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Содержание
Введение
Школа современной йоги – динамичный стиль йоги, популяризированный К. Паттабхи Джойсом.
School of modern yoga
a dynamic style of yoga poses popularised by K. Pattabhi Jois
Аштанга виньяса йога – это стиль йоги как физической практики, популяризированный К. Паттабхи Джойсом в XX веке, и часто представляемый как динамичная форма классической индийской (хатха) йоги. Джойс утверждал, что изучил эту систему у своего учителя Тирумалай Кришнамачарьи. Этот стиль энергичен и синхронизирует дыхание с движениями. Отдельные позы (асаны) связаны между собой плавными переходами (виньясами). В 1948 году Джойс основал Исследовательский институт Аштанга Йоги. Современный стиль обучения называется "майсорским стилем" – по названию города в Индии, где эта практика изначально преподавалась. Аштанга виньяса йога дала начало различным направлениям, таким как силовая йога.
Ashtanga vinyasa yoga is a style of yoga as exercise popularised by K. Pattabhi Jois during the twentieth century, often promoted as a dynamic form of classical Indian (hatha) yoga. Jois claimed to have learnt the system from his teacher Tirumalai Krishnamacharya. The style is energetic, synchronising breath with movements. The individual poses (asanas) are linked by flowing movements (vinyasas). Jois established his Ashtanga Yoga Research Institute in 1948. The current style of teaching is called "Mysore style", after the city in India where the practice was originally taught. Ashtanga vinyasa yoga has given rise to various spinoff styles of power yoga.
Подход
Традиционно ученики аштанга виньяса йоги запоминали последовательность и практиковали её вместе, не под руководством учителя. Занятия под руководством учителя были введены в более поздние годы К. Паттабхи Джойса. Такие занятия обычно проводятся два раза в неделю вместо занятий в стиле Майсур. Учителя направляют практику, корректируя и помогая в выполнении асан, и ведут группу учеников через серию асан одновременно.
Traditionally, ashtanga vinyasa yoga students memorised a sequence and practised it together without being led by a teacher. Teacher led classes were introduced in K. Pattabhi Jois's later years. Such classes are typically taught twice per week in place of Mysore style classes. Teachers guide the practice, adjusting and assisting with postures and leading the group of students through a series of postures all at the same time.
Метод обучения
По словам внука Паттабхи Джойса, Р. Шарата Джойса, практикующие должны осваивать каждую позу по отдельности, прежде чем переходить к следующим. Однако сын Паттабхи Джойса, Манджу Джойс, не соглашался с этим; по его мнению, ученикам иногда разрешалось практиковать позы в нелинейном порядке. С начала двадцать первого века новое поколение учителей аштанга-виньяса йоги приняло правила Шарата, преподавая в линейном стиле, без вариаций. Практика обычно проходит в строгой обстановке, в стиле Майсура, под руководством учителя, одобренного Шаратом. Семинары, детальные инструкции по выравниванию и упражнения для укрепления мышц не должны являться частью метода, ни для практикующего, ни для учителя. Тем не менее, большинство учителей, утверждающих, что были обучены Шаратом, на практике используют вышеупомянутые методы, упражнения и позы в своей преподавательской деятельности.
According to Pattabhi Jois's grandson R. Sharath Jois, practitioners should master each pose separately attempting the others that follow. However, Pattabhi Jois's son Manju Jois disagreed; in his view, students were occasionally allowed to practice the postures in a non linear format. Since the beginning of the twenty first century a new generation of ashtanga vinyasa yoga teachers have embraced Sharath's rules, teaching in a linear style without variations. Practice typically takes place in a strict, Mysore style environment under the guidance of a Sharath approved teacher. Workshops, detailed alignment instructions and strength building exercises should not form part of the method, neither for the practitioner nor for the teacher. However, most teachers who claim to have been taught by Sharath do in practice employ the above methods, exercises and postures in their teaching.
Принципы
Аштанга виньяса йога делает акцент на определенных ключевых компонентах, а именно на тристхане («три точки действия или внимания», или более физические аспекты асан) и виньясе (который Шарат Джойс определяет как систему синхронизации дыхания и движения).
Ashtanga vinyasa yoga emphasizes certain key components, namely tristhana ("three places of action or attention", or the more physical aspects of poses) and vinyasa (which Sharath Jois defines as a system of breathing and movement).
Тристань
Тристхана означает три точки внимания или действия: дыхание (пранаяма), поза (асана) и взгляд (дришти). Эти три элемента считаются основополагающими для практики аштанга-йоги, охватывая три уровня очищения: тело, нервную систему и ум. Они должны выполняться одновременно и в согласованности друг с другом. Дыхание в идеале должно быть ровным и устойчивым по продолжительности вдохов и выдохов.
Tristhana means the three places of attention or action: breathing system (pranayama), posture (asana), and looking place (drishti). These are considered core concepts for ashtanga yoga practice, encompassing the three levels of purification: the body, nervous system, and the mind. They are supposed to be performed in conjunction with each other. Breathing is ideally even and steady, in terms of the length of the inhalations and exhalations.
Виниаса
Виньясы – это плавные последовательности движений, соединяющие каждую асану со следующей. Кроме того, современная виньяса-йога координирует дыхание с переходными движениями виньясы между асанами. По словам Шарата Джойса, цель виньясы – очистить кровь, которая, как считается, в противном случае нагревается и загрязняется практикой асан. Он уточняет: «Если ваша сила дыхания позволяет делать, возможно, десять секунд на вдох и выдох, делайте десять; если пятнадцать секунд возможно, делайте пятнадцать. Если возможно сто, выполняйте сто. Если возможно пять, делайте пять». Различные влиятельные личности обсуждали специфический процесс дыхания в аштанга виньяса йоге. Паттабхи Джойс рекомендовал дышать полно и глубоко с закрытым ртом, хотя он и не называл это дыханием уджаи. Однако Манджу Джойс это делает, ссылаясь на стиль дыхания, называемый диргха речака пурака, что означает длинные, глубокие, медленные выдохи и вдохи. «Это должно быть диргой – длинным, и как музыка. Звук очень важен. Необходимо выполнять уджаи пранаяму». Он повторил эту мысль на конференции в 2013 году, заявив: «Вы делаете нормальное дыхание, вдох и выдох со звуком. Дыхание уджаи – это вид пранаямы. Это просто нормальное дыхание со свободным потоком». Что касается других видов пранаямы, то существует общее мнение, что их следует практиковать после освоения асан. Паттабхи Джойс изначально преподавал пранаяму тем, кто практиковал вторую серию, а затем изменил свое решение, преподавая пранаяму после третьей серии. Позже Шарат Джойс выпустила серию видео, обучающих начинающих чередованию дыхания через ноздри. Эту практику пранаямы его дед никогда не преподавал начинающим, и это одно из многих изменений, внесенных Шаратом в метод обучения аштанге. Шарат Джойс говорит: «Без бандх дыхание будет неправильным, а асаны не принесут пользы».
Vinyasas are flowing sequences of movements that connect each asana to the next. Additionally, modern vinyasa yoga coordinates the breath with the vinyasa transition movements between the asanas. According to Sharath Jois, the purpose of vinyasas is to purify the blood, which is supposedly otherwise heated and contaminated by the practice of asanas. He goes on to clarify: "[if] your breath strength is possibly ten second inhalations and exhalations, you do ten; fifteen seconds possible, you do fifteen. One hundred possible, you perform one hundred. Five is possible, you do five". Various influential figures have discussed the specific process of breathing in ashtanga vinyasa yoga. Pattabhi Jois recommended breathing fully and deeply with the mouth closed, although he did not specifically term this as ujjayi breathing. However, Manju Jois does, referring to a breathing style called dirgha rechaka puraka, meaning long, deep, slow exhalations and inhalations. "It should be dirgha long, and like music. The sound is very important. You have to do the ujjayi pranayama". He reiterated this notion in a conference in 2013, stating: "You do normal breath, inhalation and exhalation with sound. Ujjayi breath is a type of pranayama. This is just normal breath with free flow". As far as other types of pranayama are concerned, the consensus is that they should be practised after the asanas have been mastered. Pattabhi Jois originally taught pranayama to those practicing the second series and later changed his mind, teaching pranayama after the third series. Sharath Jois later produced a series of videos teaching alternate nostril breathing to beginners. This pranayama practice was never taught to beginners by his grandfather and it is one of the many changes Sharath has made to the ashtanga yoga method of instruction. Sharath Jois says: "Without bandhas, breathing will not be correct, and the asanas will give no benefit". Sanskrit Translation vande gurūṇāṁ caraṇāravindesaṁdarśita svātma sukhāvabodheniḥśreyase jāṅ̇galikāyamānesaṁsāra hālāhala mohaśāntyai ābāhu puruṣākāraṁśaṅ̇kha cakrāsi dhāriṇamsahasra śirasaṁ śvetampraṇamāmi patañjalim I bow to the lotus feet of the gurus,The awakening happiness of one's own self revealed,Beyond better, acting like the jungle physician,Pacifying delusion, the poison of Samsara. Taking the form of a man to the shoulders,Holding a conch, a discus, and a sword,One thousand heads white,To Patanjali, I salute. and closes with the "mangala mantra" (Lokaksema): This text was imparted to Krishnamacharya in the early 1900s by his Guru, Yogeshwara Ramamohana Brahmachari. Jois insists that the text described all of the asanas and vinyasas of the sequences of the ashtanga system. However, the text is said to have been eaten by ants so it is impossible to verify his assertions. Additionally, it is unusual that the text is not mentioned as a source in either of the books by Krishnamacharya, Yoga Makaranda (1934) and Yogāsanagalu (c. 1941). According to Manju Jois, the sequences of ashtanga yoga were created by Krishnamcharya. There is some evidence to support this in Yoga Makaranda, which lists nearly all the postures of the Pattabhi Jois primary series and several postures from the intermediate and advanced series, described with reference to vinyasa. There is also evidence that the ashtanga yoga series incorporates exercises used by Indian wrestlers and British gymnasts. Recent academic research details documentary evidence that physical journals in the early 20th century were full of the postural shapes that were very similar to Krishnamacharya's asana system. It was Jois's belief that asana, the third limb, must be practiced first, and only after that could one master the other seven limbs. However, the name ashtanga in Jois's usage may, as yoga scholar Mark Singleton suggests, derive from the old name of surya namaskar in the system of dand gymnastic exercises, which was named ashtang dand after one of the original postures in the sequence, ashtanga namaskara (now replaced by chaturanga dandasana), in which eight body parts all touch the ground, rather than Patanjali's yoga. Some of the differences include the addition or subtraction of postures in the sequences, and specific practice prescriptions to specific people. Several changes to the practice have been made since its inception. Nancy Gilgoff, an early student, describes many differences in the way she was taught ashtanga to the way it is taught now. Beryl Bender Birch created what Yoga Journal calls "the original power yoga" in 1995. Bryan Kest, who studied ashtanga yoga under K. Pattabhi Jois, and Baron Baptiste, a Bikram yoga enthusiast, separately put their own spins on the style and provided its branding. Neither Baptiste's power yoga nor Kest's power yoga are synonymous with ashtanga yoga. In 1995, Pattabhi Jois wrote a letter to Yoga Journal expressing his disappointment at the association between his ashtanga yoga and the newly coined power yoga, referring to it as "ignorant bodybuilding".
Я преклоняюсь перед лотосными стопами гуру,
пробуждающим счастьем собственного «Я» раскрывающим,
превосходящим все лучшее, действующим как джунглевый целитель,
успокаивающим заблуждение, яд Самсары.
Принимающим форму человека до плеч,
держащим раковину, чакру и меч,
с тысячей белых голов,
приветствую Патанджали.
и заканчивается «мангала мантрой» (Лока кшема):
Vinyasas are flowing sequences of movements that connect each asana to the next. Additionally, modern vinyasa yoga coordinates the breath with the vinyasa transition movements between the asanas. According to Sharath Jois, the purpose of vinyasas is to purify the blood, which is supposedly otherwise heated and contaminated by the practice of asanas. He goes on to clarify: "[if] your breath strength is possibly ten second inhalations and exhalations, you do ten; fifteen seconds possible, you do fifteen. One hundred possible, you perform one hundred. Five is possible, you do five". Various influential figures have discussed the specific process of breathing in ashtanga vinyasa yoga. Pattabhi Jois recommended breathing fully and deeply with the mouth closed, although he did not specifically term this as ujjayi breathing. However, Manju Jois does, referring to a breathing style called dirgha rechaka puraka, meaning long, deep, slow exhalations and inhalations. "It should be dirgha long, and like music. The sound is very important. You have to do the ujjayi pranayama". He reiterated this notion in a conference in 2013, stating: "You do normal breath, inhalation and exhalation with sound. Ujjayi breath is a type of pranayama. This is just normal breath with free flow". As far as other types of pranayama are concerned, the consensus is that they should be practised after the asanas have been mastered. Pattabhi Jois originally taught pranayama to those practicing the second series and later changed his mind, teaching pranayama after the third series. Sharath Jois later produced a series of videos teaching alternate nostril breathing to beginners. This pranayama practice was never taught to beginners by his grandfather and it is one of the many changes Sharath has made to the ashtanga yoga method of instruction. Sharath Jois says: "Without bandhas, breathing will not be correct, and the asanas will give no benefit". Sanskrit Translation vande gurūṇāṁ caraṇāravindesaṁdarśita svātma sukhāvabodheniḥśreyase jāṅ̇galikāyamānesaṁsāra hālāhala mohaśāntyai ābāhu puruṣākāraṁśaṅ̇kha cakrāsi dhāriṇamsahasra śirasaṁ śvetampraṇamāmi patañjalim I bow to the lotus feet of the gurus,The awakening happiness of one's own self revealed,Beyond better, acting like the jungle physician,Pacifying delusion, the poison of Samsara. Taking the form of a man to the shoulders,Holding a conch, a discus, and a sword,One thousand heads white,To Patanjali, I salute. and closes with the "mangala mantra" (Lokaksema): This text was imparted to Krishnamacharya in the early 1900s by his Guru, Yogeshwara Ramamohana Brahmachari. Jois insists that the text described all of the asanas and vinyasas of the sequences of the ashtanga system. However, the text is said to have been eaten by ants so it is impossible to verify his assertions. Additionally, it is unusual that the text is not mentioned as a source in either of the books by Krishnamacharya, Yoga Makaranda (1934) and Yogāsanagalu (c. 1941). According to Manju Jois, the sequences of ashtanga yoga were created by Krishnamcharya. There is some evidence to support this in Yoga Makaranda, which lists nearly all the postures of the Pattabhi Jois primary series and several postures from the intermediate and advanced series, described with reference to vinyasa. There is also evidence that the ashtanga yoga series incorporates exercises used by Indian wrestlers and British gymnasts. Recent academic research details documentary evidence that physical journals in the early 20th century were full of the postural shapes that were very similar to Krishnamacharya's asana system. It was Jois's belief that asana, the third limb, must be practiced first, and only after that could one master the other seven limbs. However, the name ashtanga in Jois's usage may, as yoga scholar Mark Singleton suggests, derive from the old name of surya namaskar in the system of dand gymnastic exercises, which was named ashtang dand after one of the original postures in the sequence, ashtanga namaskara (now replaced by chaturanga dandasana), in which eight body parts all touch the ground, rather than Patanjali's yoga. Some of the differences include the addition or subtraction of postures in the sequences, and specific practice prescriptions to specific people. Several changes to the practice have been made since its inception. Nancy Gilgoff, an early student, describes many differences in the way she was taught ashtanga to the way it is taught now. Beryl Bender Birch created what Yoga Journal calls "the original power yoga" in 1995. Bryan Kest, who studied ashtanga yoga under K. Pattabhi Jois, and Baron Baptiste, a Bikram yoga enthusiast, separately put their own spins on the style and provided its branding. Neither Baptiste's power yoga nor Kest's power yoga are synonymous with ashtanga yoga. In 1995, Pattabhi Jois wrote a letter to Yoga Journal expressing his disappointment at the association between his ashtanga yoga and the newly coined power yoga, referring to it as "ignorant bodybuilding".
Этот текст был передан Кришнамачарье в начале 1900-х годов его гуру, Йогешварой Рамамоханой Брахмачари. Джойс утверждает, что текст описывал все асаны и виньясы последовательностей системы аштанги. Однако, как говорят, текст был съеден муравьями, поэтому невозможно проверить его утверждения. Кроме того, необычно, что текст не упоминается в качестве источника ни в одной из книг Кришнамачарьи, «Йога Макаранда» (1934) и «Йогасанагалу» (ок. 1941). По словам Манджу Джойса, последовательности аштанга-йоги были созданы Кришнамачарьей. В «Йога Макаранде» есть некоторые доказательства, подтверждающие это, где перечислены почти все позы первичной серии Паттабхи Джойса и несколько поз из промежуточной и продвинутой серий, описанных со ссылкой на виньясу. Также есть свидетельства того, что в серии аштанга-йоги включены упражнения, используемые индийскими борцами и британскими гимнастами. Недавние академические исследования подробно описывают документальные свидетельства того, что физические журналы начала 20-го века были полны поз, очень похожих на систему асан Кришнамачарьи. Джойс считал, что сначала необходимо практиковать асану, третью ветвь, и только после этого можно овладеть остальными семью ветвями. Однако, как предполагает исследователь йоги Марк Синглтон, название аштанга в использовании Джойса может происходить от старого названия сурья намаскар в системе гимнастических упражнений данд, которая называлась аштанг данд в честь одной из первоначальных поз в последовательности, аштанга намаскара (теперь заменена чатурангой дандасаной), в которой восемь частей тела касаются земли, а не йоги Патанджали. Некоторые различия включают добавление или вычитание поз в последовательностях и конкретные предписания практики для конкретных людей. С момента своего появления в практику было внесено несколько изменений. Нэнси Гилгофф, одна из первых учениц, описывает множество различий в том, как ее учили аштанге, и в том, как ее преподают сейчас. Берил Бендер Бирч создала то, что Yoga Journal называет «оригинальной силовой йогой» в 1995 году. Брайан Кест, который изучал аштангу под руководством К. Паттабхи Джойса, и Барон Баптист, энтузиаст бикрам-йоги, независимо друг от друга внесли свои коррективы в стиль и создали его брендинг. Ни силовая йога Баптиста, ни силовая йога Кеста не являются синонимами аштанга-йоги. В 1995 году Паттабхи Джойс написал письмо в Yoga Journal, выразив свое разочарование ассоциацией между его аштанга-йогой и недавно придуманной силовой йогой, назвав ее «невежественным бодибилдингом».
Vinyasas are flowing sequences of movements that connect each asana to the next. Additionally, modern vinyasa yoga coordinates the breath with the vinyasa transition movements between the asanas. According to Sharath Jois, the purpose of vinyasas is to purify the blood, which is supposedly otherwise heated and contaminated by the practice of asanas. He goes on to clarify: "[if] your breath strength is possibly ten second inhalations and exhalations, you do ten; fifteen seconds possible, you do fifteen. One hundred possible, you perform one hundred. Five is possible, you do five". Various influential figures have discussed the specific process of breathing in ashtanga vinyasa yoga. Pattabhi Jois recommended breathing fully and deeply with the mouth closed, although he did not specifically term this as ujjayi breathing. However, Manju Jois does, referring to a breathing style called dirgha rechaka puraka, meaning long, deep, slow exhalations and inhalations. "It should be dirgha long, and like music. The sound is very important. You have to do the ujjayi pranayama". He reiterated this notion in a conference in 2013, stating: "You do normal breath, inhalation and exhalation with sound. Ujjayi breath is a type of pranayama. This is just normal breath with free flow". As far as other types of pranayama are concerned, the consensus is that they should be practised after the asanas have been mastered. Pattabhi Jois originally taught pranayama to those practicing the second series and later changed his mind, teaching pranayama after the third series. Sharath Jois later produced a series of videos teaching alternate nostril breathing to beginners. This pranayama practice was never taught to beginners by his grandfather and it is one of the many changes Sharath has made to the ashtanga yoga method of instruction. Sharath Jois says: "Without bandhas, breathing will not be correct, and the asanas will give no benefit". Sanskrit Translation vande gurūṇāṁ caraṇāravindesaṁdarśita svātma sukhāvabodheniḥśreyase jāṅ̇galikāyamānesaṁsāra hālāhala mohaśāntyai ābāhu puruṣākāraṁśaṅ̇kha cakrāsi dhāriṇamsahasra śirasaṁ śvetampraṇamāmi patañjalim I bow to the lotus feet of the gurus,The awakening happiness of one's own self revealed,Beyond better, acting like the jungle physician,Pacifying delusion, the poison of Samsara. Taking the form of a man to the shoulders,Holding a conch, a discus, and a sword,One thousand heads white,To Patanjali, I salute. and closes with the "mangala mantra" (Lokaksema): This text was imparted to Krishnamacharya in the early 1900s by his Guru, Yogeshwara Ramamohana Brahmachari. Jois insists that the text described all of the asanas and vinyasas of the sequences of the ashtanga system. However, the text is said to have been eaten by ants so it is impossible to verify his assertions. Additionally, it is unusual that the text is not mentioned as a source in either of the books by Krishnamacharya, Yoga Makaranda (1934) and Yogāsanagalu (c. 1941). According to Manju Jois, the sequences of ashtanga yoga were created by Krishnamcharya. There is some evidence to support this in Yoga Makaranda, which lists nearly all the postures of the Pattabhi Jois primary series and several postures from the intermediate and advanced series, described with reference to vinyasa. There is also evidence that the ashtanga yoga series incorporates exercises used by Indian wrestlers and British gymnasts. Recent academic research details documentary evidence that physical journals in the early 20th century were full of the postural shapes that were very similar to Krishnamacharya's asana system. It was Jois's belief that asana, the third limb, must be practiced first, and only after that could one master the other seven limbs. However, the name ashtanga in Jois's usage may, as yoga scholar Mark Singleton suggests, derive from the old name of surya namaskar in the system of dand gymnastic exercises, which was named ashtang dand after one of the original postures in the sequence, ashtanga namaskara (now replaced by chaturanga dandasana), in which eight body parts all touch the ground, rather than Patanjali's yoga. Some of the differences include the addition or subtraction of postures in the sequences, and specific practice prescriptions to specific people. Several changes to the practice have been made since its inception. Nancy Gilgoff, an early student, describes many differences in the way she was taught ashtanga to the way it is taught now. Beryl Bender Birch created what Yoga Journal calls "the original power yoga" in 1995. Bryan Kest, who studied ashtanga yoga under K. Pattabhi Jois, and Baron Baptiste, a Bikram yoga enthusiast, separately put their own spins on the style and provided its branding. Neither Baptiste's power yoga nor Kest's power yoga are synonymous with ashtanga yoga. In 1995, Pattabhi Jois wrote a letter to Yoga Journal expressing his disappointment at the association between his ashtanga yoga and the newly coined power yoga, referring to it as "ignorant bodybuilding".
Риск травмы
В статье, опубликованной в журнале The Economist, сообщалось, что "значительное число учеников мистера Джойса, казалось, постоянно хромали с травмами коленей или спины, поскольку подвергались его "корректировкам", которые заключались в насильственном помещении в позу лотоса, шпагат или прогиб". Тим Миллер, один из учеников Джойса, отмечает, что "корректировки были весьма агрессивными". Травмы, связанные с аштанга-йогой Джойса, обсуждались в статье, опубликованной на Huffington Post. В 2008 году европейские исследователи йоги опубликовали опрос практикующих аштанга-йогу, который показал, что 62 процента респондентов получили как минимум одну травму, длившуюся более месяца. Однако в опросе отсутствовала контрольная группа (состоящая из людей, схожих по характеристикам, но не практикующих данный вид йоги, например, практикующих другую форму йоги), что ограничивало достоверность его результатов.
In an article published by The Economist, it was reported that "a good number of Mr Jois's students seemed constantly to be limping around with injured knees or backs because they had received his "adjustments", yanking them into Lotus, the splits, or a backbend". Tim Miller, one of Jois's students, indicates that "the adjustments were fairly ferocious". Injuries related to Jois's ashtanga yoga have been the subject of discussion in a Huffington Post article. In 2008, yoga researchers in Europe published a survey of practitioners of ashtanga yoga that indicated that 62 percent of respondents had suffered at least one injury that lasted longer than one month. However, the survey lacked a control group (of similar people not subject to the treatment, such as people who had practised a different form of yoga), which limited its validity.