The third limb

Head into most modern yoga classes and what you will meet is a lot of āsana and the merest smattering of other yoga practices such as prāṇāyāma, meditation and so on.

In his Yoga Sutras, Patañjali delineates eight limbs of yoga. (Naughty aside: Thus yoga is either an octopus or an arachnid.) Modern scholars have pointed out that the Yoga Sutras did not have much of a following in earlier times, but were revived in the modern era. They are now required reading in nearly all reputable modern postural yoga teacher trainings. The irony is that while such trainings emphasise the postures of yoga, the Yoga Sutras say very little. Indeed, I have often heard it pointed out that Patañjali is only referring to establishing a comfortable posture for sitting.

The more I learn though, the more I question anything I have ever been told, read or believed.

Most translations of the Yoga Sutras are just that, a translation of the pithy verses of condensed Sanskrit, usually accompanied by a commentary by the translator. These are the translations that we usually look at in our yoga teacher trainings.

I was intrigued, therefore, to read "A Concise Histiography of Classical Yoga Philosophy" (2013) by Phillip Maas, in which a case is made that the original commentary, attributed to Vyāsa, is actually also by the same author as the Yoga Sutras, and that we should be treating the sutras and the commentary as one work, we could call the Pātañjala Yogaśāstra. In fact very early authors do just that, as early as 650CE. Maas's argument has convinced other scholars as well.

Unfortunately, English translations of the sutras plus commentary are hard to find. The Edwin Bryant translation of the sutras (2009) does cite the Vyāsa commentary a lot but the only version I have found that gives an actual translation is Yoga Philosophy of Patañjali by Swāmi Hariharānanda Āraṇya tr P.N. Mukerji (1983). So I turned to it to see what Vyāsa/Patañjali says of the most famous of the four sutras on āsana, II:46, sthira-sukham āsanam - The posture should be steady and comfortable.

Actually, that is Bryant's translation, much better than Hariharānanda/Mukerji's rather awkward "Motionless and Agreeable form (of staying) is Āsana (Yogic Posture)".

Here, in full, is the translation of the Vyāsa commentary:

They are as follows: - Padmāsana, Virāsana, Bhadrāsana, Svastikāsana, Dandāsana, Soprāśraya, Paraṅka, Krauñcha (heron)-niṣadana, Hasti (elephant) niṣadana, Uṣṭra (camel)- niṣadana, Sama-saṁsthāna. When these postures can be held comfortably, they are called (Yogic) Āsanas.

Bryant also notes that Vyāsa knew of more postures since he put etc. at the end of his list, an etc not included by Hariharānanda.

Padmāsana is the lotus pose that we know today, feet on the opposite thighs. Virāsana however is what we might call half lotus.

Bhadrāsana seems to be what we now call Baddhakonāsana.

Svastikāsana is called the same today, auspicious pose, toes tucked in.

Dandāsana also has not changed over the millenia but did have the stipulation that the feet be firmly together.

Soprāśraya may hearten you. It means support pose. a yoga-paṭṭika is to be used, only we are not too sure what that is, but for sure it is some kind of prop, perhaps a board or stool, or maybe a band, as in the statue below, which is from the 18th century, but it is not unsual to see such figures using a yoga strap as support, in temple carvings from even earlier periods.

Paraṅka is the same as śavāsana, lying down with arms by the side. 

Bryant says that the ancient commentators recommended studying the relevent creature's seated position to learn Krauñcha-niṣadana, Hasti-niṣadana, and Uṣṭra-niṣadana, and I could not say if that is the same as current day poses. 

Sama-saṁsthāna or level pose is standing, or what we might call Tadāsana or Samasthitiḥ.

The ancient commentators (after Vyāsa) are clear that the postures are to be held without motion with the posture straight, torso neck and head in alignment. So no vinyasa here, or just a one minute hold!

So, interest definitely engaged I proceed to the second of the four sutras on āsana. II:47 prayatna-śaithilyānanta-samāpattibhyām and Bryant's translation - [Such posture should be attained] by the relaxation of effort and by absorption in the infinite. And Vyāsa's commentary:

By relaxation of the body Āsana is perfected; this stops shaking of the limbs (which is an obstacle to Samādhi). Or, a mind fixed on the infinite brings about perfection (Siddhi) of the Āsana.

Bryant summarises the commentaries saying: "The essential idea is that by the practice of āsana, the body should be so relaxed that the yogī ceases to be conscious of it at all, and the mind can be thus directed toward meditation without any bodily distraction."

So, despite the inclusion of a few more than expected postures, the idea is still to hold them long, hold them still and relax into them until you can do it with no effort. Then meditate.

The third sutra on āsana, II:48 tato dvandvānabhighātaḥ - From this one is not afflicted by the dualities of the opposites. (Bryant).

When perfection in Āsana is attained, the devotee is not affected by the opposite conditions like heat and cold etc.

The point here is that the body disappears in the practitioner's perception, becomes the void, says Hariharānanda.

So if you thought finding more postures than expected made the Yoga Sutras more relevant to modern postural yoga, be disabused. We are all full of body positivity in our modern yoga rooms, but Patanjali was having none of that. Remember what he said about the first of the niyamas, Śauca, purity? II:40 śaucāt svānga-jugupsā parair asaṁsargaḥ - By cleanliness, one [develops] distaste for one's body and the cessation of contact with others. (Bryant). No, he hasn't had a change of heart between sutras 40 and 48!

There is one more sutra in the section on āsana, posture. II:49 tasmin sati śvāsa-praśvāsayor gati-vicchedaḥ prāṇāyāmaḥ - When that [āsana] is accomplished, prāṇāyāmaḥ, breath control, [follows]. This consists of the regulation of the incoming and outgoing breath. (Bryant)

So, there we have it, a link verse, leaving āsana and moving onto the next limb. Though Bryant does note the grammatical construction that tells us that there is a sequential progress through the limbs, and the accomplishing of the mastery of posture should be underway before progressing to breath-control.

In summary, we can still say that what Patañjali/Vyāsa has to say about āsana is still worlds away from modern postural practice. But what an interesting journey of discovery it has been.

Visitations that come in the night

I was lying in bed awake in the middle of the night last Friday night.  As I have to leave the house at 7am in the morning on Saturdays, being awake in the middle of the night on Friday nights is a trifle problematic, but nevertheless, I welcomed it as an opportunity for practice. So I was practising welcoming awakeness and also welcoming the dull ache in my right sacroiliac joint that I felt sure had something to do with my awakeness. There was much to be grateful for here as a real episode of my SIJ instability would have my entire hip and right pelvis, inside and outside, in spasms of pain.  That really can wake you up at night! No, not that, just a dull ache, welcome that.

Showing adjustments I don't think are a great idea

I must have drifted off for awhile as I found myself in a dream. I was teaching. It was as if I just walked into the room, and my students were already doing their practice. I saw that they were straining and efforting to do their postures. They were "helping" each other. In seated wide legged forward folds (uppavistakonasana), the legs were being pushed wider. In seated bound angle pose (baddhakonasana) a friend was sitting on each knee. Students were working hard to bring a leg behind their head. A student doing forward splits (hanumanasana) had friends pressing down on each thigh with a foot.

Bikram Choudhury dancing on student's back

It didn't seem like Yoga Spirit Studios at all and I seemed not to have a voice to call the class to order. Then I realised that I was not the teacher but it was as if I was observing memory. As happens in dreams it was a mash up, and I was aware that I was in the dreaming state, curiously aware of my dream.

Awake again, welcoming the dull ache and a sense of too warm, I tried to think where this idea had come from that bodies need to be forced to do things that they are structurally unsuited to. Writing perhaps around 200CE Patanjali had said that the posture should be steady and easy, or at ease, or spacious, or comfortable (sukha), but he was not referring to uppavistakonasana, baddhakonasana or hanumanasana, but any seated posture taken for pranayama and meditation.

Indeed, in the Yoga Sutras there are 2 sutras that refer to asana, and 89 on concentration, meditation and the states of samadhi.

By the time Hatha Yoga arises from Tantra and Svatmarama writes the Hatha Yoga Pradipika in the fifteenth century (yes folks, that recent) just 15 yogasanas are mentioned. They are described, and several are pointed to as excellent, but we have no idea how the yoga gurus taught them to their disciples.

Even in this text, the first chapter might be called Asana, and it does contain 63 verses, but only 15 postures are described and a lot is discussed that is not asana. There are 124 verses in chapter 4 on meditation and samadhi. Even back then the emphasis was not on doing fancy postures.

Tradition and the wisdom that we are given from a long time ago is a wonderful thing and should be respected. But everything needs to be freshly examined and tested with a curious mind asking "is this true to me, now?" It is a tricky thing, balancing respect of tradition and insights only available to us in modern times.

We can track the evolution of yoga, through different ideas and practices, yet we have no idea how the physical practices of asana were practised. Our knowledge is limited to a few descriptions in old texts and what we know from direct transmission only from the twentieth century on. Most of the postures we now practise in our western yoga classes were not described in those old texts. We really cannot rely upon tradition.

My dream was memory.  I have been in yoga classes where some of these things happen. They probably still do. And it is not confined to yoga. In all kinds of athletic and artistic physical disciplines, this kind of thing is still normal. Such practices are saying that the body should fit into an external concept of what perfect is. This body is not yet perfect. But if we do this perhaps we can make it so.

If that is the tradition, then it is a tradition that needs to be questioned. We now understand the uniqueness of each individual's anatomy. Frankly, not everyone will ever do Hanumanasana, or Padmasana, or Kurmasana  in that externally evaluated "perfect" way. Better by far to let the yoga help you discover and connect with your body and to discover what the pose can teach you, letting go of the thought that you are somehow imperfect for how your body responds.

Sleep came, and when I awoke I felt refreshed. The ache of the night had an excellent message for me. I had been neglecting my morning practices on the mat, cutting them short.  I headed for the studio, landed on the mat and luxuriated in the somatics practices that serve me well before my students arrived for the 8am class.

Not knowing and being OK with that

In yoga inquiry there is often no hard and fast answer. Where should I be feeling it in this asana?  Where is my Muladhara chakra? What should my asana look like? As teachers we should not and indeed, if honest, cannot give the student the answer to such questions. This is a conundrum for the student who really likes to have a definitive answer.

Where should I feel this? I don't know, where do you feel it?
Photo credit: Still from David Garrigues Asana Kitchen
Upa Vista Konasana on You Tube 

Travel has a way of getting you out of your comfort zone, into confusion. And out of all of that comes growth and new understandings. It throws a light on the culture we are visiting, but that then reflects right back on the home culture and then on being human itself. We never know what insights will come. We just travel, experience and later reflect.

Upon my return from India last month a friend asked if I would be writing about the experience, and I responded that I had to let it all settle and filter through first. It's happening.

Being home all the stuff of life and work begins to happen. Now though it is all filtered through the screen of the travel experience.

As Westerners we seem to want definitive answers to everything. And of course we are also very swayed by the findings of Western scientific method. Which is great, my western mind just loves it when there is a definitive answer to something.  Having lived a few decades I also have been around long enough to know that there are fields where science had definitive answers yesterday that turned out to be not so definitive at all. Woops! For instance, what we once understood to be the "best diet" (low fat) is now challenged by new research, and we are all confused!

That might be annoying if we are sincerely trying to eat in the most healthy way, and how dare they change their minds, and what is the right answer anyway?

But confusion is great. Fabulous.
Confusion precedes growth.

As Westerners we are also very keen to manipulate nature whenever we want to achieve a desired outcome. When I am in the garden I will pull and hack away at anything I didn't invite or didn't want to grow that big or in that place.  And if something is in the way of the new scheme, then it goes.  Call me heartless!

My Indian husband is much less inclined to rip things out, like when we were extending the house, he was very upset when a mature hibiscus that was under the footprint of the extension, was ripped out.

And I have to say, while there are many examples of cruelty in India, in a deep cultural sense there is a cultural disposition not to kill. For example, instead of culling stray dogs, they tolerate them roaming in packs, howling at night, and posing a threat to their wellbeing. I've seen trees literally growing through buildings, trunks and roots inserting themselves into walls. In the west the tree just wouldn't be tolerated long enough for it to become an integral part of the building.

Yoga grew first in an Indian context, so when reflecting on Indian culture it can become a reflection on our experience of yoga too, perhaps there are insights here. The very first thing Patanjali would have us observe is ahimsa, not harming. So I need to reflect on what my weeding and hacking in the garden is really all about, in the light of ahimsa. Should I let the sword fern crowd out, choke and hide the other plants I lovingly put there, or accept living in a honeysuckle jungle? Because to control them requires harming some kind of life.

You can see what is happening though can't you. My western mind wants definitive answers. I want to know. I want a definition. I am thinking I don't know enough because these confusions and conundrums are present. Limited knowing, hello!

If we move this onto the mat, if I am confused, and I am asking, where should I be feeling this (asana, chakra, kosha), what should I be looking like, where should my hand be in this asana, I am looking for definition where perhaps there is none.

Rather, we need to let go of a need to know definitive answers to everything, to recognise the kanchuka of limited knowing, turn the other way and follow it home, simply explore and uncover, what is.

Trikonasana

1. Spot the triangles
Photo credit http://up4yoga.com/trikonasana/

Tri = three
kona = angle (think cone or corner)
asana = posture

TRIANGLE POSE

Often called Utthita Trikonasana

Utthita = striving, exerting, extended

EXTENDED TRIANGLE POSE

While we teach it to beginners, Trikonasana is a difficult pose, especially to practice in its extended form. In fact you would be forgiven for thinking it is trickinasana, the Tricky pose!

In the picture to the right is a man practising a well aligned Utthita Trikonasana and the picture is overlaid with triangles to demonstrate how it gets its name.You could also find another triangle from his hand to hand to crown of head.

Utthita trikonasana requires flexibility in the hips, external rotation in the thighs and exceptional alignment through the spine.

One of the biggest traps for many is to try and immediately emulate the way the chap in the picture is doing it, hand all the way down to the foot. Without the prerequisite opening of the body and alignment some very unfortunate things result. In the pictures below the one on the left shows what immediately happens when it is attempted to take the hand lower before the body is ready (and it may never be, by the way, more on that later.) See how the body has dragged forwards? Our colourful triangle man above would look more like the picture below right if we viewed him from the correct angle.

2. Photo credit http://www.fitnessnetwork.com.au/resources-library/the-art-of-alignment

Going back to our colourful man of the triangles above, do you notice how the sides of his torso are the same length. All too often the attempt to "make the shape" results in a student actually doing a side bend, contracting the waist on the lower side of the body, like this:

3. Photo credit: www.spfitnation.com 

Notice that this model has her back foot turned out at 90 degrees to the front foot and that her stance is not very wide.  Both of these factors might be contributing to her difficulties.

There are many ways to improve your alignment and expression in the pose, and the effort to gain better alignment will give you a more authentic Trikonasana perfect for you. No doubt you have heard these solutions form your teacher.

4. You can still make triangles when you modify the pose 
Photo credit http://up4yoga.com/trikonasana/

Start at the foundations. An ideal distance lengthwise down the mat for your feet to be is about a leg length. however you must be stable and comfortable in the distance you choose.  What that is will however impact upon your finished pose.

Then have your front foot pointing straight forwards and allow the back foot to angle in, maybe 45 degrees, with the toes pointing more towards the front than out to the side.  This will allow you to compensate for an inability to find external rotation in the hips and prevent you from putting undue pressure on your sacroiliac joint in a quest for ... what?

The one thing that the model above who is doing a side bend is doing correct is to not try to come down too far. Let go of the ambition to get the hand on the floor.  one day, after many moons of practice, that might happen. But who cares?  A comfortable and beautifully aligned Trikonasana is surely more important.

Your teacher will offer many suggestions and practices that will work towards your inner discovery of alignment.

What is it that makes it so very tricky?

Trikonasana challenges us even to the structure of our body! In this article I will just address hips on this subject.  It is very likely that not all of your constraints are muscular.  If you encounter a bony constraint, there may not be any further you will ever go, short of surgery to knock off a bit of bone and I really hope that no-one would ever seriously contemplate that!

5. Bone on bone - the greater trocanter meets the rim of the acetebulum
Photo credit: iynaus.org/book/export/html/248

Consider the illustration to the right. As the leg is taken out the knobbly bit at the top of the femur, the greater trocanter, is bumping up against the rim of the hip socket, or acetebulum. There is nowhere else to go.

In the next picture, bleow, you can see that when the thigh is rotated outwardly it may free the constraint and more outward movement is possible in the thigh. - Maybe. The ability to draw the thigh into such external rotation is also dependent on your unique structure and some very strong muscles to make it possible. Another scenario is that instead of rotating the thigh externally, the temptation is to tilt the pelvis forward which will tend to bring the whole torso forward and you finish up with the alignment flaw we saw in figure 2 above. At some point or other we may have to accept that this is as far as we go, in this body we are blessed to have.

6. Photo credit: iynaus.org/book/export/html/248

Why do we do Trikonasana, what are its benefits?

The pose strengthens parts of the knees, spine, core muscles and shoulders and stimulates abdominal organs. It stretches the thighs, knees and ankles, hips, groins, calves, shoulders, chest and spine. It builds better posture through an inner discovery of the connection between the head and the tail.

But these are but physical benefits. Perhaps its most profound lessons for us lay elsewhere. Tricky trikonasana gives us opportunities to explore some of the trickiest yamas and niyamas of the Yoga Sutras.

Santosha - contentment - can you be content with where you are and give up wanting to be like the chap in the colourful triangle picture at the top?

Satya - truthfulness - can you really honour and discover your own truth in this pose?

Ahimsa - non-violence - can you kindly meet yourself where you are and not violently try to push into something that you are not?

Brahmacharya - conservation of the life-force - can you find a place of ease and not over strive and exhaust yourself in the practice of Trikonasana?

Svadhyaya - self study - what can you learn about yourself as you meet and greet all of the nuances of your, perfect-for-you Trikonasana.

Finding a unitive state in back bends

Back bends can sometimes be scary and might be your least favourite part of the yoga class. In back bends the front body is opened and exposed, most so in upward facing back bends such as camel pose, and upward bow. Yet back bends have many benefits and are worthy of practice.

Back bends open the chest and heart and counteract the tendency to round in the upper back and thrust the head forward, which our life in front of computers is encouraging. Breathing is improved and enhancement of wellbeing follows.

Contracting into the  muscles of the back strengthens the muscles, but also helps those muscles to know how to relax. When the brain experiences the sensation of the contraction and the subsequent release it learns how to distinguish between tension and relaxation, and so the muscle can relax better after the back bend, which often gives relief to back pain.

Back bends involve bending the spine, and some parts of the spine love to bend backwards while others do not. It is important to balance the bending across the whole spine, encouraging mobility in the less mobile parts and stabilising the more mobile parts, so force is evened out over the whole curve. The result is a sense of wholeness in which energy flows effortlessly along the length of the spine.

Spines have a lot of bones, and they also have natural curves. When we are born the curves are all in the one direction, and that is called the "primary curve". As we learn to lift our head and look around, get up on all fours and crawl and then stand up, the spine develops curves in the opposite direction, called the "secondary curves". The neck and the lower back are the areas of the spine that have a secondary curve.

The bones of the spine are divided into sections and are numbered from the top down. The neck (cervical spine) has seven bones, numbered 1 to 7 from the top down, C1 to C7. Below that is the thoracic spine, which is where the ribs attach. The thoracic has 12 bones, topmost is T1, counting down to T12. The lower back is called the lumbar spine and has five bones, L1 to L5 counting down. The sacrum is the triangular bone that is a bridge between the two halves of the pelvis. It is really five bones, but they fuse together, still we number them S1 to S5. Below that we have the four bones of the tailbone (coccygeal vertebrae), also fused. Between each vertebra is a gel cushion, the intevertebral disc. We can name them by their two adjacent vertebrae, such as C2/C3 which is the disc between C2 and C3.

When you look at the spine at the back you might think that you are looking at a stegosaurus due to all of the bony protuberances! Each vertebra has a protuberance straight out the back, the spinous process, and handle bar protuberances out each side called the transverse processes. These processes are angled in different ways throughout the spine such that they allow or inhibit extension, which is the technical name for back bending.

So the combination between the natural curve and the angle of the spinous processes creates areas of the spine that are more mobile and areas that are less mobile. The two areas of the spine that have secondary curves, the neck and the lower spine, are quite mobile in extension and flexion. The thoracic spine, which has a primary curve is great at flexion, bending forwards, but not so good at all at extension.

The danger therefore is that we make all the movement in the two mobile areas and this can place stress on these areas. There is particular weakness at the places of transition between a mobile part with a less mobile part, so C5/T1, T12/L1 and L5/S1 are places where injury more often occurs. If we keep bending sharply into the same area it is a bit like taking a metal coat hanger and bending it back and forwards on the same place repeatedly. Eventually it breaks.

Consider these two pictures of camel pose (utsrasana).

To my eye the picture on the left is taking more of the bend in the lumbar, and the neck is also taken back to its limit, whereas the woman in the picture on the right is making the curve more even, stabilising the lower back and neck and encouraging more mobility in the thoracic.

In the following silhouettes of cobra pose (bhujangasana) you may have a sense of an energetic blockage created by the sharp extension in the neck and lower back in the one on the left compared to a freer flow of energy in the one on the right which contains the extension in the neck and lower back and opens the chest to mobilise the thoracic.

Warm up for your back bends with work to lengthen the quadriceps and psoas, and to open the chest and shoulders. This will give you more room to complete the back bend without bending sharply into the lower back.

As you come into your back bend start by lengthening the spine which helps to mobilise the thoracic, lifting the sternum. Drawing the throat back will engage support for the spine from the entire digestive tract, helping to stabilise it.

And do choose versions of the back bend that are appropriate for your body. For example use props for the hands to reach to in camel pose or keep them in the lower back for additional support and stabilisation.

After your back bending practice, counter pose in child's pose, balasana.

The pose called "Forward Virasana"

I have been moving in yoga circles for some time now with people who call the pose you see above "forward virasana". In fact I just now did a little search in Google images for forward virasana and found lots that looked a lot like this. Sometimes the knees are a little part, like this, sometimes together. Call that variations for individuals.

I have a problem with the name.

The picture below is virasana.

I think this fellow is sitting on a block, a sensible variation for many of us, but in virasana, hero's pose, the bottom is between the feet, not on them.

Below is vajrasana, thunderbolt pose:

 Notice that in Vajrasana the bottom is on the feet.

So why, when from a kneeling position the body is draped forwards with the bottom ON the feet and arms reach forward, do we call it forward virasana?

I will even go further and ask, why forward?  It appears to me to be more folded, or downward facing.

So might the pose be more properly called "adho mukha vajrasana"?

I have another suggestion: "Dwiputasana: or "double fold pose". 

Also what is the difference between this "dwiputasana" and "utthitha balasana", extended child's pose?

To me it is the engagement or lack of it.

Below is balasana and its utthita (extended) version, The extended version has relaxed arms, forearms resting on the floor. Following that is our "dwiputasana" again, and notice that the arms are active. The head may not even be on the floor but may be actively reaching towards the hands.

. 

So, do you think we should change what we say when we take this pose? If so, what will you call it?