Rasa Vinyasa Manual ~ Updated June 17th by Shiva Rea

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

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Â© Shiva Rea 2016

Vira refers to realizing the power, dignity and wakefulness that is inherent in all of us as human beings. ÒSatisfaction lies in the effort not the attainment.

Full effort is full victoryÓ. Ð Mahatma Gandhi

vira rasa e le m en ts :

vira in vinyasa a n d in l ife : As Emerson says, “what lies behind us and what lies before us are small matter compared to what lies within us”. Vira rasa is a commitment to the exploration of the power that lies within us. It is the tending of the sacred flame of life with humility that breeds confidence. Vira is the pilgrim’s strength that

Root meaning: vira means “hero”, virya – “potency, activation, ability to transform”. vira is solar (ha) and activates pingala nadi through dynamic practice Gunas (energetic qualities): rajas – activitating, hot, sharp, clear, heavy or light, drying (purifying), brahmana (expansive) Bhava (somatic mood): vitalizing, energizing, grounding, can be both stabilizing and stimulating, cultivates concentration, openness to life as it is, truth, courage,

takes each step up the mountain as a purifying process and embraces challenge with love of living fully. In Vinyasa, vira is activated through asanas, pranayama, meditation and sequences which cultivate embodied concentration, sustaining power through alignment, breath, bandha, awareness (one unconscious step and you fall off the edge), and use of krama (stages) to approach one’s potential in strength, flexibility and inner presence.

Tala (rhythm): dynamic, steady pulse, building intensity Dristhi (gaze): ekagrata (one-pointed focus), tejas dristhi (seeing from the light within one’s eyes) Inspiration: any stories of personal courage, modern-day heroes, pilgrim’s strength, Hanuman, Durga, Virabhadra Asanas: virabhadrasana, all arm balances, standing balance poses, playing the edge

the embodied state of inner and outer strength, potency, courage, and verve

Pranayama: kapalabhati, bhastrika, ujyai pranayama with retentions

vira rasa © Shiva Rea 2016

ÒI honor Shiva-Shakti the eternal parents of the universe. The lover, out of boundless love, takes the form of the Beloved. What Beauty! Both are made of the same nectar and share the same food. Out of Supreme love, they swallow up each other but separate again for the joy of being two. Shiva and Shakti are one, like air and the wind, like gold and its lusterÓ. sringara rasa elements: - Jnaneshwar

Sringara rasa is communion, love between a lover and beloved; it is both solar and lunar, ida and pingala

sringara in vinyasa & life: Sringara Rasa is the archetypal union of masculinefeminine, sun-moon, active-receptive, stillnessdynamic movement, potent seed-bursting flower, x-y chromosomes, inhale-exhale that is reflected in nature, in the divine couples of Shiva-Shakti, Krisna-Radha, Sita-Ram, and within the layers of our being. In vinyasa, this rasa requires the most skill and personal experience to integrate into teaching (the potential for being corny is high). In

Dristhi (gaze): ardha dristi (half gaze), ananda dristi (eyes relaxed in bliss) Gunas (energetic qualities): rajas and sattva, alternation between the varying polarites of gunas – hot/cold, dry/wet, cloudy/clear, heavy/light, brahmana (expansive) and langhana (inward drawing) Bhava (somatic mood): sensual receptivity, seeing/feeling/hearing/tasting the beloved in the diversity of life and within one’s being

our own practice and in life, sringara rasa can be the most satisfying rasa of all as we open to experience life in sensual fullness, each breath as an expression of a lover’s caress. Sringara rasa follows the musical-dramatic-natural structure of multiple waves of building energy – sustaining and then finally peaking. This rhythm can be mirrored in the sequencing of a practice towards a culminating backbend, hip opener or meditation. The key is the bhava – savoring each unfolding breath, sensation, experience. “Burning with longing-fire, my living is composed only of this desire to be in your presence.” - Rumi

the embodied state of inner communion the dance of the two becoming one senses alive, embracing life fully

Tala (rhythm): melodic, smooth, passionate, building-sustainingrelease, changing dynamic leading to a peak and then integration/communion Inspiration: myths of Krishna-Radha, Sita-Rama, Shiva-Parvati, bhakti poetry of Mirabai, Lalla, Kabir, Rumi, Hafiz, visceral passages and poetry on the landscape of the heart Asanas: focus on the communion of opposite poles of the body particularly the base of the spine and the heart or crown of the head in standing poses, backbends, forward bends, hip openers and inversions Pranayama: mula-bandha breathing (connecting the base and the crown), chanting (lengthens exhale, awakens the vibration in the heart center), viloma and anuloma pranayama (drinking and savoring the breath in stages)

sringara rasa © Shiva Rea 2016

ÒEmpty your mind of all thoughts. Let your heart be at peace. Let the 10,000 things rise and fall but contemplate their return. Returning to the source is serenityÓ Ð Tao te Ching

shanti rasa elements: Shanti rasa is Lunar (Tha) and cultivates ida nadi through calming, introspective practices and being

shanti vinyasa in practice & life: “There is no way to happiness. Happiness is the way”. - Souza Shanti Rasa is a conscious cultivation of inner balance, equilibrium, wisdom and serenity that is the fruit of living yoga. In the arts, shanti rasa is the culmination of all rasas – the shavasana at the

Gunas (energetic qualities): sattva (light), clear, smooth, light, soft, static, slow, langhana (inward drawing) and samana (equalizing) Bhava (somatic mood): calming, sama (even), equilibrium, acceptance, compassion (karuna), being Tala (rhythm): slow, steady, smooth, no extremes, ambient, spacious, the pause that refreshes

end of an artistic journey. In applying shanti rasa to vinyasa, establishing and maintaining a meditative, even rhythm throughout the practice is

Dristhi (gaze): all dristis with a sattvic (soft) inner quality through the eyes

key. Frequent reflective pauses through postures such as child’s pose, vajrasana, tadasana and shavasana allow the nervous system to unwind,

Inspiration: reading of sacred texts (Upanishads, Bhagavad Gita), poetry, passages that reflect living peace

the fluctuations of the mind to relax and the internal equilibrium to deepen. Shanti rasa can be applied to all asanas and in life when a relaxed, nonaggressive, or non-adrenalized approach is cultivated. The rhythm of the breath is the greatest reflection of shanti rasa. Even smooth breath = steady mind. The symbol of a lotus rising from the

Asanas: all forward bends, hip openers, inversions, and any asanas approached with equanimity and a “cooling” bhava Pranayama: nadi shodhana, sama vritti ujayi pranayama, ujayi pranayama with emphasis on increasing exhale (1:2)

mud is the timeless yogic symbol of shanti, for peace is not dependent on cloudy or clear water, or external circumstances but a deep connection to eternal essence within. Om Shanti Shanti Shanti

The embodied state of living, breathing peace

shanti rasa © Shiva Rea 2016

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Â© Shiva Rea 2016

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ida and pingala rhythms: honoring the dance of shiva and shakti When the yogin or yogini gives herself over to Shiva/Shakti the sun and moon

Our energetic focus alternates brain hemispheres every hour and a half—a shift we can experience

come up in the central channel.

by acknowledging the natural ebb and flow of our energy throughout the day. Whenever you

— YOGA S PANDAKARI K A 6

feel yourself naturally moving inward—to relax, The microcosm of the sun and the moon are

reflect, or meditate—you are naturally moving into

experienced in the body through the alternating

ida nadi. When you feel raring to go and are drawn

rhythms of ida (the lunar current) and pingala

to stimulating activities, you are experiencing

(solar current) and the sushumna nadi (the central

pingala nadi.

channel around which they wind), representing the integration of the two. These have multiple corre-

D I S R U P T I N G T H E N AT U R A L F L O W

spondences in the bio-pulses of the body through

In the modern world, we constantly override these

the nadis. Nadis are the subtle channels (there are

fundamental natural rhythms. When we wake up

more than seventy-two thousand of these) of energy flow through the subtle body. The ida current

tired, we get some caffeine. ff When we feel wired, we

relates to inner experience, the parasympathetic nervous system, and the right hemisphere of the

living vinyasa is to instead synchronize our natural internal rhythms as we move through the day. We

brain, while the pingala current is the activating,

need to honor both ida and pingala if we are to be

outward-moving energy of the sympathetic ner-

in balance and functioning in our highest state.

vous system and the left hemisphere of the brain.

This is the union of the sun and the moon in the

The yoga system that tunes you to these rhythms,

fire of the heart, the rhythmic balance of inhalation

known as swara yoga, focuses on synchronizing

and exhalation, of the oscillating universe that

your inner and outer rhythms.

pulses through our body.

use something external to calm us down. The key to

IDA NADI

PINGALA NADI

> Associated with parasympathetic nervous system

> Associated with the sympathetic nervous system

> The left channel of the nadi system

> The right channel of the nadi system

> Associated with the moon and nurturing force in all beings

> Associated with the sun and activating force in all beings

> Correlated functions: moving inward, restoration, relaxation, conserving energy, increasing serenity, calming the mind, nourishing

> Correlated functions: the energy for physical movement and activities, vitality and power, mental quickness, constructive actions

> Connected to the flow of creativity, artistic expression, and intuition

> Stimulates vital energy, rational, analytical, and logical thinking

> Alpha-wave state, nine to fourteen waves per second: a heightened state of wellbeing; non-focused body awareness; a creative state; body self-healing

> Beta-wave state, fifteen to forty waves per second: high mental activity; strong concentration

CHECKING OUT YOUR I DA - P I N GA L A F LO W You can tell which nadi is dominant at any given moment by which of your nostrils is dominant. Close one nostril at a time to see which one carries a stronger flow of breath, or hold your hand underneath your nostrils to feel the breath flow. Now that you know which nadi you are experiencing, as much as possible, match your activity to that nadi. This could mean engaging when you’re feeling sluggish

or doing a calming practice if you are feeling agitated. Respect your authentic energy. You can bring natural flow to your day by learnY ing to honor your oscillations instead of going against them—or, if circumstances do not allow this, by at least being compassionate with yourself when you have to go against the grain. This is a very important part of living vinyasa.

balancing the fires—samagni and dim, excessive, and wavering fires The ayurvedic concept of samagni, or balanced fire, can be said to be the goal of our ayurvedic fire-

When burned in the fire too quickly, agni leads to imbalances on the excessive fire side, called tikshna

keeping practice. While the focus is usually on the digestive fire, ayurveda also outlines the effects ff of

agni, and is connected to the quality of pitta. When we offer ff it too little, the fire goes out or we have

imbalances in our lives more generally. Cultivating samagni gives us a healthy appetite for life, which

dim fire, called manda agni, connected to kapha. When it is difficult to stabilize the fire, wavering

we reflect through enthusiasm, inspiration, higher energy levels, creativity, sexuality, expressiveness,

fire (vishama agni) develops, which is connected to vata. Our goal is samagni, the balanced fire that

prosperity, love, and spirit.

supports our life force. In order to sustain a healthy fire, we must seek a balance between purification and rejuvenation, solar and lunar qualities.

BALANCED FIRE—SAMAGNI

EXCESSIVE FIRE—TIKSHNA AGNI

balanced metabolism, energetic, content, joyful, fearless, clear-minded, balanced, peaceful, blissful, enlightened, sustained by well-rounded practice

extreme hunger, excessive body heat, aggressive, impulsive, angry, jealous, critical, self-righteous, fanatical, intolerant, balanced by Shanti, Sringara, and Lunar practice, cultivating Ojas, and balancing Tejas

DIM FIRE—MANDA AGNI

WAV E R I N G F I R E — V I S H A M A A G N I

poor appetite, low energy, depression, lethargy, dullness, lack of inspiration, spiritual darkness, balanced by Sringara, Vira, and Solar practice, cultivating Ojas while stoking the fire

irregular appetite and body heat, erratic breathing and energy patterns, moodiness, instability, indecision, inconsistent faith, balanced by Solar-Lunar practice, cultivating Prana, and Vata-pacifying lifestyle

Â© Shiva Rea 2016

ayurvedic firekeeping— swastuvritta—being in the flow of nature Within ayurveda, the five ve elements brought forth by Shiva’s drum are found in the three principles of

aligned with their sva (or self) nature and who tends these varied levels of health, well-being, and evolu-

vata, pitta, and kapha that govern all the activities

tion by attuning him- or herself to optimal flow.

of our embodiment. These ese are called doshas, or

Ayurveda views human beings as psycho-

bodily humors that create our constitution ((prakriti prakriti)

somatic-spiritual entities in which the interplay

and also can become imbalanced through our lifestyle (vikriti). Vata—combining ata—combining air and space—

between thought impressions, emotions, body experiences, life actions, and macrocosmic forces

is the force behind all movements, such as breathing,

are understood through a rhythmic lens. Ayurveda

circulation, and the elimination of waste from the

seeks to harmonize the many elemental rhythms

body. Kapha—combining earth and water—is

of our life—the dynamic with the stabilizing, and

the binding principle and provides the building substance in the body. Pitta is the fire re and water

so forth—so that we can tend the overall fire of our life force and align ourselves with our heart’s pulse,

element that governs all metabolic, transformative

literally. Listening to one’s heart rhythm is both

activities. This combination ombination of the elements into the

a high-level diagnostic tool in ayurveda and the

primary forces of vata, pitta, and kapha become the

central metaphor of being in swastha vritta. Shiva’s

ayurvedic prakriti-vikriti model in which each person is born orn with a constitution combining the forces,

sandhya tandava, which creates the doshas, also creates the sacred rhythm that affects ff the flow of

with one or two that are predominant. This is natal n

our daily (dinacharya) and seasonal (rtucharya) life.

constitution can become imbalanced (vikriti) as one ages and as a result of other changes in life: stresses, challenges, and even powerful positive change. Most imbalances that we experience are a result of going against the flow of nature known as prajna (“wisdom”) parada (“to to go against”) in the psychological (mental and emotional) or somatic realms. Applying the ayurvedic understanding of householder life, we strive to be a swastha, a person erson who is

TENDING THE FIRE WITH OJAS L I F E I M B A L A N C E S T H AT

INCREASING OJAS

D E C R E A S E O J A S I N T H E B O DY

> Nou ouri ourishin rishin shing shin ing in g the He Heart Fire Fi with lo love sukha

> Stress ss tha hat is from m life circu circums c cu cumstanc nces es or self-cr sel created > La Lack of heart-brain ain n entr entrai trainmen trainment tr ainment ainm ent > D Disso sonant thoug houg ughts htss and an em emotions; otions ions; wo worr rry, y, anxiet xiety, anger, er, jealou jeal alousy sy, exce excessiv cessive ive e prid pride pr ide > Disco connection tion on fro rom th the Hear Heart Fire Fi and nd the e diminish di sh g of lov shing love ove ov e an and compassi assion as on > Shock ock and oc and trauma auma, ma overexerti ov exerting ting onese neself, se self overdoin erdo doing, g, e exp xpos osur ure to extre extremes e mes > Late Late nig night ight hts, s, iins nsom omni nia, lack ack of proper pe rest re > Exc xcessive ve ttra ravel, rave vel,l, m multita titask tasking, g, drain raining g tech chnolo logy rrhy logy hythms hyth ms > Dieting ting, impr improp oper er n nutriti rition, riti ti malnutrition on > Exc xcessi essive ve ssex exual ex ual re ua releas leas lease > Eatin ating ing g unwholes unwh un whol olesom ol ome om e foods, ods, inc incompa ompatible tibl foods, ods, s, proce pro rocess roce cess ssed ed aand nd jjunk foods > Excessive ve smo smoki moking, king ng al ng, alcohol, addictions, alco recreational creational al drugs drugs rugs

(int (int ntrins ntrinsic ntri nsic ic hhappiness happiness), hap ap appiness), and a santosha (con (c ontentme ment) in your life > Cultivating ultivati ul tivating vating ng aes aesthetics, beauty, eauty, the arts, peaceful rhyt rhythm rh ythm, ythm hm and and enjoyment enjoym ymen of the art of living > Ba Balancin Balanc Bala lancing in solar-lunar rhythms in one’s practice and ing life by doing life ing solar so activies at a non-depleting time (not att ni (not night or when you are tired) and bringing more relaxation more elax into daily life > Stea Stea eadily follo ollowing nourishing rhythms of dinach di dina charya and ch nd rtucharya > Nutri rition with organic, cooked (for digestion), vege getarian food—not overly spiced > Orga Organic dairy or nut milks if vegan (almond, cashew), ghee, fresh butter, small amounts of cream gh > Fresh nuts, honey, dates, whole grains and rice, vegetables, and fresh, sweet fruits > Balancing sexual energy in accordance with the seasons and one’s constitution > Ayurvedic herbs and rasayanas— tonic drinks and jams like Chayvan prash

Om Ojoyai Namah I bow to the he One w who ho iss overflowing ng w with Oja jass9

> Making rasayanas with the guidance of an ayurvedic counselor of herbs, including Ashwagandha, Bala, Brahmi, Kumari, Shankapushpi, Shatarvari, Shilajit, Yashti madhu

TENDING THE FIRE OF TEJAS L I F E I M B A L A N C E S T H AT

INCREASING TEJAS

D E C R E A S E T E J A S I N T H E B O DY

> Li Listen List sten en to to the the body body’ dy s intell inte in tellig llig igen ig ence ence

> A co cond ndit nd itio it ionn of ttik io iksh iksh shna na agn agn gni— i—bu i— burn bu rnss al rn alll th the e

> Synchr Sync Sy nchron nchr hron oniz ize yo your ur rhyth rhy hythm thm m wi with th sun sun unri rise se/s /sunse /sun unset set

nutr nu trie tr ient ie ntss th nt that at ffee eed ee d ou ourr bo body dy aand nd tis tissu issu sues es

and ab and abso absorb sorb rb the he m mor morni orning ning ng sun sunli sunligh ligh ghtt

> Pi Pitt ttatt a-ag aaggr ag grav gr avat av atin atin ing g lilife fest fe styl st yle e an and d di diet et: ov et: over erly er ly

> Enga Engage in activities activiti tivities es ttha that hatt illu ilillumi lumi mina minate nate te tthe he m min mind ind d

spic sp icy, ic y, ffri ried ri ed,, or p ed pro roce ro cess ce ssed ss ed ffoo oods oo ds; to ds; too o mu much ch doi doing doing ng from fr om e exc xces xc esss am es ambi biti bi tion ti on aand nd w wililll

(reading (readi (rea (r eading ding ng upli upl uplift fting ma materi mate teri terial, terial rial, al, wr writ writin itin iting, ing, g, sstu tudy tu dy)) dy > Protect Prot Protec Pr otect ect your sen senses sense sess fr from om ext extra extrase xtra rase rasens sens sensor nsor oryy

> Mi Misu suse su se o off se sens nses ns es tthr hrou hr ough ou gh tthe he m med edia ed ia— ia —

stimulation, stim stimul stimulation, ation, io excess exces esss te techno tech chnolo chno ch nolo logy lo gy

not be not bein ing in g se sele lect le ctiv ct ive iv e abou abou outt wh what at aand nd whe whe henn yo youu

> Follow Follow Foll ow the the sea seasonal easonal sona nall rhyt rhyt ythms ythm hmss an hm and d th the e path path o off th the e

watc wa tch, rea tch, rea ead, d, o orr lilist sten sten

sun to ssta sun stay tayy in rhyth ta rhy hyth hythm hyth thm m wi with th ccos osmi os micc te mi teja jass

> Habi Habi bits ts,, co ts cond ndit nd itio it ioni io ning ni ng, or lif ng, ifeifee-ci circ ci rcum umstan umst um stan ance an ce whic wh ichh dimi ic dimi mini nish nish shes es ins ins nspira nspi pira rati ra tion on, jo on, joy, y, ent enthu nthusi husi sias asm, m, and an d moti motiva tivati vati tion on for for llif ife if e

> Bala Balanced Ba lanc lanced nc Vir nced V Vira iraa Ra Rasa sa orr so sola solar larr yo yoga ga p pract pra ract ctic ctice, ct ice, e, surya sur surya ya namask nama na namaskar maskar skar sk ar, Ag ar Agni K Kriya yas, s, cor core-st coreore-st e-st streng stre st reng re ngth ng then thenin th enin ing in g th that at iiss heatin heatin heat ating ing g an and d in invigo invi vigora vigo vigorati vi gorating gorating ting ng (fir (fire(fire-ba fire-ba e-ba based base ba sed d pr practi prac acti tice ti ces) ces)

> La Lack ck of of in inte tellec tell te llec ectu ec tual tu al ssti timu ti mula mu lati la tion on

> Gazing Gazi Ga zing ng uuponn th the fir fire, e, sol ssolar olar ol ar med medit meditat itat atio at ions io ns,, tr ns trat tratak atak aka, ak a,

> Ch Choo oosi oosi sing ng aact ctiv ct ivit ities itie it iess an and d as asanas asan anas as tha hat ar hat are e al alwa always ways ways heat he atin at ing and ing and stim stim imulat imul ulat atin at ating ing ing

agni hot agni h hotra practices pract ract ctic ctices ct ices es > Stimulating Stimulat Stim St im imulating in pran anay anay ayama—bh ayam ayama— ama— a—bhas a—bh bhas bh astrik astr as trik ika, a, agn agni gni sara sara ra,

> Diss Disson sson onan antt th thou ough ou ghts gh ts and and e emo motion moti tions— ons—ex s—ex exce cess cess ange an ger, ge r, imp imp mpat atienc atie ienc nce, nc e, irr irr rritat rrit itat ation, atio n, fas ffast astt pa pace ce

kapala ka kapa palabhati pala palabhati > Eat Eat a nourishi no nour urishi urishing uris ishing hing die diet die iett to ssup suppo uppo port rt dig diges d iges ig estive esti tive ve fi fire, fire re, including includ including cludin cl udin uding ing g wa warm rm foods foods ds wit w with ithh (tej (tej ejas) ejas as) sp as) spic spices ices es llik like ike e gi ging nger ng er er, blac black bl ack pe ack pepper er,, cu er cumi minn for mi for di dige gestion gestio ge gest stion stio ion ion > He Herb rbss like rb like B Brahm rahm hm hmi,i, ginkg kgo, o, ssan andalw an anda dalw lwood lwoo lw ood d fo forr

Tejas is the burning flame of

the mi the mind nd and nd ele eleva vate ted te d co cons nsciousn nsci ns ciousn ciou ci ousnes ousnes snes esss

pure intelligence. Keep that flame alive and bright. That light is your true nature. That light is tejas. — DR. VASANT LAD 11

T E N D I N G T H E F I R E O F C R E AT I O N

TENDING THE FIRE OF PRANA L I F E I M B A L A N C E S T H AT

INCREASING PRANA

D I S R U P T P R A N A I N T H E B O DY

> Vata-pacifying diet and lifestyle: warm fo food ods, od s,

> Mult ltit itask itas asking, ing, inc inclu ncludi luding ding excessive overdoing, overwo ov workin work rking; ing; e exc xcess xces ess te technology rhythms that fragme frag fr agme ment lif ment lifeife-en e-ener energy ergy

part pa rtic rt icular icularly ic arly ly e exc xcessi xces essive ve ffea ear, anxiety, or worry ear, > Va Vata ta-a -agg ggravati gg ggrava vating vati ting ng d die diet iett an and d lilife festyle: irregular fest in the the wro w wrong rong ng seaso s so season sonn > Ov Overdo Over erdoin erdo doing doin ing g to the the point p nt of of fa fati fatigu tigue tigu gue e and ex and exhaus exha hausti haus ustion usti tion on > Mu Multit Mult ltitas itask itas askking ing and and disp di disper sper spersi ersing sing ng energy energy rgyy to various ious us act activ activ ctivit ivities ivitie ities iess > Lo Losing focus and nd not ot complet compl complet com ompleting ompletin pleting eting ing g tasks task tasks or p proje pro project rojects > Holding Holding Hold Holdin ing g the the breath breath, br brea eath, su supp suppression of natural natu natura natural rall urges ur urge gess an and d rhythm rhyt rh ythm hm > Stimulat Stimulating Stim Stimul imulatin ulating ating ing yoursel ourself ou ours rself elff when when you you are a tired ed (drinking (dri (drink (drinkin (drinking nking ing caffeine) eine)) eine

> Moderating movement and cultivating a grounded, steady life rhythm

> Di Diss ssonan ss ant he ant hear art-br artbrain brai ain th thoughts or emotions, thou

rhyt rh ythm hm, co hm, cold foo oods oo ds, raw, ds, raw, dry, dry dry, or llig light foods

regular dinacharya and rtucharya

> Keeping steady focus and doing one thing at a time > Cultivating expression in creativity and communication > Slowing down and cultivating Shanti ti aand nd Sringara Rasa in practice and daily ilyy lilife fe > Maintaining balance between th the e so sola larr an la and d lunar currents ((ida and ping pingal pingala ngala ngal alaa na nadi di)) th thro roug roug rough ughh solar larr and d lunar nar yo yoga p practic pract pra ractices ractic ctices ctic ices, ices es,, me medi dita tation tati tion > Pranayama rana ranaya nayama yama ma (anuloma anuloma anul anulom ulom oma a vilo viloma viloma ma, bhastrika, ma hastrika, strika, rika, ujja ujjayi jayi yi)) > Groundin Grounding Gr Grou Ground ing g and d fluid id cardiovascular ardiovascular diovascular ovascular ascular cular lar ac activiti acti activi activities es:: es walkin walking, lking, ing, g, swimm swimmin swi mming, mmin ing, g, cyc ccycli cycling ycling ling ng > Exp xpansive xpansi xpan ansive sive ve her herbs herbs: herbs: bs: Ashwagandha hwagandha agandha andha (to (to no nouris nour uris ish) is h) , Calamus, lamus, mus, s, Jatamamsi, atamamsi, amamsi, amsi, si,, and d Shitop Shitopal Shitopalad alad adi adi

> Neglecting Neglecting Negl Neglec ecting ting ng ccreat cre creative reative ative ive expression expressi expr expression ession or avoi avoidi avoiding oiding ding ng communi communication commu com ommunication munication nication cation tion

Om Pranaya Namah I bow to the essence off Prana anaa13 ÂŠ Shiva Rea 2016

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Â© Shiva Rea 2016

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Bhakti Namaskar Yoga Mala

Shiva-Shakti Namaskar

Radhe/ Krisha Namaskar

Shiva Nataraja Namaskar

Saraswati Namaskar Lakshmi Namaskar

Durga Namaskar

Chakra Mandala Namaskar Akash Namaskar Anahata (Mandala Namaskarr 3) Ana 3 Hridaya Hri Namaskarr

Garuda Namaskar

Hanuman Namaskar

Gajah Ganesh Namaskar Kundalini Naga Namaskar

Viagri Namaskar

FA L

VAT A

shan

Sringara Rasa Namaskar 1

vira

PHA KA

Sringara Rasa Namaskar 2

Kalari Namaskar

M SU

Dancing Warrior Side-Waist Flow

G IN

PIT TA

Dancing Warrior Backbending Flow

Vira Namaskar Dancing Warrior Hip Opening Dancing Warrior Integration

s ri n g a r a Manipura (Mandala Namaskar 2) Agni Namaskar

Dancing Warrior Flow Rhythmic Vinyasa B Rhythmic Vinyasa A

Swadhisthana Swadhi Swa dhisthana (Mandala Namas dhi Namaskar maskar mas kar 1) amaska ama skar (Dancing ska g Warr W arrior arr ior 1008) Jala Nama Namaskar Warrior Muladhara (Mandala Namaskar Prep) Bhumi Namaskar

Chandra Namaskar with Mantra Chandra Namaskar

Surya Namaskar B

Surya Namaskasr A

Classical Namaskar with Bijas

Surya Namaskar

ÂŠ Shiva Rea 2016

THE EVOLUTION OF E N E R G E T I C V I N YA S A — P R A N A F LO W N A M AS K A R S After ten years of Sun Salutations in my body, something began to shift and a different ff calling started to emerge. I was hesitant at first to move beyond the classical forms I had learned, but I had a deep desire to embody the unique quality of each day, whether through spontaneous sahaja movements of the rising moon or by dropping low to the earth with the falling leaves of autumn. The Prana Flow Namaskar Mandala, which I have developed over twenty years of practice, offers ff a framework for approaching the shifts that occur through the wheel of the year and the solar-lunar cycle. (A full description of the mandala is beyond the scope of this book, but I offer ff it on the book’s website, tendingtheheartfire.com, as an additional practice resource.) Here the sixty-four namaskars are arranged around the seasons as well as the elements. It begins at the top of the mandala with the new year and flows through the seasons, connected to the doshas (inner wheel of vata-pitta-kapha) and the rasas (vira, sringara, shanti). These are general guidelines that follow the movement: the solar wheel of increasing light from January through June (the solar, right side of the mandala) and the waning light from June through December (the lunar, left side of the mandala). The namaskars move up the centerline in the flow of the chakras, starting at the bottom with the foundational earth

or bhumi namaskar ar and up through the elements to the most subtle namaskars at the top, connected to our highest devotion. These represent the deva-devi namaskars, in which all of our movements are offered ff to the Source. It has been my great pleasure in my practice and teachings to see the benefits of the “energetic diversity” reflected in the mandala. I have seen type triple-A, highly driven solar students integrate their fluid nature with great joy. The slow-moving, peaceful movements on the mandala provide tremendous support during the high stress of the holiday season in December. The solar stimulation of the fire namaskars helps stoke the inner fire when it is dim or going out. Firekeeping through the namaskars gives us the ability to be “movement alchemists”—a way of cultivating rasa through changing rhythms and qualities of being. In creating the Prana Flow–Energetic Vinyasa system, my aim has been to empower yoga practitioners to be “agents of change” by respecting, attuning to, and moving with their life force.

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1 Prana Flow - VIRA RASA - EARTH

Pathways of Flow: VIRA RASA NAMASKAR - EARTH Peak Asanas: Bhujapidasana – Visvamitrasana – Eka pada sirsasana - yoga nidrasana - parigasana in hanumanasana Opening mouv. meditation : wide stance tadasana or malasana – prana apana arms vinyasa or rhythmic vinyasa on all four's to balasana Namaskar: Prana vira rasa namaskar with viagri/apana kriya as connecting vinyasa Core activation : supta bhujapidasana pulsation

BEGINNING Malasana

CV. Front Viagri/apana kriya vinyasa k.1 on knees

MANDALA WAVE 1 MIDDLE WAVE Parivrtta Anjenyasana B.V. x 3 with top arm Do both sides

CV. Back Viagri/apana kriya vinyasa k.1 on knees

END Ardha Hanumanasana

Parigasana b.v. with top arm Uttanasana pulsation Bhujapidasana prep. or k.2 plankasana

____________________________________________ or k.2 plankasana

Bhujapidasana

k.2 eka pada sirsasana in lunge

Ardha malasana 3 to 5 times R.V. side to side Optional paw transition to seated viagri mudra Padahastasana w/spine pulsation

To Cobra or Urdvha mukha svanasana

Cobra or Urdvha mukha svanasana Kalari gaga prep. Prasaritta Padottanasana

Adho mukha svanasana

(right leg leads the mandala) © - Shiva Rea - Samudra

Bhujapidasana in anjaneyasana k.1 knee on the ground

Adho mukha svanasana to change side and repeat the end wave on the left side Adho mukha svanasana

When both sides are done, step forward to malasana to next wave

(right leg leads the mandala)

2 Prana Flow - VIRA RASA - EARTH

BEGINNING

Malasana

seated hip opening visvamitrasana prep.

CV. Front Viagri/apana kriya vinyasa k.1 on knees

or k.2 plankasana

MANDALA WAVE 2 MIDDLE WAVE Vira 2 utthita parsvakonasana k.1. elbow on knee k.2 hand on the earth B.V. scan the horizon 3 x with hip pulsation

CV. Back Viagri/apana kriya vinyasa k.1 on knees

k.2 Parigasana in Hanumanasana

. or k.2 plankasana

seated hip opening Visvamitrasana prep. Seated Visvamitrasana

_____________________________________________ visvamitrasana in Malasana

Dhanurasana 3 x p.v.

END k.1 Ardha hanumanasana parigasana

Parva Vira 2 to flow down R.V. 3 To Baddha Parsakonasana

Dhanurasana

Pranam Pranam

Supta visvamitrasana

Cobra/urdhva mukha svanasana

Eka pada sirsasana

do both sides Cobra/urdhva mukha svanasana Padahastasana

Yoga nidrasana Prasaritta padottanasana Adho mukha svanasana

Adho mukha svanasana

(left leg leads the mandala)

ÂŠ - Shiva Rea - Samudra

When the full mandala is completed go to the end wave.

( left leg leads the mandala)

Pranam to the sky as transition to repeat end wave on the other side

Once the end wave is done on both sides go to lunar end wave

3 Prana Flow - VIRA RASA - EARTH

LUNAR END WAVE Baddha konasana Setu Bandhasana Urdhva Dhanurasana

Salamba Sarvangasana

Nadi Shodana

Shavasana

Meditation apana or vira mudra

Badha konasana

ÂŠ - Shiva Rea - Samudra

1 SEQUENCE - SRINGARA RASA

Prana Flow: SRINGARA RASA VINYASA - WATER Peak asanas : Hanumanasana w/ eka pada raja kapotasana - viparita dandasana Opening movement meditation : Prana Flow standing wave to opening of sringara namaskar - full body flow Namaskar: Sringara Namaskar 1 Transition core activation wave: sahaja mandala core wave (swimming with the infinite) + sahaja jathara parivartanasana

BEGINNING

C.V. front

FIRST MANDALA WAVE MIDDLE

C.V. back

Fluid garuda on knees 3 x b.v. Lasya Vinyasa

Chatturanga Dandasana

Standing Anahata Uttanasana

Sahaja Cobra

Parsva anjaneyasana b.v. circular arms x 3

Ardha Hanumanasana To anjaneyasana to

Lahiri vinyasa Flowing vashistasana

Core pulsation Cobra or urdvha mukha svanasana

do both sides

END

Ustrasana b.v. w/circular arms

Fluid garuda in vira 1 3 x b.v. Parivrtta parsvakonasana

DW 1008 Parsva vasisthasana Parivrtta vashistasana eka pada viparita dandasana

rest on knees D.D. (right leg leads the mandala)

D.D. (right leg leads the mandala)

When the full mandala is completed go to the end wave.

Sahaja cobra To Scorpion in D.D. to repeat end wave on the right leg

Once the end wave is completed on both sides, uttanasana unroll to tadasana to next wave.

1 ÂŠ - Shiva Rea - Samudra

2 SEQUENCE - SRINGARA RASA BEGINNING Lasya Vinyasa 2 with flow of the arms

C.V. front Standing Anahata Uttanasana

SECOND MANDALA WAVE MIDDLE Vira 1 with side opening holding the wrist p.v. with the upper torso x 3

C.V. back Anahata

END Parivrtta ardha Hanumanasana Hanumanasana Hanumanasana w/quad opening

baddha parsvakonasana Dhanurasana

Pranam Parsva anjaneyasana Circular arms B.V. x 3 to skandasana to parighasana P.V.

Back to Parsva anjaneyasana To standing do flow on the other side

Malasana

Purvottanasana To half or full mandala urdhva dhanurasana

Parsvottanasana Parsvottanasana with forward bend Standing split Visvamitrasana in standing split (hold the foot with opposite hand from the inside) Parsvottanasa with forward bend to change towards the front of the mat to repeat the wave

Ardha Hanumanasana to anjaneyasana to Lahiri vinyasa Flowing vashistasana

Cobra or urdvha mukha svanasana

D.D. (left leg leads the mandala)

To DW 1008 Parsva vashistasana Parivrtta vashistasana (front foot hovers) Visvamitrasana Scorpion in D.D. k.1 eka pada viparita dandasana k.2 viparita salabasana

Rest on knees

D.D. (left leg leads the mandala)

Sahaja cobra To D.D. to repeat end wave on the right leg

When the full mandala is completed go to the end wave. Once the end wave is completed on both sides, end in pranam to lunar end wave.

2 ÂŠ - Shiva Rea - Samudra

3 SEQUENCE - SRINGARA RASA

LUNAR END WAVE Supta rajakapotasana Setu bandhasana Dwi pada pida vinyasa

Ardha Matsyendrasana III

Inversions Salamba Sarvangasana

Nadi Shodana Mudra Meditation

Supta parivrtta pandagustasana

Urdhva Dhanurasana Half or full lotus with forward bend

Shavasana

3 ÂŠ - Shiva Rea - Samudra

Pathways of Flow - Sringara rasa - air

Prana Flow: SRINGARA RASA VINYASA - AIR/HEART Peak Asana : Natarajasana - eka pada viparita dandasana - dropbacks Opening movement meditation : Anahata mudra vinyasa Namaskar : Sringara Rasa namaskar II Core activation: part of beginning wave or dandasana in ustrasana

BEGINNING

C.V. FRONT

FIRST MANDALA WAVE MIDDLE WAVE Fluid garuda vinyasa P.V. 3 to 5 x

Anahata

C.V. BACK

Walk back to standing splits p.v. 3 x

Dhanurasana with chanting

Dhanurasana in standing splits

urdhva mukha svanasana Pincha mayurasana K.1 Alterning leg lift K.2 pincha mayurasana D.D. Right leg leads the mandala Ardha bekasana with chanting

Pivot to the back to repeat on the other side Pranam Hrydaya side flow with alterning the arms b.v 3 to 5 x Dhanurasana in lunge/ solar kapotasana hold ankle with both hands

Cobra or urdvha mukha svanasana

Ardha dhanurasana

Eka pada Salabasana Eka pada pandagustasana

END WAVE

Anahatasana

Pivot to the front to repeat on the other leg. Once the mandala is completed go to end wave

or Adho mukha svanasana

Pranam

Ardha matsyendrasana with hands at the heart and open. b.v. x 3

To standing splits to change legs and repeat end wave on the other leg.

Once the end wave is completed on both sides Adho mukha svanasana to go to the next wave

Right leg leads the mandala ÂŠ - Shiva Rea - Samudra

Pathways of Flow - Sringara rasa - air

BEGINNING

C.V. front

Parivrtta Anahata (do both sides)

SECOND MANDALA WAVE MIDDLE WAVE Ardha hanumanasana flow to the horizon to parigasana r.v. x 3

Rajakapotasana kriya p.v. 3 to 5 x

Cobra or urdhva mukha svanasana

And/or Pincha mayurasana in splits

C.V. back Anahatasana

Pivot to the back to repeat on the other side

Adho mukha svanasana

Anjenyasana w/one knee down w/ gomukasana arm p.v. 3 x k.1 solar kapotasana hold ankle k.2 eka pada rajakapotasana

Rajakapotasana kriya 3 x 5 p.v.

Dhanurasana w/strap

Pivot to the front to repeat on the other leg. Once the mandala is completed go to end wave

Vira III with quad opening And/or Natarajasana

Pranam

Cobra or urdhva mukha svanasana

Left leg leads the mandala

END WAVE Walk back to standing splits

Uttanasana to change sides and repeat end wave on the other side

Scorpion in D.D. hold ankle (do both sides) Once the end wave is completed on both sides go to the lunar end wave

Or padangustasana Left leg leads the mandala Pranam

ÂŠ - Shiva Rea - Samudra

Pathways of Flow - Sringara rasa - air

LUNAR END WAVE Seated or reclining twist Setu bandhasana Urdhva Dhanurasana Variations

Forward bends

Pranayama Nadi Shodana

Urdhva Dhanurasana krama Viparita dandasana Eka pada viparita dandasana

Shavasana Padma/heart Mudra meditation

ÂŠ - Shiva Rea - Samudra

Inversions

Prana flow: VIRA RASA - FIRE

Prana Flow â&#x20AC;&#x201C; VIRA RASA VINYASA - FIRE Peak asanas: Standing visvamitrasana - tripod sirsasana - bakasana Opening meditation: Malasana - Samana Vyana prana vira mudra vinyasa Namaskar: Vira Namaskar (0 to 7 pranam/prostration push-ups as connecting vinyasa) Core activation: options: Agni Kriya - knees coil in, in plank or on your knees - supta konasana kriya - handstand vinyasa SOLAR WAVE 1 BEGGINING Tripod sirsasana/bakasana Knees to chest x 3

CV. Front Chaturanga/ Dandasana

And/or Bakasana

MIDDLE Trikonasana B.V. arm flow at the horizon top arm wrap the back p.v. with torso x 3 Ardha Chandrasana (Opt. quad opening) step back to trikonasana to turn to back of the mat to change sides

Dhanurasana (without hands)

Pranam

Wisdomasana

padahastasana

Prasarita Padotanasana C Sirsasana

CV. Back Chaturanga/ Dandasana

Ardha hanumanasana or hanumanasana

Chaturanga Dandasana Dhanurasana (hands inside the ankles)

Vasistasana kramas

Pranam

Adho mukha svanasana to change side repeat the end wave

Urdhva mukha svanasana

Optional: Handstand transition Adho mukha svanasana Right leg leads the mandala

ÂŠ - Shiva Rea - Samudra

Parivrtta trikonasana b.v. with top arm x 3 Parivrtta ardha chandrasana Parivrtta pandagustasana Change sides

Once the full mandala is complete stay in lunge to the end wave

END

Urdhva mukha svanasana

Adho mukha svanasana Right leg leads the mandala

Plank knee to navel

When both side are complete step forward or optional: jump to handstand transition to uttanasana to next wave.

Prana flow: VIRA RASA - FIRE

SOLAR WAVE 2 BEGGINING

Kurmasana (optional) Bhujapidasana Tittibasana To bakasana

CV. Front Chaturanga Dandasana

MIDDLE Parsvotanasana with forward bend Standing split (b.v.x 3 with leg) Uttanasana take foot to rise up to Uthitta pandagustasana Uttanasana to change sides repeat on the other side

Eka pada Salabasana

CV. Back Chaturanga Dandasana

Pranam

Urdhva mukha svanasana wisdomasana

padahastasana

K.1 - Ardha hanumanasana K.2 Hanumanasana

Dhanurasana

Pranam Optional: To tripod sirsasana/bakasana

END

Parva Vira 2 Baddha parsvakonasana Baddha trikonasana Uttanasana transition to standing visvamitrasana Forward bend to change sides and repeat on the other side

Adho mukha svanasana Left leg leads the mandala

Vasistasana Dhanurasana in vasistasana

Urdhva mukha svanasana Plank knee to navel

Adho mukha svanasana Left leg leads the mandala

Adho mukha svanasana change leg to start the end wave on the left side

Once the full mandala is complete: uttanasana to go to the end wave Once both sides are completed, go to the lunar end wave.

ÂŠ - Shiva Rea - Samudra

Prana flow: VIRA RASA - FIRE

LUNAR WAVE Setu bandhasana

Nadi Shodana Forward bends

Urdhva dhanurasana variations

ÂŠ - Shiva Rea - Samudra

Supta visvamitrasana

Meditation Prana vira mudra

Shavasana

Thank you in advance for the way you embody, honor and transmit what you have learned in our Prana Vinyasa Evolutionary Teacher Training. Please share with the world what you have learned in all forms of yoga with respect. Please practice a namaskar at least 40 days and integrate into your embodiment before teaching. The teachings unfold in direct experience. A namaskar is not a â&#x20AC;&#x153;moveâ&#x20AC;? and is are refined offering that changes and evolves but can be passed on for the benefits it embodies. Please honor the roots Namaskars of Chandra (from the Bihar School) and Classical Surya Namaskar (from Bihar /Krishnamacharya lineages). Thank you for CLEARLY IDENTIFYING PRANA FLOW MUDRA VINYASAS, PRANA FLOW NAMASKARS or Prana Flow Mandala Namaskar PRANA FLOW THREE PART Method. What we offer has been refined over 15 years of teaching. This is a small respect we show to any school or style of yoga that we integrate with permission into our teaching. Thank you for your respect. This is all an offering to you. With mutual respect and patience, all is given with blessings.

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