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sunnuntai 19. joulukuuta 2021

Sri Krishnamacharya's Early Astanga Yoga Blog

 

Sri Krishnamacharya's

Early Astanga Yoga Blog


This is a link to Anthony Grimm Hall's blog about the origins of ashtanga vinyasa yoga which is a form of physical yoga made popular by Krishna Pattabhi Jois. I am sharing the link to Hall's blog through my blog because Facebook doesn't allow posting the direct link.


The reason why I think Hall's blog is wonderful is because he has not only looked into the historical foundations of ashtanga yoga through Krishnamacharya's early presentations but also has brought a very creative and in a sense fearless presentation of asana and pranayama practice into the world of yoga postures and energy work.


This early, I would say original, spirit of ashtanga gives practitioners much more freedom to practice the postures in a way they want. This is according to the spirit of yoga because it is empowering.


-Kim Thubten Lingpa, 19.12.2021


http://grimmly1997.blogspot.com/

Grimmly2007-YouTube with hundreds of videos

Vinyasa Krama Yoga-blog

Anthony Grimm Hall's interview 

About Anthony Grimm Hall

After spending five years traveling and working my way around the world in my early twenties (see Susan Griffith's book Work your way around the world) I returned to the United Kingdom and studied Philosophy. After a few years as a Philosophy of Arts teaching assistant at Kent University I taught at a preparatory School before moving to Japan to teach English and work as a teacher trainer for five years. After taking up the Saxophone in Japan i returned to England to study as a Woodwind Instrument Repairer.

My 'Yoga story' is outlined in Kiri Miller's book, Playing Along published next month (Feb 2012) by OUP.

'Grimmly is an ashtanga (and later Vinyasa krama) student without a teacher--an impossible contradiction to many practitioners, but one that is getting more possible all the time. He lives in the United Kingdom and works as a repairer of woodwind instruments. In early 2007, Grimmly's flat was burgled and seven saxophones were stolen. This incident made him so angry, and then so irritated with his own anger, that he decided to take up some form of meditation. In the course of reading about meditation practices, he learned that "a lot of meditators were also doing yoga," so he looked for a yoga book at the library and found Tara Fraser's Total Astanga (Fraser 2006). As an overweight 43-year-old man, he was a bit embarrassed even bringing the book up to the circulation desk. On his blog, he wrote, "Going to a yoga class wasn't something I even considered. A guy here, outside London, might think about going to a gym to get in shape but not a Yoga class, probably not even an aerobic class".

Grimmly began learning the sequence of asana from the book, practicing every morning before work, and soon began to order instructional DVDs and search for YouTube videos to help him develop his practice. He started his yoga blog (Ashtanga Vinyasa krama at Home) in the summer of 2008, after about a year and a half of practicing at home alone six days a week. His posts often invoke a growing community of hidden "home ashtangis" like himself.

As Grimmly developed his home practice, some of his choices posed challenges to ashtanga orthodoxy. For instance, when Grimmly blogged about his decision to begin learning the second series of asana, one commenter told him that he should not be learning any intermediate asana before he could stand up from a backbend: "Then and only then you start to add intermediate to your existing primary. Your teacher would give you each new asana as he saw your progress. . . . Traditionally in India, yoga has been learned from teacher to student, not from a book or video. It's really not right to decide to give yourself postures".

After a year and a half of home practice, Grimmly finally decided to try attending an ashtanga class at a shala. He went two Sundays in a row and was "blown away" by the physical adjustments he received from the teachers there. But a week later, he explained that he doubted he'd go back: "All the time it's just been me on my mat, alone in a room early each morning, my practice...Somehow now, after visiting the Shala, it feels a little like I'm practicing for someone else...I feel more distant from my practice, less involved" (Grimmly 2008b). It's clear from other posts that Grimmly developed his practice using books, famous teachers' DVDs, YouTube videos, other students' blogs, and any other media resources he could find. He often writes about insights gleaned from these sources. Nevertheless, the "live" teaching at the shala somehow alienated him from his practice. While he benefited from the physical adjustments he received, he was willing to forego them in order to maintain a sense of agency and responsibility for his own development: practicing for himself instead of a teacher.

Grimmly and his fellow cybershala practitioners are creating new transmission modalities for ashtanga yoga, from reflective writing to side-by-side slideshows that might reveal hidden traces of corporeal knowledge".

from Playing Along, Kiri Miller (Oxford University press 2012)

In June 09 I came across Srivatsa Ramaswami's 'Complete book of Vinyasa Yoga' and spent the next year working out how best to combine Vinyasa Krama with my Ashtanga practice. I attended Ramaswami's 200 hour Vinyasa Krama Teacher Training course at LMU, Los Angeles July/Aug 2010. I now practice Ashtanga in the evenings and have an integrated Vinyasa Krama practice, asana (based on subroutines), Pranayama and Mediation in the morning. Last year I made home videos of each of Ramaswami's Subroutines and produced practice sheets. Over the last three months I revisited each subroutine, one each morning, writing up practice notes to accompany the subroutines in the evening. These subroutine practice sheets and practice notes form the core of my book, Vinyasa Yoga at Home Practice Book


 

perjantai 16. huhtikuuta 2021

Forms and Principles of Yoga Practice

 

Forms and Principles

of Yoga Practice


Hello ashtangis :) I'd like to share my thoughts about the form of yoga practice, specifically about strictness of form and growing out of it.


Most yoga methods, including ashtanga yoga, are taught through well and clearly defined forms and sequences. This is true in both external (asana, hatha, astanga) and internal (meditative, tantric) yogas. A well defined form gives beginners a foundation to learn about and to rely on. For this reason, for beginners, strict forms are very useful. In asana practice, one not only strengthens the body and makes it more flexible, but also the defined sequence makes it easier to feel the body and be mindful of its various sensations. What is also very important aspect of form-based practice is learning the structure and connectedness of the body, both in stillness and in movement. So for beginners, there's a lot to learn through the form. This is both a very joyful process of learning about oneself, as well as internally empowering.


There comes a point however when the strict form has delivered the benefits and turns into a barrier. This stage comes after perhaps a few years of intensive practice. One begins to feel bound by the strict form and intuits that it would feel better to change the postures, movements or mix the sequence to make it new somehow and to keep it fresh. Following a strict form, doing the same form over and over, no longer feels right.


It is at this point when one comes to ask oneself what have I learned from my foundational practice. Have I learned enough about my body and do I understand asana practice well enough to be able to trust my intuition of letting it begin to grow on its own? Wondering about these questions might take a while, perhaps another few years. Hopefully one can share these thoughts with likeminded practitioners and senior teachers who are able to support the direction one's practice is taking. Sometimes, unfortunately, these kinds of contemplations, when shared with others are met with doubt or even negative emotions. The reason for that may be that the doubters haven't yet reached the same point of wanting to break out of the confinements of the form, or the strict form is believed to be so important or even holy that it shouldn't be changed and should be followed to the letter.



Third Fetter



It is here that we come to a very important point about internal, nondualistic awakening, which yoga practice is all about(!), as defined in the Ten Fetters in buddhism. The meaning of the word fetter here means a sense of me-ness that binds the mind and makes it miserable. The third fetter is seeing through the attachment to strict forms of rites and rituals, or in the context of ashtanga yoga for example, the asana sequence. This doesn't mean to replace attachment with detachment but to see through the sense of me-ness or self that sticks to strict forms and thinks that they are special. Feeling special is always a problem in yoga because it directly shows there being a small ”me” or ”I” in the play. Believing in strict form without questioning is what is common to all religions, isn't it? The most essential point of any yoga practice is to look and investigate one's self-based beliefs (citta vritti) to at one point reach a state that is entirely without them (nirodha). This internal contemplation and process of inquiry should be part of asana practice as well, because without it there is little hope for other progress than physical. So, one way to support the growing out of strict form is to think what this dropping off of the belief of rites and rituals means.


A different way to support this stage is to understand that no form can ever cover or include everything, even if we wanted so. If we think about this in terms of physical movement, for example the range of movement of the arm from the shoulder, the arm moves full circle of 360 degrees in vertical direction and simultaneously, depending on one's flexibility, a varying degree also horizontally. Now, if we only move the arm in one or two ways, it literally leaves endless amount of other angles unused and therefore the range of movement and exercise becomes limited by the form. Then if we consider that the whole body is made of joint after the joint after joint, connected by a vast number of bones, muscles and tendons, we come to realise that one or two types of movements cannot possible cover the endless variety that the body could move.


In the context of pranayama and tantric yoga, this point becomes very clear when comparing focusing on just a few channels, (usually left, center and right) and all of them, which number up to hundreds of thousands. It is good to begin with few channels but few channels cannot possible cover hundreds of thousands of them, so similarly, the beginning form must and should be broken at some point so that one may keep learning and growing in knowledge. This is the reason why I teach ”masterclasses”. They are meant to help the students understand the principles behind the form. Once the practitioners understand the underlying principles, it is profoundly empowering to start practicing from the principles, rather than repeat the forms.


Perhaps I'll end this short text by encouraging people to be brave and to follow one's gut. If and when we understand the basics, we can be confident of following our internal voice.

I wish you a great day of practice,


Kim, 16.4.2021