Principles and Methods of Yoga Practices
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Heart Rate Variability in Response to a 3-Day Kumbhaka Pranayama Practice Tara N
Heart Rate Variability in Response to a 3-day Kumbhaka Pranayama Practice Tara N. Riley1, Daniel B. Houston2, Sarah Y. Gingrich3, Cristina Houston2, Edward J. Ryan1, Andres E. Carrillo1,4. 1Chatham University, Pittsburgh, PA, 2Mind Tribes, Houston, TX, 3Create Karma, Lancaster, PA, 4Move-COR, Pittsburgh, PA Pranayama is a breathing practice commonly utilized in yoga and meditation. Research has demonstrated that Pranayama may improve lung function in athletes and induce parasympathetic withdrawal as assessed via heart rate variability (HRV). The specific Pranayama practice of Kumbhaka functions to restrict and briefly retain the breath at the peak of inhalation and exhalation, respectively, to intentionally expose the respiratory system to increased stress/pressure. PURPOSE: The purpose of this study was to assess HRV in response to a 3- day Kumbhaka Pranayama intervention. METHODS: HRV was assessed in four healthy adults (2 males, 2 females; age: 34.0 ± 4.6 years; BMI: 21.9 ± 2.3 kg/m2) while at rest in a supine position for four minutes prior to and following a Kumbhaka Pranayama intervention for three consecutive days. Six HRV indices representing time and frequency domain measures were calculated from R-R interval data collected using a heart rate monitor. RESULTS: A main effect of time was found for the square root of the mean of squared differences between successive R– R intervals (RMSSD) revealing a decrease in RMSSD (pre: 40.7 ± 23.3 ms; post: 32.3 ± 14.9 ms) during the Kumbhaka Pranayama sessions (p ≤ 0.05). No other significant differences in HRV indices were found (p > 0.05). -
Ruth Ann 6 29 18 IYASE June 2018
Intermediate Junior II Level Practice June 2018 Courtesy of: Sequence created & modeled by: Ruth Ann Bradley, Intermediate Junior II CIYT, founder and owner of the Yoga Institute of Broward in Cooper City, Florida Photos by Jim Bunce “Yoga teaches us to cure what need not be endured and endure what cannot be cured.” - B.K.S. Iyengar Ruth Ann Bradley is an Intermediate Junior II Certified Iyengar Yoga Teacher. She is the founder and owner of the Yoga Institute of Broward in Cooper City, Florida, established in 1998. (www.yogabroward.com) Ruth falls in the ranKs of countless others that have turned to Iyengar yoga to find relief and healing after a life-changing event. A horse racing accident in 1985 left her with numerous broKen bones in her leg, anKle and foot. With the help of Iyengar yoga, she feels she was better equipped to deal with the 28 years of chronic pain that eventually led her to a Total AnKle Replacement in 2013. Ruth says: “My attraction to yoga started at a young age when I spotted one of those ‘pocKet booKs’ sold at the grocery store checKout lines. At the time, the booK cost maybe 25 cents and the photo on the front was a woman standing on her head. I convinced my mother to buy it for me and that is what started my yoga practice. It was the greatest gift she gave me, just as it is said that the inverted poses are the greatest gift to humanity.” In addition to her travels to India to study with the Iyengar family, she continues her studies with Colleen Gallagher, Mary Reilly and Manouso Manos. -
Yoga Makaranda Yoga Saram Sri T. Krishnamacharya
Yoga Makaranda or Yoga Saram (The Essence of Yoga) First Part Sri T. Krishnamacharya Mysore Samasthan Acharya (Written in Kannada) Tamil Translation by Sri C.M.V. Krishnamacharya (with the assistance of Sri S. Ranganathadesikacharya) Kannada Edition 1934 Madurai C.M.V. Press Tamil Edition 1938 Translators’ Note This is a translation of the Tamil Edition of Sri T. Krishnamacharya’s Yoga Makaranda. Every attempt has been made to correctly render the content and style of the original. Any errors detected should be attributed to the translators. A few formatting changes have been made in order to facilitate the ease of reading. A list of asanas and a partial glossary of terms left untranslated has been included at the end. We would like to thank our teacher Sri T. K. V. Desikachar who has had an inestimable influence upon our study of yoga. We are especially grateful to Roopa Hari and T.M. Mukundan for their assistance in the translation, their careful editing, and valuable suggestions. We would like to thank Saravanakumar (of ECOTONE) for his work reproducing and restoring the original pictures. Several other people contributed to this project and we are grateful for their efforts. There are no words sufficient to describe the greatness of Sri T. Krishna- macharya. We began this endeavour in order to better understand his teachings and feel blessed to have had this opportunity to study his words. We hope that whoever happens upon this book can find the same inspiration that we have drawn from it. Lakshmi Ranganathan Nandini Ranganathan October 15, 2006 iii Contents Preface and Bibliography vii 1 Introduction 1 1.1 Why should Yogabhyasa be done . -
Kriya-Yoga" in the Youpi-Sutra
ON THE "KRIYA-YOGA" IN THE YOUPI-SUTRA By Shingen TAKAGI The Yogasutra (YS.) defines that yoga is suppression of the activity of mind in its beginning. The Yogabhasya (YBh.) by Vyasa, the oldest (1) commentary on this sutra says "yoga is concentration (samadhi)". Now- here in the sutra itself yoga is not used as a synonym of samadhi. On the other hand, Nyayasutra (NS.) 4, 2, 38 says of "the practice of a spe- cial kind of concentration" in connection with realizing the cognition of truth, and also NS. 4, 2, 42 says that the practice of yoga should be done in a quiet places such as forest, a natural cave, or river side. According NS. 4, 2, 46, the atman can be purified through abstention (yama), obser- vance (niyama), through yoga and the means of internal exercise. It can be surmised that the author of NS. also used the two terms samadhi and yoga as synonyms, since it speaks of a special kind of concentration on one hand, and practice of yoga on the other. In the Nyayabhasya (NBh. ed. NS. 4, 2, 46), the author says that the method of interior exercise should be understood by the Yogasastra, enumerating austerity (tapas), regulation of breath (pranayama), withdrawal of the senses (pratyahara), contem- plation (dhyana) and fixed-attention (dharana). He gives the practice of yoga (yogacara) as another method. It seems, through NS. 4, 2, 46 as mentioned above, that Vatsyayana regarded yama, niyama, tapas, prana- yama, pratyahara, dhyana, dharana and yogacara as the eight aids to the yoga. -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Choreographers and Yogis: Untwisting the Politics of Appropriation and Representation in U.S. Concert Dance A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Jennifer F Aubrecht September 2017 Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Anthea Kraut Dr. Amanda Lucia Copyright by Jennifer F Aubrecht 2017 The Dissertation of Jennifer F Aubrecht is approved: Committee Chairperson University of California, Riverside Acknowledgements I extend my gratitude to many people and organizations for their support throughout this process. First of all, my thanks to my committee: Jacqueline Shea Murphy, Anthea Kraut, and Amanda Lucia. Without your guidance and support, this work would never have matured. I am also deeply indebted to the faculty of the Dance Department at UC Riverside, including Linda Tomko, Priya Srinivasan, Jens Richard Giersdorf, Wendy Rogers, Imani Kai Johnson, visiting professor Ann Carlson, Joel Smith, José Reynoso, Taisha Paggett, and Luis Lara Malvacías. Their teaching and research modeled for me what it means to be a scholar and human of rigorous integrity and generosity. I am also grateful to the professors at my undergraduate institution, who opened my eyes to the exciting world of critical dance studies: Ananya Chatterjea, Diyah Larasati, Carl Flink, Toni Pierce-Sands, Maija Brown, and rest of U of MN dance department, thank you. I thank the faculty (especially Susan Manning, Janice Ross, and Rebekah Kowal) and participants in the 2015 Mellon Summer Seminar Dance Studies in/and the Humanities, who helped me begin to feel at home in our academic community. -
Personality Development Through Yoga 121
Personality Development Through 9 Yoga 9.1 INTRODUCTION Development of personality is an important issue. Personality starts developing since birth, but it assumes great importance during adolescence, when reorganisation of personality takes place. Personality is a very common term which is used in our day-to-day life. It tells us what type of person one is. We know that each person generally behaves consistently in most of the situations. The examples of this consistency can be seen in a person who remains friendly or a person who is generally kind or helpful in most situations. Such a consistent pattern of behaviour is termed as personality. It can be called as the sum total of behaviour that includes attitudes, emotions, thoughts, habits and traits. This pattern of behaviour is characteristic to an individual. There are various dimensions of personality. These dimensions are related to physical, emotional, intellectual, social and spiritual aspects of our behaviour. For a holistic personality development, yoga plays an important role. 9.2 YOGA AND PERSONALITY DEVELOPMENT Yogic practices are found effective for development of all dimensions of personality. Let us talk about the yogic practices that influences development of different dimensions of personality. Yoga and Physical Dimension of Personality: Physical dimension is related to our body. It means that all organs and systems of our body should be properly developed and function. It implies a healthy body without any disease. Yogic practices like asana, pranayama, and bandha play a beneficial role in physical development of children. There is a series of asanas and pranayamas which help to improve the functioning of the body. -
Detoxification and Traditional Hatha Yoga(New)
Detoxification in Hatha Yoga and Ayurveda By Mas Vidal Introduction The Hatha Yoga Pradipika (HYP) is a unique text of the Nath yogis that enumerates some interesting methods for purifying the body. Swami Svatmarama, the chief disciple of Swami Goraknath authored it during the medieval period. Evidently, Matsyendranath, founder of the Nath (synonym for Shiva) cult along with Goraknath understood clearly the importance of mind- body purification as requisites for spiritual evolution and thus created a six-fold system (shat- karma) of detoxification. This popular yoga text is composed of four chapters. In brief, the first chapter deals with postural yoga (asana); chapter two deals with the six actions of purification (shatkarma and pranayama); chapter three describes the physical gestures and energy locks (mudras and bandhas), and chapter four discusses spiritual liberation (samadhi). The placement of the shat-karmas (purification practices) in the second chapter prior to the last chapter on samadhi (liberation) indicates the importance of having a clean bodily house to attain spiritual freedom. This article highlights the correlation the detoxifying actions described in chapter two of the HYP with those mentioned in the main Ayurvedic text, Charaka Samhita. Interestingly, the HYP methods have much in common with those used in Ayurveda, yoga’s sister science of self-healing. Similarly, Ayurvedic mastermind Charaka, devised a five-fold system (pancha karma) for purification of the doshas (vata, pitta & kapha) to improve the mind-body relationship. The concept of detoxification, which boldly appears in both yoga and ayurvedic systems, demonstrates a long history of inter-connectedness between the two sciences. -
Sequence for Kurmasana
Courtesy of: Intermediate Junior II Level Practice March 2018 Sequence created and modeled by Waraporn (Pom) Cayeiro, Intermediate Junior II, Miami, FL Waraporn (Pom) Cayeiro graduated as a physical therapist in her native Thailand. In 2007, she moved to Miami and started teaching yoga. She was trained at the Yoga Vidya Gurukul (Nasik, India), and then travelled to Pune three times to study at the Ramamani Iyengar Memorial Yoga Institute (RIMYI). While at RIMYI, she found her passion to help others with the traditional Iyengar method of yoga. Her mentor and teachers are Dean Lerner, Rebecca Lerner, James Murphy, Lois Steinberg and Colleen Gallagher. She is Co-Director of Miami Beach Iyengar Yoga Center since 2014. Sequence for Kurmasana Approximate Time: 90 minutes Props required: 1 mat, 1 bolster, 1 strap, 4 blankets Adho Mukha Svanasana • Press the hands into the floor and straighten your arms. Downward Facing Dog Pose • Roll your inner upper arms out and move the shoulder blade in toward the front chest and up toward the buttocks. • Press the front of your ankles, shins, and thighs back. • Extend the calves toward the heels and extend from the back of the knees toward the buttocks. • Lift the buttock bones upward. • Stretch from the outer hips down toward the outer heels. 1 Padahastasana • From Uttanasana, place the hands under the feet. Hands to Feet Pose • Stretch both legs fully extended. • Spread the buttock bones and lengthen the spine. • Lengthen the armpits towards the elbows, and from the elbows to the hands. • Pull the hands up, while pressing the feet downward towards the floor. -
Yoga and the Five Prana Vayus CONTENTS
Breath of Life Yoga and the Five Prana Vayus CONTENTS Prana Vayu: 4 The Breath of Vitality Apana Vayu: 9 The Anchoring Breath Samana Vayu: 14 The Breath of Balance Udana Vayu: 19 The Breath of Ascent Vyana Vayu: 24 The Breath of Integration By Sandra Anderson Yoga International senior editor Sandra Anderson is co-author of Yoga: Mastering the Basics and has taught yoga and meditation for over 25 years. Photography: Kathryn LeSoine, Model: Sandra Anderson; Wardrobe: Top by Zobha; Pant by Prana © 2011 Himalayan International Institute of Yoga Science and Philosophy of the U.S.A. All rights reserved. Reproduction or use of editorial or pictorial content in any manner without written permission is prohibited. Introduction t its heart, hatha yoga is more than just flexibility or strength in postures; it is the management of prana, the vital life force that animates all levels of being. Prana enables the body to move and the mind to think. It is the intelligence that coordinates our senses, and the perceptible manifestation of our higher selves. By becoming more attentive to prana—and enhancing and directing its flow through the Apractices of hatha yoga—we can invigorate the body and mind, develop an expanded inner awareness, and open the door to higher states of consciousness. The yoga tradition describes five movements or functions of prana known as the vayus (literally “winds”)—prana vayu (not to be confused with the undivided master prana), apana vayu, samana vayu, udana vayu, and vyana vayu. These five vayus govern different areas of the body and different physical and subtle activities. -
Twists As Pose & Counter Pose
Twists as pose and counter pose Open and closed twists General guidelines After back arches do open to closed twists After lengthy forward bends do closed to open twists List of Twists Even Parivritta vajrasana (kneeling) Open Bharadvajrasana 1 and 2 (half virasana half baddha) Parivritta ardha padmasana (sitting half lotus) Parivritta padmasana (sitting full lotus) Parivritta janu sirsasana (janu sitting twist) Marischyasana 1 and 2 Parivritta upavistha konasana prepreparation (wide leg sitting twist) Trikonasana (also from prasarita padottanasana and from table position twist each way) Parsva konasana Ardha chandrasana Parsva Salamba sirsasana (long legged twist in head balance) Parsva dwi pada sirsasana (legs bent at knees twist in head balance) Parsva urdhva padmasana sirsasana (lotus in head balance) Parsva sarvangasana (over one hand in shoulder balance) Parsva urdhva padmasana in sarvangasana (lotus over one hand in shoulder balance) Jatara parivartanasana 1 and 2 (supine twist legs bent or straight, also one leg bent one straight) Jatara parivartanasana legs in garudasana (supine twisting in eagle legs) Thread the needle twist from kneeling forward Dandasana (sitting tall and then twisting) Closed Pasasana (straight squat twist) Marischyasana 3 and 4 Ardha matsyendrasana 1, 2 and 3 Paripurna matsyendrasana Full padmasana supine twist (full lotus supine twist) Parivritta janu sirsasana (more extreme sitting janu twist, low) Parivritta paschimottanasana (extreme low twist in paschi sitting) Parivritta upavistha konsasana (full extreme -
Kap汧abh沚i Techniques in Selected Classical And
Yoga M¢m¡Æs¡, Vol. XLIII No. 4 : 326-347 Jan, 2012 KAPËLABHËTI TECHNIQUES IN SELECTED CLASSICAL AND MODERN YOGA TEXTS – A REVISIT SAHAY, G.S.*, BHOGAL, R.S.** ABSTRACT Kap¡labh¡ti is one of the six cleansing processes described in Ha¶hayoga. Since it is a breathing exercise, therefore, it has found its place also in the book describing Pr¡¸¡y¡mic exercises (See the book Pr¡¸¡y¡ma by Sw¡mi Kuvalay¡nanda). One of the Kumbhaka viz. Bhastrik¡ has been described as combined practice of Kap¡labh¡ti and S£ryabhedana and in a way, this kumbhaka also contains Kap¡labh¡ti as its important component. In order to find the subtleties behind the various techniques of Kap¡labh¡ti, the authors have scrutinized selected yoga texts and modern books and tried to present them analytically so that subtle differences in the various techniques of Kap¡labh¡ti could be explicitly brought out towards their possible application. Key words : Kap¡labh¡ti, cleansing process, Pr¡¸¡y¡ma, Jyotsn¡, Ha¶haprad¢ipik¡, Ghera¸·asaÆhit¡. Introduction Kap¡labh¡ti ( henceforth KB ) is one of the six cleansing processes (HP II/22) and an important practice in Ha¶hayogic curriculum which involves respiration as major tool for the practice. Perhaps, recommended before the practice of Pr¡¸¡y¡ma / Kumbhakas, this is the only practice which has been given esteemed position from the view point of its wide range of application. It has also been described as a component of Bhastrik¡ pr¡¸¡y¡ma. In modern times, we find it being recommended for various therapeutic purposes as well. -
Yoga (Level-C) (1) Ch-3.P65
Introduction to Hatha Yoga CLASS-VI 3 Notes INTRODUCTION TO HATHA YOGA Hatha yoga is an ancient spiritual yogic practice. The word 'Hatha' is composed of two syllables 'Ha' and 'Tha' which denote the 'Pingala' and the 'Ida', the vital and the mental, the solar and the lunar energies in the human system. It is the science of creating a harmony between these two energies within us so as to help us to achieve a higher consciousness in life. Classical Hatha yoga has five limbs, which are; ¾ Shatkarma:This is the six purificatory or cleansing practices, namely; • Neti • Dhauti • Basti • Nauli • Kapalbhati • Trataka OBE-Bharatiya Jnana Parampara 39 Introduction to Hatha Yoga CLASS-VI ¾ Asana: This is the physical postures. It is to gain steadiness of body and mind, freedom from disease and the lightness of limbs. Notes ¾ Pranayama: This brings the purification of the Nadis, The experience of the Pranic field, increase in the quantum of Prana and eventually leads the mind into meditation. ¾ Mudra: This is a gesture which controls and channelize the Prana (life force) in a particular way. ¾ Bandha: This means to lock or to stop. In the practice of a Bandha, the energy flow to a particular area of the body is blocked. OBJECTIVES After studying this lesson, you will be able to: • explain the importance of Hatha yoga in physical, mental, social and emotional level and • practice Hatha yoga in correct posture. 3.1 IMPORTANT TEXTS OF HATHA YOGA Hatha Yoga starts from the Annamaya Kosha (physical level), which helps to create a balance between the mind and body.