As Desikachar actually had very few long term students, many peoples views around such as his Āsana teaching, or views on Yoga in general are formed from experiencing him teaching within a group situation, either at a seminar, lecture or retreat.
Actually he really was not very comfortable teaching mixed public groups in these situations, and in relation to teaching practices, what practices he could present had to be very generalised and therefore contrary to the principles he taught according to what he learnt from his father.
On the other hand as a private student the Āsana practices I was exposed to had a precision and intensity offering a breadth and depth impossible to emulate within a group class environment.
As an example I am offering an extract from the seated section of a practice he taught me. The Āsana in this section are Daṇḍāsana, Ardha Matsyendrāsana, Mahā Mudrā, Baddha Koṇāsana, Paścimatānāsana and as a Pratikriyāsana, Dvipāda Pīṭham.
There were two options for practice, a lighter application or a more intense one. In the lighter version the balance of repeat or stay was as follows:
“Impurities in the heart cause mental agitation
– anxiety, lack of direction, anger.
This agitation, in turn, affects the body,
sometimes making it impossible to sit still even for a few minutes.”
– T Krishnamacharya commentary on Yoga Sūtra Chapter One verse 31
“Follow Truth with Faith.”
– TKV Desikachar commentary on Bhagavad Gītā Chapter 12 verse 20
In the beginning of our journey into the arts of Āsana and Prāṇāyāma, the outcome of our exploration into the breath in Āsana sets a direction and parameters for the beginnings of our exploration into how and where to develop the breath in Prāṇāyāma.
This investigation with its reciprocal and yet increasingly subtle direction offers a more precise guidance for where and how we revisit and engage with our work with the breath in Āsana.
Over time we come to both realise and experience the uniqueness of the breath within each of these two arts and the increasingly subtle development of the qualities of the relationship between the breath in Āsana, with that of the breath in Prāṇāyāma.
Prāṇāyāma – Where to Start? Part Three
In the previous two articles we discussed Krishnamacharya’s teachings around his understanding of and approach to the viniyoga or application of Prāṇāyāma.
Firstly in terms of Āsana being the starting point for exploring the breath in order to set a starting point and as a guideline for the direction of our Prāṇāyāma.
Secondly the importance of considerations around Prāṇāyāma as a process in terms of being in it for the long haul rather than only looking at practices which offer immediate fruits after a single practice or class.
The second post also commented on the need to leave more than enough time during our Yoga practice for Prāṇāyāma, rather than it being the token twiddle at the end of the practice.
I would like to use this post to consider how we need to add a structure within which we can build content. Without a structure our practice in this area can easily become random in terms of length or haphazard in terms of consistency.
Learning Support for Chanting the Taittirīya Saṃhitā 2.3.14
– Gaṇapati Prārthanā Saṃhitā Pāṭhaḥ.
From my personal library of recordings from my studies
with my teacher TKV Desikachar.
To Download or Listen
To Download the Chant Sheet in Romanised Saṃskṛta with Notations
A Mantra is that which shapes space through vibration of sacred syllables.
In the art of Mantra Saṃskṛta is a sacred tool for shaping sacred form out of space.
Sounding the Saṃskṛta according to the precisions of pronunciation and vibration
manifests the sacred form inherent in each Mantra out of universal space.
The ancient seers understood this process and left us sacred phonemes
to guide our journey into and beyond the self.
‘Religiousness in Yoga: Lectures on Theory and Practice’ by the University Press of America,
a transcript of recordings of a one month Yoga Programme in Colgate University in 1976, published in 1980.
Unlike the later redacted edition, re-published in 1995 as the ‘Heart of Yoga: Developing a Personal Practice’, it captures the evolution of the retreat with the days lectures and Q & A dialogues as they alternated between ‘lectures on the principles and purposes of Yoga and discussions related to the practice of Yoga with special reference to the postures and the breathing techniques’.
TKV Desikachar, in his forward to the original version wrote:
“These lectures and discussions, printed words put before persons I might never meet,
are but reflections of that deeper result that grew out of a living face-to-face encounter.
Coming to learn of Yoga only through reading leaves much to be desired.
Yet, something worthwhile about Yoga might be shared through the medium of the printed word.”
A chapter by chapter Study guide is offered below with added verse and word cross-references where possible to support a a deeper linking with the teachings within these lectures and Q & A sessions.
Chapter 10 Theory: Prāṇāyāma – Pages 133-144
Prāṇāyāma – Where to Start? Part Two
Continuing on from the previous post introducing the question of where to start in our investigation of our breath in Āsana in preparation for establishing and sustaining a consistent base within a Prāṇāyāma practice.
This also needs to be a base practice that both supports our day to day needs and yet allows it, as in any relationship, to grow and develop in terms of intensity and progress.
In this earlier post on where to start there were some key points that I would summarise around:
Prāṇāyāma – Where to Start?
According to how I was taught there two possibilities, that of using ratio and that of using nostril techniques. Desikachar taught me, both for my personal practice and teaching skill base, that the journey towards Prāṇāyāma starts with the former before being enhanced and refined through the latter.
According to Krishnamacharya’s methodology around developing the breath aspect of the students practice, initially through Āsana and Mudrā and ultimately through Prāṇāyāma, begins with what happens in and to the breath in Āsana.
20 Minute Prāṇāyāma Practice focused on Pūraka without Kumbhaka
Anuloma Ujjāyī Technique with 188.8.131.52. Ratio/Length for 8 Breaths
Pratiloma Ujjāyī Technique with 184.108.40.206. Ratio/Length for 16 Breaths
Anuloma Ujjāyī Technique with 220.127.116.11. Ratio/Length for 8 Breaths
Ujjāyī Technique with 18.104.22.168. Ratio/Length for 4 Breaths
Drop the breath and remain with the experience for 5 minutes