When to Transition to a Gentler Practice, Part 2

by Nina

"At ninety-three, he could still perform difficult asanas--including variations on the headstand many younger "masters" could not. When he was ninety-five, however, he fell and broke his hip. Because of the reputation of Krishnamacharya, several leading surgeons offered to operate—but he would have none of it. Instead, he rigged up pulleys and ropes by his bed and began to experiment with new Yogic techniques for his own rehabilitation. Within two months he was able to walk, but the loss of full freedom of movement depressed him." —from Health, Healing and Beyond by T.K.V. Desikachar (about his father Krishnamacharya)

In Baxter’s post yesterday When to Transition to a Gentler Practice, he quoted a letter we received from a reader asking for advice about when to transition to a gentler asana practice. This is not the first time we’ve received such a question; in fact, this is probably the most frequent question we get here on Yoga for Healthy Aging. I suspect that most people with this question are hoping for some kind of formula from us, saying for example, if you can no longer do x, y, and z poses, it is time for your transition or most people should make the transition by age 65. But as I said to Baxter, I really feel that if you are asking the question, it’s not time yet. Because when the time comes, you will know it. Maybe you will be like Krishnamacharya, who had to change when he was 95. Or maybe you will need to transition much earlier, the way I did.

In my forties I had a rather strong, what I like to call “semi-fancy” asana practice. I took an advanced yoga class, did challenging poses like arm balances, full Lotus, advanced backbends, etc., practiced about two hours a day, and did long inversions almost every day (including a ten-minute headstand with variations and a ten minute Shoulderstand). I quite enjoyed the athleticism of my practice, and the feeling of strength and physical wellbeing it brought to me. By my fifties, however, I developed certain physical problems, probably brought on by menopause, which forced me to change my practice. Mild arthritis in my right hip meant that I could no longer do Lotus or even half Lotus and that I had to start using props in certain other poses. And two rounds of frozen shoulder (who knew you could get it more than once?) temporarily restricted my range of motion in my shoulder so that I was very limited in what I could do with my upper body, and after the frozen shoulders abated, I was never able to get my full range of motion back (though I’m still flexible in that area, compared to some).

I practiced asana throughout all these difficulties, adapting my practice as my restrictions increased and then decreased. While my shoulder was frozen, I couldn’t even do Downward-Facing Dog pose, much less Headstand, Handstand, or Upward Bow pose. So my practice was by nature very gentle. After I got better, I began to gradually ease my way back into the poses I couldn’t do with my temporary injury, and I’m still working on getting back to where I was (realizing, of course, that I may never get there).

Hidden Waterfall by Brad Gibson

When I was able to do Headstand again, I made a conscious decision not to do it as often or as long as I used to. I felt that it was a pose I enjoyed so much, I didn’t want to risk losing it again, and I knew that both Headstand and Shoulderstand would be pretty hard on my neck. So I decided to practice it only about twice a week and only for about 5 minutes each time, instead of the way I used to practice it. I had absolutely no scientific evidence that this was a good idea, and it was not suggested to me by any of my teachers, it was just a feeling I decided to follow. And it can’t hurt to be cautious, right? Removing the long inversions from my practice also made it shorter, so now my practice is more in the 1 1/2 hour range (and sometimes shorter, if I’m tired). As it happens, I never had to leave my regular (intermediate) yoga class. That’s partly because I know how to make modifications to my poses (or do alternatives) when there is something I can’t do. But it’s also because my teacher has been very supportive and understanding. (Once he said something about me—thank you, Donald—that I’ll never forget: “Nina never gives up!”)

The point is, my transition has been a very organic process, in which I’ve responded to signals from my body (some rather loud, others perhaps not) and made adaptations along the way. It hasn’t all been a one-way process, either. During times of difficulty, my practice was very gentle, and when I was more able, I returned to a stronger practice. And I also know, the transition process is not over yet. Who knows what the future holds. Will I be still be doing Headstand at 95 like Krishnamacharya? Or will I have to give it up much earlier?

Baxter, too, has gone through a similar process, with physical problems (including a touch of hip arthritis) prompting him to modify his practice. And that’s how I think it will turn out for most of you, dear readers. Perhaps you will have an injury or illness that forces you to change your practice, either temporarily or permanently. Or perhaps you will simply reach a point (who knows at what age?) when you can just no longer do the poses you used to be able to do or get through an entire class the way you used to, and you’ll know deep down inside that now is that time for a change. Like the future, this process is both inevitable and completely unpredictable. But it is your own body that will guide you through it.

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Practice As Many As You Can: T. Krishnamacharya's Yoga

T. Krishnamachrya in a "New" Pose

by Nina

In my post last week Authentic Yoga, I mentioned that most of the yoga asana we do these days were invented in the early 20th century. In his book on the origins of modern posture practice Yoga Body, Mark Singleton focuses in particular on the innovations of T. Krishnamacharya, the teacher of three very influential 20th century yoga teachers who had a tremendous impact on yoga in the western word, Iyengar, Jois, and Desikachar. Krishnamacharya was clearly a genius, whose system, as Singleton puts it:

"can be fruitfully considered a synthetic revival of indigenous exercise (comprising yogasana alongside other types) within the context of Westernized curricular physical education in late colonial India."

Because so many people are reluctant to practice yoga at home due to concerns that they might not be doing it “right” or don’t have time to do what they would do in one of their full-length classes, it’s worth taking a little time to look at what Krishnamacharya (who was, for many of us, the original teacher of our teacher, or our teacher’s teacher) was doing in the late 19th and early 20th centuries. Dear readers, he was making stuff up! For details you can see the wonderful book The Yoga Tradition of the Mysore Palace by N.E. Sjoman. But for now let’s just look at this quote in Yoga Body from T.R.S. Sharma, one of a group of students at the yogasala in Mysyore, which confirms that Krishnamacharya’s teaching was intended to be, and in practice was, experimental:

"was innovating all the time in response to his students. He would make up variations of the postures when he saw that some of his students could do them easily. “Try this, putting this here, and here.” He was inventing and innovating. Krishnmachrya never emphasized a particular order of poses, there was nothing sacrosanct about observing order with him. He would tell me “practice as many as you can.”

The quote as whole really brings home the idea that, regardless of what we may have been told by certain teachers, the practice of yoga asana traditionally was not a rigid system that you have to follow or else it won’t be effective. And it seems to me, if you’ve been reluctant to practice at home due to time restrictions or concerns about doing something wrong, this quote contains a great motto for home practice in general:

Practice as many as you can.

Since it is December already and you may be thinking about New Year’s resolutions, “practice as many as you can” also seems like an excellent resolution for starting or deepening a home practice next year.

P.S. Hey, Krishnamacharya's alignment in Utthita Parsvokasana (Extended Side Angle pose) in the photo above doesn't look the same as what I've been taught is "correct," so that must mean....

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Sequencing in the Style of Krishnamacharya, Part 2

by Baxter

Last week, I introduced a few key concepts for you to consider as you think about trying to design a home practice using T. Krishnamacharya’s approach (see Sequencing in the Style of Krishnamacharya).  Before diving into today’s discussion, you might want to take a few seconds to review that post. As we build our understanding of how to put a practice together, I’d like to share another foundational perspective and also introduce the concept of the “mini-vinyasa.”

In addition to having an eye to a goal for your practice, and understanding which stage of life you are in and what additional work or reflection you need to do as you start your practice, you need to evaluate on any given day whether your overall system in a state of fatigue, depletion or weakness or if you are in relative good health, energized, strong and balanced. Once you have an honest sense of that, you can apply another essential concept to how you will design and approach the yoga today.

Two terms help to clarify the way in which you will practice and even the attitude you will cultivate as you work: brahmana and langhana. Both concepts are very helpful when you are addressing injury or illness, but I find them helpful for everyday practice as well. And although Desikachar first connects these terms to how you breathe as you move between poses, I find the concepts can also be applied more generally.

Brahmana, which can translate as “to expand,” refers to a lengthening of the inhalation, with the possibility of adding a short pause or retention at the end of the inhale. This tends to energize and heat the body, which could be perfect for someone who’s underlying energy is a bit sluggish. Brahmana breathing tends to affect the chest and lungs more and anatomically fits better with back bending poses.

Langhana, which can translate as “to fast” or “to reduce,” refers to extending the length of the exhalation, with a possible pause or hold at the end of the exhale. Langhana practices tend to have a quieting and cooling effect on your system, so could be helpful in anxious or stressful times, as well as when you are generally depleted and need support. Langhana breathing tends to work better for forward bending practices and has a greater effect of the upper and lower belly, so could be good for processes of elimination.

In this system, unlike some others, you start working consciously with your breath with your very first asana sequence, since something called a “mini-vinyasa” is used. Instead of coming into a pose, say Warrior 2, and holding it for one to two minutes, with the mini-vinyasa method, you begin from a starting position, coordinate with your breath as you come into the full pose, and then return to the starting position with the next part of your breath. Typically this cycle is repeated about six rounds. 

As an example, for Warrior 2, you would begin with your feet four feet apart, adjusted as usual, with your arms relaxed to your sides. On an inhalation, you would lift your arms up parallel with floor and bend your front knee to 90 degrees. Then, on your exhalation, you would lower your arms and straighten your front leg. You would then repeat this cycle five more times. And after completing six rounds on the right, you would repeat six round on the left.

To any mini-vinyasa, you could apply the concept of langhana or brahmana.  In our example, since there is a natural expanding quality to the Warrior 2 pose, brahmana works more easily.  So, as you enter the pose, you could take a four second inhalation, pause for one to two seconds in the pose, and then exhale naturally out of the pose. If your breathing gets ragged after only one or two rounds, you may not yet be ready to do this brahmana variation, so go gradually. 

A full sequence or practice would involve a series of mini-vinyasa linked together to move you closer to your goal. To see illustrations of mini-vinyasa, see The Heart of Yoga by TKV Desikachar or Yoga for Wellness by Gary Kraftsow. 

We’ll continue our journey toward understanding sequencing in the style of Krishnamacharya next time in Part 3!

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Sequencing in the Style of Krishnamacharya, Part 1

by Baxter

We have spent some time on this blog talking about how BKS Iyengar and his teachers in the US approach the concept of sequencing yoga poses to create a practice. This is of practical value if you want to design and practice Iyengar style yoga on your own at home. It can also give you insight into the class you took last week as you try to understand the framework that your teacher may have used to put the class together.

But there are so many other yoga traditions and sequencing styles! Today, I'm going to begin exploring how to design a sequence in the tradition of Krishnamacharya. For those unfamiliar with T Krishnamacharya, he is sometimes considered a kind of godfather of modern Hatha Yoga practice.  And although he never traveled to the US to teach in his lifetime, many of his students who became advanced teachers have, most notably his son and grandson, TKV and Kaustub Desikachar.  Some of us in the US know this style of yoga as viniyoga, but this is a name that Gary Kraftsow, one of Krishnamacharya’s American students, coined.  TKV Desikachar prefers to say that they teach yoga in the tradition of Krishnamacharya, and that calling it “yoga” is sufficient without other branding.

Trunk and Branches by Brad Gibson

Two foundational concepts will assist us in looking at this way of sequencing: first, a yoga practice has goals, overriding ones and personal, individual ones, and second, the yoga practice you do today has to take into account all the personal variables of your life as it is today. This makes attending public classes a challenge from this system’s perspective. They consider it essential that you have do a good amount of svadyaya, or self-study, before or as you begin to practice to get very clear on where you are starting from and where you would like to go.

In addition, there are three stages of life that will help to determine the kind of practice you will do, and an analogy to the tree is used.  Regardless of which stage you are at, this system uses the Yoga Sutra concepts of sthira and sukha as underlying qualities you will be cultivating in your practice.  Sthira can be thought of as firm and steady, and sukha as gentleness. So you will be balancing these two different aspects no matter what yoga tools you employ in your sequence (for example, a practice that incorporates asana, pranayama and mantra).

Using this as the foundation of developing a practice, you put into action via something called vinyasa krama.  Desikachar defines the term as follows: 

Krama is the step, nyasa means “to place,” and the prefix vi- translates as “in a special way.” 

So you have to have a correct direction in order to have success with your practice.

Then there is the decision on what part of the “tree” you are.  When you are young, you are like the twig on a tree, young, flexible, yang in nature, strong.  Designing a practice for this group of people is known as “Svsti Krama,” and would resemble what in the west is knows as power flow or Ashtanga in the Pattabi Jois style.  For those of us after about 25 years of age, we are looked upon as more like the branch of the tree, a bit less flexible, a bit more differentiated in personality, thinking and body. These are the students who need to study their individual characteristics prior to jumping full bore into practice. This style of practice is termed “Raksana Krama.” Finally, for those with illness of any kind, the practice requires greater care in designing and the style is called “Cikitsa Krama,” cikitsa meaning “therapy.”

No matter which group or age category you personally fall into, Desikachar suggests that you start out where you are, taking a gradual and intelligent course in your practice, looking towards a certain goal. Then you choose the steps and tools to lead you towards your goal. Next time, we’ll start to get into the practical nuts and bolts of how to make that happen.

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