grimmly2007.blogspot

  • Subscribe to our RSS feed.
  • Twitter
  • StumbleUpon
  • Reddit
  • Facebook
  • Digg

Wednesday, 6 April 2016

David Swenson on Modification at Ashtanga Yoga Confluence 2016 + Full Primary Also 'How it all began' from Asia Yoga Conference 2015

Posted on April 06, 2016 by ravi

David in laugh a minute form (and some) at the confluence this year

Thank you to Reid Robison for sharing these.


Also full Primary

And this is excellent from Ashtanga Yoga Hong Kong 
( supposedly, David lived in Hong Kong in the 80s)

David Swenson "Life, Love & Living with Purpose" at the Asia Yoga Conference, 14th of June, 2015



I pretty much started with David Swenson's books and DVDs and would still argue that his Ashtanga manual is the only Ashtanga book you need for the first couple of years...., then pick up Pattabhi Jois' Yoga Mala when you're ready and a couple of years later perhaps, Krishnamacharya's Yoga Makaranda and take a look at the Yoga Reading list page at the top of the blog

In the beginning, I practiced David's Ashtanga Short Forms (at the back of his book ) for six months to a year, until I picked up Sharath's speedy Primary and was able to hurtle through the series in an hour. Interestingly perhaps, nine years later,  I'm back to a short form
Proficient Primary Project. #proficientprimaryproject (ongoing)


David has a new DVD and my dear friend Maya over at Mayaland has put up an excellent (as ever) review.


DVD REVIEW



David Swenson’s new dvds are terrific!
by maya in reviewsJanuary 26, 2016
http://mayalassiter.com/2016/01/david-swensons-new-dvds-are-terrific/


Read More
Posted in David Swenson | No comments

Friday, 1 April 2016

April 2016 Newsletter from Srivatsa Ramaswami— अध्यास (adhyāsa)

Posted on April 01, 2016 by ravi
From the newsletter 

"D If the goal of all these philosophies is to bring home the truth about the self then why are there so many philosophies and so many texts.

G; There are subtle differences among these darsanas but this is the main theme. We may talk about the differences  on another occasion. There is agreement in all of them that there is superimposition or adhyasa of the self on the non self and vice versa.

D: How do they try to overcome this?

G: By study, then analysis and deep contemplation, the procedure is well documented by Patanjali in Yoga Sutras. In Yoga the drisya atma or what is considered erroneously as the self which however is not the self is said to be made of 24 tatwas of prakriti as I explained at the beginning of this discussion. The Yogi first develops the capacity for deep unwavering concentration and applies to himself or whatever is commonly considered as oneself. The contemplation goes on step by step in four stages. The first stage is the contemplation  on the physical or gross body made up of the 5 bhutas. Then the yogis concludes that the physical body is not the self, that adhyasa is removed. Then he/she gets into the next layer the subtle layer, the subtle body (sukshma sarira) and concludes that the subtle body is not the self. Then the buddhi tatva which alone helps to understand and considered it as the non self as something having no consciousness. Then finally he contemplates on the permeating three gunas or mula prakriti and removes the last layer of adhyasa. What remains is the pure self, the real self and with that the multi layered adhyas is removed"

April 2016 Newsletter from Srivatsa Ramaswami—  अध्यास (adhyāsa)



अध्यास (adhyāsa)

The sanskrit term adhyasa is used extensively by Indian philosophies especially vedanata and more particularly the advaitins. Patanjali also uses the term adhyasa in the course of his yoga teachings. What is adhyasa? Adhyasa is aasa with the prefix adhi. Yogis are very familiar with aasa  which is to place something. The root “aas” leads to the familiar term “Asana” that is to place something, like the way one places oneself  as in padmasana or lotus pose in which one places oneself on the floor with the legs crossed. Or keeping the ankles one on top of the other as in Siddhasana or crossing the legs with one knee on top of the other as in gomukhasana. Then with the prefix ni it become nyaasa meaning 'placing something permanently‘. And we are familiar with the term 'vinyasa (vi+ni+aasa) which would be placing something differently within prescribed parameters.

Adyasa (adhi+Asa) is a term used frequently by vedantins especially the advaita school. The prefix 'adhi' would mean putting something upon another indicating dominance on the object on which it imposes. 'adhyasa' is commonly translated as 'super-imposition'. Patanjali uses this term in one of his sutras

'शब्दार्थप्रत्ययानं इतरेतरध्यासात्संकरः...
śabdārthapratyayānaṁ itaretaradhyāsātsaṁkaraḥ.' 

With respect to an existing object there are three aspects, the object itself (artha), its name or sabda, like cow in English of 'gow' in Sanskrit and the  mental formation of the object called pratyaya or cittavritti. These three are distinctly different. There is confusion (sankaraH) because normally a word, its intended object and mental impression or idea conveyed  are superimposed (adhyasa) on one another . The Yogi with unwavering (aviplava) concentration (samadhi/samyama) is able to distinguish the three aspects and contemplate on one of the aspects of  the object, the word signifying the object,  the metal impression or the object itself.. 

The same approach is taken up by the vedantins and yogis with respect to oneself. The main  refrain is that invariably one superimposes the self on the non-self. How is it possible, we have a clear distinction between you and I.  I know who I am and know you as distinctly a different  entity with different characteristics and there is no question of either superimposing me  on you, nor you on me, the object and the subject. It is like superimposing light on darkeners and darkness on light which all of us know is impossible. But what is the superimposition these darsanas are talking about.

All creatures intuitively consider the body as the complete self and roam about the world to get what would give happiness (sukha prapti) and avoid what would give unhappiness (duhkha nivritti). There is no difference between an animal and  human being in this regard,-- I would like to spend time with a friend and avoid a foe. A cow would approach a person who would have some green grass in his hands and offering to the cow but run away from some one with a raised stick in hand. 

According to the various nivritti philosophies there is superimposition of the real self on the body and a superimposition of the body on the real self, What is this real self? Here is a simple discussion

The Guru and the disciple chant a peace sloka

Disciple: What is this adhyasa about oneself?

Guru: Let us try this simple approach, What are you doing now

D: I am talking to you

G: What are you experiencing?

D: I am experiencing that I am talking

G: There are two 'I' s in your statement, which I is the real I

D; No I do not know

G See, the first ‘I’ experiences everything that is going on in the mind or citta. It does not undergo any change any time. That being, that which experiences,  is the subject, nothing else is subtler than that. I am the subject, the awareness. 

D: What about the second 'I'

G: The second 'I' that which acts, is considered as the self or ‘I’ by all creatures. but that ‘I’ is part of what is experienced by the first I, and hence part of the object itself. It is made up of various aspects of the material world. According to Yogis this 'self' or what is seen as the 'self' is made up of the three gunas, five bhutas, 10 indriyas, three internal organs as mind, ego and the intellect. What we consider as ourselves is really an object and the real self is pure unwavering consciousness.

D: Where is this 'adhyasa' or superimposition?

G In one way the superimposition of consciousness or awareness on the body complex explained earlier is adhyasa. The human body that moves around due to the pranas does not have awareness but appears to have consciousness. According to these darsanas, none of the 24 tatwas in the body has consciousness. All the cells in the body including the brain cells do not have consciousness and the awareness is not a product of matter or prakriti either. They explain, by following a step by step discussion, that consciousness can not be a product of matter.
So superimposing consciousness on the body/mind complex is the adhyasa

D: Is there another adhyasa

G:Yes. The atman or the pure awareness which should be called as the real self or I, the first ‘I’ in your statement has no body or mind and none of the prakritic tatwas like matter. However we consider the Self to have a body mind etc and thereby superimposing the body/mind complex on the unvarying awareness as the self as all creatures do all the time

D: So this adhyasa is there in all creatures.

G Yes in this regard there is no difference among animals, human beings or even divine beings. But this adhyasa can be removed say the samkhyas yogis and vedantins. The samkhya karika, the Yoga sutras the upanishad have this-- the removal of adhyasa as their main teaching. The tool that is available but only to human beings is samadhi/samyama. With intense concentration the yogi is able to see the difference between the self and the body as clearly as I am able to see the difference between I (subject) and you (object). 

D If the goal of all these philosophies is to bring home the truth about the self then why are there so many philosophies and so many texts.

G; There are subtle differences among these darsanas but this is the main theme. We may talk about the differences  on another occasion. There is agreement in all of them that there is superimposition or adhyasa of the self on the non self and vice versa.

D: How do they try to overcome this?

G: By study, then analysis and deep contemplation, the procedure is well documented by Patanjali in Yoga Sutras. In Yoga the drisya atma or what is considered erroneously as the self which however is not the self is said to be made of 24 tatwas of prakriti as I explained at the beginning of this discussion. The Yogi first develops the capacity for deep unwavering concentration and applies to himself or whatever is commonly considered as oneself. The contemplation goes on step by step in four stages. The first stage is the contemplation  on the physical or gross body made up of the 5 bhutas. Then the yogis concludes that the physical body is not the self, that adhyasa is removed. Then he/she gets into the next layer the subtle layer, the subtle body (sukshma sarira) and concludes that the subtle body is not the self. Then the buddhi tatva which alone helps to understand and considered it as the non self as something having no consciousness. Then finally he contemplates on the permeating three gunas or mula prakriti and removes the last layer of adhyasa. What remains is the pure self, the real self and with that the multi layered adhyas is removed

D: What of Samkhya and the upanishads

G; The samkhyas do not give the details of practice but they also give a similar approach. By contemplating on the 24 prakritic tatwas one is able to conclude without an iota of doubt that the real self in not the body, the body is not of the self, I do not exist in this body (na me naaham naasmi iti apariseshah)

D Then the upanishads. Why are there so many upanishads, If all the upanishads are meant to lead us to understand the self why so many of them

G;. Because there were many teachers and students with different capabilities and different questions. So they go about explaining the ultimate reality about the self in so many different ways. In Taittiriya upanishad, they consider the human body/mind complex as made up of five layers or kosas and try to remove each one of the adyasas to be able to directly see the true nature of oneself. The Mandukya upanishad considers the three states of the mind, the waking, the dream and then the deep sleep states all of which are only experiences of the true self and help the abhyasi transcend all the three stages of experience and reach a fourth unique state called turiyaa state in which  all the adhyasas or superimposition on the real self are removed. The Bhagavat Gita reminds that the same unwavering consciousness experiences different sages of life, childhood, adulthood, old age and life beyond.

D; Thank you Guruji, let me think about it, is there any other adhyasa/

G Superimposing the illusory Universe on the never changing brahman is the mega adhyasa according to the advaitins

D Thank you Guruji please let us chant the shanti mantra (the peace chant)  to end the discussion. I think I need some peace

*

I returned to US mid March after a four month stay in India. I have a few more programs coming up in April and May. In April I will be teaching the 100 hr Vinyasakrama Advanced TT program at One Yoga, Saskatoon in Canada from May 16th for 15 days. I understand that the registration is full. Here is the link

http://saskatoonyoga.com/events/title-100-hr-advanced-teacher-training-in-vinyasakrama-yoga-with-srivatsa-ramaswami



I am planning to teach the same program in US in August September at LMU. I think the registration is on, and here is the link. It is a 15 day program, the only 100 hr program I will be doing in USA this year

https://registration.xenegrade.com/lmuextension/courseDisplay.cfm?schID=3872 

And then in September October in Madrid, Spain@ Dhara Yoga
http://www.dharayoga.es/

There are a couple of short identical weekday programs in Connecticut and North Carolina
Here are the links

https://clients.mindbodyonline.com/classic/home?studioid=280820


http://bluepointyoga.com/workshops

I am scheduled to do a couple of short programs in Germany in August September


http://www.sriram.de/yogaweg/seminare/2016-Yoga-Yogawegtreffen.pdf

http://hathavinyasa-schule.de/#srivatsa-ramaswami


A three day program teaching Katha Upanishad and Hatayogapradipika in Chicago in September

http://www.yogamind.com/index.shtml#schedule

Read More
Posted in Ramaswami newsletters | No comments

Wednesday, 30 March 2016

My Krishnamacharya's Original Ashtanga Yoga Book is based on the tamil edition translation Yoga Makaranda by Sri T. Krishnamacharya (Written in Kannada)

Posted on March 30, 2016 by ravi
My Krishnamacharya's Original Ashtanga Yoga Book is based on the tamil edition translation Yoga Makaranda by Sri T. Krishnamacharya (Written in Kannada)

My acknowledgement page



Tamil Translation by Sri C.M.V. Krishnamacharya (with the assistance of Sri S. Ranganathadesikacharya)
Kannada Edition 1934 Madurai C.M.V. Press Tamil Edition

Given the gratitude i feel and respect i havr for thevintegrity of the original translators of Yoga Makaranda, should they make the request, I would be more than happy to remove the print edition if they were to feel it is not beneficial, as well as discuss removing the free pdf edition.

It is not related to the more recent publication See Letter.



The book is an attempt to make Krishnamacharya's approach to asana presented in the book more accessible (especially to the Jois Ashtanga Vinyasa community) but NEVER  intended as a substitute for the original.

The book came about in response to the need to bring my notes together for a short series of workshops on Krishnamacharya where I stripped Krishnamacharya's asana instruction down to the bear minimum for pedagogic purposes. I was asked to make the notes available as well as a later print edition with clear pictorial representation of the vinyasas in the manner in which we are familiar in Ashtanga vinyasa circles.

My book continues to be available, free (always) to download, at my Free Downloads page (link below). As is the original along with Yoga Makaranda part II, our translation of Krishnamacharya's yogasanagalu, my earlier Vinyasa krama book and other resources.

Free Downloads
http://grimmly2007.blogspot.jp/p/free-downloads.html

From first publishing the print edition I have included a 50% price reduction to bring the book virtually down to cost price, it's made available for those who still prefer books in Print.

Amazon do not allow me to discount the book and some buy the text from Lulu at the reduced price and sell it at the list price or higher via ebay. When kindly sharing links to the book may i request that you remind readers that it is half the price from  LuLu and always free to download from my blog.
Read More
Posted in Krishnamacharya's Original Ashtanga Yoga, Plagerism, Yoga Makaranda | No comments

Tuesday, 29 March 2016

Pushpam Yoga Magazine published by Certified Ashtanga teacher Hamish Hendry of Astanga Yoga London. (also My first visit to a Mysore room).

Posted on March 29, 2016 by ravi
I was sent a few pages from Pushpam Yoga Magazine recently, a smart, nicely written, chewy - in a thought provoking sense, quarterly from a team with strong connections to Certified Ashtanga teacher Hamish Hendry and Ashtanga Yoga London. Their website mentions that they now ship globally and with issue two coming out next month it's worth checking out the site and perhaps grabbing one of the last copies of issue one.

Nice photographs, an interview with Tim Miller that I particularly enjoyed conducted by Hamish himself, an eclectic, curious and at time welcomingly unexpected collection articles/contributions ranging from philosophy, asana, meditation, an interview and book review even a recipe.


from the website

"Pushpam is a quarterly (or so) yoga magazine. It is published by Hamish Hendry of Astanga Yoga London. Focusing on yoga beyond asana, regular contributors include Sharath Jois, Hamish Hendry and Genny Wilkinson Priest. Interviews with some of the most experienced senior certified Astanga teachers feature in every issue".




Letter from the publisher
Pushpam means flower in Sanskrit. For those who like to be pernickety the “sh” is in retroflex with the tongue curled back.

In India, a flower is used in ceremonies as an offering to God, marking special occasions or even to mourn the dead. A flower, in the full of its life, yields nectar and often turns into fruit and seed. Yet its existence is temporary for at some point it perishes and returns to the ground from whence it came.

It is both the beginning and the end.

In our urban lives a flower popping through a concrete pavement’s crack reminds us that beauty and life are not far away. I hope this magazine will be an offering and sow many seeds".

Hamish Hendry – November 2015


Hamish Hendry, John Scott The Yoga Place, 1980s? Crete
Photo curtesy of Kristina Karitinou-Ireland




Difficult to read the table of contents on the website, here it is for Issue one.



Table of Contents
(note: there tends to be full page photos between  many of the articles)

Letter from the publisher p 7

A more Spiritual Life - by Sharath jois - p 9

How to lose an Argument - Hamish Hendry - p 10

In conversation: Two Certified teachers - p 11
Tim miller and Hamish Hendry

Some things I have learned living with a 
degenerative spine condition - Dimitris Thomopoulos p-  15

What is the purpose of studying Yoga Philosophy - Luke Jordan - p 16

What is the purpose of asana - Daniel Simpson - p18

Yoga and Ramadam: Are the compatible - Rousol Altimimi - p 22

Gos in Patanjali's yoga Sutras - Ruth Westoby - p 24

Unravelling the yoga and eating disorder tangle - Genny Willkinson-Priest  - p 27

Meditation;: How to slow Thinking 
Stop Worrying and Stay Awake - SuYen Tan (London Buddhist Center) - p 32

Western Meditation and Astanga Yoga practice
- A personal Experience - Doug Taukobong-Olsen - p 34

Lost and Found:
Reclaiming the magical World of Astanga - Esther Geis - p 38

Gentling the Bull by Myohyo-Ni:
A book review - Inna Constantini - p 40

The simplicity of Socca - Tom Norrington-Davis (chef) - p 42




Link to website

http://www.pushpam.co.uk/

and on facebook

Link to facebook



See also this review by Genny Wilkinson- Priest's of Hamish Hendry's delightful book Yoga Dharama

http://www.elephantjournal.com/2014/03/dharma-yoga-a-must-read-for-avid-yogis-wanting-more-genny-wilkinson-priest-book-review/

Reading Yoga Dharama outside the farmhouse on my 2014 five-day retreat in Spain 


I visited Ashtanga Yoga London back in 2008, it was my first visit to a Mysore room. I've just spent ages looking for the original post, turns out there were three and so decided to bring them together here, was interesting reading these back over eight years later.



My First (and second )Mysore class
Visiting Ashtanga yoga London

Monday, 22 September 2008

Thinking about going to your first Mysore class? 

This morning I went to my first Mysore class. I've been practicing Ashtanga from books DVDs etc, 6 days a week, for a year and a half but never had a lesson class or workshop. I often thought about it but the longer I didn't go the more apprehensive/uncomfortable I was about going. I settled for the excuse that there wasn't anywhere nearby. I figure I'm not alone in this so for anyone else shala shy, here's how it went.

I took the train into London and went to Ashtanga Yoga London for Sunday Mysore. Make sure you write down the door number if you go as it's most inconspicuous. I eventually found the place after walking up and down Drumond Street a couple of times. Buzzed in I was met at the door. Louise, friendly, asked if I knew the series and if I had any injuries and told me to be sure to say if I found an adjustment too much. I guess it's a small Shala, maybe room for 15 to 20 mats. Not much room to change but I'd come with my yoga shorts under my trousers so no problem. I had been concerned about the etiquette for placing my mat but they very cleverly have these little Logos all over the floor that you centre your mat on. And there was a wall! Each mat is next to a wall, something I'm used to having at home, that made me more comfortable although I didn't need it.

Felt so strange striped down to my shorts walking through the room to put down my mat, but then you start on the oh so familiar Surys and you're in your own world again. Occasionally I would notice that someone would quietly chant before they started their practice, liked that, nice way to get yourself in the right frame of mind, I might learn it this week. I'd thought I would get to see a bit of other peoples practice but I was facing the wall and it didn't feel appropriate to be looking around. Felt like such a lack of pretension, everyone just getting on with their practice. Loved the sound of the breath in the room but it was so hot that I found it hard to breathe and my breath was all over the place for most of the session. I'd expected it to be hot but not this hot, I've never sweat so much in my life. There were pools of sweat on my mat, half way through I moved back up into downward dog and a stream of sweat would start coming out of my Nike's. I weighed myself later and worked out I'd sweat 3-4 kilo's. Foolishly I'd just taken my sticky mat, next week I'll take the rug or maybe buy a Yoga towel (any advice?).

Adjustments were excellent and if you've only ever practiced at home then this is really why you should go to a Shala. L and R would come around the room and give me a little bit more of a twist here a press on the small of my back there, it made such a difference. The occasional lift and support giving focus and finally a lift in my backbend that was just fantastic. All done calmly, professionally and effectively. Did wonder about the etiquette though. Wanted to say thank you as they adjusted me but felt I should be focusing on my breath and then they had moved on before I could say anything, though I managed to thank them before I left.

Got through my practice, Jump backs and through went well on the whole but then my mat was so sweaty I was just sailing though....no literally "life on the ocean waves" sailing through. After backbends you go into the other room which is cooler and a relief, Savasana was glorious. 

And that was that, changed quickly and rushed out into the fresh air thinking about how good a bottle of cold water was going to taste.


follow up post

Second Mysore class

Monday, 29 September 2008




Had my second Mysore class Sunday.This is by way of an update to that post 

Was still really hot and I was sweating like crazy again but better prepared so less embarrassed about it. The microfiber towel worked pretty well, though if I hadn't ordered a Yogitoes I would have bought another it along for finishing. Took along a nice clean fluffy towel for adjustments too which again made me feel a lot better. Could jump back on the Microfiber but gave up on jumping though cleanly and just settled for jumping to sit. Have you noticed on my video's how it takes me a while to get myself set to lift off? That's OK at home but I don't feel comfortable doing that in the Shala so just went straight into it. Probably a good habit to get into. Talking of habits.....

Made a bit of a hash of my practice, was much more focused last week. All my bad habits came out, forgetting which leg I had started with or starting with the wrong leg, creative breathing, missing out a vinyassa or two. Upavishta konasana to Setu bandhasana was a mess. I think in my home practice I tend to rush through that section, especially on a work day. But it's kind of like fast forwarding through a movie. You get to the next good bit (backbends) but lose the whole pace of the movie. And while that section might not seem as challenging as the Mari's or as dramatic as the Kurama's there's a lot of hip opening and prep necessary for 2nd.

Followed Sharath's DVD this morning and going to do that all week to add a little discipline.

Amazing adjustments again, Mari D in particular was an eye opener. Been able to just manage it for a little while now but Sunday L. just kept turning me further and further into it until I could grasp my wrist rather than just my fingertips. Felt like if she let go my legs would be spinning round and round cartoon fashion.

Kind of blown away by the whole adjustment thing. Seems so generous. It's one thing to stand at the frount of a room and say do this, do that but to get down on a sweaty mat and help our sweaty bodies into these asanas just seems such a generous selfless act. A big THANK-YOU to all the ashtanga teachers and assistants who do that every morning, you're wonderful.


2nd follow up post

Owning my practice

Wednesday, 8 October 2008

I went to a Shala for the first time three weeks ago after a year and a half of self-practice (see posts below) and it was great, very beneficial and no doubt just what I needed. I was made aware of some of the physical possibilities of my body through adjustments. Pulled up gently on a couple of asanas I'd missed out and came away with a mental list of things to work on; getting the sequence of the last third of primary right, focusing on the correct sequence of breath, chakrosana etc. I've been working on all these elements for the last couple of weeks.........thing is, my practice doesn't feel mine anymore. Or less mine.

I started practicing Ashtanga alone at home with a book from the library, and then a DVD, more books more DVDs, youtube and the Internet. Asana that I thought were impossible for me, for my, mid 40s body have become possible. All the time it's just been me on my mat, alone in a room early each morning, my practice. It's followed my mood and inclination, will, desire, frustration, stubborn determination, whatever.

Somehow now, after visiting the Shala, it feels a little like I'm practicing for someone else, my teacher? I need to work on this or that, improve this or that (not because I've been asked to but these are areas that have been pointed out and I feel obliged to work on them). Those elements to work on didn't come from me, didn't arise in me. Perhaps they should have done and done so a long time ago perhaps some things I might never have noticed on my own. Don't get me wrong, I'm so very grateful for the attention, the adjustments, advice, suggestions it's just that each morning this last week it's felt a bit of a chore, my hearts not been in it. I feel more distant from my practice, less involved.

No doubt it will pass and it's just an adjustment but it's strange no? Wondered if anyone else had felt the same. And then I began to wonder if there's something similar when someone changes teachers and if so what that says about the teacher / student relationship ( I used to be a teacher ). And when you go to India, to Mysore, does it feel more or less your practice, more Guruji's perhaps, more the traditions practice. Or does it always feel your practice.

Perhaps if you began learning Ashtanga in a Shala it's different. If you give yourself over to a teacher to the tradition it's still your practice but in a different context. For me there was just this style of yoga that appealed to me, that appeared graceful and yet powerful, beautiful, perfect. I looked at it as practiced by John Scott, David Swenson, Richard Freeman, Sharath, Lino, Kino. And it's the same practice but each time subtly different and sometimes not so subtle. A personal expression...... there you go, a personal practice. As far as I know they all learnt from teachers and studied in Mysore and yet all have their OWN practice. So perhaps I'm just over reacting and it will pass, I hope so because I know I can gain so much from visiting the Shala and perhaps one day, a trip to mysore. And yet...........?

Just read over this and I'm not sure this is what I'm trying to get at, but it's a start.......
Read More
Posted in Ashtanga yoga london, Hamish Hendry, Pushpam | No comments

Asymmetric asana approached as mudra. #proficientprimaryproject

Posted on March 29, 2016 by ravi
5. Asymmetric asana approached as mudra



The Vinyasa serves the asana, it should surely lead us towards the asana rather than away. Too often we focus on getting into the posture rather than inhabiting the asana, why seek steadiness and comfort if in five rushed breaths we hurry back to our beloved Vinyasa. Surely this wasn't Krishnamacharya's intention when he presented the Vinyasa approach nor any of his students either. Krishnamacharya wrote of longer stays, he indicated long slow breathing (as did his student Pattabhi Jois in interviews), kumbhaka in most asana he presented, more often than not he appeared to approach asana not unlike mudra.

Mudra unites the mind and the body, in the previous post I presented Maha Mudra that we might inhabit before folding forward into the familiar Janu Sirsasana, where we also might remain longer; forward folding postures welcome the longer exhalation that characterises mudra.

Maha Mudra before folding into Janu Sirsasana

Just as with Janu Sirsasana we might pause before folding forward in other asymmetric asana and approach them as mudra, Tirieng Mukha Eka Pada Paschimattanasana and Ardha Baddha Padma Paschimattanasana for instance, maichiyasana also (see tomorrow).

Mudra approach to Ardha Baddha Padma Paschimattanasana 
Mudra approach to Tirieng Mukha Eka Pada Paschimattanasana





Above, mudra approach to Janu Sirsasana A, B and C


Pause the Vinyasa count before folding, slow the exhalation for the mudra to twice the length of the inhalation 8 -10 seconds for the former, 4 - 5 for the later, tuck in the chin for jalandara bandha, engage uddiyana bandha at the end of the exhalation which in turn activates mula bandha.

Alternatively take your kumbhaka after the inhalation, 5, 10, 20 seconds perhaps with mantra (pranayama mantra) stay for five minutes or 6, 12 even 24 breaths then fold forward into the more familiar asana and take the shorter kumbhaka after the exhalation. Repeat directly on the other side or take your Vinyasa and enter the second side following a welcome Urdhva Mukha Svanasana.
We might choose approximately 10 asana to practice this way or in our regular practice we might choose one asana only to inhabit longer, a different posture explored each day or perhaps each week.

see the permenant #proficientprimary project page at the top of the blog
http://grimmly2007.blogspot.jp/p/proficient-primary-project.html
Read More
Posted in Ardha Baddha Padma Paschimattanasana, Asymmetric asana, Tirieng Mukha Eka Pada Paschimattanasana | No comments

Monday, 28 March 2016

4. Maha Mudra (great seal) ‪#‎proficientprimaryproject‬

Posted on March 28, 2016 by ravi
Maha Mudra (great seal) ‪#‎proficientprimaryproject‬ 


Essentially the point of the Proficient Primary Project is to approach asana as mudra.
Traditionally hand gestures accompanying Mantras, Krishnamacharya's third son T.K. Sribhashyam informs us that mudras later entered yoga as full body postures, the intention was always the same however, to unite the body and mind.

Mudra have always been executed with Ujjayi breathing, the exhalation tends to be longer than the inhalation, the breathing is slower than in regular asana practice, a point of focus is maintained, kumbhaka is employed, traditionally after exhalation and bandha are employed. Maha mudra is called the great seal because mula bandha, uddiyana bandha and jalandara bandha are all employed effectively.

Ramaswami, following Krishnamacharya, encouraged us to practice maha mudra for five minutes each side every day, it was to be considered a key element in our daily practice. However mudra can be practiced at any time, I will often practice it in the evening followed by baddha konasana then settle into padmasana for pranayama and a Sit.

Maha mudra may also be practiced in regular Ashtanga practice, pausing the count for six, twelve perhaps twenty-four breaths before folding into Janu Sirsasana.


In the next ‪#‎proficientprimarypost‬ I'll present other asymmetric Primary postures that might be practiced/explored as mudra.


see perhaps my earlier full body mudra post.
http://grimmly2007.blogspot.jp/2010/04/full-body-mudra.html


Appendix

See the proficient primary project page for more


About the Proficient Primary Project




Proficient Primary Project. #proficientprimaryproject

If advanced asana can be endlessly promoted through Instagram then perhaps we can also promote Primary asana and the proficiency we can explore there, in postures that most can approach. 


On Instagram https://www.instagram.com/grimmly2016/


In Krishnamacharya table of asana in Yogasanagalu (Mysore 1941) he included three groups of asana, Primary, Middle and Proficient. Primary and Middle were turned into the Primary and Intermediate (2nd) series by Krishnamacharya's student Pattabhi Jois mostly following the order of the table. The proficient group with other asana Krishnamacharya was teaching at the time came to be taught by Pattabhi Jois as Advanced series A and B (later 3rd,4th, 5th and 6th series). I'm choosing in this project to think of proficiency as an approach to asana rather than a category of asana. Few will manage to practice all the asana Pattabhi Jois and Krishnamacharya presented, Krishnamacharya never thought it necessary that we should ( although perhaps a few of us). Krishnamacharya never it seems intended asana to be fixed in a series, most of us will never complete 2nd series, many will not complete Primary. However if we maintain our practice for a number of years, even if we practice only half the primary group or series of asana along with our pranayama we can still develop proficiency in our asana practice, explore the asana we have in ever more subtlety of breath and bandha and focus. Advanced practice can look like this.



It is not necessary to switch ones whole practice overnight ( if at all) to longer, slower breathing with longer stays and perhaps kumbhaka, resulting in less asana practiced. We might begin with just one asana, a different asana each practice. Regular Ashtanga of course already includes longer stays in finishing.


Sharath - Baddha Konasana

I had thought about making my earlier post on 9 years of home practice  my last (not for the first time) but perhaps this might make a nice direction for the blog, exploring Primary asana and perhaps some more basic Intermediate series/group asana with more proficiency. Not so much getting lost in technique and alignment, which can be yet more distraction but exploring the possibilities of the breath ( it may well be that the breath improves the alignment which in improves the breath).

And perhaps to look again at the so called Ashtanga Rishi approach project, less asana with longer stays but this time with longer, slower breathing and Kumbhaka just as Krishnamacharya presented in Mysore in the1930s when Pattabhi Jois was his student.

Advanced asana aren't intrinsically bad, it depends on our motives and intentions in practicing them, I had as much Asana madness as anyone.

from my previous post....

These (advanced ) asana were fun to explore over a period of three to four year but at some point it may feel time to put the toys away and look for something more. Some manage to do both of course, play/explore/research the more intricate and physically demanding asana ( and Krishnamacharya hoped a few would) and still go deeper into the practice. Personally I just wanted to breathe more slowly, which meant less asana and less asana and at my age meant less of the intermediate and advanced asana.

A hashtag?

#proficientprimaryproject

Update: In response to a question: Can I join the 'project' and use the hashtag? Yes of course , please do, add the hashtag to your own proficient primary photos/videos 


Uddiyana bandha
Most of the pictures I'll be posting in the Proficient Primary Project will show a deep uddiyana bandha, this is to draw attention to the focus on the breath (long and slow) and in particular the kumbhaka (retaining the breath in or out). Such a dramatic Uddiyana bandha as in the photos tends to be practiced on the hold at the end of the exhalation. 
Exhale fully and before inhaling draw the belly, below and above the navel, in and up. Mula bandha will follow. Hold for 2-5 seconds.
Read More
Posted in ‪#‎proficientprimaryproject‬, mahamudra, mudra | No comments

Sunday, 27 March 2016

3. Tatakamudra #proficientprimaryproject

Posted on March 27, 2016 by ravi
3. Tatakamudra (pond gesture)


Tatakamudra #proficientprimaryproject

Tatakamudra (pond gesture)

I tend to include Tatakamudra in any practice, usually before sarvangasana (shoulderstand). It can be practiced with the arms above the head, fingers entwined and turned palms outward or with the arms by the side palms downward.

As a mudra Tatakamudra can be practiced at any point in our practice or indeed, outside our regular practice.

Most of the pictures I'll be posting in the Proficient Primary Project will show a deep uddiyana bandha, this is to draw attention to the focus on the breath (long and slow) and in particular the kumbhaka (retaining the breath in or out). Such a dramatic Uddiyana bandha as in the photos tends to be practiced on the hold at the end of the exhalation. 
Exhale fully and before inhaling draw the belly, below and above the navel, in and up. Mula bandha will follow. Hold for 2-5 seconds.

Drishti/concentration: Inhalation - from big toe to the top of the head. Exhalation - tip of the nose.

Uddiyana bandha doesn't need to be this fully engaged it can be a much more subtle engagement such that it becomes possible on the retention after inhalation, indeed subtle uddiyana banddha might be maintained throughout the practice as in Ashtanga Vinyasa, engaged more fully at times depending on the asana.

Tatakamudra mudra along with Adho Mukha Svanasana (downward facing dog) are considered ideal postures for focussing on developing and exploring uddiyana bandha.




Bit embarressed to include this but here's a video of my trying to explain how I approach and experience tatakamudra in my own practice from the Yoga-Rainbow Festival here https://www.youtube.com/watch?v=o1BtOp67FKg my much loved Maria Vorobyeva (Moscow) translating


Appendix

See the proficient primary project page for more


About the Proficient Primary Project






Proficient Primary Project. #proficientprimaryproject

If advanced asana can be endlessly promoted through Instagram then perhaps we can also promote Primary asana and the proficiency we can explore there, in postures that most can approach. 


On Instagram https://www.instagram.com/grimmly2016/


In Krishnamacharya table of asana in Yogasanagalu (Mysore 1941) he included three groups of asana, Primary, Middle and Proficient. Primary and Middle were turned into the Primary and Intermediate (2nd) series by Krishnamacharya's student Pattabhi Jois mostly following the order of the table. The proficient group with other asana Krishnamacharya was teaching at the time came to be taught by Pattabhi Jois as Advanced series A and B (later 3rd,4th, 5th and 6th series). I'm choosing in this project to think of proficiency as an approach to asana rather than a category of asana. Few will manage to practice all the asana Pattabhi Jois and Krishnamacharya presented, Krishnamacharya never thought it necessary that we should ( although perhaps a few of us). Krishnamacharya never it seems intended asana to be fixed in a series, most of us will never complete 2nd series, many will not complete Primary. However if we maintain our practice for a number of years, even if we practice only half the primary group or series of asana along with our pranayama we can still develop proficiency in our asana practice, explore the asana we have in ever more subtlety of breath and bandha and focus. Advanced practice can look like this.



It is not necessary to switch ones whole practice overnight ( if at all) to longer, slower breathing with longer stays and perhaps kumbhaka, resulting in less asana practiced. We might begin with just one asana, a different asana each practice. Regular Ashtanga of course already includes longer stays in finishing.



Sharath - Baddha Konasana

I had thought about making my earlier post on 9 years of home practice  my last (not for the first time) but perhaps this might make a nice direction for the blog, exploring Primary asana and perhaps some more basic Intermediate series/group asana with more proficiency. Not so much getting lost in technique and alignment, which can be yet more distraction but exploring the possibilities of the breath ( it may well be that the breath improves the alignment which in improves the breath).

And perhaps to look again at the so called Ashtanga Rishi approach project, less asana with longer stays but this time with longer, slower breathing and Kumbhaka just as Krishnamacharya presented in Mysore in the1930s when Pattabhi Jois was his student.

Advanced asana aren't intrinsically bad, it depends on our motives and intentions in practicing them, I had as much Asana madness as anyone.

from my previous post....

These (advanced ) asana were fun to explore over a period of three to four year but at some point it may feel time to put the toys away and look for something more. Some manage to do both of course, play/explore/research the more intricate and physically demanding asana ( and Krishnamacharya hoped a few would) and still go deeper into the practice. Personally I just wanted to breathe more slowly, which meant less asana and less asana and at my age meant less of the intermediate and advanced asana.

A hashtag?

#proficientprimaryproject

Update: In response to a question: Can I join the 'project' and use the hashtag? Yes of course , please do, add the hashtag to your own proficient primary photos/videos 


Uddiyana bandha
Most of the pictures I'll be posting in the Proficient Primary Project will show a deep uddiyana bandha, this is to draw attention to the focus on the breath (long and slow) and in particular the kumbhaka (retaining the breath in or out). Such a dramatic Uddiyana bandha as in the photos tends to be practiced on the hold at the end of the exhalation. 
Exhale fully and before inhaling draw the belly, below and above the navel, in and up. Mula bandha will follow. Hold for 2-5 seconds.
Read More
Posted in #proficientprimaryproject, tatakamudra | No comments
Newer Posts Older Posts Home
Subscribe to: Posts (Atom)

Popular Posts

  • Ashtanga Advanced series? Why does the Advanced series presentations differ from the 'Original' 1973 Ashtanga syllabus
    I was asked a question about Philippa Asher's Advanced B poster and video I posted a link this week in connection to Philippa's arti...
  • Ashtanga Authorisation 1980 - Present. Includes first ONLINE teaching list (Ashtanga.com 2004) and first AYRI teachers list (2008).
    This post will become a permanent page at the top of the blog, a work in progress attempt to chart the development of the Ashtanga Authorisa...
  • There is no 'official' Ashtanga (sequence).
    I have never been to Mysore and the KPJAYI (Krishna Pattabhi Jois Ashtanga Yoga Institute) and only occasionally, and briefly at that, consi...

Categories

  • #proficientprimaryproject
  • 84 key asana
  • active movement
  • Acupuncture
  • Advanced Ashtanga
  • Advanced Ashtanga demonstration
  • Advanced Ashtanga. Advanced asana
  • advanced B
  • Advanced backbending
  • Advanced series ashtanga
  • Ahtanga
  • alternate breathing in ashtanga
  • Antharanga Sadhana
  • Ardha Baddha Padma Paschimattanasana
  • ardha matsyendrasana
  • arm balances
  • Asana and ageing
  • asana as mudra
  • Ashtanga
  • Ashtanga 4th series.
  • Ashtanga 6th series
  • Ashtanga A
  • Ashtanga Advanced series
  • Ashtanga and addiction
  • ashtanga and ageing
  • Ashtanga and Diet
  • Ashtanga and eating
  • Ashtanga and losing weight
  • Ashtanga and menstruation
  • Ashtanga and recovery
  • Ashtanga and Weight lost
  • ashtanga authorisation
  • Ashtanga B
  • Ashtanga books
  • Ashtanga breathing
  • Ashtanga C
  • Ashtanga in midlife
  • Ashtanga interviews
  • Ashtanga Ladies holiday
  • Ashtanga led
  • Ashtanga lineage
  • Ashtanga Parampara
  • Ashtanga practice
  • Ashtanga primary
  • Ashtanga reading list
  • Ashtanga source
  • Ashtanga syllabus
  • Ashtanga teacher Authorisation
  • Ashtanga underwater
  • Ashtanga vinyasa
  • ashtanga vinyasa count.
  • Ashtanga Viswanath
  • Ashtanga yoga london
  • Ashtanga young boys
  • Ashtanga's origins
  • Asymmetric asana
  • Authorisation
  • AVIDYA
  • B.N.S. Iyengar
  • backbending
  • baddha konasana
  • baddha padmasana
  • beginner yoga reading list
  • Beginning Ashtanga
  • beginning Vinyasa krama
  • beginning vinyasa yoga
  • beginning yoga
  • being stopped at a posture
  • bhagavad gita
  • Bharadvajrasana
  • Bharatanatyam
  • BKS Iyengar
  • BNS Iyengar
  • Bohr effect
  • Book review
  • breathing asana
  • breathing in Ashtanga
  • breathing less
  • chakrasana
  • Chinese medicine and Ashtanga
  • chuck Miller
  • CIRCULO BLANCO
  • Conference notes.
  • cultivate
  • current practice
  • Dandasana
  • Danny Paradise
  • David Roche
  • David Swenson
  • David Williams
  • deep backbends
  • developing a Home practice
  • Dharana
  • Dhyana
  • drishti
  • dropback
  • early asana diploma course
  • early ashtanga vinyasa
  • eka pada sirsasana
  • Emergence of Yoga
  • four key asana
  • Gunas
  • Half Ashtanga series
  • Hamish Hendry
  • hands free lotus
  • hatha yoga
  • Hatha Yoga Pradipka
  • headstand
  • headstand variations.
  • headstands
  • Heartfulness meditation
  • Heartfulness meditation and ashtanga vinyasa yoga
  • hidden postures between postures.
  • History of Ashtanga
  • Home practice
  • Home yoga practice
  • in defence of ashtanga
  • Introduction to breath control
  • inversions
  • Invertions.
  • Jessica Walden
  • Kapotasana
  • karandavasana
  • Karandavasana preparation
  • Keshava Murthy
  • key asana
  • Kino intermediate series
  • Kino MacGregor
  • KPJAYI
  • Krishanacharya
  • krishna
  • Krishnamacharya
  • Krishnamacharya and Buddhism
  • Krishnamacharya and drishti
  • krishnamacharya and the gaze
  • Krishnamacharya backbending
  • Krishnamacharya kumbhaka
  • Krishnamacharya pranayama
  • krishnamacharya pranayama in asana
  • Krishnamacharya quotes
  • Krishnamacharya reading list
  • Krishnamacharya. Is Ashtanga hatha or raja yoga
  • Krishnamacharya's 32 headstands
  • Krishnamacharya's Advanced asana
  • Krishnamacharya's Ashtanga Primary series
  • Krishnamacharya's early Mysore works
  • krishnamacharya's inversions
  • Krishnamacharya's key asana
  • Krishnamacharya's Mysore Yoga students 1941
  • Krishnamacharya's Original Ashtanga Yoga
  • Krishnamacharya's practice guidelines
  • Krishnamacharya's pranayama
  • krishnamacharya7s Ashtanga
  • Kumbhaka
  • ladies holiday
  • lagu vajrasanam supta vajrasana
  • Langhana kriya
  • learn dance hand mudras
  • Learn Sanskrit
  • learning sanskrit yoga names
  • Learning Sanskrit.
  • Learning the sanskrit names for Ashtanga primary series. learning the Ashtanga vinyasa count
  • leg behind head poastures
  • lineage
  • Lineage holder
  • Lino Miele
  • lotus
  • Louise Ellis
  • loving kindness
  • Loving kindness and Yoga Sutras
  • M.S. Viswanath (Masterji)
  • maha bhandasana
  • mahabhandasana
  • mahabharata
  • mahamudra
  • manju jois
  • Manju's new Book
  • Mantra pranayama
  • Mark Darby
  • Mary taylor. subtle body.
  • Masterji
  • meanings of Yoga
  • Meditation and Ashtanga Vinyasa Yoga
  • Menstruation
  • metta
  • modified Ashtanga
  • moola bhandasana
  • moolabhandasana
  • mudra
  • Mudras
  • mula bhandasana
  • mulabhandasana
  • My year in posts
  • Mysore Traditions Movie
  • Mysore yoga demonstration 1941
  • Mysore yoga tradition
  • Nancy Gilgoff
  • newsletters
  • No official ashtanga
  • official ashtanga
  • OM The world of Ashtanga Yogis
  • on Series
  • on vinyasa
  • One breath an asana
  • original Ashtanga
  • original ashtanga syllabus
  • Original ashtanga table
  • Original ashtanga vinyasa count
  • origins of Ashtanga
  • Orisginal Ashtanga syllabus
  • padmasana
  • padmasana variations
  • Paramaguru
  • parampara
  • Patabbhi Jois' nephew
  • patanjali
  • Pattabhi Jois
  • Pattabhi jois Advanced series
  • Pattabhi Jois pranayama
  • Pattabhi Jois'
  • Pattabhi Jois' Yoga Journal letter
  • Perter Brooks Mahabharata
  • Philippa Asher
  • phulgenda Sinha
  • Plagerism
  • practice
  • practicing Yoga at home
  • practicing yoga safely
  • pranayama
  • pranayama mantra
  • Pranidhi Varshney
  • preparation for yoga
  • Proficient primary
  • Puraka (inhalation)
  • Purna matsyendrasana
  • Pushpam
  • R. Sharath Jois
  • Raja yoga
  • Ramamohana Brahmachari'
  • Ramaswami
  • ramaswami chanting
  • Ramaswami newsletters
  • Ramaswami pranayama
  • Ramaswami's key asana
  • Ramswami yoga
  • Recaka (exhalation)
  • Richard Freeman
  • Rishi Series.
  • Roots of Yoga
  • Safer yoga practice
  • Samkhya krika
  • Samyama
  • sañcāra
  • sarvangasana
  • Śavasana
  • savasana Ashtanga take rest
  • science pertaining to the Self within. adhyātmavidyā
  • Sharath
  • Sharath jois
  • Sharath Rangaswamy
  • Sharath Rangaswamy Jois
  • Sharath Utkatasana exit
  • Short Ashtanga practice.
  • Simon Borg-Oliver
  • Simon Borg-Olivier
  • Simon Borg-Olivier pranayama
  • sirsasana
  • Sirsasana (headstand) to Gomukhasana
  • Sirsasana variation
  • Sirsasana variations
  • Sirssana
  • Slow Ashtanga
  • Splashtanga
  • SRI T K SRIBHASHYAM
  • Srivatsa Ramaswami
  • Table of asana
  • Taboo
  • Taḍagī Mudra
  • Taittiriya Upanishad
  • tatakamudra
  • Teaching Ashtanga
  • The Art of Ashtanga vinyasa
  • The Four Immeasurables
  • the Gita as it was
  • THE KALAMA SUTRA
  • the Original gita
  • the Source
  • This is yoga 1941
  • This is yoga life magazine
  • three gunas
  • Tirieng Mukha Eka Pada Paschimattanasana
  • Tolstoy
  • Tolstoyism
  • towards karandavasana
  • traditional Ashtanga
  • traditional ashtanga vinyasa
  • triangamukha Uttanasana
  • underwater yoga
  • Upanishads
  • urdhva dhanurasana
  • Utkatasana
  • Uttihita Padangustasa
  • Vicarious Yoga
  • Vinyasa
  • Vinyasa Krama
  • Vinyasa Krama inverted sequence
  • Vinyasa Krama lotus sequence
  • What I believe
  • What is Ashtanga really
  • What is Ashtanga?
  • Why meditation
  • why practice mudras.
  • Why practice yoga
  • Why Yoga
  • Yamini Murthanna
  • Yoga and aeging
  • yoga and ageing
  • Yoga and blood circulation
  • yoga and Diet
  • Yoga and Osteoporosis
  • Yoga and Women
  • yoga chikitsa
  • Yoga for the three stages of life
  • Yoga Korunta
  • yoga korunti
  • Yoga magazine
  • Yoga Makaranda
  • Yoga Meditation
  • Yoga mudra
  • yoga mudras
  • Yoga raading list
  • Yoga reading list
  • Yoga Sutras
  • Yoga Therapy
  • YogaGlo
  • Yogasanagalu
  • yogasanagalu translation
  • Yogavataranam
  • Zoë Slatoff-Ponté

Blog Archive

  • August 2017 (10)
  • July 2017 (5)
  • June 2017 (7)
  • May 2017 (6)
  • April 2017 (6)
  • March 2017 (9)
  • February 2017 (7)
  • January 2017 (7)
  • December 2016 (4)
  • November 2016 (6)
  • October 2016 (8)
  • September 2016 (6)
  • August 2016 (4)
  • July 2016 (6)
  • June 2016 (4)
  • May 2016 (2)
  • April 2016 (4)
  • March 2016 (16)
  • February 2016 (13)
  • January 2016 (15)
  • December 2015 (5)
Powered by Blogger.

Search This Blog

Report Abuse

  • Home

About Me

ravi
View my complete profile