Remember, always consult your medical practitioner, use caution, and common sense, and pay good attention to your own experience, before, during and after engaging in new or old physical activities. (Did that cover everything?)
The following pranayama series example is derived from a series given by the Ayurvedic Institute (AI) in Albuquerque, NM under the guidance of Dr. Vasant Lad, as taught through the Ayuryoga program under Maria Garre. Pranayama has been a part of my practice since the start. But, I first learned more details about this series more recently from Kim at Bhava Yoga Studio who studied with these folks. The origin of this particular sequence might be traceable to one of Dr. Lad’s teachers, Vimalananda – see Dr. Robert Svoboda‘s book about Vimalananda.
Most of these exercises here are variants of well-known pranayamas but the last two of them here seem to be very particular to this lineage.
In the particular adaptation here, two exercises are omitted (ask why…!) – sitali (siitalii) and sitakari (siitakaarii). It’s probably a really good idea for you to get a sequenced selection of pranayamas that is created to best benefit you personally (ask someone for guidance or check out any of the above resources).
As always, with any method or practice, your best bet is to consult a qualified professional to help guide you. There are contraindications, and variants that could support or perhaps detract from your well-being.
The details of each exercise and sequence really can vary quite a bit. Different resources instruct these differently. Like the game of telephone. Some of the differences make a particular flavor of an exercise a better match for a particular situation. There are plenty of resources out there!
An example adaptation of the sequence:
Quick List Version
This quick list version is for quick reference … but check out details – they’re important!:
- Bhastrika/Bellows (2x 10/ea),
- Kapalabhati/Skull-Shining (2x 2-min/ea),
- Agni Sara/Abdominal-Contractions (2x, 10/ea),
- Anuloma Viloma/Forceful-ish-Alternate-Nostril (2x 10/ea),
- Bhramari/Bee (1x 5/ea)
- Utjayi (1x 5/ea) [An Ayuryoga special!]
- Chant (1x 5/ea) [An Ayuryoga special uses: “Hari Om” and calls this Utgit, the heavenly song]
More Detailed List Version
- Bhastrika (2 sets, 10 per each set) [Bellows Breath] Variants of this include the use of nose or mouth, and timing or holds. I first learned this studying in the Barkan Method training – there was a particular presentation of it that seemed to match other interpretations of postures and exercises unique to the Bishnu Ghosh lineage (maybe?!). (vowel lengths: Bhastrikaa)
- Kapalabhati (2 sets, 2 minutes per each set, about 60 – 100 breaths per minute, depending) [“Skull Shining” – sharp, forceful exhalations, followed by a total relaxation of the belly that allows the inhalation to happen automatically] There are a few common variations of this exercise, and it is sometimes blurred into ‘Breath of Fire’. Definitely a part of the Bishnu Ghosh lineage! #1 and #2 together here comprise the first chapter on specific techniques in BKS Iyengar’s Light on Pranayama. (vowel lengths: Kapaalabhaati)
- Agni Sara (2 sets, 3 – 10 abdominal and pelvic floor contractions) [Excellence of the Fire in the Belly – exhale completely, contract and release belly repeatedly until you need to breathe again] Variations of this may include or exclude the contraction of various muscle groups, may alter the position of the torso, head, spine, and suggest different types of timing. Breathing out (rechaka) and and holding is external breath retention or baahya kumbhaka (double “aa” showing the vowel length). I first learned this as related more to nauli – more of a physical body practice, activating bandhas – really more like a satkarma or kriya (cleansing exercise).
- Anuloma Viloma (2 sets, 10 full cycles per each set) [Forceful Alternate Nostril] This is sometimes confused or just simply used to indicate alternate nostril breathing (nadi shodhana). The variants are so different on the Web, that I’ve not linked this to anything yet. Variants change up the timing, the pattern of nostril closure and opening, the degree of force used, etc. ** In the methods presented via the Ayurvedic Institute and Ayuryoga a couple years ago, alternating between #3 and #4 was suggested as an option. E.g.: 1 set Agni Sara, 1 set Anuloma Viloma, 1 set Agni Sara, 1 set Anuloma Viloma – I personally like that approach a lot for my own practice.
- Bhramari (1 set, 7 each) [Bee Breath – Smell’s like honey? Humming with the eyes and ears closed]. I first learned about this as a Hatha Yoga Pradipika practice. The Institute uses a particular mudra (hand position) that emphasizes ease and the activation of marma points. But, this hand position as used in general is probably more about the sanmukhi mudra (from sat => 6, and mukhi => gates/mouths/openings/faces) positioning the hands and fingers to close off the sense openings in the face. In hatha yoga an idea is to take the awareness inside by closing all bodily openings and senses (even adding leg positioning to close the lower gates in the body). The humming the adds the activation of inner vibration. Get ready to hear some “Aum”!.
- Utjayi (1 set, 7 each) [Victorious/Utmost Praise and Celebration] Aha: Youtube video particular to this one. Strengthens vocal chord control and muscles of inhalation. Leaving this description short for the moment as it is a pranayama unique to the AI/AY method.
- Utgit (1 set, 7 each) [Heavenly Song] Again, an AI/AY special here. But, “Hari Om” is a classic chant. I like to add the “tat sat” quietly at the end. Check out the Web to see why. An opportunity to enjoy the benefits of immersion in chant and sound, and build habits of mind in a useful direction. Think: The Quiet Center/John C. Lilly and co. In this particular flavor of practice, you’re adding the pranayama aspect to the chant, by focusing on a full in breath, following by a single long chant through an out breath (that is one repitition) and moving the throat and spine to develop voice control and projection throughout the range of motion. It’s really a great ending to this sequence if this example happens to be a good match for you in general.
Eh, this post still needs to be proof-read…