What are the sutras? Is a sutra, as it has been described, an “unintelligible statement waiting for an explanation” ? Certainly, they are very technical statements, comparable to mathematical formulas.
How did this style of writing evolve?
Sutras were originally meant to be preserved in the living memory of a human being, rather than in books. They belong to the Neumonic oral tradition, so their poetic style helped in memorising.
Am
Om bhur bhuvaha svaha
Am/G
Tat savitur varenyam
F
Bhargo devasya dhimahi
Dm Gsus G
Dhiyo yonah prachodayat
Praise to the source of
all things.
It is due to you that we attain
true happiness on the planes
of earth, astral, causal.
It is due to your transcendent
nature that you are worthy of
being worshipped and adored.
Ignite us with your all
pervading light.
(trad. by devapremalmiten.com)
By filling the air with force, making noise like Bhringi (wasp), and expelling it slowly, making noise in the same way; this practice causes a sort of ecstasy in the minds of Yogindras (Hatha Pradipika 2:68).
The sound produced is a nasal sound caused by the vibrations of the soft palate. Rechaka is prolonged as usual the double of time of puraka. Many people produce “ma” like that of aum, they close the ears with the thumbs and put above the nostrils the little fingers, this helps them to concentrate and be able to feel the vibrations of the sound at the spine or in the forehead.
This pranayama can be practiced with (the 5 fingers are positioned over the 5 senses) or without sanmukhi mudra, in the second case is indicated for insomnia and constipation cause it generates a vibration at a cellular level.
Per entrare più nel dettaglio, nel processo di arte terapia si distinguono diverse modalità di organizzarsi in base al numero di partecipanti: arte terapia individuale, duale, familiare o di gruppo. Ogni formato ha le sue peculiarità, un percorso di gruppo ad esempio offre dei fattori terapeutici che non si riscontrano in quello individuale, come l’altruismo, l’accettazione, la coesione, l’empatia, l’identificazione, l’imitazione, l’ispirazione, l’apprendimento interpersonale, la catarsi, le tecniche di socializzazione.
In un percorso individuale invece si ha maggiore confidenzialità, è più facile organizzarsi con il partecipante il quale riceve una grande attenzione, non c’è il rischio di cadere in dinamiche di gruppo stigmatizzabili.
Penso che se dovessi indicare il cambiamento più significativo avvenuto
nella mia vita per effetto dell’esperienza d’incontro, dovrei dire che ho
realmente cominciato ad assumere una forma più definita come persona.
Ho cominciato ad avere e ad ammettere una definizione di me più chiara.
Non era piacevole riconoscere certe cose, ma esse erano parte di un
insieme accettabile…e sempre più accettabile anche per me. Cominciai
ad ammettere la mia propria persona.
C. Rogers
Ci sono molti esempi in arte terapia di attività indirizzate ad un gruppo di persone, ad una collettività o comunità, in teatro uno dei primi esempi introdotti nel Novecento è lo psicodramma di Moreno, per cui il teatro è uno strumento individuale e di gruppo e Moreno elabora delle tecniche di azione sul gruppo fondate sul principio fondamentale della spontaneità-creatività.
Tramite la rappresentazione dei propri conflitti l’attore è portato a prendere coscienza della sua situazione e superare il trauma rivivendolo. Moreno aiuta l’individuo intervenendo sulla sua rete di relazioni interpersonali. Lo psicodramma di Moreno apporta un gran numero di tecniche alla psicoterapia di gruppo, come il warming-up o tecniche di riscaldamento, basate su esercizi adatti a sbloccare le inibizioni (il doppio, lo specchio) e i concetti di catarsi, spontaneità, creatività, studio dei ruoli.
Credo che la scelta dipenda dalla persona che decide di intraprendere il percorso di aiuto, dalle sue esigenze in quel particolare momento che la portano a lavorare su se stessa in maniera individuale o a condividere il percorso con altre persone.
In the pose of padmasana, expel the air through the nose. It should be filled up to the lotus of the heart, by drawing it in with force, making noise and touching the throat, the chest and the head. It should be expelled again and filled again and again as before, just as pair of bellows of the blacksmith is worked (Hatha Pradipika 2:60-62).
Act of exhalation is more forceful and quick compared to inhalation, which is rather slow and less forceful. Both the acts are done rapidly and performed again and again quickly. The technique consists of two parts:
All the three doshas are maintained in a balanced state, bodily fire increases, the sacral part is stimulated, for that is useful for kundalini awakening.
When inhalation and exhalation are performed very quickly, like a pair of bellows of a blacksmith, it dries up all disorders from the excess of phlegm, and is known as Kapala Bhati (Hatha Pradipika 2:35).
The rapid breathing should be from the abdomen; the shoulders and face remain relaxed. The number of respirations can be increased from the count of 10-50 (beginner) to 60-100 breaths per round (advanced practitioner).
This is a good practice for respiratory disorders cause has a cleansing effect on the lungs, it balances and strengthen the nervous system and tones the digestive organs, it purifies the nadis and removes sensory distractions, it energizes the mind for mental work and remove sleepiness.
In some texts is not indicated like a pranayama technique, but only like a cleansing technique.
Taking any comfortable position and performing the asana, the yogi should draw in the air slowly, through the right nostril (Hatha Pradipika 2:48). Then he should be confined within, so that it fills from the nails to the tips of the hair, and then let out through the left nostril slowly (Hatha Pradipika 2:49). This excellent Surya Bhedana cleanses the forehead (frontal sinuses), destroys of Vata, and removes the worms and, therefore, it should be performed again and again (Hatha Pradipika 2:50).
Sit comfortably, close your eyes, close your left nostril with the mudra in your hand, inhale with the right nostril. The ratio can be 1:1:1 at the beginning and then 1:2:2 or 1:4:2 increasing gradually over a month. Then kumbhuka and then exhale slowly with the left nostril, this is one round. You can do 5-10 rounds in one sitting.
As in the above (Sitkari), the tongue to be protruded a little out of the lips, when the air is drawn in. It is confined, as before, and then expelled slowly through the nostrils (Hatha Pradipika 2:57).
Before inhaling the tongue is drawn out and by lifting voluntarily its sides a structure like a channel is formed. Those who cannot do this can do the Sitkari pranayama.
With the practice one experiences cooling sensation in the whole body.
Sitkari is performed by drawing in the air through the mouth, keeping the tongue between the lips. The air thus drawn in should not be expelled through the mouth. By practicing in this way, one becomes next to the God of Love in beauty or God of sex (Hatha Pradipika 2:54).
The inhalation will be done through the space available in between the teeth and the tongue.
One can practice ten or more rounds during one sitting.
If one attends the cooling touch of the air over the tongue it has a calming effect and relax the mind. this practice removes lethargy and makes the practitioner more enthusiastic (Gore M. M., 2005, Anatomy and Physiology of Yogic Practices).
Is one of the 8 types of pranayama described in the Hatha Pradipika by Svatmaram (2:51-53):
Due to the partial closure of the glottis during puraka and during rechaka, Ujjayi has the characteristic of produce an audible hissing sound.
At the beginning the practitioner can resort to only puraka and rechaka phases in the ratio of 1:2 along with the distinctive sound; then with the practice the kumbhaka is introduced gradually in the form of a short pause between puraka and rechaka.
A practice of Ujjayi pranayama without kumbhaka has been found to relieve depression. The practitioner feels energetic and vitalized immediately after doing this pranayama (Gore M. M., 2005, Anatomy and Physiology of Yogic Practices).
Marta Lucchini 