Monday 31 October 2016

Advice - Sanskrit Chants - Newsletter from Srivatsa Ramaswami November 2016

NOTE: Not a huge fan of chanting but one of the great pleasures of attending Ramaswami's workshops, intensives or TT's is lying in savasana after a three hour practice (asana, pranayama, pratyahara, japa meditation) listening to him chant, either from memory of from the little chant book he seems to take with him everywhere. At LMU we practiced in a cavanous dance studio and Ramaswami's voice, so soft during his asana instruction, would resound around the space, it's something I'll never forget. I recorded a couple of these savasana chants and often play them still when 'taking rest' at home, I've even played them on a couple of the workshops I've had the opportunity to offer myself. Many of these chants are now available on youtube, Ramaswami lists a few of them in the second half of this newsletter.

See also this page of Ramaswami's for some excellent chant tutorials http://vinyasakrama.com/Chants

Also this earlier post with Ramaswami's Chanting the yoga sutras video
http://grimmly2007.blogspot.jp/2013/10/how-to-chant-yoga-sutras-ramaswamis.html


Ramaswami chanting with his teacher Krishnamacharya.


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Advice - Sanskrit Chants  -  Newsletter from Srivatsa Ramaswami November 2016

In October I completed teaching a 100 hr Vinyasakrama Yoga TT program in Madrid Spain. it was organized by Blanca San Roman of Dhara Yoga. There was  good participation from very talented dedicated yogis from different parts of Europe including different cities of Spain, Germany Switzerland, Bosnia, Luxembourg, Italy, UK, and also from Japan in East, Chile in West and Russia in North.

See this post for videos from the course
http://grimmly2007.blogspot.jp/2016/10/videos-krishnamacharyas-shoulderstand.html

For 2017 I have a few programs firmed up. Firstly in early January (from Jan 2  for 10 days) I will be teaching a 50 hour program "Bhagavatgita for Yoga Practitioners" at Yoga Vahini in Chennai. Then in January I will be teaching a 33 hour Core Vinyasakrama program with Pranayama and Dharana at Omyoga in Vasant Vihar in New Delhi.(Jan 25 to 30th). In Feb/March I will be teaching a 100 hr Vinyasakrama TT program at Yoga Vahini in Chennai . It starts on Feb 15th and runs for 15 days.  Then in March/April I will be doing the 100 hr Vinyasakrama TT program at The Yoga Institute, Sydney, Australia. For more details and links please use the following link in my website

www.vinyasakrama.com/Events

I am also likely to teach a 3 day 15 hour program in Samkhya Karika between Sep 15 to 17 at Chicago Yoga center in Chicago. In July/August I may teach a 50 hr Bhagavatgita for Yoga Practitionersand a 20 hour Core Vinyasakrama Asana program  at LMU, Los Angeles. Then I may teach a 100 hr Vinyasakrama Yoga program at OneYoga, Montreal in Canada. I will add the particulars in my website when these are finalized shortly


Advice

All through our lives  we freely receive and give advice. As a child the concerned parents advise the youngster to avoid bad company, study well, take care of health eat properly etc, As a youth one would receive advice from parents and well wishers and teachers, not to smoke or drink or take prohibited drugs etc, As an adult the spouse becomes the advisor in chief. Then friends, supervisors advise us on many matters. In certain situations one may seek professional advice, expect good healthy advice from doctors and advice of expediency from lawyers. When one becomes old, one's own grown up children become advisors in chief. Scriptures or dharma shastras contain advice about how one should face different situations in life according to the rules of dharma. They even advise what one should do in case conflicting dharmas (dharma sankata) like what to say when what one says may violate either of the two dharmas like satya and ahimsa. There is a well known commencement address (anusasana) by the vedic rishi to his graduating students (antevasai). In it he advises his students to follow some principles (dharmas) all through their life. Speak the Truth, follow the dharma, svadharma (duties) Never stop studying the scriptures never deviate from the paths of Truth, one's own dharma, or from the duties to devas and pitrus. Your mother, father, preceptor and guests should be treated with highest respect should be worshipped. And a few more like what one should do when in a dilemma.

But then sometimes ordinary advice may not be sufficient especially when one is emotionally strained, like what happened to Arjuna in the famous epic Mahabharata. Lord Krishna's advice running to hundreds of slokas is touted as the greatest and most comprehensive and exhaustive advice. Arjuna had two problems. One that was emotional and  other the  inability to decide what is the right dharma. All of us have similar comparable situations in our lives albeit rarely. Sri Krishna's approach to make Arjuna do what was right or what was the right dharma or duty, has become a framework for one to deal with such a conflict in life.

Arjuna found it difficult to bring himself up to fighting and most likely killing his own grandfather and teacher--who were in the opposite camp-- whom he loved and respected most. Except for a few, most of us would avoid a conflict even if dharma is on our side. Secondly even though there is no love lost between his clan and the opposing Kauravas, they were still his cousins, kith and kin. And this could also disturb ordinary minds even if the opponents are crooks and adharmic but happen to be relatives relatives. Avoid conflicts at all costs is the advice  one may usually get

What did Krishna do? What advice did he give Arjuna? He told Arjuna that he had no choice except to fight. What were the main reasons he gave him to pull himself up and fight the battle of Kurukshetra?

Here is a paerial  list the main arguments put forward by Krishna. He said that for a warrior (Kshatriya) this unwanted situation created by the Kauravas is the best that can happen to Arjuna a kshatria belonging to the warrior community-- fighting a just war (dharma Yuddha). If he wins he will, with his brothers, and family  rule a prosperous country. On the other hand if he loses and dies in the war he will reach the exalted heaven of warriors (Vira swarga). On the other hand if he would refuse to fight he would be a deserter and there is nothing more despicable than running away from the battlefield for a warrior and discharging one's duties (swadharma). Then if he runs away from the battlefield for whatever reason his reputation as a great warrior would nosedive and history will paint him as a coward. Since death is certain for anyone who is born, by avoiding the war he will not be making his teacher and grandfather live for ever. They will die in due course in spite of his sparing them. Further his bothers , their families. and a number of kings from other countries who have become his allies would be destroyed and he would be betraying all of them and they would be exposed to the fury of the Kauravas. And so on

But looking at these reasoned arguments one may say that it is a great advice but nothing extraordinary. Almost any wise person would give this kind of reasoned advice. A high school football coach may be able to motivate his wards on these lines. Then what is unique about Krishna's advice.

The Lord brings the spiritual aspect of his teaching right in the beginning. He makes it the central theme of his upadesa.  The above mentioned motivational talks may work but Krishna starts by telling Arjuna about the nature of the real Self.  Even before giving the above arguments he starts by saying that really the self which is pure unwavering consciousness is the one that should be called as "I" and is the one that experiences all that one experiences as a child, in youth, in old age and then the same atman or self takes a new birth. Thus when one is killed in a battle the atman of neither the killer nor the one that is slayed is affected at all. Krishna advises Arjuna to keep in mind this truth about oneself. He says "I, you, all these people in the battlefield have ever existed and will never cease to exist." Keeping this fact in mind that the real self is immortal do your duty "yogasta kuru karmani". Of course it takes lot more factors in his upadesa to Arjuna, but all of the advices will fall flat without legs to stand without this central theme of Krishna's advice.

This is the central theme of all upanishads-- that the true Self in all of us is immortal. it is the theme of Yoga Sutras and also Samkhya. Even though many know the upanishads and other subjects for most it is just an academic pursuit, and seldom one relates to the Atman as the real Self.  Krishna has chosen to make this the central theme of his important advice to ordinary non scholarly lay person like Arjuna--like all of us. Can one imagine advising a person in distress or confusion how one should perform one's duties remembering all the time the true nature of oneself?

It requires the Lord to do that.

Sankara in his commentary writes at the commencement of the Lord's upadesa in II chapter

"Now finding no means other than Self-knowledge for the
deliverance of Arjuna who was thus confounded as to his duty
and was deeply plunged in the mighty ocean of grief, Lord
Vasudeva who wished to help him out of it introduced him to
Self-knowledge in the following words"


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Sanskrit Chants

 I have been writing about the recording pf my chants several times. Now I find that many of those chants are uploaded n Youtube by my producer through an agent, Aditya Musicals. Here are the details about some of them that I was able to locate. These, more than 20 titles were recorded during a 15 year period from 1980 to 1995. Hpe yu like some of them.

GANESA SAHASRANAMA
Some associate Mondays and Fridays with Ganesa Worship. Here is Ganesa Sahasranama stotra from I think Ganesa Purana. It contains 1000 names of Ganesa the beloved elephant faced deity worshiped all over India in the form of sthuti slokas (devotional verses). This was recorded more than 30 years back. Here is the link



MOOKAPANCHASATI
One of my favorite chants is Mookapanchasati. It consists of 500 slokas or verses in unusual Sanskrit meters. It is said to be the out pouring of devotion and high poetry from a dumb devotee who was able to speak due to the grace of Goddess Kamakshi whose beautiful temple is in the midst of the temple city Kancheepuram some 40 miles from Chennai, India. It consists of 500 verses divided into 5 chapters of 100 verses each. Mookapanchasati consisting of 500 mouthful verses takes about 3 hrs to chant. Here is my chanting of Mokapanchasati recorded some 30 years back by Sangeetha. Maybe you would like to listen to a few slokas



SUNDARA KANDA ALBUM
Sundara Kanda is an important section of the great epic Ramayana. It beautifully explains the story of Anjaneya/Hanuman's mission to discover Sri Sita in Lanka. Sundara means beauty, it also refers to Hanuman as fondly addressed by his mother. It is a story of hope from an utterly hopeless situation as Sri sita found herself. It is a little less than 3000 verses and is chanted at specific occasions either in one go or in spread over in about a week. More than 20 years ago I chanted the entire Sundarakanda which was recorded and marketed by Sangeetha. I find that the whole Sundarakana is now on Youtube. Maybe you would like to listen to it or a portion. It is in about 27 videos and runds for about 10 hrs total.

Here is the link to the playlist.


INDRAKSHI SIVA KAVACHAM
Here is a vedic chant I learnt from my Guru Sri Krishnamacharya. Sri Krishnamacharya spent a lot of time teaching me vedic chants. This one is the third chapter in Yajur Veda (Krishna). The video also contains a Sakti and Siva chant called "Indrakshi Siva Kavacham" very popular in sme parts of India especially Kerala. Hope you like it


TAITTIRIYA UPANISHAD
 Taittiriya upanishad is one of the 10 major upanishads. It is from Yajur Veda (Krishna). It is one of the most studied  and also the most chanted upanishad. I learnt to chant this upanishad from my Guru Sri Krishnamacharya. Here it is


VISHNU SAHASRANAMA
 Mahabharata is an epic like the Ramayana. Like the Ramayana which has given us Sundara Khanda that cntains the exploits of Anjaneya, the Mahabharata is the host for two outstanding works, the philosophical Bhagavat Gita and devotional Vishnu Sahasranama. Both these works from Mahabharata are very alive and studied and chanted by thousands of people in India every day. Sankara says that one may chant Vishnu Sahasranama daily and also study the Gita. Here is my chanting of Vishnu Sahasranama-- the 1000 names of Lord Vishnu. The video also contains purusha suktam and Narayana suktam, Sankara's famous Bhaja Govindam and a short sweet chant on Rama called Sri Ramajayam a 2 minute chant one says before going to sleep.


LALITHA SAHASRANAMA
There are several forms of worship of different deities. Adi Sankara organized them into six major groups. One is Ganapatya or worship of Ganesa.  The second is called Kaumara or worship of Kumara also well kmnown as Muruga is South or Kartikeya and Subrahmanya. The third is Vaishnava or worship of Vishnu. Then we have Saiva or worship of Siva. Soura is worship of Surya or Sun and then we hav Saktha or worship of Mother Sakthi. Sankara came to be known as "  षण्मत स्थापनाचार्य ṣaṇmata sthāpanācārya" or one who established the six mathas or sects of worship.
There are many devoted to the worship of divine Mother Sakthi. The prayer "Lalitha sahasranama" or 1000 names of Lalitha another name of Goddess Sakthi is perhaps the most chanted prayer of Sakti. When I was young my mother used to have our family priest visit us every Friday and perform the Puja of Sakti with 1000 offerings of flowers etc to the Goddess. I used to look forward to Fridays because of the delicious offerings to the goddess towards the end of the puja which we children eat. Here is the chanting of the Lalitasahasranama from Markandeya Purana.


ADITYA HRUDAYAM AND SVADHYAYA PRAKARANA
Today is Sunday, sun's day. I have been mentioning about Complete Suryanamaskara chant from Yajur veda on several Sundays. There is another well known sun chant called Aditya Hrudayam or Sun in the Heart. It is said to be taught to Sri Rama by sage Agastya and is a highlight of the Ramayana. It is a short sun prayer which is chanted by many in India in the morning before they go to work. This chant was recorded during the 1980s . This video also contains chanting of the second chapter of Taittiriya Aranyaka of Yajur veda. It is known as Kushmanda Homa and also as Svadhyaya prakarana. It extols the greatness of the famous Gayatri mantra ,a sun mantra.



RAMODANTAM (Bala Ramayanam)
About 60/ 65 years back when I was in middle school, we were required to study three languages, Tamil, my mother toungue a very rich Dravidian language then English (or Indglish ) and thirdly either Hindi the national language / the majority language or Sanskrit. I chose Sanskrit. At that time a text calld Ramodantam used to be prescribed as a text. It is complete Ramayana absolutely abridged so that children can study and improve their vocabulary of Sanskrit and also get to know the great epic Ramayana. While Valmiki Ramayana is a very lengthy beautiful Kavya of about 24000 verses, this cute little work is about 200 verses.  I recorded this in the late eighties. I have it also as Bala Ramayana or Ramayana for children. Ramodanta would mean the life story of Rama. Rama+ut(d)+ anta Ut would refer to birth and anta the end






MAHANARAYANOPANISHAD
This is the last chapter of yajur Veda. It contains many mantras that are used on a daily basis like the pranyama mantra, Atmasuddhi mantra (Self Purificatin Mantras), pranahuti mantra (mantras used before taking food for the prper functining of the life forces r pranas) and others. This was recorded in early 1980s.




SANDHYAVANDANAM
Thousands of people initiated  do sandhya daily three times a day, dawnm midday and dusk, This video  cntains all the mantras. In addition it also contains a fire ritual called samidhadhana performed by bachelors twice a day morning and evening.



RAGHAVENDRA SAHASRANAMAVALI
Thosand names of the grest aint Swami Raghavendra



There are other videos floating around in the web

ASWAMEDHA (3 Hrs) from Yajurveda
DURGA SAHASRANAMAM
GAYATRI SAHASRANAMAM
SRI SUBRAHMANYA SAHASRANAMAVALI
DEVI MAHATMYA (3HRS)
SRI ANJANEYA SAHASRANAMAVALI


Friday 28 October 2016

Pranidhi Varshney Led videos: Full Ashtanga Primary, Hallf and 15-20 mins short practice 

A while back I was looking for a couple of demonstration videos of the Ashtanga primary series devided up into full practice, half and short for a friend. I like this from one of Manju's favourite teachers Pranidhi Varshney, I like the mixture of abilities here. Ive included a couple of other offerings from Pranadhi and Yoga Shala West's webpages, Pranadhi's CD of some of the chants Manju presents in his workshops, a link to some high def practice sheets and a couple of articles I've read of Pranadhi's in the past.


Pranidhi Varshney

My teachers:

Manju Jois is my main teacher and mentor. I met him early on in my yoga journey and it is with his blessing that I teach. I’ve practiced with Sharath Jois at the Ashtanga Yoga Institute in Mysore, India and cherish his visits to the U.S. I’ve also spent time practicing with Nancy Gilgoff, soaking in the Maui magic. Jodi Blumstein and Jorgen Christiansson have been my teachers in Los Angeles.






Not a huge fan of Led classes generally but for the home practitioner they can be useful occasionally, Manju has an excellent DVD where he bluse call and response approach, he calls out the name of the asana as well as the vinyasa count etc.

See my review of manju's book, DVD and CD here
http://grimmly2007.blogspot.jp/2013/02/manju-jois-bundle-dvd-training-manual.html

I found Mark Darby's DVD useful, especially in the beginning to avoid injuries and for it's variations/alternatives, David Swenson's short forms, later Sharath's speedy primary in 60 minutes for a time before I decided to slow my practice right down. Richard Freeman's DVD's are always worth going back to , i find something new in them everytime I follow along. John Scott and Lino Miele's DVDs are also inspiring, a reminder that the Advanced series are very much surplus to requirements. Kinos has some nice extras (tutorials) on her videos as does David Garrigues. 
See my Ashtanga Review Page



Manju includes some chantingat the end of his workshops and Pranidhi has produced a cd that you can hear in full below and on her page (link below), there are also links to translations.


link to music page http://www.pranidhivarshney.com/music/

link to translations http://www.pranidhivarshney.com/mantra-translations/

Pranidhi and Yoga Shala West have produced a Primary series practice sheet, follow the link below which will lead you to a free higdef pdf download.

http://yogashalawest.com/primary-series-practice-sheet/


Pranidhi has an article page, these two I remember enjoying in the past... 

-published by DoYouYoga on 2/9/2015
"One of the most touching moments of the weekend came during the conversation about authorization. Many students were referencing Sharath as the lineage holder of this practice and David stopped us all, reminding us that on the panel was Guruji’s son, Manju. The room erupted into applause and everyone rose to give Manju a standing ovation. As I stood up, a tear ran down my face as I was just so happy to see Manju getting the credit he deserves. 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". 
-interview, published by The Confluence Countdown on 11/28/2011
What was a highlight of the week on Maui?
"3.All the stories!  Having both Manju and Nancy there was such a treat. David Williams also joined us for Manju’s birthday celebration and for a couple of morning mysore practices.  Talk about a confluence of energy.  We heard stories about how pranayama saved Manju’s life, how he tried to escape doing baddha konasana in his youth, how Ramesh, Manju’s brother, is responsible for everyone using a spray bottle for garbha pidasana, and many more.  It was also really cool to hear Nancy ask Manju about alignment points for different postures and listen in on them talking about how things have changed over the years.  It was a great reminder that one way is not the only way.  If these senior teachers are still open and humble enough to learn from each other, we need to make the effort to remain that way as well.  Also, for me personally, it was a delight to meet and spend time with the newest teacher-in-training, Sathu, Manju’s daughter.  She has ashtanga in her blood and she’s already quite a good adjuster, as many people in the training can attest to".
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More articles by Pranidhi here

Thursday 27 October 2016

Trailer: Mysore Yoga Traditions

from my previous post

But perhaps there is a context to this practice, Krishnamacharya taught and practiced in Mysore, as did all the boys of the palace, Pattabhi Jois assisted, led at times on his teacher's behalf...., and later Pattabhi Jois generously welcomed his own students into his home, his shala, he welcomed us.

All walked those Mysore streets to practice in the early morning and/or late evening. However different those streets may be now, the morning air and later, the sounds of the birds, the insects, no doubt many of the sights the smells are perhaps the same as when Pattabhi Jois himself walked to practice with his teacher.

A new movie on Mysore is in the works that you may wish to support and/or look out for.

https://www.gofundme.com/yogafil




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.

Production of the documentary is underway. Funding is needed to finish this monumental documentary which will add to the rich cultural exchange between India and the international yoga community. To donate, https://www.gofundme.com/yogafil


The Story Behind the Film

In the spring of 2016 Andrew Eppler and a group of yogi friends including Joey Paz, Kelly O'Roke, Dallos Paz and Bryce Delbridge went to Mysore India to begin filming a documentary about Yoga. The original intention of the documentary was to commemorate the life and teachings of our teacher Sri BNS Iyengar. However, at the last moment Guruji changed his mind. He has always been firmly against self promotion and the egotism associated with it. He flatly refused to do a documentary. We knew better than to press him about the issue. This was a real yoga lesson for all of us. Because of our teacher’s decision not to be the main focus of the documentary, things took an amazing turn.

Undeterred, we decided to go ahead with a documentary about the cultural history of the yoga that has originated in Mysore. Through a series of unbelievable and unexpected twists and turns, we were able to secure interviews with many of Mysore's most respected yogis, philosophers, and scholars, including the Queen of Mysore, Maharani Sri Satya Pramoda Devi. During our interview sessions, we were invited into the royal palace of Mysore, the archives of Maharaja Sanskrit College, and the homes of some of Mysore's most well-respected citizens, the keepers of this ancient system of yoga knowledge. The access we were granted, and the information we were able to capture on film, is unprecedented.

The keepers of Mysore's vibrant yoga tradition granted us more than we could have ever asked for, and were gracious enough to speak to us on camera not only about yoga philosophy, but also topics such as the role of the royal family of Mysore in the development and preservation of yoga, cultural appropriation and the role of the west in the practice and propagation of yoga, whether western gymnastics had any influence in their yoga tradition, and the crisis we are facing of yoga texts in the form of palm leaf manuscripts being lost forever. Most documentaries and books come from an angle of deducing facts about the Indian traditions through extensive research. We simply want to give the intellectual community of Mysore a voice to speak candidly about the way they see their own tradition. We are now sitting atop a veritable gold mine of information, anecdotes, and philosophy that has never before been revealed to the world of western yoga. We believe this film will truly add to the richness of the cultural exchange between India and the international yoga community. If you ever wondered where yoga came from, you have to check this out!

Also happily worth noting, before we left Mysore, Sri BNS Iyengar agreed to sit with us in front of the camera after all, and proceeded to give us the most substantial interview about his life and teachings that we could ever have hoped for. We have begun cutting the documentary together, and hope to have it completed by January 2017. But in order for that to happen, we need to secure some funding so that our team can continue to dedicate itself to completing the film. We are beyond excited to share this information with the world and we hope you will consider taking part in this monumental work!


Sincerely,
Andrew Eppler, Bryce Delbridge, Dallos Paz, Joey Paz, & Kelly O'Roke
Ashtanga Yoga Studio, Norman, Oklahoma



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See perhaps my earlier post on  BNS Iyengar




Wednesday 26 October 2016

A post on visiting Mysore after reaching fifty.

I posted this question to an earlier post on fb this last week.

Krishnamacharya aged fifty (Mysore)
http://tinyurl.com/zsk5tmy

'After fifty can you practice what you want in Mysore?'

It's a nice idea.

"For people over fifty, it is enough to practice some of the easier and more useful asanas, as well as some of the pranayamas. Those who have been practicing for many years, however, can do any asana or pranayama without a problem". Pattabhi Jois -Yoga Mala

from this post regarding age - "When and how ashtanga yoga practise needs to be modified?"


I'm over fifty, let's imagine the scenario.

I go to Mysore, sometime early in the new year, I get my time slot from Sharath.

I turn up for the first day of my practice, knock out a couple of sury's A and B, then trikonasana, go straight to paschimottanasana and purvatanasana, Janu sirsasana, marichyasana A to C, bharadvajrasana in place of Mari D ( as Manju might suggest), navasana then baddha konasana, a modified setu bandhasna perhaps and on into sarvangasana and Sirsasana, baddha padmasana and padmasana. I then proceed to do my half hour pranayama practice and finally Sit for twenty minutes, Japa perhaps.

The whole practice takes no longer than a speedy full Primary followed by part of Intermediate so no problem...surely.

This, or a variation of it, often forms my practice and given Pattabhi Jois' own advice in Yoga Mala on modifying practise after reaching fifty, wouldn't this be perfectly acceptable.

Or perhaps half primary/half second with the odd posture from third as Manju mentions he now practices being over seventy.

or what of this...

A couple of sury's, trikonasana, paschimottanasana/purvotanasana, ten minutes in sarvangasana, forty minutes in Sirsasana, padmasana, pranayama, a sit.

The above are all variation of my practice since reaching fifty...., truth be told I tended to practice like this before I reached fifty. Rather than being a question of age it was a one of how to adapt my practise once I decided to breathe more slowly. As it happens, I do tend to practice a regular full Primary when M. and I get to practice together on Saturdays.

Note: Krishnamacharya indicated long slow breathing '...like the pouring of oil' in his early Mysore texts. Pattabhi Jois also recommended slow breathing, ten seconds ( or indeed longer) inhalations and exhalations throughout the practice but also recognised given the time this would take, faster breathing would be acceptible (and became the norm), to complete the series. My solution is to practice less asana, half a series, a third.

Truth be told I imagine there are many/some who for one reason or another ( injury perhaps) need to, and do, adapt their practice In Mysore just as in their home shala.

The argument might be that this makes it difficult for Sharath or his assistants to know how to adjust or assist me in my practice, not knowing for sure which asana I might be moving to next.

It be like asking for a runny egg and no ham on your egg macmuffin at Mcdonalds one morning.

Personally though I have no interest in receiving any adjustments or an assists from Sharath or anyone else for that matter. Not because I feel I know best but because it's not something I'm comfortable with or consider necessary or particularly beneficial as a home practitioner. Besides, how do I know if any of Sharath's assistants have ever opened an anatomy and physiology book, or Sharath either for that matter.

Having watched videos of Pattabhi Jois himself assisting I wouldn't have wanted him to come anywhere near me either.

That said, Pattabhi Jois' son Manju's assists tend to be supportive, no pulling cranking, yanking or twisting there, merely propping and perhaps guiding.

If I want advice on my alignment I think I'd rather go to an experienced Iyengar teacher who's focused on nothing else for years.

Note: There are of course many excellent ashtanga teachers (you're own home shala teacher perhaps) who have made a careful study of anatomy and physiology or at least attended several workshops with teachers who focus on this area.

Simon Borg-Olivier happens to be my go to for anatomy and physiology.

Sharath has a Primary only rule for the first trip I hear, that's fine by me and I'm happy to make it easy for him and just practice the first half of primary and move to sarvangasana after Janu Sirsasana, what do I care about the next asana, trikonasana, paschimottanasana, janu Sirsasana, (baddha konasana- I'll squeese it in while Sharath is dropping the room back) sarvangasana, Sirsasana, padmasana are plenty.

Come to think of it I'd be happy to be stopped at Paschimottanasana for that matter or after some long slow Sury's, an inhalation, an exhalation....., what do they care which asana they happen to be taken in.

I remember practicng partlicularly slowly on the last day of Manju's TT in Rethymno, Crete, I got as far as janu Sirsasana before moving to sarvangasana to catch up much of the rest of the room. Afterwards Manju called me over and I feared I might be in trouble but no, Manju just wanted to chat about something else entirely. And besides, hadn't Manju told us only a few days before how his father used to practice long stays in asana with long slow breathing.

Note: One of my favourite memories of Manju's Mysore in Rethymno was hearing, near the end of of my own practice, the breath of others also finishing along with the sound of the pranayama from those already finished or the soft chanting from those who had completed their pranayama (Manju teaches and recommend ten to twenty minutes of peace chants following pranayama, just as his father taught, an integrated practice). 

If I don't intend to practice the standard series, don't wish for any adjustments or to attend the Led class or the crush of Conference, then why you may ask come to Mysore at all.

Aren't I just taking up precious mat space.

But what if the main reason for making the trip, the only reason really, is to touch base, to check in with the international community of practitioners (though we may share no more than a glance on the the way to our mats). To pay my respects to Mysore itself, home of Pattabhi Jois (who generously shared this gift with us) and Krishnamacharya who, as far as we can tell, originated this particular pedagogic approach to practice that I indulge in each morning.

To broaden my intimacy with the context of the practice.

Sharath and others are continually stressing that the reason to come to Mysore is not so much for the asana as for the tradition, linage....., parampara.

I don't buy into any of those concepts personally, all too problematic. If Lineage mattered to me then it's taken care of by spending more time with Manju or any of Pattabhi Jois' experienced students now teachers, Sharath is but one of many. Manju put it nicely at the Confluence this year, parampara tends to suggest father to son but Pattabhi Jois considered all his long term students family, parampara resides in all of them.

Krishnamachartya, Sarvangasana variations, aged fifty ( Mysore 1938).
http://tinyurl.com/h3xxla8


Yoga has nothing more to do with India than anywhere else, hatha perhaps, but yoga... the turn inwards is as perennial as the grass (thank you Walt, you old Yogi - that's Whitman not White).

But perhaps there is a context to this practice, Krishnamacharya taught and practiced in Mysore, as did all the boys of the palace, Pattabhi Jois assisted, led at times on his teacher's behalf...., and later Pattabhi Jois generously welcomed his own students into his home, his shala, he welcomed us.

All walked those Mysore streets to practice in the early morning and/or late evening. However different those streets may be now, the morning air and later, the sounds of the birds, the insects, no doubt many of the sights the smells are perhaps the same as when Pattabhi Jois himself walked to practice with his teacher.

The thought is occasionally appealing but passes quickly.


*

Note: There is an argument of course for hurtling speedlily through a whole series and creating time for your pranayama and a Sit or some chanting. Nancy Gilgoff for example, still recommends a speedy practice just as she learned it from Pattabhi Jois in the early 70s. A fast paced Ashtanga vinyasa asana practise, practiced daily, can bring about relatively quick results in health, strength, fitness... as well as, more importantly, develop discipline (hopefully without too many injuries),. Practiced sincerly with commitment and attention on the breath throughout, it is a moving meditation of 60-90 minutes or more duration. It was the practice Krishnamacharya put in place for the boys of the Mysore palace in their hour long group class based no doubt on the table of asana (Yogasanagalu), and it was that practice, a response to a particular pedagogic situation, that Pattabhi Jois, not much more than a boy himself, carried forward with some minor tweaking to his four year course at the Sanskrit college and continued to teach, with only minor adjustment throughout his life. It is arguably though, a first approach to practice (although whole philosphies, some more rewarding perhaps than others, along with tapastries of justification have formed around it) that we can develop (deepen?) further over time (even if our practice is only a few asana) by looking perhaps to Krishnamacharya's own writing from that period, Yoga Makaranda (Mysore 1934) and Yogasanagalu (1941) or to other students of Krishnamacharya less tied to a particular pedagocic environment, Srivatsa Ramaswami for example who began his studies with Krishnamacharya just after Krishnamacharya departed Mysore, in the 1950s .



Saturday 15 October 2016

On Vinyasa: "Yogasanas must be only practiced with vinyasas and never without it". Krishnamacharya. Yogasanagalu (Mysore 1934).

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".

*

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.




*

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.


*

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








----------------------------------------------

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


Wednesday 12 October 2016

Specifics of the breath in yoga asana - Notes from Krishnamacharya's Yogasanagalu (Mysore 1941)


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.


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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.