Fourth Self Study Exam Sheet Asanas

Fourth Self Study Examination Sheet
PART ONE: LIST OF PRACTICES – TECHNIQUES LEARNT UP TO DATE
1.ASANAS
BASIC PREPARATORY ASANAS
1. Samasthithi (equal balance) Asana
2. Hasthapada (hands to feet) Asana
3. Utkat (squatting) Asana
4. Sukha (ease) Asana
5. Chatuspada (four legged) Asana
6. Shashanga Asana
7. Shashaga (rabbit) Asana
8. Vajra (thunderbolt) Asana
9. Veeravajra ( heroic thunderbolt) Asana
10. Dharmika (devotional) Asana
11. Subdavajra (reclining thunderbolt) Asana
12. Meru (mountain) Asana
OTHER ASANAS
1. Shava ( corpse) Asana
2. Oonmuka (face prone) Asana
3. Makara (crocodile) Asana
4. Drida ( side flank ) Asana
5. Shanthi (peace)Asana
6. Bhujanga ( cobra) Asana
7. Ardha (half ) Matsyendra (sage Matsyendra) asana
43rd Annual International Yoga Teacher’s Training CoursePage 1

8. Pasa (noose ) asana
OTHER ASANAS IN SURIYA NAMASHKARS
1. Kokila (cuckoo bird) Asana
2. Chaturdhanda (four stick ) Asana
3. Ashwasanshalana ( Equestrian ) Asana
4. Ashtangabhumi ( Eight Parts To The Floor) Asana
SAMASTHITHI GROUP
1. Pathangush (catching of big toe ) pose
2. Pathahastha (hands to the feet) pose
3. Trikona (triangle) pose
4. Parshava (side angle) pose
5. Veera (hero )Asana one
6. Veera (hero )Asana two
7. Prasaritotana (side stretch) Asana
8. Padottana ( leg stretch ) Asana
9. Ardha chandra ( half moon) Asana
10. Nataraja ( dancing Shiva) Asana
11. Rathacharia ( charioteer ) Asana
12. Veerya ( hero) Asana
13. Vriksha ( tree) Asana one
14. Vriksha ( tree) Asana two

LOMA VILOMA
PART ONE
1. Eka patha utana (single leg lift) Asana
2. Shirsha Utana (head lift) Asana from Shavasana
3. Ardha Shalaba (half locust) Asana
4. Unmuka (face prone)Shirsha Utana (head lift) Asana
5. Dakshina Dridha Eka Pada Utana (Single leg lift from right dominant side)
Asana
6. Dakshina Dridha Shirsha Utana (head lift from right dominant side) Asana
7. Vamana Dridha Eka Pada Utana (Single leg lift from left dominant side)
Asana
8. Vamana Dridha Shirsha Utana (head lift from left dominant side) Asana
PART TWO
1. Stamban(pillar) Asana
2. Ardha Dhanur (half bow) Asana
3. Dakshina Dridha Eka Pada Utana Paravrithi one (Single leg lift from right
dominant side) Asana
4. Vamana Dridha Eka Pada Utana Paravrithi one (Single leg lift from left
PART THREE

1. Dwipadotana (double leg lift) Asana
2. Shalaba (locust)Asana
3. Dakshina Dridha Eka Pada Utana Paravrithi two (Single leg lift from right
4. Vamana Dridha Eka Pada Utana Paravrithi two (Single leg lift from left
PART FOUR
1. Sapurnavajroli two (the incomplete Oli (Shakthi or energy) Mudra)
2. Dhanur(bow) Asana
3. Vashishta Tapasya(the penance position of sage Vashista) Asana from

Dakshina Dridha Asana
4. Vashishta Tapasya(the penance position of sage Vashista) Asana from

Vamana Dridha Asana
HATHENAS
DEVELOPMENT OF ADHAM PRANAYAMA OR LOWER LUNG BREATHING
1. Sapurna Ushtra ( incomplete camel) one
2. Sapurna Ushtra ( incomplete camel) two
3. Ushtra (camel) Asana with Nasarga Mukha Bhastrika
4. Sapurna Shashaga ( Incomplete Rabbit ) Asana
B. DEVELOPMENT OF MADHYAM PRANAYAMA OR MID CHEST BREATHING
1. Sapurna Matsya (incomplate fish ) Asana one
2. Sapurna Matsya (incomplate fish ) Asana two
3. Matsya (fish) Asana
4. Purna Shashaga (rabbit) Asana

C. DEVELOPMENT OF ADHYAM PRANAYAMA OR UPPER LUNG BREATHING
1. Sapurna Maha Mudra ( The Incomplete Mighty Tidel Gesture)
2. Maha Mudra ( The Mighty Tidel Gesture)
3. Nikunja (Bower flower) Asana
4. Pari Purna Shashaga (complete rabbit) Asana
D. DEVELOPMENT OF MAHAT YOGA PRANAYAMA OR COMPLETE CHEST BREATHING
1. Sharaba ( Griffin) Asana
2. Chiri Kriya ( The Cricket Action)
3. Vyagraha Pranayama ( Tiger Breathing)
KATHA SHAITILIAS (PELVIC LOOSENERS, ABDOMINAL AND LOWER BACK STRENGTHENERS)
PART A: SINGLE LEG LIFT AND VARIATIONS
1. Ekajanuekapadautana( single knee, single leg lift) Asana
2. Ekapadotana ( single leg lift ) Asana
3. EkapadotanAsana paravrithi one
4. EkapadotanAsana paravrithi two
5. EkapadotanAsana paravrithi three
6. EkapadotanAsana paravrithi four
7. Ekapadotana (single leg lift) Kriya

8. Ekapadotana ( single leg lift ) Asana
9. Shirsha Uttana (head lift ) Asana
10. Stambhan (pillar) Asana
11. Ekajanupavanamukta ( one knee gas freeing posture) Kriya
PART B: DOUBLE LEG LIFT AND VARIATIONS
1. Dwipadotana( double leg lift) Asana Paravrithi one
2. Dwipadotana( double leg lift) Asana Paravrithi two
3. Dwipadotana( double leg lift) Asana Paravrithi three
4. Dwipadotana( double leg lift) Asana Paravrithi four
5. Dwipadotana( double leg lift) Asana
6. Danda ( staff) Asana
7. Nava ( boat ) Asana
8. Dwijanupavanamukta Kriya (two knee gas freeing posture)
PART C: EXTENSION OF PELVIC LOOSENERS POSES
1. Sethu ( bridge) Asana
2. Chakra (wheel) Asana
3. Hala ( plough) Asana
4. Sarvanga (shoulder stand) Asana
5. Paschimotana (posterior stretch) Asana
6. Ardhashalaba (half locust) Asana

7. Shirshautana( head lift) Asana
8. Shalaba (locust) Asana
9. Bhujanga (cobra ) Asana
10. Dhanur (bow) Asana
VIPARITA KARANA (TOPSEY TURVEY POSITIONS)
PART A: LEG AND TORSO LIFTING AND TAILBONE BALANCE POSESS
1. Ekapadotana Kriya (single leg lift action)
2. Ekapada ( single leg lift) Asana
3. Shirsha Utana (head lift) Asana
4. Eka Janu Pavana Muktha (one knee gas freeing action)Kriya
5. Eka Janu Pavana Muktha (one knee gas freeing action) Asana
6. Stambhan (pillar) Asana
7. Dwipadotana Paravrithi Kriya (double leg lifting action)
8. Dwipadotana ( double leg lift) Asana
9. Dwi Janu Pavana Muktha (double knee gas freeing action)Kriya
10. Dwi Janu Pavana Muktha (double knee gas freeing)Asana
11. Danda (staff) Asana
12. Nava (boat) Asana
13. Nava ( boat ) Kriya
14. Navakka ( oar lock ) Kriya
15. Sarva (complete or all limbs raised) Asana
16. Variation on Vajroli Mudra two
PART B: LEGS OVER HEAD POSES

1.Hala (plough) pose
2. Karnapeeda ( ear locking) asana
3. Sarvanga (shoulder stand) asana
4. Dakshina ekajanu shirsha (right knee to forehead from sarvanga asana) asana
5. Vama ekajanu shirsha (right knee to forehead from sarvanga asana) asana
6. Dwi janu shirsha asana (both knees to forehead)
7. Viparita karani kriya (topsey turvey position)
8. Eka patha sarvanga (one leg shoulder stand)asana variation one
9. Eka patha sarvanga (one leg shoulder stand)asana variation two
10. Sethu ( bridge) asana
11. Sethu ( bridge) asana paravrithi (variation)
C.FORWARD BENDING POSTURES
1. Danda ( staff) Asana
2. Paschimottana ( posterior stretching) Asana
3. Pratipa hala ( reverse plough) Asana
D. POSES PERFORMED FROM UNMUKHA ASANA
1. Bhujanga ( cobra) Asana
2. Sarpa ( snake ) Kriya
3. Dhanur ( bow ) Asana
4. Dhanur ( bow ) Kriya & 5. Dhanur ( bow ) Kriya paravrithi
PADA ASANAS
A.VAJRASANA AND VARIATIONS
1. Vajra (thunderbolt) asana

2. Sapurna vajra ( incomplete thunderbolt) asana
3. Eka janu vajra kriya(one knee lifting)
4. Dwi janu vajra kriya(two knee lifting)
5. Vajra Kriya
6. Purna Vajra asana (complete thunderbolt)
7. Suptapoorna vajra ( complete reclining thunderbolt)
8. Ekakin(first skin) vajra asana
9. Gulpha (ankle) asana
10. Vajra veera asana with Kailash mudra
11. Vajra Veera Kriya Paravrithi
12. Vajra veera asana with various hand gestures
B. CROSS LEGGED POSITIONS
1. Sukha (pleasant )asana
2. Baddhakona (bound angle) asana
3. Sama pada (equal foot) asana
4. Ardha padma (half lotus) asana
5. Padma (lotus) asana
6. Maha Mudra (mighty gesture pose)
7. Matsya (fish) asana
8. Parvat ( mountain ) asana
9. Mandukha (frog ) asana
C. BENT KNEE POSITIONS

1. Veera asana one
2. Veera asana two
3. Shashanga asana one (crouching pose)
4. Shashanga asana two (crouching pose)
D. CROSS KNEE POSITIONS
1. Samkatha (equal hipped) asana one
2. Samkatha (equal hipped) asana two
3. Vrishaba(bull) asana
4. Gomukha ( cow faced) asana
2. PRANAYAMAS
1. Mukha (mouth) Bhastrika (the crow beak’s position)
2. Nasarga (nose) Mukha (mouth) Bhastrika (the crow beak’s position) –

blasting breadth
3. Nasarga (nose) Bhastrika
4. Dheerga (controlled deep breathing) Pranayama
5. Sukshma (shallow) Pranayama
6. Kukkuriya (dog pant) Pranayama
7. Mahat yoga (complete lung breathing)Pranayama
8. Vibhaga pranayam (sectional breathing)
9. Adham Pranayama (lower lung breathing)
10. Madhyam pranayam (middle lung breathing)
11. Adhyam Pranayama( upper lung breathing)

12. Sama vritta (rhythmic ) breathing
13. Visama Vritta (to move the breadth in and out in unequal proportions)
Pranayama
14. Pradakshina Pranayama (breadth discipline of circulating air in clockwise

direction around the lungs)
15. Sukapurvaka Pranayama(done with purvaka, kumbhaka, rechaka,

Shunyaka)
16. Vyagraha Pranayama ( tiger breathing)
17. Pancha Sahita Pranayama ( five part ratio or mathematical breadth)
18. Kapalabhati ( skull brightener)
19. Swara Pranayama ( the sound breadth)
20. Bhrahmara (making the palatal sound like the male bee)
21. Brahmari (making the palatal sound like the female bee)
22. Marjariya Pranayama (the cat yawning stretch breadth)
23. Kushala Pranayama ( a form of Pranic healing)
24. Lomaviloma Pranayama
25. Aloma viloma Pranayama
26. Nadi shuddhi
3.KRIYAS
1. Malla (wrestlera’s) Kriya
2. Pavanamuktha (gas freeing ) Kriya
3. Eka pada utana ( single leg lift ) Kriya
4. Dwi pada utana ( double leg lift ) Kriya

5. Shirsha utana ( head lift ) Kriya
6. Patha utana ( leg stretch) Kriya
7. Gardabaha (donkey) Kriya
8. Sarpa (snake) Kriya
9. Bhujangini (cobra) Mudra
10. Dhanur (bow) Kriya
11. Pada Vajra (leg thunderbolt) Kriya
12. Nava (boat) Kriya
13. Navakka ( oar lock ) Kriya
14. Chatuspada ( four leg) Kriya
15. Dhanda ( staff) Kriya
16. Shashaga (rabbit) kriya
17. Chiri (cricket action) kriya
18. Plavini (floating) kriya
19. Baddakona (bound angle) kriya
20. Suriya namaskars – Adoration to the sun
a. Aruna Suriya Namaskar one
b. Aruna Suriya Namaskar two
c. Rishikesh Suriya Namaskar
d. Vedic Suriya Namaskar
e. Maha sauri Suriya Namaskar
4.MUDRAS
HAND GESTURES

 Namashkar (sacred salutation)Mudra
 Anjali (victorious)Mudra
 Kailash Mudra (Kailash Mountain Mudra )
 Hamsa (Swan) Mudra
 Aggra (forward )Mudra
 Uru Mudra
 Yoga (union )Mudra
 Chin (consciousness )Mudra
 Chinmaya Mudra
 Adi Mudra
 Brahma ( the supreme creative principle ) Mudra
 Nasarga (nose) Mudra
 Kaki (crow’s beak) Mudra
 Vishnu( the God of preservation) Mudra
 Sparsha (touch) Mudra
 Ashwini (horse) Mudra
 Mayuri (female peacock) Mudra
 Yoni (shakthi) Mudra
KAYA MUDRAS
 Sapurna vajroli Mudra
 Maha mudra
 Bhujagini mudra

 Brahma Mudra
5. JATTIS
1. Neck rotation
2. Stretching the neck forward and backward
3. Neck movement up and down, right and left
4. Shoulder rotation
5. Arm rotation, right and left arm,, (forward and backward direction)
6. Elbow rotation
7. Wrist rotation
8. Finger stretch
9. Hand shake
10. Hip rotation(clockwise and anticlockwise)
11. Side stretch of the torso with the opposite hand lifted
12. Forward and backward stretch
13. Upper torso swing

14. Knee rotation in Shava asana
15. Ankle rotation
16. Leg swing( front and back swing)
17. All body shake
18. Body loosening shake
19. Catching the ankle in sitting position with legs stretched and stretching the
pelvic area
20. Toe touching in Utanasana
21. Bending knee inward and stretching in the sitting position
22. In sitting position putting the fingers amongst the toes and stretching them
in opposite directions
PART 2: RAGA (Favorite Practices and reasons why I like them)
1.ASANA
Shashaga Asana - as conveyed in my last assignment this asana gives me a feeling of

humility and strength. These are qualities that I’d like to build. My mood is lifted in this
pose
Kurma Asana - I like the variation in which we bring our legs forward placing the head in
between with the hands by the side. It took some time for me to get into a comfort zone
with this Asana. I started enjoying it very much with conscious repetition. The legs touch
the head (I don’t know if they should ). The ends of the body meeting each other with legs
forming a circle like shape (with the head in between) instills the concept of circle like
nature of life. Just like how Shiva keeps his leg over muyalagan as a sign of controlling ego,
this pose really gave me a sense of keeping the ego in control. It gave a sense of being
integrated with the legs touching the head, the head and hands touching the floor as if we
are bowing down to mother earth in adoration. I feel integrated, beautiful and humble in
this pose.
Sapurna Vajroli Mudra - Tail bone balance has always been fun for me. I love the idea.

Finding the midpoint of a vertical body and making that as a base is a phenomenal idea. It
is thrilling to make one's body into a pillar with the tail bone as the base. It gives a sense of
balancing the opposites, balancing the lower and the higher nature and seeking a oneness
within. It is as if the animal nature evolves into a human one but the ego is kept on control
with the head kissing the knees. The straight spine is one of the defining factors of a human
body. The base of that spine is used as the balancing point. The spine is kept straight and
legs just move up as if symbolizing the transcendence of the lower or the animal nature of
the consciousness.
2.PRANAYAMA
Savitri (4Thala) - It took a while to think of a favorite one. For the first 3 to 4 weeks into the
course the Pranayamas were enjoyable. After a development of a discomfort (lock kind of
feeling) in the throat, my ease with Pranayamas reduced. After Shankaprakshalana and
Ekadesi, I am happy that it is almost gone now . The 4 thala Savithri seems to be my
favorite. It is very relaxing. I don’t know why. I just enjoyed. It just seemed very appropriate
for this body
3. KRIYA
Aruna Suriya Namaskar is one of my favorite Kriya. I will have to write a separate essay as
to why I like it. It is easy for me to keep exploring the layers of performing this Kriya. It is
adoration. I keep moving in a intelligent manner giving positive affirmations to the body at
conscious and unconscious levels. I enjoy it :-)
Navakka Kriya - rolling back and then coming back to Nava Asana is an interesting mix of
movements. The sequence of the various kind balance involved in each of these
movements is fun to do. The balance required to this is quite significant. It is adventurous
and enjoyable to be doing this
4.MUDRA
Yoga Mudra - It is one of my favorite. All fingers are intertwined between each other.
The sense of integration and oneness is reinforced. It is like all senses are made to focus at
one point. It is also feels versatile.
Namashkar - The sense of gratitude is instilled this Mudra. This Mudra is a positive
attitude and humility building exercise. Those are qualities I want to build in me.

5.JATTI
Letting the body lose movement that we do the end of Ammaji's session is a jatti i enjoy.
The idea of letting go and taking life easily is built in this jatti
Leg swinging is fun because it lets the leg stretch itself by way of a free swinging rather
than thrusting external pressure. Leg is stretched. Balance is built. Feels good to do :-)
PART 3 :DWESHA (The Practices I dislike to perform and reasons behind them)
1.ASANA
I just cannot think of an Asana that I dislike to perform.
2.PRANAYAMA
I do not have dislike for any specific Pranayama. The high Thala Suka Purvaka Pranayam can
be quite challenging for me in my current stage. I first developed the discomfort in my
throat (which lasted on and off for 2 months) after doing the 8 Thala Suka Puravaka
Pranayama. There was a sense of lock in my throat and upper chest which I had never
experienced in my life. It was extremely uncomfortable. In a way I am grateful to it because
it brought something out from my subconscious mind. I am just a little wary of it now. I
think holding breadth stimulated some fear stored in my cells. I am happy that I am in an
environment that trains my body to let go of that fear.
3.KRIYA
I just cannot think of a Kriya that I dislike performing. I have some favorite ones but cannot
think of any I dislike.
3.JATTI
From the sitting position when we catch the leg and stretch it, this is not only the least
favorite Jatti but also the only practice in Yoga with which I can associate the word dislike
honestly. The idea of catching it and stretching it does not appeal to me. Allowing the leg
to move freely and stretching it seems appropriate. If we do the same movement in
standing position, I think I may like. From the sitting position it seems odd. I have often
wondered who invented this movement.
PART FOUR : VINIYASA

SEQUENTIAL PRACTICES IN PREPARATION FOR THE MAIN POSTURES LISTED BELOW
A. Padma asana
 Sukhasana
 Jattis in the sitting position:
 Bending knee inward and stretching
 catching the ankle and stretching the leg sideways
 toe touching
 Pranayamas
 Sukha Pranayama
 Dheerga Pranayama
B. Dhanur Asana
 Aruna Suriya Namashkar
 Kriyas in unmukasana
 Unmuka shirsha utana kriya
 Sarpa kriya
 Bhujangini mudra
 Dhanur kriya
 Bhujanga asana
 Unmuka shirsha utana asana
 Pranayamas
 Mahat Yoga Pranayama

C. Chakra asana
 Kriyas
 Aruna Suriya Namashkar
 Pathautana kriya in Samasthithi Asana
 Bhujangini mudra
 Sarpa Kriya
 The sequence of Chaturdanda asana , Kokilasana and Meruasana can be

done in cycles of 6.
 Sethuasana
 Bhujangasana
 Pranayamas
 Vibhaga Pranayama
D. Paschimotanasana
 Jattis
 Toe touching in samasthithi asana
 Toe touching in utanasana
 Catching the ankle in Utanasana and stretching
 Lift the leg in Utanasana and bringing it to the head such that the
head touches the knee
 Patha utana kriya
 Hastapadasana

 Aruna Suriya Namashkar
 Pranayamas
E. Halasana
 Kriyas
 Aruna Suriya Namashkar\Rishikesh Suriya Namashkar
 Dhanda kriya
 Navakka kriya
 Utkat kriya
 Pathautanakriya in shavasana
 Mayuri Mudra
 Pathautanasana
 Hastapadasana
 Pranayamas
After performing Halaasana, a sequence of Dhandasana, Paschimotanasana and

Pratipahalasana will be good counter balancing poses helping the body to reinforce its
balance.
F. Sarvanga asana
 Kriyas
 Aruna Suriya Namashkar\Rishikesh Suriya Namashkar
 Dhanda kriya

 Navakka kriya
 Utkat kriya
 Pathautanakriya in shavasana
 Mayuri Mudra
 Pathautanasana
 Halasana
 Pranayamas
After performing Sarvangasana, a sequence of Dhandasana, Paschimotanasana and

Pratipahalasana will be good counter balancing poses helping the body to reinforce its
balance.
G. Shirshasana
 Jattis
 Neck rotation
 Head Shake
 Shoulder rotation
 Kriyas
 Aruna Suriya Namashkar\Rishikesh Suriya Namashkar\Maha Sauri

Suriya Namashkar
 Navakka kriya
 Utkat kriya
 Pathautanakriya in Samasthithi Asana
 Paripurna Shashaga Kriya

 Pathangushasana
 Pathahasthasana
 Pathautanasana
 Meruasana with variations
 Head turned towards navel
 Head looking up
 Head touching the ground
 Makarasana with Shashangasana
 Brahma Mudra
PART FIVE : ESSAYS
1. GURU PURNIMA\GURU PUJA EXPERIENCE
Dec 24 morning was very beautiful. Being in the madam early morning and
relishing the festivities through all senses was a unique experience. It was a healthy
sensory pleasure..... Beautiful kolams, flower decorations, oil lamps, the color of
dawn, the crowd and the puja itself etc.
I have never been in the Puja for this long. It was new in that sense for me as well. I
felt calm and was relishing all my senses, the mind and the heart. One of the
factors that has to be mentioned is the metallic music troupe that we had. Their
performance was a treat. Those sounds though very earthy in sound sensation and
texture stimulate subtlety into the depths of self. The images that came to my
mind, the thoughts flowing and emotion experienced were beautiful, unique and
felt to be extremely cleansing. In fact I wanted to dance. Mental dancing is one skill
that I am developing. It feels to be extremely therapeutic and insightful.
The Guru Puja experience turned out to be a lot lighter. The full moon and the
lamps, the music and the Samadhi Shrines..... It was abundance of beauty.... After
these pujas my sensitivity to the Shrine has increased much more. After coming
back from the madam, I could not sleep for a long time because I felt so elevated. I
was tempted to go to the beach (to enjoy the moon and everything about nature)
and I had to restrict myself. At this point my sensitivity to the Madam and the
Shrines has increased because of these experiences and I hope that I am open to
the wisdom the Swamis want to convey to me.
1. CYCLONE EXPERIENCE AND SPIRITUAL LESSONS
I happened to be in Chennai with my family during the cyclone. Chennai was not as
badly hit as Pondicherry and I was not directly exposed to the extremity of the
condition. The experience was a reinforcement of the statement “man proposes.
God disposes”. I had to be back in ICYER by 30 th evening for Shakuntala dance
practice. The cyclone happened. My travel had to be postponed and I reached the
Kambliswamy madam on the new year. No of my plans made initially regarding the
travel could materialize. I leant to “let go”. .....To let go of my plan, my wish, my
expectations, my possessions, my attachments and just be open to and accept
nature’s decision. This letting go happened at various degrees for various aspects. It
was really an exercise on Vairagya.... a very efficient and effective exercise.
Such instances are reminders about the impermanency of our attachments and
they enforce the lesson of letting go as per nature’s will. It is also about the
opportunity for creative thinking. We build up all over again all that was lost .The
fence that we built using the broken plants and trees was such a unique
experience. I have never done that in my life. It not only felt good but also made
me realize that when nature takes something, she gives something else to make up
for that loss.... something much better.. When she breaks something (material,
mental, emotional etc) she also provides the tools to build something a lot more
beautiful. The key lies in openness. It was a reminder of Her magnanimity.
PS: As I just finished typing this answer and went to the toilet, I saw the paper
stuck on the door “TOILET”. Well one goes to toilet (‘to’ ‘I’ ‘let’) TO LET GO some
part of I.. The ‘I’ which does make the self identification possible is interestingly a
central letter in toilet. In toilet some part of “I” is released for healthy functioning
of the body. Something which the body put in with enjoyment has now come to a
place in time and space wherein it has to move out of the body. That’s when one
goes to TOILET..... To let go ‘I’. What went through the upper mouth comes out of
the lower mouth. Only after this “let go of I” there is space and energy for new
things to enter and be experienced. In life, people have to let go of their
possessions, attachments, relationship, emotions, experiences, fame, knowledge
etc when nature brings them to that space in time when they have to be released
from one’s body \life for its healthy functioning. Well, this is the lesson that
perhaps the cyclone reinforced. It was a lesson I experienced and still learning.
2. IMPORTANCE OF LEARNING SANSKRIT IN YOGA SADHANA
“Sanskrit is the Language that is vibrationally perfect” – Swamiji. This statement

had a profound effect in my openness and reverence to this language. Mantras are
higher wisdom codified into a gross level of existence. Sanskrit as a language
carries that essence of the object on which it is named. So learning this language
not only can open up layers of our consciousness to understand the various
concepts but also make our body access subtler vibrations of wisdom, prana.
Such sounds can act as key that open up the locks in our mind and thereby our
body. It helps in clean pronunciation of the mantras and sutras which is one of the
important factors for tuning into higher wisdom. The way this language is built puts
forth tremendous scope in understanding a concept at various levels and
dimensions. It can highly help in scriptural study to not just avoid misinterpretation
but go into the deeper realms of that wisdom. In fact learning Sanskrit should be
the preceding step to learning Indian scripture.
3. IMPORTANCE OF MANTRA, BHAJAN\CARNATIC MUSIC IN YOGA SADHANA
Mantra is a noble intent codified into sound. By chanting them we tune ourselves
into higher levels of wisdom. The reasons behind learning Sanskrit and learning
mantras will overlap each other. They help to create healthy images into our
consciousness which will then influence our thought and hence behavior from
within in a healthy way. The attitude will highly determine the effectiveness of the
mantras, bhajan etc.
Bhajans is probably the easiest channel for me here to get connected into higher

zones of consciousness. The names of deities when uttered elevate and expand
consciousness and induce happiness. They stretch the horizons of the heart and
mind which is very essential in yoga. Mantras, Bhajans and Carnatic music are just
various channels to expand consciousness. They are very complementary to Yoga
Sadhana in terms of purifying one’s self and amplifying the essence of the positive
energies of the body.
4. IMPORTANCE OF CHANTING BHAGAVAD GITA AND YOGA SUTRAS
I may have to repeat my previous answers here as the reasons behind their
importance are highly overlapping. As said earlier these scriptures are just the
wisdom coded into the sound vibration that is accessible in a material plane. They
are like windows to the truth. The challenge is to remove the glasses that we have
in our minds if we want to use this window to optimum use.
Every piece of work has the soul of its maker. When I make myself open to the
beauty of the work in all sincerity, I may be receiving the wisdom directly from the
creator at one point. In that sense these scriptures are doorways to Deities Whose
compassion will enhance our consciousness. Only when my consciousness is ready,
I will be able to digest the knowledge and absorb its essence for which God’s Grace
is essential.
PART SEVEN
IDEA OF SPIRITUAL PERFECTION AND WHAT CAN BE DONE TO ACHIEVE IT

I do not have much of an idea on what spiritual perfection is. But I would like to
share my thoughts on what spiritualism is. Perfection is just to do with the sincerity
of effort. I think the idea of perfection is existential in attitude. It is the
manifestation of sincerity of effort and nobility of intent.
Spirituality is about unconditional love for every being including oneself. If one can
love himself well he can love others as well. Unconditional love implies not only
freedom but also a sense of forgiveness and detachment. It implies a sense of
acceptance and openness. LOVE IS A LUXURY and I have seen that very few can
afford it. It is a skill or rather virtue to be developed if one wants to evolve
spiritually.
Spirituality or love is a lot about not thrusting one’s own will on others. One can
probably help people in seeing things from various perspectives. I have seen very
few people not inflicting their will on others (even mentally infliction of will
matters). Interestingly this is done in the name of love, care and responsibility. I
have seen Parents, teachers, peers , friends, lovers thrusting their own fears,
vulnerabilities, fantasies, prejudices on their ‘loved ones’ in the name of love. .
Squeezing into other people’s space in the name of concern, feeling important only
if needed by others are all signs of lack of spiritual fire.
Till few years ago, I had strong opinions on right and wrong and used to force my
opinion on others. I realize the stupidity now. I can take responsibility only for my
own actions. Deciding on what others should do and should not is really not my
work. The sense of discrimination has increased in me in the last few years
(hopefully) and this tendency of thrusting my will\opinion on others has come
down drastically. I have also seen people inducing a sense of guilt in others to get
things done especially by way of their power and authority. To me this is very
unspiritual and can be terrible negative karma. Guilt is the most useless and
destructive feeling that one can have. When people use guilt as a tool to get things
done from others no matter what their intentions are, it can be a very terrible
negative karma I think. When one is abundant in love such behavioral traits will
have no place.
How can one build this capacity for love? I think it is by exercising the love that one
already has. Everyone has the capacity to love. It is like money, a form of prana. You
use it wisely to multiply it. Love muscles are exercised in scriptural study, in dance,
in music, in mantras, in mythological learning, in Yoga, in Dharma, in gardening or
perhaps in every selfless beautiful activity. Different ways work out for different
people.
Among many kinds of Sadhanas it is with dance that I have had conscious deep
experiences. Let me explain as to how I exercise love in dance. In Bharatnatyam, or
in any classical Indian dance the luxury is that one worships Deities. One dances for
songs in praise of deities. Now the deities being personification of supreme
energies can be accessed through the music. When one gives the kinesthetic
dimension to that music through a classical dance, it feels like multiple channels
are opened to higher energies. Indian classical dance is higher wisdom coded into
a kinesthetic emotional psychic language. LOVE IS THE PROBABLY THE HIGHEST
WISDOM. As one moves and holds the body, mind and emotions in various spatial
dimensions, in specific combinations and permutations and in certain energy
patterns, the doorways to higher wisdom open. A lot of emotional cleansing occurs
thereby making the body a fit vessel to hold and experience the emotion of love. In
fact true dance is nothing but an expression of love.
One has to find his suitable mode of Sadhana be it Karma Yoga or Nyana Yoga or
Bhakthi Yoga etc. And that suitable path will help the Sadhaka to expand his
capacity for love.I believe that The Guru guides the chela in this choice of the path.
One can find his or her suitable path which enables the expression and
nourishment of love. For me it is dance. Other arts \practices like yoga, music,
mythological study, mantras, bhajans, karma yoga etc will definitely enrich the
consciousness, catalyze the process and help one to enjoy and relish the journey. It
is such a great blessing to be chanting the name of God. I cannot comprehend
what happens to me. But I know something beautiful happens within.
Conscious repetition is definitely a factor needed to enjoy and exercise love. In

Bharatnatyam, I hardly have any desire to learn any new item. Not that I have leant
too many. But if I can dance with ease, joy and cleanliness (in movement, attitude
and emotion) just one traditional item, I would feel holistically divine. To get into
that ZONE, there has to be conscious clean repetition. There is no point in
practicing mistakes. Once the sate of refinement is attained in movements, it has to
be repeated again and again and again (I know not how many times) to get into the
state where one does not know who is dancing.... oh no... one does know who is
dancing.. The Concentrated Energy manifests in the dance.....It is the expression
of that higher energy worshipped for long. I let of myself for the Object of my
concentration to take over. The concentration and the concentrated object becomes
one. It is love play then. It is an expression of love. It is love expressing love. Well I

have no desire for samamdhi. I have no big desire to learn a new bharatnatyam
item. But if I can dance one item with saucham and santosham well may be that is
spiritual perfection and ONLY WITH GURU’S GRACE SUCH EXPERIENCES CAN
MANIFEST.
My prayer to the divine for divine beautiful experiences to manifest in every

being!!!
Aum guruve namaha!
Relationship
Relationship is the pillar of experience. It is the side of attitude. It is the expression

of attitude.

Fourth Self Study Exam Sheet Asanas

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Fourth Self Study Exam Sheet Asanas

Uploaded by

Copyright:

Available Formats

Fourth Self Study Examination Sheet

PART ONE: LIST OF PRACTICES – TECHNIQUES LEARNT UP TO DATE

BASIC PREPARATORY ASANAS

1. Samasthithi (equal balance) Asana

2. Hasthapada (hands to feet) Asana

3. Utkat (squatting) Asana

4. Sukha (ease) Asana

5. Chatuspada (four legged) Asana

7. Shashaga (rabbit) Asana

8. Vajra (thunderbolt) Asana

9. Veeravajra ( heroic thunderbolt) Asana

10. Dharmika (devotional) Asana

11. Subdavajra (reclining thunderbolt) Asana

12. Meru (mountain) Asana

1. Shava ( corpse) Asana

2. Oonmuka (face prone) Asana

3. Makara (crocodile) Asana

4. Drida ( side flank ) Asana

6. Bhujanga ( cobra) Asana

7. Ardha (half ) Matsyendra (sage Matsyendra) asana

43rd Annual International Yoga Teacher’s Training CoursePage 1

8. Pasa (noose ) asana

OTHER ASANAS IN SURIYA NAMASHKARS

1. Kokila (cuckoo bird) Asana

2. Chaturdhanda (four stick ) Asana

3. Ashwasanshalana ( Equestrian ) Asana

4. Ashtangabhumi ( Eight Parts To The Floor) Asana

1. Pathangush (catching of big toe ) pose

2. Pathahastha (hands to the feet) pose

3. Trikona (triangle) pose

4. Parshava (side angle) pose

5. Veera (hero )Asana one

6. Veera (hero )Asana two

7. Prasaritotana (side stretch) Asana

8. Padottana ( leg stretch ) Asana

9. Ardha chandra ( half moon) Asana

10. Nataraja ( dancing Shiva) Asana

11. Rathacharia ( charioteer ) Asana

12. Veerya ( hero) Asana

13. Vriksha ( tree) Asana one

14. Vriksha ( tree) Asana two

43rd Annual International Yoga Teacher’s Training CoursePage 2

1. Eka patha utana (single leg lift) Asana

2. Shirsha Utana (head lift) Asana from Shavasana

3. Ardha Shalaba (half locust) Asana

4. Unmuka (face prone)Shirsha Utana (head lift) Asana

2. Ardha Dhanur (half bow) Asana

43rd Annual International Yoga Teacher’s Training CoursePage 3

1. Dwipadotana (double leg lift) Asana

1. Sapurnavajroli two (the incomplete Oli (Shakthi or energy) Mudra)

3. Vashishta Tapasya(the penance position of sage Vashista) Asana from

4. Vashishta Tapasya(the penance position of sage Vashista) Asana from

DEVELOPMENT OF ADHAM PRANAYAMA OR LOWER LUNG BREATHING

1. Sapurna Ushtra ( incomplete camel) one

2. Sapurna Ushtra ( incomplete camel) two

3. Ushtra (camel) Asana with Nasarga Mukha Bhastrika

4. Sapurna Shashaga ( Incomplete Rabbit ) Asana

B. DEVELOPMENT OF MADHYAM PRANAYAMA OR MID CHEST BREATHING

1. Sapurna Matsya (incomplate fish ) Asana one

2. Sapurna Matsya (incomplate fish ) Asana two

3. Matsya (fish) Asana

4. Purna Shashaga (rabbit) Asana

43rd Annual International Yoga Teacher’s Training CoursePage 4