This is mostly for my own reference, putting all these older asana videos in one place to see if I can somehow edit them together into one full practice..., possibly with a limited voice over.
 |
| Truth is, that 'baddha eka pada kapotasana' above was a lot of fun to play with at the time, my point is though that we don't need to go any further than, say, dandasana to explore a deep, proficient, indeed 'advanced' (whatever that means) practice. |
Proficient Primary Ashtanga Vinyasa based on Krishnamacharya's early work.
See the Proficient Primary page at the top of the blog for the full explanation of the project, basically treating these asana that Krishnamacharya considered key somewhat as mudra.
Basically the idea is to explore longer stays in these asana with slower breathing, kumbhaka (retaining the breath in or out),basically, treating them somewhat as asana.
In a more standard Ashtanga vinyasa practice, perhaps a half Primary, we might merely spend a little longer in one or more of these asana than perhaps usual.
In Vinyasa Krama we might use this as a framework and introduce other asana as preparation or extension/development as we see fit.
Practice framework
Kapalabhati - 36
Pranayama 6-12rounds
Pranayama 6-12rounds
Optional
Bhagirathasana
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)
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 Videos
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.
NOTE: some of these videos include offer several variations/options, these might be practiced or we might merely stay in the key asana/mudra and breathe.
Optional Introduction mudra and tadasana sequence
Some tadasana options below for slowing the breath, we might do less or more of these variations.(the full forty minute tadasana sequence is on my YouTube channel).
Sun Salutation/Standing
A slow approach to sun salutation but we could of course begin our practice here with regular salutations. We might include more postures in the standing section
Seated
These asana might begin and end at standing (my preference) or be practiced with half vinyasa, either between sides or between asana, more counter postures might be included if required.
Finishing
Ramaswami tends to teach shoulderstand/sirsasana by beginning with a few preparatory asana, followed by a five minute shoulderstand with no variations, a counter posture, then our sirsasana ,the first five minutes without any variations perhaps, then another shoulderstand, this time perhaps with variations.
This approach could of course be simplified.
Ramaswami tends to teach shoulderstand/sirsasana by beginning with a few preparatory asana, followed by a five minute shoulderstand with no variations, a counter posture, then our sirsasana ,the first five minutes without any variations perhaps, then another shoulderstand, this time perhaps with variations.
This approach could of course be simplified.
Pranayama and Sit.
This is the approach to pranayama with mantra that I was taught by Ramaswami, Krishnamacharya's student of thirty plus years. Ramaswami would tend to begin with the kriya kapalabhati before moving into pranayama. One could of course replace the mantra with a worthy alternative of ones own choosing, the pater noster perhaps which would also come out at around twenty seconds.
Of late, I've tended to drop the mantra altogether after a few rounds and enjoy the stillness during the kumbhaka(s).
Any preferred approach to our Sit might be considered however but ideally perhaps working towards one pointedness.