Tag Archives: Ashtanga Yoga

Vinyāsa: A Few Thoughts

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IMG_1254I attended a Vinyāsa Workshop this weekend at a1000Yoga in Bangalore. The workshop was taught by Bharath Shetty, who is the founder of the IndeaYoga Shala in Mysore, and who was a student of–among others–B.K.S. Iyengar.

 

The word vinyāsa has multiple meanings, but most commonly–and in this case–it refers to a style of yoga in which postures are linked together through transitional movements. (And, importantly, these transitioning movements establish a flow of breathing throughout the practice.)  Vinyāsa practices tend to be vigorous and challenging because one keeps moving when one isn’t holding a posture (i.e. there’s no down time), and the transitions require a lot of lifting oneself up, which necessitates a strong core and reasonably strong arms / shoulders.

 

Vinyāsa practices can have fixed-sequences (the same asana, or poses, are always done in the same order) or not have a fixed-sequence (the details of the practice will very from one session to the next.) There’s a great argument for the practice of a fixed-sequence. That is, one can get beyond focusing on crude alignment details and put one’s mind on fine details of breath, drishti (focal point), and keeping a slight tension in the perineum. Such facts can slip away when one is struggling to get the sequence and postural details down pat.

 

However, there’s a great counter-argument against fixed-sequence programs. The counter-argument goes like this, “If you get so bored out of your wits that you quit, you will also never get to the part where you focus on higher level details.” My advice would be “know thyself.” In other words, if you can keep to a fixed-sequence, you should. However, if your practice will peter out without constant fresh challenges, don’t force yourself into a fixed-sequence box. It’s better to take longer to get to a higher level of practice than to quit.

 

The most famous fixed-sequence vinyāsa style is the Ashtanga Vinyāsa system handed down by Sri K. Pattabhi Jois. (Note: some people call this system Ashtanga Yoga, and others don’t like that name because it implies that this system is heir apparent to Patanjali’s yoga as described in The Yoga Sutras.  [In other words, there’s an argument that that name was already taken.] Furthermore, Jois’s system isn’t really any more of an Ashtanga Yoga [in the Patanjalian sense] than any other Hatha yoga style because it focuses on only a few of the limbs (i.e. asana, pranayama, etc.) at least until one gets to very advanced stages of practice.

 

The most famous vinyāsa style without a fixed sequence is probably Power Yoga, although many people practice classic Hatha asana in a vinyāsa.  Power Yoga emphasizes core strength building, and was originally developed by Ashtanga vinyāsa practitioners to give one the workout of Ashtanga vinyāsa without its monotony.

 

This was my first experienced with a fix-sequence vinyāsa program other than Ashtanga Vinyāsa, so I didn’t know what to expect. This was the second workshop I’d attended by Bharath Shetty, so I knew that he was a skilled and knowledgeable teacher. However, I didn’t know what Indea Vinyasa, itself, would be like.

 

It turned out to be much like Ashtanga Vinyāsa. The general organization is identical. That is, there are two versions of Surya Namaskara, a standing sequence, a floor sequence, and a finishing sequence. Note: I’ve only been taught the first series of each of these systems, and so I can’t say how they vary at more advanced levels.

 

The Surya Namaskaras of Indea Vinyāsa mirror those of Ashtanga Vinyāsa, but they aren’t identical. The Indea Vinyāsa Surya Namaskara-A is slightly more involved, and includes an Utkatasana. The Indea Surya Namaskara-B, like Ashtanga Vinyāsa, features Warrior I, but doesn’t include Utkatasana (chair pose.)

 

The standing sequences of the two systems are identical. However, the floor sequence is very different. The Ashtanga Vinyāsa preliminary series (as mentioned above, both systems have multiple series) focuses heavily on forward bends, but the Indea Vinyāsa  preliminary series is more balanced between forward and back bends. The finishing sequence is also quite similar between the two styles.  The sarvangasana-halasana-karnapidasana-matsyasana sequence is the core of both finishing sequences.

VinyasaWorkshop

BOOK REVIEW: Yoga Mala by Sri K. Pattabhi Jois

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Yoga Mala: The Seminal Treatise and Guide from the Living Master of Ashtanga YogaYoga Mala: The Seminal Treatise and Guide from the Living Master of Ashtanga Yoga by K. Pattabhi Jois

My rating: 4 of 5 stars

Amazon page

Yoga Mala is a guide to yoga by one of the most influential yogis of the modern era, Sri K. Pattabhi Jois. Sri Jois, who passed away in 2009, developed an approach to Hatha Yoga that is alternatively called Ashtanga Vinyasa or Ashtanga Yoga. Herein, I will use the term Ashtanga Vinyasa to represent Sri Jois’s style of yoga, which relies on a fixed sequence(s) conducted with vinyasa, i.e. flowing transitions that link postures. The reason I chose one term over the other is that the term “Ashtanga Yoga” long predates Jois and is a more generic name for the practice of all eight limbs of yoga as described in Patanjali’s Yoga Sutras.

Having mentioned the “eight limbs of yoga,” it should be noted that this book really only gets into half of them: yama (rules for interacting with others), niyama (rules for conducting oneself), asana (poses), and pranayama (breath exercises.) Furthermore, three-fourths of the book’s pages are devoted to asana. This is not unusual as many yogis consider it a waste of time delving into the higher level practices (pratyahara [sensory withdrawal], dharana [focus], dhyana [meditation], and samadhi [liberation] with individuals who haven’t yet made headway into the more fundamental practices.

After brief discussion of yama, niyama, and pranayama, Yoga Mala launches into description of the postures of the Ashtanga Vinyasa preliminary series. This begins with the two variants of the Surya Namaskara (Sun Salutations) practiced in Ashtanga Vinyasa and progresses through the poses of the standing, seated, and finishing sequences in the order in which they occur in the Preliminary Series. There are clear black and white photos of the optimal version of each asana. The written descriptions explain the entire set of vinyasa for that asana—i.e. the flowing transitions that connect one pose to the next. Most asana have a header paragraph that tells how many vinyasas are associated with the pose and which vinyasa constitutes the asana proper. This opener is followed by a “Method” section that lays out the vinyasa in detail, and—in many cases–a “Benefits” section that explains what the posture is said to do for one–and occasionally what major the contraindications are. (However, this is a poor reference for contraindications as it mostly only says what pregnant women shouldn’t do and doesn’t get into much detail beyond that.)

There are a couple of things that I think could have been improved—mostly formatting / editorial critiques. The first is that the text increasingly lags the photos so that one has to flip forward several pages to view the associated photos. Also, the author often refers to a movement through a position using the numbering system of an earlier set of vinyasa, and this necessitates a lot of flipping back and forth. For example, the instructions often say “then go to the 4th vinyasa of the first surya namaskara sequence” whereas if he said “then do chataranga dandasana [or low plank]) they would have saved words and obviated need for the back and forth.

Sri Jois was very devout man. For those of a similar mindset, you’ll likely find the book resonates. However, if you’re the kind of person who prefers explanations rooted in a logical or scientific approach, then you may find explanations a bit summarily invoked for your tastes. In other words, he’s prone to say, just do what the Vedas and your teacher tell you and everything will be rosy. I don’t know that this is a critique so much as fair warning. If you think that the Vedas were divinely written by infallible authors, then Jois’s approach may sound good to you. However, if you think that the Veda’s reflect the biases and limited knowledge of another era (just like our present writings reflect our current biases and limitations), you may find a few comments suspect. For example, Sri Jois makes a point of saying that the Vedas state that one can do a headstand for three hours straight without adverse effects. (To be fair, he does point out that you must do it properly and under the supervision of a teacher.)

If you practice Ashtanga Vinyasa, or intend to, this is a must-read book, but it’s a useful book for those who practice Hatha Yoga of other styles as well. It’s a good summary of classic asana, and you may find something in Sri Jois’ explanation of yama and niyama to be helpful to you on your personal path.

I should point out that those who aren’t sure whether they want to practice this form should be forewarned that Ashtanga Vinyasa is an intense practice. The vinyasas require a high level of core strength as well as upper body strength for Uth Pluthi (lifts) and vinyasa motions requiring that one load all one’s bodyweight onto one’s arms. Also, the fact that one is doing the “Preliminary Series” shouldn’t falsely lead one to believe that these are all the “easy” asana. That isn’t the case; there are a number of challenging poses both in terms of flexibility and strength requirements. If you haven’t done yoga before, I would only suggest Ashtanga Vinyasa for those who have a fairly high fitness level.

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BOOK REVIEW: Yoga Sutras by Patanjali [Trans. Charles Johnston]

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Yoga Sutras of PatanjaliYoga Sutras of Patanjali by Charles Johnston

My rating: 4 of 5 stars

Amazon page

There are about a billion editions of Patanjali’s The Yoga Sutras. The one I got was a free or very cheap on Kindle, and is, therefore, probably not the best edition. I don’t know that the Kindle version I got still exists because it included a supplemental essay by Swami Vivekananda that the version I linked to on Amazon doesn’t. However, the translation is the same, and is by Charles Johnston.

For many old works, the edition might not matter too much, but for Patanjali’s Sutras it matters a great deal. First, there’s the issue of the quality of the translation. Beyond that, however, is the question of the analysis. The Yoga Sutras are extremely brief, consisting of only 196 aphorisms. Owing to the terse brevity of the Sanskrit language, many of these aphorisms are only a few words long. That means that there isn’t a high degree of precision in the language of the Sutras, and, consequently, there’s a great deal of room for misunderstanding and misinterpretation. It’s for good reason, therefore, that most editions are 90% or greater commentary on Patanjali’s words.

The Sutras are typically divided into 4 chapters (this convention apparently came well after Patanjali wrote them.) The first section lays out the objective of yoga. The central notion is the need for Chitta Vrtta Nirodha, which basically means to transcend the fluctuations of the mind. Patanjali’s point is that the problem faced by mankind is that people’s minds are run amok. There is a need for some system to facilitate correction of all this monkey-mindedness. That’s where Chapter 2 comes in.

The second chapter lays down an outline of Ashtanga Yoga, which is the eight-fold path of Raja Yoga (i.e. Royal Yoga). While modern-day people tend to think of yoga only as pretzel-like physical postures, that’s just one of the eight limbs of yoga. The eight limbs are: commandments (yama), rules (niyama), postures (asana), control of breath (pranayama), withdrawal of the senses (pratyahara), concentration (dhanara), meditation (dhyana), and liberation (samadhi.)

It’s interesting to note that the limb that many think of as yoga, i.e. the postures, is one of the most briefly covered. Most famously, Patanjali says in Ch.2, Sutra #46, “Sukham Sthiram Asanam” (i.e. postures should be stable and effortless.) The massive body of asana that developed in Hatha Yoga were initially just a means to give one the ability to sit still for a long periods of time comfortably enough to get one’s mind in order.

The third chapter talks a little bit about the last three of the eight limbs (i.e. concentration, meditation, and liberation.) However, the bulk of this chapter is devoted to the supposed magic powers that yogis claimed to have had as a result of their work on improving their minds. For skeptics and scientifically-minded individuals (e.g. yours truly), this is where the Sutras take a silly turn. The translation in question came out in 1912, and it’s clear that rationalism was already gaining hold and magic was getting to be a harder sell. I suspect that was the reason for the inclusion of Swami Vivekananda’s essay entitled “The Powers of the Mind”—to capitalize on the gravitas of the renowned yogi to convince people that chapter 3 isn’t bunk.

The fourth chapter wraps up the book neatly–discussing karma and the liberation of the karmic cycle achieved through the state of higher consciousness called samadhi.

If one has more than a superficial interest in yoga, it’s pretty much obligatory to read some edition of Patanjali’s The Yoga Sutras. I didn’t find this edition to be devastatingly poor, but there seems to be a consensus among reviewers that it’s not among the best translations / commentaries.

I would recommend that one read some version of these sutras, be it BKS Iyengar’s Light on the Yoga Sutras of Patanjali, Swami Vivekananda’s edition, or Swami Satchidananda’s version. I don’t have any experience with these other editions, though I have read works by BKS Iyengar and Swami Vivekananda, and found works by both to be well-written and clear. Notwithstanding the parts about magical superpowers, the book does provide a lot of food for thought, and in nice bite-sized pieces.

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