Surya Namaskara A

Dear Friends,

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And onto our discussion of Surya Namaskara A - Sun Salutation A.  Surya Namaskara A is the opening sequence in Ashtanga Yoga, as well as many different styles of Hatha yoga.  It is the first and last sequence of Ashtanga Yoga for all levels of practitioners.  Apart from warming up the body with the constant pose/counter pose (i.e. upward facing dog, downward facing dog), it also helps to establish the rhythm to which the rest of the practice will resonate, regardless of level of experience.  It also helps the mind start to move into a place of focus by exercising dharana and dhyana - sensory withdrawal and concentration respectively.  Sensory withdrawal does not mean closing the ears and the eyes.  It means harnessing the senses so that they respond to the practitioner's command rather than external stimuli.  The ears are to focus on the sound of the Ujjayi breathing - this also reminds the practitioner to keep the breath calm despite the intensity of the practice.  They eyes are to stay still as they gaze on particular dristi (gazing point) points.  There is a dristi for each vinyasa:  A Vinyasa is the combination of one breath and one movement together.  In the Surya Namaskara A, there are 9 vinyasas.  The state of the asana refers to the pose that is held for 5 breaths instead of one.  The state of the asana for Surya Namaskara A is Downward Facing Dog, on the 6th vinyasa count, and the dristi for this pose is the navel (Navi Chakra Dristi).  See the chart below for details.

Why all of this attention to small details?  Is it only for the sake of yoga snobbery?  Absolutely not, though some may use this information for that purpose.  The attention to small details trains the mind to focus and to be more conscious.  Many people who practice yoga in the west do sun salutations with no consciousness, only mimicking movement.  "Indeed, the Sun Salutations done without following the rules mentioned are little more than exercise, and not true Surya Namaskara." (Jois, p. 40)  Jois suggests that it is necessary to adhere to the small details that are referenced in various yogic texts to bring a greater sense of presence in the practice.

When asked about newer styles of yoga developing in the west, and what validity did they carry, Pattabhi Jois said "They have noshastra."  Shastra refers to Yogic texts from which yoga practices are based on.  They lose key techniques that make the practice meditative, and only conduct physical activity.  This is not to say that Ashtanga Yoga is the only style with shastra - far from it.  Many styles that are practised in the west follow Yogic texts under the direction of a guru (i.e. Iyengar, Kripalu, Kundalini, various Hatha, etc . . .) .  Many, however, do not.  It is up to the practitioner to decide which style holds greater personal value.

With regards to Ujjayi breathing . . . I have often marvelled at my own teacher who practises with the utmost calm breath.  The slow and calm rhythm of his breath does not change despite the more challenging poses, and is present up until  the very last asana.  I cannot say that I can do the same, though I certainly put forth the conscious effort to do so.  Without the accentuation of breath, the muscles will tighten and blood will not flow properly to the muscles and organs - it is more harmful to practice without conscious breathing than to not take asanas but consciously breathe.  "All stretching needs to be done with sensitivity and awareness.  In this way we work with, rather than against, the body.  The breath is a great sensory tool that carries the natural intelligence of the body.  It enables us to sensitise our awareness and thereby regulate the intensity of the stretch.  As we inhale, we explore the new territory created and explored.  This is the creative aspect of the posture.  As we exhale, we release and relax into the new space gained.  If you cannot breathe freely and extend the spine with your exhalation, you are trying too hard.  All postures need to be worked with awareness, sensitivity, and intelligence." (Maelhe, p. 27)  The breath is the invisible vehicle that connects the body to the mind's point of focus, bringing about numerous physical and mental benefits - inhaling new energy, exhaling tension.  I wouldn't over emphasize the breath in a student's practice unless is was substantially lacking.  Concentration as it applies to the physical practice on the mat, requires a calmness of breath, strength in the body by engaging the bhandas, and holding the dristis with the eyes.  Ideally, we hold all 3 with equal weight in practice.

Below is the count, movement, and Dristi of Surya Namaskara A with supporting images:

                                            Surya Namaskara A

Vinyasa Count	Breath	Dristi	Asana or Movement	Image
Ekam	Inhale	Thumbs (Angusthamadhye)	Raise straight arms above the head, palms together
Dve	Exhale	Nose (Nasagre)	Fold forward, place the hands beside the feet
Trini	Inhale	Nose	Raise the head, lengthen the spine away from the hips
Chatuari	Exhale	Nose	Jump back and lower into Chaturanga position, elbows pull back beside the rib cage. Note: it is okay for beginners to lower onto their stomach or knees for this pose.
Panḉa	Inhale	Nose	Lead with the heart, roll on the tops of the feet, straighten the arms
Shut	Exhale State of the Asana - hold for 5 breaths	Navel (Navi Chakra)	Lead with the belly, roll over the toes, shift the hips back to the heels.  Arms and legs stay long and straight.
Supta	Inhale	Nose	Jump the feet to the hands and lengthen the head away from the hips
Ashtau	Exhale	Nose	Fold forward with the hands beside the feet
Nava	Inhale	Thumbs	Standing back up with the arms raised, palms together
Samasthitih	Exhale		No vinyasa count.

All photos are of Ronald Steiner, taken from http://www.ashtangayoga.info/ashtangayoga/ which is an excellent source of information on Ashtanga Yoga.

Here is a link to a video of my teacher performing Surya Namaskara A - this is the most conscious Surya Namaskara A I have personally seen demonstrated: http://www.youtube.com/watch?v=YwWdab5zs54

There are some conflicts on the dristis listed here compared to the Ashtangayoga.info site.  My information is based on what I have learned from my teacher, David Robson.   Whether the dristi is the third eye or the nose is not important.  What is more important is that your practice is the same and done consciously.

I hope this email has brought more insight into your practice.  Your questions are welcome and I will gladly answer them, if not in person, then in a subsequent email.

Peace and blessings to you all.

Mark