The Aṣṭāṅga Āsana or the eight limbs of Āsana Planning and Practice are the formula for constructing a skilful and place, time and lifestyle appropriate Āsana practice. These eight limbs fall into eight categories, that of:
- The definition, meaning and context of Āsana
– Core concept – Nāma Rūpa Lakṣana – name, form and characteristics
- How Āsana are arranged into groups and categories
– Core concept – Vinyāsa Krama – collecting postures together
- How counterpostures or Pratikriyāsana are integrated
– Core concept – Pratikriyāsana– maintaining the balance
- The value and purpose of the breath in Āsana
– Core concept – Prāṇa–Apāna Dhāraṇā – where the focus is
- How movement or stay are used in Āsana
Core concept – Circulation and Purification – dynamic and static
- The adaptation of Āsana practice
– Core concept – Variation and Modification – change and necessity
- Intelligently planning and Āsana practice
– Core concept – Bṛṃhaṇa and Laṅghana Kriyā – connecting postures together
- Observation within Āsana practice
– Core concept – Spine, Breath and Attention – learning to look
In my last post on Aṣṭāṅgāsana I talked about introducing each of these eight topics to help the reader to appreciate more about what is inherent in the depth and breadth of this approach in terms of Āsana planning having a precise and comprehensive formula.
Āsana practice starts with a need to know something about the Āsana we are going to work with as we introduce, persevere and develop and especially personalise our practice. Hence we have to both practice but also have some theoretical background in order to context an Āsana in itself and in relationship to other Āsana.
‘Āsana brings steadiness, health and lightness of limb.’
For me, still to this day, one of the finest, simplest, direct and most succinct definitions on the purpose of Āsana within the processes and practices of Haṭha Yoga, is the definition offered in the Haṭha Yoga Pradīpikā Chapter 1 verse 17. It is a definition valid for any situation, or presentation, or as a response to questions from any background or level of interest around why we practice Āsana.
It can also be a springboard to discussing physiological qualities such as the relationship of Agni to the energetic qualities of health and lightness of limb. Or it can be a springboard to discussing psychological qualities such as the relationship of the Guṇa Rajas, to mental qualities, such as steadiness.
– Paul’s Short & Longer Yoga Practice Theory Articles – Collected & Collated
The Viniyoga of Āsana Modular Workshop and Courses
– Empower your Practice Exploring how to Customise your Personal Āsana Practice
This Post introduces the Art of the Application of Āsana Modular Workshop and Courses Student Study Programme. As the student progresses through the interlinked and developmental Modules they will experience an in-depth learning in all areas of Āsana practice techniques and Āsana study theory.
Together these Modules will initiate and empower the student into the arts of learning to skilfully work with the principles that underpin creating and sustaining a personalised Āsana practice. The outcome will be the ability, through skilful practice planning, to independently and intelligently choose, adapt and ultimately self-develop and self-refine our personal Āsana Sādhana.
“Another important aspect is that the masters taught us to move from a deeper source,
not just from muscles and joints.”
– TKV Desikachar
The Viniyoga of Āsana Modular Programme is offered as a:
General perceptions in Yoga are that performance progressions in any Āsana are usually around improvement or refinement in the choreography of the entry or exit, or in the extremity of the final form.
For example if we were to compare the performance of students in say Uttānasana, evaluations would tend to be made concerning how far one bends forward, or how near the head is towards the knees, or how straight the legs are, or how close to the ground the hands are, et cetera.
“The Āsana are presented in Vinyāsa Krama,
the way it was taught to children in the Yogasāla.
This should not create the impression that
T Krishnamacharya taught in this manner to everyone.”
– TKV Desikachar Introduction to Yoga Makaranda
However from the viewpoint of Krishnamacharya and Desikachar, in terms of Āsana practice for adults, the breath has its own developmental path within the performance of any Āsana.
“Ultimately our experience of the Āsana is refined
through the mystery of the breath,
rather than the mastery of the form.”
It appears that one can often talk about the effects of Yoga Āsana on the spine in Yoga, yet the reality is more based on the effects of Yoga Āsana on the external aspects of the structural form. It has also been an observation over some four decades of teaching Yoga that the two can get confused in terms of assessing developmental progress within the practice of Yoga Āsana.
Furthermore it appears that it is possible to work the body into ‘advanced’ Yoga Āsana yet observe that the spine is not deeply influenced, for example with the hips and shoulders or lax joint ligaments facilitating the impression of the form. Hence the application of Yoga from this perspective is to start with the spine as the primary priority with the limbs the secondary priority.
Thus the principles of modification of Yoga Āsana are from the perspective of allowing adjustments to the limbs in order to facilitate a deeper more profound impact on the spine.
There are some forms within the postural resources developed by Krishnamacharya that can function as either an Āsana or as a Mudrā. The choice of outcome can be realised according to the specific Bhāvana associated with the intention of the practitioner and the style of performance.
For example if we look at the possibilities around inverted postures interpreted as Āsana through forms known as Śīrṣāsana or Sarvāṅgāsana, we can cultivate the external intensity of Āsana or the internal intensity of a Mudrā through choosing either of two practice directions.
Chatting with TKV Desikachar during a lesson in the early 1990’s I commented on an observation formed from discussions with my students within a study group I had brought to Madras (Chennai) for a two week programme at the KYM during my personal study stay that year.
As a part of this particular study group visit to the Krishnamacharya Yoga Mandiram some of the students took up the option of 121 lessons with teachers at the KYM. Sharing the content of the practices with me revealed the introduction of a sequence that I had not come across before within, at that time, my nearly 20 years of studies within the work of T Krishnamacharya.
“In order to know where we are going to,
we must first know where we are coming from.”
Often in the Āsana aspect of Yoga practice, whether within our personal practice or a group class environment, the student is directed towards a goal.
This may be to do with a physical or structural foci such as the:
- Basic Performance of the Āsana
- Continuing Improvement of the Āsana
- Specific Intensification of the Āsana
- Introducing Stay into the Āsana
However the common factor within all of these options is that they are goal based.
This is fine as a general principle however as in any area of our lives, setting off towards any goal requires that we also have a clear idea of our starting point. For example, if I am wanting to travel to London I need to know whether I am starting from Birmingham or Brighton in order to set a direction and distance to navigate from. So it is with Āsana.
My extensive study of Āsana with TKV Desikachar was shaped around forming a deep appreciation of specific core principles that underpin the planning and practice of Āsana and their application to the individual student’s constitution, psychology and need.
Amongst these dozen or so core principles, the first group I studied when looking at any Āsana in depth, were the concepts of Nāma, Rūpa and Lakṣaṇa, or the name, the form and the characteristics of that particular Āsana.
Obviously the Nāma is a useful tag point for identification and the Rūpa is vital as a reference point for the Sat Viniyoga or appropriate application of the Āsana within overall considerations around direction and outcome such as the Śikṣaṇa Krama, Rakṣaṇa Krama or Cikitsā Krama application of the forms used.
However I do feel these days that our understanding in Āsana practice is dominated by the Nāma and the Rūpa with little emphasis on the Lakṣaṇa or inherent characteristics of the Āsana and how understanding this aspect can have a profound effect on the approach, application and outcome of the overall or accumulative impact of the Āsana within the student’s practice.
The teaching of Krishnamacharya around Āsana included an in-depth appreciation of the Lakṣaṇa, especially around the thirty or so primary Āsana such as Jaṭhara Parivṛtti, Bhujaṅgāsana or Januśīrṣāsana.
Question by Desikachar during my 121 lessons 1980:
“If we appreciate the role of breathing in Āsana how can we make it longer?”
From my notes from his response:
1. By using a valve, such as the throat (Ujjāyī) we can:
Pratikriyāsana or opposite action postures have counterpostural, compensational and transitional roles and are applied at specific points in the practice in order to maintain a sound physiological and psychological base.
This principle has an important role in how we link the different aspects of the Āsana practice, how we close the practice or how we integrate the Āsana element of the practice into other aspects of our Yoga practice.
There are specific guidelines around how they can be integrated into the practice, the first of which is that the counter posture needs to be mastered before a particular Āsana is attempted.
This principle is especially important when attempting to integrate more complex Āsana such as Bhujaṅgāsana or Sarvāṅgāsana into our practice.
On this point you may wish to refer back to a previous post around the question, how do we know that a student is ready to attempt a more progressive posture such as Sarvāṅgāsana?
Links to Related Posts:
The counter posture needs to be mastered before a particular Āsana is attempted
How do we know that a student is ready to attempt a more progressive posture such as Sarvāṅgāsana?
From following the core principle in the teachings of Vinyāsa Krama. In that the Pratikriyāsana or counter posture for a particular Āsana needs to be mastered before that particular Āsana is attempted.
For example if we want to teach Sarvāṅgāsana or shoulder stand, because it will have a specific potential for the particular student, then we teach the counterpose Bhujaṅgāsana first.
So the student first works around Bhujaṅgāsana within their personal practice and the information that arises guides the teacher as to their readiness for, in this case, Sarvāṅgāsana.
“Teach what is inside you, not as it applies to you, but as it applies to the student.”
– T Krishnamacharya
The information arising from observing how the student practices Bhujaṅgāsana guides the teacher as to the appropriateness of Sarvāṅgāsana. The information that feeds back may be on the level of Annamaya, Prāṇamaya, Manomaya or beyond. Obviously this implies that we are observing the students practice directly.
Once the student shows an adequate performance of Bhujaṅgāsana and it can be integrated into their existing personal practice, then we can be more secure that the student is ready to approach integrating Sarvāṅgāsana into their regular practice.
A fundamental facet in the principles of Āsana, Mudrā and Prāṇāyāma practice, in the teachings of Krishnamacharya through Desikachar, is the ordering of Āsana according to the acronym SLIBSS.
It is the practice arrangement or Vinyāsa Krama in the following order:
- Standing Āsana
- Supine Lying Āsana
- Inverted Āsana
- Prone Backbend Āsana
- Sitting Āsana
- Seated Āsana
This is referred to in Religiousness in Yoga page 23-27.
Know your breath and its unique characteristics within Āsana and
you will have an initial template for working with your breath in Prāṇāyāma.
Modern postural Yoga talks a lot about individual patterning from our genetic past, along with upbringing and lifestyle conditioning, determining what body patterns we inherently carry from life to death