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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Navaratri or the Nine Nights of Durgā as a time for Mantra Sādhana


The nine-night long Navaratri, an important occasion in India, is celebrated as a time to honour the Divine Feminine, especially the Goddess Durgā within the Indian tradition. It will commence today Thursday 21st September 2017, the first day of the month of Aśvin, according to the Hindu calendar. During this time the primary focus is Durgā manifesting through three primary aspects of the Divine Feminine.

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Kayena Vāca – Yoga Sūtra Chanting Closing Prayer with Translation

Yoga Sūtra Chanting Closing Prayer

This post follows on from yesterday’s post introducing the use of and intention within the practice of closing chants that follow the study of chanting, or the study of associated Yoga texts. Traditionally chant practice or textual study was also preceded with an invocatory passage to help forge a link between the chanters, what is about to be chanted and its purport, as well as setting a context for study.

Thus each area of study that the teacher and student were about to venture into was preceded by an appropriate Dhyānam Ślokam, or set of verses that specifically linked the chanters with that particular area of study or practice. Therefore the opening verses would differ according to whether the focus was Veda Chanting, the Upaniṣat, the Bhagavad Gītā, the Yoga Sūtra, etc.

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