“Even with my students, they teach a posture
because it has been taught to them.
Like a rubber stamp.
This is not Viniyoga.
People have rigid ideas.
For example, why Cakravākāsana for this lady
after Śīrṣāsana, whereas something else,
say Mahāmudrā for somebody else.
So it does not follow what is good for me
is good for everybody.”
– TKV Desikachar France 1983

“Viniyoga is an offering.
Every offering presents two aspects:
what is offered and the way it is offered.
Each of these aspects has two sides:
to give and to receive.
When there is harmony between these two sides,
the offering is perfect; it becomes Viniyoga,
like the Viniyoga of Prasādam in a modest temple in India.”
– TKV Desikachar 1983

“It is not possible for everyone to reach the same level of meditation (Dhyānam),
even meditation should be taught or presented in stages (Viniyoga).
It should be used at a level suitable to the student and gradually increased,
start simply and increase in complexity.
This is dependant on the growth of the student and according to the purpose.”
– From study notes with TKV Desikachar England 1992

“The Spirit of Viniyoga is starting
from where one finds oneself.
As everybody is different and
changes from time to time, there
can be no common starting point,
and ready-made answers are useless.
The present situation must be examined
and the habitually established
status must be re-examined.”
– TKV Desikachar

“Yoga is a mystery.
It does not mean the same thing to each and every one.
In spite of the vast field it covers curing
chronic ailments, extra-sensory perception, etc,
hardly anyone is able to define it in simple terms.
Where is then the hope of experiencing its true significance?
What about the risks of inappropriate use of Yoga methods and practices?
Why are so many people all over the world taking the word
and the substance of Yoga so lightly, so ridiculously?
Like everything, Yoga must be presented intelligently.
It should be spoken of carefully and offered according to
the aspiration, requirements and culture of the individual.
This should be done in stages.
Systematic application of Yoga, be it
concerned with physical exercises, deep breathing,
relaxation, meditation, lifestyle, food, studies,
is the need of the day.
This I believe – is what the word Viniyoga represents.”
– TKV Desikachar

“It is very sad that the style
has become more important
than the individual”.
– TKV Desikachar

“When considering the Viniyoga of Pratikriyāsana
within a student’s personal practice,
it may help to look at the integration of
their intended role from three perspectives.
– Firstly their intended role as a counterposture,
thus more from a physiological perspective.
– Secondly their intended role as a compensation,
thus more from a psychological perspective.
– Thirdly their intended role as a transition,
thus more from a sequential perspective.
Appropriate integration of these three
principles constitute an essential component in
the Vinyāsa Krama utilised within practice planning.”
– 108 Postural Practice Pointers

“Within the teachings of T Krishnamacharya,
as transmitted to TKV Desikachar,
the role of Śavāsana within an Āsana practice was as
a transitional link pose between categories of Āsana.
For example between Standing and Lying Āsana,
or Lying and Inverted Āsana,
or Inverted and Prone Backbends,
or Prone Backbends and Seated Āsana,
or Seated Āsana and Sitting Practices.
The extent of its use and length of rest at each stage,
when transiting from one category to another within our
Āsana practice journey, was dependent on the facility
of the practitioner and the intensity of the practice.
Within this individualised variance is the guiding
principle that the role of Śavāsana is to facilitate a
smooth transition for the flow of the breath and also
the pulse through and beyond the Āsana practice,
as a marker for the practitioner’s state of mind.
However according to Desikachar the Viniyoga of
Śavāsana was seen in terms of recovery from the
fatigue of the preceding aspect of the practice rather,
than say recovery from the preceding aspects of one’s life.
Regarding the approach for the recovery
from the preceding aspects of one’s life,
amongst other things such as Āhāra and Vihāra,
the wider purpose, content, duration and frequency
of the Āsana practice must be carefully reconsidered.”
– 108 Postural Practice Pointers

“Within the application of
Cikitsā Krama, Śavāsana is
an Āsana for recuperation.
Within the application of
Rakṣaṇa Krama, Śavāsana is
an Āsana for restfulness.
Within the application of
Śikṣaṇa Krama, Śavāsana is
an Āsana for refinement.”
– 108 Postural Practice Pointers

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.”
– 108 Postural Practice Pointers

“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.”
– 108 Postural Practice Pointers

“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.”
– 108 Postural Practice Pointers

“When looking at the means to explore the art of
improvisation within the choice and application
of Āsana, we need to be specific in our intention.
For example,
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.”
– 108 Postural Practice Pointers

“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.”
– 108 Postural Practice Pointers

“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.”
– 108 Postural Practice Pointers

“Uttānāsana is an intense standing forward bend.
It is often used to begin a sequence of Āsana.
Its use can improve mobility in the primary joints
and extend muscles, primarily on the back of the body.
Its form respects the movements adapted in daily life.
The use of an intense closing Āsana implies
some cautions in the stretched areas of the body,
such as the lower back, sacrum, hips and legs.
The awareness can be placed on the abdomen
leading to a longer, smoother exhalation and
counterbalancing, with this inner work, the
physical effort required by its dynamic approach.
There are a number of adaptations to support
the student experiencing a feeling of melding
between the energetic flow of the movement
and the depth and stillness of the breath.”
– 108 Postural Practice Pointers

“Dvi Pāda Pīṭham or Two Foot Support combines
the characteristics of a lying Āsana and a backbend,
as well as offering an alternative to more intense
backbends, or as a preparation for inverted Āsana.
This Āsana can be applied initially within a dynamic
context working as a preparation for the body,
plus allowing gradual access to stronger Āsana,
such as prone backbends and inverted Āsana.
The way for progressive work to access the upper half
of the body, neck and shoulders links to a subtle and
precise work with the breath, especially the inhalation.
Here the focus of attention is supported through the
application of techniques such as, firstly, locational
breathing and then, if appropriate, directional breathing.
This can further help the involvement of the student
in the longer-term intention and purpose of the Āsana.
In its more intense Śikṣaṇa form Dvi Pāda Pīṭham is a
challenging option for the more experienced student.”
– 108 Postural Practice Pointers

“Sarvāṅgāsana is the Āsana commonly known as
shoulder stand. It is seen as one of the so called
“classical” inverted Āsana, the other “classical”
inverted Āsana being Śīrṣāsana, or head stand.
This Āsana draws together a firmness in the
body, with the subtler purpose of the breath,
with a sense of inner attention for the student.
For this triad to be realised, certain steps need
to be respected with regards to a rationale for
the application of Sarvāṅgāsana, along with
appropriate choices in long-term and short-term
preparation for its use, incorporating appropriate
use of Pratikriyāsana, and cultivation of an
increasing length of stay in the Āsana.
For adults, the most important link whilst in
the Āsana is the relationship with the breath.
Cultivating the power of the breath can also help
in keeping the practitioner attentive to the possible
bio-stresses accumulating from staying in the Āsana.”
– 108 Postural Practice Pointers

“Another key Bhāvana for Samasthiti is on the
relationship of the neck to the upper spine with
the intention of sensitising the Prāṇa Sthāna.
We start by activating the back of the neck
through the application of  Jālandhara Bandha.
Here the focus is on lengthening the spine
through lifting the back of the neck, rather
than dropping the chin towards the chest.
Engaging Jālandhara Bandha can create more
space between the earlobes and the shoulders,
a focus to be maintained when engaging the next
step with raising the arms, such as in Tāḍāsana.
Engaging Jālandhara Bandha, means the shoulders
lower, the arms extend downwards and effectively
lengthen. This activates the arms, meaning active
hands. Here, extend the fingers, feel the fingernails.
All of which is a support and preparation for
focusing on how to access an active inhalation
initiated and sustained from the Prāṇa Sthāna.
You can practice getting people to explore
access to movement in the upper spine with
and then without Jālandhara Bandha to help
experience its relationship with Prāṇa Sthāna as
the starting focus in the spine for the inhalation.”
– 108 Postural Practice Pointers

“Using Āsana dynamically helps us in
the assessment of potential ratios and
their application within Āsana, as well
as within other aspects of Yoga practice.
It also enables one to observe the effect
on the breath, both as a whole, and on
the individual components used within
a particular ratio, within different Āsana.”
– 108 Postural Practice Pointers

“In Āsana, the Antar Kumbhaka is easier to
attempt and is usually more attainable than
the same count within the Bāhya Kumbhaka.
Although, one of the hallmarks for the uniqueness
of T Krishnamacharya’s insights into the theory
underpinning the Viniyoga of Haṭha Yoga centred
around the importance of the Bāhya Kumbhaka.
However, both the Antar Kumbhaka and the
Bāhya Kumbhaka should be approached very
gradually and in some cases are contra-indicated.
By contrast, extending the exhale by the use of
sound in Āsana will produce particular effects,
as well as being less exacting on the practitioner.”
– 108 Postural Practice Pointers

“As with Prāṇāyāma, the role and practice of Mudrā
needs to be considered from two distinct, but
complementary and developmental viewpoints.
In other words, there are Mudrā that are primarily
utilised within the context of Haṭha Yoga and there are
Mudrā that are utilised within the context of Rāja Yoga.
Within these two viewpoints, there are also those Mudrā
that can be applied in either context, depending on the
Saṃkalpa and Bhāvana employed by the practitioner.”
– 108 Mudrā Practice Pointers

“When reflecting on the intimacy of the relationship between
Prāṇāyāma and Āsana experientially, we could consider
exploring the practice of Prāṇāyāma and its developmental
conjunction with Āsana, via the following reference points.
Within the age-old coalescence of Prāṇāyāma and Āsana,
Prāṇāyāma can have three potential roles in influencing
the physical, energetic, psychological or emotional
effects arising from the prior practice of Āsana.
In this context the application of Prāṇāyāma can be
from one of three directions. It can be used to either
pacify, or to stabilise, or to intensify, the various
experiences arising from the practice of  Āsana.”
– 108 Prāṇāyāma Practice Pointers

“As an adjunct or extension to the Āsana element of a practice,
Prāṇāyāma can be applied to either enhance, stabilise or reduce
the impact of accumulative effects arising from the Āsana element.
The skill is being able to choose which is appropriate for that day,
in relation to where we are coming from in terms of that day’s Āsana,
and our personal choices as to where we are going to need to be after.”
– 108 Prāṇāyāma Practice Pointers

“Prāṇāyāma can both convert and
refine all the practice techniques of
breath control that can be learnt and
applied within all the different Āsana.”
– 108 Prāṇāyāma Practice Pointers

“As with any skill in the application
of learning, it is only through
personal transmission that the
student’s individually unique
chanting needs can be truly met,
in terms of access to and process
with all of the six phonetic crafts,
namely:
1. Varṇa – Saṃskṛta Pronouncing
2. Svara –  Musical Pitch
3. Mātrā –  Saṃskṛta Timing
4. Bala – Vocal Strength
5. Sāma – Ability to Sustain a Note
6. Saṃtāna – Continuity of Breath and Sound”
– 108 Chanting Practice Pointers

“One of the key concepts in the Viniyoga of Āsana
is how to facilitate movement in the spine
rather than just movement of the spine.”
– 108 Yoga Practice Pointers

“The ABC of the Viniyoga of Yoga
is the bespoke long term cultivation of
a personalised, pertinent and progressive
Āsana Practice as a foundation for a separate
Breathing Practice with its own identity alongside a
Chanting Practice to honour teachings and transmission.
Dhyānam is the fabric that time weaves from these related threads.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is being concerned with what
happens during the movements between the Āsana
rather than just the movements during the Āsana.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Āsana
rather than expecting the Āsana
to bring life to you.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Mudrā
rather than expecting the Mudrā
to bring life to you.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Prāṇāyāma
rather than expecting the Prāṇāyāma
to bring life to you.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Dhyāna
rather than expecting the Dhyāna
to bring life to you.”
– 108 Yoga Practice Pointers

“The art of Viniyoga is about
how you bring life to the Mantra
rather than expecting the Mantra
to bring life to you.”
– 108 Yoga Practice Pointers

“The Viniyoga of Yoga is a methodology
that offers a depth of tools, rather than
just a breadth of tools; however, the tools
also sit a bit like Russian dolls in that one
must be opened before the next reveals itself.”
– 108 Yoga Practice Pointers

“One of the potentials in the Haṭha Yoga teachings of
Krishnamacharya and Desikachar is the understanding
around the Viniyoga or application of Bṛṃhaṇa Kriyā
and Laṅghana Kriyā in terms of their potential to enhance
sensory stimulation or to diminish sensory stimulation.
Both approaches can be used where appropriate to impact
on how we are stimulated by the world through the senses and
thus be more drawn to interact with it in a more extravert way,
or how our sensory stimulation is quietened and thus we are
more easily able to withdraw from the activities of the senses.
Both approaches are valid and applied according to our changing age,
life situation and life stage. Here the role of a teacher is helpful in
learning the skills of self application within our practice planning.
We can learn how we can fine-tune our practice according to our basic
nature and where it needs to be within day to day living and its demands.
This alchemical process would also be difficult to explore other
than in some very generalised way within a weekly group class
given the mix of the age, gender, interests, needs, potentials and
core physiological, energetic and psychological natures of the students.
Let alone where they are in their life circumstances, external demands,
work roles and life stage or even the teacher having time and situation to
explore each student personally to gain some insight into what is happening
at that life moment within the small window offered by time and group size.
Hence, throughout Krishnamacharya and Desikachar’s teaching life,
apart from formalised group classes for children and young adults,
they taught personal practice only through individual lessons.”
– 108 Yoga Practice Pointers

“Bṛṃhaṇa Kriyā and Laṅghana Kriyā, as
expansive and contractive activities, are two
potentials explored through Āsana and the Breath.
Alongside the practice of Āsana, Mudrā and Prāṇāyāma,
they are actualised through a theoretical understanding of
the primary principles that inform Haṭha Yoga and Āyurveda.
The alchemical process underpinning this understanding
is the relationship between the two primary principles of
Prāṇa and Agni in order to influence Haṭha Yoga concepts such
as Prāṇa, Apāna, Sūrya, Candra, Nāḍī, Cakra and Kuṇḍalinī.
In terms of Bṛṃhaṇa Kriyā and Laṅghana Kriyā, the
Viniyoga of Bṛṃhaṇa effects a dispersion of Agni from
the core to the periphery and the Viniyoga of Laṅghana
effects a concentration of Agni from the periphery to the core.
Integrating the application of these two specific processes
facilitates access, through the Merudaṇḍa, Prāṇa and Agni,
to either energising or cleansing potentials, or as collaborative
outcomes within the practice of Āsana, Mudrā and Prāṇāyāma.”
– 108 Yoga Practice Pointers

“Progressing from Movement to Stillness,
as in from Dynamic Āsana to Static Āsana,
is a perceived goal within every Yoga practice.
However, within the Viniyoga of Āsana, this is not
a purposeful goal to expect within every Āsana.”
– 108 Yoga Practice Pointers

“Another lesser-known facet to the practice tool of Pratikriyāsana
is the application of it in the practice planning steps, not in the
more usual sense of its perception as a postural counterpose,
rather its application in order to reduce a negative state of being
and the impact that we are currently experiencing, whether at a
physical, energetic, psychological or emotional level of being.
In this context, Pratikriyāsana means the practice planning steps
when choosing and arranging Āsana that will effect an counter action
on our current state of negativity expressing itself and impacting on
our sense of well-being, whether body, mind, energy or emotions.
Thus, opposite action Āsana to a currently unhelpful sense of being.”
– 108 Yoga Practice Pointers

“The Haṭha Yoga processes of
Bṛṃhaṇa and Laṅghana Kriyā
are both energetic applications,
whether within Yoga or Āyurveda,
as in physiological processes that
are nourishing and  stimulating,
rather than the more usually seen
adapted psychological processes,
as in provoking mental lethargy or,
as in palliating mental disturbance.”
– 108 Yoga Practice Pointers

General Guidelines for Practice Planning:
“In terms of practice planning the spirit of Viniyoga
is achieved by two broad means:
1. The selection of practice material that is appropriate
to the needs and circumstances of the student.
2. The intelligent use of Vinyāsa Krama.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

General Guidelines for Choosing Āsana:
“The principles we utilise through
the Viniyoga of Āsana practice are
a fair attempt in this direction.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

General Guidelines for Setting Practice Aims or Learning Outcomes:
“Finally, whatever the Practice Aims,
or the Intended Learning Outcomes,
try to conserve the Spirit of Viniyoga.’
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Linking Dynamic and Static Āsana within a Vinyāsa Krama.
In this respect the application of the principles of
both dynamic and static work, when planning for
Āsana practice, allows for a more efficient use of
the body and respect for the variables such as
time of day, time of year, time of life, preceding
or following activities, the length of practice,
the role of practice, our practice needs, etc.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Amongst the technical learnings of the different
possibilities for Āsana are topics such as,
the developmental application of Āsana
within the refinement of the practice from
more movement towards more stasis.
This involves an exploration of the immediate
or longer-term potentials for different Āsana:
– When used with long-range movement
– When used with mid-range movement
– When used with short-range movement
– When used with micro movement.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“This would also involve a theoretical study of
the Lakṣaṇa of individual or groups of Āsana.
This is supported by exploring the advantages and
disadvantages of movement or stay in specific Āsana.
All of which to help in appreciating which Āsana
are best used dynamically, or which Āsana are
best used statically and which Āsana can serve the
practice in both a dynamic and a static application.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Furthermore, the consideration of the roles of
movement and stasis can be further developed through
Krishnamacharya’s teachings on application of Āsana.
For example, whether for circulation or for purification,
within both structural and/or systemic roles for Āsana.
Regarding circulation, or what he called Rakta Calana.
When you want to activate the circulation you move.
Regarding cleansing, or what he called Śarīra Śodhana.
When you want to activate a purificatory process you stay.
Both presume there is competent access to the breath,
working access to the concepts of Prāna, Apāna and Agni,
and experience of how to direct the breath in the spine.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

Different Types of Postural Activity in Āsana Practice
“Furthermore, the consideration of movement
or stasis sits within a relationship to the
deeper purpose of Āsana within our journey
through the body and the breath, to the mind
and beyond, through considerations such as:
In relation to the fluctuations of the Guṇa.
Ideally, dynamic work is a state of still movement,
rather than a state of active movement, as in Rajas.
Equally, static work is a state of bright stasis,
rather than a state of dull stasis, as in Tamas.
Thus, in relation to the Guṇa, the application
of both movement and stasis in Āsana need to be
appropriately supported by a quality of Sattva.
As in a quality of stillness within dynamic work
and a quality of brightness within static work.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

The Adaptation of the Āsana Practice
“Regarding personal practice, one might suggest that,
both the intention and application of adaptation needs
to be more short-term regarding the external factors.
This is amidst sustaining the longer-term internal direction,
within a more consistent constant with minimum compromise.
In other words, look after your short-term personal practice needs
within the scope and scape of your longer-term practice aims.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

What is the role of the practice of Āsana?
“Secondly, to intelligently embrace all of
these variables as assets rather than limitations,
we need to make skilful use of the art of Viniyoga
when investigating the Vinyāsa Krama of Āsana.
For example:
– Static Movements
– Dynamic Movements
– Relational Variations
– Appropriate Modifications
– Expansive Energetics
– Contractive Energetics
– Preparatory Movements
– Compensatory Movements
– Effective Sequence Building
– Progressive Breathing Patterns
– Efficient Transitions
– Relevant Conclusions”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

“The art of Viniyoga is about
how you bring life to the Yoga Sūtra
rather than expecting the Yoga Sūtra
to bring life to you.”
– 108 Yoga Study Path Pointers

“Krishnamacharya’s Yoga Loom
had three interwoven threads.
Namely,
an appropriate application,
according to,
an individual’s specific needs,
of:
Kāya Cikitsā through Āyurveda,
Prāṇa Śakti through Haṭha,
Citta Adhyātmika through Rāja.”
– 108 Yoga Study Path Pointers

“TKV Desikachar taught the Viniyoga of Yoga,
or application of Yoga according
to state of life, place, time and circumstance
to optimise the student’s potential within
that situation as seen from his
own, forever evolving, innovating and
maturing, developmental teaching thread.”
– 108 Yoga Teaching Path Pointers

“The art of Viniyoga presumes that
the five application principles of
what is being taught,
why it is being taught,
when it is being taught
where it is being taught and especially
how it is being taught,
are personally applicable and
socially relevant to
who is being taught.”
– 108 Yoga Teaching Path Pointers