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.
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.
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.
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.
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.
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.
Each can be defined more specifically in that:
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.
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.
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.
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.
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.
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.