Pránáyáma is expansion of Bio-Energy through respiration
Prána means bio-energy; ayáma, expansion, breadth, intensity, elevation. Pránáyáma designates techniques that are always of a respiratory nature and conduct to the intensification or expansion of prána in the body.
Prána is the general name that Yôga assigns any type of energy that is manifested biologically. In theory, prána is energy of a solar origin, but also possibly manifested after metabolization, that is, indirectly, when absorbed by air, water or food. Prána, of a generic kind, can be divided into five more specific types of prána: prána, apána, udána, samána and vyána. These can each be further divided into various subpránas.
Prána is visible. On any sunny day, execute pránáyáma and fix your eyes on the blue of the sky. Wait. When your vision adjusts itself, you will begin to see myriads of incredibly dynamic and brilliant minute points that glimmer, making their rapid circular and sinuous movements evident. When executing your respiratory exercises, mentalize that you are absorbing such image of energy.
Preemptive clarifications
The yôgi respiration should always be nasal, silent and complete, except when instructed otherwise. It should be executed with the full participation of the abdominal, intercostal and thoracic musculature, which promotes a more effective use of one’s lung capacity. When breathing must be executed through the mouth, be it inspiration or expiration, or, when it must produce some noise, this will be explicit in the description of the exercise. Therefore, from now on, it should be clear that when instructed to execute pránáyáma that is not nasal, silent or complete, they are to be treated as exceptions.
The phases of respiration have the following names:
• inspiration - púraka;
• retention of air - kúmbhaka;
• expiration - rêchaka;
• retention without air - shúnyaka.
Saturday, April 28, 2007
Lyrics of Mantras
Mantras have a melody, but they are not music. Therefore, even if the practitioner has a talent for music, he will not be able to master certain idiosyncrasies. The ideal is that a trained teacher demonstrates the correct way, and later on corrects the sádhaka. In the absence of a trained teacher, the least one can do is listen to the recordings paying very close attention, and practice a lot using one’s common sense.
1 . ÔM jay guru.
Srí guru.
ÔM jay.
2. Bhávajánandaji, Bhávajánandaji, Bhávajánandaji jaya,
Bhávajánandaji, Bhávajánandaji, Bhávajánandaji ÔM namaha.
3. ÔM Shiva, ÔM Shaktí, namah Shiva, namah Shaktí.
4. Pátañjali ÔM namah Gurují, Pátañjali ÔM namah Gurují.
5. Hara, Hara, Shankaráchárya.
6. Jaya Krishnaya, jaya Rámakrishnaya, Rámakrishnaya, jaya Krishnaya jaya.
7. Jaya Gurují ÔM Dê.
8. ÔM Kumara.
9. ÔM namah prêma dêví Gurují (or ÔM namah prêma dêva Gurují, when vocalized by women)
10. ÔM namah Kundaliní.
11. ÔM namah Shivaya.
12. Namah Shivaya, namah Shivaya, namah Shivaya. Namah Shivaya, namah Shivaya, namah Shivaya.
13. Shiva, Shiva, Shiva, Shiva, Shivaya namah ÔM, Hara, Hara, Hara, Hara, namaha Shivaya.
14. ÔM namah Shiva, ÔM namah Shivalinga.
15. Shivaya namah ÔM, Shivaya namah ÔM, Shivaya namah ÔM, namaha Shivaya.
16. Shivaya namah Shiva, Shivaya namah Shiva, Shivaya namah
Shiva, Shivaya namah Shiva
Shivaya namah ÔM namaha Shivaya. Shivaya namah ÔM namaha
Shivaya.
17. Jaya Ganêsha, Jaya Ganêsha, Jaya Ganêsha, pahiman.
Srí Ganêsha, Srí Ganêsha, Srí Ganêsha rakshaman.
18. Ganêsha charanam, charanam Ganêsha.
19. ÔM Shivánanda Guru sat, chit, ánanda.
20. Shivánanda, Shivánanda, Shivánanda pahiman.
Shivánanda, Shivánanda, Shivánanda rakshaman.
21. Hari ÔM, Hari ÔM, Hari, Hari, Hari ÔM.
22. Harê Ráma, Harê Ráma, Ráma, Ráma, Ráma, Harê, Harê.
Harê Krishna, Harê Krishna, Krishna, Krishna, Harê, Harê.
23. Sitá Rám, Rám, Rám, rája Rám, Rám, Rám.
Sitá Rám, Rám, Rám, rája Rám, Rám, Rám.
Narayan, Narayan, Narayan.
Narayan, Narayan, Narayan.
24. Srí Rám, jaya Rám, jaya, jaya, jaya Rám.
25. Chidánand, Chidánand, Chidánand ÔM.
Chidánand, Chidánand, Chidánand ÔM.
Hara Halamê Alamastasá Chidánanda ÔM.
Hara Halamê Alamastasá Chidánanda ÔM.
26. Jaya Guru Shiva, Guru Harê, Guru Ram,
Jagat Guru, param Guru, Sat Guru sham.
ÔM Ádi Guru, Adwaita Guru, Ánanda Guru ÔM
Chit Guru, Chitgana Guru, Chinmaya Guru ÔM.
27. Íshwara, Íshwara, Íshwara Harê.
28. Jaya Shiva, Guru Shiva, jaya Shiva, Guru jaya.
29. Samba Sada Shiva, Samba Sada Shiva, Samba Sada Shiva.
Samba Shiva ÔM Hara. ÔM Mátá, ÔM Mátá, ÔM Srí Mátá Jagadambá.
Uma Paramêshwarí, Srí Bhuvanêshwarí, Ádi ParaShaktí Dêví Mahêshwarí.
30. ÔM namô, namah Shivya, namô, namah Shivaya.
31. Gáyatrí Mantra:
ÔM Bhur Bhuvah Swahah, ÔM tat Savitura varênyam.
Bhargô Dêvasya Dhimahi, dhyôyô naha prachôdayatô.
32. Ayôdhaya vasi Rám, Rám, Rám,
Dasharata ánandanaram.
Pathita pavana janaki Jivana
Sita mohana Rám.
33. Jaya guru Ômkára, jaya, jaya,
Satguru Ômkára, ÔM.
Brahmá, Vishnu, Sadashiva,
Hara, Hara, Hara, Hara, Mahádêva.
34. ÔM jay Gangá.
Srí Gangá.
ÔM jay.
1 . ÔM jay guru.
Srí guru.
ÔM jay.
2. Bhávajánandaji, Bhávajánandaji, Bhávajánandaji jaya,
Bhávajánandaji, Bhávajánandaji, Bhávajánandaji ÔM namaha.
3. ÔM Shiva, ÔM Shaktí, namah Shiva, namah Shaktí.
4. Pátañjali ÔM namah Gurují, Pátañjali ÔM namah Gurují.
5. Hara, Hara, Shankaráchárya.
6. Jaya Krishnaya, jaya Rámakrishnaya, Rámakrishnaya, jaya Krishnaya jaya.
7. Jaya Gurují ÔM Dê.
8. ÔM Kumara.
9. ÔM namah prêma dêví Gurují (or ÔM namah prêma dêva Gurují, when vocalized by women)
10. ÔM namah Kundaliní.
11. ÔM namah Shivaya.
12. Namah Shivaya, namah Shivaya, namah Shivaya. Namah Shivaya, namah Shivaya, namah Shivaya.
13. Shiva, Shiva, Shiva, Shiva, Shivaya namah ÔM, Hara, Hara, Hara, Hara, namaha Shivaya.
14. ÔM namah Shiva, ÔM namah Shivalinga.
15. Shivaya namah ÔM, Shivaya namah ÔM, Shivaya namah ÔM, namaha Shivaya.
16. Shivaya namah Shiva, Shivaya namah Shiva, Shivaya namah
Shiva, Shivaya namah Shiva
Shivaya namah ÔM namaha Shivaya. Shivaya namah ÔM namaha
Shivaya.
17. Jaya Ganêsha, Jaya Ganêsha, Jaya Ganêsha, pahiman.
Srí Ganêsha, Srí Ganêsha, Srí Ganêsha rakshaman.
18. Ganêsha charanam, charanam Ganêsha.
19. ÔM Shivánanda Guru sat, chit, ánanda.
20. Shivánanda, Shivánanda, Shivánanda pahiman.
Shivánanda, Shivánanda, Shivánanda rakshaman.
21. Hari ÔM, Hari ÔM, Hari, Hari, Hari ÔM.
22. Harê Ráma, Harê Ráma, Ráma, Ráma, Ráma, Harê, Harê.
Harê Krishna, Harê Krishna, Krishna, Krishna, Harê, Harê.
23. Sitá Rám, Rám, Rám, rája Rám, Rám, Rám.
Sitá Rám, Rám, Rám, rája Rám, Rám, Rám.
Narayan, Narayan, Narayan.
Narayan, Narayan, Narayan.
24. Srí Rám, jaya Rám, jaya, jaya, jaya Rám.
25. Chidánand, Chidánand, Chidánand ÔM.
Chidánand, Chidánand, Chidánand ÔM.
Hara Halamê Alamastasá Chidánanda ÔM.
Hara Halamê Alamastasá Chidánanda ÔM.
26. Jaya Guru Shiva, Guru Harê, Guru Ram,
Jagat Guru, param Guru, Sat Guru sham.
ÔM Ádi Guru, Adwaita Guru, Ánanda Guru ÔM
Chit Guru, Chitgana Guru, Chinmaya Guru ÔM.
27. Íshwara, Íshwara, Íshwara Harê.
28. Jaya Shiva, Guru Shiva, jaya Shiva, Guru jaya.
29. Samba Sada Shiva, Samba Sada Shiva, Samba Sada Shiva.
Samba Shiva ÔM Hara. ÔM Mátá, ÔM Mátá, ÔM Srí Mátá Jagadambá.
Uma Paramêshwarí, Srí Bhuvanêshwarí, Ádi ParaShaktí Dêví Mahêshwarí.
30. ÔM namô, namah Shivya, namô, namah Shivaya.
31. Gáyatrí Mantra:
ÔM Bhur Bhuvah Swahah, ÔM tat Savitura varênyam.
Bhargô Dêvasya Dhimahi, dhyôyô naha prachôdayatô.
32. Ayôdhaya vasi Rám, Rám, Rám,
Dasharata ánandanaram.
Pathita pavana janaki Jivana
Sita mohana Rám.
33. Jaya guru Ômkára, jaya, jaya,
Satguru Ômkára, ÔM.
Brahmá, Vishnu, Sadashiva,
Hara, Hara, Hara, Hara, Mahádêva.
34. ÔM jay Gangá.
Srí Gangá.
ÔM jay.
What is OM?
There are a lot of misconception about the ÔM. Let's learn for good what it really means.
The ÔM is the universal symbol of Yôga, for everyone, in every century and every lineage of Yôga. Yet, each School adopts a particular way of drawing it that becomes such School’s emblem. Some are more correct, others less, some more elegant, others not so much so, and some are initiatic while others are profane. This can be perceived by the initiated practitioner by simply observing the adopted calligraphy or by paying attention at the moment that the symbol is drawn.
The design that is similar to the number 30 which appears in almost every book and entity of Yôga is one syllable constituted of three letters: A, U and M (phoneme AU + M). It is pronounced ÔM. Drawn in characters, it is a yantra. Pronounced, it is a mantra. There are innumerous ways to pronounce it in order to obtain different physical, energetic, emotional and other results.
The characters that are used to draw the Ômkára appear to belong to an alphabet that is more ancient than Dêvanágarí, which is used to write the Sanskrit language. By consulting Sanskrit dictionaries or grammar books, we are able to note that the Dêvanágarí alphabet is predominantly rectilineous and that the very ÔM in that alphabet is also written according to these tendencies. However, if we leave the ambit of grammar and orthography to consult that of philosophy, we encounter the ÔM written in many different ways, with characters that are exclusively curved, which demonstrates its totally distinct identity. This can also be perceived on the medallions that have some inscriptions in Sanskrit around the ÔM.
ÔM does not have a translation. Therefore, the Hindus consider it as the very name of the Absolute, its body of sound, due to its ancientness and ample spectrum of effects collected by the person who vocalizes it correctly, or visualizes it with the correct tracing. In the scriptures of ancient India, the ÔM is considered as the most powerful of all the mantras. The others are considered aspects of the ÔM, and the ÔM is the matrix of all other mantras. It is called mátriká mantra, the matricial sound.
The ÔM is also the bíja-mantra of the ájña chakra, that is, the seed-sound that develops the center of force that is situated between the eyebrows and that is responsible for meditation, intuition, intelligence, premonition and hyperesthesia of thought. This is why it is the mantra that produces the best results for the practices of dhyána and samyama, as well as awakens a great number of siddhis.
Being the most complete and balanced mantra, its vocalization does not present any danger nor any restrictions. It is a stimulant and at the same time a soother because it consists of a sáttwic vibration that contains in itself tamas and rajas sublimed.
When it is drawn in ancient characters, it becomes a written symbol called yantra. The science that studies the tracing of symbols is called Yantra Yôga. Within this science, it is known that the ÔM can be drawn in many different ways. Each way of drawing it contains determined classes of effects and determined classes of characteristics or philosophical tendencies.
Each lineage of Yôga adopts a typical design of the ÔM that is related to its objectives and this design becomes the symbol of such lineage. For this reason, one should not use the design adopted by other Schools out of a question of ethics and also to avoid a shock of egregores.
No one can deny that the ÔM is a very powerful symbol. Its strength comes from its yantric drawing itself, from its ancientness, its millions of years of impregnation on the collective unconscious, billions of Hindus that have used and venerated it, generation after generation for hundreds of centuries since long before Christ, before Buddha and before European civilization existed. During this whole time, all of these people strengthened the egregore of the ÔM!
Evidently, carrying such a symbol establishes syntony with a current of force, power and energy that is one of the largest, most ancient and most powerful on Earth. Because of this, many people associate the use of a medallion, having on it the symbol ÔM, with the idea of protection. Even though we are obligated to recognize certain benefits of this order, we think that such should not be the justification for wearing the medallion, as such actions would make one susceptible to slip into mysticism, against which our lineage of Yôga (Niríshwarasámkhya) is categorical. One should wear it unpretentiously and if it makes us happy; if we identify with what it signifies and with the lineage it represents but not out of superstition nor to reap its benefits.
The ÔM is the universal symbol of Yôga, for everyone, in every century and every lineage of Yôga. Yet, each School adopts a particular way of drawing it that becomes such School’s emblem. Some are more correct, others less, some more elegant, others not so much so, and some are initiatic while others are profane. This can be perceived by the initiated practitioner by simply observing the adopted calligraphy or by paying attention at the moment that the symbol is drawn.
The design that is similar to the number 30 which appears in almost every book and entity of Yôga is one syllable constituted of three letters: A, U and M (phoneme AU + M). It is pronounced ÔM. Drawn in characters, it is a yantra. Pronounced, it is a mantra. There are innumerous ways to pronounce it in order to obtain different physical, energetic, emotional and other results.
The characters that are used to draw the Ômkára appear to belong to an alphabet that is more ancient than Dêvanágarí, which is used to write the Sanskrit language. By consulting Sanskrit dictionaries or grammar books, we are able to note that the Dêvanágarí alphabet is predominantly rectilineous and that the very ÔM in that alphabet is also written according to these tendencies. However, if we leave the ambit of grammar and orthography to consult that of philosophy, we encounter the ÔM written in many different ways, with characters that are exclusively curved, which demonstrates its totally distinct identity. This can also be perceived on the medallions that have some inscriptions in Sanskrit around the ÔM.
ÔM does not have a translation. Therefore, the Hindus consider it as the very name of the Absolute, its body of sound, due to its ancientness and ample spectrum of effects collected by the person who vocalizes it correctly, or visualizes it with the correct tracing. In the scriptures of ancient India, the ÔM is considered as the most powerful of all the mantras. The others are considered aspects of the ÔM, and the ÔM is the matrix of all other mantras. It is called mátriká mantra, the matricial sound.
The ÔM is also the bíja-mantra of the ájña chakra, that is, the seed-sound that develops the center of force that is situated between the eyebrows and that is responsible for meditation, intuition, intelligence, premonition and hyperesthesia of thought. This is why it is the mantra that produces the best results for the practices of dhyána and samyama, as well as awakens a great number of siddhis.
Being the most complete and balanced mantra, its vocalization does not present any danger nor any restrictions. It is a stimulant and at the same time a soother because it consists of a sáttwic vibration that contains in itself tamas and rajas sublimed.
When it is drawn in ancient characters, it becomes a written symbol called yantra. The science that studies the tracing of symbols is called Yantra Yôga. Within this science, it is known that the ÔM can be drawn in many different ways. Each way of drawing it contains determined classes of effects and determined classes of characteristics or philosophical tendencies.
Each lineage of Yôga adopts a typical design of the ÔM that is related to its objectives and this design becomes the symbol of such lineage. For this reason, one should not use the design adopted by other Schools out of a question of ethics and also to avoid a shock of egregores.
No one can deny that the ÔM is a very powerful symbol. Its strength comes from its yantric drawing itself, from its ancientness, its millions of years of impregnation on the collective unconscious, billions of Hindus that have used and venerated it, generation after generation for hundreds of centuries since long before Christ, before Buddha and before European civilization existed. During this whole time, all of these people strengthened the egregore of the ÔM!
Evidently, carrying such a symbol establishes syntony with a current of force, power and energy that is one of the largest, most ancient and most powerful on Earth. Because of this, many people associate the use of a medallion, having on it the symbol ÔM, with the idea of protection. Even though we are obligated to recognize certain benefits of this order, we think that such should not be the justification for wearing the medallion, as such actions would make one susceptible to slip into mysticism, against which our lineage of Yôga (Niríshwarasámkhya) is categorical. One should wear it unpretentiously and if it makes us happy; if we identify with what it signifies and with the lineage it represents but not out of superstition nor to reap its benefits.
Friday, April 27, 2007
What is Mantra?
Mantra
Sacred sound, rhythm, word of power.
Verb capable of catalyzing mind into material,
emotion into action!
Vibration that transmutes,
evolves and metamorphasizes.
Sound of the subtle nature.
Cosmic sound that potentializes.
Sound that, produced by a yôgin, harmonizes everything.
Sound that shakes your interior
and reorganizes your molecules.
Sound that generates resonance in your heart
and makes your soul profoundly loyal.
This is mantra!
Mantra can be translated as vocalization. It is composed of the root man (to think) + the suffix tra (instrument). This semantic construction is significant seeing as the mantra is frequently used to attain a state of “suppression of the instability of consciousness,” referred to as linear intuition or … meditation!
Mantra can be any sound, syllable, word, phrase or text that holds a specific power. For this reason, it is fundamental that it pertains to a dead language in which the meanings and pronunciations do not suffer from the erosion of regionalisms, trends and other forms of constant alterations that occur during the natural evolution of any living languages.
Where Yôga is concerned, only the Sanskrit language is accepted. From it, the mantras in our repertory have been extracted. These mantras should not be mixed with mantras of other languages or traditions in order to avoid the sadly infamous shock of egregores.
p.s. I will post what egregore means soon.
Sacred sound, rhythm, word of power.
Verb capable of catalyzing mind into material,
emotion into action!
Vibration that transmutes,
evolves and metamorphasizes.
Sound of the subtle nature.
Cosmic sound that potentializes.
Sound that, produced by a yôgin, harmonizes everything.
Sound that shakes your interior
and reorganizes your molecules.
Sound that generates resonance in your heart
and makes your soul profoundly loyal.
This is mantra!
Mantra can be translated as vocalization. It is composed of the root man (to think) + the suffix tra (instrument). This semantic construction is significant seeing as the mantra is frequently used to attain a state of “suppression of the instability of consciousness,” referred to as linear intuition or … meditation!
Mantra can be any sound, syllable, word, phrase or text that holds a specific power. For this reason, it is fundamental that it pertains to a dead language in which the meanings and pronunciations do not suffer from the erosion of regionalisms, trends and other forms of constant alterations that occur during the natural evolution of any living languages.
Where Yôga is concerned, only the Sanskrit language is accepted. From it, the mantras in our repertory have been extracted. These mantras should not be mixed with mantras of other languages or traditions in order to avoid the sadly infamous shock of egregores.
p.s. I will post what egregore means soon.
What is mudra?
Mudrá is a language of gestures and is a word that should always be pronounced with a tonic a. It literally means gesture, seal or password. It comes from the root mud, meaning ‘to like.’ In some books, it appears translated as symbol, but this is not correct. Symbol is a translation of the word yantra. In Yôga, mudrá refers to those gestures made with the hands. They are defined as reflexological gestures because they set off a succession of states of consciousness and even a succession of physiological states associated with the former.
Mudrá’s origins are in the ancestral Tantric tradition. As Shivánanda affirms, the presence of mudrá, pújá and mantra characterize the Tantra inheritance, and it is with exactly these three angas that SwáSthya Yôga begins its basic practice. This is not a coincidence, as is reflected in the complete name of our lineage of Yôga: Dakshinacharatántrica-Niríswarasámakhya Yôga.
The mudrás work or achieve their effects through neurological association and through reflexological conditioning. We cannot deny, in addition, a cultural component, which reinforces or diminishes the effect of the mudrás. Their influence in the hormonal sphere is undeniable, after all, who hasn’t felt their adrenaline rise because of a provocative mudrá or their sexual hormones rise as a consequence of an erogenous gesture?
Beyond this, the human body, similar to any part of organic material, possesses magnetism and polarities. Energy flows in distinct quantities and qualities throughout the body. Therefore, it is not remarkable that, at one’s extremities – namely the hands – different electromagnetic reactions are manifested by modifying their position, posture, orientation and combination of fingers. Since Kirlian photographs became popular, it has been impossible to deny that rays of photographable energy come from the hands and fingers. What is more is that one can experiment even further by taking a Kirlian photograph before and another after practicing respiratory exercises, ásanas, mantras, meditation, etc. The variations in the photographs are, in the least, very interesting.
The mudrás that are most well-known are:
Shiva mudrá, used for meditation (back of the positive hand resting on the palm of the negative hand).
for man, postive hand is the right had and negative is left. Woman is the opposite once the polarities are opposed. In this mudrá, we should feel our hands as if they were a chalice in which we are receiving the precious ancient inheritance of energy and wisdom. It amplifies our receptivity.
Jñána mudrá is used for meditation and respiratory exercises (the index finger and thumb of each hand should be touching each other).This gesture connects the positive and negative poles, which are represented by the index finger and thumb of each hand. Passing through these is a low voltage current supported by the chakras located in the knees, which are secondary.
Átmam mudrá for respiratory exercises and mantras (the hands form a vortex in front of the swádhisthána chakra).
This seal has an effect similar to the previous one, only that now with all ten fingers involved, forming a high voltage circle and located in front of one of the main chakras. It creates a force that drives the sexual energy spine upwards.
Prônam mudrá for mantra and ásana (palms of both hands are united in front of the chest).
In this gesture, the palm of the negatively polarized hand touches the palm of the positively polarized hand, closing an important electromagnetic circle that makes a circular energy within one’s own body, one that recharges it, especially if executed during or after mantras.
Within the ásanas, this mudrá tends to provide a greater sense of balance and because of this, it is used more in the ásanas that are executed on only one foot.
Mudrá’s origins are in the ancestral Tantric tradition. As Shivánanda affirms, the presence of mudrá, pújá and mantra characterize the Tantra inheritance, and it is with exactly these three angas that SwáSthya Yôga begins its basic practice. This is not a coincidence, as is reflected in the complete name of our lineage of Yôga: Dakshinacharatántrica-Niríswarasámakhya Yôga.
The mudrás work or achieve their effects through neurological association and through reflexological conditioning. We cannot deny, in addition, a cultural component, which reinforces or diminishes the effect of the mudrás. Their influence in the hormonal sphere is undeniable, after all, who hasn’t felt their adrenaline rise because of a provocative mudrá or their sexual hormones rise as a consequence of an erogenous gesture?
Beyond this, the human body, similar to any part of organic material, possesses magnetism and polarities. Energy flows in distinct quantities and qualities throughout the body. Therefore, it is not remarkable that, at one’s extremities – namely the hands – different electromagnetic reactions are manifested by modifying their position, posture, orientation and combination of fingers. Since Kirlian photographs became popular, it has been impossible to deny that rays of photographable energy come from the hands and fingers. What is more is that one can experiment even further by taking a Kirlian photograph before and another after practicing respiratory exercises, ásanas, mantras, meditation, etc. The variations in the photographs are, in the least, very interesting.
The mudrás that are most well-known are:
Shiva mudrá, used for meditation (back of the positive hand resting on the palm of the negative hand).
for man, postive hand is the right had and negative is left. Woman is the opposite once the polarities are opposed. In this mudrá, we should feel our hands as if they were a chalice in which we are receiving the precious ancient inheritance of energy and wisdom. It amplifies our receptivity.
Jñána mudrá is used for meditation and respiratory exercises (the index finger and thumb of each hand should be touching each other).This gesture connects the positive and negative poles, which are represented by the index finger and thumb of each hand. Passing through these is a low voltage current supported by the chakras located in the knees, which are secondary.
Átmam mudrá for respiratory exercises and mantras (the hands form a vortex in front of the swádhisthána chakra).
This seal has an effect similar to the previous one, only that now with all ten fingers involved, forming a high voltage circle and located in front of one of the main chakras. It creates a force that drives the sexual energy spine upwards.
Prônam mudrá for mantra and ásana (palms of both hands are united in front of the chest).
In this gesture, the palm of the negatively polarized hand touches the palm of the positively polarized hand, closing an important electromagnetic circle that makes a circular energy within one’s own body, one that recharges it, especially if executed during or after mantras.
Within the ásanas, this mudrá tends to provide a greater sense of balance and because of this, it is used more in the ásanas that are executed on only one foot.
Understanding why Swasthya is so complete
SwáSthya is the only Yôga in the world that has eight angas, or parts. Let's know them.
Ashtanga Sádhana
One of the main characteristics of SwáSthya Yôga is the ashtánga sádhana. Ashtánga sádhana means practice in eight parts (ashta = eight; anga = part; sádhana = practice). We use diverse levels in this eight part program. The first level, for those who are already authorized to enrol themselves in Yôga, is the ády ashtánga sádhana (ádi/ády = first, fundamental) and constituted of the following eight parts in the order provided:
1) mudrá- reflexological gesture of the hands;
2) pújá- syntonizing with the archetype; retribution of energy;
3) mantra- vocalization of sounds and ultrasounds;
4) pránáyáma- expansion of bio-energy through respiratory exercises;
5) kriyá- purification of the mucous membranes;
6) ásana- psycho-physical conditioning;
7) yôganidrá- relaxation technique; and
8) samyama- concentration, meditation and hyperconsciousness.
Ashtanga Sádhana
One of the main characteristics of SwáSthya Yôga is the ashtánga sádhana. Ashtánga sádhana means practice in eight parts (ashta = eight; anga = part; sádhana = practice). We use diverse levels in this eight part program. The first level, for those who are already authorized to enrol themselves in Yôga, is the ády ashtánga sádhana (ádi/ády = first, fundamental) and constituted of the following eight parts in the order provided:
1) mudrá- reflexological gesture of the hands;
2) pújá- syntonizing with the archetype; retribution of energy;
3) mantra- vocalization of sounds and ultrasounds;
4) pránáyáma- expansion of bio-energy through respiratory exercises;
5) kriyá- purification of the mucous membranes;
6) ásana- psycho-physical conditioning;
7) yôganidrá- relaxation technique; and
8) samyama- concentration, meditation and hyperconsciousness.
The benefits of SwaSthya
The benefits of SwáSthya Yôga are numerous. Among these benefits are amazing flexibility and excellent muscle strengthening. The biological exercises benefit the spinal column, and nervous, endocrine, respiratory as well as circulatory systems. Beginning with the first anga and working to the last, below you will find a more detailed explanation of these benefits.
Ásanas (corporal techniques) promote the regulation of weight by stimulating the thyroid. They also improve cerebral irrigation through the inverted positions; consciousness of one’s body; motor coordination; and elasticity of the tissues.
Kriyás (activity of purification of the mucous membranes) promote internal hygiene of the stomach, intestines, maxillary cavity, bronchi, conjunctiva and so forth.
Bandhas (contraction or compression of the plexi and glands) provide massaging to the nerve plexi, endocrine glands and internal organs.
Pránáyámas (respiratory exercises) produce an extra quota of vital energy, raise lung capacity, aid in the control of emotions, permit contact between the conscious and unconscious and help attain domination over the plain musculature.
Mantras (the vocalization of sounds and ultra-sounds) do three things. First, they apply vocal vibration to unbind energetic meridians that have become obstructed. Second, they permit a balance in the introversion/extroversion impulses and dynamize the chakras. Third, they help quiet mental activity so as one may attain good concentration and meditation.
Yôganidrá (relaxation exercise) is the relaxation anga, which aids all of the previous ones and, together with the rest of the angas of the practice, implodes stress.
Samyama (concentration, meditation and other deeper states) brings mega-lucidness and self-knowledge.
These effects, and many others, are simple consequences of the exercises. They occur as a natural result of exercising a philosophy of life that is healthy. If we learn to breathe better, relax better, sleep better, eat better, excrete better, do moderate exercise, work the spine better and manifest a better sexuality, the fruits can only incrementally contribute to our health and the reduction of states of illness.
Ásanas (corporal techniques) promote the regulation of weight by stimulating the thyroid. They also improve cerebral irrigation through the inverted positions; consciousness of one’s body; motor coordination; and elasticity of the tissues.
Kriyás (activity of purification of the mucous membranes) promote internal hygiene of the stomach, intestines, maxillary cavity, bronchi, conjunctiva and so forth.
Bandhas (contraction or compression of the plexi and glands) provide massaging to the nerve plexi, endocrine glands and internal organs.
Pránáyámas (respiratory exercises) produce an extra quota of vital energy, raise lung capacity, aid in the control of emotions, permit contact between the conscious and unconscious and help attain domination over the plain musculature.
Mantras (the vocalization of sounds and ultra-sounds) do three things. First, they apply vocal vibration to unbind energetic meridians that have become obstructed. Second, they permit a balance in the introversion/extroversion impulses and dynamize the chakras. Third, they help quiet mental activity so as one may attain good concentration and meditation.
Yôganidrá (relaxation exercise) is the relaxation anga, which aids all of the previous ones and, together with the rest of the angas of the practice, implodes stress.
Samyama (concentration, meditation and other deeper states) brings mega-lucidness and self-knowledge.
These effects, and many others, are simple consequences of the exercises. They occur as a natural result of exercising a philosophy of life that is healthy. If we learn to breathe better, relax better, sleep better, eat better, excrete better, do moderate exercise, work the spine better and manifest a better sexuality, the fruits can only incrementally contribute to our health and the reduction of states of illness.
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.
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.
General Rules of Asana execution
One of the most notable historical contributions of our systematization was the discovery of the general rules, which are not encountered in any other type of Yôga… unless they have come to incorporate them recently, as a result of an influence from SwáSthya Yôga. We have already witnessed examples of this tendency in classes and texts of various types of Yôga in different countries, after they came in contact with SwáSthya Yôga.
It is easy to verify that the rules and other characteristics of our method were neither known nor utilized before. Consulting books of various modalities of Yôga that were published before the codification of SwáSthya Yôga is enough to show this. In not a single one of them will you encounter any reference to general rules of execution.
On the other hand, these general rules only constitute a discovery and not an adaptation, as they had always been subjacent to the existence of Yôga. Take, for example, any given techniques, such as a forward bend (paschimôttanásana), a backward bend (bhujangásana) and a side bend (trikônásana), and execute them according to the rules of SwáSthya Yôga. Afterwards, consult a book of Hatha Yôga and execute the same positions following their extensive descriptions for each technique. You will be surprised: the executions will be equivalent in more than 90% of the cases. Therefore, there exists a pattern of behavior. This pattern was identified by us and synthesized into general rules.
The existence of such a pattern went unnoticed by many generations of Masters throughout the world for thousands of years of practice and was only discovered at the beginning of the third millennium after Christ. This occurred in the same way that the law of gravity passed unregistered by the great thinkers and physicists of Greece, India, China, Egypt and the rest of the world, only to be discovered very recently by Newton. Just as Newton did not invent gravity, we also did not invent general rules of execution. They were always there, but no one had noticed them before.
In SwáSthya Yôga the rules help a great deal, simplifying learning and accelerating the evolution of the practitioner. To the teacher, aside from this, they save a precious time normally spent on unnecessary descriptions and instructions.
The rules will be explained in the chapter ÁSANA, subtitle General Rules.
It is easy to verify that the rules and other characteristics of our method were neither known nor utilized before. Consulting books of various modalities of Yôga that were published before the codification of SwáSthya Yôga is enough to show this. In not a single one of them will you encounter any reference to general rules of execution.
On the other hand, these general rules only constitute a discovery and not an adaptation, as they had always been subjacent to the existence of Yôga. Take, for example, any given techniques, such as a forward bend (paschimôttanásana), a backward bend (bhujangásana) and a side bend (trikônásana), and execute them according to the rules of SwáSthya Yôga. Afterwards, consult a book of Hatha Yôga and execute the same positions following their extensive descriptions for each technique. You will be surprised: the executions will be equivalent in more than 90% of the cases. Therefore, there exists a pattern of behavior. This pattern was identified by us and synthesized into general rules.
The existence of such a pattern went unnoticed by many generations of Masters throughout the world for thousands of years of practice and was only discovered at the beginning of the third millennium after Christ. This occurred in the same way that the law of gravity passed unregistered by the great thinkers and physicists of Greece, India, China, Egypt and the rest of the world, only to be discovered very recently by Newton. Just as Newton did not invent gravity, we also did not invent general rules of execution. They were always there, but no one had noticed them before.
In SwáSthya Yôga the rules help a great deal, simplifying learning and accelerating the evolution of the practitioner. To the teacher, aside from this, they save a precious time normally spent on unnecessary descriptions and instructions.
The rules will be explained in the chapter ÁSANA, subtitle General Rules.
What Swasthya means?
SWÁSTHYA YÔGA IS THE MOST INTEGRAL YÔGA THAT EXISTS
SwáSthya, in Sanskrit, the dead language of India, means self-dependence (swa = your own). Also, embedded in its meaning is health, sound state, comfort and satisfaction. In Hindi, the most widely spoken language of India, it merely means health. In this case, using the Hindi accent, it is pronounced “suasti.” Do not permit less informed individuals to confuse SwáSthya, Sanskrit, the ancient method, with SwáSthya (“suasti”), Hindi, because it would result in an equivocal interpretation with a therapeutic connotation. In reference to this, consult the Sanskrit-English Dictionary by Sir Monier-Williams, which is considered to be the most respected Sanskrit dictionary.
In India, in Jaipur, I ran into a health center that employs Yôga as a therapeutic method. It is called the SwáSthya Yôga Center (in this case, “Suasti” Yôga Center) and has nothing to do with SwáSthya Yôga. It was merely a Health Center that used Yôga! Things like this can confuse those who are less linguistically cultured.
THE FORMAL DEFINTION OF OUR YÔGA:
SwáSthya Yôga is the name of the systematization of the Ancient Yôga, Pre-Classic, the most complete Yôga in the world.
SwáSthya, in Sanskrit, the dead language of India, means self-dependence (swa = your own). Also, embedded in its meaning is health, sound state, comfort and satisfaction. In Hindi, the most widely spoken language of India, it merely means health. In this case, using the Hindi accent, it is pronounced “suasti.” Do not permit less informed individuals to confuse SwáSthya, Sanskrit, the ancient method, with SwáSthya (“suasti”), Hindi, because it would result in an equivocal interpretation with a therapeutic connotation. In reference to this, consult the Sanskrit-English Dictionary by Sir Monier-Williams, which is considered to be the most respected Sanskrit dictionary.
In India, in Jaipur, I ran into a health center that employs Yôga as a therapeutic method. It is called the SwáSthya Yôga Center (in this case, “Suasti” Yôga Center) and has nothing to do with SwáSthya Yôga. It was merely a Health Center that used Yôga! Things like this can confuse those who are less linguistically cultured.
THE FORMAL DEFINTION OF OUR YÔGA:
SwáSthya Yôga is the name of the systematization of the Ancient Yôga, Pre-Classic, the most complete Yôga in the world.
What does Swasthya Yoga have that is so especial?
Out of all the existing types of Yôga, there is one, in particular, that is special because it is the most complete. It produces fast and lasting effects like no other. It is the Ancient Yôga today known as SwáSthya Yôga, the systematization of Dakshinacharatántrika-Niríshwarasámkhya Yôga, from the pre-classic period. In order to make it intelligible, it was necessary to systematize it, just as an archaeologist would do with precious fragments that were being found during an excavation.
We have studied many types of Yôga and have gone to India almost every year from 1975 through 1998. We are convinced that the Ancient Yôga is really the finest. These people are intellectuals, scientists, artists, musicians and writers from diverse continents.
In order to count with such cultured, sensitive and demanding individuals as practitioners, SwáSthya Yôga must have something very special. But what is it?
1. Ancient Yôga contains those elements found in all other modalities of Yôga. There is not a single kind of Yôga that is so complete. In a SwáSthya Yôga practice you will be practicing Ásana Yôga, Rája Yôga, Bhakti Yôga, Karma Yôga, Jñána Yôga, Layá Yôga, Mantra Yôga and Tantra Yôga, as well as the constituent elements of the more modern subdivisions, born from these branches, such as Hatha Yôga, Kundaliní Yôga, Kriyá Yôga, Dhyána Yôga, Mahá Yôga, Suddha Rája Yôga, Ashtánga Yôga, Integral Yôga and many others.
But be attentive: although Ancient Yôga (SwáSthya) has, in itself, the constituting elements of all these types of Yôga, it is not formed by combining these branches, but rather, it is based on a much more ancient tradition, one which precedes all of these.
2. SwáSthya Yôga has, as its roots, Sámkhya. Because SwáSthya is extremely technical, dynamic, and does not adopt any mysticism, it pleases people who are dynamic, who are achievers and who are rational and logical.
3. SwáSthya is Tantric. This means that it is a matriarchal, sensorial and non-repressing. Non-repressing means that it does not prohibit anything and contributes to liberation from repression. It guides, but does not repress. Sensorial means that it respects and values the body, its beauty, its health, its senses and its pleasure. Therefore, you have complete liberty. You may eat what you want, do what you want, and above all, there is no prohibition of sex. Nevertheless, there are recommendations on all these aspects and you follow them if you think you should. As you develop your life habits and cultivate more healthy ways, you will receive more advanced techniques from you teacher.
This respect for the freedom of the practitioner has been one of the most captivating characteristics of SwáSthya Yôga because it meets the aspirations of each person and positively responds to the demands of those who are adept to other more restrictive branches but unsatisfied with the repression imposed by such branches.
4. Our way of executing the techniques is different from the forms of modern Yôga. In the past few centuries a poor way of executing the techniques has been created, one that is stinted, one that separates one technique from the other and is repetitive like gymnastics. SwáSthya Yôga, on the other hand, is founded on the most ancient lineage and executes ásanas that are harmoniously synchronized, sprouting one from the other through extremely beautiful passages that permit true choreography of bodily techniques to exist, ones that no other type of Yôga possesses. Every time someone watches one of our videos, the exclamation is constant: Ah! So this is what Yôga is about? But this is absolutely beautiful!
The DeRose Method reintroduced choreography in the 1960’s. In the decades that followed, on different parts of the planet, modalities of execution that were inspired in the Ancient Yôga (SwáSthya Yôga) surfaced. Most of these recognize the irrefutable influence from the DeRose Method. Yet, even if they do not, it is enough to compare the methods in order to see the clear influence that we have had on interpretations that surfaced after our method.
It happens, however, that not understanding our purpose to rescue a concept of Ancient Yôga in all the splendour of its ancient authenticity, those who based themselves on SwáSthya, when elaborating other modalities, ended up creating modern forms that have nothing to do with our purpose. They saw it, but they did not understand it.
5. Finally, SwáSthya is the only Yôga in the world that has general rules, or rather, it is the only one that offers self-dependence to the practitioner. In other kinds of Yôga, the teacher has to explain the execution technique by technique: how to breath, how long to hold, how many times to repeat, where to locate one’s consciousness, etc. If this teacher explains ten exercises, the students will not know how to do an eleventh. Yet, if general rules are utilized, the practitioners have the advantage of not being chained to nor dependant on the teacher. If the practitioners needed to proceed alone, they could continue bettering themselves because, having learned just ten techniques with general rules, the individual would be able to develop another one hundred or a thousand and always continue evolving. The general rules confer autonomy and liberty to the sádhaka. The general rules are a further contribution of the systematization of the Ancient Yôga (SwáSthya Yôga). If you see someone using general rules, you can be certain that they have had some kind of contact with our method, even if they deny it.
ps. If you want to watch some SwáSthya Coreographies go to youtube and search for swasthya yoga.
We have studied many types of Yôga and have gone to India almost every year from 1975 through 1998. We are convinced that the Ancient Yôga is really the finest. These people are intellectuals, scientists, artists, musicians and writers from diverse continents.
In order to count with such cultured, sensitive and demanding individuals as practitioners, SwáSthya Yôga must have something very special. But what is it?
1. Ancient Yôga contains those elements found in all other modalities of Yôga. There is not a single kind of Yôga that is so complete. In a SwáSthya Yôga practice you will be practicing Ásana Yôga, Rája Yôga, Bhakti Yôga, Karma Yôga, Jñána Yôga, Layá Yôga, Mantra Yôga and Tantra Yôga, as well as the constituent elements of the more modern subdivisions, born from these branches, such as Hatha Yôga, Kundaliní Yôga, Kriyá Yôga, Dhyána Yôga, Mahá Yôga, Suddha Rája Yôga, Ashtánga Yôga, Integral Yôga and many others.
But be attentive: although Ancient Yôga (SwáSthya) has, in itself, the constituting elements of all these types of Yôga, it is not formed by combining these branches, but rather, it is based on a much more ancient tradition, one which precedes all of these.
2. SwáSthya Yôga has, as its roots, Sámkhya. Because SwáSthya is extremely technical, dynamic, and does not adopt any mysticism, it pleases people who are dynamic, who are achievers and who are rational and logical.
3. SwáSthya is Tantric. This means that it is a matriarchal, sensorial and non-repressing. Non-repressing means that it does not prohibit anything and contributes to liberation from repression. It guides, but does not repress. Sensorial means that it respects and values the body, its beauty, its health, its senses and its pleasure. Therefore, you have complete liberty. You may eat what you want, do what you want, and above all, there is no prohibition of sex. Nevertheless, there are recommendations on all these aspects and you follow them if you think you should. As you develop your life habits and cultivate more healthy ways, you will receive more advanced techniques from you teacher.
This respect for the freedom of the practitioner has been one of the most captivating characteristics of SwáSthya Yôga because it meets the aspirations of each person and positively responds to the demands of those who are adept to other more restrictive branches but unsatisfied with the repression imposed by such branches.
4. Our way of executing the techniques is different from the forms of modern Yôga. In the past few centuries a poor way of executing the techniques has been created, one that is stinted, one that separates one technique from the other and is repetitive like gymnastics. SwáSthya Yôga, on the other hand, is founded on the most ancient lineage and executes ásanas that are harmoniously synchronized, sprouting one from the other through extremely beautiful passages that permit true choreography of bodily techniques to exist, ones that no other type of Yôga possesses. Every time someone watches one of our videos, the exclamation is constant: Ah! So this is what Yôga is about? But this is absolutely beautiful!
The DeRose Method reintroduced choreography in the 1960’s. In the decades that followed, on different parts of the planet, modalities of execution that were inspired in the Ancient Yôga (SwáSthya Yôga) surfaced. Most of these recognize the irrefutable influence from the DeRose Method. Yet, even if they do not, it is enough to compare the methods in order to see the clear influence that we have had on interpretations that surfaced after our method.
It happens, however, that not understanding our purpose to rescue a concept of Ancient Yôga in all the splendour of its ancient authenticity, those who based themselves on SwáSthya, when elaborating other modalities, ended up creating modern forms that have nothing to do with our purpose. They saw it, but they did not understand it.
5. Finally, SwáSthya is the only Yôga in the world that has general rules, or rather, it is the only one that offers self-dependence to the practitioner. In other kinds of Yôga, the teacher has to explain the execution technique by technique: how to breath, how long to hold, how many times to repeat, where to locate one’s consciousness, etc. If this teacher explains ten exercises, the students will not know how to do an eleventh. Yet, if general rules are utilized, the practitioners have the advantage of not being chained to nor dependant on the teacher. If the practitioners needed to proceed alone, they could continue bettering themselves because, having learned just ten techniques with general rules, the individual would be able to develop another one hundred or a thousand and always continue evolving. The general rules confer autonomy and liberty to the sádhaka. The general rules are a further contribution of the systematization of the Ancient Yôga (SwáSthya Yôga). If you see someone using general rules, you can be certain that they have had some kind of contact with our method, even if they deny it.
ps. If you want to watch some SwáSthya Coreographies go to youtube and search for swasthya yoga.
What is Yoga
Is it gymnastics? A religion?
A fighting style? A flower arrangement?
Once upon a time a famous dancer improvised instinctive movements that were, however, extremely sophisticated due to his virtuosity and, because of this very fact, absolutely beautiful. This body language was not exactly a dance, but it had undeniably been inspired by it.
The captivating beauty of the technique moved all those who watched; they were overwhelmed with its expressiveness, and asked the dancer to teach them his art. And so he did. In the beginning, the method had no name. It was something spontaneous that came from within and only echoed in the hearts of those who had been born adorned by a more refined sensibility.
As the years passed, the great dancer was able to convey a good part of his knowledge until one day, long after, the Master passed on to the invisible planes. His art, however, did not die. The most loyal disciples preserved it and assumed the mission of re-transmitting it. The pupils of this generation understood the importance of also becoming teachers, and of modifying nothing, altering nothing of the outstanding teachings of the first Mentor.
At some moment in History, this art received the name integrity, integration, union: in Sanskrit, Yôga! Its founder was entered into mythology with the name of Shiva and with the title of Natarája, King of the Dancers.
These facts occurred more than 5,000 years ago in the Northeast of India, in the Indus Valley, populated by the Dravidian people. Therefore, we will study the origins of Yôga in this period and find its original purpose, so that we can identify authentic teachings and distinguish them from others that have been compromised by consumerism and interference from alien and incompatible methods.
Yôga, Tantra and Sámkhya, were developed by this admirable people. Their civilization, which is also one of the most advanced of ancient times, was lost and forgotten for thousands of years until archaeologists, at the end of the 19th century, encountered evidence of its existence and excavated two important archaeological sites, where they discovered the cities of Harappá and Mohenjo-Daro. Later, more and more sites were uncovered. Today, there are already thousands of sites distributed over an area larger than that of Egypt and Mesopotamia.
The archaeologists were impressed with what they encountered. Their excavations of the cities revealed urban planning. Instead of tortuously narrow roads, wide avenues of up to 14 meters, running from North to South and East to West, were found. Among these, there were streets for pedestrians on which ox-carts did not travel. On these streets, the middle class houses had two stories, internal atriums, indoor lavatories and running water! Don’t forget that we are talking about a civilization that flourished over 3,000 years before Christ.
This is not all, however. Lighting on the streets and covered sanitation systems, children’s toys such as cars having wheels that turned as well as detailed images of bulls’ heads and dolls with implanted hair were found. Imposing barns that had an ingenious system of ventilation and elevated platforms to facilitate the loading and unloading of ox-carts were uncovered.
In other cultures of the same period, the buildings of the sovereigns showed opulent palaces and majestic royal tombs while the people subsisted in filthy shacks. In the Dravidian culture, on the contrary, people lived well and the architecture of the public administration was simple.
Gaston Courtillier noted another significant difference between this and other civilizations. “We are truly surprised that, in those profoundly religious times, we did not find temples or remnants of statues, not even of adoration or of divinity for oration, which was the rule in other regions throughout ancient times.” For us, this makes sense, after all, we know that in Ancient India, Sámkhya had its moment of splendour; and in pre-classic India, the Niríshwarasámkhya variety was even more naturalistic than Classic Sámkhya.
The Dravidian society has been identified as matriarchal, which is also coherent with our sources, which show Yôga came from a Tantric culture.
Even farther below the ruins of the first cities, archaeologists discovered other cities. To their surprise, further down they encountered yet another, which was still more ancient. They dug more and found another city below that one. And yet another. And yet another. What called their attention was the fact that, the deeper they excavated, the more advanced the technology was, not only in terms of the architecture but also in regard to the utensils. This continued until eventually, they reached an underground aquifer and their excavations were forced to halt. In light of these discoveries, what we must ask ourselves is: how many other cities were there under those and how much more evolved would they have been?
In any case, it was from this Dravidian civilization, a Tantric (matriarchal) and Sámkhya (naturalistic) civilization, that Yôga emerged.
Around one thousand five hundred years after the earliest city uncovered in the excavations flourished, historical facts show that the civilization of the Indus Valley was invaded by a sub-barbarian people, the Áryas or Arians, who came from Central Europe. It is shown in current historical facts that these Arians destroyed the Dravidian civilization, absorbing some parts of their culture into their own and exterminating almost all those who were conquered and enslaving the few survivors. Others escaped, migrating to the extreme south of India and Sri Lanka, where their descendants live until today. Today, they are referred to as the Tamil.
Yôga was the product of a non-warring, naturalist and matriarchal civilization. From 1,500 B.C. on, it began to be absorbed by another people (the Arians), which were their polar opposite: warring, mystical and patriarchal. Around twelve hundred years after the invasion (which is by no means a short period), Yôga was formally ‘arianized’ through the celebrated work the Yôga Sútra by Pátañjali. This work inaugurated a re-reading of Yôga and from that point on, it would be known as Yôga Darshana, or Classic Yôga, which proposed nothing less than the opposite of the behavior proposed by the true Yôga of Dravidian origin. The Yôga of the Dravids was matriarchal, sensorial and non-repressive or, in a single word, Tantric. This new ‘arianized’ interpretation was patriarchal, anti-sensorial and repressive, in other words, brahmácharya.
The most interesting thing about this process of disruption is that if it weren’t for Pátañjali, Yôga would have disappeared from the records of History. Because of his efforts, which were obviously well intentioned and wise, today, his codification of Classic Yôga exists and is known to us. Adapting Yôga to the reality of the Arians, who discriminated against everything typically Dravidian because of its matriarchal characteristics (considered subversive by the dominant patriarchal society), Pátañjali was able to get Arian society and its constituent powers of that time to accept it and with this, such a tradition has reached us today.
After Pátañjali’s work, in the Middle Ages, Yôga suffered another grave disfigurement when the grand Master of Vêdanta philosophy, Shankaráchárya, converted a large part of the population. This was reflected in Yôga, because with the majority of Indians converted to Vêdánta, when practicing Yôga, public opinion and its leaders also conferred a spiritualistic format to Yôga, which, from its Dravidian origins and even during the Classic Period, was fundamentally of a Sámkhya or naturalistic philosophy.
In the 20th century, Yôga suffered still another tremendous blow: it was discovered by the Occident and, of course, ‘westernized’. It became utilitarian, consumerist, something amorphous and dull.
Legitimate Yôga, however, is beautiful to watch; it is fascinating to practice; and it is excellent as a philosophy of life. It is dynamic and it is strong.
The problem is that many people without certification as Yôga teachers have designated themselves to teach and, because they do not possess a repertoire of techniques, they mix a little of gymnastics, a bit of esoterism, a tad of hypnotism, a pinch of spiritism, something of the language tai-chi, some concepts of macrobiotics and all this they temper in an alternative therapeutic atmosphere then package it for consumption in a soft voice with new-age music. For the inexperienced, who do not have the slightest idea of what Yôga is, aside from a stereotyped and false vision, this fallacious miscellaneous satisfies. But, it has nothing to do with Yôga.
We should not forget that the word Yôga means integrity and so, it must be represented integrally, in its entirety. For this reason, in the following chapters you will have the satisfaction of getting to know a modality of Yôga that is fascinating, absolutely beautiful, extremely satisfying to practice and one charged with results capable of leaving anyone bewildered. It is SwáSthya Yôga, the very Pre-Classic, Pre-Arian, Pre-Vedic, Proto-Historic Yôga of Shiva, the ultra-integral Yôga with the characteristics of Tantra and Sámkhya preserved and what’s more, its execution is reminiscent of a dance, recovered from the most remote layers of the collective unconscious!
A fighting style? A flower arrangement?
Once upon a time a famous dancer improvised instinctive movements that were, however, extremely sophisticated due to his virtuosity and, because of this very fact, absolutely beautiful. This body language was not exactly a dance, but it had undeniably been inspired by it.
The captivating beauty of the technique moved all those who watched; they were overwhelmed with its expressiveness, and asked the dancer to teach them his art. And so he did. In the beginning, the method had no name. It was something spontaneous that came from within and only echoed in the hearts of those who had been born adorned by a more refined sensibility.
As the years passed, the great dancer was able to convey a good part of his knowledge until one day, long after, the Master passed on to the invisible planes. His art, however, did not die. The most loyal disciples preserved it and assumed the mission of re-transmitting it. The pupils of this generation understood the importance of also becoming teachers, and of modifying nothing, altering nothing of the outstanding teachings of the first Mentor.
At some moment in History, this art received the name integrity, integration, union: in Sanskrit, Yôga! Its founder was entered into mythology with the name of Shiva and with the title of Natarája, King of the Dancers.
These facts occurred more than 5,000 years ago in the Northeast of India, in the Indus Valley, populated by the Dravidian people. Therefore, we will study the origins of Yôga in this period and find its original purpose, so that we can identify authentic teachings and distinguish them from others that have been compromised by consumerism and interference from alien and incompatible methods.
Yôga, Tantra and Sámkhya, were developed by this admirable people. Their civilization, which is also one of the most advanced of ancient times, was lost and forgotten for thousands of years until archaeologists, at the end of the 19th century, encountered evidence of its existence and excavated two important archaeological sites, where they discovered the cities of Harappá and Mohenjo-Daro. Later, more and more sites were uncovered. Today, there are already thousands of sites distributed over an area larger than that of Egypt and Mesopotamia.
The archaeologists were impressed with what they encountered. Their excavations of the cities revealed urban planning. Instead of tortuously narrow roads, wide avenues of up to 14 meters, running from North to South and East to West, were found. Among these, there were streets for pedestrians on which ox-carts did not travel. On these streets, the middle class houses had two stories, internal atriums, indoor lavatories and running water! Don’t forget that we are talking about a civilization that flourished over 3,000 years before Christ.
This is not all, however. Lighting on the streets and covered sanitation systems, children’s toys such as cars having wheels that turned as well as detailed images of bulls’ heads and dolls with implanted hair were found. Imposing barns that had an ingenious system of ventilation and elevated platforms to facilitate the loading and unloading of ox-carts were uncovered.
In other cultures of the same period, the buildings of the sovereigns showed opulent palaces and majestic royal tombs while the people subsisted in filthy shacks. In the Dravidian culture, on the contrary, people lived well and the architecture of the public administration was simple.
Gaston Courtillier noted another significant difference between this and other civilizations. “We are truly surprised that, in those profoundly religious times, we did not find temples or remnants of statues, not even of adoration or of divinity for oration, which was the rule in other regions throughout ancient times.” For us, this makes sense, after all, we know that in Ancient India, Sámkhya had its moment of splendour; and in pre-classic India, the Niríshwarasámkhya variety was even more naturalistic than Classic Sámkhya.
The Dravidian society has been identified as matriarchal, which is also coherent with our sources, which show Yôga came from a Tantric culture.
Even farther below the ruins of the first cities, archaeologists discovered other cities. To their surprise, further down they encountered yet another, which was still more ancient. They dug more and found another city below that one. And yet another. And yet another. What called their attention was the fact that, the deeper they excavated, the more advanced the technology was, not only in terms of the architecture but also in regard to the utensils. This continued until eventually, they reached an underground aquifer and their excavations were forced to halt. In light of these discoveries, what we must ask ourselves is: how many other cities were there under those and how much more evolved would they have been?
In any case, it was from this Dravidian civilization, a Tantric (matriarchal) and Sámkhya (naturalistic) civilization, that Yôga emerged.
Around one thousand five hundred years after the earliest city uncovered in the excavations flourished, historical facts show that the civilization of the Indus Valley was invaded by a sub-barbarian people, the Áryas or Arians, who came from Central Europe. It is shown in current historical facts that these Arians destroyed the Dravidian civilization, absorbing some parts of their culture into their own and exterminating almost all those who were conquered and enslaving the few survivors. Others escaped, migrating to the extreme south of India and Sri Lanka, where their descendants live until today. Today, they are referred to as the Tamil.
Yôga was the product of a non-warring, naturalist and matriarchal civilization. From 1,500 B.C. on, it began to be absorbed by another people (the Arians), which were their polar opposite: warring, mystical and patriarchal. Around twelve hundred years after the invasion (which is by no means a short period), Yôga was formally ‘arianized’ through the celebrated work the Yôga Sútra by Pátañjali. This work inaugurated a re-reading of Yôga and from that point on, it would be known as Yôga Darshana, or Classic Yôga, which proposed nothing less than the opposite of the behavior proposed by the true Yôga of Dravidian origin. The Yôga of the Dravids was matriarchal, sensorial and non-repressive or, in a single word, Tantric. This new ‘arianized’ interpretation was patriarchal, anti-sensorial and repressive, in other words, brahmácharya.
The most interesting thing about this process of disruption is that if it weren’t for Pátañjali, Yôga would have disappeared from the records of History. Because of his efforts, which were obviously well intentioned and wise, today, his codification of Classic Yôga exists and is known to us. Adapting Yôga to the reality of the Arians, who discriminated against everything typically Dravidian because of its matriarchal characteristics (considered subversive by the dominant patriarchal society), Pátañjali was able to get Arian society and its constituent powers of that time to accept it and with this, such a tradition has reached us today.
After Pátañjali’s work, in the Middle Ages, Yôga suffered another grave disfigurement when the grand Master of Vêdanta philosophy, Shankaráchárya, converted a large part of the population. This was reflected in Yôga, because with the majority of Indians converted to Vêdánta, when practicing Yôga, public opinion and its leaders also conferred a spiritualistic format to Yôga, which, from its Dravidian origins and even during the Classic Period, was fundamentally of a Sámkhya or naturalistic philosophy.
In the 20th century, Yôga suffered still another tremendous blow: it was discovered by the Occident and, of course, ‘westernized’. It became utilitarian, consumerist, something amorphous and dull.
Legitimate Yôga, however, is beautiful to watch; it is fascinating to practice; and it is excellent as a philosophy of life. It is dynamic and it is strong.
The problem is that many people without certification as Yôga teachers have designated themselves to teach and, because they do not possess a repertoire of techniques, they mix a little of gymnastics, a bit of esoterism, a tad of hypnotism, a pinch of spiritism, something of the language tai-chi, some concepts of macrobiotics and all this they temper in an alternative therapeutic atmosphere then package it for consumption in a soft voice with new-age music. For the inexperienced, who do not have the slightest idea of what Yôga is, aside from a stereotyped and false vision, this fallacious miscellaneous satisfies. But, it has nothing to do with Yôga.
We should not forget that the word Yôga means integrity and so, it must be represented integrally, in its entirety. For this reason, in the following chapters you will have the satisfaction of getting to know a modality of Yôga that is fascinating, absolutely beautiful, extremely satisfying to practice and one charged with results capable of leaving anyone bewildered. It is SwáSthya Yôga, the very Pre-Classic, Pre-Arian, Pre-Vedic, Proto-Historic Yôga of Shiva, the ultra-integral Yôga with the characteristics of Tantra and Sámkhya preserved and what’s more, its execution is reminiscent of a dance, recovered from the most remote layers of the collective unconscious!
The word Yoga has accent
DEMONSTRATION
THAT THE WORD YÔGA HAS AN ACCENT IN ITS ORIGINAL FORM, IN THE DÊVANÁGARI ALPHABET
YA (short).
YAA ∴ YÁ (long).
YOO* ∴ YÔ (long).
YÔGA
* Although for didactic reasons we wrote YOO above, such an artifice is used only for the better understanding of the readers, who may not be versed in Sanskrit. We should clarify that the phoneme ô is a result of the fusion of a with u and, since it contains two letters, is always long. In this convention, the acute accent is applied on letters whenever there is a fusion of two identical letters (such as a+a = á, i+i = í, u+u = ú). The circumflex accent is applied when there is a fusion of two different letters such as a + i = ê, as in sa + íshwara = sêshwara, and a + u = ô in AUM, which is pronounced ÔM. In view of this, we write Vêdánta. .
The circumflex accent in the word Yôga is so important that it is used even in books published in English and Spanish, languages that do not contain such accent.
Bibliography for the Spanish language:
Léxico de Filosofía Hindú, by Kastberger, Editorial Kier, Buenos Aires.
Bibliography for the English language:
Pátañjali Aphorisms of Yôga, by Srí Purôhit Swámi, Faber and Faber, London
Encyclopaedia Britannica, term Sanskrit language and literature, volume XIX, 1954 edition
Bibliography for the Portuguese language:
Poema do Senhor, by Vyasa, Editora Relógio d´Água, Lisboa
THAT THE WORD YÔGA HAS AN ACCENT IN ITS ORIGINAL FORM, IN THE DÊVANÁGARI ALPHABET
YA (short).
YAA ∴ YÁ (long).
YOO* ∴ YÔ (long).
YÔGA
* Although for didactic reasons we wrote YOO above, such an artifice is used only for the better understanding of the readers, who may not be versed in Sanskrit. We should clarify that the phoneme ô is a result of the fusion of a with u and, since it contains two letters, is always long. In this convention, the acute accent is applied on letters whenever there is a fusion of two identical letters (such as a+a = á, i+i = í, u+u = ú). The circumflex accent is applied when there is a fusion of two different letters such as a + i = ê, as in sa + íshwara = sêshwara, and a + u = ô in AUM, which is pronounced ÔM. In view of this, we write Vêdánta. .
The circumflex accent in the word Yôga is so important that it is used even in books published in English and Spanish, languages that do not contain such accent.
Bibliography for the Spanish language:
Léxico de Filosofía Hindú, by Kastberger, Editorial Kier, Buenos Aires.
Bibliography for the English language:
Pátañjali Aphorisms of Yôga, by Srí Purôhit Swámi, Faber and Faber, London
Encyclopaedia Britannica, term Sanskrit language and literature, volume XIX, 1954 edition
Bibliography for the Portuguese language:
Poema do Senhor, by Vyasa, Editora Relógio d´Água, Lisboa
What is Yoga and SwaSthya Yoga
The definition of Yôga proposed by Master DeRose is the one most accepted nowadays for every lineage of Yôga.
"Yôga is any strictly practical methodology that leads to samádhi."
Samádhi is the state of hyperconsciousness and self-knowledge generated only by Yôga.
SwáSthya Yôga is the name of the systematization of the Ancient Yôga, Pre-Classical, the most complete Yôga in the world.
SwáSthya Yôga’s main characteristics (ashtánga guna) are:
1. its extremely complete practice composed of eight modalities of techniques;
2. the codification of the general rules;
3. the rescue of the archaic concept of chained sequences without repetitions;
4. its focus on special people, born for SwáSthya Yôga;
5. its emphasis on the value of gregarious feelings;
6. its utmost seriousness;
7. the sincere joy; and
8. unfaltering loyalty.
"Yôga is any strictly practical methodology that leads to samádhi."
Samádhi is the state of hyperconsciousness and self-knowledge generated only by Yôga.
SwáSthya Yôga is the name of the systematization of the Ancient Yôga, Pre-Classical, the most complete Yôga in the world.
SwáSthya Yôga’s main characteristics (ashtánga guna) are:
1. its extremely complete practice composed of eight modalities of techniques;
2. the codification of the general rules;
3. the rescue of the archaic concept of chained sequences without repetitions;
4. its focus on special people, born for SwáSthya Yôga;
5. its emphasis on the value of gregarious feelings;
6. its utmost seriousness;
7. the sincere joy; and
8. unfaltering loyalty.
About Master DeRose
Master DeRose is one of the most respected comteporary Master of Yôga, he has been practcing and teaching Ancient Yôga for almost 50 years. He systematized the Dakshinacharatantrika-Nirishwarasamkhya Yôga and was praised by many Masters of Yôga in India, where he traveled extensively for 24 yers in a row. Here you can find a small part of his biography.
In 1960, the youngest Yôga teacher in Brazil appeared. It was DeRose, then at the age of sixteen, who had started to teach in a well-know philosophical society. In 1964, he founded the Brazilian Institute of Yôga.
In 1969, he published the first book “Prontuário de Yôga Antigo” (The Ancient Yôga Shastra), which was praised by Ravi Shankar himself, by Mistress Chiang Sing, and by other authorities on Yôga.
In 1975, already recognized as a sincere Prof., he gained support to found National Union of Yôga, the first entity to congregate instructors and schools of all modalities of Yôga without discrimination. It was the National Union of Yôga that unleashed the movement for union, ethics, and mutual respect among the professionals in this area of teaching. Since then, the Union has grown substantially and today is made up of hundreds of schools throughout virtually the entire country of Brazil as well as in other countries of Latin America and Europe (including the UK, Spain, Portugal, Germany, Italy France, and others).
In 1978, DeRose led the campaign for creating and disseminating the first legislative act for regulating the profession of Yôga, which resulted in an intense mobilization of individuals and in serious debates throughout the country. In the 1970´s, he also introduced the University Extension Courses for the Formal Education of Yôga Instructors in virtually every State, Federal, and Catholic University in Brazil. Later, in 1980, he began to give courses in India and to teach Yôga instructors in Europe.
Two years later, in 1982, he organized the First Brazilian Congress of Yôga and published the first book written specifically for the guidance of Yôga Instructors, “Guide for the Yôga Instructor”) as well as the first Brazilian translation of the “Yôga Sútra of Pátañjali”, the most important book of Classic Yôga. Unfortunately, the more he stood out, the more he became target of a ruthless persecution promoted by less honest competitors who felt harmed by the clarification campaign promoted by Prof. DeRose, a campaign that made more difficult the cons of the conmen.
In 1994, after 20 years of trips to India, he founded the “Primeira Universidade de Yôga do Brasil” (“First Brazilian University of Yôga”) and the “Universidade Internacional de Yôga” (“International Yôga University”), with schools in Portugal, Argentina, France and other countries). In 1997, Prof. DeRose launched the foundations of the “Federal Yôga Council” and the “National Yôga Professors Union”. Celebrating forty years as a teacher in the year 2000, he received, in both 2001 and 2002, the recognition and title of “Master in Yôga” and “Notorious Knowledge in Yôga” from FATEA – Faculdades Integradas Teresa d´Ávila (São Paulo), from the Universidade do Porto (Portugal), from the Universidade de Cruz Alta (Rio Grande do Sul), Universidade Estácio de Sá (Minas Gerais), from the Municipal Assembly of Curitiba (Paraná), and from the "Brazilian Culture and Integration Society”, which also granted him a “Comenda”.
In 2003, he received the title of "Comendador" from “Brazilian Academy of Art, Culture and History”. By law, in the States of Paraná, São Paulo, Rio de Janeiro, Minas Gerais, Bahia, Rio Grande do Sul, Ceara and others, Prof. DeRose´s birthday has been decreed as Yôga Day.
In 1960, the youngest Yôga teacher in Brazil appeared. It was DeRose, then at the age of sixteen, who had started to teach in a well-know philosophical society. In 1964, he founded the Brazilian Institute of Yôga.
In 1969, he published the first book “Prontuário de Yôga Antigo” (The Ancient Yôga Shastra), which was praised by Ravi Shankar himself, by Mistress Chiang Sing, and by other authorities on Yôga.
In 1975, already recognized as a sincere Prof., he gained support to found National Union of Yôga, the first entity to congregate instructors and schools of all modalities of Yôga without discrimination. It was the National Union of Yôga that unleashed the movement for union, ethics, and mutual respect among the professionals in this area of teaching. Since then, the Union has grown substantially and today is made up of hundreds of schools throughout virtually the entire country of Brazil as well as in other countries of Latin America and Europe (including the UK, Spain, Portugal, Germany, Italy France, and others).
In 1978, DeRose led the campaign for creating and disseminating the first legislative act for regulating the profession of Yôga, which resulted in an intense mobilization of individuals and in serious debates throughout the country. In the 1970´s, he also introduced the University Extension Courses for the Formal Education of Yôga Instructors in virtually every State, Federal, and Catholic University in Brazil. Later, in 1980, he began to give courses in India and to teach Yôga instructors in Europe.
Two years later, in 1982, he organized the First Brazilian Congress of Yôga and published the first book written specifically for the guidance of Yôga Instructors, “Guide for the Yôga Instructor”) as well as the first Brazilian translation of the “Yôga Sútra of Pátañjali”, the most important book of Classic Yôga. Unfortunately, the more he stood out, the more he became target of a ruthless persecution promoted by less honest competitors who felt harmed by the clarification campaign promoted by Prof. DeRose, a campaign that made more difficult the cons of the conmen.
In 1994, after 20 years of trips to India, he founded the “Primeira Universidade de Yôga do Brasil” (“First Brazilian University of Yôga”) and the “Universidade Internacional de Yôga” (“International Yôga University”), with schools in Portugal, Argentina, France and other countries). In 1997, Prof. DeRose launched the foundations of the “Federal Yôga Council” and the “National Yôga Professors Union”. Celebrating forty years as a teacher in the year 2000, he received, in both 2001 and 2002, the recognition and title of “Master in Yôga” and “Notorious Knowledge in Yôga” from FATEA – Faculdades Integradas Teresa d´Ávila (São Paulo), from the Universidade do Porto (Portugal), from the Universidade de Cruz Alta (Rio Grande do Sul), Universidade Estácio de Sá (Minas Gerais), from the Municipal Assembly of Curitiba (Paraná), and from the "Brazilian Culture and Integration Society”, which also granted him a “Comenda”.
In 2003, he received the title of "Comendador" from “Brazilian Academy of Art, Culture and History”. By law, in the States of Paraná, São Paulo, Rio de Janeiro, Minas Gerais, Bahia, Rio Grande do Sul, Ceara and others, Prof. DeRose´s birthday has been decreed as Yôga Day.
Message of Exhortation
EXHORTATION
Knowledge leads to Union.
Ignorance leads to dispersion.
Rámakrishna
To all those who practice or study Yôga, sincerely and with a pure soul, we summon to participate in our work of Union.
To all those who are more concerned with building than criticizing, we bid to unite to be able to disseminate our message of Integration.
To all those who are not interested in evidencing what is wrong with the Human Being, but in cultivating what is righteous and good, we call upon to join hands with us so we can together perpetuate the ancestral traditions that were transmitted to us by the Ancient.
To all those who do not want to waste time arguing, but, instead, who yearn to apply such time in finding the true Yôga that exists within each thing or person; to all those who want the improvement of Men and their fraternization full of affection; to all those who aspire for a yôgi community where competition is left outside; to all those we open our hearts, offer our arms, and osculate as true brothers.
Master DeRose
Knowledge leads to Union.
Ignorance leads to dispersion.
Rámakrishna
To all those who practice or study Yôga, sincerely and with a pure soul, we summon to participate in our work of Union.
To all those who are more concerned with building than criticizing, we bid to unite to be able to disseminate our message of Integration.
To all those who are not interested in evidencing what is wrong with the Human Being, but in cultivating what is righteous and good, we call upon to join hands with us so we can together perpetuate the ancestral traditions that were transmitted to us by the Ancient.
To all those who do not want to waste time arguing, but, instead, who yearn to apply such time in finding the true Yôga that exists within each thing or person; to all those who want the improvement of Men and their fraternization full of affection; to all those who aspire for a yôgi community where competition is left outside; to all those we open our hearts, offer our arms, and osculate as true brothers.
Master DeRose
Subscribe to:
Posts (Atom)
