“One of my goals in life is to do the slowest Primary Series anywhere… rather than the quickest”. Richard Freeman

NEWS:

New R. Saraswathi Resource page at the top of the blog to join those for Sharath R. Jois, Manju Jois, Pattabhi Jois, Krishnamacharya and Srivatsa Ramaswami.

Thursday, 31 October 2013

A Mystery: Who was 'The Old Man of Hassan', one of Krishnamacharya's earliest students, pre Mysore, a link to Tibet?

WARNING: This is Pure speculation, a bit of fun only.....for now.
What happened to all these kids, did any of them end up teaching Yoga?

In recent posts I've been looking at  the idea of 'Much more to Mysore', following Michelle's recent guest post. Michelle is studying Ashtanga with Vijay Kumar in Mysore and in yesterday's post I focused on Vijay's big brother Vinay, the former 'Yoga Champion', who teaches a vinyasa approach to Yoga in Mysore that he calls Prana Vashya Yoga

But where did Vinay and Vijay learn their Yoga, were they students of Pattabhi Jois? Vijay does teach pretty standard Ashtanga by all accounts.

Turns out that Vijay Kumar was taught by his brother Vinay, but who was Vinay's teacher?

This is what I've heard.....

"So Vijay's asana teacher is Vinay. No-one else. He started when he was 12 learning from Vinay, that was 14 years ago. Vijay's other yoga teacher (philosophy etc) is an old guy in a little village near his mother's home town of Hassan".

Had this 'old guy' also been his brother Vinay's teacher?

The old Man of Hassan

How's your Ashtanga Vinyasa history? Krishnamacharya was working for a time in a coffee plantation around 1925/26. In fact that was where the young Pattabhi Jois first saw him. Krishnamacharya was giving a demo and lecture there on yoga ('...jumping from asana to asana' according to Pattabhi Jois).

Krishnamacharya's son Desikachar mentioned in his book about his father that Krishnamacharya struggled to attract enough students in the beginning so had to take a job for a time on a coffee plantation...... in Hassan

'enough students', so Krishnamacharya was teaching yoga even back then, of course he was.

Supposedly Pattabhi Jois walked a few miles from his house to Hassan every morning, for two years, to study Yoga with Krishnamacharya ( although I believe Jois' school was actually in Hassan so he would have had to walk there anyway, still he had to get up a couple of hours earlier).

"Sri K. Pattabhi Jois began to practice astanga yoga at age 12. He had seen a demonstration and heard a speech by T. Krishnamacharya in Hassan's community hall in March of 1927, and this impacted him greatly. After intense questioning by T. Krishnamacharya, two days later K. Pattabhi Jois stood on a mat as a student (sasthaka) of Krishnamacharya and received his first Astanga Vinyasa Yoga class under his soon-to-be Guru. He came and practiced daily with him for two years.

The path of yoga is not necessarily ideal for a child living in a regular Brahmin family. Yoga used to prepare the aspirant for the life of a monk (sannyasis), living outside of society and was not of particular benefit to being part of a family. This ended up causing some conflict with his parents, and for a time he chose to hide his intense interest in the path of yoga. The 12-year-old Pattabhi Jois woke up two hours before his school-classmates, walked five kilometers along a path to Hassan, where T. Krishnamacharya's school was, did his practice while Krishnamacharya counted the vinyasas... and then went to regular school"http://www.petriraisanen.com/guruji.asp


So here's the question?

Who else did Krishnamacharya teach in Hassan?

Vinay's teacher perhaps?

If the had studied with Krishnamacharya as a boy he would have been an old man by the time Vijay and/or Vinay met him.

Speculation of course but.....

Vinay's approach to asana, which he calls Prana Vashya  is a vinyasa based system, movements follow the breath. It's very similar to the Ashtanga we know and love, especially if like me ( and Manju Jois too supposedly) you do a mixture of Primary and 2nd series with a couple of advanced postures thrown in for luck.

Prana Vashya Yoga
It only seems to have been Krishnamacharya who was teaching vinyasa, especially back in those days, a coincidence then that an old man in Hassan, where Krishnamacharya used to teach, teaches Vinyasa ( assuming this is the approach Vinay was taught back then).

Vinay teaches Kumbhaka in Asana, again, that has Krishnamacharya written all over it seem my recent post (UPDATED: Why did Krishnamacharya introduce kumbhaka (breath retention) into the practice of asana in Ashtanga?).

"A significant development of potential is experienced during the practice of kumbhakas. The use of kumbhakas helps quiet the mind and keeps the awareness on the breath/asana. The body experiences a better development in its resistance power and this helps to impart the complete effect of the asana practice without fatigue. Concentration on the bandhas isn't necessary when consciousness is on the simultaneous action of the breath and movements." Vinay Kumar

This of course would link Vinay back to the pre Mysore Krishnamacharya, one small step closer to the cave in the Himalayas perhaps and Krishnamacharya's own teacher Yogeshwara Ramamohana Brahmachari.

Of course it may well be that Vinay began practicing and teaching a vinyasa approach when he moved to Mysore and he might have read about kumbhaka in asana, just as I did, in Krishnamacharya's Yoga Makaranda, but when, I wonder, did he teach his brother Vijay, in Mysore or Hassan, and what did he teach him in the beginning a vinyasa practice not unlike Ashtanga Primary?

Speculation, complete speculation of course and perhaps in a day or two I'll hear more and the connection will turn out to be nonsense but Krishnamacharya did teach in Hassan, what happened to those kids,  I  do love the idea of The Mystery of The Old Man of Hassan.


Krishnamacharya 1925?

Wednesday, 30 October 2013

Chakra Bhandasana - Grab heels in a month backbend challenge

I must admit I've never been that bothered about grabbing my heels and taking my dropback into chakra bhandasana. Dropping back and coming up was a big deal to me, loved working on that, making it all much more controlled, smoother, but more than anything making the breath steady, the mind calm and focussed.

But then I got to thinking recently, as I began work on getting my kapo back, grabbing your heels in kapo is a big deal, something to hold on to such that you can draw your body nicely into the asana and settle. I don't mean tug and pull and wrench yourself in but using the heels to guide yourself into the full expression of the posture and then settle down to work on the breath.

Perhaps chakra bhandasana is something like that, getting something to hold on to ...where does that take you I wonder and what is it to breathe there, really breath.

And besides I need a challenge, gone a little soft. Those three months or so of being ill took their toll and it's only now I feel like my practice is coming back, that I'm starting to feel, I don't know, vibrant again.

I don't want to mess with my regular practice, interesting stuff going on in there at the moment with the mantras, lamrim, the breath, kumbhakas, all in my asana practice.... but back bends, can play with backbends.

And I saw this video from  Jen René Peg Mulqueenand Michael Joel Hall.  Michael, now he's a tall fella. This is the kind of Yoga video I like, the work in progress, just beginning to get it kind of yoga video, inspiring. Michael makes me think that yeah, I could do this. But it's Peg's section a minute in that iIfound particularly interesting, standing much closer to the wall than I've ever dared, interesting, was trying in this morning.

Actually I just watched it again and am thinking about the role of the bolsters, was trying to get a picture of Peg with her hands flat but they never go flat but rather spider walk along the bolster...it's kind of graffiti 'David Garrigues  was yur'.



And it's like Christmas, want to go to sleep early so the morning comes more quickly and I can open presents.

Here's the video. Supposedly there was a Madonna track on it but somebody complained so you'll have to hum your favourite Madonna tune.


And OK here where I am currently with my own backbend, this is from this morning. I usually practice three feet from the wall so i can touch off the first couple of times coming back up. I haven't been practicing them much recently, three drop back every other day perhaps.


Hopefully this video will appear soon, just uploaded it but have to run off to work.


I think the closet I ever got walking in was to just touching my heels ( must find a picture) so this is something new.

Kind of playing on my old Richard Freeman 14 day Karandavasana challenge.

Besides I'm interested in studying with Vinay Kumar in Mysore, see yesterday's post and he does a lot of work on backbends, so need to tidy mine up a little at my own pace.

Here's Vinay Kumar of Mysore from one of the videos I added to my post yesterday (Much more to Mysore part II), the second video I think but if backbends are your thing you'll want to watch all of the second and third videos, it's quite a demo.


Vinay Kumar, a way to go then...

Tuesday, 29 October 2013

'Much More to Mysore' Part II - Vinay Kumar and Prana Vashya's kumbhaka

Trianga mukhottanasana -Vinay Kumar Prana Vashya

If you saw my guest post from Michelle recently ( Much More to Mysore) you'll see that she was writing about some of the other shala options available in Mysore, good to know with KPJAYI  filling up so quickly each year.

"There appears to be a misconception amongst some yoga practitioners that coming to Mysore means coming to study at KPJAYI (http://kpjayi.org), but that just isn't true. And unfortunately many people are put off coming to study in Mysore, worrying that their practice is somehow under-par. This makes me extremely sad! The truth is that there are tens of yoga teachers in Mysore, teaching all types of yoga. There's literally a style of yoga for everyone. In my group of friends one friend was studying classical hatha yoga at Yoga Dharshanam (http://www.yogadarshanam.org), another was a beginner studying with Saraswati, one at Mystic School (http://mysoreyoga.in), one at the Mandala (www.ashtanga.org) and one with Vinay Kumar (www.pranavashya.com). I study with Vinay's younger brother Vijay at Ashtanga Saadhana (www.ashtangasaadhana.com). Such a great mix of people and everyone has something great to say about their respective teachers.

This year saw an unprecedented number of applications to study at KPJAYI. Having planned this trip for 18 months I was pretty shocked when registration to study at KPJAYI was closed within just two days...and I was too late! I think every month now until February is already full (and the shala closes in March), which means that unless you plan strategically, you may be disappointed! So, fear not - you can study in Mysore"! 
from Michelle Much More to Mysore

Michelle is practising pretty standard Ashtanga with Vijay Kumar I believe, this post is about Vijay's big brother Vinay Kumar.

I was very curious to hear that in his Prana Vashyu  approach to Yoga, Vinay Kumar employs kumbhaka (breath locks) - see my previous post on Krishnamacharya and Kumbhaka.

Here' Vinya Kumar's introduction from his website

"Pranayama is such an essential part of yoga, I focused on its relationship to performing the asana and discovered that the asana actually follows the breath and not the other way around if done properly with full awareness. Prana Vashya follows the breath instead of following the movement and maintains the rhythm of the breath throughout the practice. Through breath control, Prana Vashya keeps the attention fixed on the asana, not allowing the mind to wander. Utilizing Kumbhakas (breath locks) in certain movements while performing asana and vinyasa has a very powerful and dynamic effect that develops intense stamina Physically, Physiologically and Psychologically.

This developed capacity can be drawn from the mat and taken into life.

Practice Prana Vashya Yoga for these benefits".

Vinay Kumar.


*

I'm very curious how he goes about employing the kumbhaka's, does it follow the descriptions we find in Krishnamacharya, if not how does it differ.


Here's part of an interview from his website where he talks about kumbhaka

"So Prana Vashya Yoga is really more pranayama practice....

"Not as pranayama is generally understood. Pranayama is often a separate yoga practice whereas traditionally it was always a part of it. Prana Vashya Yoga fully integrates the two, in great part, with the application of kumbhakas (breath locks) so that one also experiences the effect of pranayama during the asana practice. There are actually sixty asanas in the sequence."

Can you talk a bit more about kumbhakas?

"A significant development of potential is experienced during the practice of kumbhakas. The use of kumbhakas helps quiet the mind and keeps the awareness on the breath/asana. The body experiences a better development in its resistance power and this helps to impart the complete effect of the asana practice without fatigue. Concentration on the bandhas isn't necessary when consciousness is on the simultaneous action of the breath and movements."

How does it compare to Ashtanga, Hatha, Iyengar, etc? Is PVY adaptable to other styles?

"The vinyasa is different, but most of the asanas are essentially the same; there are just more of them. Prana Vashya vinyasa provides a true equilibrium for the upper and lower body as there is a complete utilization of the shoulders, hip joints, thigh muscles, calf muscles, and hamstrings which help build and maintain strength and stamina in the legs as well.

Prana Vashya is distinguished by its unique approach to flow and balance. The flow is slow, deliberate, and deep, and the body is trained evenly along its front, back and transverse lines. This approach equally trains the body in strength, balance and flexibility while calming the mind and nervous system.

As I mentioned, Prana Vashya Yoga asanas are essentially the same as Hatha and Iyengar, but with an intensified application of each asana, and the attention and utilization of the breath and kumbhakas (breath locks). It is not difficult to learn the basic vinyasa, though becoming adept as it requires increased stamina, balance and flexibility. There is a different dynamic to the Prana Vashya Yoga breath/asana relationship. It takes 1-2 weeks to really start to experience this dynamic and it is quite profound. Prana Vashya Yoga can be considered as an enhancement to an existing practice, not as a conflict." http://www.pranavashya.com/interview

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Here's a Video of the prana vashya sun salutation (from here http://www.pranayoga.cz), it's a little different from what we're familiar with perhaps, the breath locks are indicated (you may have to watch it on YouTube to see the annotations).


UPDATE: Gabriella has kindly commented on this post, here's the part on Kumbhaka 

"About kumbaka. Yes, the Prana Vashya sequence includes many antar kumbhakas or puraka, after inhalation kumbakas, and bahir (outside) or recaka, after exhalation kumbhakas. Vinay only requires regular people to do the kumbhakas in the vinyasas but if you study a teacher's training course with him it all gets even more elaborate. Studying one on one with him I had to do kumbhakas not only in vinyasa, but also for coming into the positions most of the time. This was a natural development for me, since after a while my body naturally started to hold the breath in and out. Practicing this way brings about a moving meditation, and the stilling of the mind. That is actually a general experience many students feel after taking up the practice". 


For more about my experiences with Prana Vashya yoga, please read my previous blog post: http://yoginigabi.blogspot.hu/2012/09/prana-vashya-transformation-in-body-and.html

Here's a taste from Gabrielle's blog post

"I am sitting on the floor in padmasana. It is hot outside, the cows are lowing, the street is full of noises. In the smaller room I am sitting with another eight in silence. Oooone, twooooo, threeee...I hear the annoyingly slow counts. Vinay's calm but ruthless commands dictate my breath. I feel I am suffocating, I cannot breathe so slowly. On top of that, my body wants to boil from the inside. I thought that with two Indian TTCs and years of practice under my belt, I can do yoga, but I start to understand that this is the beginning of the real practice.
“For true practice to occur, you must give justice to every breath”, says Vinay and he means it. There are no excuses, you must follow his breath choreography not only during the pranayama class, but also during asana practice.

There is no yoga without conscious breathing. This information has been coded into my cells during the months I spent with him. Prana Vashya, prana control, in other words the extension of consciousness and the life force to our every part. This makes the system of Prana Vashya truly unique. It creates such a focus in the practitioner, that leads to an elevated level of consciousness where physical and internal transformation can take place.
I learned it through my own experience. During the months in India, I acquired such an incredible physical strength and stamina that was wowed by my fellow students. Though the most important change happened on the inside. The eye is the mirror of the soul and funnily enough I also recognized that my look has changed in India this time. It became more powerful, meaningful and determined. I grew up and found the way back to myself." http://yoginigabi.blogspot.hu/2012/09/prana-vashya-transformation-in-body-and.html

Prana Vashya Yoga

http://www.pranayoga.cz

http://www.pranayoga.cz

http://www.pranayoga.cz

A you Tube video from F. Gabriella Toth showing some of the asana, speeded up though so we don't get to see how the kumbhaka (breath locks ) are employed.
Here's a version of her site put through google translate


If anyone has studied with Vinya Kumar in mysore and can explain his use of Kumbhaka to me in asana, where and how long I would be grateful, otherwise I may well have to make the trip myself.

If anyone sends anything (guest post?) in I'll update the post accordingly

Vinay Kumar himself in a demonstration.

Jump to four minutes in for the beginning of the demonstration, amazing backbend in the first sun salutation.
At his shala in Mysore there is a back bending class in the afternoons that is suppose to be..... transformative

 





*
Going back a while, back when I had my last case of severe does of asana madness I posted a picture on my blog, a posture that I has seen somewhere and wanted to try but didn't know the name of.

My guess was Ardha baddha padma eka pada raja kapotasana 

Turns out it was this by Vinay Kumar's 


Except that on his back bending flexibility stage 1 gallery page
he calls it Eka pada raja kapotasana

On my earlier post Vinya was kind enough to leave a comment clearing it up.
  1. Namasthe,
    The position is called Baddha (bound) Eka Pada Raja Kapottasana. There seems to be a mistake done while uploading the photo and their names.
    Vinay Kumar,
    Prana Vashya Yoga Shala,
    Mysore.
    *

Saturday, 26 October 2013

UPDATED: Why did Krishnamacharya introduce kumbhaka (breath retention) into the practice of asana in Ashtanga?

In this post I explore why Krishnamacharya included Kumbhaka (breath retention) in his descriptions of asana in his 1934 manual Yoga Makaranda. I question too why it has not been passed along in current the Ashtanga of Pattabhi Jois. I argue that Krishnamacharya was bringing in meditation techniques into the asana practice to still the mind during practice, to avoid the Monkey mind that we so often experience, and that the meditation techniques he brought into his presentation of asana are consistent with Patanjali's Yoga Sutras. I present other options suggested by Patanjali including the attitude I employ in my own practice based on loving kindness and the four immeasurables.

“May all sentient beings enjoy happiness and the root of happiness.
“May they be free from suffering and the root of suffering.
“May they not be separated from the great happiness devoid of suffering.
“May they dwell in the great equanimity free from passion, aggression, and prejudice.”
-Traditional Chant based on the four immeasurable.


For a long time I've been wondering why Krishnamacharya included Kumbhaka in his presentation of asana in Yoga Makaranda (1934). I explored the practice myself, liked it, found it quite powerful actually and still include kumbhaka in my own practice. It's an approach that Krishnamacharya seems to have continued to explore throughout his life. Ramaswami, who studied with Krishnamacharya for 33 years through the 1950s-70s included a kumbhaka option in many of the asana he taught to us on his teacher training in 2010.

Kumbhaka in asana wasn't taken up by Pattabhi Jois in his presentation of Krishnamacharya's Ashtanga in Yoga Mala. When I asked Manju Jois recently about this he went so far as to suggest the practice was wrong, that Krishnamacharya was mistaken in including kumbhaka in asana.


We could come up with several reasons perhaps why one might seek to explore kumbhaka in asana but what was Krishnamacharya's reasoning, what was he after? Was it something he introduced himself or did it come from his teacher and perhaps his teacher's teacher, is it part of a lost teaching, a break in the lineage? Krishnamacharya argued that you knew a yoga practice was wrong if it it didn't correspond with the Yoga Sutras.

So is there any ground for including kumbhaka in as asana practice based on Patanjali?

I think there is.

"While practicing yoga with reverence, one can offer their essence to God during exhalation and during inhalation, imagine/suppose that God is entering your heart.  During kumbhaka, we can practice dharana and dhyana.  Such practices will improve mental concentration and strengthen silence/stillness.  Eliminates agitation and restlessness".  Krishnamacharya: Yogasanagalu (1941)

"While practicing yoga....



Here Krishnamacharya appears to be referring to yoga asana and that would tie in with his unique approach to asana as found in his book Yoga Makaranda (1934) written a couple of years earlier than Yogasanagalu (1941). In Yoga Makaranda he describes kumbhaka while in asana and not just padmasana but almost all asana that he describes.

"When practising asana, the breath that is inhaled into the body and the breath that is exhaled out must be kept equal. Moreover, practise the asana with their vinyasas by breathing only through the nose". p27

"Brahmana kriya means to take in the outside air through the nose, pull it inside, and hold it in firmly. This is called puraka kumbhaka.
Langhana kriya means to exhale the air that is inside the body out through he nose and to hold the breath firmly without allowing any air from outside into the body. This is called recaka kumbhaka".
p27-28

"In each section for each particular asana, we have included a description and an enumeration of its vinyasas. The vinyasas in which the head is raised are to be done with puraka kumbhaka and the ones in which the head is lowered must be done with recaka kumbhaka. Uthpluthi (raising the body from the floor with only the support of both hands on the floor is called uthpluthi) should be done on recaka kumbhaka for a fat person and on puraka kumbhaka for a thin person...." p28

2 Parsvottanasana
"...Standing in tadasana krama, draw in clean air through the nose and practise kumbhaka...." p59

11 Janusirsasana
"...This form follows the hatha yoga principles. Another form follows the raja yoga method. The practitioner should learn the difference. First, take either leg and extend it straight out in front. Keep the heel pressed firmly on the floor with the toes pointing upward. That is, the leg should not lean to either side. The base (back) of the knee should be pressed against the ground. Fold the other leg and place the heel against the genitals, with the area above the knee (the thigh) placed straight against the hip. That is, arrange the straight leg which has been extended in front and the folded leg so that together they form an “L”. Up to this point, there is no difference between the practice of the hatha yogi and the raja yogi.
For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.
The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done..." p79-80

SEE APPENDIX AT BOTTOM OF POST FOR MORE EXAMPLES

Why did Krishnamacharya introduced kumbhaka into asana?

Perhaps it has something to do with this.....

Translations of Yoga sutras below from Chip Hartranft
http://www.arlingtoncenter.org/Sanskrit-English.pdf (with some additional notes from Ramaswami).

1:30 vyâdhi-styâna-sanåaya-pramâdâlasyâvirati-bhrânti-daråanâlabdha-bhûmikatvânavasthitatvâni citta-vikæepâs te ‘ntarâyâï
Sickness, apathy, doubt, carelessness, laziness, hedonism, delusion, lack of progress, and inconstancy are all distractions which, by stirring up consciousness, act as barriers to stillness.

Ramaswami writes, "These are the nine impediments (to practice) removed by meditating on ishvara (The Lord, God)".

1:31 duïkha-daurmanasyâògam-ejayatva-åvâsa-praåvâsâ vikæepa-sahabhuvaï
When they do, one may experience distress, depression, or the inability to maintain steadiness of posture or breathing.

1:32 tat-pratiæedhârtham eka-tattvâbhyâsaï
One can subdue these distractions by working with any one of the following principles of practice.

"One principle' could refer to Ishvara". Ramaswami

Patanjali then goes on to outline seven attitudes, meditation/contemplation/concentration techniques to overcome these barriers to stillness.

The first is the traditional Buddhist meditation approach of contemplating the four imesurables that I mentioned in my previous post and which I have brought into my own practice.

1:33 maitrî-karuñâ-muditopekæâñâä sukha-duïkha-puñyâpuñya-viæayâñâä bhâvanâtaå citta-prasâdanam
"Consciousness settles as one radiates friendliness, compassion, delight, and equanimity toward all things, whether pleasant or painful, good or bad"

Krishnamacharya however seems to be introducing into his asana descriptions the second meditation technique Patanjali outlines when he writes

"While practicing yoga with reverence, one can offer their essence to God during exhalation and during inhalation, imagine/suppose that God is entering your heart.  During kumbhaka, we can practice dharana and dhyana.  Such practices will improve mental concentration and strengthen silence/stillness.  Eliminates agitation and restlessness".  Krishnamacharya: Yogasanagalu

1:34 pracchardana-vidhârañâbhyâm vâ prâñasya
Or by pausing after breath flows in or out.

and also the seventh, for him Ishvara, the Lord, God

1:39 yathâbhimata-dhyânâd vâ
Or through meditative absorption in any desired object.

"or by taking your own favourite religious practice ( a particular god: an image; or a feeling) and meditating on that". Ramaswami


In our own asana practice we all struggle with 'monkey mind' citta-vëtti, the fluctuations of the mind. the idea has always seemed to be that by praqctcing asana and  pranayama that we will be able to still the mind somehow and then be able to practice meditation with a more stable mind.

What Krishnamachaya seems to be doing is bringing mind stilling techniques found in Patanjali into the asana itself, stilling the mind while in the asana. We do this already by seeking to follow the breath, focusing on drishti, on bandhas but it doesn't always help does it, our minds are still too often all over the place. And perhaps we go for ever more complicated asana in an attempt stay concentrated when perhaps with the most appropriate attitude/meditation technique we can still the mind in the most straight forward of asana.

Here are the seven contemplation/meditation techniques patanjali recommends in Chapter 1 of his yoga Sutras that we might consider bringing into our asana practice.

I.33 maitrî-karuñâ-muditopekæâñâä sukha-duïkha-puñyâpuñya-viæayâñâä bhâvanâtaå citta-prasâdanam
Consciousness settles as one radiates friendliness, compassion, delight, and equanimity toward all things, whether pleasant or painful, good or bad.

I.34 pracchardana-vidhârañâbhyâm vâ prâñasya
Or by pausing after breath flows in or out.

I.35 viæayavatî vâ pravëttir utpannâ manasaï sthiti-nibandhanî
Or by steadily observing as new sensations materialise.

I.36 viæokâ vâ jyotiæmatî
Or when experiencing thoughts that are luminous and free of sorrow.

I.37 vîtarâgaviæayam vâ cittam
Or by focusing on things that do not inspire attachment.

I.38 svapna-nidrâ-jõânâlambanam vâ
Or by reflecting on insights culled from sleep and dreaming.

I.39  yathâbhimata-dhyânâd vâ
Or through meditative absorption in any desired object




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APPENDIX: Kumbhaka in Krishnamacharya's descriptions of asana

Examples of usage of Kumbhaka (Breath retention) in asana in Krishnamacharya's Yoga Makaranda

"When practising asana, the breath that is inhaled into the body and the breath that is exhaled out must be kept equal. Moreover, practise the asana with their vinyasas by breathing only through the nose". p27

"Brahmana kriya means to take in the outside air through the nose, pull it inside, and hold it in firmly. This is called puraka kumbhaka.
Langhana kriya means to exhale the air that is inside the body out through he nose and to hold the breath firmly without allowing any air from outside into the body. This is called recaka kumbhaka".
p27-28

"In each section for each particular asana, we have included a description and an enumeration of its vinyasas. The vinyasas in which the head is raised are to be done with puraka kumbhaka and the ones in which the head is lowered must be done with recaka kumbhaka. Uthpluthi (raising the body from the floor with only the support of both hands on the floor is called uthpluthi) should be done on recaka kumbhaka for a fat person and on puraka kumbhaka for a thin person...." p28

ASANA

1 Uttanasana

"Following the rules for tadasana (yogasana samasthiti krama) (Figure 4.1, 4.2), stand erect. Afterwards, while exhaling the breath out slowly, bend the upper part of the body (that is, the part above the hip) little by little and place the palms down by the legs. The knees must not be even slightly bent. Raise the head upwards and fix the gaze on the tip of the nose. While doing this, draw in clean air through the nostril, hold the breath firmly and maintain this position. This is called sahitha kumbhaka...." p51

2 Parsvottanasana
"...Standing in tadasana krama, draw in clean air through the nose and practise kumbhaka...." p59

3 Prasarita Padottanasana
"...Stand in tadasana krama. Jump the legs apart, placing the feet 3 mozhams apart on the ground. Practise jumping and placing the feet at the correct distance all in one jump. While jumping, either puraka kumbhaka or recaka kumbhaka can be done...." p61

4 Ardhabaddha Padmottanasana
"From tadasana, do puraka kumbhaka. After this, choose either leg and place its foot on top of the opposite thigh. Slowly, little by little, move the foot up until the back of the heel is pressed against the lower abdomen. Whichever leg is raised, move the same hand behind the back and clasp the big toe of that foot (from behind the back). Keep the other hand in tadasana sthiti and do puraka kumbhaka. After this, slowly exhale through the nose and bend the upper part of the body forward down to the floor. Place the palm down by the foot and keep it firmly pressed against the floor. Release the breath out completely, and without inhaling, practise kumbhaka and lower the head, placing it on top of the kneecap of the extended leg...."p61

6 Urdhvamukhasvanasana
"This has 4 vinyasas. Vinyasas 1, 2, and 3 are exactly as for uttanasana. The 4th vinyasa is to be done following the same method as for caturanga dandasana. But in caturanga dandasana, there are 4 angulas of space between the body and the floor everywhere. In this asana, the palms and toes are as in caturanga dandasana. However even while keeping the lower part of the body from the toes to the thighs just as in caturanga dandasana, raise the upper part of the body. Make sure that the navel rests between the hands and do puraka kumbhaka...." p65

8 Pascimattanasana or Pascimottanasana
"...This asana has many kramas. Of these the first form has 16 vinyasas. Just doing the asana sthiti by sitting in the same spot without doing these vinyasas will not yield the complete benefits mentioned in the yoga sastras. This rule applies to all asanas.
The first three vinyasas are exactly as for uttanasana. The 4th vinyasa is caturanga dandasana, the 5th vinyasa is urdhvamukhasvanasana, the 6th vinyasa is adhomukhasvanasana. Practise these following the earlier instructions. In the 6th vinyasa, doing puraka kumbhaka, jump and arrive at the 7th vinyasa. That is, from adhomukhasvanasana sthiti, jump forward and move both legs between the arms without allowing the legs to touch the floor. Extend the legs out forward and sit down. Practise sitting like this with the rear part of the body either between the two hands or 4 angulas in front of the hands. It is better to learn the abhyasa krama from a guru. In this sthiti, push the chest forward, do puraka kumbhaka and gaze steadily at the tip of the nose...." p69

11 Janusirsasana

"...This form follows the hatha yoga principles. Another form follows the raja yoga method. The practitioner should learn the difference. First, take either leg and extend it straight out in front. Keep the heel pressed firmly on the floor with the toes pointing upward. That is, the leg should not lean to either side. The base (back) of the knee should be pressed against the ground. Fold the other leg and place the heel against the genitals, with the area above the knee (the thigh) placed straight against the hip. That is, arrange the straight leg which has been extended in front and the folded leg so that together they form an “L”. Up to this point, there is no difference between the practice of the hatha yogi and the raja yogi.
For the hatha yoga practitioner, the heel of the bent leg should be pressed firmly between the rectum and the scrotum. Tightly clasp the extended foot with both hands, raise the head and do puraka kumbhaka. Remain in this position for some time and then, doing recaka, lower the head and place the face onto the knee of the outstretched leg. While doing this, do not pull the breath in. It may be exhaled. After this, raise the head and do puraka. Repeat this on the other side following the rules mentioned above.
The raja yogi should place the back of the sole of the folded leg between the scrotum and the genitals. Now practise following the other rules described above for the hatha yogis. There are 22 vinyasas for janusirsasana. Please note carefully that all parts of the outstretched leg and the folded leg should touch the floor. While holding the feet with the hands, pull and clasp the feet tightly. Keep the head or face or nose on top of the kneecap and remain in this sthiti from 5 minutes up to half an hour. If it is not possible to stay in recaka for that long, raise the head in between, do puraka kumbhaka and then, doing recaka, place the head back down on the knee. While keeping the head lowered onto the knee, puraka kumbhaka should not be done..." p79-80

12 Upavistakonasana

"This has 15 vinyasas. Recaka kumbhaka is its primary principle...." p83

13 Baddhakonasana

"This has 15 vinyasas. The 8th vinyasa is the asana sthiti. The 1st to the 6th vinyasas are like the 1st till the 6th vinyasas for pascimottanasana. In the 7th vinyasa, just like the 7th vinyasa for pascimottanasana, keep the hands down and bring the legs forward in uthpluthi. But instead of straightening them, fold the legs and place them down on the ground. Folding them means that the heel of the right foot is pasted against the base of the right thigh and the heel of the left foot is pasted against the base of the left thigh. When the legs are folded in this manner, the soles of the feet will be facing each other. Hold the sole of the left foot firmly with the left hand and hold the right sole firmly with the right hand. Clasping the soles together firmly, do recaka kumbhaka, lower the head and place it on the floor in front of the feet..."
 p85-86

14 Supta Padangushtasana

"...The first krama for this has 21 vinyasas. Through the 6th vinyasa, it is exactly as for pascimottanasana. In the 7th vinyasa, lie down facing upwards instead of extending the legs and sitting as in pascimottanasana. While lying down, the entire body must be pressed against the ground. The toes must point upwards and the back of the heels must be stuck to the ground. This is also called savasana by other schools. This is the 7th vinyasa for supta padangushthasana. In the 8th vinyasa, slowly raise the right leg straight up. Hold the big toe of the right foot with the fingers of the right hand, do recaka kumbhaka and remain in this position for as long as possible. .."p86

17 Utthitahasta Padangushtasana
"...First, push the chest forward and stand erect with equal balance. While standing this way, make sure that the head, neck, back, hips, arms and legs are aligned properly and gaze at the tip of the nose. The feet must be kept together. Now, raise one leg up slowly and maintain this position with the extended leg kept straight out in front at the height of the navel. The knee should not bend and the leg must be kept straight for the entire time that it is being raised. After the leg has been raised about 3/4 of the way without any assistance, take the first three fingers of the corresponding hand (the same as whichever leg was raised) and tightly clasp the big toe of the raised foot. Remain in this position for some time. Keep the other hand on the hip. Inhalation and exhalation of the breath must be slow and of equal duration. One says the sthiti is correct if there is the same measure of distance between the standing leg and the raised leg. In this there are many other forms.
After staying in this sthiti for some time, take either the face or the nose towards the knee of the raised leg and place it there. Recaka kumbhaka must be done in this sthiti. That is, expel the breath completely from the body, maintain this position and then without allowing any breath into the body, bend the upper body. Now carefully pull in the stomach as much as one’s strength allows and hold it in. Stay in this sthiti for at least one minute..." p99

18 Baddhapadmasana

"...Place the right foot on top of the left thigh and the left foot on top of the right thigh. Take the hands behind the back and tightly clasp the big toe of the right foot with the first three fingers of the right hand and tightly clasp the big toe of the left foot with the first three fingers of the left hand.
Press the chin firmly against the chest. Keep the gaze fixed on the midbrow. Sit down, keeping the rest of the body straight. This has the name baddhapad- masana. This asana must be repeated on the other side (that is, first place the left foot on top of the right thigh and then the right foot on top of the left thigh) in order to exercise both sides of the body.
This has 16 vinyasas. The 8th and 9th vinyasas are the asana sthiti. The other vinyasas are like pascimottanasana. Study the pictures (Figures 4.52, 4.53) and learn how to keep the gaze. In this asana, one must do puraka kumbhaka..." p103

25 Marichasana

"This has 22 vinyasas. This needs to be done on both the left and the right sides. Study the sannaha sthiti (the preparatory state) of marichasana in the picture. This sthiti is the 7th vinyasa.
The right-side marichasana paristhiti is shown in the second picture. Maricha Maharishi was known for bringing this asana to public knowledge and hence it is named for him.
Stay in the 7th vinyasa for some time doing puraka kumbhaka. After this, do recaka and come to the 8th vinyasa. Stay in this position for as long as possible. In case your head starts reeling (you get dizzy), come back to the 7th vinyasa, do puraka kumbhaka, close the eyes and remain here for some time. The dizziness will stop.
The 9th vinyasa is like the 7th vinyasa. The 10th, 11th, 12th and 13th vinyasas are like the 10th, 11th, 12th and 13th vinyasas of janusirsasana.
The 14th vinyasa is marichasana sannaha sthiti on the left side. This is demonstrated in the 3rd picture. The 15th vinyasa is the left-side marichasana paristhiti. This is demonstrated in the 4th picture. In the 14th vinyasa do puraka kumbhaka and in the 15th vinyasa do only recaka..." p115

26 Niralamba Sarvangasana

"This has 14 vinyasas. The 8th vinyasa is the asana sthiti. The form depicted in the picture is the 8th vinyasa. This is niralamba sarvangasana paristhiti. In order to get to this sthiti, slowly raise the arms and legs either together or one-by- one in the 7th vinyasa . Do only recaka at this time. Never do puraka kumbhaka..." p115

27 Ekapada Sirsasana
"This has two forms: dakshina ekapada sirsasana and vama ekapada sirsasana. Both these forms together have 18 vinyasas. The first picture depicts dakshina ekapada sirsasana and the second picture vama ekapada sirsasana. The 7th and 12th vinyasas are the asana sthitis of these different forms. For this asana, you need to do sama svasauchvasam (same ratio breathing). In the 7th vinyasa, the left leg, and in the 12th vinyasa the right leg, should be extended and kept straight from the thigh to the heel. No part should be bent.
Keep the hands as shown in the picture. In this sthiti one needs to do equal ra- tio breathing. When the hands are joined together in ekapada sirsasana paristhiti, one must do puraka kumbhaka. One must never do recaka..." p120

29 Yoga Nidrasana

"This has 12 vinyasas. The 7th vinyasa is yoga nidrasana sthiti. The first 6 vinyasas for kurmasana are the first 6 vinyasas for this. In the 7th vinyasa, sit like you did in dvipada sirsasana and instead of keeping the two legs on the back of the neck, first lie back facing upwards. Then lift the legs up and place them on the back of the neck.
In dvipada sirsasana, we joined the hands together in prayer and placed them next to the muladhara cakra. In this asana, following the krama, take the shoul- ders (that is, the arms) on both the left and right sides over the top of the two thighs, and hold the right wrist tightly with the fingers of the left hand beneath the spine. Study the picture.
In the 7th vinyasa, after doing only recaka, arrive at the asana sthiti. Then, one should do puraka kumbhaka and lie down...." p123

32 Bhairavasana
"This has 20 vinyasas. The 8th and the 14th vinyasas are the right and left side asana sthitis.
From the 1st until the 7th vinyasa, follow the method for ekapada sirsasana. In the 8th vinyasa, instead of keeping the hands at the muladhara cakra (as in ekapada sirsasana), hug both arms together tightly as seen in the picture and lie down looking upwards. While remaining here, do puraka kumbhaka, raise the neck upwards and gaze at the midbrow...". p129

33 Cakorasana
"This has 20 vinyasas. This is from the Kapila Matham.
After observing that this follows the form of flight of the cakora bird, this came to be called cakorasana. In the Dhyana Bindu Upanishad, Parameshwara advises Parvati that “There are as many asanas as there are living beings in the world”. We readers must always remember this. The 8th and 14th vinyasas are this asana’s sthitis. The 7th and the 13th vinyasas are like the 7th and the 13th vinyasas of ekapada sirsasana. In the 8th and the 14th vinyasas, press the palms of the hand firmly into the ground, do puraka kumbhaka, raise the body 6 angulas off the ground and hold it there. Carefully study the picture where this is demonstrated. Keep the gaze fixed on the midbrow. The other vinyasas are like those of bhairavasana..." p131-132

37 Trivikramasana

"This has 7 vinyasas. From the 1st to the 5th vinyasas and then the 7th vinyasa, practise following those for utthita hasta padangushtasana. Practise the 2nd and 7th vinyasas as shown in the picture (study it carefully) and remain in these positions. The 2nd vinyasa is the right-side trivikramasana sthiti. The 6th vinyasa as shown is the left-side trivikramasana sthiti. The picture shown here only demonstrates the left-side trivikramasana. It is important that equal recaka and puraka kumbhaka must be carefully observed while practising this asana. Keep the gaze fixed on the midbrow. Both legs must be held straight and must not lean or bend to any side...".
p136

38 Gandabherundasana

"This has 10 vinyasas. The 6th and 7th vinyasas show the asana sthiti. The first picture shows the 6th vinyasa and the second picture shows the 7th. In the 4th vinyasa, come to caturanga dandasana sthiti and in the 5th vinyasa proceed to viparita salabasana sthiti. In the 6th vinyasa, spread the arms out wide, keeping them straight like a stick (like a wire) as shown in the picture. Take the soles of both feet and place them next to the ears such that the heels touch the arms and keep them there.
Next, do the 7th vinyasa as shown in the second picture. This is called supta ganda bherundasana. In this asana sthiti and in the preliminary positions, do equal recaka puraka kumbhaka. Keep the gaze fixed on the midbrow. This must not be forgotten". p142


*

We can see that Krishnamacharya has indicated Kumbhaka in well over half of the asana described in Yoga Makaranda. In Yogasanagalu, Krishnamacharya includes the asana described in Yoga Makaranda and as well as a fuller list of asana divided up into three groups, Primary Middle and Proficient. The Primary and Middle groups correspond closely with the Ashtanga Primary and Intermediate series presented by Krishnamacharya's student from the Yoga Makaranda/Yogasanagalu period, Pattabhi Jois.


Interestingly, in the full table of asana found in Yogasanagalu Krishnamacharya indicates the appropriate kumbhaka but these are mostly found from the middle group onwards. However, because kumbhaka is found in the fuller descriptions of Primary asana found in the same book (and taken from Yoga makaranda) it may well be that in the beginning students would not include kumbhaka. Once students had gained some proficiency then kumbhaka may well have been introduced into the primary asana as well as the middle and proficient asana. this may also explain why Pattabhi Jois in his manual, Yoga Mala failed to include kumbhaka in his asana descriptions. One further point, in the book released by AG Mohan which he has titled Yoga Makaranda part II, Kumbhaka has been indicated but tends to be short, beginning at two seconds and rising to five seconds with proficiency. 









*

See also this earlier post
TKV Desikachar speaking about exploring the breath in Asana and pranayama

My Krishnamacharya Blog

KRISHNAMACHARYA'S 'ORIGINAL' ASHTANGA PROJECT

and the ongoing

Yogasanagalu Translation Project


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A Reminder

from Kalama sutra, translation from the Pali by Bhikkhu Bodhi This blog included.

"So, as I said, Kalamas: 'Don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, "This contemplative is our teacher." When you know for yourselves that, "These qualities are unskillful; these qualities are blameworthy; these qualities are criticized by the wise; these qualities, when adopted & carried out, lead to harm & to suffering" — then you should abandon them.' Thus was it said. And in reference to this was it said.

"Now, Kalamas, don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, 'This contemplative is our teacher.' When you know for yourselves that, 'These qualities are skillful; these qualities are blameless; these qualities are praised by the wise; these qualities, when adopted & carried out, lead to welfare & to happiness' — then you should enter & remain in them. Buddha - Kalama Sutta
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