Namaste!
Practicing Meditation
in the tradition of
Yoga
Meditation is the
essence of yoga. If you check the offerings at most Sacramento yoga
studios you'd get the impression that yoga is all about doing a
series of poses (the asanas) and maybe a little breathwork
(pranayama). What's on the schedules reflects our current
obsession with fitness rather than the scope of the yoga tradition.
The physical aspects of yoga are actually one small aspect of a
broad philosophical and meditative tradition.
Most lineages of
yoga trace their philosophical roots back to the Yoga Sutra
of Patanjali, an Indian text of 198 aphorisms from 200 B.C. that
explores raja yoga -- a meditative path to samadhi, or
enlightenment. Patanjali's eight-limbed system (ashta-anga
in Sanskrit) talks about the physical practices as just a small step
of the journey.
Hatha yoga is the
broad category of yoga practices focusing on the physical body but
it doesn't stop there. Most of the classic texts coming out of this
tantric tradition (which flowered 800-1200 A.D.) such as the
Hatha Yoga Pradipika typically devote more space to the
meditative work than to the poses of yoga. Our subversive job
as yoga teachers is to sneak bits of the meditative techniques and
philosophy of yoga into asana classes in the hope of kindling an
interest in the deeper aspects of the tradition.
Meditation techniques
Each lineage of
the tradition has experimented with and handed down those techniques
that generations of yogis have found effective. It's fun to
experiment but eventually you need to settle down with one group of
practices and stick with it for a long run. It needs to work its way
into your subconscious. Constantly trying new techniques will be as
fruitless as trying to dig a productive well by starting and
abandoning a whole series of shallow holes in eternal quest of the
perfect spot. Give it time to work.
That's not to say that a
meditation practice shouldn't change -- what is appropriate for your
practice today may be totally useless or even a hindrance a year
from now. It's also productive to work with a wide variety of
supplemental techniques as preparation for a meditation sitting, for
use when the mind is overly agitated, or when performing eyes-open
meditation such as when walking or performing other
tasks.
The right technique. There isn't any one right
way to meditate except that you need to find a particular body of
technique that has enough resonance for you so you'll stay with the
practice. All paths are leading to the same goal but may give you
different experiences along the way. Anyone who insists that they
have figured out the best, speediest, most effective technique is
usually trying to sell that system to you. Hundreds of techniques
have been developed which appeal to different types of personalities
and work with varying degrees of effectiveness in different
circumstances.
There are no secrets. Whatever magic
and power a particular system has derives from repeated practice
resulting in a deep absorption of the technique into the
subconscious.
Some of the traditional yogic practices
include:
◎ Meditation on aspects of the body--
including heartbeat or breath
◎ Pranayama work - either
observing the natural breath or controlling some aspect of it
◎
Focusing on an object -- candle flame (tratak practice),
clouds or shadows
◎ Focusing on an image -- mandala,
yantra, statue, picture of saint or teacher
◎ Focusing on an
energy within -- a color or energy flow
◎ Nila
Bindu-- Looking for a purple inner light at the third eye point
◎ Anahata Sounds --Closing the ears with the fingers and
listening for the inner sounds
◎ Chakra meditation
--Focusing on a particular energy center within the body such as the
heart center
◎ Vipassana -- mindfully observing thoughts
but cultivating detachment
◎ Self-remembering --
constantly returning the mind to conscious awarnesss of the activity
at hand
◎ Mantra with the breath -- using a sound of
special meaning timed to the breath rhythm
◎ Mantra with its
own rhythm - TM is an example of this traditional practice style
◎ A combination of techniques -- such as a mantra
combined with an energy flow visualization
There are a
number of topics discussed further down on this page that may be of
interest on your journey. In addition, note that the links at the
right will take you to a variety of additional resources for both
broad inquiry into yoga philosophy and history as well as details on
specific meditation practices. If your Sacramento meditation journey
hits a roadblock, let me know. I'd be happy to assist if I
can.
Namaste.
Bill Counter
(916)
441-4914
Preparation for meditation
Meditation is somewhat like sleep - a
state that one can fall into effortlessly but only when the proper
conditions are present. Like sleep it can be learned but is
difficult to teach. All that can be taught are the preparations for
it. In a sense, we're frequently meditating but usually on the wrong
things (the job, the family, finances) and usually not in a very
coherent fashion -- mostly on the surface and seldom reaching the
depths. Learning some suitable techniques and making the proper
preparation can help us get deeper inside and make the journey
productive. Some basic preparations include:
Proper
environment. If possible dedicate a space just for meditation.
With time, this area and the objects in it will acquire the power to
produce tranquility in the mind. If this is not possible, at least
use a special blanket or pillow to sit on so your mind will get a
clue that it's time to shift gears when sitting down to practice.
Set the lighting at a low level so glare won't be distracting -- but
not so low that there will be a tendency to fall asleep.
Proper time. Of course the best time to meditate is
whenever you can develop the discipline to do it. The most effective
practice will be if you can do it twice a day -- perhaps just after
rising in the morning (while the mind is still uncluttered) and
either early evening or just before bed.
Determine your
sitting duration before you start. If you're doing 20 minute
sessions tell your mind to be quiet for that period of time before
starting. Stay with the practice for the alotted time even if you
feel it's not very productive on a given day. Resist the temptation
to evaluate progress as there will always be a part of your mind
that will tell you that you should be doing something else.
Wear comfortable clothing. Any discomfort from tight
clothing or uncomfortable temperature will be distracting. Take off
glasses or jewelry or your watch.
Minimize any possible
interruptions. Turn off the phonne. Tell people you don't want
to be disturbed.
Proper physical preparation. If
either you're drowsy or the mind is too active to settle into a
meditative state consider doing 10 to 15 minutes of hatha yoga as a
prelude. You want to be fully awake yet relaxed. The hatha practice
can serve to either calm or energize, depending on the type of
practice you do.
Posture is important. While some
people can meditate effectively while lying down, it's harder to
stay alert. Ideally the spine should be straight and upright. Sit
against a wall or use a pillow if back support is needed. Eventually
the practice will be more effective if you sit without support.
The legs should be tucked under or perhaps with one foot on
the opposite thigh (ardha padmasana - half lotus position). A pillow
under the sit bones will sometimes make sitting in a cross legged
position easier. If necessary, sit with the legs outstretched.
Sitting in a chair with the legs hanging down is less effective as
the blood tends to pool in the legs.
Settle in gradually.
Don't assume you're ready to initiate your technique the moment
you sit down. Let the mind quiet a bit. Perhaps do a few minutes of
pranayama such as a simple 3 part yogic breath, Kapalabhati (rapid
breaths stressing the exhales), Anuloma Viloma (alternate nostril
breathing) or the Ujjayi breath. These practices tend to balance
opposite energies in the body and prepare the mind for meditation.
Sit and watch. Observe the breath get shallower as
you let go of active control over the breath. Watch the thoughts
settle and the spaces between breaths get longer before gently
introducing your chosen meditation technique.
Mantra meditation basics
The Sanskrit word mantra is
derived from the roots man meaning "to think" and
tra meaning "to protect or free from bondage". Thus is is a
device that protects you from the bad habits of your own mind.
Mantra also can be translated as something that "carries you across"
--that is, from one state of consciousness to another.
The
mantras we use in the yoga tradition have been tested, proven
effective, handed down from teacher to student for thousands of
years. The mantras are sounds that are not arbitrarily "made up" but
rather those sounds that have appeared to various sages while in
deep meditative states. The sounds can be said to represent those
states of consciousness.
Mantra meditation acts as a
purification for the mind and the energy pathways much like hatha
yoga practice does for the physical body. The mantra gets its
effectiveness to purify the mind not simply as a word that is
repeated but from the vibration of the sound. A true mantra has no
referent or meaning in limited time and space. It is a pathway to
lead us on to the infinite, into the timeless.
SO HAM mantra meditation
To start with this mantra (pronounced
"so-hum") find a comfortable position and start with consciously
regulated deep breathing for 2 or 3 minutes. Then let the breath
slow down and allow it to assume its own pattern. Just observe the
breath without controlling it. The breath will get slower and
shallower as we move toward meditation and eventually reach a point
in deep meditative states where it seems to disappear (kevala
kumbhaka).
If it's the first time with the mantra say it
aloud several times to get the feel of the vibration and then
gradually make it softer and take it inside. We just set the mantra
in motion and then observe it coming up into the conscious mind.
Finding the mantra in the breath. Silently let the
mantra float up into the mind with the breath --SO on the inhale,
HAM on the exhale. Soham means "I am that", "I am existence itself"
-- without form, without quality, without past, present or
future--identifying with the absolute.
The mantra should come
into the mind as effortlessly as a thought would. Let it eventually
become more of a memory of a sound rather than a hard mechanical
repetition. Use the mantra with increasing subtlety as the practice
progresses -- both within a sitting and over time as your skills
improve.
Don't force -- the practice should move toward
efortlessness. Be gentle when the mind wanders. Effortlessly
re-introduce the mantra each time you're aware of having strayed
from the technique. I's a gradual training process of coming back to
it repeatedly.
There should be no feeling of supressing any
thoughts that arise. Simply observe them and go back to the
technique before the thoughts carry you off into an internal
conversation. With practice, the focus of the mind will shift from
the the thoughts to the mantra and into the stillness of the gaps
between mantra repetitions -- the realm of pure consciousness
itself. The thoughts will eventually get fewer and the vistas
between them will continue to expand. With extended practice
glimpses of the superconscious state of samadhi appear.
Don't be impatient -- learning to sit and do nothing will take
time.
Adding an awareness of energy flow. Each time
the inhale comes along, observe it as if it were a rising field of
energy (prana) moving from the base of the spine up to the
top of the head. With each exhale, envision a descending flow of
energy (apana) moving from the top of the head back down to
the base of the spine.
Ending a session. Try to sit
for at least 15 or 20 minutes. At the end of this time, gently let
go of the mantra while still keeping a meditative awareness.
Practice meditating without any effort or technique for another
minute or two. This is the time to to observe the effects of the
practice and see if we can (even briefly) move in a bit deeper.
Remember, the real meditation starts when use of the technique
stops. The mantra itself is not the meditation -- just a tool to
take us there.
After several minutes gradually start
deepening the breath and slowly shift your awareness back to the
body. Take another minute and gently open the eyes. Always come out
of meditation slowly and consciously so you can carry its effects
with you into the rest of your life. As an alternate to coming out
of the meditation as above, consider lying down on your back in
savasana (the corpse pose) for 5 to 10 minutes of deep
relaxation.
If you're interested in deeper results,
gradually increase the length of your sittings.
Meditating on OM
The sound OM is considered the primordial
mantra, the background sound of the universe.  In the
yoga tradition, OM is considered representative of all the sounds of
the Sanskrit alphabet due to the various positions of the tongue and
mouth required to produce it. Thus this is the mantra from which all
other mantras derive.
The 4 states of consciouness.
The glyph that represents the sound OM can be said to be a pictorial
representation of the four states of consciousness that we deal with
on the path of yoga. The large lower curve represents our normal
waking state. The squiggle in the middle represents the dream state.
The smaller upper curve represents deep, dreamless sleep.
The dot in the upper right represents the fourth state of
consciousness, the 8th limb of Patanjali's 8 limbed path, samadhi.
In between this state of deep meditation and our other states of
consciousness is avidya (or maya)-- a veil of illusion. Avidya
literally means "the failure to see clearly or properly". This
avidya is represented by a crescent moon. Overcoming this avidya
problem is what all of our yoga practice is about.
Saguna
vs. Nirguna. Patanjali, in his classic text Yoga
Sutras uses the word pranava to designate the sound OM and
by that he means that OM is a universal mantra that carries the
essence or vibration of your own personal diety, Isvara. Patanjali
says that meditating on OM removes obstacles and allows the
consciousness to turn inward.
In a larger sense, we look at
OM as a mantra that carries the vibration of the whole universe and
thus is "nirguna" or without form. Nirguna mantras can be thus
categorized as more philosophical or universal than Saguna mantras
which derive from religious observations concerning a particular
deity.
Other examples of Nirguna mantras would be Soham, Tat
Tvam Asi ("that thou art") and Shanti ("peace"). Saguna mantras,
those with specific religious connotation, would include Om Namaha
Shivaya, Ram, Om Namo Narayana and hundreds more.
Starting
to meditate with OM. First get comfortable. Do a bit of
pranayama (such as ujjayi) to get the mind moving toward stillness.
If the mantra is new to you, say it out loud to get the feel of the
vibration. Listen to it. Feel it in your chest. Say it a few times
at 20 or 30 second intervals. Then start making it softer. Bring it
down to a whisper after a few more repetitions. Then take it inside,
make it silent. Continue to gently bring it into your awareness
every 20 or 30 seconds. Eventually it will find its own rhythm but
you need to help it along at first. Set it in motion again as soon
as you're aware of drifting either toward thoughts or
sleepiness.
Making it softer. At first, the use of the
mantra is effortful and mechanical. Over time let it soften so it
can guide you down more deeply instead of staying on the surface. OM
will be there softly, just in the background. Just enough presence
to keep you on the path. It will gradually become your primary focus
instead of the breath or the thoughts. By letting it find a rhythm
separate from the breath, you'll eventually be able to go inside
more deeply than with a breath rhythm based practice like Soham.
The primordial sound technique. If you need another
level of focus during your practice, try visualizing the mantra as
if it were an impulse coming directly from the area of your heart.
Feeling it as a massage there, a vibration.
Ending a
session. If you're working with a pre-determined sitting length
(say 20 minutes) on a regular basis, you'll eventually find that you
start coming up to the surface of your own accord. Just gently let
go of the mantra and sit for several minutes observing the effects
of the practice. If you feel it's time to end a session while you're
still deep in the practice, just bring your focus to the breath and
start deepening it. This will bering more awareness to the body and
your surroundings. Don't be in a rush. Sit and observe for a few
minutes.
Prana and the Nadis
In the yoga tradition, Prana is the name
for the life force, somewhat similar to the concept of "chi" in
oriental systems. Prana is said to be modulated and enhanced by
regulating the breath. Pranayama practices work with the energy of
the breath in various ways: changing duration, exploring different
rhythms and using kumbhaka (retention). The word pranayama is
translated variously as "extension" or "control" of the prana
--"that which moves". The goal of the practices include better
health, increased vitality and more meditative powers for the
yogi.
 The
drawing at right (from the mid eighteen hundreds) illustrates one
conception of the pattern of nadis, or subtle energy pathways
directing the prana around the body.
Note that different
drawings or texts from different sources seldom agree on placement
of these nadis.
Central nadis up the spine. In the
yogic "roadmap" of the meditative state, energy flows throughout the
body through thousands of these nadis. Three of these that run up
and down the spine are important tools for meditative work: the ida,
pingala and shushumna. The ida (representing lunar energy) and
pingala (representing solar energy) start at the lowest chakra
(muladhara--at the pelvic floor) and spiral around a central channel
(the sushumna), much like the symbol of the medical profession, the
Cadeuceus of Mercury.
In pranayama practice, ida is
associated with the left nostril, pingala with the right. Energy
leading one toward deeper meditative states is said to flow more
freely when ida and pingala (or left brain/right brain) energies are
in balance. The chakras are viewed as lotus flowers strung upon the
center channel, the sushumna nadi.
Kundalini
In Hatha Yoga practices of asana and
pranayama, we consciously try to increase energy flow throught the
body and in particular to balance the solar and lunar energies
circulating up and down the spine. When the energies are balanced
through these physical practices or meditation, a dormant energy
residing at the lowest chakra, termed Kundalini (meaning coiled or
latent) is said to rise up the spine. A common image of this action
is a coiled snake becoming active and rising upward.
This
energy activates each chakra sequentially producing a different
meditative state at each stop. The visual image would be of lotus
petals, formerly drooping downward, now rising up toward the head as
each chakra is energized. The bija, or seed mantras, of each chakra
are said to be the sounds heard when the chakras are energized by
kundalini.
The rising of Kundalini energy can be thus viewed
both as a metaphor for the enlightenment process as well as a
physical response to certain meditative practices. In some cases the
physical sensations of tingling or energy rising up the spine may
occur spontaneously without conscious practice. In other cases,
these feelings may be produced by intentional visualization of these
energy flows.
In the Kundalini model, the energy rising up
(shakti) represents the kinetic, or feminine, aspect uniting with
the static masculine element, the consciousness residing in the head
(shiva). Neither is complete without the other.
Chakra Meditation
The chakras are subtle centers of energy
in the body as viewed from the perspective of a meditative state.
 As
we meditate, the awareness of the body as something solid becomes
replaced by a view of the body as a field of energy. This aspect of
ourselves (in yoga philosophy termed suksma sarira or the subtle
body) deals with the mind, the nervous system and energy flow. The
chakra system can thus be viewed both as a subjective experience of
the energy of the body during meditation as well as a mandala system
we consciously create within ourselves to further the meditative
process.
This system of mandalas also represents a way of
looking at the evolution of pure consciousness (perusha) into the
grosser aspects of the universe (prakriti) -- mind, the physical
elements and our own bodies. Yoga is a process of interiorization --
we study ourselves and if the answers are not contained within, they
are not knowable. The chakras are thus a means of relating the small
universe within each of us to the larger whole. In meditation, we
attempt to reverse the process of evolution -- moving from lower
levels of thinking and behavior back up to a level of pure
consciousness and bliss.
Using the Chakras in
meditation. The chakra system is a metaphor for the process of
enlightenment with each center representing a different level or
state of consciousness. Meditating on each center can be said to act
as a trigger to turn on a different area of the nervous system. The
locations of the chakras serve as reminders that consciousness
doesn't just reside in the head but extends down the spine and out
to every cell in the body. Meditation can be done on the centers by
simply holding awareness there, focusing on some aspect of
consciousness represented by that chakra, or by using the colors,
symbols or mantra associated with each center. We'll give you three
practices to explore.
Chakra meditation using OM.
After sitting and exploring some preliminary pranayama then let
the breath control go. Take your awareness to the Muladhara chakra,
at the base of the spine. Let the mantra OM silently come into your
awareness as if the mantra were being generated at the base of the
spine. Try to feel it as a vibration there and with practice, you'll
find that it develops its own rhythm. Not timed to the breath but
slower. With deeper practice perhaps you'll find that rhythm of the
pulsation of the cerebrospinal fluid -- every 6 or 7 seconds -- and
let the mantra align with it.
Stay several minutes at this
lowest chakra, then move your awareness up several inches to the
Svadisthana chakra and again let OM feel as it's a vibration
directly at that chakra. Continue up the spine spending several
minutes feeling the mantra at each of the chakras. When you get to
the Sahasrara, at the top of the head, imagine the location to be
several inches above the head. Finish your meditation after several
minutes at the Sahasrara by letting go of the mantra and continuing
to sit quietly and observe the energetic effects of the
practice.
Chakra meditation using the bija mantras.
This is a similar practice but using the bija (or seed) mantras
for each of the chakras. Again we start at the base of the spine but
now using the mantra LAM. As in the previous practice, try to feel
the mantra as a vibration and let it find its own rhythm. Deeper
work can include visualizing a 4 petaled crimson lotus at this
location moving from a dormant position to facing upward and having
its petals open as the practice progresses. In the traditional work,
each chakra's lotus has a color scheme, a certain number of petals
and each petal has a letter of the Sanskrit alphabet associated with
it -- its own mantra. But initially, just keep it simple. The seed
mantra, the visualization of the colored lotus opening and the feel
of the energy.
After several minutes at the lowest chakra,
continue up the spine, spending time at each chakra. Use the mantras
VAM (Svadisthana), RAM (Manipura), YAM (anahata), HAM (Vishuddha)and
OM (Ajna). In this practice when you arrive above the top of the
head, either continue with OM or (if you can keep the meditative
focus), just be there going more deeply without a mantra. Continue
to observe for an additional 15 or 20 minutes if you have the time.
Eventually developing the skills to go deeper inside without
reliance on the use of a technique. See more chakra details
below.
Chakra meditation using Ida/Pingala nadis. In
this advanced practice, you envision the entire mandala field of the
chakras and the Ida and Pingala nadis wrapping around them in a
three dimensional spiral. Start with your awareness on the left side
of the Muladhara chakra at the base of the spine. As you take a long
inhalation, draw your awareness in a spiraling clockwise fashion
around the right side of the Svadisthana, the left side of the
Manipura, the right side of the Anahata, the left side of the
Vishuddha and on to the right petal of the 2 petaled lotus
symbolizing the Ajna chakra at the forehead. Continue drawing your
focus up to the top of the head and retain the breath as long as
comfortable. Your exhale takes you down the Pingala nadi. This
opposite spiral ends up on the right side of of the Muladhara
chakra. Is that enough fun to keep you busy for awhile?
Chakra symbolism
Muladhara Chakra This lowest chakra
represents both the instinctive level of life which supports our
basic existence as well as our spiritual potential -- the strength
to overcome spiritual obstacles. Mula means "root" or "foundation"
and thus this center is concerned with physical and egoic survival,
basic life requirements and security. Blockage of this center causes
fear of bodily injury, death or abandonment. This area is said to be
the seat of a great amount of tamas (inertia, lethargy) including
guilt, passions, unresolved traumas. This is also the home of
kundalini, our dormant transformative power. Meditation on this
center results in knowledge of kundalini as well as the means of
awakening it. It bestows breath and mind control and brings
steadiness to the body.
 Location: Base of the
spine
Mandala: Yellow
square
Petals: Crimson lotus
with 4 petals. The letters on the petals are in gold.
Mantra: LAM
Element: Earth (prithvi)
Sense: Smell
Associated animal: A white elephant,
representing strength and solidity.
Svadisthana Chakra This center is
concerned with pleasure and the gratification of desires --
especially instinctive drives arising from the unconscious concerned
with sexuality and procreation. Swa means "one's own", adisthana
means "dwelling place or abode", thus "one's own abode". Blockage of
energy flow through this chakra supposedly results in decisions
being made instinctively to satisfy unconscious urges rather than
allowing our rational mind to come up with more satisfying answers.
It is said that meditation on this center confers intuitional
knowledge, annihilates impure qualities and provides control over
lust, anger, greed, jealousy and other subconscious
urges.
 Location:
Sacrum
Mandala: White crescent.
The inward facing petals represent the unconscious, the outward
facing ones represent the conscious.
Petals: Vermillion colored lotus with 6
petals representing cruelty, suspicion, disdain, delusion, false
knowledge, mercilessness The letters on the petals are the color of
lightning.
Mantra:
VAM
Element: Water
(apas)
Sense: Taste
Associated animal: Makara, a half submerged
crocodile like creature representing the partially submerged
(unconscious) areas of the mind.
Manipura Chakra This chakra is
concerned with power over others: personal power, gratification of
power instincts, social identity, territoriality, dynamism, courage,
confidence, will and achievement. This is the center of energy and
prana. Much like the sun radiates energy out to all planets, this
center is said to radiate prana to all parts of the body, regulating
and energizing organs, systems and processes. Mani means "jewel",
pura means "city" referring to the spiritual treasures possible with
meditation on this center. Blockage is said to cause poor health,
depression, submission, fear, lack of motivation and committment.
The individual is rendered lifeless -- deficient in vitality, devoid
of energy. Mediktation on this center gives freedom from disease and
knowledge of the entire physical body. The body is said to become
luminous.
 Location:
Navel
Mandala: Red
with a downward pointing triangle.
Petals: A grey lotus -- the color of rain
clouds. The 10 petals represent the vrittis shame, fickleness,
jealousy, desire, laziness, sadness dullness, ignorance, disgust,
fear. The letters are in blue.
Mantra:
RAM
Element: Fire
(tejas)
Sense: Sight
Associated animal: A ram --
representing dynamic action and indomitable indurance.
Anahata Chakra This center is
concerned with selfless love, self expression and verbal
communication. Anahata means "unstruck" -- that is, a sound
generated purely in consciousness without the vibration of a
physical object. Anahata is also concerned with wish fulfillment --
thoughts are said to become reality when Kundakini is in Anahata. It
symbolizes the freedom of moving away from a preordained fate --
exercising free will and taking charge to determine one's own
destiny. Blockage is said to cause lack of self-expression
and inability to communicate well. It represents the bondage of
emotional attachment -- making decisions on the basis of emotions,
feelings and instinct rather than in terms of furthering the
spiritual quest. Awakening of this center means emotions harmonize
and enhance rather than oppose spiritual awakening. The senses are
under control, there is emotional balance and less attachment to
worldly things .
 Location:
Heart
Mandala: A
grey, smoke colored mandala consisting of two interlocked triangles
symbolizing the union of Shiva and Shakti -- heart and intelligence.
This is the dividing point between lower material concerns and the
spiritual realms. Mortal vs. immortal.
Petals: 12 red petals representing hope,
anxiety, endeavor, possession, arrogance, languor, conceit,
discrimination, covetousness, duplicity, indecision and regret. The
letters on the petals are vermillion.
Mantra: YAM
Element: Air (vayu)
Sense: Touch
Associated animal: A black antelope,
symbolizing alertness and fleetness of foot. One must remain alert
in order to keep on the path and not fall prey to negative
thoughts.
Visuddha Chakra This chakra is
concerned with the integration of internal and external realities,
communication and consciousness. Purifying and harmonizing of all
opposites takes place here. Yet this chakra also symbolizizes a
greater acceptance (and transcendence) of these dualities. Shuddi
means "to purify". When awakened, this center is said to allow us to
discriminate between realizations coming from higher consciousness
versus the mere babblings of wishful thinking and the unconscious
mind..
 Location:
Throat
Mandala:
White circle -- like the full moon.
Petals: 16 smoky purple petals with letters
on them in crimson.
Mantra:
HAM
Element: The
void, ether (akasha)
Sense:
Hearing
Associated animal: A
snow white elephant, representing purity.
Ajna Chakra This center represents
wisdom, intuition and higher intellectual functions. Ajna means
"command". Blockage of this center is said to cause absence of
intuitive perception and an inability to focus. Meditation on this
center opens the possibility for transformation of consciousness and
is said to enhance the ability to receive knowledge without using
the normal (exterior) senses. Ajna chakra is associated with the
"third eye" -- looking inward for knowledge. One sees the hidden
essence underlying visible appearances and has greater intuitive
knowledge .
 Location: Middle of the
forehead.
Mandala: White
circle
Petals: 2 white petals
representing solar/left brain (pingala nadi) and lunar/right brain
(ida nadi) energies.
The letters on the petals are also
white.
Mantra: OM
Sahasrara Chakra This thousand
petaled lotus represents the absolute -- an experience of reality
beyond form or description. When the consciousness is retained at
this center the goal of yoga, the superconscious state of samadhi,
is attained.
 Location: Top of the
head, or slightly above the head. The subtle or energy body is said
to have a slightly larger outline than the physical body.
Color: All colors
Petals: One thousand. The petals have
inscribed upon them all 50 letters of the Sanskrit alphabet repeated
20 times.
Mantra: This chakra
doesn't have a specific bija (seed) mantra associated with it. If
you're doing mantra meditation with your awareness in this chakra,
you can also use OM, the mantra for the Ajna chakra, at this
location. Or let go of the mantra work, keep your awareness here and
watch yourself move inside even more deeply.
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Meditation
Groups
In Sacramento...
If you're looking for groups practicing meditation
based on the philosophy and techniques of the yoga tradition Sacramento meditation takes you to
the bhoga page at Absolutely Ashtanga. Scroll down to the bottom for
some of the local options.
Meditation and
Pranayama topics on this page...
ujjayi pranayama
preparations for meditation
mantra meditation basics
soham mantra meditation
OM mantra meditation
prana and the nadis
kundalini
chakra meditation
chakra symbolism
More
Meditation
Resources...
TECHNIQUES OF MEDITATION
OM Mantra Meditation www.swamij.com/om-mantra.htm
www.santosha.com/om.html www.atmajoyoti.org
SOHUM Mantra Meditation www.swamij.com/sohum-mantra-108.htm
Gayatri Mantra Meditation www.swamij.com/gayatri.htm
Chakra Meditation kheper.net/topics/chakras rainbowbody.net/HeartMind
swamij.com/chakra-meditation.htm sivananda.org/teachings --an
animated, interactive guide
PRANAYAMA BASICS
Basic instruction on ujjayi pranayama, nadi shodhana (alternate
nostril breathing) and dirgha pranayama (full 3 part breath). www.yogasite.com/pranayama.htm
An article by Anusara teacher Doug Keller on ujjayi pranayama. www.doyoga.com/bk_ujjayi.html
GENERAL YOGA PHILOSOPHY AND
MEDITATION RESOURCES
A general overview of types of meditation from the
yoga tradition with sidebar articles on specific practices.
www.abc-of-yoga.com/meditation www.abc-of-meditation.com
Indian philosophy--This site is"A launch pad to
India's Spiritual treasure." geocities.com/Athens/ Acropolis/1863/
Meditation
articles and links to classic texts.
www.indiadevine.com
An article on
the meditative process by George Feuerstein
santosha.com/moksha
Kriya yoga
texts, biographies and more from the lieage of Sri Yuktesvar and
Lahiri Mahasaya. www.yoganiketan.net
The American Institute of Vedic
Studies website has lots of interesting Ayurveda, Vedic history and
yoga philosophy items by David Frawley.
www.vedanet.com
Advaita Vedanta meditation
techniques, classic literature and other resources. The second link
is to a discussion of meditation, the bottom is an article about the
meditative state of consciousness known as samadhi and use of the
term in classic yoga literature.
www.realization.org
realization.org
meditation realization.org
samadhi
SANSKRIT
A Sanskrit/English Dictionary. http://webapps.uni-koeln.de/tamil
Links to sanskrit texts, dictionaries, tutorials and
more.
http://sanskrit.gde.to
CLASSIC YOGA TEXTS
Yoga Sutras of Patanjali www.hrih.net/patanjali/ santosha.com/philosophy
www.yoganiketan.net & go to
"library" www.swamij.com/yoga-sutras.htm
Hatha Yoga Pradipika
santosha.com/philosophy/hatha
geocities.com/kriyadc
www.yoga-age.com/pradipika/part1.html
Astavakra Gita
realization.org/texts
santosha.com/philosophy/ashtavakra
Gheranda Samhita
classicyoga.org/texts
Shiva Samhita
www.geocities.com/kriyadc/shiva1.html
Bhagavad Gita
santosha.com/philosophy/gita-chapter1
Yoga Kundalini Upanishad
www.yoga-age.com/modern/end.html
Links to other esoteric texts www.rainbowbody.net/HeartMind/Links.htm
Ujjayi
Pranayama
The practice of Ujjayi Pranayama
involves a constriction of the throat. By means of this constriction
a sibilant or hissing sound is produced which can be utilized as a
mantra to aid in keeping the mind focused either during a seated
pranayama practice or in conjunction with various asanas. Think of
it as a "Darth Vader breath". The nature of the sound we produce
when incorporating Ujjayi with asana practice gives us feedback
regarding our state of mind, the quality of our pranayama practice
and the amount of difficulty we're experiencing with a particular
asana.
The Sanskrit word Ujjayi comes from the
syllable ud meaning "that which is moving upward, expanding"
and the word jaya which refers to conquest and success. As
with most of our yoga practice, this conquest is not of physical
obstacles (although pranayama does have significant physiological
benefits) but of those obstacles to enlightenment that we ourselves
have created in our minds.
The Sanskrit word
pranayama can be translated in various ways such as "control
of the life force" or "lengthening the breath". There is a theory in
yoga philosophy that by lengthening the breath (taking fewer breaths
per minute) the mind becomes more tranquil and also life expectancy
increases with this slower respiration. (There is the belief among
some yogis that this this longer life with slower breathing is due
to the fact that we're alotted only so many breaths per life).
The constriction of the throat in Ujjayi assists the
practitioner in this matter of lengthening the breath as the
decreased area of the airway acts as a regulator necessitating a
greater amount of time for each inhale and exhale. The practice also
tends to smooth out the breath and give greater control over the
diaphragm.
The practice of Ujjayi is ancient. The Hatha
Yoga Pradipika (one of the classic texts of hatha yoga -
c.1450) offers the following instructions:
"Closing the
mouth, draw in air slowly through the nostrils until the breath
fills the space from the throat to the heart with a noise. Perform
Kumbhaka (retention of the breath) and then exhale through Ida (the
left nostril). This removes disorders in the throat caused by phlegm
and stimulates the digestive fire in the body. It puts an end to the
diseases of the Nadis (the channels of subtle energy flow) and the
dhatus (basic elements of the body). Walking or standing, this
kumbhaka called Ujjayi should be practiced."
Book II, 51-53.
Translation by Swami Muktibodhananda Saraswati, Bihar School of
Yoga, 1985.
Learning the basic practice. Although
Ujjayi is performed with the mouth closed, having the mouth open
during initial practice allows easier constriction of the throat.
Sit in any comfortable position and close the eyes. With the mouth
open, draw the air in while holding the throat as if to say "aaah"
although just as a wispering, sibilant sound -- it is not vocalized.
The constriction in the throat is in the area of the pharynx, just
above the vocal cords. Try to produce a similar sound on the exhale
as well.
After a few cycles, try to maintain the production
of these sounds with the mouth closed. With the mouth closed the
sound will not be as loud at first but the intensity will increase
with practice. This is never a very loud breath. Quality is more
important than volume. It's quite obvious when close to someone
doing the practice but not very audible 10 feet away. Try to fill
and empty the lungs completely with each breath. Each should be
long, controlled and smooth.
In the Ashtanga yoga system,
the Ujjayi breath is combined with a partial Uddiyana Bandha
throughout the asana practice. This contraction across the low belly
tends to force more action of the breath up higher in the ribcage.
Visualizing the airflow in the throat. After
achieving some success with the basic technique, try becoming more
specific in terms of your observation of where the airflow is
hitting the throat. During the inhalations, the air should feel as
if it hitting a spot at the back of the throat before being
reflected down into the lungs. Think of the inhale as making the
sibilant sound "ssss". During the exhalations, the airflow should
feel as if directed up to the roof of the mouth, somewhat centered
on the palate, before being directed up and out through the
nostrils. Think of this exhale as having the character of the
aspirated sound "haaa".
Adding Antara Kumbhaka. This
is a retention of breath with the lungs filled. The word
antara means interior and kumbhaka means an earthen
pot. Thus sealing the air in the lungs is likened to trapping
something in a pot. Although retention is not utilized if doing
Ujjayi during asana practice, it should be added to the program when
doing Ujjayi as part of a seated pranayama practice. At the end of
an inhalation, retain the breath for as long as comfortably
possible. Start modestly and gradually increase the length of the
retentions. Go for quality. The beginning and end of the retentions
should be smooth -- it should have no rough edges. We're looking for
an even rate of flow. The inhale should end gradually and the
retention should begin without gasping or noticeable effort. When
the exhale begins after retention, it should start smoothly and
without effort.
Adding Bahya Kumbhaka. This is a
suspension of breath with lungs empty. The word bahya means
external, implying sealing the lungs with with little air inside.
After a few regular Ujjayi breaths, try suspending the breath at the
end of an exhale for as long as comfortable. The inhale following
should be smooth and comfortable. If not, perhaps you need to
shorten the retention the next time. Try a few cycles and then head
back to the regular breath. You'll probably find retention after an
exhale more challenging than retention after an inhale. Build up
your capacity comfortably over a period of months.
Adding
the 3 Bandhas. The next level of practice involves adding the
bandhas or locks during the retentions. Note that in traditional
pranayama (unlike Ashtanga asana practice or Iyengar style
pranayama) the bandhas are used only during retentions, not while
the breath is flowing. As an inhale (puraka in Sanskrit) is
being completed, two bandhas can be used during the retention.
Perform mulabandha by contracting and drawing up the muscles
of the perineum (between the anus and the penis or vagina).
Hold this contraction then add jalandhara bandha by
stretching the spine upwards, lengthening the neck by drawing the
head back a bit and then tilting the chin toward the chest. The chin
should press firmly into the v of the collarbones and the "drawing
back" motion enables one to get more stretch of the neck and an
extended spine. At the end of your retention, release mulabandha,
raise the head to level and smoothly exhale, listening to the ujjayi
sound through the nose.
During a retention after an exhale
(rechaka in Sanskrit) you can use all three bandhas. As the
exhale stops perform mulabandha by lifting at the perineum, then
execute uddiyana bandha by drawing the abdomen inward toward
the spine and upward toward the chest. Finally, drop the chin to the
chest for jalandhara bandha. When ready to begin the next inhale,
release the perineal and abdominal contractions, raise the head to
level and gently begin the inhale.
Anuloma (single
nostril) variations.
This version of Ujjayi (as described in
the Hatha Yoga Pradipika involves inhales through both
nostrils and exhales through the left only. For the exhales use the
right hand and close the right nostril with the thumb as with Nadi
Shodhana (alternate nostril breathing). The throat constriction can
be employed on both inhale and exhale. This can be combined with
retentions and bandhas as explained above. Although classically done
with exhales through the left nostril only, the practice obviously
can be done with exhales through the right as well (using the ring
finger to close the left nostril).
The left nostril (Ida
nadi) is associated with the parasympathetic nervous system, right
brain activities and relaxation. The right nostril (Pingala nadi) is
assocated with the sympathetic nervous system, left brain
activities, and is considered energizing. Sides can be alternated or
6 to 8 rounds can be done using the left nostril and then the same
utilizing the right. All inhales use both nostrils. The alternate
nostril pattern is particularly balancing and calming. Many
different rhythms are possible but the most common is that used for
Nadi Shodhana - 1:4:2 - with the retentions 4 times as long as the
inhale and the exhales twice the inhale length. If you're working
with a retention after the exhale as well, the rhythm then becomes
1:4:2:4. As your practice evolves you can maintain a particular
ratio but all 4 phases of the breath become longer.
Surya
Bheda and Chandra Bheda. The Sun Breath (surya) and Moon Breath
(chandra) are additional single nostril variants. When employed in
conjunction with the Ujjayi throat constriction, they're sometimes
called Pratiloma Pranayana. Surya Bheda (considered a warming
breath) uses inhales through the right nostril (associated with the
Pingala nadi), perhaps a retention, and exhales through both.
Chandra Bheda pranayama (considered a cooling breath) employs
inhales through the left and exhales through both nostrils.
Viloma variations. Viloma means something that is
against your natural inclination. Here it refers to stopping the
breath for a pause during either inhale or exhale (or both). Many
rhythms are possible depending on the results desired from the
practice. If just stepping the inhale, for instance, you could start
with a retention after an exhale. Then slowly inhale just 25% of
your capacity then pause. Inhale some more and pause at 50% filled,
75% filled and at the end of the inhale. Take an normal slow exhale
and repeat. While the breath is flowing, stay with the Ujjayi
constriction of the throat.
Another possible pattern is
(again just stepping the inhale) would be to inhale 5 seconds, then
pause for 5 seconds. Inhale again, pause again -- and so on all the
way to the top. Thus you're using a fixed pattern but not
pre-determining the number of steps to the top. Many other patterns
are worth exploring.
Starting a basic practice. Keep
it simple at first. Just work on the sound of the basic inhale and
exhale. Try to keep it going as much as possible with other
actions--walking, asana practice or other activity. After it becomes
comfortable (and starts becoming automatic) then add the retentions
and later the bandhas if you're doing a seated practice. Gradually
increase the length of the retentions but always stay within your
comfort zone. Gradually work up to a 20 minute (or longer) seated
practice -- perhaps a series of many different variations.
Use the ease and quality of your breath as a guide in
determining when to expand the practice to the next difficulty
level. We're looking for smoothness, an even rate of flow. No
difficulty easing into or out of retentions. A meditative focus. If
there is any strain or discomfort, reduce your praqctice to a more
reasonable level.
Have a fun practice!
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