.



    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

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

    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,



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

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


    *

    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.

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

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    Thank you to Satya for coming back to Krishnamacharya's Yogasanaglu (Mysore 1941) for us and translating the final chapter that was added to the 3rd edition of the text in 1972, along with all the photos of Krishnamacharya practicing in his eighties.

    The full text is being translated on this page above
    http://grimmly2007.blogspot.jp/p/yogasanagalu-translation-project.html
    and is now virtually complete, I will post the final section on pranayama next week.

    Yogasanagalu was Krishnamacharya's second Mysore text following Yoga Makaranda ( Mysore 1934) and contains the table of Asana from which Pattabhi Jois, with some minor tweaks, taught his course at the Sanskrit College that formed the basis of today's Ashtanga Yoga 'style'.

    This additional chapter added in 1972 will be more familiar to those who have been exposed to Ramaswami's teaching of 'Vinyasa Krama', however it appears that Krishnamacharya was teaching along these lines while in Mysore to private students and 'patients', perhaps in a side room while Pattabhi Jois, one of his assistants, would lead the boys of the palace through their group asana class. The slower breathing and Kumbhaka instruction we see here were all present in Krishnamacharya's first Mysore text Yoga makaranda ( available for free download above http://grimmly2007.blogspot.jp/p/free-downloads.html)


    Note on Photos: In the original text of Yogasanagalu (1941) Krishnamacharya included instruction for twenty-one asana, these are the same instructions we find in the earlier text, Yoga Makaranda 1934 ( although that text contained twice as many asana). It seems likely that early editions of Yogasanagalu contained the same photos relating to the instruction as in Yoga Makaranda.

    Krishnamacharya kept the instructions for the twenty-one Yoga Makaranda asana in the later editions of Yogasanagalu but not the photos. Instead, from the 3rd edition of Yogasanagalu onward, he included 120 photos of himself practicing, in his mid eighties,

    In the additional chapter below, added in 1972, he gives instruction for seven of those asana in a short sequence. Although the photos are added at the end of the book I've embeded the seven relevant photos in the instructions just as Krishnamacharya did in Yoga Makaranda.

    *

    Yogasanagalu Additional Chapter 1972 (first part)

    Yogasana Style


    Dandasana is the first posture among the sitting asanas. Vyasa has spoken highly of this (posture) in the Yogasutrabhashya.


    First part: Please see photograph No: 1 shown in this book.

    #1


    Procedure to practice: Place a soft blanket not less than 6 feet in length, sit down facing eastern direction with legs stretching straight forward and lift both hands above the head. Left and right forearms are aligned with the respective left and right ears and stretched upwards without bending the elbows.  Hand fingers are interlocked tightly in such a manner that the palm is facing upwards and then the chin is lowered into the chest by bending the neck. The two feet are joined together with the heels touching the floor and the toes stretched upwards.  Without bending the knees, keep the thigh muscles stretched tightly and hold the back erect.  Softly close the eyelids and as explained before and take six deep inhalation and exhalations.  After exhalation, pull in the region of abdomen in all the way into the navel.  During inhalation, the chest is to be expanded. Breath should not be held for more than a second.  In the yoga shastra, exhalation is known as Rechaka and inhalation is referred to as Puraka.


    Kumbhaka is retention of breath. When we are practicing breathing like this, our stomach, neck, head and chest should not be moving up and down. Rechaka has to be longer than Puraka and also must be subtle. One Rechaka, one Puraka and one Kumbhaka make one Avrutta.  Initially, only six Avrutta’s are enough and must be increased over time.


    In this Asana, the body remains straight like a stick (Danda) and strengthens the spine, hands and legs and therefore is called Dandasana.


    Benefits: Eliminates indigestion and rheumatic conditions


    During each breath we should be practicing remembrance of God.


    Dandasana part 2 (Photo # 2)


    #2
    In all respects this asana follows part 1 except that the palms of the two hands are now behind the back. In addition, both the palms are near the hips on the floor.  The elbows must be straight and Kumbhaka must be performed after exhalation (Bahya kumbhaka).  Please study the photo.


    This posture is easy for obese as they have a hard time keeping the forearms up due to impediment from the lower half of their body.





    Pashchimatasana (Photo #4)


    #4
    Although this posture has been practiced by yogis from ancient times, Swathma Rama yogi, the author of Hathayoga pradipika has praised this posture.


    Practice: Please study the photo and practice


    From Dandasana, take a deep Rechaka, pull in the stomach, keep the hand fingers interlocked, slowly bend forward, wrapping fingers around the legs with the palms facing on the outside.  Rest the forehead on the knee caps or slightly beyond, perform Rechaka and Puraka, and keep the knees stretched straight without bending.  Starting with three Rechaka and Puraka on the first week, keep increasing by one every week for a maximum of twelve Avruttis.  This state is called Paschimatanasana.  After this come back up from the posture and take rest.


    Benefits: Pranavayu has two states called purvavahini gati and paschimavahini gati.  purvavahini gati is wheezing or difficulty in breathing such as ashtma.  This results from indigestion.  People’s health deteriorates resulting in enlargement of stomach. In paschimavahini gati, the movement is behind the muladhara chakra.  Enlarged stomach is made smaller by increasing the digestive fire, destroying indigestion and extending rechaka without wheezing.  Isn’t this enough? One should not practice this on a full stomach.  This posture is forbidden for pregnant women.


    Purvattanasana (photo# 5)

    #5


    This is also called as the rejoinder to pachimattanasana.    


    When pain is experienced due to a particular type of body situation, space between bones, movement of pulse nodules and discrepancy in musculature, practicing these counter poses will alleviate such pains.  This will help set the junctions, nodules and muscles into their original spaces. That means it will realign the body into original state.  This secret was not known for many years.  The reason?  Not receiving advice from a Guru.  


    After experiencing this type of pain, people are deterred from practicing Yoga.  They have been hesitating and becoming more reluctant to take up yoga practice. Even though they may be breaking limbs and bleeding from sports injuries, they don’t hesitate.  In spite of spending lots of money on sports, they will continue to play, limp and make merry.


    This Kali influence is said to be the main reason for disappearance of ancient Indian Arts and Sciences.  In this way, every yoga posture has a counter pose. If we learn this practice  from a Guru and yoga practitioners promote and teach others, it does not cause any harm to people.  The yogic sciences will not disappear.


    Procedure: Please see photo # 5.  From Paschimattanasana position, inhale and lift both hands straight up and while exhaling deeply take the shoulders slowly behind the back and place the palm of the hands on the floor about 1 foot distance from the hips with the fingers facing forward. Similar to the second step in dandasana, push the chest forward and do a deep puraka kumbhaka.  Pressing the heels and the palms tightly against the ground, lift the entire body in a straight line and drop the neck backwards.  Close the eyes and keep still for at least 5 seconds.  This is Purvottanasana position.  After this, bend the neck to bring the chin to the chest, exhale and place the body down.  In this way, practice three times in the first week and gradually increase to six repetitions.


    Benefits: Eliminates pain at the back of the body.  Eradicates fragility in the forearms and neck.


    This posture is reciprocal to paschimattanasana since in paschimottanasana the entire body movement and position consists of bending forward in exhalation (rechaka) mode with the head bent forward.


    Purvottanasana is the riposte with the body movement and position in contrast is not bent but straight, upward facing with hands behind in the mode of inhalation (puraka).


    Chatushtada peeta (Photos # 6, #7 and #8)


    After stepping down from Purvasana, sit in Dandasana pose and without changing the position of hands bend the two legs and join the heels and knees in front of the hips.  Keeping the back straight, bring the chin to the chest and perform rechaka. (see photo # 6).  


    #6
    Pull the abdomen in towards the navel while doing puraka for five seconds and expand the chest area outwards while keeping the heels pressed to the floor. Lift the midsection and hips upwards and tilt the head backwards.  Now the midsection of the body should look like a plank by lifting as much as possible #7. Remain still and do not change the positions of hands and legs.  This posture is called chatushtada peeta.  This will be hard for a couple of weeks.  Afterwards becomes easier.  Must be practiced slowly and patiently.

    #7
    Benefits: All types of indigestion are removed. Must be practiced twice during the first week.  After that three times.  After five seconds of lifting the midsection come down while slowly performing rechaka and rest.  Contra indicated after five months of pregnancy.




    In yoga shastra, our body is divided into three parts: urdhva (upper) part, madhya (middle) part and adho (lower) part.  Above the neck is urdhva, neck to reproductive organs is madhya and from there to the sole is adho.  One can practice chatushtada peeta as tripada peeta by placing one foot in padmasana.  Thighs will get stronger in this pose.  Please see photo # 8 and practice.


    #8


    Navasana (Please see photo # 9 and practice)

    #9
    Come down from chatushta peeta and without changing the position of legs perform two rechaka and purakas and as illustrated in the picture without bending the knees lift the legs up while lowering the neck a little bit.  Staying in this position without movement, perform rechaka and puraka for as long as possible.


    Benefits: Slims down the waist and creates appetite



    Ardha baddha padma paschimatanasana, part 1, (photo # 10, #11)


    Procedure for practice: As in pachimatanasana, stretch the left leg forward and bend the right foot and place it on the left thigh with the bottom of the foot facing up.  As shown in the photo, from the back, take the right hand and grab the right foot big toe with the palm facing down.  Extend the left hand with a forward bend and tightly hold the left foot big toe with index and middle fingers or if possible with all fingers. Keeping the back straight, pressing the chin to the chest, perform not less than three rechaka and purakas (see Photo #10).  


    #10

    While doing the 4th rechaka, fully extend the mid portion of the body and while lowering the head place the forehead on the knee (see photo #11).  Now repeat the corresponding posture with the right leg extending forward.  In this posture, one foot is like paschimatanasana and one foot is in baddha padmasana. Therefore, it is called ardha baddha padma paschimatanasana.

    #11
    When people with obese or lean body types start practicing yoga and pranayama vigorously, it is natural to experience some pain in bone joints and musculature.  Because there is no type of exercise that will not induce such pain, we should not hesitate.  If we can tolerate for a few days and continue to practice, it will be most beneficial.  


    Without practice, no one can achieve the ideal posture shown in the photos.  By gradually increasing the practice daily, we can achieve the perfect posture.  We should not use force.

    Ardha baddha paschimatanasana part 2 (photo #14)

    #14

    While sitting similar to part 1, if the left leg is stretched out, turn the left palm outwards and grab the left foot just beneath the big toe.  Turn your neck towards the right shoulder and look at the back.  Do not change the position of the right hand.


    When the right leg is stretched out, turn the right palm outwards and grab the right foot underneath the big toe.  Turn the neck towards the left shoulder and look at the back.


    The benefits are so many that it is impossible to discuss them all.  Many afflictions that have their roots in waist, neck, stomach, arms and vision will be removed.  


    This posture must not be done immediately after eating or by women who are more than 5 month pregnant.


    Matsyendrasana


    This is divided into uttama, madhyama and adhama (full, half and quarter) stages.
    If one can practice, adhama matsyendrasana adequately, they are ready for madhyama and once proficient they will be eligible for full matsyendrasana.  Otherwise, they will be the target of so many afflictions.


    It is unfortunate to do yoga practice without knowing this secret. Those with obese body type  must become proficient in the two parts of ardha baddha paschimatanasana before jumping into matsyendrasana.  Some people have obesity from childhood.  Now a days, 70 percent of both male and female children have obese body type.  This is a danger to a healthy life and acts as seed for the development of asthmatic condition. These kids must be coerced into learning yogabhyasa.  


    Adhama matsyendrasana (photo # 15)


    #15
    One must practice this posture for some time before moving on to other matsyendrasana postures.  Those who want to practice matsyendrasana and baddha padmasana must remain light eaters.  Otherwise, it will be hard to master these postures.  I’m going to stop providing detailed descriptions of postures now because I’m afraid that this manuscript will become huge.


    I trust that those who are interested in practicing will learn from a qualified yoga teacher.  


    *
    Appendix



    Note: I will be posting the final part of this chapter, completing the translation of Yogasanagalu next week.
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