Näytetään tekstit, joissa on tunniste vinyasa. Näytä kaikki tekstit
Näytetään tekstit, joissa on tunniste vinyasa. Näytä kaikki tekstit

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



tiistai 15. joulukuuta 2020

The Ashtanga Key - Surya Namaskar by C. Tompkins and A.G. Hall

 

The Ashtanga Key - Surya Namaskar 


This blog is copied from here and reposted in my own blog because Facebook doesn't allow link from A.G.Hall's blog.

Update (13/10/15) from research by Christopher Tompkins

"The Yogin should recite the mantra, while Dancing through the poses of the Namaskāra. He raises his arms in the air, takes Anjali mudra, descending towards the earth, he forms the shape of a staff; he should (both) come to the earth, and arise again [from it] in the way natural to a DOG. Having made his offering, he arises from the Āsana moving to the next direction around the Axis of the Mandala."

-from the Naradiya Samhita (pre-12th century), one of Krishnamacharya's stated sources for his revival of Tantric Āsana Vinyasa.
pdf version of this that blows up nicely on my google docs page

T. Krishnamacharya taught, among others, Pattabhi Jois, BKS Iyengar, TKV. Desikachar, TK. Sribhashyam, Srivatsa Ramaswami, AG. Mohan. The schools of Ashtanga, Iyeangar, Viniyoga Vinyasa Krama that have come from these teachers have of course been been highly influential and there is a strong likelihood that if you were decide to practice Yoga, the majority of the teachers in your area ( or books in your library, as was my case) will have been influenced to some degree by one or more of these schools and/or the satellite styles and variations that have derived from them.

Personally I was never that convinced by the suggestion that Krishnamacharya was so strongly influenced by the international fitness movement of his day, wrestlers exercises and/or the asana manuals in the Mysore palace libraries. Perhaps because when these suggestions came out I'd recently begun practicing a slower, less dynamic, approach to Ashtanga and found support for that approach in Krishnamacharya own texts from the 1930s and 40s. Krishnamacharya was stressing long slow inhalations and exhalations, kumbhaka (breath retentions), in almost every asana, long stays in certain postures and there was the suggestion of flexibility in the linking of asana, loose groups of asana rather than fixed sequences. The physical practice was closely linked to pranayama and meditation and embedded in a context of traditional yoga practices referenced to old, even ancient texts.

I have the same questions of course. How did the Vinyasa system come about; each movement from standing linked to the breath and counted, working towards a seated posture ( for example) before working back through the same sequence of postures and a return to standing. Why was there a kumbhaka (breath retention) at the end or beginning of each stage of the breath in Krishnamacharya (the breath held in after the inhalation and/or held out after the exhalation) and why was this not carried over into the Ashtanga of his long term student Pattabhi Jois.

I've come to feel that the key to answering these questions, the Ashtanga key may well be Surya namaskar, the sun salutation.

If we begin with the asana, paschimottanasana say, we might ask why Krishnamacharya added the postures either side of it, leading back and forth, to and from standing, why he encompassed the asana in the sequence and then began to link the breath and movements and finally introduce kumbhaka.

This viewpoint may well lead us to look at the exercises like the dand (chaturanga and upward facing dog) that we find practiced by Indian wrestlers

But what if we approach it from a different perspective and ask why Krishnamacharya added paschimottanasana to the Sun salutation?

What if we begin with the sun salutation, but not any sun salutation, the Surya namaskar with mantras.

Surya namaskar can perhaps be traced back to the epic The Ramayana (4th C BC?), where the hero Rama, wearied from shooting fruitless arrows at the demon king Ravena, was approached by the Sage/rishi Agastya who chanted a hymn/mantra/prayer to the sun god Suya which had the effect of removing Ravena's defences, allowing Rama to finally defeat him (see Appendix).

A tradition developed where a prostration and later a salutation would be introduced after each verse of the hymn. I actually practiced this with my teacher Ramaswami one Sunday on his teacher training course, the chant took two hours and we practiced 54 prostrations or sun salutations.

A shorter version/variation came about where 12 mantras would be chanted made up of three elements, each mantra would be followed by a prostration (see Appendix).

At some point the 12 mantras were integrated into each sun salutation, so a mantra would be chanted, then the arms raised and the next mantra chanted. The next mantra would come after folding over, the next after squatting down, the next after jumping back to chatauranga and the next after lowering the body to the floor and stretching the arms out above the head in prostration to Surya. The other mantras would be chanted at each stage, each posture, as one worked their way back to standing.

Surya at new Indra Gandhi Airport New Delhi 
Krishnamacharya seems to have taught this to students in the 1930s, he also taught it to his student of thirty years (1950s-80s), Srivatsa Ramaswami, who in turn taught it to us in his teacher training course 2010.

Indra Devi refers to this practice when recounting her studies with Krishnamacharya in Mysore in 1937, at the time when he was also teaching the young Pattabhi Jois and BKS Iyengar.

"In India, the Surya Namaskars are accompanied by the chanting of mantras, which are supposed to have a powerful effect on the mind, but on the glandular system as well". Indra Devi

from Yoga for health and  Happiness ( the chapter "In the Shala" on being taught by Krishnamacharya in 1937).

What's particularly interesting to me is that the mantra is chanted, whether aloud or mentally on a kumbhaka, while the breath is held in after an inhalation, as for example after the arms are raised at the beginning or after the exhalation when folding over and placing the hands on the floor.

Below is my version in the appendix you will find links to more recent version including a nice slideshow version by Ramaswami.



The kumbhaka was then an essential element of the Surya namaskar, the sun salutation. That was the point at which the mantra/prayer was chanted, the moment of contemplation.

The sun salutation had become popular in India at the time, it was an exercise phenomenon, today we might think of it as the latest exercise fad. Hundreds of Sun salutations without mantra, or indeed the actual full protestation, would be practiced daily and at lightening speed a complete salutation on only three breaths although breath retentions were still included as well as the first part of the mantra (see Appendix 12 and 13).


Krishnamacharya appears to have been dismissive of the fad and seems to have refused to teach a 'Suryanamaskara class' although one was held at the Mysore palace and the young Pattabhi Jois would likely have been exposed to it, but according to Devi it does seem that Krishnamacharya taught the more traditional version complete with full mantras on kumbhakas and each stage of the breath ( an inhalation or exhalation) accompanying each movement.

***

It may appear that the whole point of the Surya namaskar, the salute to the sun, is the prostrated posture with contemplation. The other movements/postures lead one to and from that prostration.

Sounds familiar doesn't it.

All Krishnamacharya seems to have done is substitute different asana for the protestation.

Slot in paschimottansana or janu sirsasana or marichiyasana........

Everything else remains the same, we don't have to bring in any other explanation for the construction of the vinyasa system. I'm sure Krishnamacharya did see the Asana manuals in the mysore palace, he may well have looked to these just as he did to the tantra hatha texts like Hatha Yoga Pradipka for asana descriptions. Perhaps he, or more likely the Rajah of Aundh, was to some extent influenced by traditional India wrestling training in adapting slightly the approach to and from the prostration  But the vinyasa system the linking of postures to the breath seems to have been already there in the surya namaskar with mantras that Krishnamacharya appears to have been practicing at least as far back as the 1930's.

In Krishnamacharya's first book, Yoga Makaranda, he doesn't present the sun salutation as such, as  his student Pattabhi Jois does (stressing its historical tradition in his Surya namaskar pamphlet), but instead presents each movement that make up a sun salutation, as they lead to and from an asana, indicating the linking of the stage of the breath to each movement. He also includes an appropriate kumbhaka ( holding the breath in or out ) after either the inhalation or exhalation. And this is interesting because he doesn't merely stress the asana but every stage to and from the asana, there are kumbhaka's throughout just as if one were still chanting mantras.


In Yoga Makaranda Part II Krishnamcharya indicates that the kumbhaka should be 3-5 seconds (which is also how long it takes to chant each individual surya namaskar mantra).
It's as if Krishnamacharya has retained space for the prayer, the meditative contemplation and Krishnamacharya did say that in the Kumbhaka one sees/experiences God.

Krishnamacharya always keen to stress the independence of ones own religious belief, he may have removed the mantras (which are actually in this case quite secular) but he retained the kumbhaka, the space to introduce one's own contemplation. For those who don't believe in Ishvara, Krishnamacharya mentioned that Love could be Ishvara for them.

Krishnmacharya also stressed the Drishti. In Yoga Makaranda one's gaze throughout would be focussed between the eyebrows a point associated with Siva but later the tip of the nose was suggested especially if the head was down, head up look between the eyebrows, head down look to the tip of the nose. And later still other points some associated with other divinities but also with traditional marma points and health are introduced.

Kumbhaka, Drishti, contemplation all went together at every stage, every breath of every posture to and from an asana as well as while in the asana proper where a longer stay was often indicated.

We also know that Krishnamacharya would often/occasionally (?)  have the boys of the Mysore palace chant mantras while in postures, no doubt to keep their attentions. Manju Jois talks of the pranayama connection of chanting mantras, how mantras tend to be chanted on a kumbhaka, the mantra, kumbhaka, dristi connection is a common one.

****

If this is indeed the case then who first made the connection between asana and the Suryanamaskara, of placing an asana in the context of the breath/kumbhaka/drishti associated with the postures making up the sun salutation, was it Krishnamacharya himself, his teacher Ramohan Brahmachari or perhaps his teachers teacher?

Pattabhi Jois mentions in interview that when as a 13 year old boy he first saw Krishnamacharya, he was impressed by his '...jumping from asana to asana'. This would suggest that the linking of the asana to the sequence of postures that make up the suryanamaskara goes back before the Mysore period of Krishnamacharya's teaching .

Why didn't Pattabhi Jois maintain the kumbhaka element in his presentation of asana.

In the 1938 Mysore black and white demonstration by Krishnamacharya and his family we see little evidence of the use of kumbhaka, certainly not by BNS Iyengar who jumps from asana to asana just as krishnamacharya may have done in his early demonstrations of asana. Was it this high energy approach to asana practice that impressed  the young Pattabhi Jois and that he wished to continue. He does however stress again and again in interviews throughout his life that the breath should be long and slow and yet in one video demonstration he Indicates the breath should be around 10-15 seconds for each inhalation and exhalation but then proceeds to lead his demonstrators ( including Lino Miele) through asana at around five seconds or less. Pattabhi Jois stated that long slow breathing was the ideal but that in modern life when people have jobs to go to a shorter breath may be appropriate.

Sribhashyam, Krishnamacharya's third son has written that the inhalation and exhalation indicate motion which signifies time, the kumbhaka however is non-motion, an absence of time as such each kumbhaka is perhaps an experience of the eternal.

Perhaps the practice that Krishnamacharya presents in Yoga Makaranda is an ideal, where the breath is long and slow, the kumbhaka present as a space for contemplation. Krishnamacharya brings not just pranayama into asana but also dharana.


from The Yoga Sutras of Patanjali-Illuminations
Through Image, Commentary and Design by Gary Kissiah

  


_________________________________________________________________________




Appendix

1. Sun Salutation with mantras
2. Sun Salutation / Suryanamaskara with mantra 
3. Indra Devi
4. What would Krishnamacharya's Sun Salutation be like?
5. Adityahridayam (Wikipedia)
6. Surya Namaskara (Sun Salutation)''
7. Ramaswami on chanting with Krishnamacharya
8. SURYA
9. Surya Namaskara History (Wikipedia)
10. Origins of surya namaskar (Wikipedia)
11. Surya Namaskar Origins (Wikipedia)
12 Balasahib's 'original' 1928 Suya Namaskar, sun salutation 
13. More on the 'original' Sun salutation of 1928

1. Sun Salutation with mantras

Srivatsa Ramaswami's 'Complete book of Vinyasa Krama' has a traditional version of the Sun salutation laid out with the corresponding mantras. The idea is that you would move into each pose, retain the inhale or exhale while mentally chanting the mantra.

On the Vinyasa Krama home page you can find a link to Chants and Mantras including the Sury Namaskara chants available for download. To try and learn/practice it, I edited in some pauses to allow me time to enter the postures, and have been playing it on my itouch while performing the Salutation.

It's different, a nice alternative to the usual Sury. I tried to video it this morning but made a bit of a hash of it. First my practice room is too narrow to get a good angle and second, when I played it back, I could hardly hear the audio and had to spend most of the afternoon trying to work out how to switch audio files and synch with the picture. This is as close as I got, not great but perhaps good enough to get an idea of how it works.

You have the option of chanting the full mantra (actually it's three mantras joined together) or just the quick version down below which would mean a shorter breath retention.

The book includes full translations of each of the mantras. and here's a link to an article by Ramaswami on the Sun Salutation with mantra.

*One note on the Video, the squat posture before the first Chatauranga, is like Pasasana without the bind, squatting with the heels down rather than sitting on the mat (difficult to see that from behind).



The Twelve Sury Namaskara mantras





1. Om Hram
udhyannadya mitramaha
Mitraaya Namaha








2. Om Hrim
ārohannuttarāṃ divam
Ravaye Namaha

NB. Fingers are interlaced, palms facing outwards






3. Om Hroom
hṛdroghaṃ mamsūrya
Suryaaya Namaha









4. Om Hraim
harimāṇaṃca nāśaya
Bhaanve Namaha

NB. Squatting on heels






5. Om Hraum
śukeṣume harimāṇaṃ
khagaaya Namaha

NB. I know Susan, elbows in : )







6. Om Hrah
ropaṇākāsu dadhmasi
Pooshney Namaha

NB. Arms out stretched hands together






7. Om Hram
atho hāridraveṣume
Hiranayagarbhaaya Namah








8. Om Hrim
harimāṇaṃ ni dadhmasi
Om Mareechibhyoh Namaha









9. Om Hroom
udaghādayamādityo
Adityaaya Namaha








10.Om Hraim
viśvena sahasā saha
Savitre Namaha






11. Om Hraum
viṣantaṃ mahyaṃ randhyan
Arkaaya Namaha











12. Om Hrah
mo aham dviṣate radham
Bhaaskaraaya Namah




The Above mantras have three parts,

Part 1. (Quick version) Bijakshara mantras
1. Om Hram
2. Om Hrim
3. Om Hroom
4. Om Hraim
5. Om Hraum
6. Om Hrah
7. Om Hram
8. Om Hrim
9. Om Hroom
10. Om Hraim
11. Om Hraum
12. Om Hrah


Part 2. Mantras from the veda

1. Udhyannadya mitramaha
2. Arohannuttarāṃ divam 

3. Hṛdroghaṃ mamsūrya
4. Harimāṇaṃca nāśaya 

5. Sukeṣume harimāṇaṃ
6. Ropaṇākāsu dadhmasi 

7. Atho hāridraveṣume
8. Harimāṇaṃ ni dadhmasi 

9. Udaghādayamādityo
10. Viśvena sahasā saha 

11. Dviṣantaṃ mahyaṃ randhyan
12. Mo aham dviṣate radham 


Part 3 Laukika Mantra


1. Om Mitraaya Namaha (Salutations to the Friend of All)

2. Om Ravaye Namaha (Salutations to the Shining One)

3. Om Suryaaya Namaha (Salutations to he who induces activity )

4. Om Bhaanve Namaha (Salutations to he who illumines)

5. Om khagaaya Namaha - Salutations to one who moves through the sky

6. Om Pooshney Namaha - Salutations to the giver of strength and nourishment 

7. Om Hiranayagarbhaaya Namah - Salutations to the Golden Cosmic Self 

8. Om Mareechibhyoh Namaha - Salutations to the Rays of the Sun

9. Om Adityaaya Namaha - Salutations to Sun of Aditi (the Cosmic Mother) 

10. Om Savitre Namaha - Salutations to the Stimulating power of the Sun

11. Om Arkaaya Namaha - Salutations to he who is fit to be praised (arka= energy)

12. Om Bhaaskaraaya Namah - Salutations to the one who leads to enlightenment


*****

2. Sun Salutation / Suryanamaskara with mantra 

At the end of Ramaswami's newsletter this month I added on the Sun salutation with mantra video I'd stumbled across, that was filmed on Ramaswami's Teacher training this year. However, Ramaswami is chanting quite quickly through that video, its a little hard to catch.

This week Ramaswami has Uploaded a much slower version of the Sun salutation mantras in his 'slideshow series'. It's a kind of tutorial.



Below is the version filmed on Ramaswami's TT that I added to his newsletter.

A video of Ramaswami's Sun Salutations with mantras (also sun salutations to directions- 'Ding namaskars') posted by Yvette who I think must have been on Ramaswami's TT this year. I'm excited about this as a couple of years ago I spent forever trying to make a version of this, practicing along to the recording of the mantras Ramaswami had made as a tutorial (listen and repeat) and that were originally included with his Complete book of Vinyasa yoga. The tutorial can still be found on Ramaswami's chant page. http://vinyasakrama.com/Chants


Sun Salutation with Mantra (samantraka-suryanamaskara)

Om Hram. Uddannadya mitramahah.
(You, the One rising now and daily, are the great friend, salutations to the great friend.)
Om Hrim. Arohannuttaram divam. Ravaye namah.
(Climbing, the great one, up the sky. Oh the fast mover, salutation to you.
Om Hrum. Hrudrogam mama surya. Suryaya namah.
(My heart ailment, O the divine guide. My salutations to the divine Surya.
Om Hraim. Harimanancha nasaya. Bhanave namah.
(And the green patches (on my skin due to heart ailment) you destroy. Salutations to you, the provider of light into the world.
Om Hraum. Sukeshu mey harimanam. Khagaya namah.
(Salutations to Thee, the mover in space.
Om Hrah. Ropanakasu dadhmasi. pushne namah.
(And give to the herbs used for healing paste. Salutations to thee the great Nourisher.
Om Hram. Atho Haaridraveshu mey. Hiranyagarbhaaya namah.
(To the green trees. My salutations are to the Golden creator (womb))
Om Hrim. Harimanannidaddhmasi. Marchaye namah.
(Deposit the green patches. Salutations to the radiant one.
Om Hrum. Udagadayamadityah. Adityaya namah.
(This Sun rising in the sky. Salutations to Aditya.
(tutorial)

Then
Salutation To Directions
(Ding-Namaskara)

Om! namh prachyai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the east and the guardian angels that permeate it.)
Om! namh dakshinayai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the south and the guardian angels that permeate it.)
Om! namh prateechyai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the west and the guardian angels that permeate it.)
Om! nama udeechyai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the north and the guardian angels that permeate it.)
Om! namh urdwayai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the upward diection and the guardian angels that permeate it.)
Om! Namo adharayai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the downward diection and the guardian angels that permeate it.)
Om! namo avantharayai diseyascha devata yetasyam prativasanti yetabhyasch namah!
(Om. I bow to the intermediate direction and the guardian angels that permeate it.)

And a link to my own post on Ramaswami presentation of the Sun salutation mantras, which includes the practice along video as well as screenshots accompanying each mantra

*********

3. Indra Devi

"In India, the Surya Namaskars are accompanied by the chanting of mantras, which are supposed to have a powerful effect on the mind, but on the glandular system as well". Indra Devi 
from In the Shala : Yoga for health and  Happiness ( the chapter on being taught by Krishnamacharya in 1937).




*****

4. What would Krishnamacharya's Sun Salutation be like?


What would Krishnamacharya's Suryanamaska be like? Krishnamacharya it seems frowned somewhat on sunsalutations especially large numbers of them performed as an 'exercise practice', he seems to have been referring here to 108 or even 1008 as was in vogue at the time,

See my earlier posts below on 'The Original Sun Salutation'



Krishnamacharya didn't seem to want to include sun salutations in his Mysore Palace asana class nor did he seem to have taught the separate Mysore palace Surynamaskara class that was running at the time (was this taken by the young Pattabhi Jois perhaps, or did he at least attend and was that why Jois included it in his Ashtanga practice that we are familiar with?).

Krishnamacharya did however teach each stage of the sun salutation as individual asana often with long stays at each stage, we find them in his 1934 book Yoga Makaranda.

The 'full vinyasa' transition too that we're so familiar with in Ashtanga is also found in Yoga makaranda.  From this then it should be possible to construct a sub routine, a sun salutation, that includes Krishnamacharya's principles.

There's also the suggestion that Krishnamacharya would on occasion teach Surynamascara with mantras, the same perhaps as he taught to Ramaswami several years later and who in turn taught us on his TT course 2010

See this post



Is attempting to construct a Krishnamacharya  Sun salutation a frivolous exercise? Of course it is and yet the sun salutation isn't going away so why not take note of the instructions gave to us by the teacher's teacher as we pass through each stage.

And of course we don't have to pass through on the breath. We tend to stay five breaths in Adhomukhasvanasana anyway and David Williams supposedly takes five breaths in Urdhvamukhasvanasana as well to counter all those primary series forward bends, why not take the same in Chaturanga and/or uttanasana, five ten breaths at each stage of the Salutation with long slow inhalations and exhalations and perhaps even the appropriate kumbhakas (breath retention).


When I was having trouble with my back a few months back I would spend five long slow breaths in each stage, I found the longer stay in uttanasana (vinyasa 1) most beneficial.

**********

Here then are Krishnamacharya's instructions for each asana found in the surynamaskara, the sun salutation. All quotes are taken from the translation from the Tamil Language by Sri CMV Krishnamacharya with Sri S Ranganathadesikacharya.

See my earlier post which includes links to a free download of the text.

Samasthithi

Tadasana 

"This has 2 vinyasas. Stand as seen in the picture for fifteen minutes daily. Make this a habit. It will create new energy in the body and a vigour in the walk and will increase the digestive power. Not only that, it cleans the rudra nadi and increases the life-span. While doing this asana, follow sama svasam (equal breath).Practise this asana every day at sunrise while worshipping surya bhagavan. If one practises this daily, it will definitely increase the life- span".
Uttanasana

"...exhale the breath (that was being held) out very slowly through the nostril, lower the head and place it on the knees. Do not inhale at this stage. Draw the breath in while raising the head and exhale the breath out while lowering the head — this must be practised according to one’s strength and capability. In this position, while the head is raised and while it is lowered and placed onto the knee, the palms must be firmly pressed against the ground. This sthiti is called uttanasana. Initially, when one remains in this sthiti, there might be an occurence of tremors in the arms and legs. At these times, if one holds the breath firmly and stands, these tremors will not occur".


"...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. After remaining here for some time, exhale the breath (that was being held) out very slowly through the nostril, lower the head and place it on the knees. Do not inhale at this stage. Draw the breath in while raising the head and exhale the breath out while lowering the head — this must be practised according to one’s strength and capability. In this position, while the head is raised and while it is lowered and placed onto the knee, the palms must be firmly pressed against the ground. This sthiti is called uttanasana. Initially, when one remains in this sthiti, there might be an occurence of tremors in the arms and legs. At these times, if one holds the breath firmly and stands, these tremors will not occur". 
Caturanga Dandasana

"Press both palms down firmly while doing the 4th vinyasa from the 3rd vinyasa of uttanasana. Do only recaka and firmly hold the breath out without doing puraka. Keeping the weight balanced equally on both legs, jump backwards (keeping both legs parallel to each other) and holding the body straight like a rod, lie down facing downwards. At this time, only the palms and toes touch the ground. No other parts of the body touch the ground. That is, there must be 4 angulas of space between the body and the ground. In this position, if you keep a stick or rod on top of the body, the rod must touch the body completely. We need to keep our body this straight. But make sure to check gaps formed by the muscles and mounds of flesh to determine if all the adjustments are correct".
Urdhvamukhasvanasana

"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. Try to push the chest as far forward as possible, lift the face up and keep gazing at the tip of the nose. Make the effort to practise until it becomes possible to remain in this posture for fifteen minutes".
Adhomukhasvanasana

"...from Urdhvamukhasvanasana The entire body should be pushed back into a curve. Study the picture and learn this. In this sthiti, the head should be properly bent inwards and the chin should be pressed firmly against the chest. After pulling the abdomen in and pushing it out, exhale the breath out. Holding the breath out firmly, pull in the abdomen. As a result of the strength of practice, one learns to hold this posture for fifteen minutes".

Jump or step to...  

Uttanasana


"...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. After remaining here for some time..." 

2nd vinyasa of uttanasana.


"...exhale the breath (that was being held) out very slowly through the nostril, lower the head and place it on the knees. Do not inhale at this stage. Draw the breath in while raising the head and exhale the breath out while lowering the head — this must be practised according to one’s strength and capability. In this position, while the head is raised and while it is lowered and placed onto the knee, the palms must be firmly pressed against the ground. This sthiti is called uttanasana. Initially, when one remains in this sthiti, there might be an occurence of tremors in the arms and legs. At these times, if one holds the breath firmly and stands, these tremors will not occur".

"Afterwards, return to samasthiti".




*************