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Yoga Immersion
Module 2 | Prana Yoga
Jai Hanuman! 3
Inspirations 3
Key Points 5
Inspirations 7
Key Points 10
Fundamentals of Pranayama 20
Inspirations 20
Key Points 28
The Practice of Pranayama 29
Inspirations 32
Key Points 32
Inspirations 37
Key Points 38
Inspirations 43
Key Points 43
Jai Hanuman!
Inspirations
The Ramayana
Key Points
TT Hanuman’s leap in the Ramayana represents the movement of
prana from the root to the crown, reuniting the masculine and the
feminine.
TT The practice of pranayama is central to the yogins ability to achieve
deeper stages of practice, particularly meditation.
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18. Hasti-jihva is on the right, and pusha is in the right ear, while
yashasvini is in the left ear and alambhusha is in the mouth.
19. Kuhu is at the place of the penis and the shankhini at the
place of the anus. Thus there are ten channels, each of which
is connected with an opening.
20. Ida, pingala, and sushumna are connected to the path of life
force. The three are always carriers of the life force, and are
associated with moon, sun, and fire.
21. Prana, apana, samana, udana, as well as vyana are the princi-
pal winds. Naga, kurma, krikala, deva-datta, and dhanam-jaya
are the secondary winds.
22. Prana dwells at the heart; apana is always in the region of the
anus; samana is at the location of the navel; udana is in the
middle of the throat;
23. vyana pervades the body. These are the five principal vayus.
The five beginning with prana and the other five vayus begin-
ning with naga are well known.
24. Naga is said to be present in belching; kurma is said to rest in
the opening of the eyes; kri-kara is the wind of sneezing; and
yawning is deva-datta.
25. Dhanama-jaya is all-pervasive and does not even quit a corpse.
These 10 winds roam in all the channels in the form of the
psyche.
26. As a ball struck with a curved staff flies up, so the psyche,
when struck by prana and apana, does not stand still.
27. Under the force of prana and apana the psyche moves up and
down along the left and right pathways, it cannot be seen
because of its mobility.
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28. Like a falcon tied with a string can be pulled back when it has
taken off, so the psyche, tied by the gunas of nature can be
pulled back by means of controlled prana and apana.
29. Apana pulls prana, and prana pulls apana. These two vayus
are situated above and below the navel. The knower of Yoga
joins both to awaken the serpent power.
Key Points
TT The pranic or energetic body is central to the practice of tantric
yoga.
TT It is composed of the nadis, the chakras, and energetic winds that
flow within them.
TT Controland cleansing of these elements is the primary goal of
pranayama.
Nadis
The word nadi in Sanskrit can mean “flowing water” or a “tube.”
In Ayurveda, nadi can refer to veins and arteries, or organ that is
tube-like in nature. In energetic anatomy, the primary nadis are
associated with the solar and lunar flows of energy in the body,
as well as the central spinal channel through which the psycho-
spiritual energy known as kundalini shakti rises.
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The Chakras
No other aspects of the energetic
system are as well known as the chakras. While there are many
elaborations of the chakra systems by various authors and tradi-
tions, the fundamentals of the chakras from the tantric tradition
are fairly clear. There are seven chakras, represented by lotuses
with various different petal counts. They function as indicators
of spiritual progress, representing the various effects of kundalini
shakti rising through the central channel of the spine.
In other areas of the manual, we will look at particular interpreta-
tions of the chakras as a way to decode and understand the emo-
tional landscape of the human psyche.
The Vayus
In both yogic and ayurvedic texts, all action in the body is associat-
ed with the element of air, since it the most mobile of the tradition-
al five elements. Thus, a key aspect of the energetic body is the 10
winds that govern the major functions of the body. These 10 winds
include the 5 primary winds and 5 secondary winds; the secondary
winds affect blinking, belching, sneezing, and yawning. The last
wind destroys the corpse at the physical death of the corpse.
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The Nose
In Yoga, we generally breathe in through the nose. This is due to
the nose’s extensive role in moisturizing, purifying, and warming
the air prior to its entry into the lungs. Deep breathing through the
nose creates the optimal humidity and cleanliness of airs before it
travels into the lungs.
The nose consists of two nostrils. The nasal passage have a mu-
cous membrane that keeps the nose moist. The nasolacrymal duct,
which also provides tears to the eyes, helps provide the fluid that
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As air is drawn into the nose, pollutants are caught in the nasal
hairs and sinus. The air is warmed and heated as it travels through
the nose, down into the pharynx, and then into trachea, leading
to the lungs.
The Lungs
The human body generally contains 2 lungs, located under the rib
cage. The function of the lungs is to provide a place for oxygen
to move into the body the bloodstream, and for carbon dioxide
to leave the bloodstream and exit the body. We experience this
function every time we breath. On the inhale, we draw in oxygen
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rich air into the body. On the exhale, we release a combination of
oxygen and carbon dioxide rich air.
Each lung receives air through a structure known as the bronchus
(pl. bronchi). The bronchus branches off from the trachea (com-
monly called the “wind pipe”). From here the bronchi begin to
branch into secondary and tertiary bronchi. At the base of the ter-
tiary bronchi are bronchioles. This continuous branching creates a
tree-like structure in the lungs. At the end of each branch are alveo-
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lar, where we find the alveoli. This is where the work of breathing
really begins to take place. Respiratory Anatomical Line Drawings
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When we breath in, air rushes into the trachea because of the low-
er pressure in the lungs. From here, it moves into the bronchioles,
and down into the alveoli. Blood vessels wrap around the alveoli,
allowing them to exchange gases. As blood passes over the alveoli,
the oxygen from the lungs moves into the blood, and blood cells
release carbon dioxide into the alveoli. We then breathe out, expel-
ling this carbon dioxide. There are over 300 million alveoli in the
lungs, and the surface area of the lungs would be 753 square feet
if laid out!
The Ribcage
The ribcage is literally that: a protective sheath of ribs coming
off of the thoracic spine and wrapping into the front of the body.
When we eat “ribs” of any kind of meat, we are eating the meat off
the bones of the ribcage of an animal. The ribcage also provides a
bony structure in which the muscles of respiration can work.
The ribs are long, thin bones that are shaped in a semicircle. They
start at the each vertebrae of the thoracic spine. There are 12 ribs,
one for each vertebrae. The first seven are called true ribs, because
they connect into the sternum through their cartilage. The eighth,
ninth, and tenth ribs are called false ribs, because they do not
Click here t
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connect directly to the sternum. The eleventh and twelfth ribs are
called floating ribs, and do not connect to the sternum at all.
The Muscles
There are three primary muscles involved in respiration: the dia-
phragm, intercostals, and transverse abdominis. Working together,
these muscles create movement in the lungs, mobilizes the ribs,
and helps to compress the lungs during exhale.
The diaphragm is one of the most fascinating muscles in the body.
It is shaped like the body of the jellyfish. Above the diaphragm are
the lungs. When the diaphragm contracts, it pulls down on the
tissue surrounding the lungs and creates greater room inside the
thoracic cavity. This causes the lungs to fill with air. The muscle
connects to the ribcage on both sides, the breastbone at the front,
and lumbar vertebrae in the back. When the diaphragm relaxes,
the lungs deflate and push out air.
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The intercostals are the muscles between the ribs. They are small,
slender, and form two layers: the external intercostals and the in-
ternal intercostals. The external intercostals help to expand the
ribs, assisting on inhale; the internal intercostals help to compress
the rib cage, assisting on the exhale. The intercostals also help to
protect the lungs by providing a layer of muscle over the ribs.
The transverse abdominis is lowest layer of the abdominals. It
wraps around the front and back of the lower trunk like a corset.
When contracted, the transverse abdominis compresses the entire
abdominal contents. This includes the lungs during strong exhala-
tion. We use the transverse abdominis during poses to help sta-
bilize the spine. When the transverse abdominis is not activated
in abdominal work, the walls of the abdominals push forward. A
strong exhalation often helps to draw the entire abdominal group
down, increasing strength and stability.
5
B
A Tidal Volume
Lung Volume
4 B Inspiratory Reserve
C Expiratory Reserve
D Vital Capacity
D E Residual Volume
3
A Normal Breathing
2 Deeper Breathing
C
1
E
0
Time
14
Inspiratory Reserve
After a normal inhale, we usually can inhale slightly more air. This
is known as the inspiratory reserve. As the graph indicates, the
inspiratory reserve can be fairly large for most of us. Practicing our
yoga breathing can help reduce the inspiratory reserve by having
each inhale use more of the tidal volume.
Expiratory Reserve
After a normal exhale, we can usually exhale slight more air. This
is known as the expiratory reserve. The expiratory reserve on the
graph is smaller than the inspiratory reserve. This is because we
usually have a more complete exhale than inhale. Practicing our
yoga breathing allows us to exhaust the expiratory reserve during
our first exhale.
Vital Capacity
The vital capacity is the combination of the tidal volume, inspira-
tory reserve, and expiratory reserve. It represents the total capacity
for inhalation and exhalation. During daily breathing, we rarely
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use the entire vital capacity, and even during yoga practice, we ap-
proach but do not reach it. During breath specific practices in Yoga,
we may come close to or reach our vital capacity.
Residual Volume
It is never possible to completely exhale all possible gases from
the lungs. This part that remains is known as the residual volume.
Residual volume is relatively constant, and a small portion of the
overall volume of the lungs.
These 5 components of the breath are what we work with physi-
cally in our practice of pranayama. Depending on the breath work,
we may work to increase or decrease any one or more of the dimen-
sions of the vital capacity.
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Fundamentals of Pranayama
Inspirations
The Hatha Yoga Pradipika (of Svatmarama)
II. Pranayama
1. Posture becoming established, a Yogi, master of himself, eating
salutary and moderate food, should practice pranayama, as
instructed by his guru.
2. Respiration being disturbed, the mind becomes disturbed. By
restraining respiration, the Yogi gets steadiness of mind.
3. So long as the (breathing) air stays in the body, it is called life.
Death consists in the passing out of the (breathing) air. It is,
therefore, necessary to restrain the breath.
4. The breath does not pass through the middle channel (susum-
na), owing to the impurities of the nadis. How can then success
be attained, and how can there be the unmani avastha.
5. When the whole system of the nadis which is full of impurities,
is cleaned, then the Yogi becomes able to control the Prana.
6. Therefore, Pranayama should be performed daily with satwika
buddhi (intellect free from raja and tama or activity and sloth),
in order to drive out the impurities of the susumna.
7. Sitting in the Padmasana posture the Yogi should fill in the air
through the left nostril (closing the right one); and, keeping it
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the fourth finger (the one next to the little finger) and kept
confined.
65. Having confined it properly, it should be expelled through the
Ida (left nostril). This destroys Vata, pitta (bile) and phlegm
and increases the digestive power ( the gastric fire).
66. It quickly awakens the Kundalini, purifies the system, gives
pleasure, and is beneficial. It destroys phlegm and the impuri-
ties accumulated at the entrance of the Brahma Nadi.
67. This Bhastrika should be performed plentifully, for it breaks the
three knots: Brahma granthi (in the chest), Visnu granthi (in the
throat), and Rudra granthi (between the eyebrows) of the body.
68. By filling the air with force, making noise like Bhringi (wasp),
and expelling it slowly, making noise in the same way; this
practice causes a sort of ecstasy in the minds of Yogindras.
69. Closing the passages with Jalandhar Bandha firmly at the end
of Puraka, and expelling the air slowly, is called Murchha, from
its causing the mind to swoon and give comfort.
70. When the belly is filled with air and the inside of the body is
filled to its utmost with air, the body floats on the deepest
water, like a leaf of a lotus.
71. Considering Puraka (Filling), Rechaka (expelling) and Kumhaka
(confining), Pranayama is of three kinds, but considering it ac-
companied by Puraka and Rechaka, and without these, it is of
two kinds only, i.e., Sabita (with) and Kevala (alone).
72. Exercise in Sahita should be continued till success in Kevala is
gained. This latter is simply confining the air with ease, without
Rechaka and Puraka.
73. In the practice of Kevala Pranayama when it can be performed
successfully without Rechaka and Puraka, then it is called
Kevala Kumbhaka.
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Key Points
TT Asstated in both the Yoga Sutras and the Hatha Yoga Pradipika,
pranayama is practiced after creating balance and purity in the
body through diet and exercise (asana).
TT The primary tools of pranayama are the inhale, exhale, suspension,
retention, nostril control, amplitude of the breath, and rhythm of
the breath.
TT The kriyas are used as supplemental tools for deeper cleansing
after asana has been perfected.
TT Controlof the breath is connected to the control of the mind and
the nervous.
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Ujjayi Pranayama
Finding a comfortable posture. Starting by noticing the current
flow of the breath. Letting the belly expand first, then the middle
of the lungs, and the top of the lungs, feeling the ribcage expand.
Exhaling, drawing the navel towards the spine, and letting the rib-
cage draw back without collapsing the chest and rolling in the
shoulders. Continuing to breathe without strain.
When comfortable, drawing your awareness to your throat. On an
exhale, breathing out through the mouth as if trying to fog a mirror
(a gentle “ha” sound). After a few exhalations, continuing to create
the sound but keeping the mouth closed. You will feel a slight con-
traction in the throat on both the inhale and exhale. Continuing
with your ujjayi breath.
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Samavritti Pranayama
When comfortable, counting the length of the inhale as “1, Breath;
2, Breath; 3, Breath” and so on. At the top of the inhale, exhal-
ing on the same count. Letting the exhale remain smooth as you
equalize your breath. Continuing with samavritti as long as it is
comfortable.
Bhastrika Pranayama
Visualize the working of a bellows: the drawing in of air as the han-
dles are separated, and the strong press of air out as the handles
are drawn together. Seeing the accordion-like sac, and drawing a
connection between this image and our own breathing, ribcage,
pelvis, and lungs. The lungs are the sac; the bottom part of the ribs,
the top handle; the pelvis, the lower handle.
Begin Bellow’s Breath slowly. On your next inhale, allowing your
lowest rib and your pelvis to separate from each other maximally,
slightly arching the spine. On the exhale, drawing the low ribs and
the pelvis closer together, abs drawing inwards, forcing out our
air. Lifting and separating, inhaling; drawing together and inward,
exhaling.
Kapalabhati Pranayama
When comfortable with Bellow’s Breath (Bhastrika Pranayama),
move into Breath of Fire. In Breath of Fire, you will “tap” the abdo-
men to forcibly expel the exhale, and release the abdomen to pas-
sively inhale. Each breath will feel like a “sniff” of air; however, we
want to focus our attention and energy to the navel, as opposed
to the upper chest.
You’ll begin with your hands on your belly. In a samavritti pattern,
you’ll feel the drawing of the navel towards the spine on the out-
breath. Once you have that awareness of the belly moving in on
the out-breath, and belly out on the in, begin Breath of Fire. Taking
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a deep breath in, begin to tap the navel to the spine in rapid suc-
cession. Beginning slowly, ensure that you actively tap the navel
back towards the spine on each breath. Speed up the breath as you
are ready to.
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Key Points
TT The pancamayakosha are the five-fold (panca) sheaths (mayako-
sha). Conceptually, they are the five aspects of human beings en-
veloping the atman, from gross to subtle: our body, breath/energy,
mind, the Witness Consciousness, and the connection to the source
(bliss).
TT In Bhakti Warrior Yoga, the pancamayakosha is the foundation for
creating an integrated practice of yoga using the full spectrum of
technologies available to the yoga practitioner.
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Physical Body
Energy Body
Sensory Body
Wisdom Body
Bliss Body
Book of Genesis
Key Points
TT The breath is the fundamental unit of life, and has been revered as
such in almost all cultures.
TT The first principle of sustaining the energetic body is the applica-
tion of appropriate breathing, which is the basis of this kosha.
TT The second principle of sustaining the energetic body is the ap-
plication of appropriate emotional action, which helps to maintain
the energetic structure and clarity of breath and body.
breaths (i.e. the 10 vayus). However, Ayurveda does not deal ex-
plicitly with the kundalini shakti or the aspects of pranayama, as
these are specifically addressed by Yoga.
For Ayurveda, the pranic body is connected to vata dosha. Repre-
senting the wind element and the concept of mobility, the 5 pranas
are referenced as responsible for specific bodily functions. These
are summarized below:
1. Udana Vata. For speech, self expression, effort, enthusiasm,
strength and vitality. Located in the naval, lungs and throat.
2. Samana Vata. For the peristaltic movement of the digestive
system. Located in the stomach and small intestines.
3. Prana Vata. For inhalation, perception through the senses and
governs the mind. Located in the brain, head, throat, heart,
respiratory organs.
4. Apana Vata. For all downward impulses (urination, elimina-
tion, menstruation, sexual discharges etc.) Located between the
naval and the anus.
5. Vyana Vata. For circulation, heart rhythm, locomotion. Centred
in the heart and permeates through the whole body.
other novel concepts. However, this paper takes only a first step in
proposing a biofield hypothesis based on known scientific concepts
from bioelectromagnetics and biophysical systems theory. The bio-
field is defined here as the endogenous, complex dynamic electro-
magnetic (EM) field resulting from the superposition of component
EM fields of the organism that is proposed to be involved in self-
organization and bioregulation of the organism. The components
of the biofield are the EM fields contributed by each individual
oscillator or electrically charged, moving particle or ensemble of
particles of the organism (ion, molecule, cell, tissue, etc.), accord-
ing to principles of conventional physics. The resulting biofield may
be conceived of as a very complex dynamic standing wave (Rubik,
1997b; Zhang, 1995, 1996). It has a broad spectral bandwidth,
being composed of many different EM frequencies, analogous to a
musical symphony with many harmonics that change over time.
The biofield hypothesis offers a unifying hypothesis to explain the
interaction of objects or fields with an organism, such as are used
in certain CAM interventions. All objects radiate an EM field sig-
nature of resonant frequencies. If an object (such as a nutritional
supplement, homeopathic, or drug) or externally applied EM field
(such as that produced by a therapeutic electromagnetic device)
is brought near to or inside the body of an organism, the frequen-
cies radiated by the object (or applied EM field) would, in theory,
interact with the organism’s biofield. For example, it could modify,
reinforce, destabilize, or otherwise interact with the biofield, by the
principle of superposition of waves in the behavior of chaotic non-
linear dynamical systems. This would be the first step in mediating
a biologic response.
TT Breathing
practices, including the identification of appropriate
pranayama practices to harmonize the breath.
TT Identification
of emotional imbalances, including areas of over-
and under-development, and the appropriate application of chakra
balancing techniques.
TT Cultivation of an awareness of the emotional anatomy of the body,
and adopting mental and physical attitudes to shift this.
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Key Points
TT BhaktiWarrior Yoga asana classes use a blueprint that combines
a functional training approach with the pratikriyasana concept of
Krishnamacharya to create balanced sequences.
TT Multi-dimensionalvinyasa begins with the concept that the body
can be moved in space in multiple ways, and that use of all these
dimensions is essential in a balanced yoga class.
TT More than one mat, a specially designed round mat, or no mat may
be used to accommodate the multi-dimensional vinyasa flows.
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In one dimension vinyasa flow, we use one yoga mat. Within the
structural limit of the mat, we have one dimension of movement—
forward-and-back—with rotation. The simplest example of a one
dimension vinyasa is the Sun Salutation, in which we start and end
at the front of the mat, and use steps forward and back to transi-
tion between the two points.
In addition to forward and back steps, we can also use rotation to
change the orientation of the class. The following is a sequence
that uses rotation to transition from one side in an asana sequence
to another:
1. Tadasana
2. Uttanasana
3. Anjaneyasana (left foot back)
4. Prasarita Padottanasana (90° degree rotation to the left)
5. Anjaneyasana (90° degree rotation to the left)
6. Parvritta Jagghika Prasarita Padottanasana (90° degree rota-
tion to the left) [literally, twisted legs spread out foot pose,
where the thighs are crossed and feet are wide, hands come to
the floor]
This is a simplistic sequence that utilizes 90° degree rotations to
come to each pose. It is also possible to use 180° rotations from
lunges to change sides in a pose. For example, in virabhadrasana
II/B we can start the pose with left foot back, right foot at front; to
change sides, we can simply rotate to face the back of the mat.