Assisting and Adjusting: Part !

PRINCIPLES OF MOVEMENT & BREATHING

Requirements in any program which promotes good health:

v Strength

v Flexibility

v Structural alignment

v Proper functioning of various body systems

v Mental steadiness

Asanas, is practiced correctly can accomplish this along with healing various imbalances in the body.

Asana:

1. movement into asana
2. staying in asana
3. movement out of asana

Each step is coupled with appropriate regulated breathing. Affect is the movement of the body coupled with the flow of the breath

Goal: not shape, but the effects of achieving and maintaining the posture. To do this you must pay attention to alignment, the structural aspects of the body and the desired affects of the asana.

Nature of any Asana:

1. the body position that we start from
2. the parts of the body that we move
3. the direction in which we move them

Four Starting positions:

1. standing
2. seated
3. lying
4. inverted* exceptional-needs preparation

Four Body Parts:

1. arms
2. legs
3. head
4. trunk

Four directions:

1. forward
2. backward
3. twisted
4. lateral

Two important features of movement:

1. asanas include movement in all three axes (ensures full range of movement)

v sagittal plane

v transverse plan

v lateral plane

2. asanas may involve more than one movement, done simultaneously or sequentially

v The effect of each asana can be changed if we vary its components of movement

v Science lies in understanding the EFFECTS of the COMPONENTS of movement, their interactions and their relationship the spine and the breathing process

v Opposition creates affects within each asana

Examples:

Uttanasana –going down, coming up, arm position

Sun salutations

Salambasana-variations in arms and legs

Breathing in Asana:

Proper breathing supports the movement and increases its effect.

v Four Rules For Combining Breath and Movement:

1.     Do movements that open the front of the body on an inhalation

§  Backbends, raising the arm, raising the head, expansion & recovery, make space (lengthen)

2.     Do movements that compress the front of the body on exhalation

§  Forward bending, twisting, lateral moment, exertion, integration

3.     Do not move on inhalation retention

4.     Move when body is held in exhalation retention

5.     Breathing is smooth, even and “effortless”- overexertion will be signaled in our breathing. Our breath is a meter of our proper effort.

Spine must be kept strong and flexible (trunk)-essential for breathing and movement

v STRENGTH

1.     created through contraction of the muscles (muscle resistance)

2.     lifting against the force of gravity

3.     holding positions  (30 seconds, 1 minute)

v FLEXIBILITY

1.     with gravity

2.     yin postures/practice (stationary elongation)

3.     vinyasa (movement elongation)

v ALLIGNMENT

      1.   All movements are performed symmetrically or on differently on both sides of the body (asymmetrical)
            Example: How you teach warrior one depends on your focus since the posture is assymetrical (so must be performed twice-once on each side)

The SPINE:

Curvatures of the spine (complement each other like inhalation and exhalation. It is therefore important to maintain the curvature of the spine).-otherwise functional imbalance, AGE-increases of decreases curvature due to gravity.

1. Cervical (concave)
2. Thoracic (convex)
3. Lumbar (concave)
4. Sacral (convex)

MAXIMIZING THE BENEFITS OF MOVEMENT AND BREATHING

1. Make the exhalation long emphasizing abdominal muscle contraction (steps)
1. Contraction of the lower abdomen
2. Upper part of the abdomen contracts
3. Chest relaxes only at the end of the exhalation
2. Inhalation is about expansion of the chest then down to the abdomen. Do not push the abdomen outward this will increase the curvature in the spine.

-Twisting and the spine (upward movement)

-Backbending and the spine (No lower back compression)

-Forward bending and the spine (belly lengthening)

-BASE/ROOT/GROUNDING

Standing twist with different arms

Energetic line of the arms

Energetic line of the spine

3. breathing can intensify a movement and get you deeper into a posture
1. holding: move deeper, intensify your breath
2. releasing, moving, relax your breath
3. inhale release a bit, exhale draws you deeper

MENTAL STEADINESS (reducing rajas and tamas and increasing sattva)

a.     mental focus (Movement of the body or the flow of the breath, drishti)

b.     start your breath before you begin your motion (don’t move when breath is held) Maximizes the SUPPORT of the posture

c.     breath can exceed the movement in some cases

BIOMECHANICS OF ASANA

v gravity and muscle contraction

v muscle contraction occurs at the origin and insertion of the muscle

v Extension arises from external forces of pulling. Muscles cannot pull themselves, they can only push (contract)

v LEVER SYSTEMS (most movement of the body)

                                               i.     Fulcrum: point around which the rotation takes place

                                             ii.     Force: effort

                                            iii.     Weight: load

First order lever: Fulcrum between the effort and the load (E-F-L)

Second order lever: Load between the effort and the fulcrum (E-L-F)---mechanical advantage is favorable (door with hand away from hinges

Third order lever: Effort between the fulcrum and the load (F-E-L)---most parts of the body. The point of attachment of the muscles to the rigid bones (effort) is relatively close to the joint (fulcrum). The center of gravity determines the degree of load. (distal=larger, proximal=smaller)-load is further away from the fulcrum than the effort (insertion point of muscle).

WORK = force exerted + distance of movement

If load is closer to the fulcrum the work to lift it is less, but it will move a smaller distance and visa versa (door example-3^rd order-hand close to hinges)

Muscles usually have to contract with greater force than the weight of the load because of this third order construction of the fulcrum of the body. SACRIFICE OF STRENGTH FOR A GREATER RANGE OF MOVEMENT.---in asana we alter the amount of load  and the distance of the load from the joint to create certain effects in movement (or emphasize them).

TORQUE (movement of force on joints which causes rotation and therefore movement)

How much force is necessary to cause an object to rotate. Body movement are mostly the function of the rotation of joints. For movement to occur torque (exerted effort) must exceed the load which includes the weight of our body and gravity. (and maybe a counterforce.

Torque must be applied in the proper direction: THE ANGLE OF THE APPLICATION OF FORCE IS VERY IMPORTANT.

---the larger the angles in the body (which to a great extent are pre-dertermined by our joint structure, the greater the effort, because the torque in minimal.

ASANA & LEVERS

a.     The further the load is from the joint, the greater the effort (force)

b.     Uttanassan-effort is greatest at 90 degree angle with arms extended and then load arm is longest

CENTER OF GRAVITY & size of the base.

Wider is less load & easier BALANCE

Wider makes twisting more difficult from base, force of the twist will be transferred up the spine.

Hips are affected by the width of the base which is always intended to be the center of gravity

KINETIC CHAIN & MOVEMENT

Kramas: Who is your audience?

Kramas (levels)- are a breakdown of the important aspects of a posture, movement or complex concepts.

Pedagogical Approximation* - how much information and what kind of information you give when you are teaching (hierarchy from beginner to advanced understanding)

• global
• general
• first level complexity
• second level complexity
• third level complexity
• subtle details

*A teacher must be conscious of their audience and deliver information that is accessible and relevant, even if it is a "lie" (simplification or exaggeration) to begin. 

*There is a constant assessing of the comprehension of your students before you give more subtle, complex or specific information.

*Metaphorical relations. Describing things in terms that students can understand.

* similar to the progressively adept students in "Upanishadic Learning"

Body Basics: Kinesiology and the Kinetic Chain

The concept of the kinetic chain regarding anatomy has been around since 1955 when Dr. Arthur Steindler adapted the theory of Franz Reuleaux, a mechanical engineer.  

• Reuleaux proposed that a series of overlapping segments are connected via a pin joint, and these interlocking joints would create a system that allows movement of one joint to affect the movement of another joint within the kinetic link.  
• Dr. Steindler contended that the human body could be viewed the same way, as a system of rigid, overlapping segments connected by a series of joints, collectively referred to as the kinetic chain.  
• This idea proposed that movements occurring within each body segment would be capable of “closed-chain” or “open-chain” movement patterns.

     Anatomically, the kinetic chain describes the interrelated groups of body segments, connecting joints, and muscles working together to perform movements and the portion of the spine to which they connect. 

• The upper kinetic chain consists of the fingers, wrists, forearms, elbows, upper arms, shoulders, shoulder blades, and spinal column. 
• The lower kinetic chain includes the toes, feet, ankles, lower legs, knees, upper legs, hips, pelvis, and spine. 
• In both chains, each joint is independently capable of a variety of movements. Dependent on whether the distal end of the chain is fixed or free to move without restriction, each movement is classified as either closed or open. 

     A Closed-Chain refers to a position where the most distal aspects of a given extremity are fixed to the earth or another solid object. -Focus is on general movement patterns

• This fixed position alters the movement of the joints and surrounding musculature up the chain. 
• For example, if the feet are planted on the ground during a squat, the rest of the leg chain (i.e., ankles, knees, and hips) will move toward the fixed end of the extremity—the feet—as the body lowers into the squatting position. In contrast, an open chain refers to the distal end of an extremity moving freely in space—such as when performing a biceps curl with dumbbells or a seated leg extension on a weight machine—where the movement of the distal end of the extremity is not fixed.
• Closed-chain movements promote joint stabilization and have the potential to recruit more muscles and their associated joints. 
• Further, closed-chain movements are transferable to many daily movements that involve more than one joint, which may lead to better neuromuscular coordination and overall joint health. 
• So, many closed-chain exercises are considered “functional” and used in programming for functional training purposes [i.e., purposeful exercise that trains movement—not isolated muscle groups—and intentionally incorporates balance and body awareness (proprioception)]-YOGA

    An Open-Chain movements, in contrast, involve more shearing forces at the involved joint compared to closed-chain movements and tend to recruit the musculature associated with only a single working joint in resistance training exercises like leg extensions and biceps curls.

In yoga practice and teaching, we are looking to make all movements "closed chain movements"- 

• Even when the more distal portion is not secured on a surface of some kind
• This involves using two concepts
• hasta bandha (hand lock) and pada bandha (foot lock)-enlists all the muscles and joins, INTEGRATING the body in movement and stillness

Examples of well-executed closed-chain exercises include:

• Squat
• Wall slide
• Lunge
• Push up
• Pull up

Notice that in each of the above exercises the distal end of the extremity is fixed, which results in the body moving about the fixed joint.

Examples of open-chain exercises include:

• Seated leg extension
• Leg curl
• Bench press
• Dumbbell biceps curl
• Lat pull-down

Notice that in each of the above exercises the distal end of the extremity is not fixed, and it moves about the body during the movement.

• The Kinetic Chain Needs to Include what is Between Each Link

The other big omission I often see people make when considering the kinetic chain is that they think of each link in the chain as a joint.  This is a simplistic version of the kinetic chain in purely the sense of biomechanics an arthrokinematics.  Instead, realize that there are many influence on the kinetic chain between each joint.---This includes the muscles, fascia, ligaments, tendons, and anything else you can think of.  Basically, it’s not just the joints, but also everything in between.

IMPACTS IN YOGA ASANA:

• STABILITY
• instability in a joint will create instability in the joints CLOSEST to them and up the chain
• Instability in the more PROXIMAL JOINTS will create instability in the distal joints in that chain
• Certain joints in the chain are meant to be stable and others mobile for proper alignment.
• yoga requires a balance between mobility and stability
• MOVEMENT
• Mobility in a joint will affect mobility in the next joint in the kinetic chain
• therefore, flexion in the elbow, helps flexion in the shoulder
• flexion in the knee, helps with flexion in the hips
• rotation in the knee helps with rotation in the hips
• rotation at the elbow, helps with rotation at the shoulder.

Mudras and Bandhas

Mudra

Mudra is a Sanskrit term that describes the category of hand gestures used,especially during on, to facilitate the balancing of a person's vital energy. The mudra is a gentle form of self-energy balancing or self-pranic healing. The positions of the hand digits direct the life energy (vital energy, prana).So the subtle pressure from the digits balances the body as does self. As you practice with mudras, you will sense the energy flow. Usually it will feel like buzzing from your fingers. It may be a sensation of numbness, hot, or cold as well.You may also think of mudra as a hand gesture version of positive mental affirmation. So you may use the mudra with your meditation practice to increase the effectiveness of your meditation. You may, as well, practice the mudra throughout the day to balance your energy flow, thereby working to improve your total wellbeing. In summary, the performance of mudras is an alternative wellness energy balancing methodology that has no ill effects, costs nothing to do, can be very effective, is easy to perform.

Ahamkara mudra

This mudra is used to strengthen self-confidence and assertiveness. It is a helpful mudra to practice for those of us who are timid, fearful, or introverted. Remember yoga is about moderation. We do not want to eliminate completely aspects of ourselves. There are times when expression of the ego are necessary and this mudra helps us to strengthen our ego while helping us to express it appropriately.

The tip of the thumb is brought to the first joint of the index finger and the hand is help palm side up. The forefinger therefore extends beyond the thumb(the symbol of God) , facilitating the development of the Jupiter(the forefinger represents Jupiter) energy of expansion and ego personality.

Buddhi mudra

This mudra is an enlightenment gesture that works to blend the spiritual energies and the ego. It quiets the mind and regenerates the neuro-biochemical system. So this is an excellent mudra for those of us who are: having trouble sleeping; are too wound up; have manic episodes (this mudra is not intended to replace comprehensive medical care); experiencing complete hormonal collapse(such as hypo- or hyper- throidism, adult-onset diabetes); are depressed.

Although one generally performs mudras with both hands, this is one mudra that requires both hands being used at the same time for the mudra. Both hands are facing palm up. The backs of the fingers are placed so that they are touching. The forefingers of each hand are brought to each thumb and form the Om mudra placement while the remaining fingers gently touch each other while being held in a relaxed fashion.

Cup mudra

This mudra focuses on helping you balance your right-left energies. It promotes balance of the male-female energies. This mudra is almost always utilized with the hatha yoga meditative poses.

This is another two hand mudra. The palms are facing upward with the thumbs touching each other at the tips. Then one set of fingers is placed on top of the other set of fingers. The order is to match the yoga asana. You would place the right hand on top of the left hand if the right leg is on top of the left leg and vice-versa.

Gnana mudra

This mudra promotes the development of wisdom while quieting the ego. In a way it is the opposite of the Ahmakara mudra. It is ,therefore, helpful for those of us who are very strong with ego development and may be overly aggressive in our day to day activities.

The performance of this mudra is as you would think. The tip of the thumb passes the tip of the forefinger. The tip of the forefinger is brought to the first joint of the thumb.

Gomukha mudra

Like the Cup mudra, this mudra is used with primarily the meditative poses. It is different in that the focus of this mudra is the balance of the physical body and the mind, rather than the right-left energies.

The palms face upward and the thumbs and fingers interlock. The right thumb represents the body and the left thumb represents the mind. While performing this mudra, you may change the position of the thumbs so that the tips touch each other or alternate the interlock so that the thumbs alternate being on top. If you want to use only one position, use the position that feels most awkward. The awkwardness indicates the need for balance by using this position.

Namaste mudra

This mudra indicates respect and humility. It is used often as a greeting to others. The greeting indicates that your soul bows to the other persons. It is similar to the head bow in that aspect.

This is performed by placing the palms together with the fingers extended and the thumbs next to each other. The arms are bent and the hands are placed at heart level. This positioning of hands and arms is often used by Christians as they take communion.

Om Mudra

This hand gesture is performed by bringing the ends of the thumb and forefinger together while having the palms face up.

This is intended to blend the life forces to balance and to bring you closer to real time peacefulness.

Prithvi mudra

This mudra is used to give stability. It is used to maximize the beneficent effects of Saturn. This mudra is excellent to use when you are feeling scattered or out of control of your life.

First perform the Om mudra(bring the forefinger and thumb tips together with palms upward). Then turn the mudra downward, so that the palms are facing downward. Sometimes the fingers are separated at this time. Again work the position that feels most awkward.

Shanti mudra

This mudra is a healing mudra. I use it as part of my pranic healing sessions to balance the affected person?s energies. Yogis also use this mudra to bless their food before they eat it to strengthen the positivity of the meal.

The mudra is performed by placing the middle finger(Saturn finger) on the fingernail of the index finger(Jupiter finger).

Yoni mudra (we did this Wednesday :))

This mudra is used as part of the concentration practices.It helps you focus on your inner being by blocking off the access to the external environment with your fingers covering your openings. To perform this mudra you place your thumbs over your ears,index fingers over closed eyelids(at the base of the eyeball),middle fingers at the nostrils,little fingers at the lower lips. The fingers are over the sense organ openings gently. This is an advanced mudra. Historically, if this is practiced with too much force on the sense organs, you can light the energy fire too quickly and cause mental imbalance. So, work with this mudra only after you have worked with pranayama for several months to years.

Bandha Mudras=BODY MUDRAS

In addition to the hand mudras, muscular contractions(bandha mudras) can be performed with the hatha yoga asana routines to strengthen the energy balancing effects of the postures and hand mudras. Different Sanskrit sources list different bandha mudras. The most frequently described bandha mudras are the following: maha mudra; nabho mudra; maha bandha; maha vedha mudra; khechari mudra; viparita karani mudra; yoni mudra; vajrali(vajroli)mudra; shakti chalani(chalana) mudra; tadagi(tadava) mudra;manduki(mandavi) mudra;shambhavi mudra; ashvini mudra; pashini mudra; kaki mudra; matangi mudra; bhujangini mudra; panchadharana[parthiva, ambhavi, vaishvanari, vayavi,akashi]; mula bandha; jalandara bandha; uddiyana bandha. A note of caution: Bandha mudras are generally considered to be intermediate to advanced practices of yoga.
Yoga Mudra

Vripritikorani Mudra (headstand & shoulderstand)

Maha Mudra

Method- Gently using the left heel to press between the external genitalia and anus. Spread the right leg and hold the foot with both hands. Close the nine openings of the body. Press the chin against the chest and practice breath control. Repeat using the right heel and spreading the left leg. Practice this bandha mudra bilaterally in rounds of three.

Purpose- The benefits of this mudra include: strengthening the effects of any hatha yoga routine practiced with this mudra; softening of the five klesha of men ignorance(avidya), excessive ego(asmita), desire or attachment(raga),enmity(dvesha), fear of death(abhinivesha); according to Sanskrit sources the physical health problems of enlarged spleen, fistulas,leprosy, urinary tract disorders.

Hatha Yoga Pradipika

POWER POINT Pradipika (Link)


Nauali Kriya (link) 
Link #2: Full instruction

Shat Karmas and Kriyas (Cleansings guide) (link)
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A note on Vajroli Mudra & The Idea of Sexual Energy

Vajroli Mudra (The Thunderbolt Attitude)

Hatha Yoga Pradipika (verse 83)
a B.S.Y. Publication 1985

Even anyone living a free lifestyle without the formal rules of yoga, if he practises vajroli well, that yogi becomes a recipient of siddhis (perfections).

Vajra is 'thunderbolt' or 'lightning'. It is also the weapon of Lord Indra and means 'mighty one'. Vajra in this context refers to the vajra nadi which governs the uro-genital system. It is the second innermost layer of sushumna nadi. Vajra nadi is the energy flow within the spine which governs the sexual systems of the body. In mundane life it is responsible for the sexual behaviour and this aspect has been termed 'libido' by Dr. Freud and as 'orgone' by Dr. Reich. In tantric sadhana this energy is not suppressed but is awakened and redirected. OH mudras (vajroli, sahajoli and amaroli) are those which specifically sublimate sexual energy into ojas (vitality) and kundalini shakti.

According to the Shatkarma Sangraha there are seven practices of vajroli. The practice involves years of preparation which commences with the simple contraction of the uro-genital muscles and later the sucking up of liquids. Only after the sixth practice is perfected can the seventh be successfully attempted by the yogi.
That is the practice included in maithuna, yogic intercourse. Through this practice of vajroli the sexual energy, hormones and secretions are re-assimilated into the body. Its outcome is the union of the negative and positive poles of energy within one's own body.

By and large, people have inherited a concept that these practices are unnatural or bad. Many commentators on the Hatha Yoga Pradipika avoid discussing these slokas, dismissing them as obscene practices indulged in by low-caste tantrics. Obviously they have an incorrect understanding of the practice. People have concocted the notion that spiritual life is separate from mundane life and the physical body because of past religious conditioning which has become perverted. These people must realise that spiritual life is not anti-sexual and sexual life is not anti-spiritual.

Of course, celibacy has its own rewards, but according to tantra it should arise spontaneously, not out of suppression. Spiritual life means developing awareness by applying the higher mind to the experiences of the body. Whatever we do should be a means to creating yoga in our being. Why should sexual life be excluded? According to this sloka sexual life can be elevated from the sensual to the spiritual plane if it is practised in a particular way, and for this vajroli mudra has been prescribed.

A person who has perfect control of the body and mind is a yogi in every situation. A person who gorges himself on food, for example, is just as 'obscene' as a person who indulges in uncontrollable sexual acts. Sexual life has three purposes, and this should be understood. For the tamasic person, it is progeny; for the rajasic person, it is pleasure; for a sattwic person, it is for enlightenment.

The desire to release semen is an instinctual urge experienced throughout nature, not only by humans. Therefore, there should be no guilt or shame associated with it. Animal consciousness is not the end stage in the evolutionary destiny for a human being. Man's potential for 'bliss' can be extended beyond the momentary experience which accompanies the release of semen. Semen and ova contain the evolutionary potential and if these can be controlled, not only the body but also the mind can be controlled.

Nature has provided the mechanism of seminal release, but although it is generally not known, nature has also provided a means to control this mechanism through various practices of hatha yoga. If the release of semen and ova can be controlled, a new range of experience dawns. Those experiences are also endowed by nature, even if only a few people have gained them. Therefore the techniques should not be considered to be against the natural order.

Although medical science has generally failed to acknowledge the fact, uncontrolled release of semen throughout life does contribute to premature deterioration of the vital capacities of the brain, overburdens the heart and depletes the nervous system. Actually it is a matter of degree and there is no limit to perfection. Many men die prematurely of physical and mental exhaustion with their dreams unfulfilled and their goals unattained. However, if the process of seminal release can be arrested, so that energy and spermatozoa do not escape through the generative organ but are redirected upwards into the higher brain centres, then a greater awakening can take place; a greater vision can be realised, and a greater vital power can be directed towards accomplishment in life.

According to the sloka, if vajroli is well practised, even in an otherwise free lifestyle, that yogi's attainments in life will be greater, and a greater source of vital and mental power becomes available to him. A few great yogis and masters had these experiences and have therefore instructed their disciples in the oli mudras and other hatha yoga techniques.

In mundane life the climax of sexual experience is the one time when the mind becomes completely void of its own accord, and consciousness beyond the body can be glimpsed. However, that experience is so short-lived because the energy is expressed through the lower energy centres. This energy which is normally lost can be used to awaken the dormant power of kundalini in mooladhara. If the sperm can be withheld the energy can be channelized through sushumna nadi and the central nervous system to the dormant areas of the brain and to the sleeping consciousness.

The sex act is the one means to totally concentrate and captivate the mind, but in tantra it should not be the ordinary experience. The experience has to be more than the gross or sensual one. Awareness and control have to be developed. The senses have to be developed. The senses have to be utilised, but only as the means of awakening the higher consciousness, not the animal consciousness, and for this vajroli mudra and various tantric rituals are to be perfected.

Vajroli mudra is an important practice today in kali yuga when man's ability and need to express himself in the material and sensual world is predominating. We have to act in the external world and simultaneously develop inner awareness. The purpose of life should be to attain a deeper and more fulfilling experience beyond the empirical sensory experience alone.

Man has four basic desires known as purushartha or chaturvarga, the first of which is karma or sensual gratification. This needs to be fulfilled to a certain extent but should not pull the consciousness down. It should be a means to accomplish a greater result.

Every action, including the sex act, should be directed towards realising the truth of existence. Then you are living a spiritual life. Spiritual life does not depend on living up to puritanical morality.
If you can follow such puritanical ideals and attain enlightenment, then practise them, but do not condemn others who cannot. The moment you create rigid ideals that the spiritual path has to be 'like this' and cannot be 'like that' you are limiting your own ability to have a total experience.

Spiritual unfoldment is the process of evolution. It can happen slowly through millions of years as the process of nature, or it can be accelerated through the practices of yoga. Vajroli mudra accelerates this rate of evolution. Practise of vajroli regulates the entire sexual system. Testosterone level and sperm production are influenced. Even if the yogi is a householder, he does not lose the semen. Therefore, whether one has sexual interactions or not, vajroli should be practised.

Shat Karmas

Shatkarmas - Cleansing Techniques

Those shatkarma which effect purification of the body are secret. They have manifold, wondrous results and are held in high esteem by eminent yogis.
(Hatha Yoga Pradipika 2:23)

Yogic science gives as much importance to certain cleansing processes as it does to asana or pranayama. Without regular cleansing of the system one cannot gain maximum benefit from yoga practices. Without purification of the body one will not be ready for the higher practices of yoga.
Body cleansing is brought about by the practice of the shatkarmas or six purificatory techniques which are very important from the point of view of physical and mental health. These simple techniques are also highly valuable in healing internal disorders. There are six main groups of shatkarmas or yogic cleansers as follows:

1. Neti: nasal cleaning, including jala neti and sutra neti.
2. Dhauti: cleansing of the digestive tract.
3. Nauli: abdominal massage.
4. Basti: colon cleaning.
5. Kapalbhati: purification and vitalisation of the frontal lobes.
6. Trataka: blinkless gazing.

Each of these groups contains more than one practice, such as jala neti, vaman dhauti (or kunjal kriya), moola shodhana etc. They are all excellent practices designed to purify the whole body and bring about first-class health. They also bring clarity and harmony to the mind.

'Shatkarma' (sometimes known as Shatkriya) is a compound word consisting of two components: 'shat' meaning 'six' and 'karma' meaning 'art' or 'process'. The word 'kriya' or 'karma' is used in Hatha Yoga in a special technical sense regarding the techniques of cleaning. Although we have grouped them into six here, the 'Gherand Samhita' and 'Hatha Yoga Samhita' enumerate as many as twenty-one such practices, albeit under six broad headings. The 'Shatkarma Samgraha' describes no less than forty-six such processes, such as vamana, vireehana, gandusha, udgara, and raktasrava.

The 'Hatha Yoga Pradipika' however is the only authentic work which tends to limit itself exactly to six cleansing practice, 'Pranatoshani' refers to only five purificatory practices. Besides these works, a vernacular treatise, 'Bhakti Sagram' of Charana Das describes in detail the shatkarmas and in addition mentions four mere which it does not describe. Dhauti, basti, neti, trataka, nauli and kapalbhati are the six traditionally known processes.

The shatkarma affect and activate almost all of the vital systems in the body, especially the digestive, respiratory, circulatory and nervous systems. Every individual organ of importance, like the food pipe, stomach, colon, lungs, eyes and ears, receives equal attention. These purificatory processes are both preventive and curative.

The shatkarma are very powerful practices that can never be learned from books or taught by inexperienced people. Only these instructed by the guru can teach others. One may think that he has the capacity to teach but actually he may not have adequate experience or knowledge to guide ethers proficiently. This applies to the shatkarma in particular. If unqualified people teach them they are likely to make serious mistakes. Also, one can make mistakes if one practises them independently without the aid of a guru.

They are said to be 'secret' practices as one must be personally instructed how to perform them and how often, according to individual need. For this, a qualified and experienced teacher is essential. Those who sincerely want to learn the shatkarma will have to find a guru of hatha yoga, and they will have to search hard, for few teachers are expert in the shatkarma. There are three humors in the body: kapha (mucus), pita (bile), and vata (wind). In yoga and ayurveda they are called tridasha. A balanced proportion of these three facilitates body functions, but if there is excess of one and shortage of another, ailments develop due to overheating or not enough heat in the body. So, before commencing pranayama, any imbalance in the doshas should be removed.

The effects of the shatkarma can be summed up in one word - purification. When the different systems of the body have been purified, the overall result is that energy can flow through the body freely. One's capacity to work, think, digest, taste, feel, experience, etc., increases and greater awareness develops. It is no wonder that the yogis who have attained perfection consider the shatkarma with great esteem.

Poetry in Motion

Vinyasa (asana practice that follows the movement of the breath) has been called "Poetry in motion." 

Introduction to Poetry by Billy Collins (cautionary tale against interpretation over experience)

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem’s room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author’s name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

• This metaphor may be more literal than one might expect
• These analogies are inspired by a course I once took from the poet Billy Collins. He is one of my favorite poets because of the following (his ideas...my interpretation)
• Poems are histories of the heart (history told from the perspective of feelings and emotions and found in one's experience)
• Poems are held together by form 
• rhythm (the dance of the poem)
• sound (the reading of the poem)-music?
• what if these conventions are absent (meter and rhyme)?-experience becomes less concentrated and predictable (no training wheels)
• set sequences versus free form (Ashtanga, Bikram)
• experimenting with "violations" of form
• Other ways: 
• rituals (start the same way with each line
• gathers strength with repetition like a prayer or a chant
• sun salutations as initiation in to movement
• Internal patterns/scaffolding (rhythm and sound are not thrown away -just the metronome).
• Use the natural rhythms that we have (in our speech, nature, etc.)
• evenness of breath followed by evenness of movement equals evenness of mind (Ed)
• "Turning" (trust your own associations to lead readers/students)
• "visual games"-only purpose is to discover and arrive at the ending through associations of sound or movement (improvisation)
• one of the first skills that is learned is to go along with the premise you are given
• taking cues from your audience/students
• playfulness
• travel (from familiar to unfamiliar)
• path/journey metaphors
• gross to subtle
• simple to complex
• metaphor (connection to familiar things- correspondences)-puts an AFFECT on the movement to give it "life"
• movements are abstract
• actions are internal
• warrior (implies fierceness)
• companionship (once memorized in becomes part of you)
• romance of time (call to action, carpe diem, live more deeply)
• every moment is potentially auspicious 
• seeing eternity in a grain of sand
• liminality allows the recognition of the importance of time (as it "stops" it)
• What keeps the reader/student in staying with you (listening)
• they come back for the poem (movement/practice) not you
• because they see you love what you do (performance/poetry/yoga) more than yourself doing it (share the same interest)
• Trust is essential in poetry
• readers/practitioners will trust if the knowledge and craftsmanship of the poet/teacher are established in the beginning
• What holds it together? Rhyme and meter creates a container for self expression
• why the breath is so important?
• Poetry are words imposed on silence. Is yoga movement imposed on stillness?
• the in-between spaces connecting one thing to another are as important as the postures/words/movements
• there is no posture, just transition, when one achieves a level of mastery
• the distinction between postures is arbitrary. in reality, all is movement if one is following their breath
• teaching conundrum: How much time does one spend on technique (deconstructing the flow) rather than mastery (Iyengar problem- paralyzed by technique)
• A poem progresses from small to large ideas.
• the subject you start with is provisional (a way in) it is quickly abandoned once the larger subject is revealed. Revelations may occur one after the other.
• the yoga quote at the beginning or near the end???? thoughts?
• can be seen purely on physical terms in yoga or from physical to emotional or philosophical. 
• Yoga as a physical philosophy
• How these transformations occur is the process of a poem. This process of creation should be woven in to your teaching (your practice informs your teaching)
• though writing/creation according to a theme maybe generally useful, the process should not be limited by the theme
• you do not always have to know exactly where you are going until the end of the process (experiment)
• ritual progression is illustrated here (Van Gennep)-ensuring engagement determines the length and structure of each stage, also important to know how they are becoming disengaged-physically or in terms of mental attention
• separation
• transition
• reincorporation
• Good poems have the right amounts of "clarity" and "mystery"
• how is each used and when?
• which "cards" should be shown, and which should be left face down, or when should each be turned is part of good process
• some cards must be turned over for readers (students) to follow
• You are not a poet all the time, but you can be a poet when you are not writing
• relieves the anxiety of the blank page
• makes correspondences between practice in your body and the reality of your experiences off "the mat"
• Inspiration comes in many forms
• Quiet/stillness allows thoughts and experiences to enter (revelation/creativity/stillness yogis)-meditation?
• savasana
• moving into stillness?
• doing "nothing"
• imitation or prompt allows you to start-then you experiment (innovation)
• Introspection (note 20 things you experience yesterday in no particular order-inventory without chronology)...which is remembered?
• sublime in the ordinary
• Finish a poem in one sitting (even if it will later be changed)
• try to practice out and idea/physical experiment until it is finished
• there is always another idea
• Always surprise yourself
• take a surprise route
• surprise your students
• don't be afraid to fail. Look forward to it
• enjoy the messiness of process/write on paper, not computers so you save your mistakes instead of deleting them. They may not be mistakes in retrospect
• learning/creation is rarely linear
• The look of a poem on the page is important
• Poetry is intense/frustrating
• it's in your language but you can't understand it (immediately-instant gratification)
• poetry asks you to work for the understanding/meaning (can not be spelled out)
• takes patience and interest
• close examination
• discipline/attention
• meaning is unstable and ambiguous (meaning is deeper than the surface suggests)
• there may not be one meaning
• Take notes when you read a poem/try to understand
• leave footprints of your thinking 
• insightful to read your notes-and see how you have changed
• Reading other people's notes in the margins
• Your voice is NOT inside you to find. Your voice will be found in the voices of others (teachers, students, experiences) but combined in a unique way so that you can't trace them back to their source.
• this is a synthesis of your experiences and worked out through your personal practice in yoga 
• it's you when no one else could have taught the way you did. This may take time (Poets find this by reading all the poetry they can-yoga teachers do this by taking classes from as many great teachers they can)
• let some of your imperfections/personality into your teaching
• who will you be? what are the important qualities you want to bring to your teaching persona?
• me: humor, curiosity, geeky (intellectual), skeptical, a bit sarcastic, ordinary (unpretentious), private, teacher (educator), practitioner (dedicated).
• What can't be taught
• get beyond the (ego) to write/teach...lesson from the Gita
• voice-authentic, engaged, conversant, honest
• the writing of a poem/teaching is an experience, not the record of an experience.
• need to be present
• need to be engaged
• need to be responsive to your class