The practices displayed in this book should only be undertaken

with the guidance of an experienced VK Teacher and, when appropriate,

advice on relevant contraindications from a qualified medical professional.
This book is not to be reproduced without consent from the author.

Copyright © The Yoga Temple 2020

www.yogatemple.com
bendsalot@gmail.com

1
CONTENTS SIX SEQUENCES

Prayer 3 Amāvasyā Krama – New Moon 28

Vinyāsa Krama Mandiram 4 Chandra Krama – Moon Sequence 32
VKM Sequences 5 Mārjāra Krama – Lion Cub 37
Prāṇāyāma Practices 11 Siṁha Krama – Lion Sequence 41
Non-Dual Witnessing 19 Marīchi Krama – Ray of Light 47
Chakra Meditation 22 Ātapa Krama – Sunshine Sequence 51
Practice Guidelines 27
The Yoga Tārāvalī 57
VKM Bali 64

2
 
 Om

vande gurūṇān charaṇāravinde
sandarśitasvātma sukhāvabodhe
janasya ye jāṅgalikāyamāne
saṃsāra hālāhala mohaśāntyai
I bow down to the lotus feet of the lineage of Teachers
(the Divine Masculine),
Who show the way to the self-awakening great happiness –
The jungle physician who is able to remove the poisons
Of the ignorance of conditioned existence.

vicchinna saṅkalpa vikalpamūle When the source of options is rent asunder,

niḥśeṣa nirmūlita karmajāle And the web of actions is uprooted in its entirety –
nirantarābhyāsa nitānta bhadrā There shines for the Yogi that sleepless uninterrupted state:
sā jṛmbhate yogini yoganidrā The attainment of complete auspiciousness
(the Goddess of Good Fortune, the Divine Feminine.)
 Om

3
 Vinyāsa Krama Mandiram
Any Body, All Minds, One Self
Vinyāsa Krama means movement in stages. Vinyāsa indicates the
impermanence and change of the physical self. Krama indicates the stages or
layers of consciousness. Mandiram means home – the resting place of
undifferentiated consciousness. These are the three layers of Yoga practice.
 Āsana – Each set sequence has a unique style and energy, but also offers
the potential for change within each sequence – individual application
versus group ideology.
 Prāṇāyāma – Begins and ends by learning effortless breathing; from
dynamic breathing within Āsana practice, to meditation on the
spaciousness within every breath.
 Advaita – Non-dual witnessing. Be aware of the one who is already
aware. Be still.
This book, Vinyāsa Krama Mandiram, now contains more sequence
variations, and is significantly different to the original – Vinyāsa Krama: Five
Unique Sequences. The older VK sequences have undergone a number of
refinements and upgrades, each one changing in different ways. I enjoy that
aspect of the process – it’s better to open up to change than offering resistance
to it. To claim that a sequence, system, or tradition doesn’t change (or shouldn’t
change) is both dogmatic and untrue.
Life is Change.
If anyone tells you differently they’re trying to sell you something.
The first six sequences of VKM are Chandra Krama: the Moon
Sequence, Ātapa Krama: the Sunshine Sequence, Siṁha Krama: the Lion
Sequence, Amāvasyā Krama: the New Moon Sequence, Mārjāra Krama: Lion
Cub, and Marīchi Krama: Ray of Light. Each one is designed to enhance your
practice in a unique way. These sequences vary between Yin and Yang, strength
and flexibility, and dynamic and relaxed. They will bring you to a natural sattva,
the rhythmic, balanced energy within each of us. These sequences are paired
with detailed Prāṇāyāma Krama, of varying levels, also shared in this book. All
VK practices will help guide you to deeper states of self-awareness, and are
collectively taught alongside Advaita Vedanta Self-Enquiry.
For a few reasons I have also decided not to include the advanced
sequences in this book, though they are mentioned – the Full Moon Sequence
(Pūrnima Krama), King of the Jungle (Siṁha Krama III), the Tiger Sequence
(Vyāghra Krama), etc. You will need to earn these advanced sequences before
I share any further knowledge of them – by practicing the prior sequences with
commitment and consistency.
The more advanced sequences are also initially distracting. It is
important you spend some years learning the essential practices first before
diving into something you are not ready for. This includes students who have
advanced through another system. You need to start at the beginning of Vinyāsa
Krama, not at the middle or the end. Enjoy what is offered.
4
Vinyāsa Krama Mandiram Sequences (14)
Sequences below are listed in the approximate order of difficulty ↓
Sequence across are listed in the approximate order of learning →

Level I Remedial Short Practice Sequences

1. New Moon Sequence (Amāvasyā Krama)
2. Lion Cub (Mārjāra Krama)
3. Ray of Light (Marīchi Krama)

Level I Foundation Sequences

4. Moon (Chandra Krama)
5. Lion (Siṁha Krama)
6. Sunshine (Ātapa Krama)

Level II Intermediate Sequences

7. Full Moon (Pūrnima Krama)
8. Lion Prince (Siṁha Krama II)
9. Skybird (Viyāti Krama)

Level III Advanced Sequences

10. Tiger (Vyāghra Krama)
11. King of the Jungle (Siṁha Krama III)
12. Sun (Sūrya Krama)
13. Bound (Baddha Krama)
14. Lord Śiva (Parā Krama)

Salute Variations (13)

 Chandra Namaskara A, B, C
 Siṁha Namaskara A, B, C, D
 Sūrya Namaskara A, B, C, D
 Maṇḍala Namaskara A & B

5
 There are three key foundation sequences for Vinyāsa Krama
Mandiram: Chandra Krama, Ātapa Krama, and Siṁha Krama. From these three
sequences all the other sequences flow. See the Āsana Chart above: Sequences
are ranked in the approximate order of learning.
On every course I run, every new practitioner will start learning the
Standard Moon Sequence via self-practice. That is, after the first led class on
this sequence, on the next day you will practice it at your own pace, guided by
the rhythm of your breath. Cheat sheets are also provided.
Having said that, Chandra Krama is a support sequences and is not
intended to be your main practice. It is to be practiced when you have less
energy, and have need for more internal and meditative focus, versus an external
and Rajasic focus, typically once or twice per week.
Every week your energy ebbs and flows, it is unreasonable to expect
your body to maintain a high level of ‘peak-performance’ six days per week. It
is dangerous to both your physiological and psychological health to push that
idea too far. That is, the idea that practicing intensively six days per week is
better, and offers greater improvement. This mentality is actually fear-based,
you are typically not listening to your body when you do this. Allowing for both
Active/Rajasic and Releasing/Tamasic elements – daily, weekly, and monthly –
is critical. We do not seek to remove Rajas and Tamas, we want to include and
integrate them so they are no longer a problem – a peaceful way to surrender to
each moment.
Allowing time for a softer practice actually gives your body time to heal,
making improvements steadier, if not seemingly faster. Practicing intensely six
days per week (a Rajasic sequence) is also often maintained out of a sense of
control, that this will make you more spiritual or prove that you are more
devotional and dedicated. Spirituality is not dictated by this kind of time-
restraint! Spirituality is being, doing is for the body.
Chandra Krama is something all Āsana practitioners should embrace at
least once per week – or something like it. The Moon Sequence, when practiced
in this light, will develop your awareness in ways that a standard Vinyāsa
practice, typically focussed on progression and learning advanced Āsana, will
not. Please heed this advice! The Moon sequence is critical in this method for
understanding all practices, both physical and non-physical, that progress from
it.
During the first week of a course many students will then continue by
learning Ātapa Krama, the Sunshine Sequence. This is a ‘flexible’ sequence
based off the Primary Series. This means it can easily be adapted for different
constitutions – and scaled up like the standard traditional Primary – or more
commonly scaled down to make it individually appropriate.
This sequence is dynamic, with plenty of jumps (though less than
Primary), and combines a number of re-balanced elements for the hips, shoulder
openers, greater emphasis on back-bending compared to the Primary Series, and
many options for changing the postures. I also encourage use of props and wall
for alignment, safety, and stability.
Another option during a first-time course is to begin learning Siṁha
Krama, the Lion Sequence. This practice has a few areas of focus that are critical
for everyone. For example, greater emphasis on standing postures, leg strength,
and the side-body. It also focuses on specific alignment in all standing postures
that will then help you with alignment in all sitting postures. In particular;
integrated alignment for the side-body, hips, and shoulders, all at once.
Siṁha Krama also has less emphasis on upper body strength than Ātapa
Krama (& the Primary Series), but increased focus on opening up both the upper
back and shoulders, particularly for developing back-bending safely and
effectively.
In almost all Hatha Yoga, Vinyāsa Yoga, and Aṣṭāṅga Yoga classes I
have found upper back and shoulder opening is not addressed early enough, or
at all. This lack is simply because traditional Āsana practice was to help open
the hips to prepare you for meditation, and not much else.
This historical carry-over is still commonly seen in most Yogāsana
systems, both new and old. In order to gain a more complete and comprehensive
style of teaching and practicing you would need to look outside of the traditions
of Yoga in order to integrate a more holistic physiological approach. I am not
here talking about spirituality, devotion, or dedication to the tradition. I am
simply talking on what is practical and useful to aid different bodies with some
healthy physiological variations.
With that in mind I encourage two main features during your time
learning VKM – not only during the first two years, but forever! The first is that
you commit each sequence to memory and learn them thoroughly and precisely,
just as I have taught them to you, or just as they are in this book. This means
6
minimal to no variations, at least once or twice per week, during your self-
practice. Attempt to learn everything in the sequence with as much focus and
precision as you can muster, but observe the golden rule: do not hurt yourself.
The other critical factor is the opposite: this is to include variations in
each sequence, scale the sequence down, remove difficult postures, and simply
do whatever seems appropriate. This allows you room to change and adapt the
sequence to your individual condition and constitution. This can be a permanent
change or simply a temporary need due to limited time or tiredness.
This means about 50% of you self-practice time you don’t change the
sequence as it is set here (for example, two practices or sequences per week),
and 50% of your time you do change it (for example, two practices or sequences
per week.) These I have named Consistency and Creativity; two complementary
though different approaches. Both are needed, so try not to favour one over the
other.
This time of learning does not prevent you from practicing Aṣṭāṅga
Yoga or any other system the rest of the time (in between courses), but initially
a greater part of your time should be spent on these new sequences. This will
usually mean practicing at home, by yourself, depending if your regular teacher
will allow you to practice these sequences in their classes. As an alternative try
to find a ‘practice buddy’ to help you with motivation. Or use music; the latter
can be a helpful tool.
Also, please keep in mind, you should not be doing two long physical
practices per day. For example, Ātapa Krama in the morning and Chandra
Krama at night. Let go of your fear of losing something, or the need to keep
pushing forward. Relax, and enjoy the journey at a more comfortable pace. Do
only one physical practice / sequence per day. On the other hand I don’t deny
the usefulness of doing a gentle Yin Yoga practice in the evening for twenty
minutes, sometimes as a preparation for meditation, or just before you go to bed.
Another factor to be aware of is that some practitioners resist a sequence
like Chandra Krama (or the New Moon Sequence) because they appear too
basic, simple, or not dynamic enough. Please let this attitude go, it is not helpful
nor open-minded. It is important to learn each new sequence properly, and
understand it fully on an experiential level – not just merely ‘have a sense of it’.
The Moon Sequence is the most Sattvic sequence – balanced, peaceful
– that I know. Although it integrates some Tamasic elements, as every Yoga
sequence should, it also has a significant amount of strengthening and stabilising
elements. Chandra Krama is a Hatha Yoga practice directly tied to meditation.
It will guide your awareness into non-active states that are simply not possible
during more Rajasic phases of learning.
The second set of sequences in this book are scaled down versions of
their parent: New Moon is scaled down compared to Standard Moon, Ray of
Light is a short version of Ātapa Krama, and Lion Cub is scaled down compared
to Lion I. Ātapa Krama can also be considered a slightly scaled down version of
the full Primary Series, although significantly different; with greater structural
balance and overall improvements to the original. I call this scaling sideways.
I would consider each of these an effective way to modify the full
sequence for many or most conditions, as per my point on Creativity and
Consistency earlier. If the short remedial sequence (which can be typically
practiced in one hour or less) is still too long or difficult, simply remove any
offending postures.
In addition, each of these sequences contains some very important
adaptations. For example, the use of blocks in the New Moon Sequence, the use
of the wall in Lion Cub, and little or no jumps in Ray of Light. Whether it is
through injury, jet lag, pregnancy, or simple tiredness, knowing when to scale a
practice back is important, versus always trying to scale upward and progress.
Listen to your body before you hurt something!
In my opinion, every long term practitioner should have three essential
sequences that they can rely on. It can be more than that, obviously, but three
sequences are a good minimum. This book gives you those three practices in
great detail. A system that limits you to just one sequence – typically due to
rigidity, or the requirement for you to improve in a very specific way – is often
hazardous for your health. It’s too risky, not to mention psychologically
damaging. For example, many students are required to stay within the Primary
Series for 10-15 years, because they don’t have the physical capacity to go
further. This highlights two main deficits: how the sequence is being taught, and
the actual structure of the sequence. It does not actually indicate a deficit within
the practitioner! Merely that the road less-travelled is the way to go.
Every student should have the option of additional sequences to create greater
harmony and balance for the body, mind, and energy system.
7
 The claim that the Primary Series is perfect as it is (or sacred, or coming
from God), and therefore shouldn’t be altered, is harmful. The incredible volume
of injuries that the traditional series have produced is clear evidence of that. The
second claim, that only following a particular system or sequence is devotional
and spiritual is also false. This attitude is like a religion – do this practice and
you go to heaven (and join the cool people where they hang out), don’t do it,
and it’s straight to hell for you.
Every practice, sequence, method is potentially divine. But that’s up to
the practitioner to experience, not the teacher or preacher to force into you.
A note on Rajas, Tamas, and Sattva: Rajas means active / overactive.
Tamas means inactive / underactive. Sattva means balanced, rhythmic. It is
important to know that Sattva is not the absence of Rajas and Tamas, but the
inclusion or integration of them. Do not polarise these elements! Tamas is not
evil. Rajas is not bad. Both are useful from time to time.
For example, when it is time to sleep, sleep – and sleep deeply, if given
a chance. When it is time to be active, be active, and take strong action at that.
Just remember that only when you fully integrate both active and passive
elements can you be Sattvic. Rejecting sleepiness, laziness, and quiet time, is
just as imbalanced as someone who cannot get off the couch to go for a fun-run.
There are three layers to learning every sequence:
 Mind: It takes time to memorise all aspects of a sequence. For example,
the order of the postures, the Vinyāsa, and memorising all the names in
Sanskrit. Simple consistency with self-practice is key.
 Body: It takes even more time to consistently demonstrate improved
alignment and stability for every posture within a sequence. The body
has its own time to adapt to postures; it is not up to the mind to decide
when this will happen. Be aware of what your body is telling you versus
only listening to you mind. Often the body is saying no when the mind
is saying yes. Pay attention!
 Heart: It takes the most time for a student to fully integrate a sequence
and understand it with wisdom. The heart indicates true understanding
and equanimity. If you don’t take the time to learn a sequence, at least
2x per week over a period of years, you will never learn it properly. At
best you will have a sense of Mind and Body, but no real understanding
of the Heart.
Āsana Progress Chart Notes
The progress from sequences 1 through 12, as can be seen from the chart
above, is not linear. Once you learn at least one or two of the foundation
practices, the direction can be quite varied depending on the student’s preference
and their physical condition. It is up to the student to express what they want to
learn next, if they’re aware of this bigger picture, but also up to the teacher to
asses if it’s practical for their body and physical limitations. Each student learns
at a different rate, and typically never as fast as they would prefer.
For example, if a student shows the capacity and willingness to work on
the Lion Sequence consistently, in order to progress from Lion I to Lion II, they
would have to focus on Lion exclusively over Aṣṭāṅga Yoga or Ātapa Krama –
at least for a period of time, while they integrated the ‘heart layer’ of this
sequence, and understand it deeply. Only then would Lion II and potentially
Tiger II become available.
Similarly, if a student wanted to learn the intermediate level Aṣṭāṅga-
style practice with me (Sūrya Krama), they would have to dedicate to Ātapa
Krama first (and practice this more-so than both the Lion Sequence and
Primary/Intermediate of Aṣṭāṅga Yoga.) Once this dedication is clear, and if the
capacity was there, then the student would begin learning Sūrya Krama and
potentially Baddha Krama after that.
Some sequences cross the lines; if you were dedicated to learning the
Full Moon Sequence this would enable you to learn Tiger I and then Tiger II,
without having to dedicate to Lion II. Each Intermediate Sequence can lead to
the others in the Intermediate Set, and each Advanced Sequence can lead to the
others, they’re all connected in some way. So progress along one line of
development doesn’t prevent you jumping into another – but once again, only if
you dedicate to learning each sequence thoroughly.
On average, I would say it takes 6 months to learn each sequence, plus
an extra 6 months for each level of development. Two sequences can be learned
concurrently, if a bit awkwardly. This is not ideal, but often the way it occurs
despite my best intentions for students to learn each sequence one by one.
8
 Now unfortunately (or fortunately, depending how you look at it), 99%
of bodies do not have the capacity to do advanced postures. Most ‘bodies’ that
I encounter have the capacity for at least 70% of the remedial and foundation
sequences; still giving everyone plenty of great material to work on. My
intention here is not to be pessimistic, but rather to point out the obvious. As
most students can attempt the remedial and foundation practices, and most
students cannot do the intermediate and advanced practices, it is my job to help
students within their capacity, not to push people past it.
As most students come to me with at least some yoga practice
background, I tend to begin with the Foundation Sequences, and after a year or
two of this, then show them at least one or two of the shorter remedial sequences
as a great therapeutic balance to the longer chain of Asana in the other sets. From
there, and typically some years later, the Intermediate and Advanced Sequences
might then be introduced.
Learn to Practice Before You Learn to Teach
To teach any of the Vinyāsa Krama sequences you have to know each one
thoroughly. You have to attend at least two courses in order to begin the pre-
training for the Level I TTC. This includes those who have prior teaching
experience – every new sequence and new system requires a fresh commitment,
to demonstrate the appropriate dedication, not to mention a humble attitude and
good ethics. Please do not teach any sequence you haven’t fully mastered, and
do not teach any VK sequence if you are not certified to do so.
It is best to learn one sequence at a time, and even better, one posture at a
time. Every student will develop and refine the physical and psychological
practices of Yoga at different rates. Every student is unique. Some students need
more time develop some things than others, and almost all students need more
time and patience than they think.
Although I think it is relatively easy to spend a few minutes every day on
self-practice, it seems to be daunting for many students to do this regularly,
particularly on your own.
Once you understand the importance of 1) Self-practice, and 2) Taking the
time to learn each sequence thoroughly, then 3) Teaching any sequence or
system becomes an ethical process, not an ego process. If you are dedicated to
practicing, then take your time to enjoy this before you rush into teaching.
I tend to suggest 5 years of dedicated practice (4-5 times per week) to
become a led-class teacher, and 10 years of self-practice before becoming a self-
practice teacher. In order to run teacher training therefore, you would need
approximately 15-20 years of combined practice and teaching experience before
you are qualified to do so.
Notes
 Generally I don’t teach Lion Cub – Mārjāra Krama – unless a student
physically requires it. As a result it’s not a sequence I’m often teaching,
unlike Lion I.
 New Moon Sequence is somewhat easier than Lion I, but as students
need plenty of time learning Standard Moon, Ātapa Krama, and Lion I
before learning this, it can take a while before a teacher would introduce
it. This does not imply that it’s not important or useful!
A Short History of VKM
The evolution of these sequences has been occurring over many years. It has
not been a linear process, or a purely intellectual one – including a degree of
misapplication and misunderstanding, followed by thoughtfulness, and
eventually wisdom. The sequences have been changed, and continue to change
and evolve based on a number of factors – myself, the students, and the evolving
environment and culture of Yoga within which we live. Change is the only
constant.
I began with the Aṣṭāṅga Yoga system more than 25 years ago, and although
I practiced it consistently for more than 15 years, I did not stay there. I have
changed, and the Aṣṭāṅga Yoga system has changed. Accepting both of these
facts has been a source of amusement for me – particularly when someone else
is trying to deny it. I also learned Vinyāsa Krama from different teachers, along
with other forms of physical therapy – and not a single one of them could I now
discard. Be careful of throwing the baby out with the bathwater if you find
something unappealing or impractical in a particular system. There is something
in every one of them that is useful and good.
9
 By utilising the first concepts of T. Kṛiṣṇamacharya’s early work – Vinyāsa
Krama Set Sequencing – with some of his later work – Vini Yoga Individual
Therapy – we are seeing a number of significant positive results in this system.
I can honestly say that VKM is becoming better and better every year.
In the end the only proof you will need is how you feel when you practice
these sequences. Try it yourself, and spend some time opening up to it, and find
this truth for yourself.
One of the concepts I frequently convey is the integration of opposites. For
example, a set sequence versus individual yoga therapy, and consistency versus
creativity. Another example is the combination of Sun and Moon – the Moon
Sequence and the Sunshine Sequence are two complementary, yet distinctly
different forces. They are working well together to combine active and passive,
dynamic and gentle, focussed and releasing, yin and yang. Here, within this
integration of opposites – versus rejection or resistance towards one of them –
we find true Sattva.
Many cultures use the symbol of the Sun and Moon to denote divine
masculine and divine feminine qualities – typically the Sun is masculine,
Vinyāsa Krama Ethics
Rajasic, active, linear, and focussed. The Moon is feminine, Tamasic, subtle,
circular, and intuitive. However some cultures often portray the Moon as
1. Beneficence / Non-harming – be of benefit and cause no harm.
masculine also; in traditional Hindu literature Chandra is male; young and
2. Autonomy – the client has the right to reject the treatment or instruction.
beautiful, and riding a deer.
3. Respect – both the client and teacher have the right to be treated with
respect.
4. Informed Consent – the client should be informed about the treatment,
practice, or technique in advance, in as much as is practicable.
5. Justice – fair treatment of all clients regardless of age, ability, race, or
sex.

10
Prāṇāyāma Krama
Aḍi Śaṅkara was an eighth century sage who brought together some of
the different aspects of Advaita Vedānta, Prāṇāyāma and Hindu Philosophy. To
Him we credit the evolution of this detailed Prāṇāyāma practice.
Om Aḍi Śaṅkarācārya Namahā
anāhate cetasi sāvadhānaiḥ
abhyāsa śurairanu bhūyamānā
saṃstambhita śvāsamanahppracārā
sā jṛmbhate kevala kumbhakaśrīḥ
If one focuses gradually and carefully on the Anāhata,
And practices the Stambha with courage -
The mind and breath are naturally suspended;
Then there blooms the splendour of the Kevala Kumbhaka.
From the Yoga Tārāvalī by Śrī Aḍi Śaṅkara
Prāṇāyāma Practices
There are four main groups of practices:
I. Victorious Set (Ujjāyi) – Breathing with Sound
1. Ujjāyi I: A) 10 Points; B) 123 Pause; C) Visamavṛtti 4/6, 10-20 br
2. Ujjāyi II: Block/Back Breathing, 10 br counting, 10 br no counting
3. Ujjāyi III: Spiral Mudrā, 1-11/1-11/11, 12/12/12, 11-1, 34 br
4. Ujjāyi IV: Samavṛtti 1-11//1-11/1-11/11, 12/12/12, 11-1, 34 br
5. Ujjāyi V: Visamavṛtti 4/6/9/12 and 8/12/18/12, 36 br
II. Gracious Set (Stambha) – Pillar of Heaven
1. Viloma I Intro: (2&3 no Mudrā), 20 br
2. Viloma II: 2345 (with Mudrā), 20 br
3. Anuloma I: 2345 (with Mudrā), 20 br
4. Viloma + Anuloma (III): 2345 left Mudrā, 2345 right Mudrā = 44 br
5. Anuloma II: no counting, no Mudrā, unlimited (Kevala Kumbhaka)
III. Energy Set (Nāḍī Śodhana) – Nerve Cleansing – “Magic Fingers”
1. Nāḍī Śodhana I: Sūrya & Chandra Bhedana, 4/4/4 or 8/8/8, 12 or 20 br
2. Nāḍī Śodhana II: NS 4/6/4 U2 RL, NS 4/6/4 U2 RL, 24 br
3. Nāḍī Śodhana III: VK x4, NS 8/8/4 U2 RL, 12/12/6 U2 RL, 50 br
4. Nāḍī Śodhana IV: VK x4, NS 8/8/8/4 U2 RL, 12/12/12/6, U2 RL, 50 br
5. Nāḍī Śodhana V: VK x4, NS 4/6/9/4 U2 RL, 8/12/18/6 U2 RL, 50 br
IV. Essential Support Practices (ESP)
1. Kevala Kumbhaka (Anuloma II) and Advaita Self Enquiry
2. Uḍḍīyāna Bandha and Nauli Kriyā: before any Āsana or Prāṇāyāma
3. Sama Vāyu: Hands on belly and chest: before any main Prāṇāyāma
4. Bhastrikā, Kapalabhāti, Vata Krama: before any main Prāṇāyāma
5. Lying over blocks/bolsters: expand the chest and the inhalation
6. Microcosmic Orbit: Kāpalabhāti, ~7 circles CW, ~7 circles CCW*
7. Chakra Meditation*
11
Prāṇāyāma Progress Chart Notes
 Prāṇāyāma Krama Level I: Remedial + Foundation – Ujjāyi I, II III,
Viloma I, Viloma II (Ujjāyi and Viloma lines of development)
 Prāṇāyāma Krama Level II: Progressive – NS I, Ujjāyi IV, Anuloma
II, V+A III, and VO (parts of all three lines of development)
 Prāṇāyāma Krama Level III: Challenging – Ujjāyi V, MO, NS II
and III (Mostly the Nāḍī Śodhana line of development)
 Prāṇāyāma Krama IV: Support Practices

The fourth set of techniques in the Prāṇāyāma Krama – support

practices – can be learned by all students from the beginning. This involves a
simple process of including Uḍḍīyāna Bandha before most practices, and Kevala
Kumbhaka at the end of every practice. Thus we have balance between being
physiologically therapeutic and psychologically therapeutic.
Each Prāṇāyāma Krama (I to III) takes a few years to properly develop,
and requires significant commitment in addition to a baseline Āsana practice.
This means approx. 5-10 years before I would begin teaching Nāḍī Śodhana to
a full-time committed practitioner. This is not because the latter Prāṇāyāma is
dangerous, it’s simply inappropriate until a student develops both good
structural breathing (most of the variations in the Ujjāyi and Viloma lines of
development) plus a consistent meditation practice.
To progress steadily with Prāṇāyāma it is not necessary to develop
Āsana to an advanced level. But it is necessary to begin to develop Prāṇāyāma
as a separate meditation practice in order to progress with wisdom. It is the
teacher’s job to assess whether each student has this dedication and capacity.
Having a teacher in order to learn this method is required, not merely an
advantage!
It is my experience that other methods don’t develop appropriate
understanding of the importance of Prāṇāyāma via self-practice. Firstly,
Prāṇāyāma needs to be taught individually for it to be effective. A teacher needs
to be certain that a student is physically and psychologically capable of handling
each individual technique. A student needs significant self-discipline, or simply
the enjoyment of such practices, to do them by yourself: ‘one-alone’, without a
group’s energy to always draw from.

12
The order of learning
1. Ujjāyi I: the ten points of breathing with sound, Nose to Tailbone.
2. Ujjāyi I: 123 pause with all Vinyāsa.
3. Viloma I / Intro: learning to breathe effortlessly and pause naturally.
4. Ujjāyi I: Visamavṛtti 4/6 before or after physical practice (releasing
Prāṇāyāma.)
5. Viloma II: 2345 Counting and Mudrā: Awareness, Concentration, and
effortless pausing – combines good structure and meditation.
6. Ujjāyi III: Block/Back Breathing: breathe into a block or wall,
structural lung, rib, diaphragmatic development. After Āsana practice.
The Three Guṇa (Qualities)
7. Anuloma I: 2345 Counting and Mudrā: Due care of energy and
nervous system response, including sleeping patterns (start with 2 and
3 count only.) Gateway Prāṇāyāma!
8. Kevala Kumbhaka / Anuloma II: No counting, no Mudrā, no thinking.
Unlimited breaths, meditation practice. Witness as the spacious non-
dual consciousness. Five Elements of the Body (Vital Airs)
9. Viloma III: Combines both Viloma and Anuloma, both Mudrā sets,
great for concentration and rebalancing.
10. Nāḍī Śodhana I: Surya and Chandra Bhedana: Support Practice, and
experiential experimentation, to eliminate false positives.
With these details in mind, considering the large scope, I also ask
students who are progressing with the VK method to forego all other Prāṇāyāma Physiologically
practices for the duration. That is, particularly when you start learning the Level
II Krama, you must give up other Prāṇāyāma practices while you commit to
VKM.
In this book I have included full details of practicing Prāṇāyāma from
techniques 1 through 4 as they are the main foundation of this work. I have also
included Prāṇāyāma 8 (Anuloma) due to its importance in meditation and link
to Aḍi Śaṅkara and Advaita Vedānta. Please read below for more details.
Definitions of Terminology
 Prāṇa: Energy or Life Force or Breath.
 Yāma: Restraint; Āyāma: Development
 Prāṇāyāma: the Awareness of Your Unlimited Energy
 Rechaka: Exhalation (Āpaṇa)
 Pūraka: Inhalation (Prāṇa)
 Stambha: Pause (Pillar)
 Kumbhaka: Lock (Pot)
 Tamas: Downward, releasing, water and earth energy (Āpaṇa)
 Rajas: Upward, expanding, fire and air energy (Prāṇa)
 Sattvas: Balanced, rhythmic energy – all elements combined (Stambha)
 Udāna Vāyu: Throat, Expansion/Realisation, Ether
 Prāṇa Vāyu: Chest, Upward/Accumulation, Inhalation, Air
 Samāna Vāyu: Navel, Balance/Assimilation, Fire
 Āpaṇa Vāyu: Pelvis, Downward/Elimination, Exhalation, Water
 Vyāna Vāyu: Whole Body, Inward, Earth
 The inhalation tends to be harder, the exhalation tends to be easier.
 The inhalation represents tension and expansion, the exhalation
represents relaxation and contraction.
 Beginners: develop the exhalation first (relax), then develop the
inhalation (expand).
 Experienced students develop Viloma (shorter duration), then Anuloma
(longer duration).
13
Psychologically
 The exhalation is harder, the inhalation is easier.
 The exhalation represents death, the inhalation represents life.
 Learn and practice Uḍḍīyāna Bandha first, then develop the Antara
Kumbh, then the Bahya Kumbh.
Stambha
 Is beyond effort and achievement; the timeless space that neither starts
nor ends.
 The Stambha is the pillar that connects heaven and earth.
General
 Prāṇāyāma should be practiced in a place that is free from distractions
– physical and psychological obstacles – and free from political and
personal turmoil.
 With each of the following Prāṇāyāma Krama the aspirant must first sit
comfortably as dictated by the constitution and condition.
 If it is easier to sit in a chair, or use blocks and bolsters, better to do so
in order to maintain a proper (consistent!) posture.
 Over a period of 4-5 years the aspirant must become capable of sitting
still for one hour without changing positions. Particularly as there are
usually three or four techniques or sets of practices for each Prāṇāyāma
Krama, one is expected not to change leg positions in between sets.
 For students with asthmatic difficulty or other conditions – particularly
using medications such as anti-depressants – adverse effects can be very
common. For example, ongoing sleeplessness, disturbing dreams,
headaches, dizziness, agitation, aggravated nervous system, and
psychotic episodes. In order to practice safely and wisely, with any
Prāṇāyāma practice, do so carefully and with appropriate guidance from
a doctor or psychiatrist.
 Informed Consent.
Prāṇāyāma Krama I
Ujjāyi Prāṇāyāma I
“Victorious Breath”, Victory over Death = the realisation that I am not this body,
The Divine Mother of Prāṇāyāma
From the Haṭha Yoga Pradīpikā
Ujjāyi: having closed the opening of the larynx, the air should be drawn in such
a way that it goes touching from the throat to the chest and making a noise while
passing.
Ujjāyi Prāṇāyāma should be practiced with any Hatha Yoga sequence,
or general Yoga class. The sound of the breath should be consistent near the
base of the throat, with some resonance in both throat and chest. The sound of
the breath should not be too loud – only enough that you can hear it yourself,
the whole room does not need to shake around you!
Ideally the victorious breath should be more subtle and quiet over time.
As a general rule, more experienced practitioners will have longer, softer, and
more subtle breathing patterns. Less experienced practitioners may find they
have an overly loud, and even an overly long exhalation, particularly when
compared to the inhalation. This is normal at first, but should not continue for
more than a few weeks.
Initially it is an advantage to emphasise a strong exhalation with
difficult postures: letting go, lengthening, and releasing tension. It also helps to
firm the abdomen. However, over time, if you focus too much on the exhalation
you will simply get more and more tired – too much release of carbon, and not
enough intake of oxygen.
General
 On the inhalation the chest and ribs expand, the diaphragm lowers and
the abdomen and lumbar lengthen (at the end). The inhalation increases
oxygen, energy, and tension.
 On the exhalation the chest and ribs deflate, the diaphragm lifts and the
abdomen contracts. The exhalation eliminates CO2, decreases energy,
and releases tension.
14
  The approximate amount of Carbon Dioxide in the blood should be
about 6.5% for most individuals. An excess of Carbon (from overeating
and lack of exercise, for example), can result in high blood pressure,
hyper tension, and other similar reactions from the nervous system
(Hypercapnia).
 Conversely Hypocapnia and decreased CO2 levels can be caused by the
combination of a long exhalation, sweating, and losing weight (many
Yoga practitioners display these symptoms). This can result in anxiety,
mild hyperventilation, shortness of breath, and low blood-pressure.
 Therefore it is important to monitor the approximate ratios of the
inhalation and exhalation in general Āsana practice. The general desired
ratios are 3:4 (inhalation to exhalation) when under pressure, and 4:5
when practicing a longer breath.
 Find the balance between the increase of energy and the decrease of
tension.
Four Reasons for the Ujjāyi Holy Sound
1. To increase heat in the body to allow greater ease in movement,
stretching and repetition.
2. For concentration (related to the Dṛṣṭi) in Āsana and Prāṇāyāma;
developing mental focus.
3. To balance the inhalation and exhalation evenly – the sound of the
breath should have the same quality on both. This also balances the
rhythm and flow of the Vinyāsa. e.g. three seconds for each inhalation,
versus one second inhalation and three second exhalation.
4. Gradual awareness of Jālandara, Uḍḍīyāna and Mūla Bandha. That is,
experience of the subtle body and subtle energetic movement – more
than just a physical or psychological understanding.
Ujjāyi Prāṇāyāma I: Awareness from Top to Bottom
Initially, practice this routine for 5-10 minutes before beginning Asana,
and for 5-10 minutes at the end, even if you only do a 30 min routine total.
Eventually once you learn both Viloma (see below), and Back Breathing (see
below), they will replace this routine for the beginning and end of practice
respectively. Start here first, however.
Ten Stages for Victory
1. Nose & Nostrils – minimise the sound and muscular action at the
nostrils. Don't breathe with your face, move your awareness from the
external to the internal.
2. Jaw & Teeth – unclench the teeth and drop the bottom jaw a little so the
sound of the breath drops to the back of the throat. Try to avoid re-
clenching the teeth each time a difficult posture comes up. There is a
direct relationship between the release of tension at the jaw and better
diaphragmatic breathing. The exhalation should not be louder than the
inhalation!
3. Palate/tongue/throat – have the tongue soft in the mouth, the palate a
little elevated. The sound of the breath is deeper in the throat and can
resonate in the chest versus bouncing off the roof of the mouth. Balance
the sound so the inhalation aspiration is more or less the same as the
exhalation aspiration (versus the inhalation being quieter and the
exhalation being louder.)
4. Ears/sound/empty skull – gently block the nostrils and blow out lightly.
Clear the inner ear. Imagine you are breathing through your ears versus
the nose, the skull is empty of thought but full of the echo of the nāda
(holy sound).
5. Ratios – ideal inhalation / exhalation ratio of 4 to 5 respectively –
balance the ratio of breath, generally the exhalation is slightly longer
than the inhalation. However, as many Āsana will restrict the torso, the
ribs and the lungs, it is simplest to try to inhale for a count of 3 and
exhale for a count of 3 to balance the two. Try to avoid allowing the
exhalation to be twice as long as the inhalation – a common result for
this kind of breathing is increased tiredness and possible hypocapnia
(e.g. during the second half of the Primary Series).
15
6. Three-thirds of the Lungs – plus front, side, back ribs – Three
dimensional balloon versus two dimensional ladder. Breathe to the
bottom-third of the lungs, breathe into the back ribs evenly. Take note
of restricted postures like twists and back bends and try to graduate the
breath evenly to allow the ribs to move (versus becoming stuck), so
most postures involve less tension and greater length.
7. Diaphragm – connect with the lower ribs and the gradual movements of
the diaphragm – keep it smooth and subtle versus sudden. The
diaphragm moves, or “bells” subtly downward on the inhalation and
upward on the exhalation. (The latter is the beginning of Uḍḍīyāna
Bandha). A smooth diaphragmatic movement will lead to a natural
Stambha at the end of each breath – a staccato rhythm will lead to
increased tension and difficulty.
8. Upper Abdomen and General Movement – allow the abdomen to move
as you breathe, maintaining stability at the core. Keep the abdomen firm
versus tight. Maintain awareness of the breath as a circle: between
tension and release of tension. That is, organic breathing versus
controlled and technical breathing.
9. Deeper Abdomen and Pelvic Floor – become aware of the deeper
aspects of the abdomen and pelvic floor – the upward tension and
downward release of the "tentacles" of the perineal area. Be aware of
your structural posture – the position of perineum and cervix versus the
tailbone and sacrum, including posterior and anterior tilt.
10. Bandha – connect with the sound at the throat, the diaphragmatic
movement and the pelvic floor respectively. From there notice how your
awareness moves up or down naturally at the end of each inhalation and
exhalation. Awareness can shift from a purely physical sense to
something more subtle and energetic. Gradually your awareness can
include recognition of various energetic effects – circles, waves and
spirals. This stage also includes literal application of the three Bandha
as separate practices. (Uḍḍīyāna Bandha and Nauli Kriyā).
Ujjāyi Prāṇāyāma II: Back Breathing
This practice is best done at the end of your Āsana routine, just before
resting, or Śavāsana. It requires some discipline at the end of a long practice to
maintain concentration, particularly for 20-30 breaths, so work on this
diligently.
 For full breathing into the front, side and back ribs, sit against a wall or
lie with legs up the wall.
 Deliberately breathe into the wall / floor, paying particular attention to
gradually expanding the back ribs on the inhalation.
 Start at a count of 5 and repeat 2-3 times. Work up to a count of 10,
while maintaining the width of the ribs on the inhalation – e.g. don’t
allow the kidney area to come away from the wall. Keep the tips of the
shoulder-blades on the wall. Don’t let your head sag forward, keep the
crown of the head extending upward.
 Do 20 breaths minimum, 30 breaths maximum.
 Focus on expanding from the inside, vs using the external muscles
(abdomen or adductors, for example).
 This practice creates excellent internal structure which will be a huge
advantage during all Āsana practices.
Prāṇāyāma Krama II
Bhastrikā, Sama Vāyu, Viloma I
“Spacious Breath”, Viloma Prāṇāyāma – Against the Grain,
Anuloma Prāṇāyāma – With the Grain
The following Prāṇāyāma is a set of three techniques to support
increased awareness of both physiological subtleties, energetic subtleties, and
the pure consciousness that lies behind them both. They are all pointing the
practitioner towards effortless breathing; in particular, the rich and subtle
practices of Viloma and Anuloma.
16
 1. (A) Bhastrikā – Bellows
This practice is a simple warm up when practicing in a colder environment.
If the temperature is quite warm (above 20 degrees Celsius for example), then
this Prāṇāyāma warm-up can be replaced with lying with a bolster under the
chest, and focussing on expanding the front ribs.
 Sit in any comfortable position, ensuring the spine is vertical
 For many students this Prāṇāyāma is best performed in Vajrāsana
(kneeling) to keep the spine vertical and the chest elevated
 Rechaka/Inhale hands up, fingers open
 Pūraka/Exhale hands down fists, elbows bent, quick, pump exhalation
 10-15 times, 3-4 repetitions
 Go forward (to child's pose) at the end of each set of 15 breaths
 Don't overly engage the trapezius
 Warm up the lungs, avoid overly pumping the abdomen
1. (B) Kapalabhāti – Skull Shining
As the name implies, this Prāṇāyāma should be treated with some caution.
If you practice it with restraint and the right attitude it will be rewarding and
helpful – both a warm up and awareness exercise – giving you great insight into
the powerhouse that is your natural internal energy. Contra-indicators include
high or low blood pressure, eye pressure, headaches, dizziness, hyper-tension,
and any anti-depressant medication. Do not shine your skull too vigorously!
This Prāṇāyāma is also an alternative to Bhastrikā when the latter is too vigorous
for the arms and shoulders, or when the need to warm up the inner/lower body
is more important.
 Sit in any comfortable position, ensuring the spine is vertical
 For many students this Prāṇāyāma is best performed in Vajrāsana
(kneeling) to keep the spine vertical and the chest elevated
 Keep your arms straight and still, hands stay on your knees
 Rechaka/Inhale abdomen expands, lungs fill
 Pūraka/Exhale abdomen contacts vigorously
 Internally chant ‘So’ / inhalation and ‘Hum’ / rapid exhalation
 10-15 times, 3-4 repetitions
 Go forward (to child's pose) at the end of each set of 15 breaths
 Don't overly engage the muscles of your face, keep your jaw relaxed
 This Prāṇāyāma focuses on the lower abdomen and pelvic floor, unlike
Bhastrikā which focuses on the lungs and diaphragm.
 Observe the sensations flooding your body when you go forward each
time to child’s pose. You might become aware of Mūla Bandha.
General
 Other alternatives to warm–up for Prāṇāyāma include Uḍḍīyāna Bandha
and Nauli Kriyā.
 Ideally pick only one or two of these warm-ups as your standard starting
point. For example, Uḍḍīyāna Bandha four times followed by Bhastrikā,
then commencing with Sama Vāyu. Alternatively only lying over
bolsters (with focussed breathing), and then commencing with Sama
Vāyu.
2. Sama Vāyu – Equal Airs
This Prāṇāyāma is a useful somatic exercise. You can (and should) learn to
release the abdomen of tension first, before adding more tension to it. That is,
initially avoid the inappropriate action of overly contracting the abdomen. This
is also often mistaken for Mūla Bandha. Most students are better off not knowing
about the Bandha at all at the beginning, in order to breathe more efficiently,
safely, and with maximum results for minimum effort.
Secondly, squeezing the abdomen tightly when you breathe (or your anus)
is not Mūla Bandha. Rather, the latter is an action done out of mild panic – the
fight or flight response of the nervous system. There is very little reason to hold
the abdomen tightly, unless you are learning Kumbhaka. As the point of this
current exercise is to elongate the breath without abdominal tension, then Sama
Vāyu is critical for many students to learn to breathe without tension.
Lastly, you should apply this style of breathing for most postures, and only
firm the abdomen as needed (in back-bends for example), versus all the time.
Uḍḍīyāna Bandha and Kumbhaka should be separate practices while you learn
this. See below.
17
  Sit in any comfortable position, ensuring the spine is vertical
 One hand rests on the heart, and one on the abdomen.
 Pūraka (inhale) – 1 Abdomen releases, 2 Chest expands, 3 Abdomen
flattens/contracts, and at the very end the abdomen lengthens and lifts
(subtle/effortless Bandha.)
 Rechaka (exhale) – 4 Abdomen releases, 5 Chest deflates, 6 Abdomen
contracts, and then lifts at the very end (pelvic floor, subtle/effortless
Bandha.).
 Repeat, go back to 1. Repeat for 5 minutes, no need to count the breath.
 Keep Sama Vāyu flowing and natural versus mechanical.
 Simply allow the movements to occur and observe that they flow
around, within and through each-other.
 Finish with awareness at the Heart (Anāhata), can include Kevala
Kumbhaka. See below.
 This Prāṇāyāma is for being contact-full with your body, to be conscious
of your physical intimacy and sensitivity.
 Do not apply this Prāṇāyāma with mental effort, rather feel the rhythm
and movements as a form of sensuality and graceful flow. When applied
correctly Sama Vāyu will feel spacious and centring, giving the lungs
more freedom and "room to breathe".
 Allow your attention to naturally rest at Anāhata Chakra by the end.
Anāhata is situated in the middle of the 7 Chakra, 3 below and 3 above.
It is the Central Wheel around which all other Wheels of the Universe
revolve. Anāhata means "unstruck", meaning balanced, peaceful, non-
emotional. Anāhata also reveals to us the Nāda, the source-less,
unstruck bell, the holy sound within – the breath of the Universe.
 For this reason do not practice this Prāṇāyāma with set counting or a
time limit, allow the natural movements and awareness to rest in your
heart space without an aim, goal, or conscious effort.
3. Viloma – Against the Grain
Although Viloma means ‘against the grain of wood’, it is simply a reminder
that it is normal for the inhalation to be shorter compared to the exhalation. Take
time to establish a lighter, steadier, and consistent in-breath. It has been my
experience over many years of teaching this Prāṇāyāma, that most students have
an overly long exhalation, and an overly short inhalation. Rebalancing this is
critical. It is one of the main reasons why many students are tired from practicing
a long sequence – too much emphasis on the out-breath.
The second phase of Viloma (and Anuloma) is on developing the
Stambha: The pause in between the breaths – awareness as the spaciousness
between all things. This spaciousness is pointing us towards one of the most
transcendent practices imaginable: this undifferentiated spaciousness of
consciousness is already yours, already here and now, it only takes willingness
to align with it.
 Ujjāyi Breath, count to 2 3 4 5.
 Pūraka (inhale) and Stambha (pause).
 Exhale gradually, continuous out-breath.
 Pause for 2 x 4, 3 x 4, 4 x 4, 5 x 4.
 Then coming down the scale, 1 more at 5, 1 at 4, 1 at 3, and 1 at 2.
 Ensure the pauses are soft versus hard (no Kumbhaka).
 Observe the pause versus manipulating it.
 Generally the exhalation will still be slightly longer than the inhalation,
allow the exhalation to complete naturally.
 There are three main purposes for the Stambha:
 (1) Physically for improving the ease of the breath, breathing with less
tension rather than more, and increasing the general length of Pūraka
within your Āsana practice. Most practitioners overly shorten the
inhalation, often down to a ratio of 1:2 or less.
 (2) Psychologically for meditation; observation versus control. If you
are "doing" the Stambha, it is not yet the Stambha. Thus any Viloma
and Anuloma practice can easily lead to Kevala Kumbhaka, as long as
you allow for it. Be aware of being aware. Any Kevala Kumbhaka
practice can lead to undifferentiated Advaita. Even the sense of
spaciousness falls away.
 (3) To learn to breathe in a conscious manner that actually prevents
holding the breath. As most (90%) of practitioners add tension to each
breath at the end of every breath/Vinyāsa and also in deep postures,
18
 most practitioners are unconsciously holding the breath. Applying the
Stambha in a subtle way to all breathing practices will begin to reverse
these negative effects.
 The aspirant should practice PK II and Viloma Prāṇāyāma for 6 months
without interruption (and without distraction from other Prāṇāyāma
methods) before beginning to add Anuloma Prāṇāyāma.
 After 6 months, then the aspirant should practice Viloma for 3 days per
week and Anuloma for 3 days per week. They can be done on any day,
and in no particular order, but they must remain separate practices (on
different days).
 Learn to feel the different energies of each Prāṇāyāma, do not confuse
matters by trying to do too much by achieving certain goals: focus on
the process rather than the end result. Observe how the phases of the
Moon affect Viloma and Anuloma differently.
 When traveling allow at least 3-4 days of adjusting, (to get through jet-
lag) to settle in to the new space and energy, before doing any full three-
part Prāṇāyāma routine. Do a lighter Prāṇāyāma practice for these days,
and once your energy is settled, then recommence with the full routine.
Prāṇāyāma Krama IV
Anuloma, Kevala, Advaita Vedanta, Kriyā, & the Chakra
Anuloma II
Non-Dual Witnessing
This practice can be included within the set of techniques in Prāṇāyāma
Krama II (Viloma), and within Prāṇāyāma Krama IV. It applies equally to both.
It is also a useful halfway step when complete non-dual witnessing seems
elusive.
 Intuitive, no counting.
 Maximum of two or three pauses.
 Pick one Mudrā for the hands/fingers and keep them there.
 Remain seated for 15+ minutes, therefore any number of breaths.
When practicing the “non-dual” variations of Anuloma (or Viloma), you
must stop counting (and ultimately stop thinking!)
Begin this practice with a medium paced breath, neither long nor short. Then
begin adding a Stambha (pause), naturally, to the exhalation. Generally I advise
allowing for two pauses on every exhalation, pausing halfway, and again at the
bottom. Do not count the pauses, nor place any particular emphasis on the length
of the breath.
We focus on the exhalation (and Anuloma) in particular as it relates most
strongly to Kevala Kumbhaka. The exhalation is the little death, the release of
the sympathetic nervous system, and the realisation that I am not this.
Be warned this practice can be deeply psychological, and can temporarily
cause sleeplessness, strange dreams, and other side-effects. Do not begin this
practice without having some years of prior practice of the earlier stages! If any
medication (such as anti-depressants) are being taken, then it should be avoided
until appropriate guidance from a physician and therapist is also gained.
When working with the minimal, non-counting technique, the Stambha is
merely a thinning of the breath, approaching zero each time, but never quite
getting there. Thus, even at the very bottom of the exhalation or top of the
inhalation, the Stambha merely weaves in and out like a snake. The breath can
then be truly flowing, with increasing subtlety, and greater awareness of
energetic patterns and spirals.
By recognising the effortlessness of breathing in this way, and the true
emptiness of the Stambha, you can begin to experience the Stambha as the only
consistent factor.
The breath – the inhalation or the exhalation – is constantly moving. It
comes and goes – fast or slow, it is always changeful. Do not put your trust and
hope in the breath. The Stambha lies on either side of the breath; moreover it is
within and threading through every breath. The breath is the illusion, the object
that arises and passes in your attention. The Stambha is the spacious pause that
is your natural awareness itself, devoid of particular content.
If you begin to organically meditate in the middle of this process, then allow
space for that, and let go of this technique. The same can be quite common
during Kevala Kumbhaka. At this stage of practice Anuloma II, Viloma II, and
Kevala Kumbhaka all become linked, synonymous.
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Kevala Kumbhaka – One Alone
In this practice we are using Kevala Kumbhaka as a direct pointing towards
complete undifferentiated consciousness. Advaita means ‘not-two’, or the
absence of separation. By understanding and experiencing true spaciousness you
begin to experience your non-separateness from all things.
By taking a step back from the normal technical practice of doing –
controlling the breath, body, or mind – here we are directly cultivating
observation. Do not join with that which you are not.
By observing your natural breath, fast or slow, you will become increasingly
used to stillness. The breath, body, and mind all begin to align. The breath will
calm down, becoming more subtle, and more spacious. The pause, or Stambha,
either side of the breath becomes increasingly apparent – both before and after,
and during the breath itself. Likewise the body will feel lighter, less heavy, and
the awareness of the arising and passing of the physical self (tingling
sensations), also becomes apparent. You may also become aware of thoughts
arising and passing, with less and less tendency to join with them.
At some stage there will be such spaciousness and subtlety with the breath
that it naturally stops. This will be effortless, and without any volition. If you
are trying to ‘do’ the Stambha, this is not yet the Stambha. The pause has grown
so wide, that is all you can see or feel. Consciousness will follow, and the mind
will be peaceful, the body still.
 Sit still for 10 minutes minimum.
 Work towards 40-45 minutes (this may take 1-2 years.)
 Start with awareness at Anāhata Chakra.
 Allow the pendulum of the breath to gradually decrease.
 The inhalation and exhalation become softer, shallow, subtle.
 The breath can remain absent for longer; thinking will also be absent.
 There is no activity, merely space and awareness.
 The pendulum of the breath will naturally swing again at some point.
 Allow the natural cycle of the pendulum, the reducing of the pendulum,
and its absence.
 Finish with awareness at Anāhata Chakra, Lie down for 5 minutes.
Meditate as the non-dual awareness. No need to focus on what you are
not. Be aware of the one who is aware.
All techniques (and traditions) are time-bound. All spontaneous witnessing,
the realisation of the spaciousness of the present moment, is time-free.
Meditation will be spontaneous and on the deepest level of no-mind. Therefore,
if this spacious experiencing is arising while you practice any technique, give
preference to spontaneous witnessing – beyond Kevala, beyond the concept of
space or emptiness; it is simply awareness as itself.
Uḍḍīyāna Bandha and Nauli Kriyā
Uḍḍīyāna Bandha is a great support practice prior to any Āsana routine.
Firstly, it helps to activate and warm up the abdomen. Secondly, it helps to
remove any waste – toilet should soon follow. Thirdly it helps to connect with
some very interesting aspects of the breath: holding the breath, fear of death,
and abdominal softness. Not just strength of the belly, but a soft, open, and
inviting one! Much like a cat; a happy belly is a calm belly. Lastly it can be done
in the midst of any back-bend routine to help access the spine from the inside,
often reducing or eliminating significant lower back pain.
The following set is an example of the order in which to learn this Bandha.
Take time to establish each stage before going to the next, sometimes as long as
6 months each. The second set below are examples of different postures you can
try and practice Uḍḍīyāna Bandha within.
1. Uḍḍīyāna Prep: hold the breath on the exhalation.
2. Uḍḍīyāna Bandha I: diaphragmatic lift for 3-5 seconds.
3. Uḍḍīyāna Bandha II: isolate the abdominus rectus.
4. Agni Sāra: upper to lower belly rolling.
5. Nauli Static: isolate the psoas slowly.
6. Nauli Kriyā: fluid belly-churning, left to right x2, right to left x2.
Uḍḍīyāna Postures
Standing, legs bent; Cat Pose + Nauli; Downward Dog; Maha Mudrā;
Paśchimottānāsana (up); Śambhavi Mudrā (Virāsana); Padmāsana; Viparīta
Karani.
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From the Haṭha Yoga Pradīpikā
Uḍḍīyāna Bandha: the belly above the navel is pressed backwards towards the
spine. The Uḍḍīyāna is like a lion for the elephant of death.

Begin Uḍḍīyāna Bandha with your belly empty of food and liquid.
Breathe with a soft Ujjāyi sound. Place both hands on either leg, just above the
knee. On the inhalation look forward, arch the back slightly, and on the
exhalation look down at the belly, press upward against the legs. The back is
slightly rounded, and you abdomen will contract, the navel drawing towards the
spine. Try to do this slowly versus all in a rush. All of the exhalation should be
gone, no breath left. Do not persist if any headaches or dizziness occurs.
At this point the chin should be locked down (Jālandhara Bandha), and
by sucking the throat firmly, the diaphragm is drawn upward. Allow the side
rids to expand. Hold for 2-3 seconds initially. As you get used to it, 4-6 seconds
maximum.
Release the abdomen slowly, fluidly, then breathe in smoothly, without
gasping. If you cough and react with a sore throat, this can be normal at the
beginning. Over time it should get softer, with little to no irritation and reaction.
In between each lift, you can take 2-3 deep breaths. As you get used to it, a single
inhalation is sufficient.
Uḍḍīyāna Bandha is particularly helpful prior to Āsana and Prāṇāyāma
to clear the intestines of waste, making it a primary warm-up exercise for both.
However, avoid holding the breath during most Āsana or Prāṇāyāma practices
– for at least a few years! All general breathing practices must be flowing and
smooth, without strain or interruption. UB is also useful for alleviating many Mūla Bandha: Uniting the Kuṇḍalinī Śakti with the lower elements of the
lower back complaints. By engaging the deeper abdomen (from the abdominus Suśumna Nāḍī. Meaning: 1) Recognise the impermanence of the body, 2) Love
rectus, to the external/internal obliques, to the transversus abdominus), you can your body, despite the impermanence, unconditionally. 3) Anything that is not
lengthen the front of the spine, often reducing chronic compression. For this unconditional love of the body, therefore, is not Mūla Bandha.
reason it is practical for some students to utilise UB in the middle of your regular Uḍḍīyāna Bandha: Diaphragmatic lift to opening the heart. From Me / Body
back-bend routine (whatever it might be), and see if that reduces the lower back Awareness to Family / Environmental Awareness. Meaning: Love all beings,
discomfort. families, races, unconditionally. Become vegetarian. You do not eat your own
Women should not practice this Bandha during menstruation or family!
ovulation, or typically one day before either of these cycles. Therefore most Jālandhara Bandha: Holding / locking the breath. Implies not joining with the
women can practice Uḍḍīyāna 3-4 times per week on average, and most men 5- mind. Meaning: Recognise that you are not this mind, personality or sex. You
6 times per week. are consciousness itself; pure, sweet, and unfiltered.

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Chakra Meditation
Seven Energy Wheels
In most ‘energy body systems’ there is typically one Chakra associated
with the ‘gross body;’ Mūlādhāra at the base. This is the physical self that
represents our DNA coding and our psycho-physical conditioning. There is one
Chakra for ‘higher consciousness;’ Sahasrāra at the crown of the head,
associated with non-dual witnessing. This leaves five Chakra remaining, all
associated with different levels of the ‘subtle body.’
Curiously, most of the time Yoga practitioners only work at the very
bottom, and focus on the physical self. At best only the most rudimentary aspects
of ‘subtle’ and ‘causal’ are explored. In some ways it is understandable to avoid
things of a deeper nature, as truly peering at the self is not typically easy or light-
hearted. All the stuff ‘in between’ can be a little ugly, embarrassing, or
downright painful and frightening.
The three levels of self; body, feeling, and consciousness, can be best
expressed in terms of the relationships I have. What is my relationship to my
body? Do I allow myself to experience that relationship with unconditional love
and abundance? This would mean transcending the actual needs of the body,
and transcending the fight/flight response of the nervous system. Otherwise your
love is conditional rather than unconditional.
What is my relationship to the subtle body? My feelings, my gut level
response to my various relationships? Do I allow myself to feel these layers,
once again, with unconditional love and abundance? What limitations or
contractions am I holding on to that prevent this?
Lastly, do I have a relationship to God, to the Divine Consciousness that
is ‘I’ at its most causal, undifferentiated level? Not merely the idea (or hope) of
God, but the actual experience of it? Not a prayer, or ritual of imagination, but
true unconditional experiencing. For example, how does it feel to have a
relationship (or not) to the Divine? Do you intellectualise the Divine, or place
'it' outside yourself? Do you love God as it loves you, unreservedly? Or do you
reject the idea of this possibility?
Do you recognise the Divinity within you, ever-present, and do you
recognise it in others? How can I establish these relationships, and allow them
to grow, rather than either disconnect from them or try to control them? This is
the work of the subtle body and it is the work of grace and gratitude. It is not
merely having an idea of each Chakra, or having a conceptual understanding. It
is embracing how you feel, and actually experiencing something.
Energy is feeling, they are synonymous. A healthy subtle body is one
that feels, allowing the flow of energy without impediment or blockage. The
blockages each of us carries are not surmounted by greater control or effort of
the mind. Rather, it is though surrendering to feeling and allowing the possibility
of real love, that transformation takes place.
It is import to make a clarification around feeling versus an emotion.
For example, love is a feeling, but neediness is an emotion. Impersonal/
unconditional love is a feeling, personal love is an emotion (though the latter
can also have unconditional love as its source.) Neediness can seem like love
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but is not. Feelings are God's way of speaking to us, an emotion is the minds 1. Mūlādhāra Chakra
way of trying to stay in control (or the mind being completely out of control).
Which of these gets most of your attention?
The details and techniques I have detailed below, highlight the
embodied feeling-nature of the Self, rather than an intellectual understanding.
Any contradictions to some preferred tradition or other on this subject are merely
another intellectual impediment to experiencing. However you experience such
things is unique to you, and should not be made secondary to a technique,
tradition, or dogma. There is no need to take any of the concepts of the Chakra
too literally.  Duality, 4 petaled lotus, Square, “the Root”
For example, do these energy wheels actually exist inside the body,  Element of Earth, Hatha Yoga, Red Colour, Smell and Memory
hidden from our view somehow? In some ways, to be clear, I would say they do
 Location (spine): tip of the tail-bone
not. These concepts are metaphors, they are not reality. However, do the various
 Location (body): perineum for men and cervix for women
layers of energy and feelings at each layer of self, actually exist? Yes, most
assuredly, all such feelings are real and true, no matter how impermanent. Be  Relationship to your body, genetic history, family, survival, safety, and
careful to focus on what is true and experiential for you, versus creating an home
artificial fantasy, and getting lost down the rabbit hole like Alice in Wonderland.  Embrace awareness, connection, and abundance in your body
 Be aware of separation, numbness, and loneliness – of not feeling safe
The Caduceus in your own environment or within your own body

Technique: lie flat on your back with your hands over your abdomen,
your fingers pointing towards your pubic bone. Use three rhythms of breath, in
conjunction with the mantra: ‘So hum.’ So = inhalation, hum = exhalation.
On each 'hum' the exhalation is fast, a little forceful, and focussed on
contracting at the perineum for men and at the cervix for women. The inhalation
is softer and smoother. The first rhythm of breath is a medium/slow pace: about
2 seconds per breath. The second rhythm is medium/fast paced, about 1 second
per breath. The last is either the same or faster, less than 1 second per breath,
and palpitating the perineum/cervix. After approximately 1 minute on each
rhythm, you go to the next, and then cycle from the fastest to the slowest again.
Do three rounds and then simply relax, bringing your attention to the
Mūlādhāra Chakra. Notice the sensation you feel in this area after stimulation.
Do not judge, just allow yourself to feel it, allow yourself to connect with your
body. What sensations do you observe? What difficulties or release does this
reveal?

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 2. Svādiṣṭhāna Chakra
 6 petaled lotus, Crescent Moon
 Element of Water, Tantra Yoga, Orange Colour, Taste and Sensuality
 Location (spine): centre of sacrum
 Location (body): middle of the womb for women, above the bladder
for men
 Sexuality, sensuality, sensitivity, seat of the self, personal
manifestation of God (Murti)
 Embrace the flow, passion and excitement of your sensuality/sexuality
 Be aware of guilt, shame, jealousy, neediness, and childhood trauma
Technique: lie on your back with your hands flat by your waist. Have
the legs bent and your feet on the floor. Slowly lift your hips up as you inhale,
expanding your abdomen. Bring your hips down as you exhale, rolling the pelvis
forward slightly. Feel as though you are dancing with your pelvis. Repeat for a
few rounds, connecting with your centre of gravity, and notice if there is a slight
(or great) increased sense of sexuality and sensuality to the movements.
Embrace it. Connect with the flow of the water element, feeling the seat of the
self.
After three to five minutes of this breathing and movement, lie flat and
just observe the sensation emanating from the Svādiṣṭhāna Chakra. Allow your
pelvis to vibrate with energy, sensual and sexual, do not deny it. ‘Dance like no
one is watching.’ What sensations do you observe? What difficulties or release
does this reveal?
3. Maṇipūra Chakra
 10 petaled lotus, Circle
 Element of Fire, Karma Yoga, Gold Colour, Sight and Direction
 Location (spine): L1
 Location (body): solar plexus
 How you create in the world; work, money, art, and transformation –
the lower ego and ‘lower body’
 Embrace creativity and abundance with work and money
 Be aware of anger, rage, agitation, or suppression of your fire
Technique: lie flat and place your hands on your lower ribs, fingertips
over the solar plexus. Use Ujjaya Prāṇāyāma. Inhale slowly, to the point where
you are going past your maximum. Exhale slowly also to the point slightly past
your maximum. Notice what it is like to be under pressure – do you reject it or
embrace it? Expand your side ribs to and from the solar plexus as you breathe
and continue stretch your limits. Notice how that makes you feel: whether
restricted, in control, stressed, at ease, comfortable, or uncomfortable.
After three to five minutes breathing like this lie still, breathing easy and
observe the sensation flowing through the Maṇipūra Chakra. Let the energy flow
through you, creative and abundant. The energy of the Fire element is
transformative, everything you touch turns to gold. What sensations do you
observe? What difficulties or release does this reveal?
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 4. Anāhata Chakra
 12 petaled lotus, 6 pointed star (2 triangles) denoting male and female
united, the “Unstruck” holy bell of the heart
 Element of Air (Prāna), Bhakti Yoga, Green Colour, Touch and
Feeling
 Location (spine): T3/T4
 Location (body): middle heart, middle of the chest
 Connection, expansion, surrender of the lower self, devotion, love
 Embrace all feelings of love and vulnerability (giving and receiving
equally)
 Be aware of fear, nervousness, grief, insecurity, isolation, and
disconnection
Technique: lie flat on your back with your hands over your heart. Inhale
three times in quick succession, the first two short, the last one longer. Then
exhale slowly. Repeat the inhalations again and focus on expanding the heart
area – notice how your body and energy expand when you breathe like this.
Keep doing a few rounds, also three to five minutes, and notice any feelings that
may arise. Then relax and feel the energy at the Anāhata Chakra.
It is useful to note there are three layers to the heart. The first layer is
passionate, troubled, and often reactive and emotional. The second layer is
feeling and compassion: gratitude and grace, loving kindness in all of its
permutations, and often where we seek ‘inner guidance.’ The third layer is non-
dual, it is empty of any particular quality, but an expression of openness in the
most fundamental way: the ‘unstruck’ holy nāda. This is the sound that has no
source; the heart that has no attachment nor suffering.
4. Viśuddha Chakra
 16 petaled lotus, Circle inside a circle, “Purity”
 Element of Ether (refined element), Mantra Yoga, Blue Colour,
Listening and Receptivity
 Location (spine): C4
 Location (body): base of the throat
 Surrender to the Divine, Bridge from Mind to Body, Communication
 Embrace Love for God, and a larger sense of Self
 Be aware of the little ego, the small ‘I’, and any resistance/control that
it seems to be insisting upon
Technique: lie flat, your hands relaxed by your sides. Begin chanting:
‘Hmmmm…’ Try different volumes and different tones, feel different
vibrations; deeper, higher, louder, or softer. Feel any tensions in your neck
release, and connect with the power of sound. Life a tuning fork, or an empty
singing bowl, remove all obstacles within this vibrational field: everything
inside of you. After a few minutes, lie flat and observe the sensation at the
Viśuddha Chakra.
As you listen to the vibration, particularly after you have stopped
chanting, notice whether you feel in control or out of control. See if you can let
yourself be a little out of control for a moment. Surrender your personal will to
Divine will and listen to what it is telling you. What sensations do you observe?
What difficulties or release does this reveal?
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 6. Ajna Chakra
 96 petaled lotus (=2), Infinity Symbol, “to Perceive”
 Psychic Dreams, Jnana/Yantra Yoga, Violet Colour, Insight and
Revelation
 Location (spine): C1
 Location (body): 3rd eye, between the eyebrows, inside the skull
 Observer consciousness, Psychic vision, Dream state
 Embrace Being-ness, Darkness, Emptiness, and the infinite nature
Higher Consciousness
 Be aware of the power of the mind and the intellect (judgment), and
that it only has power that you grant it
Technique: lie flat and gently place the heel of your hands over your
eyes. Breathe normally. Block your natural sight and see inwardly. At first you
might be distracted by your own thoughts and mind, including the images it
throws up. Become of aware of nothing but darkness and allow yourself to
embrace this quality of perception. You are witnessing the void, embracing
emptiness, and then watching the movie play across your blank screen. Not only
can you see darkness, but you can begin to see from the darkness, as darkness
itself. The seer and ‘I’ are not separate. The spaciousness that you are seeing in
front of you, is the same as the spaciousness that you are seeing from.
Just as the motes or flecks of particles that float across your eyeball can
be perceived, so too can all experiences be seen this way – watch as they
inevitably merge back with the emptiness from which they sprung. Do not think
about what you are seeing, be without judgment and analysis. Merely allow
yourself to see it. Something arises, it passes away, and then something else
manifests to take its place. Simply witness each vision and let it go.
7. Sahasrāra Chakra
 Non-duality, 1000 petaled lotus
 All Elements, Raja Yoga, Silence
 White/multi-coloured/non-colour
 Location: crown of the head and beyond (and all below it)
 God-Consciousness, Love is all there is
Technique: Observe all that is, connect with all the Chakra and all levels
of Self simultaneously. Ultimately there can be no technique for true non-dual
witnessing. Eventually the concept of darkness, emptiness, or any other idea
falls away to reveal the one self.
When finishing this process tale the time to close off any of the gates
that seem too open or vulnerable. Take the time to close your inner doors, each
as necessary to its current purpose or state, in order to return back to your body
free of anxiety and trouble. Awaken with fresh purpose, and let peace be your
new measure for success.
Note: The Caduceus (above) has a long history within the medical establishment
– a symbol of health, healing, and wisdom. It also has an older tradition
stemming from the yoga masters of ancient times. The twin serpents represent
the piṅgalā (solar) nāḍī, and the iḍā (lunar) nāḍī, also meaning fight or flight.
This is the duality/conflict of mind and body. The golden staff represents a
healthy spine, and the golden glow of rising serpent kuṇḍalinī – the snakes are
coiled exactly 3½ times, one for each knot of the self (body, energy, and mind),
and ½ a knot for the transcendent state beyond duality. The wings of the staff
represent an open heart, lifting you above conditioned existence; and the violet
flame of undivided consciousness represents the Divine spark within us all.
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 PRACTICE GUIDELINES do Prāṇāyāma an hour before Āsana, or Prāṇāyāma at the end of your
practice before Śavāsana. As you progress through the various stages of
Learning each sequence is intended to be relatively simple. However, please the Prāṇāyāma Krama taught by me, you will be expected to let go of
observe the following guidelines: all other Prāṇāyāma practices and dedicate to this system for a period of
time – typically a few years. Be patient to learn the techniques one by
1. Listen to your breath; love your body. When you notice ongoing
one.
discomfort or pain, or that the breath is erratic in a specific section of
6. Each time Downward Dog (Adho Mukha Śvanāsana) is shown in Ātapa
the practice, it is likely that posture/section is inappropriate for you.
Krama, I am also indicating a jump back or jump through. You can
Initially omit postures that are too difficult, for a few months, and do
easily scale this down to stepping directly to Downward Dog (simplest),
some extra remedial exercises to help increase stability – Viloma
or stepping back through Chaturāṅga Daṇḍāsana, Bhujāṅgāsana, and
Prāṇāyāma, core strength, back strength, traction, standing posture
then Adho Mukha Śvanāsana (mid-level), or finally a full float-back
alignment, and others.
through to Chaturāṅga, Ūrdhva Mukha Śvanāsana, and Adho Mukha
2. Learn the first two sequences (Chandra Krama and Ātapa Krama) as
Śvanāsana (advanced). FYI, Chandra Krama (all versions) has no
thoroughly as possible before making any attempt to venture into Siṁha
jumps, Siṁha Krama I has only a few jumps, Ātapa Krama has more
Krama. Utilise the following core principle: Scaling down is always
jumps (although less than the Primary Series), and most of the advanced
useful, and can be done whenever you wish – such as removing difficult
sequences of VKM have more jumps also. You can scale the jumps to
or painful postures. Scaling up – such as adding advanced postures to
suit your level.
one of these sequences – is another matter, and should be avoided. In
7. As long as you take back-bends slowly and carefully – utilising such
addition the insistence on attempting advanced postures when your
postures as Śalabhāsana, and half drop-backs on the wall – you can
body is not ready is unwise. This means your body is saying no, and
quickly progress further than you think possible. Just be mindful of
your mind (read: ego) is saying yes. This is not balanced; learn to scale
stability over flexibility – in this case being strong and stable is a lot
down first, listen to your body first. Go back to point 1 on this list.
more important than getting deeper into back-bends. Build your
3. Practice the complementary approaches of Consistency and Creativity.
confidence with patience, and most fear and pain within back-bends can
This means that 50% of your time should be dedicated to practicing each
be reduced or eliminated.
sequence precisely without variation, and 50% of your time creatively
8. Be careful of your neck and shoulders when doing inversions such as
adapting to your constitution and daily requirements.
headstand, forearm balance, and handstand. Be aware; your ability and
4. Practice one sequence per day, and learn one sequence at a time. Do not
strength to hold such postures while using a wall versus free-balancing
do extra practices such as Ātapa Krama in the morning and Chandra
for 10 breaths, is a significant difference. The wall is often needed at the
Krama at night. If you know another sequence, you can do this on
beginning, and a helpful tool, but this does not mean you are ready for
another day, just don’t try and learn two new sequences at the same time.
the full posture. As a result, go back to point 1 on this list…
5. Practice Prāṇāyāma at least 3 times per week, up to 6 times per week.
You can match the different Prāṇāyāma to the different sequences, as
suitable for your style of practice and constitution. In addition you can 

27
Amāvasyā Krama / New Moon: soft, slow, renewal, Yin Yoga, restorative,
reducing, passive, meditative, less is more, embrace tamas.
Prerequisites: Chandra Krama, Prāṇāyāma Krama I.
Alternatives: As per Standard Moon, plus slower breath and Vinyāsa than
normal, with increased emphasis on the Stambha.

28
29
 By utilising the first concepts of T. Kṛiṣṇamacharya’s early work – Vinyāsa
Krama Set Sequencing – with some of his later work – Vini Yoga Individual
Therapy – we are seeing a number of significant positive results in this system.
I can honestly say that VKM is becoming better and better every year.
In the end the only proof you will need is how you feel when you practice
these sequences. Try it yourself, and spend some time opening up to it, and find
this truth for yourself.
One of the concepts I frequently convey is the integration of opposites. For
example, a set sequence versus individual yoga therapy, and consistency versus
creativity. Another example is the combination of Sun and Moon – the Moon
Sequence and the Sunshine Sequence are two complementary, yet distinctly
different forces. They are working well together to combine active and passive,
dynamic and gentle, focussed and releasing, yin and yang. Here, within this
integration of opposites – versus rejection or resistance towards one of them –
we find true Sattva.
Many cultures use the symbol of the Sun and Moon to denote divine
masculine and divine feminine qualities – typically the Sun is masculine,
Vinyāsa Krama Ethics
Rajasic, active, linear, and focussed. The Moon is feminine, Tamasic, subtle,
circular, and intuitive. However some cultures often portray the Moon as
1. Beneficence / Non-harming – be of benefit and cause no harm.
masculine also; in traditional Hindu literature Chandra is male; young and
2. Autonomy – the client has the right to reject the treatment or instruction.
beautiful, and riding a deer.
3. Respect – both the client and teacher have the right to be treated with
respect.
4. Informed Consent – the client should be informed about the treatment,
practice, or technique in advance, in as much as is practicable.
5. Justice – fair treatment of all clients regardless of age, ability, race, or
sex.

10
Prāṇāyāma Krama
Aḍi Śaṅkara was an eighth century sage who brought together some of
the different aspects of Advaita Vedānta, Prāṇāyāma and Hindu Philosophy. To
Him we credit the evolution of this detailed Prāṇāyāma practice.
Om Aḍi Śaṅkarācārya Namahā
anāhate cetasi sāvadhānaiḥ
abhyāsa śurairanu bhūyamānā
saṃstambhita śvāsamanahppracārā
sā jṛmbhate kevala kumbhakaśrīḥ
If one focuses gradually and carefully on the Anāhata,
And practices the Stambha with courage -
The mind and breath are naturally suspended;
Then there blooms the splendour of the Kevala Kumbhaka.
From the Yoga Tārāvalī by Śrī Aḍi Śaṅkara
Prāṇāyāma Practices
There are four main groups of practices:
I. Victorious Set (Ujjāyi) – Breathing with Sound
1. Ujjāyi I: A) 10 Points; B) 123 Pause; C) Visamavṛtti 4/6, 10-20 br
2. Ujjāyi II: Block/Back Breathing, 10 br counting, 10 br no counting
3. Ujjāyi III: Spiral Mudrā, 1-11/1-11/11, 12/12/12, 11-1, 34 br
4. Ujjāyi IV: Samavṛtti 1-11//1-11/1-11/11, 12/12/12, 11-1, 34 br
5. Ujjāyi V: Visamavṛtti 4/6/9/12 and 8/12/18/12, 36 br
II. Gracious Set (Stambha) – Pillar of Heaven
1. Viloma I Intro: (2&3 no Mudrā), 20 br
2. Viloma II: 2345 (with Mudrā), 20 br
3. Anuloma I: 2345 (with Mudrā), 20 br
4. Viloma + Anuloma (III): 2345 left Mudrā, 2345 right Mudrā = 44 br
5. Anuloma II: no counting, no Mudrā, unlimited (Kevala Kumbhaka)
III. Energy Set (Nāḍī Śodhana) – Nerve Cleansing – “Magic Fingers”
1. Nāḍī Śodhana I: Sūrya & Chandra Bhedana, 4/4/4 or 8/8/8, 12 or 20 br
2. Nāḍī Śodhana II: NS 4/6/4 U2 RL, NS 4/6/4 U2 RL, 24 br
3. Nāḍī Śodhana III: VK x4, NS 8/8/4 U2 RL, 12/12/6 U2 RL, 50 br
4. Nāḍī Śodhana IV: VK x4, NS 8/8/8/4 U2 RL, 12/12/12/6, U2 RL, 50 br
5. Nāḍī Śodhana V: VK x4, NS 4/6/9/4 U2 RL, 8/12/18/6 U2 RL, 50 br
IV. Essential Support Practices (ESP)
1. Kevala Kumbhaka (Anuloma II) and Advaita Self Enquiry
2. Uḍḍīyāna Bandha and Nauli Kriyā: before any Āsana or Prāṇāyāma
3. Sama Vāyu: Hands on belly and chest: before any main Prāṇāyāma
4. Bhastrikā, Kapalabhāti, Vata Krama: before any main Prāṇāyāma
5. Lying over blocks/bolsters: expand the chest and the inhalation
6. Microcosmic Orbit: Kāpalabhāti, ~7 circles CW, ~7 circles CCW*
7. Chakra Meditation*
11
Chandra Krama / Standard Moon: intuitive, introspective, gentle, downward,
letting go, release tension & stress, Buddha belly, Sattvic, spacious, darkness,
emptiness, ascetic (Parvati’s Sequence), prayer to the moon/mountain, daughter
of the moon/mountain.
Prerequisites: Adho Mukha Śvanāsana, Vajrāsana (scale down or remove as
needed.)
Alternatives:
 For knee difficulties: change the Moon Salute for modified Lion Salute,
which can include Aṅjenayāsana in Siṁha A. Alternatively use blocks
under the hips, or a chair.
 For back bends: use a block between the legs, plus do Uṣṭrāsana against
the wall, go up the wall versus away from it. Also do less Uṣṭrāsana in
general, instead lie over blocks and use a dharma wheel.
 Use props as necessary (or learn the New Mon Sequence – Amāvasyā
Krama) to alleviate any back/knee/hip complaints.
 Do core strength exercises before every practice if the abdomen is not
so strong, plus when doing all Supta Vinyāsa bend the knees if the lower
back is weak, and/or slow it right down to properly engage the abdomen.
The abdomen should be appropriately sore by the end of the practice!

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Siṁha Krama: Cat / Lion: playful, inquisitive, curious, proud, roar like a lion,
dynamic, effortless, flexible, agile, lithe, connected, affectionate, strong,
powerful.
Lion Cub Prerequisites: Chandra Krama (standard), Prāṇāyāma Krama I.
Alternatives:
 Particularly for back conditions (such as scoliosis, slipped discs,
sciatica) then Mārjāra Krama is a better place to start than Lion I. Such
students should be wary of deep forward bends and deep back bends,
and focus on engaging the front of the body for support and stability.
 Standing postures – particularly to the side – are useful for most back
complaints, just be wary of going too deeply to either side.
 Add side plank – Pārśva Phalakāsana ABC – to shoulder sequence to
support and reposition unstable SI joint.
 Strengthen the gluteus and hamstring if the lower back/QL area is weak.

37
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Siṁha Krama I: Cat / Lion: playful, inquisitive, curious, proud, roar like a lion,
dynamic, effortless, flexible, agile, lithe, connected, affectionate, strong,
powerful.
Lion Cub Prerequisites: Chandra Krama (standard), Prāṇāyāma Krama I.
Alternatives:
 Particularly for back conditions (such as scoliosis, slipped discs,
sciatica) then Mārjāra Krama is a better place to start than Lion I. Such
students should be wary of deep forward bends and deep back bends,
and focus on engaging the front of the body for support and stability.
 Standing postures – particularly to the side – are useful for most back
complaints, just be wary of going too deeply to either side.
 Add side plank – Pārśva Phalakāsana ABC – to shoulder sequence to
support and reposition unstable SI joint.
 Strengthen the gluteus and hamstring if the lower back/QL area is weak.
 Scaling up: Hunamānāsana, Headstand drop-overs, Forearm Balance,
Handstand (pick two maximum), half of shoulder sequence is removed,
can use the wall and blocks.

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Marīchi Krama: Remedial / half version of Ātapa Krama; flow, ease, stability,
balanced, physical lightness, ray of light.
Prerequisites: Adho Mukha Śvanāsana.
Alternatives:
 This sequences is designed for when you don’t have the time or
inclination to do a full two hour practice – this sequence can easily be
accomplished in one hour or less.
 I would suggest eliminating the jumps, Sūryanamaskara A and B only
2x each, with your practice being as flowing as possible so there are no
interruptions.

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The order of learning
1. Ujjāyi I: the ten points of breathing with sound, Nose to Tailbone.
2. Ujjāyi I: 123 pause with all Vinyāsa.
3. Viloma I / Intro: learning to breathe effortlessly and pause naturally.
4. Ujjāyi I: Visamavṛtti 4/6 before or after physical practice (releasing
Prāṇāyāma.)
5. Viloma II: 2345 Counting and Mudrā: Awareness, Concentration, and
effortless pausing – combines good structure and meditation.
6. Ujjāyi III: Block/Back Breathing: breathe into a block or wall,
structural lung, rib, diaphragmatic development. After Āsana practice.
The Three Guṇa (Qualities)
7. Anuloma I: 2345 Counting and Mudrā: Due care of energy and
nervous system response, including sleeping patterns (start with 2 and
3 count only.) Gateway Prāṇāyāma!
8. Kevala Kumbhaka / Anuloma II: No counting, no Mudrā, no thinking.
Unlimited breaths, meditation practice. Witness as the spacious non-
dual consciousness. Five Elements of the Body (Vital Airs)
9. Viloma III: Combines both Viloma and Anuloma, both Mudrā sets,
great for concentration and rebalancing.
10. Nāḍī Śodhana I: Surya and Chandra Bhedana: Support Practice, and
experiential experimentation, to eliminate false positives.
With these details in mind, considering the large scope, I also ask
students who are progressing with the VK method to forego all other Prāṇāyāma Physiologically
practices for the duration. That is, particularly when you start learning the Level
II Krama, you must give up other Prāṇāyāma practices while you commit to
VKM.
In this book I have included full details of practicing Prāṇāyāma from
techniques 1 through 4 as they are the main foundation of this work. I have also
included Prāṇāyāma 8 (Anuloma) due to its importance in meditation and link
to Aḍi Śaṅkara and Advaita Vedānta. Please read below for more details.
Definitions of Terminology
 Prāṇa: Energy or Life Force or Breath.
 Yāma: Restraint; Āyāma: Development
 Prāṇāyāma: the Awareness of Your Unlimited Energy
 Rechaka: Exhalation (Āpaṇa)
 Pūraka: Inhalation (Prāṇa)
 Stambha: Pause (Pillar)
 Kumbhaka: Lock (Pot)
 Tamas: Downward, releasing, water and earth energy (Āpaṇa)
 Rajas: Upward, expanding, fire and air energy (Prāṇa)
 Sattvas: Balanced, rhythmic energy – all elements combined (Stambha)
 Udāna Vāyu: Throat, Expansion/Realisation, Ether
 Prāṇa Vāyu: Chest, Upward/Accumulation, Inhalation, Air
 Samāna Vāyu: Navel, Balance/Assimilation, Fire
 Āpaṇa Vāyu: Pelvis, Downward/Elimination, Exhalation, Water
 Vyāna Vāyu: Whole Body, Inward, Earth
 The inhalation tends to be harder, the exhalation tends to be easier.
 The inhalation represents tension and expansion, the exhalation
represents relaxation and contraction.
 Beginners: develop the exhalation first (relax), then develop the
inhalation (expand).
 Experienced students develop Viloma (shorter duration), then Anuloma
(longer duration).
13
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 Yoga Tārāvalī
Necklace of Stars
By Śri Aḍi Śaṅkara
1
vande gurūṇān charaṇāravinde
sandarśitasvātma sukhāvabodhe
janasya ye jāṅgalikāyamāne
saṃsāra hālāhala mohaśāntyai
2
sadāśivoktāni sapādalakṣa
layāvadhānāni vasanti loke
nādānusandhāna samādhimekam
manyāmahe mānyatamaṃ layānām
3
sa recapūrairanilasya kumbhaiḥ
sarvāsu nāḍīṣu viśodhitāsu
anāhatākhyo bahubhiḥ prakāraiḥ
antaḥ pravarteta sadā ninādaḥ
4
nādānusandhāna namo’stu tubhyaṃ
tvāṃ sādhanan tattvapadasyajāne
bhavatprasādātpavanena sākaṃ
vilīyate viṣṇupade mano me
I bow down to the lotus feet of the lineage of Teachers,
Who show the way to the self-awakening great happiness –
The jungle physician who is able to remove the poisons
Of the ignorance of conditioned existence.
There are more than 100,000 forms of absorptions,
or attentions on meditative states (samādhi).
We regard contemplation on nāda (the inner sound)
to be the worthiest of them all.
When the nāḍi (energy channels) are all purified,
The internal sound arising from anāhata,
is affected by the retention of breath,
as governed by the exhalation and inhalation.
O contemplation on nāda! Salutations to you.
I know you to be the means to attain the Truth.
By your grace, my mind and breath
Dissolve in the Supreme State.
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 5
jālandharoḍyāṇana mūlabandhān
jalpanti kaṇṭhodarapāyūmūlān
bandhatraye’smin paricīyamāne
bandhaḥ kuto dāruṇakālapāśāt
6
ōḍyāṇa jālandhara mūlabhandaiḥ
unnidritāyā muragāṅganāyām
pratyaṅg mukhatvāt praviśansuṣumnāṃ
gamāgamau muñcati gandhavāhaḥ
7
utthāpitādhāra hutāśanolkaiḥ
ākuñcanaiḥ śaśvadapānavāyoḥ
santāpitāccandramasaḥ patantīṁ
pīyūsadhārāṃ pibatīha dhanyaḥ
8
bandhatrayābhyāsa vipāka jātām
vivarjitāṃ recaka pūrakābhyām
viśoṣayantīṁ viṣayapravāhaṃ
vidyāṃ bhaje kevalakuṃ bharūpām
The jālandhara, uḍḍīyāna, and mūla bandha,
At the throat, abdomen, and anus respectively,
How can there be any bondage
Caused by the noose, which is ruthless time?
When the female serpent (kuṇḍalinī) is awakened by
Practice of the three bandha,
Prāṇa which is directed inwards, enters the suṣumṇā,
And abandons its outgoing and incoming activities.
The fortunate one drinks the stream of ambrosia,
Descending from the moon (apāna),
And heated by constant compression of air,
Is kindled in the flames of mūladhara.
I adore the form of kevala kumbhaka (absent breath),
Which is born from the practice of the three bandha,
Bereft of exhalation and inhalation,
Which dries up the torrent of sense addiction.
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 9
anāhate cetasi sāvadhānaiḥ
abhyāsa śurairanu bhūyamānā
saṃstambhita śvāsamanahppracārā
sā jṛmbhate kevala kumbhakaśrīḥ
10
sahasraśaḥ santu haṭheṣu kumbhāḥ
sambhāvyate kevala kumbha eva
kumbhottame yatratu recapūrau
prāṇasya na prākṛta vaikṛtākhyau
11
trikūṭanāmni stimite’ntaraṅge
khe stambhite kevalakumbhakena
prānānilo bhānuśaśāṅka nāḍyau
vihāya sadyo vilayaṃ prayāti
12
pratyāhṛtaḥ kevalakumbhakena
prabuddha kuṇḍalyupa bhuktaśeṣaḥ
prāṇaḥ pratīcīna pathena mandaṃ
vilīyate viṣṇupadāntarāle
If one focuses gradually and carefully on the anāhata,
And practices the stambha with courage -
The mind and breath are naturally suspended;
Then there blooms the splendour of the kevala kumbhaka.
Let there be thousands of kumbhaka in Hatha Yoga…
kevala kumbhaka alone is highly esteemed.
In that best of kumbhaka, the inhalation and exhalation
Are neither natural nor modified.
When the mind is suspended by kevala kumbhaka,
Prāṇa abandons the solar (piṅgalā) and lunar (iḍā) nāḍi,
And one attains dissolution
In the calm space called trikūta.
Prāṇa, which has been withdrawn by kevala,
Which is the residue consumed by kuṇḍalinī,
Gradually dissolves via the suṣumṇā,
In the state of Vishnu, the intervening spaciousness.
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 13
niraṅkuśānāṃ śvasanodgamānāṃ
nirodhanaiḥ kevalakumbhakākhyaiḥ
udēti sarvēndriya vṛtttiśūnyo
marullayaḥ ko’pi mahāmatīnām
14
na dṛṣṭilakṣyāṇi na cittabandho
na deśakālau na ca vāyurodhaḥ
na dhāraṇādhyāna pariśramo vā
samedhamāne sati rājayoge
15
aśeṣadṛśyojjhita dṛṅmayānām
avasthi tānāmiha rājayoge
na jāgaro nāpi suṣuptibhāvo
na jīvitan no maraṇaṃ vicitram
16
aham mamatvāt vyapahāya sarvaṃ
śrīrājayoge sthiramānasānām
na draṣṭṛta nāsti ca dṛśyabhāvaḥ
sā jṛmbhate kevala saṃvideva
The dissolution of air,
Qualified by the absence of function of the senses,
Arises by means of the restraint of kevala,
Reducing the unruly nature of the breath.
When Rāja Yoga has been developed well,
There are no targets in sight,
No lock for the mind, nothing to concentrate upon,
No place or time to restrain your breath.
For those established here in Rāja Yoga
Who have discarded the “Seen” in its entirety,
Who are the nature of the Seer,
There is neither wakefulness nor sleep, life nor death.
For those who have abandoned everything,
For those firm minded in Rāja Yoga,
There is neither the Seer nor perceptivity,
Only isolated consciousness shines.
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 17
netra yathon meṣanimeṣa śunye
vāyuryaya varjitarecapūraḥ
manaśca saṅkalpa vikalpa śunyaṃ
manonmani sā mayi sannidhattām
18
cittēndriyānān ciranigraheṇa
śvāsapracāre śamiteyamīndrāḥ
nivātadīpā iva niścalāṅgāḥ
manonmanīmagna dhiyo bhavanti
19
unmanyavasthādhiga māya vidvan
upāyamekaṃ tavanirdiśamaḥ
paśyannudāsina tayā prapañcaṃ
saṅkalpa munmūlaya sāva dhānaḥ
20
prasahya saṅkalpa paraṃparāṇāṃ
saṃbhedane santata sāvadhānam
ālambanā sādapa cīyamānaṃ
śanaiḥ śanaiḥ śānti mupaiti cetaḥ
May transcendence (manonmani) abide in me,
By which the eyes are bereft of opening and closing,
Air is devoid of exhalation and inhalation,
And the mind is free of desire and multiple conceptions.
By the prolonged control of mind and senses,
The activity of breath is dissolved,
Foremost of the restraints, motionless,
Your mind is immersed in transcendence.
O learned one!
We indicate the sole means to attain the Supreme State.
Behold the universe with indifference,
And being attentive, uproot your desires (saṅkalpa.)
Greatly forebear:
The mind that is constantly vigilant in eliminating desire,
Which constantly decay due to the nature of their basis,
Gradually attains peace.
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  Sit in any comfortable position, ensuring the spine is vertical
 One hand rests on the heart, and one on the abdomen.
 Pūraka (inhale) – 1 Abdomen releases, 2 Chest expands, 3 Abdomen
flattens/contracts, and at the very end the abdomen lengthens and lifts
(subtle/effortless Bandha.)
 Rechaka (exhale) – 4 Abdomen releases, 5 Chest deflates, 6 Abdomen
contracts, and then lifts at the very end (pelvic floor, subtle/effortless
Bandha.).
 Repeat, go back to 1. Repeat for 5 minutes, no need to count the breath.
 Keep Sama Vāyu flowing and natural versus mechanical.
 Simply allow the movements to occur and observe that they flow
around, within and through each-other.
 Finish with awareness at the Heart (Anāhata), can include Kevala
Kumbhaka. See below.
 This Prāṇāyāma is for being contact-full with your body, to be conscious
of your physical intimacy and sensitivity.
 Do not apply this Prāṇāyāma with mental effort, rather feel the rhythm
and movements as a form of sensuality and graceful flow. When applied
correctly Sama Vāyu will feel spacious and centring, giving the lungs
more freedom and "room to breathe".
 Allow your attention to naturally rest at Anāhata Chakra by the end.
Anāhata is situated in the middle of the 7 Chakra, 3 below and 3 above.
It is the Central Wheel around which all other Wheels of the Universe
revolve. Anāhata means "unstruck", meaning balanced, peaceful, non-
emotional. Anāhata also reveals to us the Nāda, the source-less,
unstruck bell, the holy sound within – the breath of the Universe.
 For this reason do not practice this Prāṇāyāma with set counting or a
time limit, allow the natural movements and awareness to rest in your
heart space without an aim, goal, or conscious effort.
3. Viloma – Against the Grain
Although Viloma means ‘against the grain of wood’, it is simply a reminder
that it is normal for the inhalation to be shorter compared to the exhalation. Take
time to establish a lighter, steadier, and consistent in-breath. It has been my
experience over many years of teaching this Prāṇāyāma, that most students have
an overly long exhalation, and an overly short inhalation. Rebalancing this is
critical. It is one of the main reasons why many students are tired from practicing
a long sequence – too much emphasis on the out-breath.
The second phase of Viloma (and Anuloma) is on developing the
Stambha: The pause in between the breaths – awareness as the spaciousness
between all things. This spaciousness is pointing us towards one of the most
transcendent practices imaginable: this undifferentiated spaciousness of
consciousness is already yours, already here and now, it only takes willingness
to align with it.
 Ujjāyi Breath, count to 2 3 4 5.
 Pūraka (inhale) and Stambha (pause).
 Exhale gradually, continuous out-breath.
 Pause for 2 x 4, 3 x 4, 4 x 4, 5 x 4.
 Then coming down the scale, 1 more at 5, 1 at 4, 1 at 3, and 1 at 2.
 Ensure the pauses are soft versus hard (no Kumbhaka).
 Observe the pause versus manipulating it.
 Generally the exhalation will still be slightly longer than the inhalation,
allow the exhalation to complete naturally.
 There are three main purposes for the Stambha:
 (1) Physically for improving the ease of the breath, breathing with less
tension rather than more, and increasing the general length of Pūraka
within your Āsana practice. Most practitioners overly shorten the
inhalation, often down to a ratio of 1:2 or less.
 (2) Psychologically for meditation; observation versus control. If you
are "doing" the Stambha, it is not yet the Stambha. Thus any Viloma
and Anuloma practice can easily lead to Kevala Kumbhaka, as long as
you allow for it. Be aware of being aware. Any Kevala Kumbhaka
practice can lead to undifferentiated Advaita. Even the sense of
spaciousness falls away.
 (3) To learn to breathe in a conscious manner that actually prevents
holding the breath. As most (90%) of practitioners add tension to each
breath at the end of every breath/Vinyāsa and also in deep postures,
18
 most practitioners are unconsciously holding the breath. Applying the
Stambha in a subtle way to all breathing practices will begin to reverse
these negative effects.
 The aspirant should practice PK II and Viloma Prāṇāyāma for 6 months
without interruption (and without distraction from other Prāṇāyāma
methods) before beginning to add Anuloma Prāṇāyāma.
 After 6 months, then the aspirant should practice Viloma for 3 days per
week and Anuloma for 3 days per week. They can be done on any day,
and in no particular order, but they must remain separate practices (on
different days).
 Learn to feel the different energies of each Prāṇāyāma, do not confuse
matters by trying to do too much by achieving certain goals: focus on
the process rather than the end result. Observe how the phases of the
Moon affect Viloma and Anuloma differently.
 When traveling allow at least 3-4 days of adjusting, (to get through jet-
lag) to settle in to the new space and energy, before doing any full three-
part Prāṇāyāma routine. Do a lighter Prāṇāyāma practice for these days,
and once your energy is settled, then recommence with the full routine.
Prāṇāyāma Krama IV
Anuloma, Kevala, Advaita Vedanta, Kriyā, & the Chakra
Anuloma II
Non-Dual Witnessing
This practice can be included within the set of techniques in Prāṇāyāma
Krama II (Viloma), and within Prāṇāyāma Krama IV. It applies equally to both.
It is also a useful halfway step when complete non-dual witnessing seems
elusive.
 Intuitive, no counting.
 Maximum of two or three pauses.
 Pick one Mudrā for the hands/fingers and keep them there.
 Remain seated for 15+ minutes, therefore any number of breaths.
When practicing the “non-dual” variations of Anuloma (or Viloma), you
must stop counting (and ultimately stop thinking!)
Begin this practice with a medium paced breath, neither long nor short. Then
begin adding a Stambha (pause), naturally, to the exhalation. Generally I advise
allowing for two pauses on every exhalation, pausing halfway, and again at the
bottom. Do not count the pauses, nor place any particular emphasis on the length
of the breath.
We focus on the exhalation (and Anuloma) in particular as it relates most
strongly to Kevala Kumbhaka. The exhalation is the little death, the release of
the sympathetic nervous system, and the realisation that I am not this.
Be warned this practice can be deeply psychological, and can temporarily
cause sleeplessness, strange dreams, and other side-effects. Do not begin this
practice without having some years of prior practice of the earlier stages! If any
medication (such as anti-depressants) are being taken, then it should be avoided
until appropriate guidance from a physician and therapist is also gained.
When working with the minimal, non-counting technique, the Stambha is
merely a thinning of the breath, approaching zero each time, but never quite
getting there. Thus, even at the very bottom of the exhalation or top of the
inhalation, the Stambha merely weaves in and out like a snake. The breath can
then be truly flowing, with increasing subtlety, and greater awareness of
energetic patterns and spirals.
By recognising the effortlessness of breathing in this way, and the true
emptiness of the Stambha, you can begin to experience the Stambha as the only
consistent factor.
The breath – the inhalation or the exhalation – is constantly moving. It
comes and goes – fast or slow, it is always changeful. Do not put your trust and
hope in the breath. The Stambha lies on either side of the breath; moreover it is
within and threading through every breath. The breath is the illusion, the object
that arises and passes in your attention. The Stambha is the spacious pause that
is your natural awareness itself, devoid of particular content.
If you begin to organically meditate in the middle of this process, then allow
space for that, and let go of this technique. The same can be quite common
during Kevala Kumbhaka. At this stage of practice Anuloma II, Viloma II, and
Kevala Kumbhaka all become linked, synonymous.
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Chakra Meditation
Seven Energy Wheels
In most ‘energy body systems’ there is typically one Chakra associated
with the ‘gross body;’ Mūlādhāra at the base. This is the physical self that
represents our DNA coding and our psycho-physical conditioning. There is one
Chakra for ‘higher consciousness;’ Sahasrāra at the crown of the head,
associated with non-dual witnessing. This leaves five Chakra remaining, all
associated with different levels of the ‘subtle body.’
Curiously, most of the time Yoga practitioners only work at the very
bottom, and focus on the physical self. At best only the most rudimentary aspects
of ‘subtle’ and ‘causal’ are explored. In some ways it is understandable to avoid
things of a deeper nature, as truly peering at the self is not typically easy or light-
hearted. All the stuff ‘in between’ can be a little ugly, embarrassing, or
downright painful and frightening.
The three levels of self; body, feeling, and consciousness, can be best
expressed in terms of the relationships I have. What is my relationship to my
body? Do I allow myself to experience that relationship with unconditional love
and abundance? This would mean transcending the actual needs of the body,
and transcending the fight/flight response of the nervous system. Otherwise your
love is conditional rather than unconditional.
What is my relationship to the subtle body? My feelings, my gut level
response to my various relationships? Do I allow myself to feel these layers,
once again, with unconditional love and abundance? What limitations or
contractions am I holding on to that prevent this?
Lastly, do I have a relationship to God, to the Divine Consciousness that
is ‘I’ at its most causal, undifferentiated level? Not merely the idea (or hope) of
God, but the actual experience of it? Not a prayer, or ritual of imagination, but
true unconditional experiencing. For example, how does it feel to have a
relationship (or not) to the Divine? Do you intellectualise the Divine, or place
'it' outside yourself? Do you love God as it loves you, unreservedly? Or do you
reject the idea of this possibility?
Do you recognise the Divinity within you, ever-present, and do you
recognise it in others? How can I establish these relationships, and allow them
to grow, rather than either disconnect from them or try to control them? This is
the work of the subtle body and it is the work of grace and gratitude. It is not
merely having an idea of each Chakra, or having a conceptual understanding. It
is embracing how you feel, and actually experiencing something.
Energy is feeling, they are synonymous. A healthy subtle body is one
that feels, allowing the flow of energy without impediment or blockage. The
blockages each of us carries are not surmounted by greater control or effort of
the mind. Rather, it is though surrendering to feeling and allowing the possibility
of real love, that transformation takes place.
It is import to make a clarification around feeling versus an emotion.
For example, love is a feeling, but neediness is an emotion. Impersonal/
unconditional love is a feeling, personal love is an emotion (though the latter
can also have unconditional love as its source.) Neediness can seem like love
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