Ashtanga from twenty something to forty something and beyond - Philippa Asher ASLO Advanced series Maha bhandasana

Last week I posted a review of Pushpam Yoga magazine that included an article by Phillipa Asher. on ageing/maturing in the practice.

Philippa's article, the second article in the magazine on ageing or maturing in the practice was an abridgement of a longer article on Phillipa's website, she kindly gave me permission to quote some more from the article, I loved these quotes which is why they are so long. Ideally it would be better to click on the title and follow the link to get the quotes in context.

The photos's are screenshots from Philippa's Advanced B practice that I shared last week, i discuss maha bhandasana and the advanced seated asana in the second half of the post. i also have an evolution of Ashtanga Advanced series in the works.

Musings About an Ashtanga Asana Practice from Twenty-something to Forty-something
by Philippa Asher

"I discovered the Ashtanga practice in my late twenties.  It was incredible.  It still is.  For me, the asana limb was a healthy replacement for dance.  I trained as a ballet dancer and taught for the education departments of a couple of British ballet companies, after completing my post graduate degree in teaching adults, at university.

What I loved most about the asana system, was that in the 1990s, it didn’t seem to be at all competitive and you could be any shape, size or age to enjoy it.  You just had to make an effort to show up to class (which for a twenty-something in London back then, wasn’t easy).  It was the euphoria that I felt when taking rest, that was so amazing.  I started off going to led-classes.  I decided that if I could ever master Supta Kurmasana, I would stop.  It seemed like such an unachievable goal, but gave my mind something to aspire to.  It wasn’t long before I got the bug and one class a week, turned into two and then ‘guided self-practice’.  I was was fairly supple from having been a dancer, but lacked adequate shoulder and arm strength.  I worked hard to correct the imbalance in my body and my mind discovered a whole new level of determination and drive".

yoni dandasana

"Learning asanas on a feminine body, is probably different to learning them on a masculine one.  The quintessentially Indian male frame with its broad shoulders, long back and narrow hips, is perfect for the Ashtanga asana practice.  I have narrow shoulders, substantial hips, long limbs and a small upper back.  This is great for leg behind the head work, but not so beneficial for hand balancing (where shorter limbs, wide shoulders and a long trunk, are helpful).  In order to build strength, I have had to practise, practise, practise.

I enjoyed many years of feeling invincible after my tendon grafts, but ‘overdoing it’ eventually caught up with me.  Osteoarthritis is not uncommon for athletic women, when they reach their mid-forties.  Worst affected are my wrists, from excessive weight-bearing; neck, from placing my feet on the floor in Ganda Bherundasana and big toe joints, from years of landing heavily in Chaturanga, on unsprung floors.  I now work more intelligently with the practice.  Swift Suryanamaskaras and vinyasas between sides and postures, compound my joint pain.  Elongated breaths and steadiness of mind and body, are key to my staying healthy.  Regular exercise is good for my osteoarthritis, but I have to be smart when assessing which asanas have become too extreme.  Ahimsa (non-harming), is the first yama of the Ashtanga practice after all".

Somakonasana

"Growing older makes the asana practice even more interesting.  On the one hand you become easy going and experienced, yet on the other you have to strive twice as hard, because everything requires more effort.  For me, there’s the added challenge of working with osteoarthritis.  I now have a thick mat, which acts as a shock absorber and I’m learning to be more mindful and gentle in my practice.  I don’t put my feet on the floor in Ganda Bherundasana anymore.  I could, but I choose not too.  My ego still entices me to push to the limit, but wisdom now says ‘go to the point where you are steady and calm, you want your body to last a lifetime’.

Mahabhandasana

"I practise Ashtanga asana, because it makes me happy (as do the other limbs).  The ‘series’ doesn’t matter.  Ultimately it’s quality of intention, rather than quantity of poses that count. The asana practice is simply to lead us towards the higher aspects of yoga philosophy, so that we can access our true Self and be purified from the afflictions of our human condition.  We’re aiming to radiate joy, modesty, generosity, honesty, wisdom, humility, contentment, peace and kindness – to be free from the clutches of material and emotional life.  For some of us, traveling through several asana series and back again, might be requisite for our spiritual journey.  Guruji shared however, that others might attain samadhi, by simply practising half Primary Series".

~ abridged version appeared in Pushpam magazine, Summer 2016

Philippa's website http://ashtangaphilippa.com/

The above photos are screenshots taken from Philippa's Advanced B video that i shared last week. The mahabhandasan discussed below comes up at 23:11

I have a friend who is always talking about Philippa's workshops, here's a look inside her room.

The above video is from Philppa's homestay/retreat centre in the Western Ghats, India

LINK to website

Mahabhandasana

Unfortunately I can't find any instructions from Krishnamacharya for maha bhandasana in either part of Yoga Makaranda, it does also seem to be referred to as mula bhandasana however and we find that listed in Krishnamacharya's table of asana from Yogasanagalu 1941

Yogasanagalu translation

http://grimmly2007.blogspot.jp/p/yogasanagalu-translation-project.html

In the table of asana Mula Bhandasana is listed as having 14 vinyasas, the state of the asana being nomber 8, Ubhaya kumbhaka is indicated.

So 14 vinyasas to and from samasthithi, vinyasa 8 being the state of the asana, ubhaya kumbhaka meaning that kumbhaka Holding the breath in or out) can be taken after either or both the inhalation and exhalation.

NOTE: 

The Ashtanga vinyasa count isn't rocket science, we can invent or reinvent (there are supposed to be 84 thousand or million asana remember) our own asana and counting the inhalations and exhalations to and from the state of the asana will give us the vinyasa count and the state of the asana.

NOTE 2 : CAUTION: 

This is an ADVANCED posture, Krishnamacharya listed it in the PROFICIENT group, therefore you should have a good degree of proficiency in postures that perhaps lead to this before you even consider attempting it. Janu sirsasana for example you want to be comfortable in Janu Sirsasana C as in able to stay not just for Sharath's speedy count but for five to ten long slow breaths, also proficiency in Badha Konasana certainly and Viranchyasana B for that matter. It may well be that you are able to get yourself into some semblance of the posture but you could still be buggering up your knees. I practiced twice a day for three years before I attempted it and that was probably a couple of years too soon. perhaps none of us have any business exploring postures like these , however long we practice, it may well be that our knees and hips weren't designed for them.

See perhaps my earlier post 

Convince me Krishnamacharya are there any serious benefits to Leg behind head postures?

Krishnamacharya doesn't mention maha bhandhasana (mulabhandasana) in Yoga Makaranda but to all of the advanced postures he usually mentions a benefit, generally relating to one or more chakras being activated, here we would perhaps expect muladhara cakra to be perhaps affected. But surely one might expect a single heel pressed against the rectum as in say janu sirsasana B to be more effective than here where with two heels the pressure in the area seems less direct. However in most of the advanced asana where Krishnamacharya mentions Muladhara cakra the cakra is being affected by pranayama not by the pressure of the heel ( he mentions muladhara cakra in relation to advanced leg behind head postures for example Kapilasana) which seems more intended to fix the focus of attention, prana follows the mind (attention) theory. Mahabhanda, a mudra involves all three locks, mahabhanda, uddiyanabhanda and jalandhara bandha, we can see Krishnamacharya below with his chin down in jaladhara bandha, the drishti is of course nasagra, the tip of the nose. Just as there are mudra versions of many asana, mahabhandasana seems to be an asana version of the mudra which can of course still be practiced as a musra as krishnamacharya clearly does though engagement of the the bandhas, focus on the appropriate cakra and the practice of kumbhaka.

Krishnamacharya maha bhandasana

Another of Philippa Asher's  articles appears in Ashtanga yoga magazine on the history of Ashtanga, she spends a good part of the article discussing Krishnamacharya and even mentions Krishnamacharya's 1941 Yogasanagalu (translated at the top of the blog).

Ashtanga Yoga: A Brief History and Overview

While looking for a photo to slip in here I came across Philippa's maha bhandasana

which reminded me of Krishnamachrya's and the old Proto Siva seal from Harupa.

There is a short treatment on seal here

http://varnam.nationalinterest.in/2007/07/the_posture_of_proto_siva/

Here's Pattabhi Jois assisting Graeme into maha bhandasana

My favourite mula bhandasana photo.

Chuck miller mahabhandasana

Krishnamacharya getting into maha bhandasana in the 1938 video below
(3 minutes in).

Pattabhi jois leads this advanced demonstration through Mulabhandasana from 56.00

Pattabhi Jois patting Maty Ezraty on the hip, telling her that the hands go there not in namaste

Maty Ezraty Mula bhandasana

Tim Miller setting up for Mulu bhandasana. Pattabhi Jois had just mentioned his back wasn't correct and to set up again

Tim Miller mula bhandasana

Chuck Miller Mula bhandasana

Richard Freeman setting up from Nahusasana A ( Mulabhandasana variation)

Richard Freeman and Chuck Miller Nahusasana A ( Mulabhandasana variation)

Chuck Miller  Nahusasana B ( Mulabhandasana variation)

Richard Freeman  Nahusasana C ( Mulabhandasana variation).

I explored maha bhandasana myself (see below) for a while back when I was dabbling in Advanced B, it didn't get much better than this (below), the ankles turned well enough but my knees are nowhere near as far apart as Krishnamacharya's nor am I sitting as low, an interesting posture though and it was designed no doubt for exploring kumbhakas. Around the time I started exploring Advanced B I went to study with Ramaswami and lost some of the asana Madness. I tend to be a bit dismissive of Advanced postures these day, mainly because they seem to be used for marketing and promotion along with a short comment or meme perhaps to try to justify the posture in the attractive location... as 'inspiration', it's a little disappointing, usually the postures chosen are of the arm balancing variety. However, it's the more advanced seated postures that I find most interesting (see the screenshots from Philippa's video above). I'd rather get a sense of the stillness of a maha bhandasana, a yoga dandasana or yoni dandasana in a quiet room ( see THIS post) than circus tricks in a rain forrest or central Tokyo. That said the breath in Jessica Walden's arm balances takes mine away (see THIS post) .

Mula bhandasana (maha bhandasana)

and it's variations ( Nahusasana A, B and C )

Drishti Nasagra - Nose

Mula Bhandasana                            Nahusasana A

Nahusasana B                                   Nahusasana C

While googling maha bhandasana I came across a photo of Philippa in a photo she labels maha bhandasana prep, I love this picture, with 84 million asana, surely this must be one of them and have it's own name, it has poise and balance and makes me want to explore it myself, inhabit it a while and see what it has to offer the breath.