“One of my goals in life is to do the slowest Primary Series anywhere… rather than the quickest”. Richard Freeman

NEWS:

New R. Saraswathi Resource page at the top of the blog to join those for Sharath R. Jois, Manju Jois, Pattabhi Jois, Krishnamacharya and Srivatsa Ramaswami.

Friday, 13 January 2017

Why Meditation? Plus Yoga's Sister philosophy, Samkhya - Full text of the Samkhy karika

Clearing out the 'draft post' drawer

Contents

1. From the Samkhya Karika
2. Why Meditation?  What is the goal for Patanjali of Yoga
3. The Complete Samkhya Karika
Appendix 1. Samkhya - Ramaswami's Newsletter
Appendix 2. DHYANA - from YOGA BENEATH THE SURFACE
Appendix 3. On Samyama - More from Yoga Beneath the surface -
Appendix 4. Video -Yamini Murthanna ( a long time student of BNS Iyengar ) dances 'Manas'.


Yamini Murthanna, Bharatanatyam dancer (dates back 1000 years) and  a long time student of BNS Iyengar see Appendix 4 below for videos ( Dancing 'Manas') and a link to my review of her book The power of yoga.

1. from the Samkhya Karika

I find this section of the Samkhya Karika beautiful, quite marvellous...


// 58 //
Just as [in] the world actions are performed for the purpose of removing [i.e. fulfilling] a desire, so does the unmanifest perform for the purpose of the liberation of purusa.

// 59 //Just as, having displayed herself before the gaze of the audience, the dancer desists from dancing, so prakrti desists, having manifested herself to purusa.

 // 60 //
She, being endowed with the gunas, moves without any benefit [to herself] for the sake of pums (i.e. purusa), who, being without gunas, does not reciprocate.

 // 61 //
In my view there is no one more tender than prakrti, who, saying ‘I have been
seen,’ never again comes into purusa’s sight.

 // 62 //
No one, then, is bound, nor released, nor wanders; it is prakrti, in its various abodes (afraya), that wanders, and is bound and released.

 // 63 //
Prakrti binds herself by herself with the use of seven forms; and, for the sake of each purusa, liberates herself by means of one form.

 // 64 //
Thus, from the assiduous practice of that-ness, the knowledge arises that ‘I am not,’ ‘not mine,’ ‘not I’; which [knowledge], being free of delusion, is complete, pure, and singular.

*

NOTE: Meter (Wikipedia)
Each verse of the philosophical Samkhya-karika text is composed in a precise mathematical meter, that repeats in a musical rhythm of an Arya meter (also called the Gatha, or song, meter). Every verse is set in two half stanza with the following rule: both halves have exactly repeating total instants and repeating sub-total pattern in the manner of many ancient Sanskrit compositions. The stanza is divided into feet, each feet has four instants, with its short syllable counting as one instant (matra), while the long syllable prosodically counts are two instants.

Each verse of Karika are presented in four quarters (two quarters making one half), the first quarter has exactly three feet (12 beats), the second quarter four and half feet (18 beats), the third quarter of every verse has three feet (12 beats again), while the fourth quarter has three and a half plus an extra short syllable at its end (15 beats). Thus, metrically, the first half stanza of every verse of this philosophical text has thirty instants, the second has twenty seven.


I remembered one of the Richard Freeman's Yoga Matrix CD's is devoted to Samkhya and sure enough Richard chants a verse and it's one of my favourites, perhaps the most beautiful of all.

The link is to Amazon's sample, unfortunately it's back to frount. The sample begins with the second line but then Richard repeats it so we do get the first line.

61. Prakrteh sukumarataram na kinchidastiti me matir bhavati/
ya drstasmiti punar na darshanam upaiti purusasya

In my view there is no one more tender than prakrti, who, saying ‘I have been seen,’ never again comes into purusa’s sight.


https://www.amazon.com/Chant-Sankhya-Karika-Ishvarakrishna/dp/B000QWMEBU



The dancer

From Ramaswami's 'Yoga for the Three Stages of Life', the best secondary text on yoga I've come across


I remember Ramaswami telling this story on his 2010 TT, it's probably changed a little in my memory but I remember it going something like this.....

 ...the dancer dances for the king, but he seems disinterested, she puts ever more effort into her dance, leaping and spinning, at last she completes the dance looks up to the king for a sign of approval but nothing. As she leaves she mentions to the first minister that the king didn't seem to enjoy the dance. The minster smiles kindly and asks... "Did the king ask you to dance?".


*


2. Why Meditatation? 
What is the goal for Patanjali of Yoga  



Our understanding of what constitutes yoga shifts and changes. After ten years of practice, this seems to be my current understanding...., it may of course like much else on the blog be mistaken.

These notes are more notes (reminders) to self than to anyone else.

Patanjali's yoga is Raja yoga. In the Yoga sutras, 'yoga' is not 'union' but (the path to) concentration, focussed one pointed attention, ekagrata. The goal is (permanent) liberation, which may or may not suggest 'union'.

'It can be seen that Patanjali's definition of Yoga does not suggest the usual connotation of Yoga as union. Yoga meaning union requires at least two separate principles to come together and ultimately unite, like prana and apana in Hatayoga, but in this sutra only cittavritti is dealt with and no union with another principle is suggested. Vyasa in his commentary says Yoga is samadhi, or a state of mind and not union. Sankara in his exposition of Yogasutras refers to yoga as samadhana or unalloyed peace. He says that Patanjali has used the word not in the meaning of yoga as union (yukti) but as samadhana or peace of mind. The word Yoga can be derived from two different roots yujir meaning yoga as in union and yuja as in samadhi meaning absolute peace of mind and the sutras use Yoga in the (second) sense,that of absolute peace'. Srivatsa Ramaswami April 2012 Newsletter
Patanjli's yoga is built upon Samkhya's metaphysics/model.

These days (perhaps even for the last thousand years) Raja yoga tends to be mixed up with and perhaps confused with tantra/hatha yoga. Where, we might ask, does one end now and the other begin. Hatha seems to have become enamoured with ever more asana, complex and challenging pranayamas, techniques, strategies....., it also seems to find itself in communities.

Meditation practice too often seems to become an end in itself, an opportunity for self 'home' psychoanalysis perhaps or merely to de-stress, it's intention lost (although overcoming stress and the pattern of it's causes is highly recommended) if it was every there in the first place.

Raja yoga's path is perhaps clearer, more straightforward, although the path long and difficult and no doubt solitary and few if any of us will reach it's conclusion (perhaps why tantra/hatha seek 'shortcut' after shortcut), and yet perhaps the path and what we may learn concerning our nature along the way, reason enough to embark however far we may travel.

In Raja yoga, fewer and perhaps less challenging asana are no doubt sufficient (enough to keep us healthy and reduce the rajas - agitation), less challenging pranayamas (sufficient for health, mental/emotional stability and reducing tamas - lethargy).

-personally I continue to practice Ashtanga vinyasa but these days mostly half Primary or Intermediate along with finishing, practiced more slowly with longer stays, a Vinyasa Krama approach to the subroutines that make up Ashtanga-






The asana and pranayama, prepare us (make us more satvic - balanced) for the journey itself, the yama/niyama give us the will, the discipline perhaps to stay upon or return (when we inevitably stray) to the path.

Most teachers are asana teachers, intentionally or not they promote and prolong students engagement with asana.

Most of those who come to Yoga  come for the asana and have little interest in the yoga of which asana forms a  part. Getting, fitter, healthier, having some fun, being a part of a community feels perhaps sufficient (and perhaps it is), whether they move on to other elements of Yoga, to yoga as a whole may depend on the teacher.

In the past Krishnamacharya promoted Yoga through asana, these days teachers are promoting themselves through asana rather than yoga.

Jumping back is just jumping back (ignore the first four years of this blog).

Yoga history is just that (ignore the second four years of this blog).

Anatomy of yoga is also (but beneficial).

We seem to do everything we can to distract ourselves from actually practicing yoga (eg. Blogging).

Krishnamacharya, Pattabhi Jois' teacher recommended twice as long spent on pranayama as asana and twice as long spent on Dharana as pranayama. Going by this If your asana practice is twenty minutes, pranayama should be forty and perhaps two forty minute sessions a day of 'Dharana'.

Note: It might (tenuously) be argued that our sun salutations don't count as asana, the standing sequence we might argue is preparation for asana and the finishing sequence... winding down.


The path.
For Patanjali in the Yoga Sutras, once achieving (a) samadhi (which may or may not take a lifetime itself) on one object ( the breath, a mantra, an image, a candle flame perhaps) we may then begin to work through/with each of the tattvas seeking to attain samyama (see appendix 3.) on each and in that state realising experientially that none correspond to the 'self', the seer, observer (purusha) each is discarded ('not that') until all that remains is Purusha. Purusha's nature is, it is said, merely to observe. Finally, with nothing left to observe purusha observes/knows itself and is supposedly liberated.
Samyama on Ishvara is considered a possible fast track option for those more religiously inclined
The yama/niyama and asana/pranayama support each other, they prepare us for and keep us in state to sit effectively.

Krishnamacharya said that asana and pranayama clean the room, why would we not then want to remain (sit) in it.

When to Sit
Being wrapped up in asana, in WHATEVER form that may take (assuming we are not injuring ourself) is perfectly fine - let nobody tell you it's not yoga (or better still just let it go) - it's part of the method. We are gaining, discipline, will, hopefully letting go of more attachments than we form. At some point, at a time in our life when this feels appropriate, we may wish to explore other elements of the method.
We may as well start the long job of working on developing concentration/one pointedness outside of asana sooner rather than later.



Srivatsa Ramaswami - Yoga for the Three Stages of life 


*


3. The Complete Samkhya Karika


"Sri Krishnamacharya taught the text relying on Gaudapada's commentary word by word, verse by verse along with Gaudapada's commentary  http://www.universaltheosophy.com/sacred-texts/samkhya-karika/. The study of the text took about one year, we used to meet once or twice a week for an hour. At the end I realized why he was keen to teach this text to us. It made a lot of the yoga sutras accessible. Even though he had a degree in Samkhya called Samkhya Siromani (crest jewel) he was able to come down to the non scholarly students like us. I had read some books on sankhya karika by scholars and academicians and used to be overawed by their scholarship, but Krishnamacharya while capable of engaging scholars in an intellectual debate was able to breathe a lot of life into this rather abstruse text. I think all students of yoga who want to study or have studied yoga sutras may do well to consider having a look at all the Samkhya Karika verses. " 
Srivatsa Ramaswami Newsletter July 2014 - the full Samkhya Newsletter in Appendix 1 below.


Translation from the Appendix to Mikel Burley's excellent 'Classical Samkhya and Yoga'
The book includes includes the Sanskrit Devanagari and Roman script as well as the english translation below.

Note: the diacritical marks didn't transfer but are present in the text.






 // 1 //
Due to the affliction of threefold distress, the inquiry into its removal [arises]; [if said to be] pointless because obvious [methods exist], this is not so, for such methods are neither singularly directed nor conclusive.

// 2 //
The heard [method] is like the obvious, as it is conjoined with impurity, corruption, and excess. The superior and opposite of that [comes] from the discrimination of the manifest, the unmanifest, and the knower.

 // 3 //
Mulaprakrti is uncreated; the seven – ‘the great’ (mahat) and the others – are creative and created; the sixteen, meanwhile, are [merely] created; purusa is neither creative nor created.

 // 4 //
The attainment of knowledge is based on [certain] ways of knowing; the accepted ways are three – perceiving, inferring and reception of verbal testimony – as these cover all ways of knowing.

// 5 //
Perceiving is the discernment of particular objects; inference, which is said to be threefold, is the tracing of the mark-bearer from its indicating mark; reception of verbal testimony, meanwhile, is reception of Śruti.

 // 6 //
Inference by analogy ascertains what is beyond the sense-capacities; and what is unaccomplishable even by that is established by verbal testimony.

 // 7 //
[Something may be imperceptible] due to: remoteness, closeness, sensory impairment, instability of mind, subtlety, obscuration, suppression, similarity with something else.

 // 8 //
The non-apprehension of that [i.e. prakrti] is due to subtlety, not non-existence; it is apprehended by means of its effects. Its effects – mahat and the others – are both with and without the nature (rupa) of prakrti.

// 9 //
The [formally] existent [is] an effect due to the non-causation of non-being; the apprehension of a material cause; the non-production of everything [from everything]; the possibility of causation [only] from that which is capable; and the nature of the cause.

// 10 //
The manifest is caused, temporal, spatially limited, active, non-singular, dependent, a cipher, composite, conditioned; the unmanifest is the opposite.

 // 11 //
The manifest as well as pradhana (i.e. the unmanifest) are tripartite, undiscriminated, objectual, universal, non-conscious, productive; and puman (i.e. purusa) is the opposite of these.

// 12 //
Of the nature of gladness, perturbation and stupefaction; serving to illuminate, activate and restrain; the strands (gunas) subjugate, support, generate and combine with one another.

 // 13 //
Sattva is light and illuminating; rajas is impelling and moving; tamas is
heavy and delimiting; and their purpose is to function like a lamp.

 // 14 //
Undiscriminatedness and the other [qualities] are established due to the tripartition, and to the non-existence [of the three gujas] in the opposite of that. The unmanifest is established [as having the same nature as the manifest] due to the guna-nature of the effect being also that of the cause.

 // 15 //
Due to: the finitude of differentiated [objects], homogeneity, the procession from potency, the distinction between cause and effect, and the undivided form of the world.

// 16 //
– the unmanifest is the cause, productive due to the combination of the three gunas, and transformable fluidly in accordance with the specific abode [character?] of each of the gunas.
                           
// 17 //
Purusa exists due to composites [being] for another’s sake, the opposite of the three gunas etc., [the need for] a controller, [the need for] an enjoyer, and the process [being] for the purpose of aloneness.

 // 18 //
Due to various patterns of birth, death, and capacities, and to the disjunction of activities, purusa’s multiplicity is established; and also due to contrariety of the three gunas.

 // 19 //
And thus, due to [its being] the opposite [of prakrti], the witnessing, aloneness, equanimity, awareness and inactivity of purusa is established.

// 20 //
Due to the conjunction of those [two, i.e. purusa and prakrti] the non-conscious linga appears as though conscious, and similarly, owing to the activity of the gunas, the non-engaged appears as though active.

 // 21 //
For the purpose of perceiving pradhana, and for the purpose of purusa’s aloneness, the two [come together] like the blind and the lame; that conjunction is creation, emergence.

 // 22 //
From prakrti [comes] the great; from that, egoity; and from that, the group of sixteen; again, from five of those sixteen, [come] the five elements.

// 23 //
Buddhi is discernment, its lucid (sattvika) form [comprising] dharma, knowledge, non-attachment, [and] masterfulness, and its darkened (tamasa) form [comprising] the opposite.

24 //
The thought of self is egoity; from that, a twofold emergence proceeds, namely the group of eleven and the five tanmatras.

// 25 //
The lucid (sattvika) eleven proceed from the modified egoity; from the source of the elements, which is opaque (tamasa), the tanmatras [proceed]; from the fiery (taijasa), both [proceed].

 //26 //
Sense-capacities is the term for seeing, hearing, smelling, tasting and touching; voice, hand, foot, anus and underparts are called action-capacities.

// 27 //
In this regard, of the essence of both is mind (manas), which is synthesis and is, due to its similarity, a capacity. Variousness and external differences are due to the specific modifications of the gujas.

//28 //
The operation (vrtti) of the five [sense-capacities] is held to be bare awareness of sound and so forth; speaking, grasping, walking, excreting and [sexual] pleasure are [the operations of] the five [action-capacities].

// 29 //
Each of the three is distinguished by its own operation, which manifests differently [from those of the other two]. Their common operation consists in the five vital currents, [namely] praja and the others.

// 30 //
The operation of the four with regard to what is present to perception is both instantaneous and progressive; while in the case of what is imperceptible, the operation of the three is preceded by that [i.e. by the perception of a present object].

 // 31 //
The respective operations are performed in co-operation with one another from a common impulse, the sole end being that of purusa; nothing else activates the instrument.

 // 32 //
The instrument, comprising thirteen parts, is grasping, holding and illuminating; and its object (karyam), which is tenfold, is grasped, held and illuminated.

 // 33 //
The inner instrument is threefold, the outer is tenfold [and] is held to be the domain of the three; the outer [operates in] the present moment [alone], the [inner] instrument in all three times.

 // 34 //
Of these, the five sense-capacities have specific and non-specific objects; the voice manifests sound-phenomena whereas the other remaining [action- capacities] have [all] five modes of phenomena.

 // 35 //
Because buddhi along with the other inner instruments is immersed in all objects, the threefold instrument is the chamber, the rest being the doorways

 // 36 //
These specifications of the gunas, distinct from one another, present the whole [world] to buddhi, illuminating it like a lamp for the sake of purusa.

// 37 //
[This is] because buddhi gives rise to every particular enjoyment of the purusa
and, furthermore, discloses the subtle [difference] between pradhana and purusa.

// 38 //
The modes of sensory content (tanmatras) are non-specific; from these five [come] the five elements; these are regarded as specific, and as tranquil, disturbing and delusive.

// 39 //
Subtle, born of mother and father, and elemental are the three specific types; of these, the subtle are permanent, [whereas those] born of mother and father are corruptible.

 // 40 //
The linga is already existent, unrestricted, permanent, comprising ‘the great’ and the rest, down to the subtle; wandering without enjoyment, endowed with dispositions (bhavas).

 // 41 //
Just as there is no picture without a support and no shadow without a post or suchlike, so the linga does not exist without the support of the specific.

 // 42 //
This linga, motivated for the sake of purusa, by means of the association of causes and effects, and due to its connection with the manifestness of prakrti, performs like a dancer.

 // 43 //
The dispositions, [namely] dharma and the rest, both natural and acquired, are perceived to abide in the instrument, and the embryo and so forth abide in the object (or effect, karya).

 // 44 //
By means of virtue (dharma) there is movement upwards, by means of non- virtue (adharma) there is movement downwards; by means of knowledge liberation is attained, and bondage is due to the opposite.

 // 45 //
Prakrti’s dissolution occurs as a result of non-attachment, wandering is due to attachment, which is impulsive; removal of obstructions is due to master- fulness, the reverse of that is due to the opposite.

t // 46 //
This is the emergence of mental phenomena (pratyaya), comprising delusion, weakness, contentment and excellence; and these are divided into fifty kinds according to the respective imbalance of the gunas.

 // 47 //
There are five kinds of delusion, and twenty-eight kinds of weakness due to
defects in the instrument; contentment is ninefold, excellence eightfold.

 // 48 //
There are eight kinds of dullness, and also of perplexity, ten kinds of great perplexity; depression is eighteenfold, as is intense depression.

 // 49 //
Impairments to the eleven capacities along with buddhi are said to constitute weakness; impairments to buddhi are seventeen, due to the opposites of contentment and excellence.

 // 50 //
Nine modes of contentment are distinguished; four are internal, concerning respectively disposition (or natural constitution, prakrti), acquisition, time and fortune; five are external, due to abstinence from [sensory] objects.

 // 51 //
The eight ways of attaining excellence are: reasoning, [reception of] verbal instruction, study, eradication of the threefold distress, friendliness, and generosity; the previous three are hindrances to excellence.

 // 52 //
Without the dispositions (bhavas) the linga cannot operate, and without the linga the dispositions cannot operate; therefore a dual emergence proceeds, distinguishable as linga and disposition.

 // 53 //
There are eight varieties of divine beings and five of [non-human] natural beings; mankind is singular; such, in brief, is the elemental realm (sarga).

 // 54 //
The upper realm is pervaded by luminosity (sattva), and the base is pervaded by opacity (tamas); the middle is pervaded by activity (rajas); [such is the case] from Brahma down to a blade of grass.

 // 55 //
Purusa, consciousness, acquires there the suffering created by decay and death until its deliverance from the likga; hence one’s own nature is associated with distress.

// 56 //
This prakrti-creation, from the great down to the specific elements, is for the sake of the liberation of each purusa, for the other’s benefit as though for its own.

 // 57 //
Just as the profusion of unknowing (ajña) milk brings about the nourishment of the calf, so the profusion of pradhana brings about the liberation of purusa.

// 58 //
Just as [in] the world actions are performed for the purpose of removing [i.e. fulfilling] a desire, so does the unmanifest perform for the purpose of the liberation of purusa.

// 59 //Just as, having displayed herself before the gaze of the audience, the dancer desists from dancing, so prakrti desists, having manifested herself to purusa.

 // 60 //
She, being endowed with the gunas, moves without any benefit [to herself] for the sake of pums (i.e. purusa), who, being without gunas, does not reciprocate.

 // 61 //
In my view there is no one more tender than prakrti, who, saying ‘I have been
seen,’ never again comes into purusa’s sight.

 // 62 //
No one, then, is bound, nor released, nor wanders; it is prakrti, in its various abodes (afraya), that wanders, and is bound and released.

 // 63 //
Prakrti binds herself by herself with the use of seven forms; and, for the sake of each purusa, liberates herself by means of one form.

 // 64 //
Thus, from the assiduous practice of that-ness, the knowledge arises that ‘I am not,’ ‘not mine,’ ‘not I’; which [knowledge], being free of delusion, is complete, pure, and singular.

 // 65 //
Then purusa, abiding [in itself] like a spectator, sees prakrti, who has returned to inactivity and retreated from the seven forms due to her purpose being complete.

 // 66 //
‘I have seen her,’ says the spectating one; ‘I have been seen,’ says the other, desisting; although the two remain in conjunction, there is no initiation of [further] emergence.

 // 67 //
Due to the attainment of perfect knowledge, virtue (dharma) and the rest have no impelling cause; [nevertheless,] the endowed body persists owing to the momentum of impressions, like a potter’s wheel.

// 68 //
Pradhana being inactive, her purpose having been fulfilled, [purusa], upon separating from the body, attains aloneness (kaivalya), which is both singular and conclusive.

 // 69 //
This esoteric knowledge of purusa’s goal, examining the existence, arising and dissolution of entities, has been expounded by the highest sage.

 // 70 //
The quiet monk first passed on this supreme means of purification, compassionately, to Asuri; Asuri, again, to Pañcasikha, and by him the teaching was widely distributed.

 // 71 //
Communicated along a lineage of disciples, this has been thoroughly expounded in arya metre by the noble-minded Isvarakrsja, attainer of ultimate knowledge.
                         
 // 72 //
The topics of the seventy [verses] are indeed those of the entire ‘sixty doctrines’ (sastitantra), though excluding illustrative stories and the consideration of opposing views.



*


Appendix 1.

SAMKHYA,


I have mentioned earlier that in the 1970s Sri Krishnamacharya stopped teaching for a short while and asked his long standing students to study under his sons. I was asked to study yogasanas with Desikachar, whom as we all know was an excellent teacher. One day at the end of the class he said that he was going to start studying Samkhya Karika under his father. We had just completed studying Yoga Sutras with our teacher. My mind was already highly charged with the unusual thought process contained in the Sutras. I demurred. Desikachar continued and said “Father said that I should find out if Ramaswami would be interested” I said immediately yes and then joined the class the next day with Desikachar. Since I did not have time to get a book (Sankhya Karika books were not easily available and one has to order from a few publishers in the north to get a copy). Desikachar was kind enough to gift a copy of the text with Gaudapada's commentary in Sanskrit with no translation in Tamil or English. I still have that copy.

Sri Krishnamacharya taught the text relying on Gaudapada's commentary word by word, verse by verse along with Gaudapada's commentary. The study of the text took about one year, we used to meet once or twice a week for an hour. At the end I realized why he was keen to teach this text to us. It made a lot of the yoga sutras accessible. Even though he had a degree in Samkhya called Samkhya Siromani (crest jewel) he was able to come down to the non scholarly students like us. I had read some books on sankhya karika by scholars and academicians and used to be overawed by their scholarship, but Krishnamacharya while capable of engaging scholars in an intellectual debate was able to breathe a lot of life into this rather abstruse text. I think all students of yoga who want to study or have studied yoga sutras may do well to consider having a look at all the Samkhya Karika verses. The author Isvarakrishna is considered to be an avatara of Kalidasa an outstanding Sanskrit poet. Many people who study Ayurveda, vedanta philosophy find it necessary to study Samkhya. I do not know Buddhism but I have heard that HH Dalai Lama once mentioned that Samkhya would be a very useful text.

Each verse in Samkhya Karika is important as every sutra in Yoga sutra is. It is perhaps the first vedic philosophy to proclaim the immutability of the Atman or Self which is considered to be pure consciousness. It clearly distinguished between the ego which is commonly but erroneously considered to be the Self and the Atman or Purusha which should be called the Self. Even though there are differences among the three nivritti sastras, Samkhya, yoga and vedanata, in the nature of the Self they are in agreement even as they agree on the need to find a way to terminate the vicious cycle of repeated transmigration but differ on the unity or multiplicity of the selfs.

One of the outstanding features of Samkhya is the clear enunciation of the steps of creation of the Universe from the primordial mula prakriti. It is very interesting to see that according to them evolution took place in two streams from the mulaprakriti, the subjective and the objective streams, the microcosmic and the macro cosmic evolution. Life force is considered a vritti or activity of such a subtle body created in the microcosmic stream. It differs distinctly from the commonly held view that the first living organism, a single cell bacterium evolved after a long time of the original blast. Samkhya is the forerunner of the thesis that consciousness is distinct and different from and not a product of matter as is normally presumed.. It also lays down the framework of the powerful, even the contentious theory of transmigration, a corner stone of the vedic teachings. Its thesis is that a creature is made of several layers, a subtle body-- primordial body-- called the linga sarira, then the genetic body made from the parents called the matru-pitruja sarira (the embryonic Body) and then the physical or bhuta sarira made from the five gross elements. It also postulates the theory of the difference in the experiences of different beings due to the karma/dharma which gets accumulated, the bundle of karmas being responsible for ceaseless transmigration. It is perhaps the most logical explanation to the theory of transmigration.

As the name indicates Samkhya (samyak khyapayati) attempts to throw light on all one should know to transcend the otherwise endless migratory nature of the mundane painful existence . Correct knowledge of the 25 tatwas that make up the evolved universe and the distinctly different purusha the pure consciousness with which one should identify oneself as the real self is the means of overcoming permanently and definitively the threefold dukkha or pain/sorrow most creatures experience most of the time in the innumerable lives. Thus it is known as a nivritti-sastra or a body of knowledge that removes (nivritti)  dukkha or pain/sorrow. While Samkhya lays down the theoretical framework for duhkh nivritti, Yoga details the steps one has to take for such achievement. Vedanta harmonizes the few inconsistencies and the three vedic sibling philosophies are thus known as nivriti satras by old timers. 

Samkhya also details the need to develop a right attitude or pratyaya to take the path of nivritti. It recognize these pratyayas in the context of permanent release from duhkha, the goal of Samkhya and the other nivritti sastras. The first pratyaya referred to is viparyaya or the wrong convictions is an unhelpful state of mind. Patanjali refers to as the conviction which is not based on truth (a-tad-rupa-patishtam). Holding on to wrong conclusions or dogma even in the face of overriding considerations against one's beliefs is viparyaya, like the earth is flat or the body is the self . The second pratyaya that is not conducive to the permanent relief of duhkha or pain and sorrow is tripti or complacence. Taking no corrective action but hoping everything will be ok in course of time, or nature will take care of everything, luck and chance will do it or resigning to fate completely will come under this category of pratyaya. According to Samkhyas it will only perpetuate avidya and so will not deliver from the three fold pain of samsara.

The other unhelpful pratyaya is asakti or infirmity. Physical, physiological and mental weaknesses impede the aspirant in the spiritual progress. Then what is the helpful pratyaya? Samkhyas call it Siddhi pratyaya. How can one attain the spiritual goal? Dana or dispassion and purity of mind is one. Then svadhyaya or study of the appropriate texts is another helpful aspect of siddhi pratyaya. Sabda or study with a competent teacher is another helpful aspect of siddhi and then suhrit prapti or association with others who are also spiritually inclined and of course analysis and deep contemplation (uha). Then constant vigilance to avoid and overpower the basic causes of the threefold misery. In a similar vein. Patanjali talks about helpful and unhelpful cittavrittis which includes pramana or correct knowledge and viparyaya or wrong conviction, two opposite citta vrittis. Patanjali divides all the chittavrittis as helpful (aklishta) and unhelpful/harmful crittis (klishta )

Samkhya is said to be a vedic philosophy. How so?

The Mahanarayana Upanishad is the last chapter of Yajur veda. There is this beautiful mantra which succinctly describes the essential tenets of Samkhya. It is a colorful narration

ajamekam lohita suka krishnam

Bahvim prajam janayantim sarupam

ajohyeko jushamanonusete

jahaatyenam bhuktabhogamajonyah

There is one without birth (beginning) made of three colors (gunas) of red (lohita/rajas), white (sukla/satva) and black (krishna/tamas). It produces numerable objects similar in nature (consisting of the three gunas). There is a second one again without birth (a beginning) which interacts with and experiences the various products of the first (and is in bondage). Then there is the third one again without a beginning which keeps aloof from all the products of the first (prakriti) and hence is in Freedom.

This explains the nature of prakriti of three gunas, the individual self in bondage and the third an individual self completely free or in kaivalya. The whole purpose of samkhya is to help the innumerable individual selfs in bondage to attain freedom from the endless involvement with prakriti.

The Bhagavat Gita explains the basic tenets of Samkhya in the beginning itself if you consider the first chapter as just the preamble. According to several acharyas the main purpose of the Gits is to emphasize that the real self is consciousness immutable and all the concerns about oneself is misplaced.

Srivatsa Ramaswami

*

Appendix 2

DHYANA  from YOGA BENEATH THE SURFACE 
Srivatsa Ramaswami  & David Hurwitz 




DAVID: (YR I, 20) Can we practice dhyana? Or is this, again, something that may or may not happen after practice? Is mantra japa a way to practice meditation? We may repeat the mantra, but whether the mind quiets down and stays focused on the mantra, isn't this a siddhi, something we can't control?

RAMASWAMI: Dhyana, or what is translated as "meditation;' is, according to Patanjali, an aspect of antaranga sadhana (inter­ na! practice). So it is to be considered a practice. Dhyana comes  om the root word dhyai, "to think deeply:' The word dhyana is not used  r ali involved thinking. It is used to signify deep think­ ing of a sublime object, that meditation which will uplift the practitioner. According to my    and s era! experts on Bhakti yoga (yoga of devotion), the word dhyana can be used only with respect to thinking of the Lord, when it is also known as Bhaga­ vat dhyana. In fact, so e of the Bhakti yogis do not at ali recog­ nize  e higher stage of yoga, s adhi. Tuey would say that the ultimate goal ofthe individual is to be in dhyana ofthe Lord until death. Deep or obsessive thinking ofwordly objects or actions will normally be considered chinta, and not dhyana.

Does it happen to ordinary people? Mostly not, but  the causes of that nonaccomplishment are dealt with clearly by yoga texts. If one c  work it out correctly, dhyana practice and accom- plishments are possible. The mind, or chilla, being an aspee! of prakriti, is also made up of the three gunas: satwa, rajas, and lamas. Yogic dhyana is not possible until the mind becomes satwic. This is where many people  nd they are not able to do dhyana, basically because their minds are predominantly rajasic or tamasic. In the Gita, also, the Lord says that ifyou are tamasic, become rajasic; ifyou are rajasic, become satwic; and ifyou are satwic, go beyond the three gunas (nistrigunya). He does not give the procedures to be adopted to achieve this. But yoga sadhana clearly tells us how to proceed.
Basically our chitta is nothing but the remainder of our s ­ skaras, our past actions/habits: Samskara sesham hi chittam. So, unless the individual takes steps to replace the old, bad sam­ skaras with newer, wholesome samskaras, he/she will continue to operate on the path driven by the old samskaras. Yoga is the process or practice by which this transformation (pminama) is achieved. Since there are individuals and individu s, the set of practices that one can do may not work far another because he/she may not be    r that kind ofpractice. For instance, ifa person is tamasic, he/she tends to be disorderly, ignorant, sense­ pleasure oriented (aviraga), and usually is slavish. Most people  ll into this category. Rajasic people tend to be  ckle-minded, power hungry, possessive, and uneven tempered. Satwic ones are orderly (in their thinking and actions), knowledge oriented, and dis­ criminative (especially between selfand nonself), and become moral and spiritual leaders of mankind. People fall into these categories (this is only a gross generalization) mainly because tbe  past actions tended to develop tose samskaras.

In dhyana, we are concerned witb the chitta. Per definition, dhyana is the practice or activity of focusing easily on an object, gross or subtle, for any lengtb of time, without other thoughts inter­ vening in the flow of attention during the period of concentration. So e are able to do it easily, and for so e it is impossible. Yoga tries to help tbose whose minds get easily distracted to become ones    minds able to concentrate easily  r a length of time.

So it reduces to the question of mental transformation: a mind  at gets easily distracted is to be made into one that habitually is able to concentrate. How is this done?
Classical Ashtanga yoga does it. We have seen that dhyana becomes possible if tbe mind is satwic. lt is not possible if it is raja­ sic or tamasic. So tbe practice should be to make tbe mind pre­ dominantly satwic.

The yama niyamas help to reduce the rajas and tamas consid­ erably. That is why tbey are very important. Then asana practice helps to reduce tbe rajas (asanena rajo hanti). So, regular, classi­ cal vinyasa and asana (with breathing) practice  ll reduce  e rajas. When rajas is reduced, tbe space vacated in tbe mind can be occupied by eitber tamas or satwa. But we want only satwa to arise in tbe mind. So immediately after tbe practice of asana, Patanjali and otber classical yoga practitioners have prescribed practice of pranayama. According to Patanjali, pranayama destroys tamas (tatah kshiyate prakasa avarana [avarana = blinding, or tamas]). Therefore, by tbe practice of asana and pranayama, one is better prepared for the interna! practice. Traditionally, in India, you will  nd tbat tbe meditator, or one who does mantra japa or puja (worship) or tbe morning ablutions, will sit in a classic posture and do pranayamas befare embarking on any mantra japa such as the Gayatri. When one starts doing japa or meditation  thout object to  e exclusion of all o er , during  e  e period.    s requires practice, one starts with a mantra or an icon or a point inside the body. The  rst step is to repeatedly bring the mind to the object every time the mind wanders because of the previous samskaras. Here, so e willpower is needed, but you are not forc­ ing your mind. You have only to co  the mind back to your object every time you realize that your mind has gone off it. This aspect is called dharana, the anga (part) before dhyana or that leads to dhyana. Eve  time someone mediatates with a mantra, at the end of the meditation, he/she should r iewthe meditation practice: Did my mind wander too often? Was the time duration of my way rd mental activity predominant? With time, the mind will be with the object for a longer span of concentration and the frequency of the distracted state will go  own. Then the practitioner knows that he/she is making progress. There may be day-to-day variations. But what is to be seen is whether the qual­ ity of dharana is improving. Eventually, the practi oner will be with the object almost the entire duration of the meditation ses­ sion. Then he/she can conclude that he/she has achieved dhyana. So dhayana is the result of dharana practice. Furthermore, the advice of Patanjali in japa is very important. He says that the mantra japa should be as follows: First chant  e mantra and immediately think of the meaning or import of the mantra. Chant the mantra again and then think of the import (Tat japah tadarthabhavanam). In this manner, the involvement of the med­ itator with the mantra is more intense and the chances of the mind wandering are less. Un rtunately, many people chant the man as mechanically. reducing the tamas and rajas (that is, without doing  e asana and pranay a preliminaries), then during the time of dhyana , the mind either wanders because of rajas or goes to sleep because of t as (and so e mistake those petite episodes of sleep as trance).
Dhyana is there re the ef rt to keep the mind focused on one

When you continue with dhyana practice, the intensity of con· centration improves, and you reach the stage where only the object alone is remembered. You even farget yourself in the o ect, which is the state of samadhi. In essence, dhyana, preceded by dharana and fal!owed by samadhi, is a continuous practice, resulting in the trans rma on of  e mind. Born yo s do not need the preliminaries, but most do.

"" PRACTICE FOR MEDITATION '"

DAVID: A  friend writes: I have to teach a class on yoga and meditation. What is your advice far a class emphasising the meditative process?

RAMASWAMI: I suggest the following agenda far meditation class:

l. Begin with a short prayer.

2. Do a tadasan group: Choose about sixteen vinyasas. Do
each vinyasa about three times and rest at the end. It may
take about 10 minutes.

3. Do vajrasana or paschimatanasana vinyasas and rest at
the end. It may take about 8 to 10 minutes far this.

4. Do kapalabhati 108 times (36 times in each of the  three
positions of the hands).

5. Do ujjayi pranayama sixteen times using the ratio
5:5:10:5 with the bandhas in bhaya kumbhaka (about 10
minutes).

6. Do shanmukhi mudra far 5 minutes.

7. Do trataka (external gazing at a picture of sunrise or
flame of a candle or an oiil lamp) for 5 minutes. Gaze until the eyes start watering, and then close the eyes. Repeat for a total duration of 5 minutes.

8. Meditate on rising sun or flame. Image the object between the eyebrows or in the heart region. Then image the light dispelling the darkness/depression  from the heart or the mind--imagine the light dispelling the darkness or depres­sion like the dew disappearing in the morning with sunrise. Do  this alternately for 5 minutes. Open  the eyes  and review the quality of the meditation. How often the mind wan­dered from the object of meditation, how long were the dis­tractions? Repeat the exercise for the reminder of the time.

9. At the end, have a short review. Ask a few students to describe the quality of their meditation. Ask them to fol­low the routine for four weeks. They may change the asana routine, but the other aspects of the regimen may remain the same.

10. End the class with a short prayer.

I hope these ideas are useful. (Por the asanas and pranayama, you may refer to The Complete Book ofViny a Yoga and Yoga far the Three Stages of Life.)

OBJECTS FOR MEDITATION -  Jyotismati

DAVID: As we acquire deeper and deeper habits of ahimsa (nonviolence) and santosha (contentment), anger will diminish. Let me ask about another approach. 1 often think of anger and hatred and similar things as a kind of d kness in the heart. In YS !, 36, one of the suggestions Patanjali offers for dealing with an unsteady mind is jyotismati, meditation on a radiant light. So, 1 wonder if this could be helpful: to meditate on the Sun in the heart, a bright, radiant light in our heart, as a way of dispelling the darkness and reducing our anger.

RAMASWAMI: Yes, meditating in the heartwith a bright object like the sun is recommended in the Vedas. I have dealt with this subject in some detail in my book  ga for the Three Stages of Life, pages 58-59. But again, the question is: how well can a person meditate when his/her mind is distracted? (Please refer to my answer to the question on dhyana.) Again, the jyotishmati  itti practice is mentioned in the first chapter, which is for the highest adhikarai (  person). So unless one is basically highly satwic, this meditation may not work or may not be possible to do as the mind will always be wandering or showing signs of tamas. So in the scheme of things, we should say that the ability to do any high degree of meditation such as the jyotishmati has a prerequisite of reduced rajas and lamas. This can be achieved by the  ma, niya- mas, asana, and pranayama, as I have explained in an earlier answer. If a person is predominantly satwic, then he/she can do jyotishmati visualization easily, and possibly he/she need not prac- tice yama niyamas, as he/she was probably born as an ahimsaite, possessing ali the other traits as well. I would say for the general populace, yama niyama comes  rst; and then, adding asana and pranayama will enable a yogi to successfully meditate and visualize.
DAVID:   I using the word meditate correctly? Would it be more correet to say the bhavana (visualization) of bringing the sun into the heart?

RAMASWAMI: Yes, bhavana will be a better term for abstract­ object meditation. In fact, my    would say, "Image the rising sun between eyebrows" (the area known as bhrumadhya). He would use the English word "imagine."

Breath
DAVID: Is the breath considered an uplifting object to focus on?
RAMASWAMI: Yes, sir.

Patanja/i's Suggestions

DAVID: You've mentioned a few times that chapter 1 of the Yoga Su as is meant for the more advanced yogi, the one who is already capable of samadhi, a  cused and steady mind. Does this mean (as in your answer on jyotismati) that the su estions Patanjali gives for steadying an unsteady mind (YS !, 32-39) are really not of much practica! use for the average or beginning yoga student?

RAMASWAMI: Since we seem to be coming back to this ques­ tion, !et us try another approach. One who wants to meditate but  oes not care for all the preliminaries should start doing medita­ tion of jyotis in one's heart or middle of the eyebrows, focusing on the light principie  r, say, 15 minutes, both mo ing and evening,  r  ur weeks. As 1 mention in my answer to the question on dhyana, one should review one's experience of meditation peri­ odically. At the end of this four-week exercise, one should look back on the experience to see   the quality of one's meditation has improved. Is one's attention span greater? Are the distractions fewer? Does one feel refreshed at the end of the meditation? Or fall asleep during meditation? Do other thoughts intervene at reg­ ular inter s? If it is yes, and emphatic s for   answer, then this meditation is really good for the person. If there are no improve­ ments, if the student becomes less and less enthusiastic about the practice, if the student forces him/herself to do this in the hope that somehow it will work in the course of time, as if by a mira­ cle, then perhaps he/she can conclude that he/she still has to prepare himself be re practicing meditation.
In the preamble to his commentaryto the second chapter ofYS, Sadhana Pada (the chapter on practice), Vyasa is quite clear in helping to demarcate the levels of yoga. He says, "The yoga attained by a yogi with engrossed mind (samahita chitta) has been stated. This sutra (the first of the second chapter) starts to indicate how a devotee (yogabhyasi) with a restless mind can
also attain yoga."

So it is a question ofwhether the beginner or average yogi has the capabili  to be engrossed-s ahita chitta is the character­ istic of the yogi of  e highest order, described in the first chap­ ter. For such a yogi the means are abhyasa (practice) and vairagya (dispassion). The yogi who has the capability to remain engrossed in an object transforms himself into a yogi whose mind is com- pletely in a state of nirodha. This presupposes that unless a yogi has the capability to be completely in samadhi, he/she will not be able to progress to the leve! of kaivalya attained by vair a prac- tice. Such a yogi, even as he/she practices to trans rm his/her mind, may occasionally slip into a state of distraction due to so e remaining past karmas or carelessness. To prevent such slippage developing into a fall, the  rst chapter suggests a few well established yoga practices in YS !, 32-39, as you mention. It is vir- tually a safety net. In this is included the jyotishmati practice as well. O iously, a beginner-level practitioner will not be able to practice correctly and successfully. Conversely, if a beginning student is able to successfully practice these yoga meditations, one can conclude that he/she is actually a high-level yogi   for samadhi yoga as described in the  rst chapter.
Others should go through the sadhana detailed in the second chapter. Then  ey will see that, after ali these extemal (bahiranga) practices, the yoga practitioner is ab]e to be more focused, prac­ tice dharana and dhyana,  d then achieve samadhi. These are again described in the third chapter.
You will see that the s e jyotishmati practice men oned as a corrective device in the first chapter is described as a siddhi in the third chapter. In YS lll, 31, it is said that by doing s y a or jyotishi in the middle of   eyebrows,   yogi is able to see the siddhas (those who have attained extraordinary achievements).

Similarly samyama in hradaya (heart) (YS III, 33) will lead to understanding one's own mind. Likewise other practices men­ tioned in YS !, 32; maitri karuna (friendliness, compassion) and others mentioned as practices for siddhi in the third chapter, YS III, 23, Maitriyadisu (yogic contemplation on friendliness).

So I may summarize by saying that if a yo  does not have the capabilityto be engrossed or totally focused, then he/she has to do practices that will enable him/her to get the necessary capability. The entire second chapter with ali the externa! practice is to pre­ pare the yoga practitioner to become a yogi.

LINK to Amazon.com


Appendix 3

More from Yoga Beneath the surface on Smayama and the  tattvas






*

The 25 tattvas

from HERE 

The Tattvas

In the Samkhya doctrine there are 25 Tattvas:

1. Purusha (Transcendental Self)

2. The uncreated (unmanifest) Prakriti (primordial nature)

3. Mahat/Buddhi (intellect)

4. Ahamkara (ego, consciousness of self)

5. Manas (mind)

6-10. The five sense-organs
11-15. The five motor-organs
16-20. The five subtle elements
21-25. The five gross elements

Tattvas 3-25 evolve from primordial nature. 

All of the Tattvas account for the totality of the unverse as a whole, and each individual human being.



Appendix 4

“Vinyasa means ‘art form,’ such as in music or dance,” he said. “Certain parameters are there, and it allows certain variations.” Ramaswami.


I wanted a blog post photo to represent the dancer image in the Samkhya passage at the top of the blog. I remembered Yamini, a Bharatanatyam dancer and yoga teacher (also a long time student of BNS Iyengar) and couldn't resist sharing a couple of videos of one of her performances, especially as Bharatanatyam is as old if not (considerably) older than the Samkhya Karika itself,it may well have been a Bharatanatyam dancer that the writer of the samkhya Karika had in mind when he constructed the passage. 

There are other connections, Ramaswami's first experience teaching yoga was at a dance school, the sflexible students caught on so quickly that Ramaswami had to go back to his teacher Krishnamacharya and ask for ever more asana to teach the dancers.


"How is it that the system I teach is different from other schools of the same lineage. I started studying Yoga with Sri Krishnamacahraya when I was about 15 years old . I studied several asanas, vinyasas, pranayama and after several years he stared teaching vedic chanting and the study of the texts like Yoga Sutras and the Upanishads. One day after about 20 years I had been his student, he said that I could teach Yoga if I wished. I had absolutely no such plan, but after a few days, I was asked by Sri Desikachar if I would be interested in teaching at Kalakshetra an institution considered to be of national importance by the Government of India. I met the director, the well known dancer and administrator Smt Rukmini Devi. From then on I taught yoga to the students of Kalakshetra for about 20 years. When I started teaching I was asked to teach yoga for the first two years of the under graduate program. I was very enthusiastic and taught them whatever I had learnt from my Guru. Since they were young, very agile and talented, many of them could do asanas beautifully. You could feel that Yoga is really an art when you see them do asanas slowly gracefully with the breath. In fact I have some videos of them doing yoga way back in the 1980s uploaded on my channel in YouTube". Srivatsa Ramaswami June 2014

Krishnamacharya would explain Vinyasa by reference to other indian arts, to dance and music, formal yet allowing for creativity.

“Vinyasa means ‘art form,’ such as in music or dance,” he said. “Certain parameters are there, and it allows certain variations.” Ramaswami.



Yamini Murthanna is a Bharatanatyam dancer (Dating back to 1000 BC) and teacher 
and a long time student of BNS Iyengar

My review of her book, The power of Yoga 





Yamini Muthanna 

Manas




Yamini Muthanna presents her dance production Manas at Bangalore on January 26th. Manas is set to selected hymns and verses from the Bhagavad Gita, The Upanishads and the Vedas. Breaking the choreography into 5 sections, inspired by the hymns in the Taittiriya Upanishad where it is said that the human organism has 5 layers (Annamaya Kosha, Pranamaya Kosha, Manomaya Kosha, Vigyanamaya Kosha, Anandamaya Kosha).  She has explored this concept in the production ‘Manas.’ The slokas were selected by Dr. Girija Khanna and Prof. Balaji, English Professor and Sanskrit Pundit from the Mysore University. The music composition is combined with classical ragas rendering slokas, swaras and jathis".


See also perhaps this article by Navtej Johar

Why Yoga is Important to Me as a Dancer, as a Person

"I am firmly of the belief, that suggestion through imagery, poetry, music, are all secondary, what is integral is the clearance that my bones and joints open within the body and freely allow it to submit to a new experience. Abhinaya is then neither an idea nor a projection, as it is often considered, it is actually a real emanation that comes forth out of my body, a revelation of the body. It is precisely here that yoga has not only helped me but I would say made me a dancer. By letting me realise that emotion, heart, soul, spirit, inspiration, all of these are not foreign elements that are introduced into my body from above, a chance gift of another dimension or a muse, but are all contiguous extensions of the material body. Actually this idea is neither novel nor original, though it seems radical in our times, but a direct import of the Samkhya philosophy which is purely “materialist” and does not entertain the idea of God, and upon which the yoga of Patanjali is based. And interestingly this same idea gets further elaborated in the tantra of Abhinavagupta (10th century CE), who further adds into it the magical dimension of poetry and resonance".

Navtej Johar is a dancer and a yoga practitioner in the tradition of Sri T Krishnamacharya and Sri TKV Desikachar. He is the founder and director of Studio Abhyas, New Delhi, a space dedicated to yoga, dance, urban activism and the care of stray animals.


No comments:

Post a Comment

Print

Labels

!0 ways ashtanga changed. (1) . Richard freeman Workshop (1) ((% includes theory (1) (OA) (1) ‪#‎proficientprimaryproject‬ (4) %Arabica (1) < manju (1) 10 point way to health (1) 10 second exhalation (2) 10 second inhalation (3) 10 second inhale (1) 10-15 second inhalation/ exhalation (1) 100 years of beatitude (1) 1008 (1) 108 dropbacks (1) 108 dropbacks. (1) 108 sun salutations (1) 17 meanings of yoga (1) 2000 asana (1) 21 Things to know before starting an ashtanga practice (1) 21st century yoga (1) 2nd series (4) 2nd series headstands (1) 2nd series list (1) 3rd edition Vinyasa Krama Practice Book (2) 3rd series (18) 4th series (4) 5% theory (1) 7 deadlies. (1) 80 rounds Pranayama (1) 95% practice (1) 99%practice 1% theory (1) A. G. Mohan (2) A.G. Mohhan (1) Abernathy butter (1) aches and pains (1) Achieving full lotus. (1) acro yoga (1) Acupuncture (1) adhomukha padmasana (1) adhomukha svanasanas (1) Adi Shankara (1) Adjusting (3) Adjusting postures. (1) Adjustments (1) Adjustments/assists (1) Advaita (1) Advanced A (6) Advanced A B C D list (1) Advanced Ashtanga (2) Advanced Ashtanga. Advanced asana (1) advanced B (3) Advanced backbending (1) advanced series (2) Advanced series ashtanga (1) Advanced series in primary and Intermediate (1) Advanced standing sequence (1) AG Mohan (4) Ahtanga (1) Ajaan Lee (1) Ajay Tokas (1) Ākāśa (1) Al-Biruni' Yoga Sutras (1) Alessandro Sigismondi (1) Alex Medin (2) Alica Jones (1) alignment (1) Alternative to sun salutation (1) alternative to upward facing dog. practicing with wrist problem (1) alternatives to asana (1) alternatives to headstand (1) Amanda Manfredi (2) Anandavalli (1) Angela Jamison (5) Anjeneyasana Sequence (1) Anne Nuotio (1) ansura (1) Ante-natel Yoga (3) Antenatal Vinyasa krama (1) Antenatal yoga (1) Anthar Kumbhakam (1) Antharanga Sadhana (1) any benefits to advanced asana (1) aparigraha (1) Aparokshanubhuti (1) applied anatomy and physiology of yoga (1) April fool. (1) Aranya (1) Ardha baddha padma eka pada raja kapotasana (1) Ardha Baddha Padma Paschimattanasana (1) ardha matsyendrasana (1) Ardhomukhasvanasana (1) Ariadne's thread (1) arm balances (4) arthritis (1) Aruna Elentari (1) asana (1) Asana and ageing (1) asana and sweat (1) asana as gesture (1) asana as mudra (1) asana lists (1) Asana madness (3) Ashmolean Museum of Art and Archaeology (1) Ashtanga (20) Ashtanga 2nd series (1) Ashtanga 3rd (1) Ashtanga 3rd series (1) Ashtanga 4th series. (1) Ashtanga 6th series (1) Ashtanga A (1) Ashtanga adjustments (2) Ashtanga Advanced A (2) Ashtanga Advanced series (1) Ashtanga Advanced series. Pattabhi Jois (1) ashtanga and age (2) ashtanga and ageing (3) Ashtanga and Boredom (1) Ashtanga and Drug Addiction (1) Ashtanga and fun (1) Ashtanga and kumbhaka (1) Ashtanga and menstruation (1) Ashtanga and motherhood (1) Ashtanga and pregnancy (1) Ashtanga and Socrates (1) Ashtanga and Sweat (1) Ashtanga and the wrist (1) Ashtanga and Vinyasa krama yoga Maidenhead (1) Ashtanga and Zen (2) Ashtanga as it was (2) Ashtanga assists (1) Ashtanga assists. (1) ashtanga authorisation (1) Ashtanga B (1) ashtanga backbends (1) ashtanga backbernding (1) Ashtanga books (3) Ashtanga C (1) Ashtanga certification (1) Ashtanga changes (1) Ashtanga cheat sheets (1) ashtanga class size (1) Ashtanga Comparison (1) Ashtanga conference (1) Ashtanga demo (1) Ashtanga demonstration (1) Ashtanga differences (1) Ashtanga dispatch (1) Ashtanga DVD's (1) Ashtanga finishing sequence (1) Ashtanga for beginners (1) Ashtanga history (9) Ashtanga history. (1) Ashtanga illustrations (1) Ashtanga in Europe (1) Ashtanga in Greece (3) Ashtanga in midlife (1) Ashtanga in Mysore (1) Ashtanga in Osaka (1) Ashtanga in the 80s (1) Ashtanga interviews (1) Ashtanga Japan (1) Ashtanga jump back (1) Ashtanga Ladies holiday (1) ashtanga legitimacy (2) Ashtanga lineage (3) Ashtanga Maidenhead (1) Ashtanga Moscow (1) Ashtanga nothing to fear. (1) Ashtanga Parampara (6) Ashtanga pranayama sequence (1) Ashtanga pranayama. (1) Ashtanga primary (1) Ashtanga primary series list (1) Ashtanga primary to advanced series (1) Ashtanga reading list (1) Ashtanga Rishi approach. (10) Ashtanga roots in yoga makaranda (1) Ashtanga Saadhana (1) Ashtanga source (1) Ashtanga syllabus (1) Ashtanga talk through (1) Ashtanga teacher Authorisation (1) Ashtanga terminology (1) Ashtanga tradition (1) Ashtanga TV spot (1) Ashtanga TVAM (1) Ashtanga videos (1) Ashtanga vinyasa (3) ashtanga vinyasa count. (1) Ashtanga Vinyasa Krama (35) Ashtanga Viswanath (1) Ashtanga while on period (1) Ashtanga Yoga (1) Ashtanga Yoga Anusthana (2) Ashtanga yoga Bali (1) ashtanga yoga confluence (6) Ashtanga yoga Confluence Eddie Stern (1) Ashtanga yoga greece (1) Ashtanga Yoga in the tradition of Sri K Pattabhi Jois (1) Ashtanga yoga london (1) Ashtanga yoga manual (1) Ashtanga yoga Moscow (1) Ashtanga Yoga Peru (1) Ashtanga Yoga School Moscow (3) Ashtanga young boys (1) Ashtanga.com article links (1) Ashtanga's origins (1) Ashtangaparampara (1) Ashtangi interviews (1) Assisting (3) assists (1) astanga (1) Aṣṭāṅga (1) Astanga Yoga Anusthana (1) Aṣṭāṅga Yoga Anuṣṭhāna (1) Astavakrasana (1) asymm (1) Asymmetric (1) Asymmetric asana (1) asymmetric sequence (1) Atma Suddhi mantras tutorial (1) Authorisation (1) AVIDYA (1) AVKY at Home (1) AY:A2 (1) ayc (5) AYC Videos (2) B.N.S. Iyengar (1) B&W yoga videos (1) back bending (3) back bending back bending (1) back bending. (1) back pain (4) back pain lumber region (1) back pain. floating (1) Back problem (1) backbend (1) backbending (7) backbending exercises (1) Backbending prep (1) backbends (4) backbends / dropbacks (73) baddha konasana (4) baddha padmasana (2) badha matsyendrasana (1) badha padmasana (1) Bahauddin Dagar (1) Bakasana (6) balance (1) Bali conference (1) Bandhas (13) bansuri (1) Bansuri Holliger (t)air(e) for solo flute (1) Basti. Neti (1) Beginner Ashtanga (1) beginner yoga reading list (1) Beginning Ashtanga (2) beginning Vinyasa krama (1) beginning vinyasa yoga (1) beginning yoga (2) Being in the World (3) being stopped at a posture (1) benefits of advanced asana (1) best Ashtanga books. (1) best Coffee in Japan (1) Best Coffee in Kyoto (1) best jump back (1) best jump through (1) bhagavad gita (7) Bhagavadagita (2) Bhagavan Das (2) Bharadvajrasana (2) Bharatanatyam (2) Bhaya Kumbakam (1) Bhoja's commentary on Yoga sutras (1) bhuja pindasana (1) Big people can do you (1) Bikram (2) bikram yoga (1) biography of Krishnamacharya (1) Birdwatching (1) Birth & Motherhood (1) birthday (1) BKS Iyengar (3) Bliss (1) blog to book (1) Blogbooker (1) Blogsy (1) BNS Iyengar (3) Body clock (1) Body image (1) Bohr effect (1) Book review (3) Born again Ashtangi (1) bow (1) Bow sequence (9) BRAHMASANA (1) breath (2) Breath control (1) breath holding (1) breath is nice (1) Breath of god (1) Breath of gods (1) Breath of the Gods (3) Breath of the Gods – A Journey to the Origins of Modern Yoga (1) breath retention in asana (1) Breathing (2) breathing asana (1) breathing less (1) breathing rate in ashtanga (1) British Yoga in the 1950`s and 60`s (1) Bruce lee (1) Bruges (1) Buddhasana (3) Budokan yoga (1) Burmese buddhism (1) cakra (2) Camel walk (3) Carbon Monoxide poisoning (1) Casa vinyasa (1) caturanga Dandasana (1) cave (1) chakea (1) Chakorasana (1) chakra (2) chakra bandhasana (4) Chakra meditation (1) Chakras (3) chakrasana (6) championship yoga (1) Chan meditation (1) Changes (1) Chanting (9) chanting in asana (1) Chanting the yoga sutras. (1) chanting yoga sutras (2) chatauranga dandasana (2) chaturanga (1) Chinese medicine and Ashtanga (1) chitta vritti (1) Chittavijana of Yogasanas (1) choosing an Ashtanga book (1) Christian yoga (1) Christmas practice. (2) chuck Miller (7) cit (1) cittavritti (1) classical yoga (1) Claudia and James Kripalu workshop (1) Cley (1) Clifford Sweatte (1) Coleridge (1) Coltrane (1) coming up (1) Common yoga protocol (2) comparison of drishti (1) concentration practice (1) conference notes (1) Conference notes. (1) Consciousness (1) Contemplation (2) Contemplative Sciences Centre (1) Contemplative Studies department (1) Contemporary yoga Culture (1) cooking (1) Creative Commons (1) Crete (2) cultivate (1) current practice (2) cybershala (1) Daily routine of a yogabhyasi (1) Dandasana (1) Danny Paradise (3) Dasha diirgha rechaka puuraka (1) David Garrigues (7) David Garrigues Intermediate DVD (1) David Keil (2) David Robson (5) David Robson's learn to float drums. (1) David Roche (1) David Swenson (7) David Williams (5) Dearbhla Kelly (1) Debbie Mills (1) dedicated practice (1) Deepdale Camping (1) defence of Ashtanga (1) degenerative arthritis (1) deindividuation (1) Deleting a blog (1) Dena Kingsberg (2) Der Atmande Gott (1) Der Atmende gott (2) Derek Ireland (13) Desikachar (1) desk pose (1) Detox (3) developing a Home practice (42) Development of Ashtanga series (1) devotion (1) devotion to practice (1) dhanurasana (2) Dharana (6) Dhāraṇā (2) Dharana focal points (1) Dhouti (1) Dhouti kriya (1) Dhyana (3) Did Krishnamacharya speak English (1) Dido and Aeneas (1) Dido's lament (1) die (1) diet (3) Differences in Ahstanga (1) Ding namaskara (1) discernment (1) discipline (6) Dmitry Baryshnikov (1) Do we need an Advanced series (1) does sweating detox (1) downward dog (1) Dr N Sjoman (1) Dr Norman Sjoman (1) Dr. Norman Sjoman (1) dream (1) Drisht (1) drishti (6) dropback (1) dropback prep (1) Dropback progress videos Aug 08 to Present (1) dropback ritual (1) dropback routine (1) dropbacks (1) dropping back (2) Duhkha (1) Durvasana (1) dwi pada sirasana (1) dwi pada sirsasana (2) Dwipada Sirsasana (1) dwipadapitam (2) dwipadasirsasana (1) early asana diploma course (1) Early Ashtanga (1) early ashtanga vinyasa (1) Early Ashtanga yoga article (1) Early pattabhi jois (1) Easter Krishnamacharya retreat (1) Eddie and Jocelyn Stern (1) Eddie Stern (6) effulgence (2) Egyptian backbend picture (1) Eihei Dogen (1) Eiko Saito (1) Eka pada chakra bandhasana (1) Eka pada raja Kapotasana (2) eka pada series (11) eka pada sirsasana (1) eka para baddha padmasana (1) EKAPADA VIPARITAKARANI (1) elephant jornal (1) Emergence du Yoga (1) Emergence of Yoga (5) Emurgence du Yoga (1) Encinitas (1) Encinitas yoga in schools debate (1) Equinox (1) errors in current ashtanga practice (1) Evening practice (2) evening practice. (1) Evolution of Ashtanga (2) Evolution of Ashtanga yoga (1) extended stays (2) extended stays in asana (1) Facebook (1) falling (1) FAT PEOPLE CAN'T DO YOGA? Fat people Can do Yoga (1) Father Joe Pereira (2) feet together dropback (1) feetup (1) femurs (1) First led Ashtanga class ever (1) First practice of 2012 (1) five koshas (1) five sheaths (1) Flexibility in Ashtanga (1) Flexibility within Ashtanga (1) float to handstand (1) floods (1) flotation tank yoga (1) flute (1) Forest tradition (1) formal savasana (1) four Immeasurable and yoga (1) four Immeasurable and yoga sutras (1) four immeasurables (1) four key asana (1) franney and Zooey (1) full vinyasa (6) Functional Anatomy (1) Fusion magazine tribute (1) Ganda Bherundasana (2) Gandha bhandasana (1) Gandha Bherundasana (2) Ganeseha prayer (1) Ganesh Mohan (1) Ganesha prayer (2) Garbha Pindasana (6) gayatri (1) Gayatri chant (2) gayatri japam (1) Georg Feuerstein (1) getting in to full lotus (1) Gil Frondsal (1) Gingi Lee (2) gita as it was (1) Grechikha (1) green smoothie (1) green smoothies (1) Gregor Maehle (12) Grimmplys Vinyasa Krama Practice Book (1) Guest Vinyasa krama practice (2) Gunas (2) Guru on the Grounds (1) Guru to Go (1) Guru's of Modern Yoga (1) guruji (9) Guruji asana (1) Guruji asana photos (1) Guruji in Copenhagen (1) Guruji London 2002 (1) Guruji London tour 2002 (1) Guruji peforming puja (1) Guy Donahaye (2) Gymnast wrist (1) halasana (1) Half Ashtanga series (1) Halogen heater (1) Hamish Hendry (2) Hampton Court (1) hands free lotus (2) handstand drop over (1) handstands (3) hanumanasana (8) Harvard Healthy eating plate (1) has yoga evolved (1) hatha and Raja yoga (1) hatha yoga (2) Hatha yoga pradipka. Aranya (1) headstand (20) headstand prop (1) headstand variations (1) headstand variations. (1) headstands (2) healing through bandhas (1) healing through Kumbhaka (1) Health healing and Beyond (1) heart of the practice (1) heart stopping (1) heart stopping experiment (1) Heartfulness meditation (1) Heartfulness meditation and ashtanga vinyasa yoga (1) Heather Morton (3) Heidegger (3) Heidegger and Yoga (1) Hesychasm (2) hesychast method (1) hidden asana (1) hidden postures between postures. (1) Hippies (1) Hippy (1) History of Asana (1) History of Ashtanga (2) history of Yoga (1) Holderlin (1) holding somebody back in ashtanga (1) holding the breath in asana (1) Holiday (1) Holiday practice (3) home ashtanga practice (1) Home practice (5) home practice. (1) home shala (1) home v shala practice. (1) Home yoga practice (1) hot yoga (1) House recommendations (2) How Ashtanga changed (1) How I met Guruji (1) How mauch to become and Ashtanga teacher (1) How old is Ashtanga Vinyasa (1) How old is Ashtanga? (1) how to breath in asana (1) how to chant the yoga sutras (1) How to do a headstand (3) how to do lotus (1) how to get into lotus (1) How to learn pranayama (1) how to meditate (1) How to practice Vinyasa krama (3) Hyon Gak Sunim (2) i Dhyana (1) ideal Mysore self practice room. (1) II-47 (1) Illnes (1) Ilya Zhuralev (1) Improvisation (1) in defence of ashtanga (1) in defense of asana (1) India (2) Indian cosmology (3) Indian dance (1) Indian evolution (3) Indian measurement (1) Indian music (1) Indian physical culture (1) Indra Devi (2) injuries (10) injury (8) Inner gazing (1) Inside an Imac (1) Intermediate (63) Intermediate series (1) internal drishti (2) International Yoga Day (1) Interviews (2) introduction to Ashtanga (1) introduction to Vinyasa krama (1) introduction to yoga (1) inversions (7) inverted sequence (6) inverted subroutines (9) Invertions. (1) invocation (1) ipod (1) Is Ashtanga a fixed sequence (1) IS Ashtanga a spiritual practice? (1) Is Ashtanga designed for young boys (1) Is Ashtanga hard (1) Is Ashtanga Hatha yoga? (2) Is yoga Indian (1) Ishvara gita (1) Ishvarapranidhana (1) iyengar (8) Iyengar Drop back challenge (6) Iyengar jumping (1) Iyengar practicing ashtanga (1) Iyengar yoga (1) Iyengar. 1938 Krishnamacharya movie (3) Iyengar's ashtanga (1) Iyengar's Library (1) jain yoga (1) jalandhara bandha (3) janu sirsasana (3) Japa mantra (2) jar (1) Jessica Walden (5) Jesus prayer (1) jim through (1) Jivatma (1) Joanne Darby (1) Joey Mills (1) John cage (1) John Campbell (1) john Scott (8) John Scott workshop (1) John Scott's Ashtanga App. (1) Jois (1) Jois led intermediate (1) Jois led primary (1) Jois Yoga (1) JoisYoga (1) jump back (1) Jump back jump through (59) Jump back library (1) Jump back monthly progress videos Feb 08 to present (1) Jump back Screenshots (5) jump back seven elements (7) jump the legs apart (1) jump through (2) jump through. (1) Jump to urdhava Kukkutasana (1) jumpbing back from padmasana (1) jumping back (2) jumping back from lotus (1) jumping back. jumping through (1) Jumping between standing postures (1) jumping into lotus (1) Jumping out of Bhjupindasana (1) jumping through (2) justification (1) Kandasana (4) Kapalabhati (2) KAPHALASANA (1) KAPHALASANA and BRAHMASANA (1) Kapil Math (1) Kapilasana (1) kapilasana Advanced B (1) Kapilasana. (1) Kapotasana (49) kapotasana ankles (2) Kapotasana Asana most necessary least significant (1) kapotasana heels (1) Kapotasana in india (1) kapotasana long stay (1) Kapotasana progress videos Dec 08 to Present (1) karandavasana (49) Karandavasana preparation (1) Karandavasana progress 14 day challenge (2) Kareem Abdul-Jabar (1) Karen Haberman (1) Kasyapasana (1) Kausthub Desikachar (4) keeping yoga mats clean (1) Keshava Murthy (1) Kevala kumbhaka (1) key asana (2) KHYF (1) KHYF Scandal (1) Kidney stones (5) kidney stones and yoga (1) kindle (1) Kindle paperwhite (1) Kino (11) Kino Advanced A (1) Kino MacGregor (6) Kino trivikramasana (1) knees together kapotasana (1) Knossos (1) Kosha's (1) Kovalam (1) KPJAYI (2) Krama (1) Krishanacharya (2) Krishanamacharya (7) krishanamcharya and the big man (1) Krishmamacharya 2nd (1) krishna (1) Krishnamacharya (138) krishnamacharya 1938 movie (1) Krishnamacharya and Buddhism (1) Krishnamacharya and Burmese Buddhism. (1) Krishnamacharya and tibet (1) Krishnamacharya backbending (1) Krishnamacharya Biography (1) Krishnamacharya chanting (1) Krishnamacharya documentary (1) Krishnamacharya drishti (1) Krishnamacharya hip fracture (1) Krishnamacharya in colour (1) Krishnamacharya in Mysore (1) Krishnamacharya in Tibet (1) Krishnamacharya interview (1) Krishnamacharya jumping (1) Krishnamacharya lost photo (1) Krishnamacharya movie (3) Krishnamacharya on Chakras (1) krishnamacharya original asana (1) krishnamacharya poster (1) krishnamacharya Primary series. (1) Krishnamacharya quotes (1) Krishnamacharya reading list (1) Krishnamacharya resource (1) Krishnamacharya shoulder stands (1) Krishnamacharya teaching. (2) Krishnamacharya video (1) Krishnamacharya workshop in Leon (1) krishnamacharya. (4) Krishnamacharya. Is Ashtanga hatha or raja yoga (1) Krishnamacharya's 32 headstands (1) Krishnamacharya's Advanced asana (2) Krishnamacharya's Ashtanga Primary series (2) krishnamacharya's Biography (1) Krishnamacharya's certification (1) Krishnamacharya's daughter (1) Krishnamacharya's early Mysore practice. (1) Krishnamacharya's early Mysore works (1) Krishnamacharya's English (1) krishnamacharya's examination (1) Krishnamacharya's guru (1) Krishnamacharya's key asana (1) Krishnamacharya's life saving practice (2) Krishnamacharya's Middle group asana (1) Krishnamacharya's Mysore Yoga students 1941 (1) Krishnamacharya's Original Ashtanga Yoga (1) Krishnamacharya's own practice (3) Krishnamacharya's personal practice (1) Krishnamacharya's practice (1) Krishnamacharya's pranayama (3) Krishnamacharya's pranayama practice (1) Krishnamacharya's second series (1) Krishnamacharya's sun salutation (1) krishnamacharya's Yoga Makaranda (1) Krishnamacharya's Yogasanagalu (2) krishnamacharya7s Ashtanga (1) Krishnamcharya (1) Kristina Ireland (3) Kristina Karitinou (7) Kriya (2) Kumbhaka (28) Kumbhaka and healing (1) Kumbhaka breath retention (1) Kumbhaka for healing (1) kumbhaka ha and tha bandhas (1) Kumbhaka in asana (4) kumbhaka jumping (1) kumbhaka. (1) Kumbhakha (1) kurma purana (1) Kurmasana (2) KYM (2) ladies holiday (2) lagu vajrasanam supta vajrasana (1) Lake Biwa (1) Lamrim (1) Lara Abiesheikh (1) laughter yoga (1) Layering images (1) learn dance hand mudras (1) Learn pranayama (1) Learn Pranayama mantra (1) Learn Sanskrit (1) Learn to chant (2) learn to float drums (1) Learn to float primary DVD (1) Learning pranayama (1) learning Sanskrit numbers (1) learning sanskrit yoga names (1) Learning Sanskrit. (1) Learning the pranayama mantra (1) Learning the sanskrit names for Ashtanga primary series. learning the Ashtanga vinyasa count (1) Learning Vinyasa Count (1) led 2nd series (1) led Advanced Ashtanga series. (1) Led Ashtanga primary (1) Led Intermediate series (1) led primary (1) Led second series (1) ledt intermediate (1) Left hand tantric yoga (1) leg behind head (3) Leg behind head preparation postures (5) leg raises (2) legacy of Hippie movement (1) Leon Workshop (1) Les twins (1) less asana (1) levitating (1) life saving practice (1) Life saving Yoga practice (1) Light on yoga (1) Lille (1) lineage (4) Lineage holder (1) lineage Kausthub Desikachar allegations (1) Linking Asana (1) Lino Miele (6) Lino Miele Ashtanga book (1) Lino Miele primary to Advanced book (1) Lino Miele's pranayama sequence. (1) Live stream of primary. (1) long breathing (1) Long Stays in asana (4) long stays. (1) Lori Shepard and Brian Yuen (1) losing practice (1) loss of practice (1) lotus (5) lotus jump back (1) lotus jump through (1) Lotus lifted spun dropped. (1) Lotus no hands (1) lotus sequence (4) lotus subroutines (8) lotus to headstand (5) Louise Ellis (1) lout (1) loving kindness (5) Loving kindness and Yoga Sutras (2) lumbosacral arthritis (1) M.S. Viswanath (Masterji) (1) macrobiotic (3) Madhavan Munusamy (1) Madonna (1) Madonna eka pada sirsasana (1) madonna yoga (1) maha bhandasana (1) maha mudra (1) maha vedha (1) mahabhandasana (1) mahabharata (2) mahamudra (2) Mahavedha (2) Making sushi knife (1) Mala Srivatsan (4) Man of Steel (1) mandala (3) Mandala yoga Bend Usa (1) Manduka (12) manduka bolster (1) Manduka's new Santorini prelate (1) Manju (1) manju jois (27) Manju Jois Bundle (1) Manju Jois TT notes. drishti (1) Manju Pattabhi Jois (2) manju Teacher training (1) Manju TT course Crete (1) Manju TT Crete (1) Manju workshop (1) mantra (1) mantra meditation (2) Mantra pranayama (1) Manu pranayama (1) Manuel Molina (1) Marcus Aurelius (1) Maria Shalimova (1) Maria Villella (2) Marichiyasana (2) Marichiyasana D (2) Marichiyasana G (1) Marichiyasana H (1) Marichiyasna G (1) marichiyasna H (1) Marie HALLAGER Andersen (2) Marie HALLAGER Anderson (1) Marilyn Monroe (1) Mark and Joanne Darby (1) Mark Darby (7) Mark Darby DVD (1) Mark Robberts (1) Mark Singleton (4) Mark Whitwell (1) Mary taylor. subtle body. (1) Masterji (1) Matthew Sweeney (5) Maty Ezraty (3) maya vedha (1) mayaland (1) mayurasana (7) Mcafe (1) Mcafe big macro burger (1) Mea Culpa (1) meaning of asana (1) meaning of yoga (1) meanings of Yoga (1) Meditation (11) Meditation and Ashtanga Vinyasa Yoga (1) Meditative (2) meditative sequence. (1) Meditative subroutines (6) Meghan Currie (1) Melanie Cooper (2) Menstruation (3) mental and emotional abuse against Dr. Kaustaub Desikachar (1) mental Space (1) metta (2) Miami Life center (1) Miley Cyrus (1) Miley Cyrus marichiyasana D (1) Miley Cyrus yoga (1) Mind (1) Mindfulness (1) Mingus (3) minimum asana practice (1) misc primary (6) misc. (22) mitabhashana and mitahara (1) Modern postural yoga (1) modern yoga (1) Modern yoga narrative (1) modern yoga practice (1) modified Ashtanga (3) modified krouchasana (1) modified pasasana (1) Modified practice (1) modified sun salutation. pranayama bolster (1) modifying practice (1) modifying your practice (1) Monkey mind (1) moola bhandasana (1) moolabhandasana (1) moolabhnadha (2) Moon day (2) Moon days (1) More to Mysore (1) morning practice (1) motivation (4) Mountains (1) Mountains of asana (1) Mr T (1) Mr. A.F. Lara Abiesheikh (1) Mrityunjaya mantra tutorial (1) mudra (5) Mudras (2) mula bandha (4) mula bhandasana (1) mulabhandasana (1) mulabhandha (1) Music (1) My book on Kindle (1) My Early Ashtanga movie (1) My Easter Ashtanga retreat (1) my Mysore room (1) My practice (1) My Practice. (1) My very old practice videos (1) My Vinyasa Yoga practice Book. (1) My workshops (3) My year in posts (7) Mysore (3) Mysore dream (1) Mysore in Maidenhead (1) Mysore Magic Yoga At The Source (1) Mysore map (1) Mysore rule change (1) Mysore sandle soap (1) Mysore shala (2) Mysore Traditions Movie (1) Mysore yoga demonstration 1941 (1) Mysore Yoga Shalas (1) Mysore yoga tradition (1) Mysore? (1) Nada Yoga (1) nagaraya namaha (1) nakrasana (2) namarupa (6) namaskara (1) Nancy Gilgoff (11) natajarasana (1) Natanaga Zhander (1) Nauli (1) Nauli bad for womb? (1) Nauli Kriya (1) navasana to handstand (1) Nespresso (1) Nespresso Pixie (1) NEW BLOG (1) new postures (1) newsletters (40) Nietzsce (1) Nietzsche' (1) Niigata Japan (1) Nike grips (1) Nine bandhas (2) Niralumba sarvangasana (1) niralumba sirsasana (4) niyama (1) No Coffee no prana (1) no hands lotus (1) No merit to speak of (1) No official ashtanga (1) Norfolk Nature reserve (1) Norman Allan (1) norman blair (1) Norman Sjoman (2) Norman Sjoman workshop (1) nostril dominance (1) not about the count (1) Notes to self (7) NYT (1) Object and Objectless Meditation (1) odissi (1) official ashtanga (1) oh my datum (1) OHMME YOGA (2) Old Ashtanga article (1) Old krishnamacharya pictures (1) Old man of hassan (1) old shala (2) old Yoga videos (1) Oleg Flow (1) olympic yoga (1) OM The world of Ashtanga Yogis (1) Omkrasana (1) on blogging (2) on devotion (1) On krishnamacharya (1) On retreats (1) on Series (1) On the meaning of the word yoga (1) on vinyasa (1) on your feet (1) on your feet sequence (1) ondividual ashtanga practice (1) one month chakra bhandasana challenge (2) Only one Ashtanga book (1) opening chant (1) or degenerative joint disease or osteoarthrosis (1) origin of Ashtanga (1) original Ashtanga (3) original ashtanga syllabus (2) Original ashtanga table (1) Original ashtanga vinyasa count (2) original bhagavad gita (1) Original sun salutation (3) original surynamaskara (1) origins of Ashtanga (3) origins of ashtanga. (1) origins of sun salutation (1) Origins of yoga (1) orisgin of Ashtanga (1) Orisginal Ashtanga syllabus (1) Orthodox church (1) Osteoarthritis (1) Osteoarthritis of the spine (1) Outer gazing - Krishnamacharya (1) outtakes (1) overweight (1) oving kindness mantra (1) pachimatanasana (1) Padangustha Dhanurasana (1) Padma mayurasana (1) padmasana (4) painkillers (3) pancha kosha (1) pancha maya (1) paralympics (1) param yoga (1) Paramaguru (2) Paramaguru Sharath R. Jois (1) Paramata (1) parampara (5) Parasarita Padottanasana C (1) Pariṇāma (1) parsva dandasana (2) pasasana (8) paschimottanasana (5) Pashasana (1) pass (1) Patabbhi Jois' nephew (1) patanjali (5) patanjali prayers (1) Patanjali's yoga sutras (1) Pattabhi Jois (36) Pattabhi Jois advanced led A (1) Pattabhi jois Advanced series (1) Pattabhi Jois and Patanjali (1) Pattabhi Jois article (1) Pattabhi Jois asana (1) Pattabhi jois asana photos (1) Pattabhi jois handstand (1) pattabhi Jois interview (2) Pattabhi Jois Led (1) Pattabhi Jois resources (1) Pattabhi Jois samastithi (1) Pattabhi jois with Krishnamacharya (1) pattabhi Jois. (2) Pattabhi Jois' (1) Pattabhi Jois' pranayama Sequence (1) Pattabhi Jois' Yoga Journal letter (1) Pattabhi joys led primary (1) Paul Gold (1) Paul Harvey (1) peace chants (1) Peg Mulqueen (2) Period (1) Perissa Beach (1) Perter Brooks Mahabharata (1) Pet Cremation (1) Petri Raisanen (2) Petri Räisänen (2) Philippa Asher (2) Philokalia (1) Philosophy (3) Philosophy of Patanjali (1) Phone call (1) phulgenda Sinha (2) Physical Space (1) pinca mayurasana (1) Plagerism (1) Playing flute in asana (1) Pm Modi (1) PM Modi practicing yoga (1) postural yoga practice (1) pottery (1) practice guidelines (1) practice report (1) practicing ashtanga at home (1) practicing together (1) Practicing Vinyasa Krama (1) Practicing with Sharath (1) practicing with short arms (1) practicing Yoga at home (1) practicing yoga when overweight (1) Prana (1) prana shorts (1) prana vashya yoga (1) pranayama (31) Pranayama : Breath of Yoga (1) Pranayama and meditation (1) Pranayama by Pattabhi Jois (1) Pranayama chant (1) Pranayama chanting meditation (12) pranayama in asana (2) pranayama mantra (3) Pranidhi Varshney (1) prasadana (1) Prashant Iyengar (4) Pratyahara (3) Pregnancy (1) Pregnancy and Ashtanga (1) preparation for yoga (1) press to handstand (18) Presse Medicale 1936 (1) primary (2) Primary and 2nd series together (1) primary coming back. (1) primary manual (1) Primary series (1) Primary series book (1) Primary series practice sheets (1) Problems with Ashtanga (3) proficiency in asana (1) Proficient primary (2) progressing through ashtanga series (1) prolite (1) Pungu kukkutasana (2) puraka (1) Puraka (inhalation) (1) puraka kumbhaka (1) Purna matsyendrasana (8) Purusha (3) Pushpam (1) Questions from krishnamacharya's students (1) Questions to krishnamacharya (1) Quietude (1) R. Sharath Jois (2) Radha (2) Rainbowman (1) Raja Bhoja (1) raja kapotasana (2) Raja yoga (2) Rajah of Aundh (1) rajakapotasana (1) rajas and tamas (1) ram (1) rama Asana (1) Rama Mohana Brahmacari (1) Rama Mohana Brahmacharya (1) Ramamohana Brahmachari (1) Ramamohana Brahmachari' (1) ramaswam's newsletters vol 1 and vol 2 (1) Ramaswami (45) ramaswami chanting (3) Ramaswami in UK (1) Ramaswami Interview (1) Ramaswami newsletters (35) Ramaswami on Krishnamacharya (1) Ramaswami on meditation. (1) Ramaswami pranayama (1) Ramaswami resources (1) Ramaswami teaching (2) ramaswami. (1) Ramaswami's key asana (1) Ramaswami's Newsletters Vol 1-3 for Download (2) Ramaswami's Yoga sutra tutorial (1) Ramaswami's yoga sutras (1) Ramaswamin (1) Reading list (1) Recaka (exhalation) (1) recaka kumbhaka (1) recheka (1) recheka kumbhaka (1) Relationships (1) relaxed abdomen mayurasana (1) Religiousness in yoga (1) replacing the mac hard Drive (1) Rethymno (1) Rethymno Ashtanga (1) retread (1) Review (2) reviews (43) Reviews. Kino Macgreggor (1) Richard Freeman (22) richard freeman and Pattabhi Jois (1) Richard Freeman five day intensive (1) Richard Freeman intensive (3) Richard Freeman. (1) Richard Schechner (3) right speech (1) Rilke (1) Rinzai Zen (1) rishi (1) rishi series (4) Rishi Seris (1) Rishi's (1) Rmaswami (1) Robert thurman (1) role models (1) Roots of Yoga (2) runway posters (1) Runway project (1) Ryan Leier (2) Sadhaka: the yoga of B.K.S. Iyengar (1) Sahaj Marg (1) Sahaj Marg Meditation (1) sahanavavati tutorial (1) Saharath (1) Salinger (1) Salutations to the Teacher and the Eternal one (4) Samadhi (1) samakonasana kroukachasana challenge (2) Samaria gorge (1) Samkhya (7) Samkhya krika (1) Samyama (3) Sandhinirmocana Sutra (1) Sanskrit numbers (1) Santorini (4) Saraswati (1) sarvanagasana (6) sarvangasa (3) sarvangasana (5) sarvangasana preparation (1) satvic (1) Satya murthy (1) savasana (1) Śavasana (1) savasana Ashtanga take rest (1) saxophones (1) say (3) sayanasana (1) Sayasana (1) science of pranayama (1) science pertaining to the Self within. adhyātmavidyā (1) seated (2) Seattle Slyer espresso machine. (1) Seductive ashtanga (1) see my (1) sequences and subroutines. (88) Setu Bandhasana and chakra Bandhasana. (1) seven deadlies (1) seven headstands (1) Shadow yoga (1) shakuhachi (1) Shala (3) Shala practice (2) shala trail run (1) Shandor Remete (3) Shang Yen (1) Shanti mantra transcriptions (1) Shanti mantras (1) Sharat (1) Sharath (20) sharath / Jois old Video (1) Sharath Advanced A (1) Sharath conference (2) sharath dwi pada sirsasana (1) Sharath interview (1) Sharath jois (2) Sharath led primary (1) sharath primary DVD (3) Sharath Rangaswamy (1) Sharath Rangaswamy Jois (1) Sharath tour dates (1) Sharath Utkatasana exit (1) Sharath virabhadrasana exit (1) Sharath. (1) Sharath's book (2) Sharath's karandavasana (1) Sharath's led primary at Joisyoga NYC (2) Sharath's new book (1) Sharath's practice. (1) Sharath's pranayama video (1) Sharath's Virabhadrasana video (1) Sharpening japanese knives (1) Shiga (1) Shiga prefecture (1) shirsasana (1) Short Ashtanga practice. (1) shoulder stand (1) shoulder stand vinyasas (3) shoulderstand (6) Shoulderstand variations (1) Shoulderstands. (1) Shri Louise (1) Shribashyam (1) Shubogenzo (1) Sick (1) sick bed practice (1) siddhars (1) siddhis (2) SIKSHA VALLI (1) Silent Illumination (1) simhasana (2) Simon Borg-Oliver (8) Simon Borg-Olivier (5) Simon-Borg Oliver (1) Simple core vinyasa Krama practice (4) Sin salutation with mantras (1) sinha (1) sirsasana (17) Sirsasana variation (1) Sirsasana variations (1) sirsasana. headstand (1) SIRSHASANA (2) Sirssana (1) Sisrasana (1) sitali (1) sitali pranayama (1) sitali suryabheda nadi shodana (1) Sivananda (1) skilful practice (1) SKPJ (1) Skydiver Felix Baumgartner breaks sound barrier (1) Slow Ashtanga (6) Slow Ashtanga Osaka (1) slow sun salutation (1) Slowed down 2nd series (1) Slowed down Primary series (1) sma konasana (1) Soap opera practice (1) Sofia Xirotiri (1) SOHAM (1) Sonia Nelson (1) Soto zen (1) Space (1) Spinal sequence (1) Spiritual life (1) Spiritual practice? Yoga philosophy (1) splits (1) spondylosis. Suryanamascara (1) Sri K Pattabhi Jois (8) Sri K. Pattabhi Jois (3) Sri k. Pattabhi Jois memorial (1) Sri K. Pattabhi Jois' legacy (2) SRI T K SRIBHASHYAM (3) Sri TK Sribhashyam (2) Sri. K. Pattabhi Jois (1) Sribashyam sri sribashyam (1) SRIBHASHYAM (1) Srivatsa Ramaswami (55) Srivatsa Ramaswami Story time (1) Srivatsa ramaswami. (2) Srivatsa Ramaswami's (1) Srivatsan (1) steadiness and comfort ( sthhira and sukha). (1) Stillpoint yoga (3) Stoic (1) stoicism (1) stopping yoga clothes from smelling. (1) Straight leg jump through (10) Straight leg jump through. (1) studying with krishnamacharya (1) Subject/Object (1) Subroutines. (2) Subtle body (2) Summary Yoga sutras (1) Sun salitation variations (1) Sun salutation (5) sun salutation mantras (2) sun salutation to directions. (1) sun salutation with mantra (1) Sun salutation with mantras (2) sun salutation with mantras. Suryanamaskara (1) super moon (1) Superman (1) supine (2) Supine sequence (2) supine Subroutines (18) Supoine (1) supra trivikramasana (1) supta kurmasana (8) supta kurmasana Bhuja Dandasana (1) Supta Vajrasana (8) Suptapada Parsvangushtasana (1) Suptaparsva paddanguthasana (1) Surf guitar medley (1) Surrender (3) sury namaskara with mantras (1) surya namaskar (1) suryanamakara (1) Suryanamakara with mantras (1) Suryanamaskara (2) Suryanamaskara with mantras (1) surynamaskara (1) Surynamaskara practice sheet (2) surynamaskara with mantras (1) Suy namaskara (1) svanasanas (1) Swami Bua (1) Swami Hariharananda Aranya (2) Swara yoga (1) Sweat and kidney stones (1) Sweaty practice (1) T. K. Shribashyam (4) T. K. Sribashyam (1) T. Krishnamacharya (1) T.K. Sribhashyam (2) Table of asana (2) Taboo (1) Taḍagī Mudra (1) tadasana (5) Taittiriya Upanishad (2) TAN postures (1) Tantric Yoga (1) tapas (2) tatakamudra (2) tatkamudra (1) tatkamudra. (1) tattvas samkhya (1) teacher training (1) Teaching (4) Teaching Ashtanga (2) teaching first vinyasa krama Class (1) teaching yoga Adjusting asana (2) ten breaths in each asana (1) ten second inhale (1) Teos Bernard (1) textual support for kumbhaka in asana (1) The 'Original' Ashtanga yoga Syllabus given to Nancy Gilgoff and David Williams by Sri K Pattabhi Jois in 1974 Mysore (2) The Art of Ashtanga vinyasa (1) the asana before the asana (1) The Ashtanga Key (1) The Ashtanga Yoga Center (1) the breath (2) The Breath of Yoga (1) The breathing God (4) The Complete Ashtanga Yoga Syllabus demonstrated by David Williams (2) The Complete Book of Vinyasa Yoga : Subroutines page numbers (1) The Four Immeasurables (1) the Gita as it was (1) The Indian Review (1) The Jesus prayer (1) THE KALAMA SUTRA (1) The Kumar brothers Vijay Kumar (1) The looting of Yoga (1) the Original gita (3) the Original Yoga Sutras (2) The power of Ashtanga yoga (1) The power of Yoga. (1) The practice place (1) The Purnacarya (1) the purpose of yoga postures (1) the purusha sutra (1) the Science of yoga it's risks and rewards (1) The Shala (1) the Source (2) The Spine (3) The Time-Being (1) The Viniyoga letter (1) The vinyasa count (1) The way back (1) The yoga of breath (1) The yoga Podcast (3) thinking of giving up Ashtanga (1) This is yoga 1941 (1) This is yoga life magazine (1) three gunas (3) Three postures (1) tibet (1) tic tac (10) tic tock (9) tick tocks (5) tictac (2) tictac viparita chakrasana (1) Tim Feldmann (1) Tim Miller (9) Tirieng Mukha Eka Pada Paschimattanasana (1) Tirumular Thirumandiram (1) Tiryangamukha ekapada pascimottanasana (1) Titchwell (1) Titibhasana (1) tittibasana (1) tittibhasana (2) TK Shribhsyam (1) TK Sribashyam (1) TKV Desikachar (3) tolasana (1) Tolstoy (1) Tolstoyism (1) Tom Sewell (1) towards karandavasana (1) tradition (3) traditional yoga (1) Tranquilo (1) transitions (2) Translate (1) Trataka (1) travel (1) Trayumbakum mantra (1) triangamukha Uttanasana (1) trigger point therapy (1) Trikonasana (1) trying yoga (1) tsunami (1) tucking the tailbone. (1) Tudor-Jones (1) tunas (1) tutorial (1) uddiyana bandha (2) Uddiyana bandha in asana (1) uddiyana kriya (1) uddiyana mudra Kino (1) Uji (1) ujjayi (3) unsupported headstand (1) unsupported headstands (2) Upanishads (2) upavishta konasana (1) Urdhava Dhanurasana (2) urdhva dhanurasana (2) Urdhva Kukkutasana (2) Urdhvamukhasvanasana (2) ushtrasana (1) ustrasana (1) Uthpluthi (1) Utkatasana (1) Utkatasana lift (1) utpluthi (1) uttana mayurasana (1) uttanha Shalabhasana (1) Uttarkashi (1) Utthita Hasta Padangusthasana (1) utthita parsvakonasana (1) Vairagya (1) vajrasana (3) Vajrasana sequence (1) Valencia Krishnamacharya workshop (2) Valencia workshop (1) vamana Rishi (1) varying allegations of sexual (1) vashitasana (1) vatayanasana (2) vatyanasana (1) Vayu (1) Vayu Siddhi (1) vayus (1) Vedanta (1) vedic peace chants (1) Veena (1) Vegetarian (1) vegetarian burger (1) Vegetarian Minestrone (2) Vibrem five finger shoes (1) Vicarious Yoga (1) Vidyas (1) Vinay Kumar (2) Vinya Kumnar (1) Vinyasa (7) Vinyasa count (3) Vinyasa Krama (36) Vinyasa Krama 200HR TT program (4) vinyasa krama and pregnancy (1) Vinyasa Krama backbending. (1) vinyasa krama daily practice (6) Vinyasa Krama headstands (1) Vinyasa Krama Individual Asana sequences (1) Vinyasa Krama inverted sequence (1) Vinyasa Krama lotus sequence (1) Vinyasa Krama Practice Book (2) Vinyasa Krama Practice Manual (1) Vinyasa Krama practice routine (4) Vinyasa Krama practice sheets (3) Vinyasa Krama prayer (1) Vinyasa Krama Sister blog (1) Vinyasa krama slideshows (1) Vinyasa Krama speeded up Ashtanga slowed down (1) Vinyasa Krama supine sequence (1) Vinyasa krama Teacher training (2) vinyasa krama ten day practice routine (1) Vinyasa Krama triangle subroutines (7) vinyasa krama tt course (2) vinyasa krama videos (1) Vinyasa Krama Yoga Osaka (1) Vinyasa Krama yoga Teacher Training program (1) Vinyasa Yoga (1) Vinyasa Yoga for Youth (1) Vinyasa Yoga practice book (1) VINYASA YOGA PRACTICE BOOK 2ND ED. (1) viparita chakrasana (13) viparita dandasana (3) Viparita Salabhasana (4) vipassana (1) vipraita salambhasana (1) Virabhadrasana (1) Virabhadrasana lift (1) Viranchyasana (3) Viranchyasana A (2) Viranchyasana B (1) Virasana (1) Visesha vinyasa (1) Visvamitrasana (1) Vital points (1) VK arm balance series (1) VK Asymmetric seated sequence (8) VK Bow sequence (2) VK Inverted sequence (2) VK Lotus sequence (2) Vk Meditative poses sequence (1) VK On one leg sequence (9) VK On your feet sequence (5) VK Seated Sequence (10) VK supine sequence (5) Vrischikasana (1) Vrschikasana (1) wabi wabi (1) waht is a Mysore room (1) Warrior stance (1) Washer Woman's syndrome (1) Washing yoga clothes (1) washing yoga towels (1) Watching guruji practice (1) waterproof iPad (1) Way of the pilgrim (1) Whast is Mysore style (1) What I believe (1) What is Ashtanga (1) What is Ashtanga really (1) What is yoga (2) What is Yoga to me (1) What's changed in Ashtanga (2) What's in a name (1) What's not wrong with Ashtanga (1) When I'm laid in the Earth. (1) Where to practice yoga (1) Why meditation (1) Why practice yoga (1) why rest on moon days (1) Why Yoga (1) wide angle lens (1) Wild Yogi magazine (1) Wildyogi (1) William j Broad (1) willing suspension of disbelief (1) Winnipeg Yoga Shala Canada (1) winter clothing (1) Winter practice (2) Woman and Ashtanga (1) Woman and Yoga (1) Workshop (1) workshop. (1) workshops (1) Wrist pain in Ashtanga (1) Wyatt (2) Wyatt Denney (3) yama (1) yama niyama (5) yamas and niyamas (1) Yamini Murthanna (1) Yamini Muthanna (1) Yoga (4) Yoga Anatomy (1) Yoga and aeging (1) yoga and ageing (1) Yoga and modern medicine (1) Yoga and Motherhood (1) Yoga and Osteoporosis (1) Yoga and pregnancy (4) yoga and Spinal health (1) yoga and Sport (1) Yoga and superheros (1) Yoga and the Spine (1) Yoga and weight (1) Yoga and Women (1) Yoga as it was (1) yoga as sport (1) Yoga bibliography (1) yoga bloopers (2) Yoga Body (3) yoga bookshelf (1) Yoga bookshelves (1) Yoga Campus (1) yoga class size (1) Yoga Dandasana (1) Yoga for Diabetes (1) Yoga for joints (1) Yoga for the three stages of life (3) Yoga for women (1) Yoga for youth (1) Yoga Fundamentals course (1) YOGA GLOSSARY (1) Yoga Gurandam (1) Yoga History (1) Yoga in Britain (1) Yoga in post war Britain (1) yoga in schools (1) Yoga in the west (1) Yoga in UK (1) yoga is not antithought (1) Yoga Journal (2) Yoga Korunta (8) yoga korunti (1) Yoga Makaranda (22) Yoga makaranda ( part II) (1) Yoga Makaranda asana (1) Yoga makaranda asana list (1) Yoga Makaranda part 2 (1) Yoga Makaranda Part II (2) Yoga makaranda translation. (1) yoga makaranda. (1) Yoga mala (1) Yoga mat bags (2) Yoga mat bags from recycled Kimono's (1) Yoga matbags from recycled kimono material (1) Yoga Meditation (4) Yoga Mela Kripula (1) Yoga mudra (1) Yoga Nidra (1) yoga of action (1) yoga of motion (1) Yoga of the Yogi (1) Yoga on film (1) Yoga on Santorini (1) Yoga Philosophy (7) Yoga Philosophy of Patanjali (2) Yoga raading list (1) yoga rahasya (1) Yoga Rainbow festival (6) Yoga reading list (1) Yoga Science (1) yoga selfies (1) Yoga sex scandals (1) Yoga shorts review (2) yoga Styles (1) Yoga sutra 1:33 (1) Yoga sutra chanted (1) Yoga Sutras (14) Yoga Sutras II-49 (1) Yoga Sutras in plain English (1) Yoga Sutras transliteration (1) Yoga Taravali (1) yoga taravali chant (1) Yoga teacher training. (1) Yoga Therapy (2) Yoga therapy articles (1) Yoga Therapy for Children with Special Needs (2) Yoga tradition of the Mysore palace (1) Yoga Unveiled (1) Yoga Vasistha (1) Yoga Workshop (1) Yoga Workshop USA (1) Yoga yajnavalkya (1) Yoga Zagreb Croatia (1) Yoga: Tradition in the Eyes of Modernity (1) yoga's loss of meaning (1) Yoga's loss of purpose (1) Yoga=Addiction? (1) Yogacarya Krishnamacharya - The Purnacarya (2) Yogacarya Krishnamacharya - The Purnacarya. Edited by Mala (1) YogaGlo (1) Yogakriyas (1) Yogamatters (2) Yoganidrasana (1) Yogāsana-Jaina (1) Yogasanagalu (44) Yogasanagalu asana list (1) yogasanagalu translation (5) Yogasanagalu. (1) Yogasanagalua (1) Yogasynergy (1) Yogavataranam (1) Yogayajnavalkya (1) Yogeshwara Ramamohana Brahmachari (1) Youtube videos (1) YS I:14 (1) Yurt Norfolk camping (1) Yvonne Millerand (2) Yyvonne milerand (1) Zen Bones. Centering practice (1) zen circles (1) Zen Flesh (1) Zen training (1) Zoë Slatoff-Ponté (1)

A Reminder

from Kalama sutra, translation from the Pali by Bhikkhu Bodhi This blog included.

"So, as I said, Kalamas: 'Don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, "This contemplative is our teacher." When you know for yourselves that, "These qualities are unskillful; these qualities are blameworthy; these qualities are criticized by the wise; these qualities, when adopted & carried out, lead to harm & to suffering" — then you should abandon them.' Thus was it said. And in reference to this was it said.

"Now, Kalamas, don't go by reports, by legends, by traditions, by scripture, by logical conjecture, by inference, by analogies, by agreement through pondering views, by probability, or by the thought, 'This contemplative is our teacher.' When you know for yourselves that, 'These qualities are skillful; these qualities are blameless; these qualities are praised by the wise; these qualities, when adopted & carried out, lead to welfare & to happiness' — then you should enter & remain in them. Buddha - Kalama Sutta
Creative Commons License
Ashtanga Vinyasa yoga at home by Anthony Grim Hall is licensed under a Creative Commons Attribution 3.0 Unported License.
Permissions beyond the scope of this license may be available at http://grimmly2007.blogspot.co.uk/.