In Āsana one should not
always count the breath length,
otherwise one loses mindfulness.

Link to Series: 108 Postural Practice Pointers

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

The Bhāvana should vary from Āsana to Āsana.
For example, one could use the Bhāvana
to decide the ratio or, where to place
the attention on the breath.

Link to Series: 108 Postural Practice Pointers

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

In Āsana one should vary the breath ratio.

Link to Series: 108 Postural Practice Pointers

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

A common escape when using Dvi Pāda Pīṭham is the neck arching rather than lengthening, resulting in the lifting of the head as if to compensate for the increased sense of the neck compressing.

Hence a key Bhāvana here is the deepening of the Jālandhara Bandha whilst working with the potential dissipation that can arise through the simultaneous lifting of the arms.

This escape is something that is also further exaggerated when raising the arms at the same time as lifting the hips, due to the increasingly upward force from the hips pushing down onto the shoulders, also increasingly unstable due to the lifting of the arms.

We can explore this escape by holding a Bhāvana on the relationship between the Viśuddhi Sthāna and Jālandhara Bandha through choosing an alternative Vinyāsa Krama in Dvi Pāda Pīṭham. One suggestion here is to investigate the interaction between the arms and trunk via the breath as shown in the illustration above.

The intention here is to maintain a gradual lengthening in the neck whilst resisting the tendency for the shoulders to as if skateboard on the scapula and increase the distance between the head and the feet. Here also an active role for the arms and shoulders is suggested at all points especially when they are not being lifted.

Perhaps experiment with repeating this alternate suggestion for a  Vinyāsa Krama in Dvi Pāda Pīṭham some 6 times whilst maintaining a breath pattern of around 4 breaths per minute. The entire sequence taking some six minutes to explore.

Link to Series: 108 Postural Practice Pointers

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

Just because you can perform a posture,
doesn’t automatically mean you can
experience the posture as an Āsana.
To experience a posture as an Āsana
implies some other factors are involved.
Such as how to facilitate a decreasing
resistance within the confines of the body,
and integrating a transcendent involvement
with the mystery of what is beyond the body.

Link to Series: 108 Postural Practice Pointers

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

The application of modification
within the choice of Āsana relates
more to the purpose of the Āsana.
Whereas, the application of variation
within the choice of Āsana relates
more to the purpose of the practice.

Link to Series: 108 Postural Practice Pointers

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

At the heart of the Viniyoga of Āsana
process around the practice of Āsana,
is the experience of moving as if you
have not already experienced the Āsana
and are, as if, meeting it for the first time.
When it comes to staying in the Āsana, then
staying as if you already know the Āsana,
and are once again greeting an old friend.

Link to Series: 108 Postural Practice Pointers

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

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

Short and Longer Term prerequisites for
Bakāsana or Parśva  Bakāsana
include:
Utkaṭāsana
Adho Mukha Śvanāsana
Caturaṅga Daṇḍasana
Nirālamba Śīrṣāsana
Viparīta Vṛkṣāsana

Link to Series: 108 Postural Practice Pointers

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

Short and Longer Term prerequisites for
Eka Pāda Uttāna Mayūrāsana
include:
– Dvi Pāda Pīṭham
– Sarvāṅgāsana
– Halāsana
– Śalabhāsana
– Dhanurāsana

Link to Series: 108 Postural Practice Pointers

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

Our relationship with
Food can be too much,
too little, or wrong.
The same could also be
said for Āsana Practice.

Link to Series: 108 Postural Practice Pointers

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

Saying that the direction of Āsana is
towards staying does not mean that the
direction of all Āsana is towards staying.
In other words the role of some Āsana is
as a secondary support Āsana and their use
is merely as a dynamic preparatory aide to
support a deeper relationship with those Āsana
within which their primary purpose is staying.

Link to Series: 108 Postural Practice Pointers

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

It is not enough in Āsana to just
work at lengthening the breath.
We need also to explore how to
refine the subtlety of the breath.
Whether within a single Āsana,
a number of Āsana in one practice,
or within the evolution of all aspects
of our practice over a number of years.

Link to Series: 108 Postural Practice Pointers

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

.

The Breath is the activating force in all aspects of the Āsana.
For example, when comparing a dynamic performance
of an Āsana with the static performance of an Āsana,
the difference is in the degree or extent of the movement.
Thus, from a Viniyoga or application of Āsana perspective,
whether the extent of the movement is what is seen
as long-range, mid-range, short-range, or even micro,
the activating force of the Breath is integral to the Āsana.

From a developmental viewpoint, as in a longer-term
Vinyāsa Krama, this a journey from those Āsana that
mainly favour long-range movement, towards those Āsana
and Mudrā that mainly favour micro-range movement.
Within this developmental refinement in the relationship
of Breath as the activating force, sit the place and roles
of mid-range movement and short-range movement.

Link to Series: 108 Postural Practice Pointers

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

The Length of the Breath
sets the Speed for the
Movement of the Body.
Rather than the Movement
of  the Body setting
the Speed for the
Length for the Breath.

Link to Series: 108 Postural Practice Pointers

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

Bhāvana on Śavāsana within a Śikṣaṇa Āsana practice.

Inherent within the application of Śavāsana
as an Āsana within a Śikṣaṇa Krama practice,
is the active cultivation of a quality of Nirodha,
or what can be described as ‘witness awareness’.
As in the notion of the Cit observing the Citta.
Thus, a key to directing the attention in
Śavāsana, is to intentionally cultivate
a quality of passive observation.

Link to Series: 108 Postural Practice Pointers

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

The role of Śavāsana within the Viniyoga of…

Within the application of Cikitsā Krama
Śavāsana is a position for relaxation.
Within the application of Rakṣaṇa Krama
Śavāsana is an Āsana for resting.
Within the application of Śikṣaṇa Krama 
Śavāsana is an Āsana for observation.

Link to Series: 108 Postural Practice Pointers

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