108 Yoga Practice Pointers – 62 – Constancy of the body reveals the inconstancy of the breath……

Constancy of the body
reveals the inconstancy of the breath.
Constancy of the body and breath
reveals the inconstancy of the mind.
Constancy of the body, breath and mind
reveals the constancy of awareness.

Link to Series: 108 Yoga Practice Pointers

Making a start in learning to Chant the Yoga Sūtra……

yoga_sutra_cover

Mostly we are introduced to the teachings of the Yoga Sūtra through a group class situation, or by coming across a book. This is fine as a starting point, however longer term we need to engage a Sādhana that can facilitate its wisdom teachings radiating from the inside out rather than just permeating from the outside in.

A good starting point for initiating this psychic process is to learn how to chant as a practice in itself and then how to chant the Yoga Sūtra specifically. As well as offering a deepening of contact with those special Bhāvana that arise from chanting, this can also be extremely helpful for the memory processes involved.

These two steps in the embracing chant as a Sādhana ideally require a personal teacher, especially one who can listen and identify our individual nuances in how we repeat what we think we hear. From there they can offer a Vinyāsa Krama for cultivating our vocal potential and refining our skills in terms of self-listening and thus facilitating our abilities in terms of self-correction.

However accepting that for some this may not be a possibility at this point in time, three suggestions are offered below as progressive options for starting a self-learning process

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Learning to Chant the Four Chapters of the Yoga Sūtra……

yoga_sutra_cover

Unlike other aspects of our personal Sādhana, when it comes to the practice of Jñāna Adhyayanam, or the chanting of the Yoga Sūtra, there is an unusual developmental process in that as we refine this aspect of practice it take less and less time.

Obviously the first step is to commit to learning to be able to chant the four chapters of the Yoga Sūtra, along with the relevant opening invocations and closing invocations. Once we have this basic accomplishment in place then taking our seat and chanting the whole text, within a Vinyāsa Krama by including the accompanying invocatory chants, will take around 35-40 minutes.

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Learning Support for Chanting the Pavamāna Mantra – Asato Mā Sadgamaya

असतो मा सद्गमय |
तमसो मा ज्योतिर्गमय |
मृत्योर्मा अमृतं गमय ‖

asato mā sad gamaya |
tamaso mā jyotir gamaya |
mṛtyor mā amṛtaṃ gamaya ‖

Learning Support for Chanting the Pavamāna Mantra – Asato Mā Sadgamaya
From my personal library of recordings from my studies with TKV Desikachar
To Download or Listen to an MP3
To Download a PDF Chant Sheet with Romanised Saṃskṛta, Chant Notations and Translation

108 Chanting Practice Pointers – 14 – Learning Chanting just from a recording……

 

Learning Chanting just from a recording,
is like learning Āsana just from a video.
In other words you can hear the recording,
but the recording cannot hear you.
Equally you can see the video, but…..

Link to Series: 108 Chanting Practice Pointers

Though there are many different aspects to formal ‘home’ practice……

Though there are many different aspects to Krishnamacharya and Desikachar’s teachings on cultivating a formal ‘home’ practice, they fall into two general groups:

In considering the relationship and intertwining of these multifarious practice elements we can use the analogy of raising a family. In other words how to accommodate the emerging issues we need to contend with, such as the impact on our time and energy, as we look to stream developmental priorities within these additional commitments.

Here I want to consider some of these issues just from the viewpoint of time. For example if we look at the issue of time within one aspect of practice, say Āsana,

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One example of this depth is Krishnamacharya’s lesser known work in the teaching of Mantra……

Even these days, the influence of Krishnamacharya’s teachings around Yoga are primarily known through his exacting teaching of Āsana. This has also been mainly experienced in the West with the developmental work of his early students, such as through the choreographical artistry in the work of Pattabhi Jois or through the geometrical precision in the work of BKS Iyengar.

However this area of Āsana teaching, though itself multifaceted and hugely influential, if disproportionately predominant within Yoga today, only reveals one aspect of the many dimensions of practice expressed within his teaching. This teaching evolved and refined over 70 years, from his return from his long stay around the borders of Nepal and Tibet in 1919, to his death in 1989.

A more all-inclusive insight into the many aspects of these other facets can be ascertained through exploring the multifarious approaches and priorities emphasised within the teaching work of other of Krishnamacharya’s students, such as TKV Desikachar, or S Ramaswami, or AG Mohan.

From exploring the teaching priorities of all these first generation students of Krishnamacharya, a more all-embracing perspective can arise encompassing both the breadth and depth of his mastery of both the teachings of Yoga and their context, place and application within the Indian perspectives on such as soteriology, philosophy and theology.

One example of this depth is Krishnamacharya’s lesser known work in the teaching of Mantra

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It is through Praṇavo Japam that……

“It is through Praṇavo Japam that
the true nature of the Jīva is realised.”
– T Krishnamacharya’s commentary to
Yoga Sūtra Chapter One verse 29

Before launching on Antar Aṅga Sādhana……

“Before launching on Antar Aṅga Sādhana,
one should be a Niṣṭhāvān in Bāhya Aṅga Sādhana.
If this earlier stage is very well established,
then only a teacher may teach Dhyāna.”
– T Krishnamacharya 1984

108 Yoga Study Path Pointers – 25 – Ere to our Yoga Sādhana turning inwards towards engaging……

Ere to our Yoga Sādhana turning inwards towards engaging
the Antar Aṅga and the ĀtmaBuddhi relationship,
we are advised to first turn outwards towards engaging
the Bahya Aṅga and the ManasIndriya relationship.

Link to Series: 108 Yoga Study Path Pointers

The Multi-Topic Yoga Foundation Study Series – Module One Workshop July 13/14th 2019

The Multi-Topic Yoga Foundation Study Series Module One
– Āsana, Prāṇāyāma, Mantra and Sūtra

A two day Foundation Course on Āsana, Prāṇāyāma, Mantra and Sūtra is offered as a starting point for students wishing to explore Yoga Practice and Study but finding the range of options in the cYs Programme offering too many mono-topic themes. This Two Day Module draws together a number of the core practice and study strands that this approach specialises in into one composite multi-topic Course.

For more information on the background to the four topics that make up this Module read the Art of Yoga Foundation Study Series Modules One to Five Overview.

The Art of Yoga Foundation Study Series Module One is limited to a maximum of five students to allow for a personalised approach and in-depth transmission between teacher and student. It introduces the student, through a 2 day module, to the primary principles and teachings from T Krishnamacharya and TKV Desikachar on the art of application of Yoga.

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Abhyāsa is the practice that leads to Viveka……

viveka

Abhyāsa is the practice that leads to Viveka,
the state which there are no external distractions to prevent clear perception.”
– T Krishnamacharya’s commentary to Yoga Sūtra Chapter One verse 14

Abhyāsa, when performed with reverence, without interruption, over……

abhyasa

Abhyāsa, when performed with reverence,
without interruption, over a long period of time, will result
in a healthy body, acute senses and extraordinary alertness.
This kind of Abhyāsa is a solid foundation that nothing can disturb.”
– T Krishnamacharya’s commentary to Yoga Sūtra Chapter One verse 14

Abhyāsa is the practice of reflecting on the difference between the nature of Jīva and the nature of Prakṛti……

abhyasa

Abhyāsa is the practice of reflecting on the difference
between the nature of Jīva and the nature of Prakṛti,
which brings momentary tranquillity to the mind and
eventually leads to complete and sustained mental tranquillity.”
– T Krishnamacharya’s commentary to Yoga Sūtra Chapter One verse 13

Patañjali states that there are two ways to discipline the five types of mental activity……

“In this Sūtra Patañjali states that there are two ways
to discipline the five types of mental activity.
They are Abhyāsa and Vairāgya.
Abhyāsa is practice.
Vairāgya is to disconnect or sever the link
between the Citta and external objects.
These two, Abhyāsa and Vairāgya,
always go together as a pair.”
– T Krishnamacharya commentary on
Yoga Sūtra Chapter One verse 12

In order to discipline the mind we need to develop a mental practice……

“In order to discipline the mind,
we need to develop a mental practice
that clearly reveals the distinction
between the nature of Jīva and Prakṛti.”
– T Krishnamacharya commentary on
Yoga Sūtra Chapter One verse 12

Because of the proximity of Citta and Puruṣa……

“Similarly, because of the proximity of Citta and Puruṣa,
what is the quality of one is taken to be of the other.
In our convention they are often taken as one
and not two distinct entities with different natures.
This state is Asmitā.”
– T Krishnamacharya’s commentary to
Yoga Sūtra Chapter Two verse 6

Citta and Puruṣa are distinct……

Citta and Puruṣa are distinct.
They are in association like heat and water.
Water which is cold becomes
warm in association with heat.
Then we use the term hot water.”
– T Krishnamacharya’s commentary to
Yoga Sūtra Chapter Two verse 6

What is the true nature of the Citta?

“What is the true nature of the Citta?”
– T Krishnamacharya’s commentary to
Yoga Sūtra Chapter One verse 6

108 Postural Practice Pointers – 23 – Bhāvana for the Hips in Parśva Uttānāsana

Postural Practice Pointer 23 – Bhāvana for the Hips in Parśva Uttānāsana

When moving into Parśva Uttānāsana.
Lift the forward leg hip up and
draw the rear leg hip forward.
When coming up from Parśva Uttānāsana.
Keep the forward leg hip lifted and
the rear leg hip drawn forward.

Link to Series: 108 Postural Practice Pointers