“In the indian tradition we have the idea of Varṇa–Āśrama–Dharma
and Dharma–Artha–Kāma–Mokṣa.
According to a persons environment, development
or stage of activity in life, the choice must vary.
Which will help a person grow at the body and mental level?
So as such it should be Sṛṣṭi Krama for a certain level of people.
In old times. up to the age of 24 years should be in the direction of Sṛṣṭi Krama.
In other words more risk taken with the body, more ability to grasp ideas.
i.e. Vinyāsa almost like gymnastics.
Not suitable for older person starting Yoga.
We need to be open to this beautiful idea of adaptation.”
– TKV Desikachar France August 1983

“In terms of the transition within
a Vinyāsa Krama from standing
Āsana to lying Āsana and beyond.
Choose not to lie down for  Śavāsana
until you feel you don’t need to lie down.”
– 108 Postural Practice Pointers

“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

“How do we know that a student is ready to attempt
a more progressive Āsana such as Sarvāṅgāsana?
From following a core principle in the teachings of Vinyāsa Krama.
In that, the Pratikriyāsana for a particular Āsana needs
to be mastered before that particular Āsana is attempted.
For example, if we want to teach Sarvāṅgāsana,
because it will have a specific potential for the particular student,
then we teach the Pratikriyāsana 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.
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 student’s 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.”
– 108 Postural Practice Pointers

“According to such as the Gheraṇḍa Saṃhitā,
Aśvinī Mudrā and Mūla Bandha are seen as very
different forms in terms of definition and application.
Regarding application, only Aśvinī Mudrā is focussed around
the repeated contraction of the anal sphincter muscles.
Whereas, Mūla Bandha is a single sustained contraction.
It also appears that there are differing certainties within
the modern use, definition and application of the two terms,
with a single contraction variant of Aśvinī Mudrā often being
passed off in ‘Krishnamacharya’ terminology, as if Mūla Bandha.
For example, Mūla Bandha being described as somethng you
take all the time whether sitting, talking, walking, or eating.
This would not be possible given T Krishnamacharya’s view of
what is Mūla Bandha and its relationship to Uḍḍīyana Bandha.
Comparing Mūla Bandha to Aśvinī Mudrā:
Aśvinī Mudrā can be an outcome of an effective Mūla Bandha.
If Mūla Bandha is good then Aśvinī Mudrā can follow automatically.
But not the other way round, as Aśvinī Mudrā is only
a localised contraction of the anal sphincters.
Also, Mūla Bandha is considered as complete,
whether or not Aśvinī Mudrā is there.
Also, the use of Aśvinī Mudrā can produce gas and
too much use can affect the peristaltic reflex.
Plus avoid in certain conditions such as haemorrhoids.
Āsana can be used for the same effect on these organs.
A direct Aśvinī Mudrā pushes the stomach forward,
so its contraindicated for Mūla Bandha.
Thus, Krishnamacharya’s view of what is Aśvinī Mudrā and what is
Mūla Bandha differed, both in terms of definition, technique, and
application, as well as regarding the student starting prerequisites,
Vinyāsa Krama and links to other layers of their Yoga Sādhana.”
– 108 Mudrā Practice Pointers

“One primary prerequisite to initiation into a Tri Bandha Sādhana
was an ability in Prāṇāyāma within a Vinyāsa Krama around
Nāḍī Śodhana where the crown was 12 breaths at 12.12.12.12.
Thus, before being taught Uḍḍīyana Bandha,
an essential precursor to Mūla Bandha,
there needed to be competence in sustaining Prāṇāyāma,
within a Vinyāsa Krama leading to a crown ratio of 1.1.1.1.
with the Pūraka, Antar Kumbhaka, Recaka and Bāhya Kumbhaka
each set at 12 seconds in a crown of 12.12.12.12. for 12 breaths.
Thus, a Vinyāsa Krama peak of almost 10 minutes sustaining the crown
ratio within a Prāṇāyāma practice, with the entire practice itself totalling
over 20 minutes, all performed with one technique, Nāḍī Śodhana.
This technique alone is already in itself demanding to sustain with
an inaudible softness, as if pouring oil slowly and smoothly amidst
an almost undetectable deftness of finger movement on the nostrils.
A further example of how there needs to be an effortless skill in working
with the Kumbhaka and how our fluency with all four components of the
breath sets a practice direction and evolution in that, amongst other goals,
it determines our readiness to incorporate the Tri Bandha into our Sādhana.”
– 108 Mudrā Practice Pointers

“Sometimes the Vinyāsa Krama,
or special placing of steps from,
is more important than the steps to.
At other times the Vinyāsa Krama,
or special placing of steps to,
is more important than the steps from.
In our life as well as our practice.”
– 108 Yoga Practice Pointers

“When considering what, why and how to practice,
it can be helpful to consider our starting point.
For example, are we looking for the role of an Āsana
practice to help in recovering from a situation
where we are as if personally overdrawn.
Also, what is the nature of our ‘overdraft’?
Is its impact or origin physical, energetic, psychological
or emotional, or even a combination of more than one?
Here the concepts of too little, too much, or wrong
can also be helpful as a reference in that, as well as
considering the nature of the ‘overdraft’, we need to
consider the means we undertake to remedy this
aspect of the situation. In other words our first
priority is to choose to plan practice steps that
will initially reduce the negative aspect at least.
However, sometimes we can try something that is
as if a short term loan and at a high rate of interest
in terms of time, effort, energy and commitment.
Thus whilst finding our situation temporarily
improving a further depletion can possibly arise as
we find ourselves unable to as if ‘keep up with the
extra payments’ given the nature of the original
depletion and its current impact on our potentials.
So having a clear reference point in terms of
identifying the nature of our starting point, and
the short term or longer term potentials of a
choice of an appropriate remedy, is as important
as our personal determination to clear the deficit
that has knowingly or unknowingly emerged within us.”
– 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

Links to Related Posts:

• Āsana & Mudrā Practice Techniques Glossary
  – Grouped into Standing, Kneeling, Lying,
  Inverted, Backbend, Seated & Sitting
• Prāṇāyāma & Bandha Practice Techniques Glossary
  – Grouped into Primary, Secondary & Ancillary Techniques
• Āsana Mudrā & Prāṇāyāma
  – Collected Practice Planning and Practice Theory Questions
• Collected Practice Theory Posts on Viniyoga
• Collected Practice Theory Posts on Pratikriyāsana
• Collected Practice Theory Posts on the Breath
• Collected Practice Theory Posts on Śikṣaṇa
• Collected Practice Theory Posts on Rakṣaṇa
• Collected Practice Theory Posts on Cikitsā
• Collected Practice Theory Posts on Laṅghana
• Collected Practice Theory Posts on Bṛṃhaṇa
• A fundamental facet in the principles of Āsana, Mudrā and Prāṇāyāma practice……
• A sample Parivṛtti and Paścimatāna Themed Group Practice
• A series on Āsana Part One – Moving into our Bodies with Samasthiti
• A series on Āsana by Paul Part Two – Growing from our Roots with Tāḍāsana
• Considerations for Vinyāsa Krama around Bakāsana……
• Correct vibrational intonation was an important emphasis within all aspects of Mantra initiation
• Cultivating the skills within Yoga Practice Planning for Individual Students
• Design a practice with an emphasis on working with arm movements in Bhujaṅgāsana as preparation for Dhanurāsana.
• Design an evening Practice before going out (as if) to teach Yoga…
• Design an Āsana Practice according to the principles taught by TKV Desikachar
• Design an Āsana practice around Dhanurāsana  and Ardha Matsyendrāsana
• Design an Āsana practice to include three hand balance Āsana of your choice…
• Design an Āsana practice to move towards being able to work dynamically in Ūrdhva Prasṛta Pādāsana
• Design a Practice for the morning after a heavy meal and late night…
• Design a Practice to experience the application of Sound in Āsana…
• Design a Prāṇāyāma for yourself to include Śītalī, Anuloma Ujjāyī and Nāḍī Śodhana
• Design a Prāṇāyāma for yourself to include a crown ratio of 1.1.1.1. in Nāḍī Śodhana
• Design a practice leading to staying in Sarvāṅgāsana for 8 minutes…
• Design a practice to stay 8 minutes in Paścimatānāsana…
• Discuss the different aspects of Vinyāsa Krama in Prāṇāyāma…
• Example of a Vinyāsa Krama around Jaṭhara Parivṛtti
• Examples of Vinyāsa Krama for Sitting Āsana within a Single Practice.
• Longer term Vinyāsa Krama within the Viniyoga of the breath in Āsana……
• My understanding on the context and content of Yoga Makaranda
• Prāṇāyāma – Where to Start? Part Three
• Principles behind why Krishnamacharya only taught adults 121……
• Question to Krishnamacharya – “Can you explain the concept of Vinyāsa and Pratikriyā Āsana?”
• Strange to find my bananas enveloped by Yoga teachings on Vinyāsa Krama……
• Studying, Practicing and Learning the Tri Bandha involves Theory, Techniques and Cautions…
• The idea of Vinyāsa, begin from where you are, go to a point, and……
• The Viniyoga of Inversion as an Āsana or as a Mudrā……
• Trumperies and Tactics for the Discerning Gardener……
• Vinyāsa Krama for Upaviṣṭa Koṇāsana from TKV Desikachar’s Notebooks
• Vinyāsa Krama for the Catur Bandha in Mahā Mudrā for an advanced Āsana student……
• Viniyoga Vignette 5 – Introducing Uḍḍīyana Bandha within an Āsana practice
• We need to consider the process that surrounds one’s Āsana practice…