SwáSthya Yôga

58 Pranayamas

2007-05-03T07:46:00.000-07:00

DESCRIPTION OF THE PRÁNÁYÁMAS

1. Tamas pránáyáma – imperceptible respiration
a) Inhale so slowly that even the slightest movement of air is imperceptible;
b) retain the air a few seconds, without counting any rhythm; and
c) exhale so slowly that the movement of air is imperceptible.

2. Rajas pránáyáma – dynamic respiration
(Do not confuse this with rája pránáyáma.)
a) Inhale raising your arms to the height of your shoulders;
b) retain the air while you close your hands firmly and vigorously move your arms, flexing and extending them, bringing your hands to your shoulders and returning them to their extended position many times before you exhale; and
c) exhale slowly, lowering your arms simultaneously.

3. Adhama pránáyáma – abdominal respiration without rhythm
(Other names for this are: ardha pránáyáma and ardha prána kriyá.)
a) Inhale, projecting your abdomen outwards , attempting to fill the lower portion of your lungs;
b) retain the air for a few seconds, without counting any rhythm; and
c) exhale, pulling your abdomen in, attempting to empty your lungs as much as possible, especially the lower portions.

4. Adhama kúmbhaka – abdominal respiration with rhythm (1-2-1)
(Another name for this is ardha kúmbhaka.)
a) Inhale, projecting the abdomen outwards while counting one time;
b) retain the air in the lungs, counting two times; and
c) exhale, pulling in the abdomen, counting one time.

5. Bandha adhama pránáyáma – abdominal respiration without rhythm and with bandhas
(Another name for this is bandha ardha prána kriyá)
a) Inhale, projecting the abdomen outwards, raising your chin and extending the thyroid region;
b) retain the air, executing the jíhva bandha (placing your tongue on your soft palate, the soft place on the back-upper portion of your mouth); and
c) exhale and retract your abdomen, lowering your head and pressing your chin on your chest (jalándhara bandha), pulling your abdomen strongly inwards, towards your back and then upwards (uddiyana bandha) while forcefully contracting the sphincters of the anus and the urethra (múla bandha).

6. Adhama kúmbhaka pránáyáma – abdominal respiration with rhythm and bandhas (1-2-1)
(Another name for this is ardha kúmbhaka bandha)
a) Inhale, in one time, projecting your abdomen outwards, lifting your chin and extending the thyroid region;
b) retain the air for two times, executing the jíhva bandha (placing your tongue on your soft palate, which is the soft place on the back-upper portion of your mouth); and
c) exhale in one time, retracting your abdomen while lowering your head and pressing your chin against your chest (jalándhara bandha). Pull your abdomen strongly inward towards your back and then upwards (uddiyana bandha) and forcefully contract the sphincters of your anus and urethra (múla bandha).

7. Madhyama pránáyáma – middle respiration without rhythm
a) Place the palm of your hands to the side of your ribs, with the your fingers facing forward;
b) exhale, creating pressure with your hands in such a way as to push in the ribs while the tips of your fingers get closer and closer at the height of your solar plexus;
c) inhale, releasing the pressure of your hands and allowing for them to be pushed outward by the ribs; and remember
d) in this pránáyáma, you don’t move the lower nor the upper portions of your lungs and when the intercostal musculature is well conditioned, the use of the hands is not necessary.

8. Madhyama kúmbhaka – middle respiration with rhythm (1-2-1)
a) Proceed similarly to the previous pránáyáma;
b) exhale as slowly as possible according to what is comfortable for you and to what rhythm you have chosen; and
c) inhale in a determined time, retain the air in the lungs twice the time and exhale in the same amount of time that you inhaled.

9. Bandha madhyama pránáyáma – middle respiration without rhythm and with bandhas
a) Breathe using only the mid portion of your lungs, which correspond to the intercostal region;
b) inhale, tilting your head back and placing the tip of your tongue on your soft palate, pressing it towards the back portion (jíhva bandha) while retaining the air in your lungs; and
c) exhale, bringing your chin to the upper portion of your chest, which flexes the region of your cervix;
d) with your lungs empty, maintain the pressure of your chin on your chest (jalándhara bandha), contracting the abdomen as much as possible (uddiyana bandha) as well as the sphincters of the anus and the urethra (múla bandha). Retention without air for a free period.

10. Madhyama kúmbhaka pránáyáma – middle respiration with rhythm and bandhas (1-2-1)
a) Execute the previous pránáyáma adding rhythm;
b) Inhale in a given time, retain the air in the lungs for twice this time and exhale in the same time as you inhaled.

11. Uttama pránáyáma – upper respiration without rhythm
a) Inhale, taking the air into the upper part of the lungs (in order to do this, you should maintain the abdominal and intercostal musculature lightly contracted);
b) retain the air for a short period of time; and
c) exhale gracefully and in a controlled manner.

12. Uttama kúmbhaka – upper respiration with rhythm (1-2-1)
a) Execute the previous pránáyáma, trying to execute it as slowly as possible and adding rhythm;
b) as slowly as possible, inhale in a given time, retain the air in the lungs for twice this time and exhale in the same time as you inhaled.

13. Bandha uttama pránáyáma – upper respiration without rhythm and with bandhas
a) Inhale, taking the air into the upper part of the lungs, gently letting your head tilt back and executing the jíhva bandha, pressing the end of your tongue against the anterior region of the roof of your mouth;
b) maintain this bandha while you retain the air;
c) exhale while bringing your chin to your touch your sternum; and
d) while your lungs are empty, keep the pressure of the chin on your chest (jalándhara bandha), contract the abdomen, pulling it firmly in and upward (uddiyana bandha) and contract the sphincters of the anus and the urethra (múla bandha).

14. Uttama kúmbhaka pránáyáma – upper respiration with rhythm and bandhas (1-2-1)
a) Inhale suavely through your nostrils in on time, filling only the upper portion of the lungs;
b) retain the air two times, executing the jívha bandha (head tilted back with the tip of the tongue pressing against the soft palate);
c) exhale in one time, pressing the chin on the upper part of the sternum; and
d) hold the lungs without air for any comfortable amount of time while maintaining the chin on the chest, which creates pressure on the region of the thyroid gland (jalándhara bandha), and strongly contracting the abdomen (uddiyana bandha) along with the sphincters of the anus and the urethra.

15. Rája pránáyáma – complete respiration without rhythm and without bandhas (Another name for this is prána kriyá.)
a) Inhale, first projecting the abdomen outward then the ribs and finally dilate the upper portion of the thorax without counting any rhythm;
b) retain the air in the lungs for a few seconds, without counting any rhythm; and
c) exhale, first releasing the upper portion of the thorax, after the mid portion and finally the lower portion of the lungs.

16. Bandha pránáyáma – complete respiration without rhythm and with bandhas (Another name for this is prána bandha kriyá)
a) Inhale, first projecting the abdomen outward, then the ribs, and finally dilate the upper portion of the thorax, all in the same breath, without counting any rhythm; at the same time, raising the chin and extending the thyroid region;
b) retain the air for a few seconds with the head tilted back, again without counting any rhythm;
c) exhale, releasing the air first from the upper, then the mid and finally the lower portion of the lungs, without any rhythm, while tilting the head forward, placing the chin against the chest (jalándhara bandha), pulling the abdomen strongly in and upward (uddiyana bandha) and contracting the sphincters of the anus and the urethra (múla bandha) with force.

17. Antara kúmbhaka – complete respiration with rhythm (1-2-1 or 1-4-2)
(Another name for this is kúmbhaka.)
a) Inhale, dilating the lower (adhama), mid (madhyama) and upper (uttama) portion of the lungs by first projecting the abdomen outward and after the ribs to the sides and finally expanding the upper part of the thorax, counting one time;
b) retain the air in the lungs counting two times;
c) exhale, releasing the air first from the upper, then the mid and finally the lower portion of the lungs, counting one time.
Note: For those that are more advanced, the rhythm can go progressively passing to 1-4-2, which is much stronger.

18. Kêvala kúmbhaka – retention of the breath
This exercise is cited by Pãtañjali in his classic work Yôga Sútra, written over 2,000 years ago. It consists of retaining air in any of the phases of breathing without having inhaled or exhaled in preparation for this. This retention should be held as long as possible, without exaggerating, in a progressive manner.

19. Bandha kúmbhaka pránáyáma– complete respiration with rhythm and with bandhas
(Another name for this is kúmbhaka bandha)
a) Inhale, as in the antara kúmbhaka above, but this time, when inhaling, raise your chin and extend the thyroid region while you count one time;
b) retain the air, counting two times; and
c) exhale, as in the antara kúmbhaka, this time tilting the head forward and pressing the chin on the chest (jalándhara bandha), pulling the abdomen in and upward (uddiyana bandha) and strongly contracting the sphincters of the anus and the urethra (múla bandha). These three practices together are denominated bandha traya.
Note: For those who are more advanced, the rhythm can progressively move to 1-4-2.

20. Manasika pránáyáma – complete respiration with mentalization
a) Inhale slowly and clearly imagine a strong golden light penetrating through your nasal passages;
b) retain the air in the lungs, visualizing this energy being absorbed by the alveoli, penetrating the blood stream and being deposited in each cell, revitalizing every one of them; and
c) while exhaling, mentalize your body, radiant like the sun;
Note: Bandhas and rhythm can be added as well as the use of other colors, depending on the interest of the practitioner or teacher at that moment.

21. Báhya kúmbhaka – retention with the lungs emptys
(Another name for this is shúnyaka)
a) Carry out one complete respiration (adhama, madhayama, uttama);
b) exhale slowly; and
c) maintain the lungs without air for as long as possible, without exaggerating and progressively increasing the time.
Note: This pránáyáma is used to inhibit the cerebral functions through the reduction of its oxygen supply and through this, control the vrittis (“Yôga chitta vritti nirôdhah”, Yôga Sútra, chapter I, verse 2). It is a practice that involves some risk of injuring the nervous system and for this reason, it is not recommended for beginners.

22. Nádí shôdhana pránáyáma – alternated respiration without rhythm
(Another name for this is vamakrama or vamah krama)
a) Place the hands in jñána mudrá;
b) obstruct the right nostril with the middle finger of the right hand (which is in jñána mudrá )
c) inhale through the left nostril (complete breathing);
d) retain the air as long as possible, without exaggerating;
e) change the obstructed nostril, obstructing the left one, also with the middle finger of the right hand, which is in jñána mudrá;
f) exhale through the right nostril;
g) continue the pránáyáma, inhaling through the right nostril and exhaling through the left, and so on.

Note: Observe that the active nostril is always alternated when the lungs are full and never when they are empty. Other mudrás can be used to obstruct the nostril, and each school uses a different mudrás. In our case, we choose the jñána mudrá.

23. Nádí shôdhana kúmbhaka – alternated breathing with rhythm (1-2-1 or 1-4-2)
(Another name for this is sukha púrvaka)

This pránáyáma is exactly the same as the previous one, only that rhythm is added, one time to inhaling, two times to the retention of air, one time exhaling and no time is allotted to the retention of the lungs empty (shúnyaka). Those who are more advanced can progressively pass to the rhythm 1-4-2. If necessary, return to the beginning of the chapter and read the explanation about rhythm and counting.

24. Manasika nádí shôdhana – alternated respiration executed mentally
a) Breathe amply, consciously and deeply through the nostrils;
b) imagine an intense luminosity penetrating through the right nostril;
c) retain the air in the lungs while visualizing this energy impregnating the entire body;
d) exhale while mentalizing the energy leaving through the left nostril.
e) the next time you inhale, imagine a strong light penetrating through the left nostril;
f) upon the retention of the air, this light is assimilated;
g) exhale while mentalizing the light leaving through the right nostril.
Note: Execute various cycles of this keeping in mind that any of the recommended colors can be used for practices that involve mentalizations.

25. Súrya pránáyáma – respiration through the positive or solar nostril
a) Place the hands in jñána mudrá , obstruct the negative nostril (the left for men and the right for women) with the middle finger of either hand;
b) inhale and exhale, always through the negative nostril (right for men and left for women), without retaining air in the lungs for any length of time
Note: There is also a variation in which the breathing is done through the mouth.

26. Manasika súrya pránáyáma – solar respiration executed mentally
a) Inhale using the technique of complete breathing, suavely and deeply through both nostrils, while visualizing a strong orangish light entering through the solar nostril (right for men and left for women); and
b) exhale while visualizing the same light exiting through the same nostril.

27. Chandra pránáyáma – respiration through the negative or lunar nostril
This exercise is the same as súrya pránáyáma (25), however, it uses the other nostril.
Note: There is also a variation in which the breathing is done through the mouth.

28. Manasika chandra pránáyáma – lunar respiration executed mentally
a) Maintain complete, suave and deep breathing through both nostrils while imagining an intense light blue luminosity penetrating through the lunar nostril (left for men and right for women); and
b) exhale while visualizing the light leaving through the same nostril.

29. Súryabhêda pránáyáma - alternated respiration with solar respiration and without rhythm
a) Place the hands in jñána mudrá;
b) obstruct the negative nostril (left for men and right for women) using the middle finger of the right hand;
c) inhale through the positive nostril (right for men and left for women);
d) retain the air, executing the jalándhara bandha and swallowing the saliva;
e) come out of the jalándhara bandha and exhale through the other nostril.
f) repeate the entire process, while being careful to always inhale through the solar or positive nostril and exhale through the lunar or negative nostril. Do not do it as in the vamah krama or the sukha púrvaka, where the process of inhaling is alternated between nostrils.

30. Chandrabhêda pránáyáma - alternated respiration with lunar inhalation without rhythm
This pránáyáma is the same as the one before it, however, when inhaling, the negative nostril is used and when inhaling the positive nostril is used. This exercise should not be used, except when specified by one’s direct Master.

31. Súryabhêda kúmbhaka – alternated respiration with solar inhalation and rhythm (1-4-2)
This breathing exercise is similar to the súryabhêda pránáyáma except that there is a difference in the time that the air is retained in the lungs. In this case, the retention or kúmbhaka should be the maximum that the practitioner can hold it, without any exaggerations. At the end, execute the uddiyana bandha and the múla bandha when exhaling.

32. Bhastriká – rapid blow respiration
(In some schools, bhastriká is called kapálabhati and vice-versa!)
a) Inhale and exhale very rapidly and strongly through both nostrils producing a high sound like that of a bellow;
b) the ideal rhythm is to inhale and exhale, both, in only one second;
c) beginners will execute this exercise more slowly so as not to loose the rhythm and those who are more advanced will execute it more quickly, more forcefully and using the technique of complete breathing. While the latter is still out of reach, try abdominal breathing until it is possible;
d) in the end, stay in shúnyaka and bandha traya.

33. Súrya bhastriká – rapid blow respiration through the solar nasal passage
Execute the same pránáyáma above (32), however, with only the positive nostril (right for men and left for women) and without alternating.

34. Chandra bhastriká – rapid blow respiration of through the lunar nasal passage
Execute the same pránáyáma above (33) with the negative nostril.

35. Nádí shôdhana bhastriká – alternated rapid blow respiration
For the practitioners who have already dominated the two previous pránáyámas (32 and 33), there are others that are much more complex as they require excellent motor coordination. More specifically, when executing this technique, the yôgin should rapidly change the active nostril in such a way that he inhales through one and exhales through the other and not through the same one. This is a very strong pránáyáma and one that is for those who are well trained and want the most vigorous effects. It is not recommended for either the beginner or the imprudent.

36. Kapálabhati – slow blow respiration
(In some schools the kapálabhati is called bhastriká and vice versa.)
a) Inhale deeply in a normal rhythm and applying the complete breathing technique;
b) do not retain the air; and
c) exhale all of the air vigorously through both nostrils all at once in a half of a second.

37. Súrya kapálabhahti – slow blow through the solar nasal passage
Execute the same pránáyáma above (36), however, this time using only the positive nostril (right for men and left for women).

38. Chandra kapálabhati – slow blow through the lunar nasal passage
Execute the same pránáyáma above (36), however, with only the negative nostril this time.

39. Nádí shôdhana kapálabhati –alternated slow blow
For those more advanced practitioners who want stronger effects, the previous pránáyámas can be done inhaling deeply through one nostril, no retention of air and exhaling through the opposite nostril. The difference in this one is the alternation of nostrils, which the others do not apply, since either both or one or the other nostril is used in the pránáyámas 36, 37 and 38.

40. Mantra pránáyáma – rhythmic respiration with the emission of a mantra (1-2-3)
(Another name for this is pránava pránáyáma.)
a) Seat yourself preferably in siddhásana;
b) inhale in one time, mentalizing the absorption of prána through the nostrils and its channeling through the nádís, directly to the ájña chakra;
c) retain the air two times, visualizing the ájña chakra shining, turning very rapidly in the dextrogerous way (dakshinavártêna) and growing in diameter; and
d) exhale in three times, emitting the vaikharí mantra ÔM harmoniously until you have no more air in your lungs.

41. Ômkára pránáyáma – rhythmic respiration with the manasika mantra (1-4-2)
a) Inhale, as in the kúmbhaka, however, when marking the time, instead of using seconds, count repetitions of the manasika mantra, visualizing the syllable ÔM. An example of visualization that would correspond to three seconds is:
ÔM – ÔM – ÔM

b) retain the air, like in the kúmbhaka, however, when counting four times, use mental repetitions of the mátriká mantra. An example of this visualized and which corresponds to 4 x 3 seconds would be:
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM

c) exhale the air, like in the kúmbhaka, however, when counting two times, use mental repetitions of the ÔM. An example of that corresponds to 2 x 3 seconds when visualized would look like this:
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM

Note: The practitioner can opt for the unit of time ÔM-ÔM, ÔM-ÔM-ÔM or ÔM-ÔM-ÔM-ÔM etc. What is fundamental is good common sense, gradual progress and the orientation of a Master.

More advanced yôgins, instead of using the mantra ÔM, will use the yantra ÔM to count the time mentally. It looks something like this:

púraka –

kúmbhaka –

rêchaka –

42. Ha Blow – strong exhalation through the mouth with a high brisk sound emitted in conjunction
a) Stand with the legs slightly apart;
b) inhale, raising the arms in front of the body and then up above;
c) retain the air for a few seconds; and
d) exhale, all of the air in the lungs in less than one second, energetically, throwing the arms, torso and head forward, emitting the sound HA, as if yelling – only that the sound is not produced from yelling but rather from the strong and fast forcing of the air out of the lungs.

Safety measure: In order to avoid injuring the spine and the back muscles, try not to move the torso violently forward, especially if the body is cold, whether because of the climate or because of the fact that the practice has just begun.

43. Ujjáyí pránáyáma – respiration with a contraction of the glottis
a) Inhale through the nostrils, contracting the glottis (having done this, the practitioner will notice a light noise that is similar to resonance, but note that this should be very light, preferably so much so that the person next to you cannot hear it);
b) retain the air in the lungs with the glottis completely closed and execute the jalándhara bandha; and
c) exhale through the nostrils, contracting the glottis and producing the same suave sound from the air traveling through the respiratory track.

44. Shítálí pránáyáma – respiration with the tongue curled
a) Place the tongue in the form of a tube between the teeth, which should be partially closed;
b) inhale through the mouth, making the air penetrate the respiratory track through the channel formed by the tongue;
c) retain the air, without any rhythm; and
d) exhale normally through the nostrils.

45. Shítkárí pránáyáma – respiration with the tongue and teeth
a) Close the teeth, leaving the lips semi-open and the tongue lightly touching the back of the upper incisors;
b) inhale through the mouth, making the air enter the respiratory track through the teeth and the tongue;
c) retain the air without rhythm; and
d) exhale normally through the nostrils.

46. Bhrámárí pránáyáma – respiration with the noise of a bee
a) Inhale deeply as in the ujjáyí;
b) do not retain the air; and
c) exhale slowly and deeply, producing a buzzing that is similar to the sound of a bee (bhrámárí).

47. Múrchhá pránáyáma
a) Seat yourself in padmásana;
b) inhale as in the ujjáyí;
c) retain the air for a long time while executing the jalándhara bandha;
d) exhale slowly; and
e) while retaining the lungs empty, execute the múla bandha.

48. Plavíní pránáyáma – respiration with the swallowing of air
a) Inhale, swallowing air as if it were water, filling the stomach with air; and
b) exhale, eructating (do not teach this exercise in the classroom!).

49. Sama vritti pránáyáma
a) Inhale, slowly, deeply and completely in five seconds;
b) retain the air five seconds; and
c) exhale in five seconds.

50. Visama vritti pránáyáma
a) Execute, in its entirety, one complete cycle of complete breathing with the rhythm 1-4-2;
b) repeat the whole cycle using the rhythm 2-4-1;
c) repeat the whole cycle again using the rhythm 4-2-1; and
d) reinitiate the process described in letters a, b and c as many times as your Master has determined. If you do not have a Master, use common sense.

51. Chaturánga pránáyáma – square breathing
a) Inhale in 4 seconds;
b) retain the air for 4 seconds;
c) exhale in 4 seconds; and
d) retain without air for 4 seconds.

52. Vilôma pránáyáma
a) Seat yourself in padmásana with the hands in jñána mudrá;
b) inhale in 2 seconds and stop before filling the lungs;
c) retain the air for 2 seconds;
d) inhale a little more for 2 seconds;
e) retain the air for 2 more seconds;
f) continue the process of filling the lungs until they are full;
g) execute the kúmbhaka for 5 to 10 seconds while also executing the múla bandha;
h) exhale; and
i) repeat the number of times determined by your Master. If you do not have a Master, use common sense and repeat it around 10 to 15 times, continually readjusting how long you hold each part and how many times you repeat the exercise according to your advancement.

53. Anulôma pránáyáma
a) Execute the jalándhara bandha;
b) inhale through the nostrils as in the ujjáyí;
c) retain the air for 5 to 10 seconds;
d) execute the múla bandha;
e) obstruct the nostrils, maintaining the múla bandha;
f) exhale slowly through the left nostril, maintaining the right one obstructed;
g) repeat the pránáyáma from a to f, exhaling now through the right nostril;
h) having finished both phases, the anulôma has completed a single cycle;
i) repeat this 5 to 8 cycles.

54. Pratilôma pránáyáma
a) Execute the jalándhara bandha;
b) obstruct the nostrils with the right hand;
c) press the left nostril and control the opening of the right nostril;
d) inhale slowly and deeply through the right nostril;
e) retain the air pressing both nostrils closed;
f) execute the múla bandha while the kúmbhaka lasts (5 to 10 seconds);
g) exhale through both of the nostrils in ujjáyí;
h) repeat a through g, this time pressing the right nostril and controlling the opening of the left nostril;
i) having completed both sides, the cycle has come full circle;
j) repeat 5 to 8 cycles.

55. Chakra pránáyáma – respiratory exercise to activate the chakras
Execute the ômkára pránáyáma six times, but instead of using ÔM, you should use one of the bíja mantras of the chakras each time, in the correct order of ascension: LAM, VAM, RAM, YAM, HAM, ÔM. The correct pronunciation is fundamental even if the mantra is only mentalized, thus the need of a Master to listen to and correct. When the six times have been completed, one for each bíja, one cycle has been completed. Repeat this exercise 10 times. One should progressively raise the unit of time measured by the mantras, adding one second in the púraka (represented by one more repetition of the mantra while inhaling) each month. For example, in the first month one would execute the ÔM, in the second, one would execute ÔM-ÔM, in the third, one would execute ÔM-ÔM-ÔM and so on, raising the standard unit that serves to count the rhythm 1-4-2. But, the most important thing is that the practitioner knows when to stop raising the amount of time, or even when to reduce it, whenever he feels that the kúmbhaka is excessive.

56. Kundaliní pránáyáma – respiratory exercise to active the kundaliní
a) Proceed as in the nádí shôdhana pránáyáma, obstructing the right nostril and inhaling through the left while mentalizing that the prána penetrates through idá (if the practitioner is a man) or through pingalá (if the practitioner is a woman) and descends, winding around the vertebrae down to the múládhára chakra;
b) retain the air in the lungs mentalizing that the prána has arrived at the múládhára chakra and vitalized the kundaliní. Because its nature is igneous, imagine that the oxygen has stimulated it and fueled it even more. Visualize that the kundaliní has activated the múládhára chakra and has begun to rise by way of the sushumná nádí;
c) change the active nostril and exhale through the right, mentalizing that a jet of golden light is clearing the channel of the sushumna nádí from the múládhára to the swaddhisthana chakra;
d) change the active nostril and repeat a through c in exactly the same way;
e) all that has been done up to this point constitutes the cleansing phase of the first and second chakra. Now, repeat the same thing, once with each nostril, mentalizing that the kundaliní rises to the third chakra, the manipura chakra and that the jet of light rises up to it;
f) repeat everything in the same way for each of the other chakras, all the way to the sahásrara. All in all, there will be a dozen complete breathing cycles.

Your Master will teach you how to integrate rhythm, mudrás, mantras and bandhas and later, the manasika pránáyáma in steps adequate to make the practice dynamic. He bases these decisions on whether and to what degree he thinks the practitioner is sufficiently loyal and disciplined and, therefore, worthy and apt to accelerate the process.

TANTRIC RESPIRATORIES

57. Shiva-Shakti pránáyáma – respiration of Shiva and his consort
a) Partners, of the opposite sex, seat themselves facing one another in siddhásana and with the hands in átman mudrá;
b) both should bring their nostrils close to those of their partners, without touching, and when one exhales, the other should inhale their breath;
c) after a few of these exchanges, the exercise should end with a long mantra ÔM and reciprocal reverence in prônam mudrá.

Note: This pránáyáma may last for an undetermined period of time.

58. Tántrika pránáyáma – respiration to activate the chakras
a) Partners, of the opposite sex, seat themselves facing one another in siddhásana and with their hands in prônam mudrá;
b) both vocalize the bíja mantra of each chakra in ascending order three times to establish the rhythm of the manasika bíja mantra that will be done next;
c) both rub the palms of the hands in front of each chakra that will be energized;
d) after rubbing the hands, the left hand should be maintained in contact with that of the partner’s;
e) now, execute the chakra pránáyáma, taught previously, applying the palm of the right hand on the region of the chakra that corresponds to the bíja mantra that is mentalized, rubbing it moderately;
f) having finished the number of repetitions of the bíja mantra, move on to the next chakra until the ájña chakra is reached and after, return to the múládhára, repeating the process a number of times; and finally
g) end the exercise with the long mantra ÔM and reciprocal reverence in prônam mudrá.

Pranayama

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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.

Lyrics of Mantras

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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.

What is OM?

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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.

What is Mantra?

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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.

What is mudra?

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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.

Understanding why Swasthya is so complete

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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.

The benefits of SwaSthya

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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.

The Beauty of Coreographies

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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.

General Rules of Asana execution

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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.

What Swasthya means?

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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.

What does Swasthya Yoga have that is so especial?

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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.

What is Yoga

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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!

The word Yoga has accent

2007-04-27T15:49:00.000-07:00

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

What is Yoga and SwaSthya Yoga

2007-04-27T15:45:00.000-07:00

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.

About Master DeRose

2007-04-27T15:29:00.000-07:00

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.

Message of Exhortation

2007-04-27T15:20:00.000-07:00

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