Wednesday, 6 May 2015

Shoulderstand Variations/Vinyasas: Uttana Mayurasana plus full Supine sequence and Krishnamacharya's Shoulderstands 1938

Nice to begin and end these sequences with tatkamudra
I'd usually do 3, 6 or 12 deep ujjayi breaths here with uddiyana kriya
I was talking with a friend struggling with Viparita Dandasana and suggested that the shoulderstand version, Uttana Mayurasana might be a nice work towards. When I looked on my Vinyasa Krama sequences and subroutines page however, I couldn't find it, seems I never gave it it's own video. It's there near the end of the full Supine sequence but when I looked at that video I noticed how I had originally posted it as a speeded up version and then tried to slow it down again, quite awful. 

Here then is the Uttana mayurasana spliced out of the full sequence as well as the original regular speed, full Vinyasa Krama Supine Sequence ( found the original video buried away on my HD).

But even that's not quite right, I have a different way of approaching it these days, I take one leg (let's say the right) down to the floor above my head then  and then lower the other leg ( the left) to the mat with the right leg acting as a kind of counterweight. I end up in an eka pada version, then I either lower the right leg beside the left into Uttana mayurasana and then go back via the other leg or come back up to shoulder stand and then do the same with the other leg. 


That might be tricky to visualise so I just made a quick video ( I'd normally take the breathing a little slower than this) with both sides of the eka pada version but then I only forgot to include the actual uttana mayurasana (sometimes I'll include it sometimes not). I've also added Krishnamacharya's uttihita hasta padangustasana from sarvangasana (shoulderstand) because I really like it.

Krishnamacharya also has this arm behind the head vinyasa
after utter hasta padangustasana, it's there in 1938 and he also taught
it to Ramaswami years later
The video isn't great, I was practising it cold so didn't want to risk my hamstrings by aiming for elegance, just wanted to give the general idea. Also I don't practice these everyday, utthita hasta padangustasana especially has gone to the dogs somewhat. Richard Freeman of course might suggest that I'm blessed in that I'm feeling the stretch earlier rather than I used to. Thank you Richard.

Looking at this video you can see I have a bit of winter belly on me, carrying a little extra weight there, slower practise doesn't compensate for rediscovering Japanese food, what can I say. 

Plus I'm being stubborn, I know a week or two of full on faster paced Ashtanga will drop the extra couple of kilo ( 3 actually) but I'll be damned if I'll sacrifice my breath to lose a few pounds, I want to see if the extra weight will just drop off by itself by eating better (less) while maintaining my regular slow practice.

Will let you know.



Below are my original vinyasa Krama videos from 2010, first with the Uttana Mayurasana on it's own then the full Vinyasa Krama Supine Sequence at regular speed there's a speeded up version on youtube HERE. Also a shorter, simplified version HERE

Also practice sheets on the blog that turned into my Vinyasa practice book HERE

NB: The Vinyasa Krama sequences are pedagogic sequences, they are to show the relationship between asana, how one might lead up to asana as well as extend it. It's good to explore the full sequences occasionally but in our daily practice we would likely only include a couple of asana or subroutines along with some from other sequences one day and different ones the next.

Below the uttana mayurasana I've included the Supine/shoulderstand vinyasa from Krishnamacharya's 1938 Black and White film footage which shows nicely that although these vinyasas don't show up in modern Ashtanga, Krishnamacharya was clearly practicing them as well as no doubt teaching and demonstrating them back in the 30s right there in Mysore when the young Pattabhi Jois was his student.

Krishnamacharya didn't change his teaching or soften it, what we think of as Ramaswami's Vinyasa Krama or even Desikachar and Mohan's presentation of his teaching existed right there along with what we think of as contemporary Ashtanga, they are complimentary approaches, consistent with each other. Krishnamcharya seems to have been teaching the more dynamic style to the boys of the palace, perhaps with an assistant (sometimes Pattabhi Jois) leading them through their practice ( not fixed sequences but along more flexible lines based on Primary, middle and proficient groups of asana - see THIS post and how the Ashtanga sequences are based on Krishnamacharya's table of groups of asana listed in almost the same order as current Ashtanga).

See this earlier post focussing on Krishnamacharya's head and shoulderstands from 1938-1980s

While Pattabhi Jois may have bee assisting his teacher by leading the boys through their practice Krishnamacharya was supposedly occasionally in a side room  giving private lessons to students of all ages and stations no doubt along more Vinyasa Krama lines, depending on their age, condition.

Tuesday, 5 May 2015

On Bandhas : Hey yogi, Them bandhas aint just for floatin' - Yoga Korunta

'Hey yogi, them bandhas ain't just for floatin' 
Yoga Korunta*


In the interview with Krishnamacharya's third son T. K Sribashyam, that I posted extended selections from yesterday, there was a question on the bandhas. In his answer T. K. Sribashyam made a distinction between vedic and hatha yoga. In Hatha the bandhas are the muscular/physical locks we are familiar with but in in Vedic yoga (Yajnavalkya) the bandhas are supposedly more to do with emotional restraints.

16) In Emergence of Yoga, asana, pranayama and mudra are presented in detail. I see no mention of the three bandhas. Please could you explain why they are not included?

You are right; my book Emergence of Yoga details Asanas, Pranayamas and Mudras, but very little on Bandha. I know that many yoga practitioners and teachers are attracted by Bandhas. Yet, I abstained from introducing this chapter, mainly because, they do not belong to the traditional teaching of Yajnavalkya. He gives a passing reference to them, not as a ‘physical knot’, but as a way to control our emotional spring of actions. Writing about them would have led to more confusion and conflict among the readers and made the book ‘heavier’. I did not detail Mudras in my book, as I was very particular about the volume at the time of writing, and I had the desire to write a second part on Mudra, Bandha and Dhyana. Moreover, the concepts of Bandha that you talk of are very recent – the period of Hatha Yoga and not that of Veda.
My father did teach us the three (the five) Bandhas; we practiced, but they were not in our programme of teaching, except Jihva Bandha in Shitali, Mula Mandha and Uddiyana Bandha in Mudras. So you see, it is not the method in other schools.
It is not always a muscular ‘knot’. It also means the hold of the anarchic activities of our emotions. Bandha, to hold also in a way, holding back the unnecessary activities of the sense perception or emotions. So, you have Indriya Bandha, Krodha Bandha, etc. very rarely used in the usual yoga books that interpret Bandha as a muscular knot and give much importance to it. I do not say that they do not exist, but that is not the main aim of Bandha in the traditional Yoga.
Since all our human emotions reside and emanate from Mula (the region of Mula Kanda), Mula Bandha originally meant withholding unneeded emotional activities (activities that keep us away from God.


Read the complete interview and full answers to these questions, here


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On reading the above I was reminded of  the vayus  and how they are said to govern emotional and mental qualities. The kleishas too come to mind in that the emotions unrestrained are said to result in the disturbing emotions, the kleishas, the disturbances. Is TK Sribashyam then referring to the idea that the bandhas in vedic yoga are employed to bring 'emotional energy under our influence' and thus help in the reduction of kleishas. Krodha bandha is mentioned for example (Krodha = anger).

Out of my depth here but I find it interesting and perhaps somebody else would like to run with it, educate me by perhaps directing me to some useful texts. I'm guessing Ayurveda might have a lot to say about this.

I've tended to avoid the whole idea of yoga energetics because I couldn't be bring myself to hunt out the good stuff, it seemed a distraction, a rabbit hole I didn't want to disappear down, preferring to just breathe but perhaps practice could be more... skilful, focussed.

NOTE: Paul Harvey who studied one-to-one for many years with TKV Desikachar runs several course on Yoga energetics at his Center for Yoga Studies (It's also a an excellent resource site, lots of free, useful downloads 
http://www.yogastudies.org/?s=energetics

I also likes this idea of the bandhas because it makes Cakra study a little more acceptable to me. I've always been resistant of this area, mainly because of all the pretty rainbow coloured books next to the philosophy shelves. However, Krishnamacharya treats of the cakra in Yoga Makaranda and he seems to be suggesting that when the cakra are working effectively then the vayus ( prana) move through the body nicely. I may have a problem with the spinning disc image but we all experience emotions powerfully in our body, often in areas that seem to correspond to the location of cakras, think the tightness in the throat,  our heart breaking, how we experience our passions (a knot) in our belly and of course mula bandha is best found whenever we see our loved ones cut their fingers. These strong emotions seem trapped (blocked?)  in these areas and often it's calming our breathing that helps. We don't need to go all esoteric here but rather just notice our experience and start from there.... which is no doubt what the old yogis did.

"These pancha pranas are categorized as: Prana vayu, Apana vayu, Samana vayu, Udana vayu and Vyana vayu. Though they function in unison together, each governing a specific area of the body. They can be thought of as elemental forces that are not just the physical, but govern emotional qualities and mental energies, fundamental to physical, mental and emotional well- being.
The practices of yoga, especially asana and pranayama, optimize the functioning of these vayus as well as bring them under our influence. Their energies can then be used to uplift ourselves and restore vibrant health". 
from HERE- (I'm looking for another primary source in Ayurveda texts).



Appendix
mention of the bandhas in Yogayajnavalkya

from Yogayajnavalkya - Chapter VI  (AG Mohan translation)

39-49: Benefits offocusing the prai;ia at various places in the body.

GargI, focusing [the prana) at the tip of the nose, is the way to master the prana. By focusing on the navel all diseases are removed. The body attains lightness by focusing on the big toes.

The person who inhales the air through the tongue constantly has no fatigue, and heat and diseases perish. One who inhales air (practices pravayama) thus in the morning, afternoon and evening or before sunrise (brahmamuhürta) for three months acquires proficiency in speech, blessed [Gargi]. By practising for six months one becomes free of all diseases.
Sorme others opine that if one turns the mind inward and focuses on the kundalini, diseases related to degeneration, decay etc. are destroyed. The learned one who inhales the air through the tongue, retains it at the base of the tongue, and drinks the nectar, attains all benefits.57

57 This pranayama includes jihva bandha. Attention focused at the root of the tongue leads to an increased sharpness of the senses.


54-58: Priil-iiyiima and nada.


By this practice, the prana which causes reduction of the life span (when it is dispersed), [is centered and] moves into the brahmarandhra, through the suumnii nadi like a fiber inside a lotus stalk. The appearance of pure and crystalline nada (sound), present up to the top of the head like the sound produced by a vina 60 (a traditional musical string instrument), is due to this [movement].

At first, the sound produced by a conch [is heard], then sounds of thunder, and when the nada reaches the crown of the head (brahmarandhra), a sound similar to a mountain waterfall [is heard].61 When the prana vayu reaches the brahmarandhra, and the mind is absorbed in the self, the practitioner becomes blissful and prana is conquered by him. Other yogis who are dedicated to the practice of pranayama, who are pure, and who have gone beyond inhale and exhale, having similar views on this, also say thus.

60 The human spine is comparable to the vina, an ancient Indian string instrument, the vertebrae of the spine being likened to the nodes of the vina. The practice of mullabandha tightens the base of the spine, similar to the tightening of the vinaa at its base. Only when the strings are properly tightened and in proper tension, is the sound (nada) from the vlna proper. Similarly, the practice of the bandhas are useful for proper nadanusandhana .



See my earlier post Veena and the spine
Like the strings on a Veena, Mula bandha at one end, jalandhara bandha at the other and uddiyana for fine tuning and allow the strings to sing out and thus the relvance of nada yoga (LINK), yet another area I've neglected somewhat, briefly touching on it in pranayama.


Interestingly, Krishnamacharya supposedly played the veena, did he take it up perhaps on reading the veen quote in Yajnavalkya?

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Bandhas in Krishnamacharya's Yoga Makaranda

Krishnamcharya does outline bandhas in the mudra section of Yoga makaranda and in his asana instructions he occasionally refers to drawing in the stomach at the end of the exhalation and that the extent to which one does so reflects on the benefit of the asana. 






Krishnamacharya on the Cakras (Chakras) Yoga Makaranda

"Concerning the number of Cakra, we also find different ideas. The most frequent is that which considers there to be seven. However in his book 'Yoga Makaranda' my father talks of ten. There are other ideas as to the number elsewhere, the form in which they are visualised varies according to tradition. Many Yogins visualise them as circles or wheels. According to other sources, they are described as lotuses or Padma with varying number of petals. Compared to the idea of a wheel, which evokes more the idea of movement and rotation, the lotus evokes more the idea of creation. If we analyse all this seriously, we see, in the respect of the Cakra, that the sages, during meditation, did not always have the same experiences and visions. There is no need to discuss this, because it depends on the personal experience of each seer. However, it is important to be aware of these differences and the consequences that they can have for the way in which we imagine the experience." - ‘Concering the Cakra’ by TKV Desikachar





Post link below on accessing chakra's from a physiologist perspective, relating ye olde entwining serpent imagery with the sympathetic and parasympathetic nervous systems.


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'Hey Yogi, don't practice asana without vinyasa'

Monday, 4 May 2015

An interview with Krishnamacharya's 3rd son T. K. Sribhashyam

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


The Threefold Refuge

Buddham saranam gacchami
I go to the Buddha for refuge.
Dhammam saranam gacchami
I go to the Dhamma (the teachings) for refuge.
Sangham saranam gacchami
I go to the Sangha (the 'enlightened' community) for refuge.

You may have seen my earlier posts on T. K. Sribhashyam's book Emergence of Yoga as well as those on the Krishnamacharya documentary Breath of Gods with which he was closely involved.


T.K. Sribashyam's works, as well as a chance introduction to his teaching by one of has his students, has had a transformational effect on my own practice. I described it in an earlier post as applied Vinyasa Krama, a fully integrated Yoga practice incorporating each of the limbs. I've also mentioned recently that I see no distinction between my Ashtanga and Vinyasa Krama practice, they are compatible, all Krishnamacharya's teaching, and rather than suggesting TK Sribashyam's work compliments my practice I would argue that it enriches and deepens it still further.

In this post I've lifted extended quotes from T. K. Sribhashyam recent interview with Harmony Yoga (see my previous posts on his book Emergence of Yoga listed at the end of the post). It's hoped that these quotes will give enough of the flavour of this marvellous interview to encourage readers to read the complete interview and full answers to these questions, here
http://www.harmonyyoga.co.uk/an-interview-with-t-k-sribhashyam/


An interview with T. K. Sribhashyam

1/ “Emergence of Yoga” is an exceptional support either for novices, beginner students, advanced students as well as Yoga teachers. Was it a deliberate choice to touch such a large public when you decided to write this book?

...I realised that many publications give images of Āsanas and techniques, but omit to give indications to teachers. This may be because in the early days of Yoga, the writers did not think that such a detailed study was needed. So, Yoga learning and teaching became a sort of ‘imitation’.
Yoga is mainly based upon the language of Indian medicine, Ayurveda. Consequently, when we talk about the effects, they need to be converted to modern medical language, even if this language is known to us. Both a novice as well as a specialised person would understand better the importance of Yoga if the effects of Āsanas are deciphered into today’s physiological terms and concepts.

...Similarly, traditional Yoga practice is sterile without concentration (Dhāraṇa) and holding of breath (Kumbhaka). Even if we have many books on Yoga, little is said about Concentration. Since, in traditional Yoga teaching, Concentration in Asana is specific to the Asana, I applied my father’s teaching to indicate the concentration points advised to each Asana.

...These are some of the reasons why I worked on Emergence of Yoga, to make it open to a large public without limiting it to the Yoga’s students.

2/ Is it something that comes from your father and master, T.Krishnamacharya’s, teaching?

...My father and only my father transmitted Yoga to me. I have been faithful to his teaching. The language of transmission is different, but the spirit and truth of his teaching are not betrayed. I have been careful in preserving his teaching on such a precious science that Yoga is.

3/ How did your father/master T.Krishnamacharya transmit his knowledge to you?

...My father and my master transmitted his knowledge through oral tradition. Without entering into details, I would say that we had daily (my brothers and sisters) or weekly theory classes depending on our academic activities. These ‘lessons’, as he called them, covered not only Yoga, but also Upanishads, Darśana, etc. Many Upanishads, like Yoga Sutra were taught under many cycles. For example, when he completed his lessons on Yoga Sutra (the four chapters), he would restart with more explanations, comparisons, analysis, etc. Similarly, with the works on Hatha Yoga, Darśana, and so on. As such we had a sort of continuous teaching of almost all the subjects, he transmitted to us. The sessions were in Tamil or Kannada, two of our South Indian languages. We could take notes in the language we wished. The duration of lessons varied from just forty-five minutes to two hours. As we were young, he would give short lessons when the topic was difficult. 

4/ Do you think that nowadays it is still the best way to share this knowledge?

5/ Is that the reason why you did not publish any book until now?

...He (Krishnamacharya) was very particular that I provide to the readers the Vedic origin of Yoga, even if no one brought to light this aspect. Similarly, he wanted me to bring to light the link between Āsanas and Dhāraṇa (Concentration)... This might be the main reason I decided to write this book “Emergence of Yoga” in my advanced age.

6/ What do you think is the most important thing that your father and master Krishnamacharya taught you?

7/ What is the most important thing that you would like to share with Yoga students?

...I would like to share the simplicity and love with which my father taught Yoga and Indian philosophy to all, keeping away all the science of logic and analysis from student’s mind. I am lucky in putting into practice these principles and that many of my students follow them, even if they have difficulties in applying them in their lives.
In a way, as he used to say: to be able to share the knowledge as though it would be for children who have not yet mastered the language. So too, the Yoga practice: teach with love, respect and tenderness.

8/ What do you think is the most difficult thing to teach (to pass down) to Western students?

9/ After so many years of teaching what would be the major advice that you would like to offer Yoga students?

...While maintaining their interest in the physical aspects of Yoga (especially Āsanas), I would also advise them to reverse the trend progressively, give added importance to Prāṇāyāma (not as a physical exercise), Dhāraṇa and Dhyāna, which would definitely help them cultivate peace, serenity, compassion, forgiveness and a peaceful death. As you all know, our fear of death is so intense that to learn and maintain the phase of a peaceful death is one of the invaluable treasures that we can easily build in our life and preciously safeguard it not only at the end of our life, but transmit it to our family members before our departure.
This reminds me of the father’s lessons on the concept of death: You may offer all your treasures to your children that would disappear like used clothes, but teaching them to love and accept death is the best heritage that you can offer to them. They would one day; the day they leave this mortal world, silently recognise and be grateful to you, those who witness such a peaceful departure, that is to say, family, friends, unknown people, would recognise the priceless peace emanating from your body and face. This is one of the main aims of Yoga.
I would say that this would be my major advice to those who teach and practice Yoga. Is it an advice or a duty?
Like my father, I am convinced that Westerners would not discard this unique opportunity.

10) Your other three books cover Indian Philosophy, including the tradition of your Family, please could you say what motivated you to write these books?

...Without discrediting western philosophy and its religious thoughts, I would say that Indian philosophy has a unique way of bringing its teaching in the format of images, which touches the mind and the heart of any reader or student, even if he or she is new to Indian cultural background. It is just like any infant creating images in his way from a story that he is listening to from the mouth of his mother or father, without even knowing the main personalities. The infant creates the images in his or her way and lives and enjoys the context.
By continuous listening, these images get encrusted in him or her and later when he or she is made to believe that all these stories narrated do have a sense, he or she will invoke the imprints of his experience of the stories he or she listened to and remembers the ambience of early listening. So too, the secret of Indian philosophical teaching: it offers us its teaching through innumerable stories, examples and analogies, without any dogma or bias. The students find that these teachings have a genuine universal value and try to apply any them in their lives.
The particularity of Indian Philosophy is to develop Peace and Bliss in us. It has kept apart or even rejected all sorts of conflicts, hatred or misunderstandings, because it knows that they are opposed to Peace and Bliss, and introduced the principle of tolerance to a high degree.
For reasons outside our scope, these two invaluable treasures escaped the western philosophy and its religions. There is more room for conflicts, fighting to establish one’s ego, loss of the real values of Peace and Bliss, refusal of the divine nature (as the Bhagavad Gita says, loss in the divine riches and gain of human, and demoniac supremacy), and attraction and attachments to material comforts. In spite of being aware that they are not permanent, that they feed constantly our greed, anger, hatred, infatuation, passion and so on, we continue to be anchored in them. However, the western mind did not lose its intrinsic search for Peace and Bliss. In fact, every westerner in his own way, feels that he or she is not at ease with himself or herself and that something is hindering the comfortable feeling in him or her. Sadly, this phenomenon is on the rise.


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

My father’s teaching of Indian Philosophy (Yoga Sutra, Vedanta, and even Hatha Yoga) had very often comparisons to the Buddhists thoughts – either to make us understand the flaws that existed in the Buddhist logic and analysis or to bring to light some similar views, especially in the psychology of Buddhism, so that we develop conviction in the Buddha’s teaching.
Apart from this, he used to receive Buddhist monks who would have long discussions with him on this philosophy. As often it was a private discussion, we did not dare to attend these lessons.
In the late sixties, when I went with my father on a pilgrimage to Allahabad, Varanasi and Gaya, he took me to Bodh Gaya for two consecutive days. It is here that he gave some important points of Buddha’s teaching, as also their method of Dhyāna, particularly their very significant mantra: Buddham Sharanam Gachami, Dhammam (Dharmam) Sharanam Gachami, Samgham Sharnam Gachami. I remember some elderly monks saluting him and expressing their happiness at meeting him. They sat in a corner in the Buddha’s temple and had more than an hour’s discussion. The meeting was completed by a silent meditation. Later, my father told me that they were his colleagues when he studied Buddhism. He taught me the technique and practice of Pranayama applied by the Buddhists and subtle differences between Hinduism and Buddhism. However, he was not criticising Buddhism in his lectures. My father had great respect for Buddha’s teaching.
We should not forget that Buddha is considered as one of the incarnations of Vishnu.
A successful Vedic ritual or even a meditation requires a healthy body and mind so that we can stay during the rituals and in a meditation for a longer period without getting disturbances from the senses and the mind.

12) It seems that westerners are generally interested in Yoga for its health benefits. In your experience, do you see much interest in their inquiry of the soul?

...Yes, despite this concentrated effect on the body, it is possible for westerners to take an interest in the spiritual aspects, since Yoga does not impose any dogmatic devotion or a spiritual practice which gives rise to fear or guilt in them. Its teaching is open to all irrespective of their religious convictions and beliefs. If we observe today’s interest in Yoga, you will find that more and more students take to Yoga lessons to cultivate and nourish mental peace and search of the inner peace. What was a shy approach in the west in the seventies is quite an open and much desired subject.
Now, it is for the teachers to provide them with the means to feed their desire to know, search and develop their inner peace, whatever name that would be given. As we say in India, God is one, but has many names. Similarly, the inner peace is one, unique, but it might be called with different names, just as one object can have many names according to the language used.

13) How is it possible to transmit the concept of Moksha to students unfamiliar with this?

14) Practicing Yoga in a group class has become prominent in the West; personal practice at home is less common. Can you say something about this in the light of your father’s approach to teaching?

In Mysore Yoga Shala, my father’s lessons were in groups. Very few had individual lessons. At home, he gave some private lessons to students and to his children. Owing to our school timing, even we, his children, had group classes with our sisters and our mother. Some of the members of the royal family, especially the women members, had private sessions.
When he moved to Madras (Chennai), he had mainly individual sessions, as he was invited to heal some important personalities. At home, owing to lack of space, the groups were limited to two or three people of the same family. Later, when, his children started teaching Yoga, we had to give our lessons in the available space. Naturally, we gave individual classes. However, when my father started teaching Yoga in Vivekananda College or in other educations institutions, the sessions were in groups.

...Here in the West, the individual practice is almost a fight against solitariness and its inconveniences, which you do not feel in a group session. You feel that a group stimulates your practice. However, I have realised that many participants allot some time for their personal practice at home.

15) Your father helped many people with his healing knowledge and abilities. How important do you think it is to understand Ayurvedic principles when applying Yoga as a therapy?

...Yes, my father was an Ayurvedic master and; he helped the needy to live a healthy life. He had the knowledge and the clinical competence. He did not learn Ayurveda as a ‘book knowledge’ juggling with words, but was a clinical medical doctor applying his talents while respecting the patient’s privacy, decency and humility.
A serious study of Yogic traditional texts, be it the famous books on Hatha Yoga (Hatha Yoga Pradīpika, Gherunda Saṁhitā, Shiva Saṁhitā, etc., the Patañjali Yoga Sutra or the Upanishads concerned with Yoga) would make us realise that the principle and practice of the science of Ayurveda in their traditional scientific way are referred to. Naturally, study of these works or the commentaries make us understand that anyone who studies them has to learn and understand first the scientific background of Ayurveda. Unfortunately, it might not be the case in today’s Yoga education, which has become a subject that can be learnt like a tourist visiting a country, sitting in an open-air bus taking photos or videos with an iPad and returning home to pretend his or her knowledge about the country.

...It is not only important, but essential, to understand the Ayurvedic principles if we want to apply the interrelated therapeutic means of the two systems to the students who are in need.

16) In Emergence of Yoga, asana, pranayama and mudra are presented in detail. I see no mention of the three bandhas. Please could you explain why they are not included?

You are right; my book Emergence of Yoga details Asanas, Pranayamas and Mudras, but very little on Bandha. I know that many yoga practitioners and teachers are attracted by Bandhas. Yet, I abstained from introducing this chapter, mainly because, they do not belong to the traditional teaching of Yajnavalkya. He gives a passing reference to them, not as a ‘physical knot’, but as a way to control our emotional spring of actions. Writing about them would have led to more confusion and conflict among the readers and made the book ‘heavier’. I did not detail Mudras in my book, as I was very particular about the volume at the time of writing, and I had the desire to write a second part on Mudra, Bandha and Dhyana. Moreover, the concepts of Bandha that you talk of are very recent – the period of Hatha Yoga and not that of Veda.
My father did teach us the three (the five) Bandhas; we practiced, but they were not in our programme of teaching, except Jihva Bandha in Shitali, Mula Mandha and Uddiyana Bandha in Mudras. So you see, it is not the method in other schools.
It is not always a muscular ‘knot’. It also means the hold of the anarchic activities of our emotions. Bandha, to hold also in a way, holding back the unnecessary activities of the sense perception or emotions. So, you have Indriya Bandha, Krodha Bandha, etc.; very rarely used in the usual yoga books that interpret Bandha as a muscular knot and give much importance to it. I do not say that they do not exist, but that is not the main aim of Bandha in the traditional Yoga.
Since all our human emotions reside and emanate from Mula (the region of Mula Kanda), Mula Bandha originally meant withholding unneeded emotional activities (activities that keep us away from God.



Read the complete interview and full answers to these questions, here


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My earlier posts relating to T. K. Sribashyam






Krishnamacharya's own asana and pranayama practice Plus Krishnamacharya's Life saving practice.


Asana as Mudra as dharana- 'Krishnamacharya's own practice'


Saturday, 2 May 2015

Adjustments discussion. Viranchyasana A and B, at home and in Pattabhi Jois Led Advanced series.

This is lifted from my fb post yesterday.

Viranchyasana A: These days I have little interest in Advanced postures and have 'lost' most of them, or at least tend to think that the postures of Primary series are sufficient and can be 'Advanced' or rather proficient with good breath focus, long slow breathing, kumbhaka's perhaps, longer stays

Nice question from my dear friend Lucia on adjustments and if they are necessary HERE at the Ashtanga Discussion fb page. My first thought, practicing almost exclusively at home alone for eight years was Nope. But on reflection.....

Best adjustment I received was from Kristina Karitinou, it was one in thinking, or at least in perception of what a shala was or can be and what should be practised there, if not necessary it was perhaps overdue .

My back was playing up from moving house a couple of weeks before arriving at Kristina's summer shala in Rethymno for a couple of months around Manju's TT. After a couple of Sury's I decided that I wasn't going to make it through an Ashtanga practice with any benefit so quietly rolled up my mat and started to slink out to do a Vinyasa Krama practice at home. Kristina stopped me at the back of the shala, told me this was Yoga Chikitsa, therapy, and sent me back to do MY practise ( IE whatever felt beneficial). Roomful of Ashtangi's and my Vinyasa Krama practise up there at the frount.

Come to think of it, my second and third best adjustments were also from Kristina when she pointed out that Bharadvajrasana and Gomukhasana weren't rest postures.

It's personal choice. Coming from home practice I did without them and prefer to politely decline them as well to decline to give them but each to their own, it's clear from the Ashtanga Discussion thread that many find them beneficial as well as enjoyable.

Always good to see Kristina work, craft is always inspiring to observe whether we choose to partake in it or not and I have wonderful memories of sitting on the steps of her shala discussing this very topic with her late into the night.

On Manju's TT I found him offering more support than adjustment, allowing us to do the work ourselves, to enter a posture rather than taking us there himself.

After reading comments on this fb post this morning I decided to type 'adjustments' into theYoutube search box.

*

This video came up of the Pattabhi Jois' led Advanced A posted by one of the participants,  Clifford Sweatte on his webpage, Prana Airways ( this one is split into parts , the full version is posted at the end of the blog).

It begins with a Viranchasana and gives an idea I think of 'Adjustments/assists' in the Pattabhi Jois Ashtanga tradition right from the start although I read somewhere that Nancy Gilgoff claimed David Williams didn't receive any assists from Pattabhi Jois on those first trips (source?).

No judgement pr criticism is intended here by posting this, I haven't received enough hands on Adjustments to fairly comment although some I have had by trainees and relatively new Ashtanga teachers have been brutal and terrifying. Also I should note that on visiting a shala twice in my first/second year of practise i received two adjustments from the shala assistant that were quite wonderful and beneficial. One showing me that i could go deeper than I thought into marichiyasana D and the the other taking me further 'back' over my arms in urdhva danhurasana.

I've also heard that Sharath, rarely adjusts, see the Ashtanga discussion thread linked to above.

The Pattabhi Jois Led  reminded me of my own Viranchasana video, practiced at home. If I have anything to offer to this debate at all it's that I progressed to advanced series ( both A and B ) alone at home without any assists and without any injuries. It's also worth pointing out that I didn't begin Ashtanga, lithe, fit and flexible already  but was mid 40s, overweight and could barely reach below my knees. My Viranchyasana below is from two years after beginning practice.

I'm adding a video of my first couple of months attempting to practice Ashtanga to the end of the post to give an idea of the condition I was in when I started, perhaps I was lucky to get away without injuring myself and could have benefited form a shala in that first year, I'll leave you to decide.



....and then here practising Viranchyasana myself at home. ( see THIS post )




These days I have little interest in Advanced postures and have 'lost' most of them, or at least tend to think that the postures of Primary series are sufficient and can be 'Advanced' or rather proficient with good breath focus, long slow breathing, kumbhaka's perhaps, longer stays.....


The full Pattabhi Jois Advanced A series video with 'assists'.




Friday, 1 May 2015

Dogpose (श्वानासन) - May 2015 Newsletter from Srivatsa Ramaswami

May 2015 Newsletter from Srivatsa Ramaswami - Dogpose (श्वानासन) - 
For a long time I had been wanting to upload a video containing the entire hour long chanting of Arunam or Suryanamaskara from the Yajurveda I also wanted to include in the video the suryanamaskara done in 12 steps with the dwadasa or 12 mantras of surya at the end of each of the 32 sections (anuvaka). The whole exercise would take about 2 hrs and 15 minutes. This can be done individually on Sunday mornings or in a group. I had earlier attempted to have this organized in a few places like in Houston, Austin. The participants of my 200 hr Teacher training program do it once during the program as part of the mantra program. Last year the whole exercise with a group of about 25 participants was videographed at Loyala Maryount University. I made a separate video and had it uploaded in YouTube recently. . The Suryanamaskara videos were videograhed by Kija Manhare. The yogis doing the asanas are Casey Markhem, Kelsey Garden and Samantha Calvano. The audio track of Arunam was recorded in 1985 by “Sangeetha” who have the copyright and have kindly permitted me to use it in this video. This chant or parayana as I have mentioned earlier on several occasions, used to be done by me with my teacher almost every Sunday morning for several years. The last time I met my Guru we chanted it together. This chant is done for health and longevity. In olden times the chant used to be done by pandits in a public place like a temple and sick. terminally ill people would be brought there to listen to this Aruna Parayana. Listening to Suryanamaskara chant and doing Suranamaskar are said to be good for maintaining good health and also recuperate from illness. (आरोग्यं भास्करात् इच्चेत् ārogyaṁ bhāskarāt icchet). Please listen to the chant when you have the time and share with friends. This may be used individually or in groups and in yoga studios and schools. Here is the link


My Audio Recordings

I had mentioned earlier about my sanskrit recordings in India during 1980-1995. Vaida Tu, my friend from Lithuania writes that she managed to contact the company “Sangeetha Musicals”in Chennai and with some difficulty downloaded several of the titles running to about 9 hrs. She was able to make the payment through PayPal. They have almost all the titles that were recorded including Suryanamaskara, Taittiriya Upanishad, Mahanarayana Upanishad, Aditya Hridayama and vedic chanting, Ashwamedha, Devi Mahatmyam, Mooka Panchsati, Vishnu Sahasranam, Ganesa Sahasranama, Anjaneya Sahasranama, Lalita Sahasranama, Subramanya Sahasranama, Bala Ramayana, Sundara Kanda (about 10 hrs) Siva Sahasranam and a few others more than 25 titles and 30+ hrs of recordings. Vaidu Tu bought about 18hrs of chanting for about $25. The process is a bit tricky but manageable I understand.
My upcoming programs
In May I will be teaching a one day workshop on Yoga for Internal Organs, a five day certificate program on Core Vinyasakrama Yoga and then a 13 day long program on the Bhagavat Gita sponsored by Harmony Yoga, UK
In June I will be teaching in Austin at Eastside Yoga a weekend workshop and a five day Yoga Sutra program. For more details here is the link
Then I am scheduled to teach a four day certificate program in Core Vinyasa Yoga workshop at Breathe Los Gatos in California. For complete details here is the link

And of course my 200 hr Teacher training Program is coming up at Loyola Marymount University in July/August for five weeks. For more details please use the following link

Dogpose (श्वानासन)
असनानिच तावन्ति यावन्तो जीवराशयः asanānica tāvanti yāvanto jīvarāśayaḥ
say some old hatayoga texts. There are as many asanas as there are species. We have several asanas bearing the names of different creatures. Cat pose, camel pose, Iguana pose, Cobra pose, Lion pose, Pigeon pose to name a few. May be one can think of creating a children's book with animals and animal poses next to one another and create an interest in yoga poses among children.
Among the animal poses children and adults love, the twin dog poses or svanasanas. Urdhvamukha and adhomukha svanasanas are well known. Many do these two in tandem as a workout. The downward dog pose is a very nice pose. One can stay in it for a while practising good breathing and all the three bandhas,-- in fact it is one of the two preferred poses in which to learn and effectively practice the mula and especially uddiyana bandha. When doing a sequence of vinyasas it is suggested that when one gets to adhomukhasvanasan one may stay for a few breaths and practice the bandhas a few times while holding the breath out. It is one of the preferred poses to learn and practice the three bandhas.
The twin dog poses form a great combination for vinyasa practitioners. Moving into the upward facing dog ( ऊर्ध्वमुखश्वानासन) position while smoothly inhaling and holding the breath in for a few seconds ( अन्तःकुम्भक) and then moving into the downward dog position (अधोमुखश्वानासन)on synchronized exhalation, then while holding the breath for a few seconds (बाह्यकुम्भक) doing the bandhas is a fun routine. One can do this routine a few times slowly with nice smooth throat breathing. It is an excellent stretch. The upward face dog position gives a good anterior stretch to the body while the well feet/heel- planted downward face dog position helps to stretch the entire posterior portion of the body. The pictures are of Dr Mahendran, Ranjit Babu. Tatyana Popovaand Klaus Koenig from my Vinyasa book, the Complete Book of Vinyasa yoga.
The downward facing dog pose is the starting point of a nice complete body stretch sequence where you can do the anterior, posterior and the two lateral stretches. Starting from adhomukha one turns on exhalation to one side to Vaishtasana and try to place the feet on the floor. It helps to stretch one side and also stretch the his laterally. Thde next step would be to turnover to purvatanasana where one gets a good anterior stretch. Then turning over one could get to stretch the other side of the body in vasishtasana. Thereafter one would turn another 90 degrees to return to Adhomukha thereby completing the cycle. One may then want to go through the cycle anti clockwise. This sequence, adhomukha, vasishtasana (vama), purvatana, vasishtasana (dakshina) and then returning to adhomukha gives a complete stretch to the body--- posterior, anterior and laterally on both sides.


Using adhomukha as a launching pose for ump throughs is well known. Jumping to uttanasana is well known among modern yogis. Jumping to Utktasana from adhomukha was a procedure taught by my guru Sri Krishnamacharya . One can also get to adhomukha and hop into Vajrasana an important seated meditative asana, Jumping through the hands to dandasana is a dream subroutine among beginners in vinyasa yoga. Usually all these jumps are done while holding the breath after exhalation (बाह्यकुम्भक).
It is possible to move from adhomukha to hand balance poses like bhuja pidasana and similar poses 

Another important sequence that can emanate from adhomukha is Anjaneyasana. First one would get into godhasana or iguana pose . Then from Iguana one may get into Hanumanasana. Thereafter aided by smooth exhalation those who can do the split can slide into Anjaneyasana and do a few interesting vinyasas in Anjaneyasana. One returns to Adhomukha retracing the steps used to reach Anjaneyasana. Here is a video of the sequence done by one of the participants of the 200 hr Vinyasakrama Teacher Training Program at LMU a few years back Marina Boni and filmed by Josh Geidel . It is beautifully done, you will like it
It is also possible to get into asymmetric seated poses like half lotus, triangmukha and others with the let preparation made while in adhomukha. It is fun to do and also watch.


Vinyasakrama can be lot of fun and is a solid yoga practice taught by Sri Krishnamacharya.