Here I am choosing not to focus on the PūrvaAṅga, the ascending or preparatory phase, nor on the UttaraAṅga, the descending or compensatory phase of the Āsana used in the VinyāsaKrama for the whole practice.
It also does not include the building in of additional techniques such as Prāṇāyāma, nor exploring the different roles Prāṇāyāma may have …
“Another thing that he made very simple,
and practical, is the use of Mahāmudrā.
This is a very well known posture now,
but when you start looking at the texts, nothing is clear there.
He has incorporated the Āsana part,
the breathing part, and the Mudrā part,
and, he feels, Mahāmudrā,
if practiced every day, prevents ill health.”
– TKV Desikachar Switzerland 1981.…
Design a personal practice focusing on using Mahāmudrā to explore the following breathing ratios:
The following guidelines are offered as a framework for this project:
a) Total of 12 breaths each side in Mahāmudrā.
b) Different ratios to be tried on different days, at least twice each ratio.
c) Add necessary preparation and compensation.
d) Prepare your practice diary under:-
– ratio chosen and breath length possible
– Show any progression steps used within each ratio
– Total time taken for practice
– Record pulse for one minute both before and after the …
In the quest for stability amidst striving in Mahāmudrā.
Do not lose the seat at the expense of holding the foot.
So hold the ankle or shin, or bend the knee slightly.
This will allow the seat to be firm and the spine to work.
According to such as the Gheraṇḍa Saṃhitā, AśvinīMudrā and Mūla Bandha are seen as very
different forms in terms of definition and application.
Regarding application, only AśvinīMudrā is focussed around
the repeated contraction of the anal sphincter muscles.
Whereas, Mūla Bandha is a single sustained contraction.
It also appears that there are differing certainties within
the modern use, definition and application of the two terms,
with a single contraction variant of AśvinīMudrā often being
passed off in ‘Krishnamacharya’ terminology, as if Mūla Bandha.
For example, Mūla Bandha being described as somethng you
take all the …
The practice of Jālandhara Bandha requires the practitioner
to keep the spine straight, the head will be slightly forward.
So draw the head back as well, as it tends to come forward,
ie the centre of gravity in the head moves forward of the body.
If set right you will feel a little contraction in the abdomen.
So, align the spine up, draw the head and neck back, and tilt
the chin in, though not to the throat, the chest or to the heart.
Hands shouldn’t be used in Uḍḍīyana Bandha,
the effect should come from the exhale which
starts in the navel, as if pulling up a piece of string.
It must be pulled up and brought closer to the Maṇipūra.
If this is done properly, then very little to be done afterwards. Exhale is followed by a small jerk as Uḍḍīyāna pulls the Mūla up.
In Learning the TriBandha we engage with certain potential contraindications:
1. The TriBandha reduce the length and subtlety of the breath.
2. The accumulative effect when repeated should be more intense,
but often the opposite is what can actually happen.
3. In the beginning the use of the TriBandha can disturb the system and
create tendencies, such as for the practitioner to lose their temper.
4. The continued use of the TriBandha can easily
raise tensions in the neck and shoulders.
5. If the abdomen appears to be retracted strongly, but the breath