When looking at the means to explore the art of
improvisation within the choice and application
of Āsana, we need to be specific in our intention.

For example,
we could look through the lens of two questions:
1. What are the areas that we wish to investigate?
2. What are the ways to explore these in Āsana?

If we are specific in regard to the first question,
as in what is the area or areas to be investigated,
then we can explore these in the second question,
through utilising the art of improvisation in Āsana.

Link to Series: 108 Postural Practice Pointers

Āsana and Mudrā Glossary
– Grouped into Standing, Kneeling,
Lying, Inverted, Backbend, Seated & Sitting

One aspect to the art of modification in Āsana,
is in order to sustain a specific direction of Candra
according to the primary Lakṣaṇa of and in an Āsana,
amidst a contrary potential to stimulate a dispersion
of Candra, because of the demands of the secondary
Lakṣaṇa overpowering that of the primary Lakṣaṇa.

This also implies that we have personally embedded
a theoretical and experiential understanding, through
study of the process in the Viniyoga of Āsana, according
to their inherent primary and secondary characteristics.

Link to Series: 108 Postural Practice Pointers

Āsana and Mudrā Glossary
– Grouped into Standing, Kneeling,
Lying, Inverted, Backbend, Seated & Sitting

The art of improvisation in Āsana functions
through two core practice principles, namely
that of the modification in and of the Āsana
and that of the variation in and of the Āsana.

Each can be defined more specifically in that:

Modification is that which brings you closer to
the Lakṣaṇa or core characteristics of an Āsana.

Variation is that which can take you away from
the Lakṣaṇa or core characteristics of an Āsana.

Link to Series: 108 Postural Practice Pointers

Āsana and Mudrā Glossary
– Grouped into Standing, Kneeling,
Lying, Inverted, Backbend, Seated & Sitting

In supporting a cultivation, within or through Āsana,
of the subtler aspects of Bāhya Aṅga Sādhana, such
as Pratyāhāra, it can be a more helpful marker to be on
the lookout for sensory incontinence, rather than say,
being more preoccupied with physical choreography.

Such as how we can unconsciously leak, through randomly
opening the eyes or vaguely keeping the eyes open, when
transiting into or changing sides around such as seated Āsana.

For example, arriving into or departing from a choreographically
demanding asymmetrical Āsana such as Ardha Matsyendrāsana.
In other words, remaining alert and using the space between the
breath when moving from or returning to its link Āsana, Daṇḍāsana.

Another example is the potential for sensory incontinence when
moving into or out of or especially when changing sides, with
more popular or familiar seated Āsana such as Janu Śīrṣāsana.

Link to Series: 108 Postural Practice Pointers

Āsana and Mudrā Glossary
– Grouped into Standing, Kneeling,
Lying, Inverted, Backbend, Seated & Sitting