vinyāsakrama

Devanāgarī: विन्यासक्रम Translation: arrangement in a sequence; special placing step by step Similar words:vinyāsa, krama Related concepts:nyāsa, saṃnyāsa, viniyoga, pratikriyā, pratikriyāsana, sarvāṅgāsana, āsana

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“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

“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

“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

“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

“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

“Another lesser-known facet to the practice tool of Pratikriyā sana
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, Pratikriyā sana 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

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

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
“Consequently in looking at the principles
of working with dynamic and static,
we must consider the following:
– The Lakṣaṇa of the chosen Āsana
– The Lakṣaṇa of the practitioner’s body
– The Lakṣaṇa of the practitioner’s breath
– The Lakṣaṇa of the practitioner’s mind
– The Vinyāsa Krama to link the Āsana
with the practitioner’s individual
body, breath and mind.”
– 108 Yoga Planning Pointers
– The Viniyoga of Planning Principles Guidelines – Collected & Collated

“My Āsana study with 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 when looking at any Āsana in depth,
were the concepts of Nāma, Rūpa and Lakṣaṇa, or the
name, form and 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 right application of the Āsana within overall considerations of
initial direction and outcomes through 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 more 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 teachings of Krishnamacharya around Āsana included
an in-depth appreciation of the Lakṣaṇa, especially around
the thirty or so primary and secondary support Āsana such as
Uttānāsana, Jaṭhara Parivṛtti, Bhujaṅgāsana or Januśīrṣāsana.”
– 108 Teaching Path Pointers

Links to Related Posts:

– Practice Theory:

– Practice Planning:

– Practice Examples:

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The Art of Personal Sādhana

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