The Art of Sacred Chanting – Monthly Veda Mantra and Chant Saṅga

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The Art of Personal Sādhana aims to reflect the fundamentals of Śrī T Krishnamacharya teaching, namely transmission occurs through the direct experience of the teacher with the student’s personal Practice and Study Sādhana through 121 Lessons and Small Study Groups limited to a maximum of five students.

Monthly Group Veda Mantra Chanting Saṅga in the Cotswolds 2017-2018

As well as the Individual Lesson, Weekend Workshop and Longer Course intensive study options through:

A Free Monthly Veda Mantra Chant Class is offered in the Cotswolds as a support for all interested in exploring, learning and experiencing the ancient Art of Veda Mantra as a Sacred Sādhana.

Each monthly meeting will introduce the student to the primary principles and teachings from T Krishnamacharya and TKV Desikachar on the Art of Sounding and authentic Veda Mantra Chanting.

Each meeting will focus on developing the principles of Veda Mantra Chanting and authentic Saṃskṛta Mantra practice through practical experience along with theory teaching on Chant and Saṃskṛta.

“Sound is something that takes you in the direction of its origin.”
– TKV Desikachar

Veda Mantra Chanting in small groups allows interested students from all backgrounds to practice with the added support of others and benefit from the group dynamic. Small group classes can also support developing or enhancing a personal practice.

“To share Chanting is to share an experience of silence through listening,
a process of healing, and a link with nature, the deeper self and the divine.”
– TKV Desikachar

The Art of Veda Mantra Chanting Class is limited to a maximum of five students to allow for a personalised approach, interactive teaching and in-depth transmission between student and teacher.

Meetings will be at Paul’s home studio, near Stroud, monthly on Wednesdays from 6.45 – 8.00pm.

Upcoming Dates. Please contact Paul to discuss dates and places.

The Monthly Veda Mantra Chanting Class is free and all are welcome to join, though a consistent commitment would be helpful for both student and teacher.

As the group will be limited to a maximum of five students please contact Paul to confirm a place is available. The meetings will be free and there will be no fee for the ongoing sessions.

viniyoga Vignette 4 – Combining Prāṇāyāma within Āsana

Mid Range Movement in Āsana

A short end of study day 25′ evening practice from the second day of three day Practitioner Training Programme Module. Here the primary Bhāvana or theme was to offer a practice to conclude what would have been in itself a long day of study as well as internalising the student away from the accumulative stresses from two long days of training input.

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Yoga Sūtra Chanting for the Mind……

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Temple Chanting in Ansuyadevi on Pañca Kedar

Yoga Sūtra Chanting for the Mind.
Veda Mantra Chanting for the Soul.

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108 Postural Practice Pointers – 3 – Forward Bending and the Abdomen

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Postural Pointer 3 – Forward Bending and the Role of the Abdomen

When moving into Paścimatāna Āsana such as Uttānāsana.
Better to pull back from the abdomen.
Rather than pushing forward from the lower back.

The Art of Sounding, Sūtra and Mantra – Module One Sacred Sādhana Chant Workshop October 13/14th 2018

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Module One Art of Sounding and Chanting Workshop
– Free your Voice as a Way to Experience the Source of Vibration

The Art of Sounding and Chanting – Module One Sacred Sādhana Workshop is limited to around five students to allow for a personalised approach, interactive teaching and in-depth transmission between teacher and student. The 2 day workshop introduces the student to the primary principles and teachings from T Krishnamacharya and TKV Desikachar on the Art of Sounding and Chanting.

It is for a small group of around five students and offers a two day opportunity for a student from any Yoga background or style to have an in-depth introduction to the essential principles, practices and teachings that underpin the practice and teaching of Sound, Yoga Sūtra and Veda Mantra Chanting practice and how they can inspire and guide our personal Yoga practice and study Sādhana, either for personal development or, if relevant, professional skills.

Follow the link above for further details of the Sound, Sūtra and Mantra Module One Workshop.

After completing the prerequisite Module One Sounding and Chanting Workshop the student can choose to further their practice skills and specific chanting interest through either, Yoga Sūtra Intermediate and Advanced Module Courses, or Veda Mantra Intermediate and Advanced Module Courses, according to whichever route appeals most to their learning wishes and, if relevant, professional intentions.

Continue Reading for full details and fees

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Chanting Offering for Mahā Śiva Ratri

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Six Verses on Nirvāṇa

They are said to have arisen as a spontaneous response to the question “Who Am I”
With the climax of each of the six verses:
Cit Ānanda Rūpaḥ Śiva Ahaṃ Śiva Ahaṃ
That Form of Pure Awareness and Bliss, I am Śiva, I am Śiva

From my personal library of recordings from my studies with my teacher TKV Desikachar.
To Download or Listen
To Download the Chant Sheet with Romanised Saṃskṛta and Translation

viniyoga Vignette 3 – Śītalī and Anuloma Ujjāyī Prāṇāyāma within Āsana

Mid Range Movement in Āsana

A short end of study day 25′ evening practice from the first day of three day Practitioner Training Programme Module. Here the primary Bhāvana or theme was to offer a practice to conclude what would have been a long day with both study and travelling to the venue that morning from various parts of the country.

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108 Postural Practice Pointers – 2 – Jumping and the Bahya Kumbhaka

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Postural Practice Pointer 2 – Jumping and the Bahya Kumbhaka

Jumping should be soundless and always on the Bāhya Kumbhaka or pause after the exhale.

Nāma, Rūpa, Lakṣana – The Name, Form and Characteristics of Āsana

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The Aṣṭāṅgāsana or the eight limbs of Āsana Planning and Practice are the formula for constructing a skilful and place, time and lifestyle appropriate Āsana practice. These eight limbs fall into eight categories, that of:

  • The definition, meaning and context of Āsana
    – Core concept – Nāma Rūpa Lakṣana – name, form and characteristics
  • How Āsana are arranged into groups and categories
    – Core concept – Vinyāsa Krama – collecting postures together
  • How counterpostures or Pratikriyāsana are integrated
    – Core concept – Pratikriyāsana– maintaining the balance
  • The value and purpose of the breath in Āsana
    – Core concept – Prāṇāpāna Dhāraṇā – where the focus is
  • How movement or stay are used in Āsana 
    Core concept – Circulation and Purification – dynamic and static
  • The adaptation of Āsana practice
    – Core concept – Variation and Modification – change and necessity
  • Intelligently planning and Āsana practice
    – Core concept – Bṛṃhaṇa and Laṅghana Kriyā – connecting postures together
  • Observation within Āsana practice
    – Core concept – Spine, Breath and Attention – learning to look

In my last post on Aṣṭāṅgāsana I talked about introducing each of these eight topics to help the reader to appreciate more about what is inherent in the depth and breadth of this approach in terms of Āsana planning having a precise and comprehensive formula.

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Aṣṭāṅgāsana – The eight limbs of Āsana Planning and Practice

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With nearly 2000 Posts and Resources on the site I have been reflecting on how to expand the access points and yet simplify the reader experience for visitors. So I started by looking at the Blog Page by reviewing the broad topic categories and considering the need to re-organise the groupings as well as increasing the  range of related topics within the sub-groupings.

The first general topic in the Journal is that of Posts on Yoga Practice and its five main areas for study are:

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Yoga Postures in Practice – A series on Āsana by Paul Part 3 Uttānāsana

Part Three – Moving from our Spine with Uttānāsana

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This is the third in a series of articles presenting the core principles for Āsana practice as taught to me through many years of personal lessons in India with my teacher TKV Desikachar.

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Commentary on viniyoga Vignette 2 – Combining techniques in Prāṇāyāma

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For those who read the viniyoga Vignette post 2 on combining techniques in Prāṇāyāma from two days ago, I would add some observations around rationales on the choice and order of the techniques involved.

Step 1.
Śītalī Inhale with Ujjāyī Exhale
1.½.1.0 for 8 breaths
Step 2.
Anuloma Ujjāyī
1.½.1½.0 for 8 breaths
Step 3.
Pratiloma Ujjāyī
1½.0.1½.0 for 8 breaths
Step 4.
Ujjāyī
½.0.½.0 for 8 breaths

For example, starting with Śītalī could be useful for several reasons such as mid-afternoon being a time when there can be an energetic slump and the use of a open mouth inhale with the head raising to encourage volume, coupled with the Antar Kumbhaka, can offer a tonic for the system.

Step 1.
Śītalī Inhale with Ujjāyī Exhale
1.½.1.0 for 8 breaths

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viniyoga Vignette 2 – Combining techniques in Prāṇāyāma

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A short mid-afternoon Prāṇāyāma practice from a year one Practitioner Training Programme, to offer an example of how to combine three different Prāṇāyāma techniques within a single Vinyāsa Krama.

Step 1.
Śītalī Inhale with Ujjāyī Exhale
1.½.1.0 for 8 breaths
Step 2.
Anuloma Ujjāyī
1.½.1½.0 for 8 breaths
Step 3.
Pratiloma Ujjāyī
1½.0.1½.0 for 8 breaths
Step 4.
Ujjāyī
½.0.½.0 for 8 breaths

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viniyoga Vignette 1 – Antar and Bāhya Kumbhaka in Āsana

Mid Range Movement in Āsana

A short pre-lunch 25′ practice from the first day of the two day Module One Haṭha Energetics Workshop.

As well as emphasising the use of Jihvā and Jālandhara Bandha, the primary Bhāvana or theme was to explore the application of and response to the introduction and accumulative intensification of Antar Kumbhaka (AK) and Bāhya Kumbhaka (BK) throughout the practice.

I would emphasise that this is an example of a unique situation that existed at that moment and thus reflects an expression of a study point or the students group dynamic as a need at that moment.

Yet within this caveat, this example of a short but intensive practice, whilst not to be taken as a fixed template, also reflects the richness and multifarious possibilities in how the principles in the viniyoga of Yoga can be expressed as learning and experiential tools within a myriad of situations and personalities.

If there is a sketch quality in the PDF copy it is because these practices were not preplanned and were being notated as they unfolded whilst teaching the group. This also meant I could photocopy them as the practice concluded so copies were immediately available for reflection, reference and discussion.

Link to view or download this Practice as a PDF

This way I have collected hundreds of handwritten Yoga practice examples

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Some years ago now I changed the process around how students notated various practices I taught for groups within Student Training Courses or Practitioner Training Programmes.

My methodology previously had prioritised students learning the skills of being able to remember and context what they had just practiced by also being able to recall and then record it accurately. This was part of cultivating personal practice skills, as well as helping in establishing the art of keeping a practice journal over a several year period.

Thus I would teach a small group of students, studying within the contexts of either personal study courses or professional training programmes, a practice and then wait, before perhaps writing it on the board, for it to be notated down from the student’s memory and then we would at some point discuss it and its context to the current situation.

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Chanting is a practice that uses language to experience ‘That’……

ganesa

Chanting is a practice that uses language
to experience ‘That’ which is beyond language.