Monday, 3 October 2011

Day 3 : Forward bend to backbend subroutine practice notes from Vinyasa Krama On your feet sequence

VIDEO LINK

Over on the Vinyasa Krama blog I'm working through the subroutines from my VK practice book. This one takes us from forward bend to backbend and I thought some it wouldn't be out of place here.

Big important subroutine this, deepest forward bend to one of the deepest backbends.

Forward bend first.

Most of the notes I add to these posts will be little tips and hints that have come up in my practice while working with the subroutines over the last couple of years or perhaps carry overs from the Ashtanga community that might be useful in the Vinyasa Krama context. This one though concerns safety. 

Engage your bandhas and stick your backside out!

When I practice forward bend I have the seated forward bend, paschimottanasana, in mind. Ramaswami would encourage us to stretch out of our hips as we folded over. This was the only other posture I remember him giving a hands on assist. He would come behind us, put his hands above the coccyx, push the sacrum forward and keep pushing forward while we were in the pose,  then he would encourage us to take turns doing the same on each other. 

I'm also reminded of a video I saw of Dharma Mittra demonstrating paschimottanasana. He would have you sit with your knees slightly bent and then shuffle back so your sitting forward on your sit bones which helps to flatten the legs, taking your backside further and further back before folding over.

All these are reminders that the forward bend is happening form the hips rather than starting at the spine. In that first picture above, stretch up out of your pelvis as before and then as you bend over from the hip really stick your backside out, push it back, it's kind of like a counterweight, same thing happens in a headstand when you bring your legs down into inverted staff, your backside goes further and further back, if it didn't you'd fall out of your headstand.

This takes a lot of the pressure off your back.

Notice the first picture is Ardha Uttanasana, half forward bend. Ramaswami would have us fold to there and then come back up, we might repeat that 2-6 times and that might be as far as your comfortable going. You could then do the other hand/arm variations in the half bend rather than the full. Of course you could work into it too, star with disa uttanasana (sanskrit check, quarter forward bend?) or less and work up to half bend.

When I started yoga five years ago my hands could only reach half way down my shins.

Another way to take take some pressure of your back in forward bending is to engage the bandhas, more  on these in a future post ( there are notes at the beginning of my book) Simply put for now, contract your anus, draw it up, with some practice you'll feel like your gripping the base of your spine, Ramaswami has a fishing rod analogy, holding the base of the spine like the handle of a fishing rod. You should feel your stomach come back and up a little too, encourage that, suck it back a little further, up a little more. Bandhas help give you a firm, secure base to begin your bending whether forward or back.

Backbending.

The bandhas help with the backbends too, think fishing rod whenever you do backbends and hold firmly onto the base of your spine.

In Ashtanga we call the Tiryang mukha Uttanasana mini subroutine we see here a dropback and there are hundreds of blog posts on it (fifty odd on mine alone). It's challenging and something to work towards. Unless your eight in which case you'll probably drop back into it without even thinking.

You might want to work at urdhva Danurasana in the bow sequence first, become comfortable there and strong in your arms and shoulders lifting up into it there before trying to drop back into it here. 

If this is a posture that's available to you then a couple of tips that have worked for me lately are..

1. Ramaswami's fishing rod analogy above, engaging the bandhas so it feels like your gripping the base of your spine and holding on all the way down and back up.

2. Remembering that this is a back stretch rather than back bend, really stretch up and lift out of your pelvis. The backstretch begins in your toes and ends in your fingertips.

3. Just as with the forward bend don't think of this as a spinal bend but rather that it begins at the hips. Where you pushed your hips back in Uttanasan above, here you push your hips forward, as far forward as possible.

4. It's good to work at the wall as you practice this. Take a few steps out from the wall and drop back as far down the wall as feels comfortable and use the wall to push off to come back up, remembering to start the return motion by shifting your hips forward.

keep working a little further down the wall.

I still find dropping back near the wall for the first couple useful. I can do it without it but it takes the pressure off for the first couple of these and thus any strain. I might tap lightly off the wall coming up the first one or two, 

I tend to do five to seven of these. The first couple I tap off the wall the next three I just come up to standing and then drop back again. The last two I'll come up and then fold over into my forward bend. 

5. be mindful when moving from the backbend to the forward bend, don't forget to go from shifting your hips forward for the backbend to shifing them back, sticking your backside out for the forward bend

6. Ramaswami seems to have you doing the backbend with your feet together as in most of the On your feet sequence. I find this challenging, it's unstable. I've done it that way but I prefer to have my feel t a little apart.

7. Ramaswami also talks about coming up on the exhalation. I've always done it on the inhalation although coming up on the exhalation is interesting, I'll often do both.

8. Feet feet turned out or lifting heels? Both are probably bad habits. I used to turn my feet out now I keep them closer together and parallel but lift my heels a little as i drop back the last little bit and just as I come up.

9. If your about to drop back for the first time, your confident in your urdhava danhurasana, you've been dropping back half way to the wall for a little while and as you work on your backbend you can see the floor, your feeling brave. OK, one last tip, KEEP YOUR ARMS STRONG. The tendency is to collapse your arms a little as you land which means your the top of your head bangs against the mat ( see HERE). If you keep your arms strong as your hands touch the mat you should be fine.

10. Type backbending or drop back into my Ashtanga blog, you'll find a lot of posts with all kinds of ideas. most of these come from the community, tips and hints that have worked for others.

Here are some posts on back bending you might find useful






NB: These are practice notes that will be tidied up and put into the new edition of my Vinyasa Yoga Practice Book along with the current sequences and subroutines. The book can be freely downloadedHERE. There is a page on Facebook HERE with all the latest sheets and updates. This book is in no way a substitute for Ramaswami's Complete Book of Vinyasa Yoga.

Day 2 : Parsva-bhangis ( side movements) practice notes from Vinyasa Krama On your feet sequence

VIDEO LINK


After the backbends in Day 1's hasta subroutine I tend to do a variation of the fourth picture over on the left. I take my arms up twist to the left and then lean back, a kind of twisting variation of the hasta backbends. It was good then this morning to spend some time on the full twisting subroutine. Parsva bhanga itself, that leaning over to the side posture in the first two pictures, was something I neglected for a long time, I just plain forgot about it. Since rediscovering it a few months back I include it every morning, getting much deeper into the posture now than in the pictures on the left.

Balance is a problem in all of these, the trick I find is to really ground the opposite foot from the direction your twisting. So if your twisting to the right as in pictures 3, 5 and 7, press the LEFT foot down into your mat. However, as you come back to centre it's a good idea to relax the foot little by little as you turn back otherwise it sends you off balance.

Something I noticed this morning was the tendency to allow the opposite shoulder to the directing your twisting drift in a little. So again, if your twisting to the right you need to be mindful of your left shoulder, make sure you keep both shoulders back ( though allowing the shoulder blades to drop down the back, don't bunch), you should feel as if both your arms are being stretched outward as you turn on the big inhalation. Ramaswami talks of expansive movements.

My notes on these subroutine posts are just practice notes in the sense of my own experience of practicing the postures and sequences. They're no substitute for Ramaswami's more detailed instructions.

After this subroutine this morning I carried on through the rest of the on your feet sequence, then into some standing before moving on to the bow sequence, some drop backs and a little of meditative so as to include Kapo. After the backbends I used paschimottanasana as a counter pose and then carried on into the shoulder stand and it's prep, a long headstand and some baddha konasana and lotus work.

NB: These are practice notes that will be tidied up and put into the new edition of my Vinyasa Yoga Practice Book along with the current sequences and subroutines. The book can be freely downloadedHERE. There is a page on Facebook HERE with all the latest sheets and updates. This book is in no way a substitute for Ramaswami's Complete Book of Vinyasa Yoga.

Sunday, 2 October 2011

Day 1 : Hasta Vinyasas ( hand/arm variations) practice notes from Vinyasa Krama On your feet sequence

My plan over the next couple of months is to work through Ramaswami's subroutines from my practice book and then at the end of the month upload some of the notes into an updated edition. By focusing on one particular subroutine, most likely in the evening, I can spend a little more time with it, repeat postures, slow it down, seek steadiness and comfort.

This morning I had a light practice, core vinyasa karma postures. I started with the Hasta Vinyasas in tadasana below from the On your feet sequence then pretty much went straight into a long paschimottanasana. After some table poses as prep I added five and ten minute, shoulder stands and headstands before settling down to some pranayama, pratyaha, 108 jape mantra meditation and a ten minute savasana while listening to Ramaswami's chanting.


VIDEO LINK
Hasta vinyasas is the first subroutine I include in my Vinyasa Yoga Practice Book, it's from the On your feet sequence and is how I start my practice every morning whether I'm practicing Ashtanga or Vinyasa Krama. 

Two things I particularly remember from Ramaswami's TT course in LA

Balance
Ramaswami would have us take a moment while standing to focus on our balance, he would have us sway slightly forward and back and to the sides and then have us bring our hips slightly forward, makes such a difference with all the upcoming arm movements.

Raising the hips.
This was one of only two times I remember Ramaswami giving hands on adjustment and encouraging us to give the same to each other. He would have us stand behind each other, put our hands on our partners hips, then as they began the arm movements he would have us lift up their hips, higher and higher as they stretched and then hold the hips up as the arms lowered and then raised again.

This raising of the pelvis, and aiming to keep it raised throughout most of the On your feet sequence has been a important focus of my practice ever since. I raise my pelvis on that long slow inhalation and then when it won't lift any further I try to stretch out of my pelvis altogether and with each movement I try to bring it back up and keep it there. 

This can be a surprisingly intense and focused subroutine.

This lifting out of the pelves gets carried over into other subroutines and sequences, seated and Asymmetric come to mind right from the start in Dandasana (staff pose).

Tomorrow : Parsva-bhangis ( side movements) on your feet 

NB: These are practice notes that will be tidied up and put into the new edition of my Vinyasa Yoga Practice Book along with the current sequences and subroutines. The book can be freely downloadedHERE. There is a page on Facebook HERE with all the latest sheets and updates. This book is in no way a substitute for Ramaswami's Complete Book of Vinyasa Yoga.

Day 1 Vinyasa Krama Subroutines practice guidelines

Vinyasa Karma practice notes and guidelines.
NOTES from Ramaswami's Complete book of Vinyasa Yoga

Vinyasa Krama =
Movement and Sequence methodology


'Each of the important postures are practiced with elaborate vinyasas (variations).'

'Each variation is linked to the next one by a succession of special transitional movements synchronised by the breath'


PARAMETERS 
(from Yoga sutras 2.46) 

STEADINESS (sthira)
COMFORT (sukha)
SMOOTH + LONG BREATHING ( pratyatana sithila)

HOW TO PRACTICE

BREATHING?

'Smooth inhalations accompanying expansive movements'

BREATH RATE?

We average 15 breaths a minute
In our asana practice we aim for 4-6 breaths a minute.
This could come down to as little as 2 per minute in some postures e.g. inversions

STYLE OF BREATH?

UJJAYI
Breath out making a hahhhhhh sound
now breath in making the same sound 
now breathe in making the same hahhh sound.
By constricting the throat a little more a little less we can make the hissing sound stronger or lighter/louder or softer.
This is Ujjayi

The breath connects the mind with the body.

HOW?

Direct your attention inside your chest

Locate where you feel your breath centred, where inhalation appears to start and where exhalation converges.

Focus attention here for a few breaths, then engage ujjayi, a rubbing sensation in the throat.

finally connect your breath to your movements.

The flow of breath is like the flow of oil, smooth and uniform.

HOW LONG DO WE STAY IN POSTURES?

Many postures may be repeated 3-6 times (often going a little deeper into the pose each time).

Stay for 2-6 breaths

Some postures have the option of extended stays
EG. Paschimottanasana 5-10 minutes
Maha Mudra 5 minutes each side
Shoulderstand 5-10 minutes
Headstand 10-20 minutes

ANATTA SAMAPATTI ?

Focus mentally on the breath
Asana with variation and coordinated breathing

HOW LONG TO PRACTICE?
Krishanamacharya would have Ramaswami practice 40 minutes of asana and 20 minutes of Pranayama, Meditation or Chanting.

My own practice?

MORNING 
90 minutes asana
20 minutes pranayama
15 minutes meditation

EVENING
20 minutes asana
20 minutes pranayama
20 minutes meditation

HAVE A PLAN!

BANDHAS?

As we become more confident with our asana we should begin to work on engaging the bandhas as these can help to steady us in our postures.

Jalandhara bandha

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

Mula and Uddiyana bandha

'The other two bandhas, however, should be practiced in most of the asanas, especially after exhalation. The first is mula bandha, which means "constricting of the anus" It is done after a complete exhalation. After the exhalation is over, the abhyasi (yoga student) should anchor the body in the asana he or she is in and then slowly and deliberately close the anus and draw in the rectum by contracting the perineal and surrounding muscles of the pelvic floor. Then as if in a continuous movement, the abdomen, including the navel, is drawn in, pushing up the diaphragm into the now almost empty chest cavity, which is then called uddiyana bandha ( drawing in of the diaphragm)... This technique is one of the specialities of yogic breathing" p127



PERFECTION IN POSTURE?

'When one is able to stay in the posture (utkatasana) for three to six breaths, then one should slowly increase the time to complete a stipulated number of breaths. Thereafter, one should remain in the posture for a predetermined number of breaths chosen by the practitioner or teacher, or for a fixed persiod, say three to five minutes. Then one's practice should be aimed at reducing the number of breaths while remaining in the posture for the same duration. for instance one may take a total of twenty breaths while in the posture. Later on, it may be possible to remain in the posture steadily and comfortably (sthira and sukha) for five minutes with perhaps only ten breaths. This is one method for attaining asana siddhi (perfection in posture) that one can test of oneself. Having achieved this level of comfort in the posture, one can then introduce the band has, which will increase the time taken for each breath. P 127


NB: These are practice notes that will be tidied up and put into the new edition of my Vinyasa Yoga Practice Book along with the current sequences and subroutines. The book can be freely downloadedHERE. There is a page on Facebook HERE with all the latest sheets and updates. This book is in no way a substitute for Ramaswami's Complete Book of Vinyasa Yoga.



Saturday, 1 October 2011

October 2011 Newsletter from Srivatsa Ramaswami--AVVAIYAR

Warm Greetings!

I taught a ten day program at Suddha Weixler's Chicago Yoga Center in
September. There was a two hr talk on Mantras. Then I taught a ten
hour program on the III and IV chapters of Yoga Sutras. There was 25
hour certificate program on “Core Vinyasa Krama Yoga” and then a ten
hour workshop on Asanas, Pranayama, Mantras and Meditation for a
comprehensive daily yoga practice at home. I thought the programs went
well. Many thanks to Suddha and the many talented and dedicated yogis
for their participation in the program.

LMU has confirmed the next TT program(five weeks) in July 2012 after
the July 4 weekend (July 9 to Aug 11). I will be doing a week long
program, “Hata Yoga and Raja Yoga Practicum”, in May 2012 at Esalen
Institute, Big Sur, California. I will also be going to Chicago for
ten days in September 2012 to teach at Chicago Yoga Center. During the
last two years some friends had suggested that I could do some
programs at their stdios/cities/countries but I could not go due to
some constraints. I hope to be able to go to these places in 2012.
Please write to me. ramsrivatsa@vinyasakrama.com

I will be going to Chennai, India mid- October and staying for about
four months. I hope to be able to initiate  meaningful validation
studies regarding some hypothesis on Yoga for Health ( we have made
considerable progress in our book “Yoga for Internal Organs”), and
possibly an album of DVDs ( about  5 dvds)on vinyasakrama asanas some
day in the near future. About 30 years back I did a series of  8
programs on Vinyasakrama over Madras TV, with my students in
Kalakshetra. They came out very well and I hope to locate the video
cassette and may upload a few sequences in You Tube.

    *******

AVVAIYAR

Several months back I had written about Thirumular, a Tamil Yogi/saint
said to be a contemporary of Patanjali. Another well known Tamil saint
was Avvaiyar of 13th Century. I thought I could take the liberty to
write about her and one of her outstanding works “aathi chudi”
or “garland of aathi flowers”.

Avvai means a venerable lady and she was one. In the caste ridden
Indian society of yesteryears she was born to a high caste scholar and
another woman and subsequently was abandoned by her parents. She was
brought up by foster-parents. She slowly grew up to be a very
beautiful lass and it was time for her foster-parents to make
arrangements for her marriage. But the divine girl was not interested
in getting married and leading the usual life. She was a great devotee
of Lord Ganesa, the charming elephant headed God. She was also a very
wise woman with an incisive mind and an outstanding poet in Tamil as
well.

When people all around her, including her well meaning parents, urged
her to get married she turned to the Lord and prayed to him to make
her look like an old woman so that no one would be interested in
marrying her. Ganesa answered her prayer and soon she became an old
woman holding a walking stick. Progeria?

Because of her wisdom, debating abilities, and universal compassion
her advice was sought by kings, people in high places and also by
ordinary mortals. She wrote some outstanding works one of which was
called aathi chudi and became a primer for study of the alphabets of
Tamil language and is popular even today. She was credited with
bringing about lasting peace between two neighboring countries by
talking to and reasoning with those kings. She is credited with many
such exploits using her wisdom. persuasive powers, divinity, universal
compassion and poetry

She did not stay in one place as renunciates (sanyasins) do routinely.
However it is said that over a period of time the praise and adoration
for her wisdom went a little bit to her head. She who despised her
physical beauty got a bit attracted to the beauty of her brain. One
day on a hot Indian summer she was walking along a deserted stretch of
land. Hungry and thirsty she saw a naaval tree which had very sweet
juicy fruits. Those delicious fruits she thought could satisfy her
hunger and also quench her thirst. But the black berry like fruits
were way up in the upper regions of the tree and she had no way of
getting to them without climbing the tree which skill she did not
possess. Then she saw a  young rustic boy sitting on one of the top
branches and eating the juicy naaga berries. She shouted at the boy
and asked him if he would get her a few berries to eat. He said he
would be happy to help her but said he would not want to climb down
the tree so he would shake one of the branches and she would have to
pick up the fallen berries from the dirt ground. She agreed but the
boy then asked a strange question-- whether she wanted hot berries or
cold berries. She was bemused by this-- what the wise lady thought as
a foolish question. She wondered how  could there be a hot berry
straight from the tree. Thinking that the boy was nuts she
condescendingly asked him to get her a few cold berries. The boy
smiled and shook a nearby branch and a few rich lush berries dropped
from the tree. Greedily the lady took a berry, held it close to her
mouth and blew at the berry a few times to clear off the dirt. The boy
looking down said with bewitching smile, “Grandma! Is the berry hot?”
Perplexed Avvai said “No, not at all, it is just cold.” The boy asked
then in jest, “Then why are you blowing on the berry if it is not
hot?” She immediately realized that the boy was not an ordinary lad
but the great Lord Subramanya or Muruga Himself who is credited with
imparting the correct knowledge about OM to His father Lord Siva
Himself.  With that her creeping conceit left her without a trace.
Ecstatic on seeing the great Shanmkha in front of her she composed a
prayer at once in praise of Him.

Avvai contributed to Tamil literature and is revered in Tamil Nadu.
Simple and profound, her works are studied in elementary schools even
today. In fact Aathi chudi is written as a primer to learn the Tamil
alphabets. Just as we have A for apple, C for cat, etc., Avvai wrote
Aathi chudi with one saying each for one alphabet. Tamil language has
12 vowels, 18 consonants and with other syllables her aathi chudi is
made up of 108 such sayings.

Here are a few, covering the 12 vowels as the beginning letter

1. 'a' as in that ---Aram seyya Virumbu = Love to be virtuous or Love
to give (charity)
2. 'aa' as in pa or ma.--- Aaruvadu sinam = Simmer down anger
3. 'I' as in is. ---Iyalvadu karavel = Never hoard more than what you
need
4. 'ii' as in we--- Iivadu vilakkel= Never stop giving
5. 'u' as in put--- 'udayadu vilambale = Keep your secrets (talk
purposefully)
6. 'oo' as in too.--- Ookkamadu kaividel = Never lose enthusiasm/hope
7. 'e' as in men.--- Ennezhuthu ihazhel = Never belittle (learning)
math and language
8. 'ye' as in may. ---Yerpadu ihahchi = Begging  is despicable
9. 'ai' as in my--- aiyamittu unn = (But) Feed the hungry before you
eat
10. 'o' short 'o' as in one- oppura ozhuhu = Follow the tradition
11. 'oo' like in more--- oduvadu ozhiyale = Never stop learning
12. 'ou' as in mouth--- ouviyam pesale = Eschew speaking negative
words of jealousy/anger

Here is an oft quoted saying of the poetess

“katradu kaimannalavu
kalladadu  ulahalavu”

What one has learnt is just handful and what has not been learnt  is
as much as the world itself
A similar idea is contained in one of the Upanishads. (Maybe I have
written this story already, but no harm reading it again)There was a
great sage called Bharadvaja. Does the name ring a bell Yes all yogis
are familiar with Bhardvjasana. Bharadvaja was a great vedic scholar.
In the previous three incarnations he had mastered three vedas and was
with the fourth. It was almost the end of his life and was still
working with the vedas. The Lord, Indra appeared before him and asked
him what he would do in his next birth. Without hesitation Bharadwvaja
said that he would study the scriptures, the vedas. Then the Lord
pointed out three handful  lumps of clay and said that what Bharadvaja
learnt was just equivalent to the three handful of earth whereas what
he had to learn was more than three mountainfuls in front of him. “The
Vedas are infinite” The Lord said that Bharadvaja should concentrate
on the ultimate Truth of this manifest creation which is Brahman the
underlying undecaying consciousness. Bharadvaja is a very common last
name (like Srivatsa) in India and those with that surname could be the
descendents of the sage Bharadvaja. I hope some of the modern
bharadvajas would try to practice the graceful Bharadvajasana.

There are more works attributed to  Avvaiar. I remember I learned this
work aathi chudi, when I was very young and got most of the sayings by
heart even before I had learnt to read and write the letters, which is
common with many kids in the olden days. The grandparents were always
there to teach these to the grandchildren as they sometimes put them
to sleep.

Avvaiyar, it is said towards the end of her life, wanted to have the
vision of Lord Siva. Her beloved personal  deity (ishta devata) Ganesa
is said to have bodily lifted her and transported her to Siva's abode,
the Kailas. Well that is the story.

I am reminded of an incident that took place almost 60 years ago. I
was at that time studying in II or III Form in Ramakrishna Mission
School, Madras. During the lunch hour after lunch some of us used to
play a game called 'pay ball' in the adjoining Panagal Public Park in
which game each one would like to slam another with a tennis ball as
hard as possible. Perhaps it helped to wring  considerable Rajas out
of the system. One day after half an hour of pay ball, in which I
received a few hard blows and returned a few, I rushed back to the
class room. The Sanskrit teacher had just taken his seat and as I
entered the classroom he stopped me at the entrance and sternly told
me to go and meet the headmaster right away. It is usually not a good
message, and so I walked slowly to the headmaster's room where the HM
was talking to a couple of gentlemen. I waited for a few moments and
as soon as the HM saw me he cordially invited me to come in and most
unusually asked me to take a seat. I sat down and, without wasting any
time, the HM introduced me to the two gentlemen who were from a well
known film producing company called the 'Gemini Studios'. The
gentlemen told me that they were embarking on a new movie called
“Avvaiyar” and they would be interested in casting me in the role of
the rustic boy (see story above), Lord Muruga in the movie. They said
it was a small but important role in the movie. I blurted out
immediately that I will not do it as it is not good to act in movies.
They were a bit taken aback but my HM told me not to worry as they
would come and talk to my parents and this could go on only with their
permission. He also said that since he as HM was satisfied that it was
okay  I need not have any objection. But I said no again.  HM asked
them if they would like to look at a couple of other boys. But they
left soon thereafter. After I came home I mentioned it to my parents,
my mother gave an approving smile and my dad as usual maintained a
stony expression. I became a bit of a celebrity among the students and
even among teachers for one day, the one day wonder. I was known as
the boy who turned down an offer from the mighty Gemini Studios. Some
of the teachers told me that it was the correct decision but a few
pointed out how foolish I was.

The movie was released three years later and it was a blockbuster and
ran in crowded theaters for a couple of years I guess. The devotional
music sung by the great musician K B Sundarambal who did the role of
Avvaiyar in the film was exceptional. The song she sings when she sees
the Lord Mruga appearing before her in the divine form was
exceptional, soulful. In Indian movies in those days, one would sing
the heart out when in agony or in ecstasy. I think some portions of
the 60 year old movie are available on You Tube. The scene I did not
act in, though short, was liked by almost everyone. Sometimes I would
wonder: if I had acted in that role  would I have become a big star?
But then according to the Lord in Bhagawat Gita, everyone's life is
predetermined and we act out or parts as per the script for each one
written on our foreheads by the Lord consistent with one's own karma
and things do not happen differently. I am glad it was my good
karma that I met my Guru Sri Krishnamacharya who took charge of me
rather than take the opportunity to act in a movie, even if it be a
divine role.

          *****

Here are some of my recent posts in Facebook

  Every country is mine (Citizen of the world) and everyone is my
kinsman. Hurt and happiness are not caused by others, we give
ourselves grief and relief. Death is not new and one need not be
concerned about life. And when in pain, suffer patiently. We need not
be overawed by the greatness by others but more importantly not look
down on those lesser than us---From Purananuru a Tamil classic said to
have been created during Sangam period, between 200BC to 100 AD.

Yoga is a unique subject. It has a unique physical culture, of
asanas,vinyasas, pranayama. Has a unique way of organizing the mind.
Yoga has a unique underlying philosophy, a spirituality. It is a
unique way of life, spartan and yet fulfilling.

My book "Yoga For the Three Stages of Life" (2000) contains a chapter
on the Story of Patanjali (page 21 to 29)

A contented mind is the chemical (alchemy) that makes gold— A Tamil
saying

A dominant parasympathetic nervous system tends to produce Tamaic
subjects, whereas a strong overactive sympathetic system is associated
with Rajas. The satwic Yogi has a strong central nervous system
dominating over the autonomic nervous system (sympathetic and
parasympathetic); debatable?--Read many years back, can't remember
when and where

  *****

Please send your comments or suggestions to info@vinyasakrama.com
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Sincerely
Srivatsa Ramaswami.

From Grimmly : The scene from Avvaiar?