Here we report that a specific form of yoga can generate controlled high-frequency gamma waves. For the first time, paroxysmal gamma waves were observed in eight subjects practicing a yoga technique of breathing control called Bhramari Pranayama . To obtain new insights into the nature of the EEG during BhPr, we analyzed EEG signals using time-frequency representations , independent component analysis , and EEG tomography . We found that the PGW consists of high-frequency biphasic ripples. This unusual activity is discussed (...) in relation to previous reports on yoga and meditation. It is concluded this EEG activity is most probably non-epileptic, and that applying the same methodology to other meditation recordings might yield an improved understanding of the neurocorrelates of meditation. (shrink)

This essay was prompted by the question of how Hathayoga, literally 'the Yoga of force', acquired its name. Many Indian and Western scholars have understood the 'force' of Haṭhayoga to refer to the effort required to practice it. Inherent in this understanding is the assumption that Haṭhayoga techniques such as _praṇayama_ are strenuous and may even cause pain. Others eschew the notion of force altogether and favor the so-called 'esoteric' definition of Haṭhayoga and moon in the body). This essay examines (...) these interpretations in light of definitions of _haṭhayoga_ and the adverbial uses of _haṭha_ in Sanskrit Yoga texts that predate the fifteenth-century _Hathapradipika_. (shrink)

An interpretation of the yoga practice of prāṇāyāma (breath control) that is influenced by the existential phenomenology of Merleau-Ponty is offered. The approach to yoga is less concerned with comparing his thought to the classical yoga texts than with elucidating the actual experience of breath control through the constructs provided by Merleau-Ponty's philosophy of the lived body. The discussion of yoga can answer certain pedagogical goals but can never finally be severed from doing yoga. Academic discourse centered entirely on the (...) theoretical concepts of yoga philosophies must to some extent remain incomplete. Patañjali's "Yoga Sūtra" is itself a manual of practice. For this reason, the commentary of the scholar-practitioner T. K. V. Desikachar has been chosen as the basis for this study, rather than a more exclusively theoretical commentary. In so doing, yoga will be approached as an experience or phenomenon, not just in the context of a series of academic debates. (shrink)

Moving into Meditation is a practical yet fresh guide to integrating mindful yoga and embodied meditation, in a 12-week format. One week at a time, Moving into Meditation lays out a plan for exploring body-based practices to get you more in tune with not only your limbs and core but your mind and heart. Cushman's curriculum integrates asana with mindfulness meditation to help practitioners turn "embodiment" from a concept into a tangible reality. Her delightful mixture of practices, yoga history, and (...) Buddhist philosophy are made relevant to your present-day life. Personal stories from the "trenches" of decades of practice and teaching add color; Cushman's characteristic poetic and funny voice makes all readers feel that much more human. Cushman believes--and experience proves--that by becoming better attuned to and acquainted with the body, the physical forms become a vehicle for becoming more intimate with yourself and your world. From there, we can explore and embody the teachings of the Buddha for a more awakened life. In recent years, "mindfulness" has blasted into mainstream culture much as yoga did two decades ago, making "mindful yoga" an appealing trend. But how does mindful yoga evolve from a buzz-worthy concept to a lived experience? How do yoga asanas and pranayama support and express the practice of meditation? How do you explore the teachings of the Buddha through the vehicle of your own living, breathing, human body? As we quickly learn, the practices are inherently entwined. Experienced yoga and meditation teacher Anne Cushman answers all these questions and more in Moving into Meditation, teaching us to deepen our asana practices with mindfulness meditation and enhance our meditation practice with asana. With compassion, humor, and deep intelligence, Moving into Meditation guides us through integrating mind, body, and spirit practices for a wide-awake life. The book is presented in a systematic, week-by-week format for ease of use and accessibility, and because the author is also developing an online course for which the book will be a central text. The program progresses through the Buddha's four foundations of mindfulness as well as the koshas. (shrink)

The aim of a comparison of two traditions is not an aim in itself. In the paper the,approximation" of two cultures has the role of a mirror of self-comprehension. Merleau-Ponty's intention to bring philosophy,down to earth" is implemented by the boundaries of ,,inner-outer" and crossing subjectivity and objectivity in the Cartesian paradigm. His phenomenology of the body is,understandable" or, better to say ,,elucidatory" through the term of pranayama - the yogic breath control. Emphasis on experiencing ,,movement in space" - dimensionality, (...) is endorsing this relationship. Moreover, both approaches have a common point: reversibility - switch, or reverse - of the figure and the ground back and forth at will. In Merleau-Ponty's concept of the Jived body" the reversibility is a continuum of the world and the body and in yoga it is pranic inspiration-expiration experience. (shrink)

Not another translation but a highly readable and in-depth exploration of select passages from this essential classical text as a key to the complete path of yoga "The fruit of a lifetime of inquiry and practice, this is a book that the world needs." --Mark Singleton, author of Yoga Body and Roots of Yoga "Unassuming, generous and brilliant, Dave and Ranju teach from the heart with wit and wisdom." --Tara Fraser, Director Yoga Junction, author Yoga for You and Yoga Bliss (...) Understanding Patanjali's Yoga Sutras is the key to understanding yoga itself, and yet relatively few of today's practitioners know how to apply these ancient Sanskrit aphorisms to contemporary life. Ranju Roy and David Charlton focus on 18 of the most important sutras and show how each one illuminates the relationship between the body, the breath, and the mind. The authors examine the interplay of three key terms: support, direction, and space. They suggest that only by taking "support" can you establish a clear direction; and once a direction is established then space can open up. This formula can be applied as successfully to the body (in asana) as to the breath (in pranayama) and the mind (through meditation). Embodying the Yoga Sutras is a practical and a deeply philosophical book. (shrink)

Hatha Yoga deals with the care, health, and well-being of the physical body through the conscious control of the vibrations of matter. The Hatha yogi proceeds in consciousness from the physical to the mental to the spiritual, leading to the development of the inner spiritual self manifesting through thoughts, feelings, and actions in the outer world. Hatha Yoga comprehensively reveals the ancient wisdom of yoga, or union of spirit and matter, including asanas, or yogic postures; pranayama and the life principle; (...) and meditation, from concentration to contemplation. (shrink)

Yoga is the spiritual science for holistic development of physical, mental and spiritual aspect of living being. Ayurveda believes an interrelationship between psyche and body and thus if psyche is effected leads to an adverse effect on body and vice versa. Ayurveda is a science of living being which has its broad aim of living healthy life and curing of ailments. The instability of inner psyche (manas) is controlled through yoga. Bhagwat geeta emphasizes yoga as the state of sama sthiti (...) or equilibrium in actions. Acharya Patanjali’s yoga darshan has an impact on Ayurveda and later hatha yoga pradeepika and gheranda samhita’s various yogasana, kriya, mudra, bandha and pranayama were used as a part of treatment. The yogic concept of health and disease enables us to understand that the cause of physical disorder is result of higher levels of psyche (manas).Ayurveda believes that pragya paradh is root cause to diseases and thus pragyashodhan is very important. Ayurveda emphasis yoga and is a way to achieve atma gyana throughpragya shodhana. Ayurveda has given definition of yoga, powers of yogi, scope of yoga, its implication in attainment to highest stage of moksha. Ayurveda and yogic methods can beapplied for preventive, promotive and rehabilitatory health of human being. (shrink)

We all get caught up or stuck in patterns that can be unhelpful and create more suffering for ourselves and others. In yoga philosophy, these patterns are known as the five kleshas-and we're encouraged to work through them in our practice to benefit ourselves and the world. Illuminating our true nature is a wise, practical guide to help us develop a deeper understanding of the kleshas and how they hijack us emotionally. Michelle Johnson also offers us the good news: you (...) can find freedom with an action plan to work through them one-by-one using the tools of asana, pranayama, mudra, mantra, journaling prompts, and meditation. (shrink)

The Tirumantiram, believed to have been written in midfirst millennium CE, is regarded as the tenth of the twelve volumes of the Śaiva Tamil canon Paṇṇiru Tirumuṟai used in worship in Śiva temples all over Tamilnadu. The Tirumantiram is a collection of approximately 3100 verses in lucid Tamil written by Tirumūlar, regarded variously as a ŚaivaSiddhānta yogi, a nātha yogi, and a tāntric. Tirumūlar’s verses form the basis of the Tamil ŚaivaSiddhānta philosophy; they also deal with tantra and yoga. Unlike (...) other ŚaivaSiddhānta texts, the Tirumantiram elaborates on aṣṭāṅga yoga like in the yoga sūtras of Patañjali; it further goes on to describe several āsanas and prāṇāyāma in elaborate detail. Acknowledging that classical and modern scholarship on yoga have paid scant attention to the work of Tirumūlar, this essay provides an insight into Tirumūlar’s legacy. It compares the aṣṭāṇga yoga of Tirumūlar framed in the context of ŚaivaSiddhānta with the approach of Patañjali. It also shows the continuity of the Tirumūlar tradition in the framework of bhakti literature and in the context of the earlier Tamil approach to āsanas. It establishes that no narrative on yoga is complete without acknowledging the enduring contribution of Tirumūlar. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BreathingLuk Van den Dries (bio)This text, "Breathing," was conceived for the book From Act to Acting: Fabre's Guidelines for the Performer of the 21st Century (2021). The book was conceived and designed by Jan Fabre, author, theatre artist, and visual artist, active since the 1970s. The book was written by Luk Van den Dries, dramaturg and theatre researcher of the University of Antwerp, in tight collaboration with Jan Fabre (...) and the three most important performers/teachers of the Belgian theatre company, Troubleyn (Annabelle Chambon, Cédric Charron, and Ivana Jozic). The book sheds new light on the physical, mental, and vocal training of the performer and furthermore gives insight into Fabre's revolutionary thoughts on contemporary theatre.1Breathing is the first of the ten performative principles that together create the basic grammar in which the language of the performers is grounded.Three-phased breathing (one part in, one part out, one part nothing) is a basic condition in the series of exercises Jan Fabre developed throughout his career. This respiration technique returns in all exercises. Also, it is the first principle that the performers are taught: by dividing breathing into three equal parts, energy is built up and stress or fatigue is canalized. It is a way to rebalance, to find a place of rest after a strenuous effort, or it can also be used as a springboard to a heightened performance. Very regularly during individual exercises, Fabre will refer to this respiration technique, especially in specific situations of high adrenaline, but of course the performers should learn to use this respiration technique autonomously. They should become so familiar with the rhythm of this breathing that they automatically fall back on it when necessary. Because this respiration technique is so crucial to Fabre's acting pedagogy, it is described in detail as the very first exercise in his book. Its basic principles are explained below as well, as the first performative principle.Breathing is a sign of life, and on this primal and essential level it needs to be understood that, through breathing, the performer gives life. He breathes life into the performance. Fabre himself has described this basic condition for the birth of theatre through breathing very precisely: [End Page 30]The most important weapon of the warrior of beauty is his respiration. When the performance starts, life stops. Life itself dies. The warrior of beauty is alive, but life itself is dead. The warrior of beauty remains with just his own breath. When he enters the stage, he needs to breathe life into deceased life. Like a god gives his breath to create life. In the same way he will create life with his breath. How will he achieve this? By breathing correctly: one-third inhaling through the nostrils, one-third exhaling through pursed lips, one-third without breathing. And then the miracle happens. The breath becomes imagination and the imagination breathes. The warrior of beauty is the master of breath and life.2Fabre's abdominal breathing differs from regular forms of breathing, such as techniques derived from Asian yoga techniques, Chi-kung or Tai-chi, as it stresses different parts. At the same time, it is closely related to it, because these practices also adopt the notion that breathing in the first place rouses vitality and spirit and that the right kind of breathing thus aims at controlling life currents and bringing about a clear mind. In yoga it is called pranayama: prana meaning spirit or force of life, ayama meaning 'control' or 'grasp.' Yoga knows many variants in directing the breath, depending on the asanas (yoga postures) in which they are bedded. Sometimes focusing mainly on the diaphragm and the flanks, sometimes on abdominal breathing. Also, suspending your breath (kumbhaka) is a yoga technique, applied at the end of inhalation as well as after exhalation and during taking breath.In Fabre's case, abdominal breathing is stressed: first, air is inhaled through the nose, subsequently sent in the direction of the peritoneal cavity and the flanks, and then again exhaled via a very precise blowing technique (a dosed flow of air through an imaginary straw). During the cycle the diaphragm remains... (shrink)

What is Yoga? How is Self-realization achieved through Yoga? The great Sage Pātañjali (3rd Century B.C.) defined yoga in the Yoga-Sūtras as “the restraint of the modifications of the mind” (yogaś-citta-vritti-nirodah). In his Yoga-Sūtras (196 sutras), Pātañjali systematically laid down the exact methods and techniques for attaining Self-realization through the Eight Limbs of Pātañjali’s Yoga (Ashtānga-yoga). This system is commonly known as Rāja-yoga (Royal yoga). This Eight Steps is the way to attain self-transcendence. It consists of yama, niyama, āsanas, prānāyāma, (...) pratyāhāra, dhāranā, dhyāna and samādhi. This article will focus on Ashtānga-yoga in the practical and philosophical contexts. Other systems of yoga also use this Eight Steps, but each yoga may start from and emphasize different aspects of yoga. However all systems of yoga accept and practice the Eight Steps of yoga to achieve the final goal, that is liberation (kaivalya, moksha, mukti). Yoga also reconciles the six systems of Indian Philosophy (Shadh Darśana). Keywords: Rāja-yoga (Royal yoga), Hatha-yoga (Hard yoga), Bhakti-yoga (Yoga of Devotion), Jñāna-yoga (Yoga of Knowledge), Ashtānga-yoga (Eight limbs of Yoga), Citta-vritti-nirodha (Restraint of modification of the mind), Purusha (Spirit), Prakriti (Matter), Iśvara-pranidhāna (Surrender to God), Moksha (Liberation). (shrink)

This chapter contains sections titled: Inspiration History Inside the Beauty Question.

Tamil Siddhas, a loosely associated group of mystics belonging to the pan Indian Tantric tradition, recommend using the body and the mind as tools to surpass limited existence. They prescribe a method of yoga which utilizes the mind’s power to bring together dualities within a practitioner’s body to achieve kāya siddhi or a perfected, deathless body. The esoteric language and symbolism that the Siddhas use to convey their teachings have led to the misunderstanding and misinterpretation of their philosophy and methodology. (...) This study aims to explain Tamil Siddha yoga and dispel some of the misconceptions about Tamil Siddhas using Siddha Agatthiyar’s composition, Antaraṅga dīkṣā viti, as the primary text. (shrink)