The Beauty of Coreographies

Another important characteristic of SwáSthya Yôga is the recovery of the primitive concept of training, which consists of more natural executions, ones that came before the custom of repeating exercises. The institutionalization of the repetitive system is much more recent than is imagined. The ancient techniques, free of limitations imposed by repetition, led from one to the other through spontaneous links or passages. In SwáSthya Yôga, these constitute linking movements between unrepetitive and unstilted ásanas that create a predisposition for elaborating choreographic executions.
In this way, [A] non-repetitiveness, [B] passages (linking movements) and [C] choreographies (with ásanas, mudrás, bandhas, kriyás, etc.) are reciprocal consequences of each other and are a part of the main characteristic of SwáSthya Yôga.

The choreographies, like the general rules, are also not a contemporary creation. This concept goes way back to the ancient Yôga, from the time when Man had no institutionalized religions and worshipped the sun. The last rudiment of this primitive form of choreographic execution is the most ancestral practice of Yôga: the súrya namaskara!
It just so happens that súrya namaskara is the only thing reminiscent of choreography that is registered in the memory of modern Yôga. Choreographies do not constitute, therefore, a characteristic of modern Yôga. It is worth remembering that Hatha Yôga is a modern Yôga, one of the last to arise, in the XI century after Christ or around 4,000 years after Yôga originally appeared.