Introduction
Astanga vinyasa yoga is a system of postures connected
by the breath. It combines sequential, flowing movements
with focused
internal awareness. Through self practice and self observation
a non-judgmental attitude is cultivated. This peaceful quality
is manifested by focusing on the flowing nature of the breath.
The breath is the vehicle by which the body and mind are
observed, purified and transcended.
Astanga Yoga As It Is provides an exploration of
both the physical and mental aspects of the Astanga yoga practice.
The following
introduction attempts to shed light on some core yoga concepts
and relevant self development principles. The photographic
section depicts both the asana of the traditional sequences
and all of the relevant vinyasa. However, this book is not
a "how to do it" manual. It does cover the main
points of the tradition including many of the unwritten rules
that
dominate the Mysore-method. I have attempted to expand on
why these rules are important, including the benefits of
the traditional
practice and also some of the possible drawbacks. In order
for an individual to integrate the tradition a complete therapeutic
and holistic approach is also necessary. Some criticisms
can be made in order to understand the practice in terms
of yoga
rather than merely asana. As It Is aims to promote a questioning
attitude to the practice, to help examine and integrate many
of its qualities. As the physical practice evolves there should
be a natural and healthy interest in the mental and emotional
processes that go with it.
The text uses a number of phrases in Sanskrit. It is helpful
to understand a little of this language as it adds depth to
the practice and a personal connection to the living history
of yoga. Where possible the most accurate use of Sanskrit to
English transliteration has been used. None of the material
in this book is new, I merely present it in my own fashion.
Om Santi
Matthew Sweeney
Sri K.P.Jois
Any introduction to the practice of Astanga yoga should
mention Sri Krisna Pattabhi lois and his cultivation of the vinyasa method.
He is affectionately called Guruji by his students. The meaning
for guru is heavy one, someone replete with the
weight of yoga. Born in 1915, K.P. Jois' introduction
to yoga began at the age of twelve with Sri T. Krisnamacharya,
with
whom he studied from 1927 to 1945. He studied Sanskrit
sahitya veda and advaita vedanta in the Mysore
Maharaja Sanskrit College from 1930 to 1956. In 1937 he was
elected Professor and Head
of Department and was honoured by the title Yogasana Visarada by
Sri Jagadguru Sankaracharya of Puri in 1945. In 1948 he established
the Astanga Yoga Nilayam in Mysore, India, to practice,
refine and teach this method. Many students have since come
to Mysore, bringing Astanga yoga to most parts of the
world.
For many years Guruji taught from a small room in the
downstairs area of his house, the Nilayam in Lakshmipuram, Mysore. This
room could hold a maximum of twelve students with a bare
hand-span between their mats: five students in front, five in the back,
and two sideways, facing each other in the middle. If one
had a loose practice it became more controlled in such minimal
space. It is from the method taught in this room that the
phrase "Mysore-style" was
coined. Starting at about Sam the first set of twelve students
would begin their practice.
They would repeat the prayer after Guruji and then start Suryanamsakara
A. Once finished back bending and receiving a squash in Paschimottdnasana from the guru the student would be sent upstairs to do the
finishing sequence on his or her own. Depending on the length
of the practice the student could be anywhere from half an
hour to two hours in the downstairs sala. Other
students would then be waiting on the stairs until their
spot became available
and Guruji called them down, "Yes, yes! You come!"
Any adjustment received from Guruji could be a life-changing
and cathartic experience. Upon Guruji's approach, this usually
quiet and unassuming man of below average height suddenly
becomes a giant, the weight of over seventy years of yoga behind him.
Despite the seeming grumpiness, his comments of "bad
lady!" or "bad
man!" came with a smile. As one female student confronted
him: "I have discovered your secret Guruji. 'Bad lady'really
means 'good lady'." "Oh, haha," he laughed, "Smartlady."
The Mysore self-practice is unique compared to other asana classes.
You practice at your own pace, by and large without interruption. There could
be occasional comments from Guruji,
such as, "Put it your head down!" or "No, No!
Grab it your foot fingers!" or more rarely "Uh...
correct." There is little noise except for deep breathing
and the occasional grunt. Mysore-style practice has both
an intense quality and a quality of inward looking, of meditation.
You simply do your practice, receive certain adjustments
and
wait for the next posture. Sometimes it is a long wait.
Some students would come to Mysore, saying they were
doing Intermediate and some Advanced, only to find that with Guruji
half of the Primary sequence was where they were stopped.
Guruji would not allow a student to progress without being able to
successfully complete every posture. Frustrating for some,
educational for others. It all depended on your mind-set.
(See page 8 for further details of this aspect of the tradition.)
Another potentially frustrating element was the hierarchy
of the stairs. Guruji would often reserve a spot for a long term
student, or a student would jump the queue and simply grab
the spot they wanted. There were many disgruntled stair-waiters.
In the end it never really mattered, for once in that tiny
space, the practice humbled everyone.
Sri T. Krisnamacharya
Professor Sri Trimulai Krisnamacharya is considered by many
to be the grandfather of modern yoga. By and large it is
through his teachings that the systems of Astanga yoga (K.P.
Jois),
lyengar yoga (B.K.S. lyengar) and Vini yoga (T.K.V. Desikachar)
were each developed. In the early years of his teaching Krisnamacharya
used the vinyasa krama method, that of linking postures together
in sequence by numbers. (Now called Astanga vinyasa yoga by K.P. Jois.)
Later Krisnamacharya reportedly discovered a copy of the "Yoga
Korunta" in Calcutta University, an ancient text written
by Risi Vamana. It was a confirmation of the vinyasa method.
Apparently Krisnamacharya used the book to solidify his understanding
of vinyasa. However, as there is no modern form of this book
it is not possible to verify its legitimacy. It seems to
have passed with Krisnamacharya. Written evidence or not,
the proof
of the benefits are in the practice.
As time passed Sri T. Krisnamacharya developed and refined
his teaching with different methods for different individuals.
As well as the vinyasa krama, he used specific props for therapeutic
purposes and he advocated individual yoga programs, one-on-one
tuition with gentle pranayama being introduced from the start.
Family life was important to Krisnamacharya, so much so that
he refused the honour of becoming Head Swami of the Parakala
Math, a respected lineage. His reply to each of the three times
that he was asked was that he wished to spend time with his
family. As brahmacharya or monk-like celibacy is considered
ideal for yoga practice, this view of Krisnamacharya's was
remarkable.
At one time Krisnamacharya demonstrated
his siddhis, or abilities,
for the Maharaja of Mysore, who was also one of his students.
He had wires attached to his head and the electric light
switch and turned the palace lights on and off. At another
time in
the 1930s, with a foreign medical team in attendance, he
stopped his heart for a full two minutes. Although these
abilities
may seem an attractive incentive for doing yoga,
for this yogacharya they were
merely the bi-product of many years of practice, not the
goal. It was only after practicing for over twenty-five
years that Krisnamacharya began to teach yoga. T.K.V. Desikachar
describes his father's practice when Krisnamacharya was over
ninety:
Whether you believe it or not, this
old man gets up at one o'clock in the
morning... He practices his yogasana and pranayama every day... And at five o'clock
the bell rings and we know he has started his puja... He
makes his own breakfast. Then I go to see him at seven o'
clock in the morning and we chant
for one hour.
The Yoga ofT. Krisnamacharya
Krisnamacharya's teacher was Ramamohana Brahmacharl. He lived
with his teacher for over seven years learning asana and vinyasa practice, yoga therapy and yoga philosophy. Krisnamacharya
passed away in 1989 at the age of one-hundred. Beyond these
scant details it is impossible to further track the history
of the living vinyasa method. Most of the older tradition (some
say stemming back to Patanj all) is unverifiable and largely
based on hearsay and conjecture.
The Practice: Ujjdyi Prandyama
The starting point for any asana practice
is the breath and for Astanga yoga the
starting point of the breath is ujjayi
pranayama. Ujjayi is defined as extended
victory.
Prana is variously defined as "breath, respiration,
wind, life force, life, energy, strength, the hidden energy
in the atmospheric
air." Pranayama is most clearly defined as
the development (ayama) of life-energy (prana) rather
than the restraint (yama) of breath (prana).
The breath is the first component
of the
tristhanam, or three places of attention. It is
through the breath that the other two components, the body
and
mind are
transformed.
Respiration being disturbed, the
mind becomes disturbed. By restraining
respiration, the yogi gets steadiness of mind.
So long as the (breathing) air
stays in the body, it is called life. Death consists in
the passing out of the (breathing)
air... Ujjayi: having closed the opening of
the larynx, the
air should be drawn in such a way that it goes touching
from the throat to the chest and making a noise while passing.
The
Hatha Yoga PradipTka, 2: 2, 3, 51.
By gently contracting the glottis area at the back of the
throat, one can breathe in a controlled manner. This contraction
creates
a deep, sonorous sound, which increases the movement of
the diaphragm and lengthens the spine. Initially, the sound
of
the breath may be a little exaggerated and raspy by over
squeezing the glottis, eventually becoming both soft and
steady. A soft,
consistent sound aids the consistent flow of breath and
helps to build heat in the body, ideal for any asana practice.
The
heat produced is not only conducive for stretching, but
cleans and purifies the body through the sweat. It should
be noted
that the breath should be as gentle as possible to keep
it natural and organic. Avoid being forceful, otherwise
this imposition
will develop constraints rather than freedoms.
In yogic physiology the
sun represents the fire element in the body, the inhalation (puraka),
the heart and the life force.
The moon represents the cooling element, the exhalation
(rechaka), the lungs and the death force. By controlling
the breathing,
one inhibits the death force. The fire, agni,
increases and the life force increases. Ujjayi pranayama is
the victory of
life.
There are three main areas where the sound of the breath
resonates: the nostrils, the palate, and the throat (Figure
1). Only when
the sound is at the back of the throat can il begin to
resonate in the chest cavity, giving the diaphragm full
range of movement.
Experiment with the following exercises:
1. First breathe through the nose and accentuate the breath
there. Flare the nostrils. The breath sounds quite airy.
There is a common tendency to either gasp the air ir with
the nose,
or through inattention not realise that this sound is in
the nose and is noi traveling to the throat and chest.
This indicates
a state of unconsciousness or lack ol awareness and is
more common on the inhalation.
2. Clench the teeth and try to
use the ujjayi breath. With
the jaw locked, the sound hisses inside the mouth and bounces
off the upper palate. When particularly tense in an asana there
is often an unnecessary reflection of this tension in the
jaw
and face This indicates a state of hyper-tension, or awareness
that is pushy and fixed and is more common on the exhalation.
3. Drop the lower jaw, creating a sizeable gap between the
upper and lower teeth and again create the ujjayi sound.
With the face relaxed in this way the sound becomes smoother,
softer, more resonant and less harsh. Focus both the exhalation
and the inhalation with the jaw dropped and the face relaxed.
The feeling is a little like breathing through the ears:
the inner ear presses, and the cavern of the skull echoes
with the sound. The mind becomes empty.
There is a direct relationship between dropping the lower
jaw (softly increasing the ujjayi sound), lengthening the
spine and the freedom of movement of the diaphragm. That
is, the correct application of the ujjayi restriction at
the base of the throat subtly activates the jalandhara
bandha, increasing the uddiyana bandha diaphragmatic
movement. The
uddiyana likewise increases the rising mula
bandha. The
flowing process of ujjayi pranayama promotes all
three bandha equally.
See the bandha section (page 14) for more details.
It is common for the sound of the breath to be louder
and longer on the exhalation, and quieter and shorter on the
inhalation. Try to balance the breathing between lack of
awareness (exercise one) and fixed awareness (exercise
two). Generally the sound of the inhalation should be increased,
or more sound through the base of the throat, and the sound
of the exhalation should be more relaxed, or softer sound
through the base of the throat. With the ujjayi sound consistent,
the breathing lengthens evenly throughout the practice.
Awareness
of your body' s needs of the moment will increase and injury
will be unlikely. A combination of inattention and facial
contortion causes most injuries. If the breathing is both
soft and secure it is almost impossible to push too hard.
Do not push if the breathing becomes secondary to achieving
a posture. If the face stays relaxed, the breathing naturally
becomes softer. It is not necessary for the whole room
to shake when you maintain ujjayi! Experienced practitioners
generally have much quieter breathing.
For beginners it is normal and useful to emphasise the
exhalation and the ujjayi sound on exhalation: to let go,
extend and
breathe out for longer. For more experienced students,
it is also helpful to emphasise the out-breath when learning
a new, unfamiliar asana. There is a natural tendency for
the inhalation to be shorter than the exhalation, particularly
with upward dog, other back arching movements and twists.
When the diaphragm is restricted by a posture, try to keep
the start of the inhalation soft and subtle, rather than
abrupt. When out of breath the inhalation is often drawn
in too quickly out of panic, further aggravating the tension.
Relax what is possible to relax and the breath and body
will
then be harmonious.
One way to facilitate the extension of the inhalation
in all asana is to count the breath. For example, inhale for
a count of five and exhale for a count of five. At a certain
point, however, this type of practice becomes laborious,
particularly if maintained for the whole sequence. It can
also take you away from the natural tendency of the breath,
become too much of a physical strain and be potentially
injurious. Lengthening the inhalation increases the fiery
nature of
the practice, produces greater sweat, with the exhalation
removing toxins. The inhalation brings energy (tension)
in, the exhalation releases it.
It should be noted that the air one draws in is not strictly
speaking prana. The inhalation brings in both air and
prana.
Prana is the vital, life-giving aspect of the incoming
air, not the whole thing. The air portion often has a degree
of
toxicity, various forms of physical or energetic pollution.
The exhalation removes this toxicity, but also pushes out
prana and energy is depleted. As the breathing becomes
more refined, improving the individual's boundaries, the
system
only takes in that which is nourishing and rejects only
that which is toxic. Also, it may be said that the practice
of
pranayama does not actually increase energy. It is awareness
of prana that is already there that increases. It is accessing
your full potential that is difficult.
If the inhalation brings excessive tension with it, then
a more relaxed breath will be necessary. The breath should
always be flowing. By avoiding holding the breath and bearing
down or locking at the end of either inhalation or exhalation,
injury can be avoided. This is not the same process as
locking the bandha, but the symptom of "fight or flight",
of the parasympathetic nervous system. It is with the inhalation
that the spine lengthens, particularly accentuating the
tension around the three granthi, the three knots. The
three granthi are linked to various illnesses. See the section on the granthi (page 27).
As a general rule strength (the
inhalation) takes longer to develop than flexibility (the
exhalation). As the two
are
inextricably linked, however, one cannot fully develop
one without the other. Men tend to be more strong than
flexible
and women more flexible than strong. If these tendencies
are exaggerated then imbalance occurs. The practice should
balance these polarities. However, if there is a tendency
to be more one way than the other, then the tendency should
be accepted. It is useful to let the breathing be softer
throughout the practice from time to time. Allow the breathing
to dictate the practice rather than the other way around,
doing all postures with less effort, working back from
the ideal asana rather than towards it. This allows greater
ease
in the practice, less heat is involved and it is less draining.
Every breath, every posture, every sequence has its own
particular ebb and flow. To resist this flow and try to
control all
of it is detrimental.
The state of health, general energy,
mood, which sequence is being practiced, the cycle of the
moon etc, are all
influencing factors. Totally controlling the breath is
basically impossible.
One surrenders control to the breath, not the
other way around. To let the breathing be completely passive
and unconscious is also undesirable. Some practices will
simply be more one way than the other. Eventually the two
extremes of control/tension (inhalation) and relaxed/sloppy
(exhalation) will become balanced.
Astanga Pranayama
Astanga pranayama is generally
not taught until a student has at least completed Advanced
A postures. That is, until
the body has reached a point of stability with the asana,
pranayama is inadvisable. The pranayama practice
taught in traditional Astanga differs from the
more gentle practices usually taught. The long inhalation,
exhalation and retention
requires complete steadiness of body and mind: sthira
bhaga
or steady strength.
When the whole system of nadis which
is full of impurities is cleaned, then the yogi becomes
able to control
the prana...
Just as lions, elephants and tigers are controlled by and
by, so the breath is controlled by slow degrees, otherwise
(i.e., by being hasty or using
too much force) it kills the practitioner himself.
HYP,
2: 5, 15
It is detrimental to learn pranayama from a book. If it
is advisable to have a teacher to guide with asana practice,
with pranayama it is doubly so. Not only is the science
of pranayama physically demanding, so too are its subtle
effects. The ratios of breath retention to inhalation to
exhalation and the numerological progression of this practice
should be intimately understood. One does not cross the
threshold of life and death lightly and one who rushes
untimely toward this end does so at his or her own peril.
What is achieved in life, the abilities that are accumulated,
are never as important as realisation of what is. Focus
on the process rather than the goal.
Once, when using the term Savasana in
Guruji's presence I was told off. "Not Savasana!
No. Corpse pose advanced practice. You take rest." The
practice of "being
dead" is a highly esoteric and dangerous process.
It has been described earlier by Krisnamacharya's ability
to stop the heart beating. This may be a result of pranayama practice,
but it is not the goal. In this light h pranayama viewed.
Not until one is ready, which may be never in this
life. Therefore, for the purpose of this book the finer
details of pranayama practice have been omitted.
Astanga Yogasana
The asana are the second component of the tristhanam,
or the body aspect. However, the traditional method of
learning
Astanga yogasana begins with the mind as much as
the body. When a complete beginner learns Suryanamaskara,
he or she
repeats it until it is committed to memory, that is, body
memory rather than just intellectual memory. Self-practice
begins with the first class. It does not really matter
how well (physically) the individual does it: there should
be no judgement on how it looks. Memorising the practice
is vital. This is often more confronting for a beginner
than physically doing it.
After Suryanamaskara and
possibly one or two of the first standing postures the
beginning student sits down, attempts
some version of Padmasana (sitting and breathing)
and then lifts up in Utpluthihih. Practice is finished
in less than
half an hour. Day by day, adding a maximum of one posture
per day, a student learns the sequence. This is the traditional
Mysore method. Utpluthihih should always be done at the
end of a practice, no matter how long or short the practice
is. In particular the student should remember the essentials
of what he or she has been taught before learning new postures.
This is not to say that this is
the only way to teach Astanga
yoga. It is common for many students to do led classes
for the first few years as a way to become physically acclimatised.
However, self practice is the most effective way for a
student to remember. If beginning students are shown thirty
postures in the sequence, they will only remember the first
and the last posture (maybe). If they do just two postures
at their own pace, they will remember them both. The slower
it goes in, the deeper it penetrates.
Repetition is a key aspect of learning. As the postures
are committed to memory there is a corresponding level
of trust in the body: you know what you are doing, you
know what comes next. There is no anxiety anticipating
what the next thing will be. The physical aspect begins
to develop with a gradual increase of flexibility and strength
as the body and mind synchronise. It is most important
to focus on the process rather than the outcome.
After a certain time practicing
the Primary sequence, and if the ability is there, a student
might begin learning
the Intermediate postures. One by one these asana are
added to the Primary asana, the total practice
getting longer and longer. Eventually the student would
practice
only
Intermediate. This is referred to as splitting the practice,
that is, when a sequence is then practiced separately without
adding those postures on to the previous sequence.
From one day to the next a student
goes from regularly practicing all of Primary and at least
half of Intermediate
per session (usually over two hours) to just doing Intermediate
(maybe one hour). The Primary sequence is then practiced
once a week. Depending on the student, this can be a relief
or a shock. The same process occurs when learning Advanced asana. See the vinyasa section (page 12)
for more details.
The traditional method is relatively
linear and methodical. Keep adding asana, remembering
the vinyasa as you go, until you come to something
you cannot do. You keep practicing
up to the asana that is difficult or impossible
but you do not add new postures until you can do it effectively.
This can be a little limiting but it does establish the
body's capacity in the asana. You become settled
in the "seat".
An unfortunate side-effect of this format is the tendency
in Astanga to ask the question "What posture
are you up to?" as if this indicates some kind of
personal development. It is normal to want to move ahead,
particularly as far as positive motivation and liveliness
is concerned. The practice should never be lifeless, something
new can be experienced every day, even if it is just a
changed attitude. This forward looking attitude, however,
should always be tempered with present tense awareness:
stay in contact with what is rather than what should be.
Warming Up
Traditionally the very first action of practice is to
stand in Samasthitihih, chant the mantra and then continue with
Suryanamskara A. The body may not be warm and might feel
particularly stiff. To launch into the first Suryanamaskara without prior warm-ups may be daunting, particularly psychologically.
This is often because of a desire to get it right first
time, to look perfect. It is better to make it simpler,
bend the knees, step back lightly etc, rather than injure
oneself by doing flying jumps and full bends. This does
not discount the validity of warming up, but credits the
validity of not doing so. To begin without warming up is
a matter of applying a relaxed state of awareness rather
than a perfect state of body.
On the other hand, stretching before practice allows
the body to wake up a little and renews awareness of any blind
or weak spots. Of all the so called warm-ups that one may
attempt, uddiyana bandha and nauli kriya are considered
the most traditional and practical (see page 16). If it
helps to warm up, use whichever routine suits of the endless
variations and feel free to experiment.
Alignment
Alignment is the ability to balance the various levels
of the body and the mind into a working whole. Increasing
your capacity to be straight in a posture should be encouraged,
but there are limits to where the body can go. Alignment
should never place undue pressure on the breath. If it
does, this is the body's clear signal that there is too
much pushing going on. If the breathing becomes truly unrestricted
in a posture, then for that moment this is the best and
most natural alignment possible, no matter how it looks.
It may take a great deal of learning, or unlearning,
to stop pushing and encourage open behaviour. If there is
a doubt or question as to what the correct alignment is,
generally defer to the signals from your own body and breath
even if it conflicts with external advice. It can be common,
however, for a student's view of what is occurring to be
different from what is actually occurring. A teacher is
often necessary to point out this difference. To aid the
development of awareness do not allow your breath to slide
into complete apathy: attempt to be both active (inhalation) and relaxed (exhalation).
To force alignment on the body is a mistake. Your body's
limit with an asana is what it is, attempt to maximise
your alignment from there. Accept how it is and be in your
centre. The blind areas of mis-alignment, disease, discomfort
and so on, will inevitably come to the surface and the
body will heal what is possible to heal. Without continuous
practice however, or consistency of awareness, the capacity
to change is limited.
The belief that there is an anatomical
or universal correct alignment is a judgement of right
versus wrong. There are
only tendencies. Every individual has a unique
structure, the differing possibilities may be worlds apart.
However,
every individual needs some sense of alignment, or centredness
in each posture to effectively develop awareness.
Balance the breath between aliveness and alignment in
a posture and the tranquility of accepting it as it is. Be
aware that the body usually has a very good reason for
creating the so called mis-alignment or dis-ease in the
first place. To try to force it back in to place is potentially
more damaging than the original problem. Through acceptance
change occurs, but only so far as is appropriate. Trust
will develop as the body and mind begin to communicate
more effectively and change will occur to the level that
is needed. Do not seek to change: allow it to occur.
Core Postures
There are only three distinct asana sequences
in Astanga
yoga. They are Primary, Intermediate and Advanced.
However, as there are many more Advanced asana than
the others,
the Advanced series has been organised into four sections,
A, B, C and D. That is, six sequences in total. Each sequence
starts with Suryanamaskara and standing postures,
though some of the final standing asana are left
aside when practicing the later sequences. Each has the
same end: back bends
and finishing postures. Each sequence has around thirty
sitting postures.
The Primary sequence is called yoga
chikitsa, meaning body
therapy. There are two main areas which distinguish it
from the other sequences: the emphasis on the hamstrings
(forward bends) and the number of jumps. The repetitious
nature of the sequence may become problematic. However,
as the hamstring is a muscle, it tends to adapt and change
more readily. If the hamstrings lengthen and the legs become
stronger the lower back generally becomes more secure and
supple. Conversely if the hamstring is over emphasised
this will commonly destabilise the spine. Due patience
should be observed in order not to push: focus on the process
rather than the goal.
All forward bends contract the front of the body in some
manner, purifying the internal organs. That is, body therapy.
If the Primary sequence began with back bends, the overstimulation
of the spine and nervous system would be premature: there
would be many more complaints. The number of jumps in the
Primary sequence can be problematic and initially exhausting.
Some students tend to avoid the strength and jumping aspect
of the Primary sequence by practising Intermediate prematurely.
Overall strength and endurance is best developed in the
Primary sequence.
In the Primary series there are
a few core postures which are common stumbling blocks.
They are Marichyasana
D, Kurmasana, Garbha Pindasana and Baddha Konasana.
All of these postures can be quite confronting and some
time and patience is
usually necessary for the body to adapt. It is quite common
for a student to practice (or be taught) the whole sequence
prior to exploring these core asana thoroughly. The final
section of Primary is often more than a little messy as
a result. Generally it is better to focus on these core
postures first, rather than skimming over them to get to
the finish line.
There are some basic requirements
in these postures. For example, binding the hands in Marichyasana
D. In this posture
the front knee and both sit-bones may not go flat to the
floor for some time, if at all. Binding the hands is the
first crucial step. Being able to get the feet approximately
behind the head in Kurmasana is important. This
posture may require an adjustment from the teacher most
of the
time. Many students, particularly those with shorter limbs,
may not be able to bind the hands and keep the legs behind
the head at the same time. Also
of note is the previous posture to Kurmasana: Bhuja
Pidasana.
This posture requires a degree of strength which counterbalances
the flexibility needed to get into Kurmasana. There may
be a tendency to be better at one than the other. That
is, flexibility rather than strength or vice versa. Try
to balance these asana equally. Being able to get the knees
flat in Baddha Konasana is highly beneficial. If this posture
improves then many of the previous postures such as Garbha
Pindasana and Manchyasana D will become easier.
These four core asana, also called binds, have a similar
difficulty for many students. That is, immobility in the
knees, hips and lower spine. Firstly, a consistent and
gentle approach to practice will gradually help improve
these areas. However, the following simple practice may
also help:
Every evening do Baddha Konasana with
the spine upright against a wall. Do it while eating or
reading and stay
there for ten to twenty minutes. No other props are necessary.
Also practice sitting in upright Virasana (kneeling
posture with the feet beside the hips and knees parallel).
Do this
posture with a blanket or pillow under the buttocks. Hold
this for only five or ten minutes. Remember not to overdo
it. Like any asana, if practiced without care or without
listening to the body it may cause some instability. Slowly
the disposition of the knees and hips will improve.
The Intermediate sequence is called nadi
sodhana meaning
nervous system purification. This sequence begins with
back bends, followed by their counterpart, legs-behind-the-head.
The opposing nature of these postures creates a resonance
in the nervous system. The second half of the sequence
deals with both strength and more calming asana. Intermediate
can be over-stimulating at first. It is essential to get
rest and decent sleep after practicing it. Strange dreams,
heart palpitations and insomnia are common, often on top
of bodily aches and pains.
The first requirement in the Intermediate
core postures is being able to bind the hands in Pasasana.
Getting the heels flat in this posture is also important
though may
not occur for some time. Binding the hands and balancing
is the foundation. Binding the heels in Kapotasana is
considered a basic minimum, though merely touching the
feet is a common
starting point. Also of note is the previous posture to
Kapotasana: Laghu Vajrasana. This asana requires
strength, counterbalancing the flexibility necessary to
get into
Kapotasana. Similar to the pairing of Bhuja
Pidasana and
Kurmasana, each aspect of these asana (strength and flexibility)
needs to be balanced equally.
The difficulty in Dwi Pada
Sirsasana can usually only be
surmounted by regularly practicing the asana itself. Or
making a near attempt. For many students staying on this
posture for some time (weeks or months or longer) is usually
necessary. Getting down into Karandavasana without assistance
is a minimum standard. Coming up from this posture is not
as likely or essential and may require more strength than
is readily available. That is, coming up from this posture
is not considered vital before moving on to the next posture.
The Advanced sequences (A, B, C
and D) are called sthira
bhaga meaning steady strength. They each require steadiness
of body and mind. In particular, the practice of the arm
balances in Advanced A requires a great deal of discipline
to master. It is not the asana that are necessarily
difficult, it is the intensity of practicing them one after
the other,
the vinyasa, that is often more challenging. A
fellow teacher adequately summed up the effects of practicing
Advanced
with the following words: "It knocks the stuffing
out of you!" Nevertheless, strength is developed.
Core postures for the Advanced sequences are not specified
as they are too individual: every posture is core!
A minimum ability with the core asana is assumed before
the student is usually allowed to move on to the next posture.
Ideally one should be able to complete every asana without
any assistance. It is common for a student to be held at
the core asana a lot longer than the others in the sequence.
However, it is not essential to do these asana perfectly
before moving on: just do not avoid them, find out what
the body's limits are first! The postures become progressively
more difficult with each sequence. In the Primary sequence
the ability to do the asana well is important but some
allowance for individual capacity and expression is encouraged.
In Intermediate there is less leeway and the postures need
to be done with a minimum amount of fluidity, particularly
for safety's sake. In Advanced there is almost no leeway.
With all core postures (or any posture that is difficult)
it can be useful to repeat the posture two or three times
in the same practice. Avoid over-straining and stop if
the breathing becomes too restricted. Each time it is done
there will be a change in awareness, a slightly different
way of doing it. The body adapts and the posture improves.
Repetition does not entertain, it teaches. Keep in mind,
however, that repeating a posture in the same practice
is disruptive and may detract from other vital qualities.
Ideally the practice is a consistent flow, the body moves
with the breath and the mind follows.
The concept of core asana is not a traditional understanding
of the practice. As there are always exceptions to the
rule as far as ability is concerned, the idea that any
one posture is more difficult than any other is completely
relative to the individual. As a generalisation, however,
it holds true: the asana mentioned here are commonly the
most difficult. It is important not to practice the sequence
and leave them out, in the too hard basket.
Jump Throughs and Jump Backs
When learning jump throughs and jump backs, try to optimise
both the feeling of lightness (no strain) and strength,
particularly in the mid-section. One without the other
is an imbalance. It is not necessary or desirable to push
to achieve the complete floating action: for some this
may never happen. It is applying the right attitude with
the right technique which achieves optimum strength and
lightness.
Jumping into and out of the postures should be standardised.
Jump through with the legs crossed rather than straight
legged. Lead with the knees, not with the feet and the
centre of your body will tend to engage. The straight legged
jump through should only be practiced if you can jump through
cross legged: to float back and float through with control
and without touching the feet to the floor (Figure 5).
The straight legged jump through is easier for some students
and does not develop strength as effectively.
When learning, keep the feet back and allow them to land
on the floor first before coming through. This may be the
first few years of practice! Also do the same when jumping
back: place the hands in front of the feet rather than
behind them (Figure 4). Try to slow down the jump through
at this half-way point (just between the arms) rather than
trying to hurry the feet through with little or no control.
When jumping through, keep the feet back and the toes pointed
when you land. Avoid flexing them at all unless you can
hold the lift in mid-air. Try to keep the hips up and use
the breath (inhalation) to help.
Do not attempt to jump directly into a sitting posture
without making the transition through lolasana. (Figure
4 or figure 5.) To develop strength effectively always jump through and jump back with legs crossed. Some postures
such as Bhuja Pidasana and Kurmasana are obvious exceptions.
When jumping back from both sides of a posture it is useful
to alternate crossing the legs on each side. Jump through
and jump back on the right side of the posture with the
right leg underneath and jump through and jump back on
the left side of the posture with the left leg underneath.
Core Strength
A common perception of many practitioners, particularly
women, is a lack of core strength. That is, little or
no progress with float backs. As the practice does
require
strength to maintain, there is some validity to this
view. However, do not focus too much on core/mala
bandha strength
at the expense of other areas of the practice (such as
overall strength) or they may suffer. Usually if there
is no core strength also there is no overall strength.
In general the abdominal and lower back region should
be strengthened and supported throughout the practice.
Do
the practice with consistent awareness of any weaknesses
and the body will usually assert its own organic sense
of balance.
Core strength is ideal for everyone,
but particularly useful for lower back difficulty, or
when there is over
development
in the upper body. Because of the emphasis on the jumps
in the sequence upper body strength is also emphasised,
at least initially. Arm strength is important and to
ignore this in favour of core strength may be detrimental.
Both
are useful. By using the arms effectively you can begin
to access the lateral muscles of the torso and then the "core" of
the abdominal region. That is, throughout the practice
keep the shoulder blades sliding down the back rather
than rising up to the ears. This decreases tension in
the upper
shoulder and trapezius muscles and is particularly useful
when doing the jumps and the chaturanga/up
dog/down dog vinyasa. With the shoulders down and elbows
generally
tucked
in, both the latisimus dorsi and intercostal muscles
will begin to engage. In time, any aggravation in the
neck and
shoulders will disperse as the overall practice improves.
Unlike most other yoga methods Astanga
yoga develops
strength as much as flexibility. This is largely due
to consistency
and repetition of practice. If strength is over developed
in areas where it already exists or remains underdeveloped
in blind areas, seek to re-balance this. Ideally you
should be able hold the weight of the whole body from
any other
part of the body: balance on one foot, on the back, belly,
head, hands etc. In this way each part of the body is
strong relative to the next. The interconnectedness of
the body
should become apparent. From this point of view it does
not matter if you can "float back" (and hold
mula bandha) or not. Your body will become more balanced,
relative for you.
The concept of core strength is intertwined with that
of core stability. One without the other is impossible.
To
push too much to achieve the desired core strength will
ultimately destabilise the body. The spine is another
aspect of the core, particularly the relationship between
the
movements of the spine and the various abdominal muscles.
This can be a complex area to examine. As the breath
becomes longer and softer, the spine can reach its maximum
potential
with all range of movements. As with trying to control
the breath, trying to control the spine and abdomen at
all times is undesirable. The spine is always moving.
To hold it rigidly decreases the spine's ability to articulate.
As the ability and awareness in a posture increases,
the
sense of the subtle movements of the spine and abdomen
should also increase. Pay particular attention to the
movement of breath as it affects the different regions
of the spine
and the core will begin to stabilise.
There are many techniques to aid the development of core
strength or strength in any part of the body for that
matter. Often it does take an external point of view
to bring attention
to the blind or dead areas of the practice. If a particular
technique increases awareness in a blind area, then use
it. Just remember that it is awareness alone that is
the key.
Back Bends and Handstand
The first back bending posture in the sequence is Urdhva
Mukha Svanasana, or upward dog. In upward dog there
is a tendency to move the head too quickly and the neck
and diaphragm
often lock up as a result. This can have an adverse effect
on the lower back. Try to move the head back at the very
last when arching in this posture. Also give most importance
to the breath (the inhalation) rather than over arching,
or forcing correct alignment, i.e. inhale completely without
any locking or bearing down of the ribs and diaphragm.
The breath may pause at the end, but it is not tight
or held.
It can be useful to hold this posture for longer than a
single inhalation (for two or three breaths instead)
particularly
after Navdsana and Kurmasana when it may be more difficult
to arch. This posture counterbalances all of the forward
bends and the contracted nature of the jumps.
The traditional Mysore method of
back bending is to restrict all students to Primary asana until
they can drop back into
Urdhva Dhanurasana (and come up) on their own.
That is, no Intermediate asana until you can do drop backs,
even if the
initial Intermediate back bends are easier. Some leeway
can be given with this rule, but practicing the drop back
should
not be ignored. It takes energy and perseverance. If it
is difficult to complete the full drop back to the floor,
half-bending
(figure 6) can be practiced regularly. Arch the back from
an upright standing position with the arms crossed over
the chest. Bend back on the exhalation and move down towards
the floor a little way and then back up again on the inhalation:
one breath with one movement repeated a few times. Gradually
develop the strength and control in the legs and spine,
and
only add the arm movement (to the floor) if there is little
or no pain.
The photographic section of this
book shows the most common order of transition from (1) drop backs,
to (2)
handstand drop-overs, to (3) full Vipanta Chakrdsana, rather
than the traditional variation of doing (3) Viparita
Chakrasana before (2) handstand
drop-overs. (See page 48). An important aspect of the back
bend/handstand sequence, particularly
the order of it, is that handstands are not a part of the
Primary sequence. Until the Primary asana are developed
sufficiently and Intermediate is begun, handstands should
be left aside.
Develop the jump backs, drop backs and headstand well before
attempting this advanced asana. Increase the strength of
the arms and abdomen (jump backs) the flexibility of the
spine (drop backs) and the ability to balance (headstand)
to gain the proper ability with the handstand.
The correct order of learning the
inverted postures is: first shoulder-stand, then headstand,
then the fore-arm balance
(Pincha Mayurasana) and then handstand. This means
that a student would not normally begin handstand until
he or she
has completed Pincha Mayurasana in the Intermediate
sequence. However, as handstand is a part of the back bending
sequence,
it is useful to commence its regular practice at the same
time the student commences Intermediate. The student's
ability with headstand (balance) and with flexibility and
strength
(drop backs and jump backs) will determine the degree to
which handstand will improve. There are some asana that
most people want to be able to practice straight away:
the lotus
posture, drop backs, splits and handstands. Each of these
should be learnt in its own time. All of the foundation
work done in the Primary and Intermediate sequences will
lead
to these asana.
Variations in the Sequence
The variation of doing Trivikramasana and Supta
Trivikramasana
(standing and lying splits) after Utthita Hasta Padangusthasana
and Supta Padangusthasana respectively has been left out
of the main section of this book since they are not Primary
asana. However, they are an accepted part of the practice.
In general one should have completed all of Primary before
commencing to practice these Advanced asana. If one of these
is practiced (e.g. Trivikramasana) you should do both (Supta
Trivikramasana). Also it is best to do these asana after
completing both sides of Padangusthasana (whether standing
or lying) rather than doing it in the middle between sides.
(Figure 7). This keeps each asana separate and clear and
allows a short rest between them.
In times past Hanumanasana and
Sama Konasana (front and side splits) were sometimes
practiced after Prasarita Padottdndsana
D (sometimes including handstands). This practice is
no longer a part of the accepted form. One problem is
not being sufficiently
warm and open to practice these at the start. Most importantly,
however, Primary and Intermediate asana should be attended
to before rushing into Advanced asana. Also, both splits
postures are sitting asana and to go to the floor in
the middle of a standing sequence unnecessarily interrupts
the
flow and energy of the upright postures. The splits postures
are practiced near the end of their respective sequences
when the body is more open.
It is standard for most vinyasa to
do the right side first: step to the right, move the
right leg, fold it in position
etc. Pasasana is one exception to this rule.
It is traditional to sit in Padmasana with the right
foot folded first.
The right heel (lower) accentuates the descending colon
and spleen.
The left heel (higher) accentuates the ascending colon
and liver. This is considered the correct crossing energetically;
male (right) and female (left), particularly for meditation.
However, after the first year or so of practice, it is
useful
to begin crossing the legs in Padmasana on the alternate
side in order to balance the knees and hips. This is
also true for Kurmasana, Dwi Pada Sirsasana and Yoga
Nidrasana.
Another variation is the inclusion
of the twisted Parsvakonasana in
the sequence. As this posture is considered to be an
Intermediate
asana, traditionally it is not taught to beginners.
Lastly, the practice of jnana mudra (thumb
and fore-finger together) should only be maintained while
sitting in the final Padmasana and
in Mula Bandhasana and Yoga Dandasana.
The thumb represents universal consciousness (Brahman) and
the fore-finger represents
individual consciousness (aman) yoked together
as one. In all other postures the mudra should
be left aside as it is
energetically stimulating and a distraction from doing
the posture in its simplicity.
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