vinyāsakrama

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

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“The journey with and through the Bhagavad Gītā
is one of a Vinyāsa Krama with three distinct stages.
Firstly, the Pūrva Aṅga aspect of our journey in the ascension
from confusion to clarity, as epitomised in the first hexad.
Here we start from being disturbingly yoked to Viṣāda
as in the first Chapter, and through a chapter by chapter
process, we deepen our self-inquiry into the nature of who.
In other words, this hexad is an exploration of our relationship
with what we perceive and identify with as if our perennial self.
Through chapters two to five, we learn how to approach and
refine the practice of Dhyāna as in Chapter six, through which
clarity arises in our efforts to cultivate a sense of an inner guide.”
Paul Harvey on Gītārtha Saṃgraha of Śrī Yāmunācārya Śloka Two

“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

“Planning should precede practice,
fix your goal, building step by step
and there should be check points along the way.”
– TKV Desikachar England 1992

“The Āsana are presented in
Vinyāsa Krama, the way it was
taught to children in the Yoga Śāla.
This should not create the impression
that T Krishnamacharya taught
in this manner to everyone.”
– TKV Desikachar Introduction to Yoga Makaranda

“Krishnamacharya’s understanding of Cikitsā
or Yoga therapy and the arrangement and
sequencing of postures, along with modifying
the posture and using different breathing
patterns, plus the use of sound and different
Bhāvana or mental foci was profound.
This allowed for many possibilities to be
offered, for a great number of students
with problems, from a range of relatively
few postures and breathing techniques.”
– TKV Desikachar Madras 1996

“We start our practice where we are
and look toward a certain goal.
Then we choose the steps that will
lead us toward realising that goal
and will gradually bring us back
into our everyday life, but our
daily practice does not return us
to the exact place we started.
The practice has changed us.”
– TKV Desikachar

“Jaṭhara Parivṛtti and Movement.
When coming up focus on on the lower leg lifting up the upper leg,
rather than the upper leg hauling up the lower leg.”
– 108 Postural Practice Pointers

“Jumping and the Bāhya Kumbhaka.
Jumping should be soundless and
always on the Bāhya Kumbhaka
or pause after the exhale.”
– 108 Postural Practice Pointers

“Forward Bending and the Role of the Abdomen.
When moving into Paścimatāna Āsana such as Uttānāsana.
Better to pull back from the abdomen.
Rather than pushing forward from the lower back.”
– 108 Postural Practice Pointers

“Dynamic Movement and the Refinement of the breath.
A longer term refinement of working with the breath in Āsana such as Paścimatānāsana,
is to begin the breath before leaving your departure point,
and finish the breath after reaching your arrival point.
In other words keeping the breath longer than the movement at all times.”
– 108 Postural Practice Pointers

“Utkāṭāsana and sequence of movement respecting Prāṇa and Apāna.
All these stages of descent are on one long exhalation.
– Lower the backside to the heels whilst keeping the back upright and the arms raised.
– Then stretch the back rounding it towards thighs whilst keeping the arms raised.
– Finally lower the arms to the ground.
All these stages of ascent are on one long inhalation.
– Raise the arms as far as we can keeping hips on the heels.
– Then straighten the back into an upright position.
– Finally lifting the backside off the heels and coming up.”
– 108 Postural Practice Pointers

“Making the Breath longer than the Stillness
means the body needs to be completely still
before the Recaka or Exhale is started
and especially before it is stopped.
Equally the body needs to be completely
still before the Pūraka or inhale is started
and especially before it is stopped.
This is harder than it sounds given the
propensity to want to tweak or adjust
the body at the beginning and especially
when at the end of a movement.
Thus making the Breath longer than
the Movement also means making
the breath longer than the Stillness.”
– 108 Postural Practice Pointers

“Breath and Abdominal Movement.
Actively contract the abdomen when exhaling to emphasise Apāna Sthāna.
Actively constrict the abdomen when inhaling to emphasise Prāṇa Sthāna.”
– 108 Postural Practice Pointers

“The intelligent leg is the back leg.”
– 108 Postural Practice Pointers

“Prone Backbends as front stretches are wall to wall Āsana
in terms of Bhāvana, rather than floor to ceiling.
Thus in Sālamba Bhujaṅgāsana the focus is on
the sternum stretching forwards and
the big toes stretching backwards.”
– 108 Postural Practice Pointers

“Forward Bends are back stretching Āsana in terms of Bhāvana.
Thus in Paścimatānāsana one of the foci is on avoiding pushing
from the lower back as you bend forward.
Thus move forward from the abdominal area by drawing it back,
to encourage the lower back to respond by lengthening.
If we push from the lower back in forward bends,
such as Paścimatānāsana, it can tighten this area,
thus inhibiting the focus on the quality of the Apāna Lakṣaṇa,
as well as transferring stress to the sacrum, hips and hamstrings.”
– 108 Postural Practice Pointers

“This is a suggestion for a Vinyāsa Krama for approaching and leaving Jaṭhara Parivṛtti .
When lowering from the upward raised legs position use one long exhale,
but through two distinct stages of movement.
The first part of the exhale is to lower the knees over the chest.
The second part of the exhale is used to rotate the trunk into the twist.
The exit is the exact counterpart with one inhale and two stages of movement.
The first part of the inhale brings the knees over the chest.
The second part of the inhale extends the legs upwards.
A suggestion for Bhāvana is to gradually increase the stay.
For example stay one breath each side the first time
and then increase the stay next time to two breaths each side
and finally stay three breaths each side.
As to breathing a suggested ratio of 1.0.1.0. during both movement and stay.”
– 108 Postural Practice Pointers

“The Viniyoga of Daṇḍāsana
“The starting point determines the journey.”
– Legs are together unless some anatomical reason why this is not possible
– The sides of the feet are maintained together, stretch the back of the heels
– A key point here is having active hips, releasing the knees can activate the hips
– Someone who is stiff in spine and legs will certainly need to release the knees
– Release the knees as much as is required to extend the spine towards vertical
– Someone who is flexible may also need to release the knees so as to activate hips
– Shoulder blades are back, feel the channel between the shoulder blades
– Back of the neck drawn up to help lift chest up
– Hands or fingers on the ground back by hips but not weight bearing”
– 108 Postural Practice Pointers

“The Lakṣana of Parivṛtti Trikoṇāsana, or side triangle pose,
is as a movement OF the spine to the side over one leg,
rather than as a bending or arcing IN the spine towards the side.
Thus the aim is for the spine to stay straight relative to the leg,
with the intention of extending it from crown to coccyx.”
– 108 Postural Practice Pointers

“When bending towards the lower limbs during forward bend Āsana,
move firstly by as if rounding from the lower back,
before ultimately rounding from the upper back.
In terms of a Bhāvana during the movement,
the focus is on exhaling from Apāna Sthāna towards Prāṇa Sthāna.
Thus breathing as if from the lower abdomen towards the upper chest.”
– 108 Postural Practice Pointers

“When moving away from the lower limbs during forward bend Āsana,
move firstly by as if arching from the arms and upper back,
before ultimately arching from the lower back.
In terms of a Bhāvana during the movement,
the focus is on inhaling from Prāṇa Sthāna towards Apāna Sthāna.
Thus breathing as if from the upper chest towards the lower abdomen.”
– 108 Postural Practice Pointers

“One principle taught to me by Desikachar,
related to our relationship with our spine from a Yoga perspective,
whether on a physical, energetic or psychic level.
It is the notion that we are looking for a little movement in a lot of places,
rather than a lot of movement in a few places.”
– 108 Postural Practice Pointers

“Bhāvana for moving into Sālambana Bhujaṅgāsana
1. Keeping the chin in Jālandhara Bandha till the effect is felt
in the lower back will support extending the upper back.
2. Keeping the abdomen firm as you inhale will help to concentrate
the breath into the Prāṇa Sthāna, as well as minimising the
effect of the downward pressure on the Apāna Sthāna.”
– 108 Postural Practice Pointers

“In Bhujaṅgāsana the Bhāvana is in the chest
and on keeping the legs down.
In Śalabhāsana the Bhāvana is in the legs
and on keeping the legs up.
In Dhanurāsana the Bhāvana is in the legs
and on keeping the chest down.”
– 108 Postural Practice Pointers

“With regard to Āsana where the hands are placed on the ground,
the weight should not be on them.
So always weight on the feet not on the hands.”
– 108 Postural Practice Pointers

“In Dvi Pāda Pīṭham a key Bhāvana is on the feet.
With regard to Dvi Pāda Pīṭham, a key Bhāvana is on the feet.
A common approach is people not working from their feet.
Instead they are primarily using their buttocks to push up.
Desikachar taught that we both lift and lower from the feet
Thus Two Foot Support is controlled by using both feet.”
– 108 Postural Practice Pointers

“Bhāvana for moving within Forward Bends.
Keep the arms up as you go down
Thus moving down from
Apāna Sthāna to Prāṇa Sthāna.
Lift the arms first as you come up.
Thus moving up from
Prāṇa Sthāna to Apāna Sthāna.”
– 108 Postural Practice Pointers

“Backbends disturb the length and quality of the exhale,
in that they impact the Apāna and push the Mūla downwards.
Thus we need to consider an appropriate Pratikriyā Āsana
to compensate for this disturbance to the Apāna Sthāna.
Hence Pratikriyā such as Apānāsana to restore the Apāna.”
– 108 Postural Practice Pointers

“The slower the breath,
the longer the movement.
The longer the movement,
the stronger the effect.
The stronger the breath,
the slower the movement.
The slower the movement,
the longer the effect.”
– 108 Postural Practice Pointers

“Bhāvana for the Hips in Parśva Uttānāsana.
When moving into Parśva Uttānāsana.
Lift the forward leg hip up and
draw the rear leg hip forward.
When coming up from Parśva Uttānāsana.
Keep the forward leg hip lifted and
the rear leg hip drawn forward.”
– 108 Postural Practice Pointers

“With regard to Dvi Pāda Pīṭham, a key Bhāvana is on how we use the arms.
In the beginning try exploring leaving out raising the arms as you come up,
as shoulder movement means that people can start to move about on the mat.
Here we need to focus on lifting the body upwards as many people slide backwards.
Also many people will push up too much from the buttocks and distend the belly,
which in turn will increase the abdominal pressure and disturb the Apāna Sthāna.
So initially when learning this posture the Bhāvana of lifting from the feet is enough.
Then adding the engagement of a Bhāvana on the arms, by making the arms active.
Thus whilst lifting engage pushing the full length of the arms down firmly on the floor.
Once the legs are active and the arms are active, the neck can lengthen more naturally.”
– 108 Postural Practice Pointers

“Bhāvana when moving or staying in Dvi Pāda Pīṭham.
When lifting or staying within the Pūraka focus on
drawing upwards, as if raising from the chest,
rather than just raising as if from the hips.
When lowering or staying within the Recaka focus on
not collapsing down, but drawing in from the abdomen,
rather than the body just dropping as if from the hips.
– 108 Postural Practice Pointers

“Bhāvana when working with Vīrabhadrāsana
Feet –
Front Leg Focus on Toes Down
Rear Leg Focus on Heel Down
Knees –
Front Knee Bent Forwards
Rear Knee Straightened Backwards
Hips –
Front Leg Hip Lifted Backwards
Rear Leg Hip Lifted Forwards
Shoulders –
Front Leg Shoulder Drawn Back
Rear leg Shoulder Drawn Forward
Spine –
Upper Back and Chest Arching Forwards
Resisting the Lower Back from Bending Backwards”
– 108 Postural Practice Pointers

“Bhāvana on the rear leg when moving in and out of Parśva Uttānāsanaa.
In keeping with the Bhāvana in Parśva Uttānāsana
around the intelligent leg being the rear leg.
Consider when entering and leaving the pose dynamically
paying attention to the rear leg remaining a working leg;
within the tendency for the front leg to increasingly
become the supporting leg as the body lowers and
the bracing leg as the trunk is raised upwards.”
– 108 Postural Practice Pointers

“Bhāvana when staying in Ardha Matsyendrāsana
In terms of weight bearing pressure on the front foot and rear hand.
Keep all the toes on the front foot as if nailed to the ground, and the
ground contact weight in the rear fingers, as if as light as a feather.”
– 108 Postural Practice Pointers

“Forward Bending and the Role of the Arms.
When moving out of Paścimatāna Āsana such as Uttānāsana.
Focus on the arms bringing the back up.
Rather than the back bringing the arms up.”
– 108 Postural Practice Pointers

“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

“Bhāvana on the relationship between the pelvis and the spine.
The mortar must be a strong base,
for the pestle to be worked strongly.
In other words,
the pelvic area must be a strong base,
for the spine to be worked strongly.”
– 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

“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

– Bhāvana on the relationship between the Viśuddhi Sthāna and Jālandhara Bandha…
“A common escape when using Dvi Pāda Pīṭham is the neck arching rather than lengthening, resulting in the lifting of the head as if to compensate for the increased sense of the neck compressing.
Hence a key Bhāvana here is the deepening of the Jālandhara Bandha whilst working with the potential dissipation that can arise through the simultaneous lifting of the arms.
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.”
– 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

“One role for a staged descent
within a Prāṇāyāma practice,
in terms of ratio and length,
is to offer a receptive space to
reveal any side effects of effort.
Here it can be actually more
difficult to step down gradually
in stages rather than just stopping.
Thus a subtle mirror in the descent
can reveal any stress in the ascent.”
– 108 Prāṇāyāma 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

A third factor, that of Respect for Responses
“We must consider our waking posture,
which is usually standing or sitting.
Thus, we have a gap from this to
the main Āsana we intend to use.
How can we bridge this gap from everyday
postures to Āsana, in terms of form and function?
Principles of practice are means to bridge the
gaps according to place, time and circumstances.
Here, we can cultivate steps towards being
able to access an Āsana with a conscious
composure, remaining awake within it
and maintaining a respect for responses.”
– 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

“Plan a practice where the Pradhāna or crown
is working dynamically in the Pūrṇa form
of Eka Pāda Uttāna Mayūrāsana.”
– Yoga Practice Planning and Theory Questions – Collected & Collated

Centre for Yoga Studies

The Art of Personal Sādhana

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