This blog is essentially 'sleeping'.

I've deleted or returned to draft 80% of the blog, gone are most, if not all, of the videos I posted of Pattabhi Jois, gone are most of the posts regarding my own practice as well as most of my practice videos in YouTube, other than those linked to my Vinyasa Yoga Practice Book).

Mostly I've just retained the 'Research' posts, those relating to Krishnamacharya in particular.

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Saturday, 26 July 2014

Old Illustrations ( Cheat Sheets) of Ashtanga Series

Kristina turned up with an old file of Ashtanga material last night, gave it to me to go through to see if there was anything of interest. Yep, all kinds of treasures buried away. What I loved most though were all these old illustrations, 'cheat sheets', of the Ashtanga series, I love them and couldn't wait to share.

Update: Just got a few notes from Kristina on credits.


First up is a version of 3rd series that Kristina just had laminated in the shala (just heard it was drawn by Liz Lark), I was using this at the end of last week to remind me of the series ( I practised up as far as Purna matsyendrasana on top of 2nd on my Birthday Thursday).

By Liza Lark Story goes, Liz was making a trip to Mysore and Derek asked her to come up with a 3rd series sheet.

This seems to be another version of the one above (different artist though we think), think I like it better, especially the kukkutasana.


This was a nice surprise a sample of Lino Miele's famous poster with a note from Lino to Derek on the back introducing the poster.


Below the first Ashtanga book? This was used at The Practice Place back in the, what,  late 80's early 90's.

The Practice place, Crete

My understanding is that Derek Ireland asked John Scott to draw these back when John was working at The Practice Place on Crete, seems many current Ashtanga teachers worked there at some time or other, Hamish Hendry, Gingi Lee, Alex Medin...to name but a few








This one I've seen somewhere before, sure I have a copy of it somewhere by Monica.... can't quite read the surname ( will research).


This is one of my favourites. a mixture of Advanced A and B. I've heard mention before that Advanced A and B were supposedly one series, that doesn't seem to fit as we have Nancy and David's 1973 syllabus which includes Advanced A and B and is supposed to correspond to Pattabhi Jois' original Sanskrit College syllabus from the late 30s, early 40s. Krishnamacharya of course had just the one advanced series or 'Proficient group' but there doesn't seem to be any recognisable order (see my previous post).


This is interesting, I noticed that in Kristina's shala there is no lift included after utkatasana and virabhadrasana. That's curious because it's there in Yoga Mala so as 'old School' as you get. But look below there are the two lifts but crossed out and they don't appear on the John Scott Tripetra sheets above. Strange when you think of Derek's love of handstands/arm balances.


This is Cute ( by Katerina Zougrou) and was in the same sleeve as the sheet above, no idea what it's doing there or what's going on but I love it. Kristina just told me that this was an intro to Ashtanga for her over 60's before moving them on to Sun salutations.

by Katerina Zougrou
by Katerina Zougrou
by Katerina Zougrou
These next couple seem to be from Jean-Claude Garnier (Brussels).



The next couple show how Iyengar's light on Yoga was used as a resource, found several references to it in the folder. here it was used for translations of all the names of the asana.








At first I thought these were illustrations of a woman  practising Ashtanga but I'm currently uploading a video of Derek Ireland teaching a class in Helsinki in 1989 and he has that mane of blond hair of his up in a high ponytail, are these supposed to be illustrations of Derek?



And these are the current 'cheat sheets' At Kristina's Rethymno Shala, it's Apollo practising the Ashtanga series. I believe these may be available to buy if you contact the shala http://www.yogapractice.gr


Showing just the primary here but there are sheets from Sury's to Intermediate



Posts from Kristina's old Ashtanga file



1988 Yoga Journal Ashtanga yoga with Pattabhi Jois interview/article inc. 10 second inhalation, 10 second exhalation

Tuesday, 29 July 2014
1989 Helsinki: Derek Ireland Teaching Ashtanga Primary. "Derek Ireland 'invented the talk through Primary" John Scott

Tuesday, 22 July 2014

Krishnamacharya's breath control... in bullet points

Nice fb update from Ramaswami (Krishnamacharya's student of over 30 years) this morning who is currently teaching his TT at LMU in LA



"Sri Krishnamacharya's yoga was (is) breath based. According to some upanishads, we breathe about 21.600 times every 24 hour day, which works out to about 15 per minute, which can easily be confirmed. It is common belief among traditionalists that one's life is predetermined in number of breaths, Hence breathing longer is in everyone's interest. In Sri Krishnamacharya's yoga the vinyasas are done at the rate of about 5 to 6 per minute as against the normal 15 per minute. The static poses like Sirsasana, Mahamudra, Paschimatanasana, Sarvangasana and others are done at about 3 to 2 breath rate. Pranayama, especially mantra-pranayama is done at the rate of 2 to 1 breath per minute. His chanting of vedic passages would be at the breath rate of 3 or less per minute. His phenomenal OM chant would be between 2 to 1 per minute. An hour or 90 minutes of Yoga as taught by Krishnamachatya should give health and longevity. I am unable to associate Krishnamacharya yoga without breath control". Srivatsa Ramaswami

Lets put that into bullet points.

In Sri Krishnamacharya's yoga .....


  • The vinyasas are done at the rate of about 5 to 6 per minute as against the normal 15 per minute. 



  • The static poses like Sirsasana, Mahamudra, Paschimatanasana, Sarvangasana and others are done at about 3 to 2 breath rate. 



  • Pranayama, especially mantra-pranayama is done at the rate of 2 to 1 breath per minute. 



  • His chanting of vedic passages would be at the breath rate of 3 or less per minute. 



  • His phenomenal OM chant would be between 2 to 1 per minute. 



  • An hour or 90 minutes of Yoga as taught by Krishnamachatya should give health and longevity. 


Sunday, 20 July 2014

The Vena and the spine, Teaching In Chania and 'rest day', walking the 16km Samaria gorge.

Krishnamacharya supposedly studied the vina for three years?

"Note:The human spine is comparable to the vina, an ancient Indian string instrument,the vertebrae of the spine being likened to the nodes of the vina. The practice of mula bhandha tightens the base of the spine, similar to the tightening of the vina at its base. Only when the strings are properly tightened and in proper tension, is the sound (nada) from the vina proper." P65 Yogayajnavalkya

Nekatarios' Rudra Veena
"There are many resemblances between the human body (God made Veena) and man made Veena. 

These secrets are revealed in a book by name, “SANDHYA VANDANEEYA TATVARTHA” and “VEDA PRAKASIKE” written and published by Mr. YEDA TOREY SUBRAMANYA SARMA in Kannada language in the year 1936. Many secrets of Veena were mentioned in this book. A few points are given below: 



Veena has 24 frets, 4 strings on the frets and 3 on the side. 

The top 1st string Sarani indicates – the RigVeda 2nd string Panchama indicates – YajurVeda 3rd string Mandara indicates – Sama Veda 4th string Anumandra indicates the AtharvaVeda. 

All these 4 strings bear the Suddha Satva guna.

The 24 frets get their importance by the nada produced from them and not because of the metal used.
As we see in the universe the three states viz., creation, sustenance and merger (Srusti, Shiti and Laya) even in Nada we see the same three states.Likewise, the 24 frets representing 12 Sruthees in two octaves (24) indicate the 24 letters (Aksharas) of GAAYATHRI MANTHRA. “TAT SAVITUR VARENYAMBHARGO DEVASYA DHEEMAHIDHIYO YONAH PRACHODAYAT” 

Veena has been compared to human body:

The human back-bone (Spinal Chord) stands straight from the Mooladhara (the seat of the body) up to the head.In the top of the head exists the Brahma Randhra. 

Just like the 24 frets of the Veena, human back bone has 24 divisions. According to the anatomy, the back bone has 7 cervicles, 12 thorasic and 5 lumbar vertibraes.

In Veena the distance between each fret is broad in the lower octaves and becomes less while proceeding towards the higher octaves. Similarly the back bone is thick at the Mooladhara and the distance between each ring becomes less while proceeding towards the Brahma randhra.

The Mandara Sthaayi Swara starts from the seat point of the human back bone and as it proceeds towards the Brahma Randhram situated in the Sahasraram, the pitch or sruti increases. It is here, where the life of music is situated.

The nada born out of the union of prana (life) and agni (fire) starts from the Mooladhaara at low sruti and reaches the Sahasrakamala crossing the Swaadhisthana, Manipoora, Anaahata, Visuddha, Aagna, the Shadchakras. In this course the sruti (pitch) increases.

This shows the resemblance between the Daivi Veena and man made Veena. So it is definite that to attain Moksha nada yoga is a correct path, and for practising nada yoga Veena is an appropriate instrument".

Section in italics above from here http://www.theveena.com/veena/daive-and-manushi-veena.html


"Its big bowl (kudam) is like the human head. 

The finger- board that is connected to the curved end with the dragon or yaali is compared to the human spinal column. 

The 24 frets are compared to the vertebrae and also the 24 syllables of Gayatri mantra. 

The 4 main strings are the major nerves which symbolize the four vedas – Rig, Yajur, Saama, and Atharvana veda, and the four yugaas- Kruta, Treta, Dwapara and Kali and also the four stages of human life – dharma(duty), artha(material gain), kama(worldly pleasures) and moksha(ultimate salvation). 

The three drones represent the three Upanishads. 

The re-tuning of the main strings is compared to the philosophical concept of the individual or the jeevatma strayed by the Karmic actions, to be in tune with the Paramatma. 

The tuning pegs or the birudais where the strings are tied are the symbol of mind that controls everything. The yaali (dragon) itself symbolizes courage and the triumph over evil".



****

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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

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