kriya yoga synthesis of a personal experience part 2

8/14/2019 kriya yoga synthesis of a personal experience part 2

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PART II: METHODOLOGY AND TECHNIQUES OF KRIYA YOGA

CHAPTER6

THEBASIC TECHNIQUES OF KRIYAYOGA

Disclaimer of Responsibility

The techniques described herein are exposed for study purposes only and should serve

as a comparison with the wors of other researchers! The author hopes this wor will

inspire intelli"ent feedbac! Any remars# criticism# corrections# and$or additions are

welcome! %efore you be"in posin" all inds of questions to yourself# read throu"h Part

&& and Part &&& of this boo so you have a thorou"h understandin" of the matter! 'ou(ll

find that as you "o throu"h it many questions will be answered!

& wish to mae clear that this boo is not a )riya 'o"a manual* & may write oneand face the problem of dividin" it into different lessons and "ivin" all the necessary

instructions for each level! However# certain delicate techniques e!"! +aha +udra#

)riya Pranayama# Thoar# and 'oni +udra cannot be learned from a manual and

require the help of an expert to chec their execution! Each person is different so it is

not possible to predict what effects an intensive practice mi"ht have on a particular

individual!

The author disclaims any responsibility in case of ne"ative results# especially if

the techniques are practiced without first havin" their execution checed by an expert!

Those who intend to carry on this practice should do so with a due sense of sacredness

and awareness of the wealth it can brin" to their life! Althou"h you should have the

ri"ht and the duty to control your own destiny# securin" expert counsel or "uidance isindispensable!

,hen you "o to an expert# please advise them of physical problems# such as hi"h blood

pressure# lun" problems# or si"ns of hyperventilation -! &f you have a particular

physical problem or handicap# an expert can lead you throu"h a very mild form of

)riya Pranayama and the correspondin" +udras . and if necessary# may recommend

that you practice them only mentally!

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Localization of the Chakras

The Chakrasare subtle astral 0ethereal1 or"ans inside the spinal cord2 ideal steps

on a mystic ladder "uidin" one safely to the deepest ecstatic experience! +any

falsely believe they can apply what they find in Yoga boos to Kriya.3nfortunately# such boos are usually filled with useless# mis"uided

representations! ,hile wastin" time in visuali4in" it all# a kriyabanruns the ris

of losin" the real meanin" of theKriyatechniques or part of their richness!

Kriyais a natural process leadin" to beneficial results and it should not be

distorted by the power of 5creative5 visuali4ation# especially if it "oes a"ainst our

body physiolo"y! ,hen certain particular conditions are established . mental

silence# relaxation# an intense desire of the soul . the piritual Reality manifests

in a captivatin" way and absorbs all one(s attention! Then# subtle movements of

ener"y in the body . or a particular centerin" of the ener"y in some parts of the

body . reveal the essence of the Chakras!

Those who practiceKriya Yoga 0kriyabans1 be"in with the basic technique

ofKriya Pranayamaand visuali4e the spine as a hollow tube extendin" from the

base of the spine to the brain! ,ith further practice# they try to locate$feel the

seven Chakras!

7i"ure 8! The perception of the Charas

First Five Chakras

The first Chakra#Muladhara# is at the base of the spinal column 9ust above the

coccy"eal 0tailbone1 re"ion! The second Chakra#Swadhisthana# is in the sacralre"ion# above and behind the "enitals or :;


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9ust below them! The fifth Chakra# Vishuddha# is at the cervical $collarbone

$thyroid level where the nec 9oins the shoulders! &ts location can be detected by

swayin" the head from side to side# eepin" the upper chest immobile# and

concentratin" on the point where you perceive a 5cracin"5 sound!

The physical locali4ation of the Chakras is improved throu"hvisuali4ation! The simplest visuali4ation that fosters the dynamics of Kriya

Pranayama is havin" the awareness travel up the spine and perceivin" the

Chakras as tiny 5twinlin" li"hts5 illuminatin" a 5hollow tube#5 which is

visuali4ed in place of the spinal cord! ,hen the awareness is brou"ht down# the

Chakras are internally perceived as or"ans distributin" ener"y 0comin" from

infinity above1 into the body! >uminous rays depart from their locations#

enlivenin"$ener"i4in" that part of the body which is in front of them! To tae the

trouble to abide by such elementary visuali4ation# avoidin" those su""ested by

"e# $geor tantricboos is the best "uarantee of havin" a beneficial practice!

Chakrasare not a physical reality2 their true location is in the astral dimension#

which is only visible to clairvoyants or whenKriya Pranayamataes# so to say#

the 5inward route5 to the inner sounds emanatin" from each Chakra.&f the mind

is sufficiently calm e!"! durin" a lon"# deep session of Kriya Pranayama# you

will be able to listen to those astral sounds and locate each Chakra astrally!

There are different levels of development of this ability? Kechari M!ra

brin"s about a "reat internali4ation process which fosters the experience

especially when the 5wind5 of the breath subsides!

Astrally locatin" Chakras is connected to the ability of travelin" within

the spinal tunnel# which in turn is the basis for reali4in" that the five Chakrasare

five different states of consciousness!

&nKriyatradition# the Chakrasare related to the five %att#as? earth# water#

fire# air# and ether! @fferin" each %att#aindividually to the li"ht of the 5spiritual

eye5 "atherin" and intensifyin" in the re"ion between the eyebrows is the hi"hest

action ever conceived to dispel the last shell of illusion! However# & would

discoura"e kriyabans from bein" maniacally precise about the location of the

Chakras? the practice of the different levels of Kriya Yoga will refine their

perception!

$&na 'Me!lla oblongata( )hrma!hya( Ktastha*

The sixth Chakra(Ajna,accordin" to tradition# is in the central part of the head!

ome identify it with the hypophysis (pitit!"y# "land# others with the pi$%!&

"land# and others with the thi"' %$t"i)&% o* th% +"!i$! &t is preferable to abide

by the followin" two;step procedure!

8! 7irst detect the seat of the Medulla oblongata 0on top of the spinal

cord1! Raise your chin tensin" the muscles of the nec at the base of the occipital

bone2 concentrate on the small hollow under the bac of the head and then

ideally move inside a couple of centimeters2 while contractin" the nec muscles#

swin" your head sideways 0a few centimeters left and ri"ht12 relax the muscles of

the nec and concentrate on the Me!lla oblongata for one minute? you will

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notice that any restlessness disappears! Tradition recommends visuali4in" the

Me!lla oblongata as shaped lie the bac of a small turtle!

:! Remainin" centered in the Me!lla oblongata# conver"e your inner

"a4e onBhrumadhya# the point between the eyebrows# and observe the internal

li"ht in that re"ion! 'our perception may be va"ue but if you continue looin"internally and remain satisfied with whatever luminous perception comes# the

li"ht will intensify! trai"ht bac and about = centimeters from where the li"ht

appears is the sixth Chakra# A,$!! +editatin" with your awareness focused on it

will prepare you for the experience of Kutastha0aa thi"' %y% orspi"it!& %y%1?

a luminous point in the middle of an infinite spherical radiance! &n this re"ion#

one day# you will experience the radiance of a million suns havin" the coolness

of a million moons!

$&na Chakrais the royal entrance to the Bivine Consciousness# which is

immanent in our physical universe! 'ou will experience the entire universe as

your own body! This experience is also called Ktastha Chaitanya# Christ

consciosness# orKrishna consciosness!

+ahasrara ')in!( Fontanelle*

Accordin" to tradition# the seventh Chakra(Sahasrara(is at the top of the head!

&t is visuali4ed as a hori4ontal dis about 8: centimeters in diameter# lyin"

immediately beneath the upper part of the cranium! &n part of Kriya

Pranayama(when we raise our awareness from the sixth to the seventh Chakra#

this visuali4ation is enou"h to "et ecstatic absorption!

Binduis located in the occipital re"ion# where the hairline twists in a ind

of vortex 0where Hindus with shaved heads wear a loc of hair1! Burin" the first

part ofKriya Pranayama(the consciousness touches )in!briefly at the end of

each inhalation! &n the hi"her phases of Kriya Pranayama# when our awareness

finds tranquility in)in!# we become aware of the bregma0anterior fontanelle

durin" infancy* located on the top of the sull at the 9unction of the coronal and

sa"ittal sutures# where the frontal bone and parietal bones meet! &t is

recommended not to override the previous sta"e of locali4ation of the sixth

Chakra 0$&na1! Bo not practice concentration on the bregma on your own

initiative except when explicitly required to by your teacher!

There is always room for improvement inKriya Yoga! The most reliableKriya schools are careful about usin" methods whose effects are difficult to

sustain and therefore teach a "radual approach to concentration on +ahasrara.

They counsel placin" the awareness in)in!and from there becomin" aware of

bregma!

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Position for Me!itation

@ne should sit facin" east! Accordin" to Patan9ali# the yogi(s posture 0Asana1must be steady and pleasant!

Half-lotus:+ost kriyabansare relaxed in this sittin" position# which has been

used since time immemorial for meditation# because its comfortable and easily

mana"ed! The ey is to maintain an erect spine by sittin" on the ed"e of a thic

cushion so the buttocs are sli"htly raised! it cross;le""ed with the nees

restin" on the floor! %rin" the left foot toward the body so its sole is restin"

a"ainst the inside of the ri"ht thi"h! Braw the heel of the left foot in toward the

"roin as much as possible! The ri"ht le" is bent at the nee and the ri"ht foot is

comfortably placed over the left thi"h or calf or both! >et the ri"ht nee drop as

far as possible toward the floor! The shoulders are in a natural position! The head#

nec# chest# and spine are in a strai"ht line as if they were lined! ,hen the le"s

"et tired# reverse them to prolon" the position!

The best hand position is with fin"ers interloced as in the well;nown

photo of >ahiri +ahasaya! This balances the ener"y from the ri"ht hand to the

left and vice versa! The hand position for meditation and forPranayamais the

same because you move from Pranayama to meditation without interruption!

3sually you don(t even reali4e it!

7or certain health or physical conditions# it may be beneficial to practice

the half lotus on an armless chair provided it is lar"e enou"h! &n this way# one le"

at a time can be lowered and the nee 9oint relaxed*

Siddhasana:0Perfect Pose1 is of medium difficulty! The sole of the left foot is

placed a"ainst the ri"ht thi"h while the heel presses on the perineum! The ri"ht

heel is a"ainst the pubic bone! This le" position combined withKechari M!ra

closes the pranic circuit and maes Kriya Pranayamaeasy and beneficial! &t is

said the position helps one to become aware of the movement of Prana!

Padmasana:0lotus position1 a difficult# uncomfortable position2 the ri"ht foot is

placed on the left thi"h and the left foot on the ri"ht thi"h with the soles of the

feet turned up! &t is explained that when this$sanais combined withKechariand+hambhavi M!ra# it results in an ener"etic condition that produces the

experience of the internal li"ht comin" from each Chakra! &t helps eep the body

from bendin" or fallin" over as it tends to do when deep Pratyahara is practiced!

Pa!masana is uncomfortable for a be"inner because the nees and the anles

become extremely painful! & would not advise anyone to perform this difficult

posture2 some yogis have had to have nee cartila"e removed after years of

forcin" themselves into thePa!masana!

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,ight )asic %echni-es of Kriya Yoga

The followin" techniques are usually "iven durin" the first initiation into Kriya

Yoga? %alabya Kriya( m /apa 'in the Chakras*( Kriya Pranayama 0often

denoted simply byPranayama* in three parts( "avi Kriya(Maha M!ra( Kriya

Pranayama #ith short breath( mental Pranayama andYoni M!ra! 8

-. T!&!+y! K"iy!

tart with the ton"ue in a relaxed position with the tip li"htly touchin" the bac

of the upper teeth! Press the body of the ton"ue a"ainst the upper palate to create

a suction cup effect! +any practice %alabya Kriyaincorrectly by instinctively

turnin" their ton"ue bacwards 0or eepin" it vertical1 but this cancels the whole

effect! &t is important to have the ton"ue tip touchin" the bac of the upper teeth

before pressin" its body a"ainst the upper palate!

,hile pressin" the ton"ue a"ainst the upper palate 0roof of the mouth1#

drop$lower the bottom 9aw until you clearly feel the stretch in the lingal

frenlm0the small fold of tissue under the ton"ue that attaches it to the base of

the mouth1 07i"ure :1!

7i"ure :! Talabya )riya? pressin" the body of the ton"ue a"ainst the upper palate tocreate a suction cup effect

Release the ton"ue with a clicin" sound then stic it out of the mouth and point

it toward the chin! At the be"innin"# do not exceed 8D repetitions a day to avoid

strainin" the frenlm! Eventually# you want to do


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possible to insert the ton"ue into the nasal pharynx cavity 0Kechari M!ra*.

Kechari M!ra07i"ure 1 is described in detail in the next chapter!

Even after masterin"Kechari M!ra(%alabya Kriyashould continue to be

practiced because it creates a perceivable relaxin" effect on the thinin" process!

&t is not nown why stretchin" the frenulum reduces thou"ht production#however# anyone practicin" the technique can readily verify this!

Remark

&n 0atha Yoga boos there are different su""estions for len"thenin" the

frenlm!@ne which is well nown one is wrappin" a piece of cloth around the

ton"ue and# with the help of the hands# "ently pullin" 0relaxin" and repeatin"

different times1 the cloth both hori4ontally and also up# toward the tip of the

nose! >ahiri +ahasaya was absolutely a"ainst cuttin" the frenlm to obtain

faster and easier results!

/. O0 1!p! i$ th% Ch!2"!s

tartin" with the first Chakra Mla!hara# chant the Mantra 5@m5 while

concentratin" on it2 then do the same with the second Chakraand so on up to the

fifth Chakra 01ish!!ha1 and then with)in!! Burin" the ascent# do your best to

intuitively touch the inner core of each Chakra! The descent be"ins by chantin"

5@m5 in theMe!lla oblongata# then in the cervical Chakraand so on# all the

way down to the first Chakra! Burin" this descent of awareness# try to perceive

the subtle radiation of each Chakra!

@ne ascent 0Chakras 8# :# # F#


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introduce it! & will explain its ey details# however it is not easy to show how

they are inte"rated into a harmonious whole!

Fi"st P!"t o* K"iy! P"!$!y!0!: Mi5i$4 P"!$! !$' Ap!$!

Kechari M!rais applied! 7or those who cant do it# touch with the tip of theton"ue the middle of the upper palate at the point where the hard palate becomes

soft! )eep mouth and eyes closed! The eyes are relaxed and focused on the

re"ion between the eyebrows but the awareness is in the Me!lla oblongata.

@neKriyabreath entails?

8! A deep inhalation throu"h the nose that produces an unvoiced sound 0lie

2&&ayi Pranayama1 in the throat# which acts lie a hydraulic pump to raise the

ener"y 0Prana1 from the base of the spinal column up to theMe!lla oblongata

and then up to)in!0occipital re"ion1!

:! A short pause of :; seconds where the movement of the air is suspended! This

helps suspend the activity of the mind as well? a state of stability appears!

! An unhurried exhalation throu"h the nose of the same len"th as the inhalation

that accompanies the movement of the ener"y bac to the base of the spinal

column! Burin" the last part of the exhalation# there is a clear perception of the

navel movin" in toward the spine! %y refinin" this experience and the awareness

of the navel movin" inward# one feels the action of the diaphra"m muscles and

becomes conscious of increasin" heat in the navel! This heat seems to rise from

the lower part of the abdomen!

F! Another :;;second pause! This pause is intimately lived as a moment of

comfortable peace! The dynamic mind becomes static and is appeased!

Reference literature says perfectKriya Pranayamais =D breaths per hour . about

F< seconds per breath! Kriyabans can only reach this rhythm durin" lon"

sessions! ,hereas an advanced kriyabanwould complete 8: breaths in around

minutes# be"inners should set a rhythm of 8=;:D seconds per Kriya breath

0includin" the pauses1 and complete 8: breaths in a natural and unhurried way in

about F ;< minutes!

Remarks

The path taen by the ener"y "radually reveals itself durin" practice! Io difficult

visuali4ation is required! 'ou are centered in the Me!lla oblongata and your

inner "a4e is toward)hrma!hya(between the eyebrows! The awareness rises

from the Mla!hara alon" the spinal column toward the second Chakra# the

third# the fourth# the fifth Chakra(theMe!lla oblongata and# if possible# up to

)in!! Burin" the pause# the radiance ofKtastha appears as a blurred li"ht or

"low permeatin" the frontal part of the brain! 'ou can sometimes perceive a

sli"ht sensation of crepuscular li"ht permeatin" the upper part of the head! &n this

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first part ofKriya Pranayama(the ener"y cannot reach either the re"ion between

the eyebrowsnor+ahasrara3 this will happen in the third part!

%reathin" durin"Kriya Pranayamais not free breathin" but restricted breathin"

that creates a clearly heard sound in the throat! This sound while inhalin" is liea quiet schhhh $J$! The sound is similar to the amplified bac"round noise of a

loudspeaer2 there is only a sli"ht hiss durin" exhalation!

There are many poor &nternet video clips of 2&&ayi Pranayamawithyogiswho

mae a horrible sound because they are usin" $vibratin" their vocal chords? this

is not correct inKriya Pranayama! 7ortunately# there are also "ood explanations

of 2&&ayi Pranayamathat & si"nal in my web site!

To mae certain the sound is correct# concentrate only on increasin" the friction

of the air flowin" throu"h your throat! A muffled sound will ori"inate! &ncrease

its frequency! &f the surroundin"s are perfectly still# a person could hear it within

a F;< meter radius . by no means outside it! However# do not expect sound

perfection yet.,henKechari M!rais eventually done correctly# the exhalin"

sound will be flute;lie? +heee +heee$JiK$! The meanin" and the implications of

this sound are discussed in the next chapter!

The inhalin" air is felt cool whereas the exhalin" air is felt moderately warm2 as

a consequence the ener"y is felt cool when risin" and sli"htly warm when

descendin"!

Burin" inhalation# the abdomen expands and durin" exhalation the abdomen is

drawn in! The breathin" is mainly abdominal2 durin" inhalation# the upper part of

the lun"s is filled two thirds full! Bo I@T raise the rib ca"e or the shoulders!

As for the value of the pauses# the more you became aware of these states of

stability# the deeper your practice becomes!

Burin" the first breaths of Kriya Pranayama( do not chant m or another

Mantrain any Chakra? do not disturb the employment of a "reat mental intensity

to obtain the perception of the movement of the ener"y!

S%)o$' P!"t o* K"iy! P"!$!y!0!: 0%$t!& 1!p! o* O0 i$ %!)h Ch!2"!

Burin" the first part# the awareness is inMe!lla oblongata! &n the second part#

the awareness expands into the entire occipital re"ion up to )in!! The fixed

purpose is to succeed in listenin" to the internal sounds 0variations of mkar

sound1 without plu""in" our ears!

Burin" inhalation# mis mentally chanted 0or more accurately 5mentally

placed51 in each of the first five Chakras! Burin" the pause# mis chanted in the

Me!lla oblongata# in the point between the eyebrows# and a"ain in the Me!lla

oblongata! Burin" exhalation# returnin" toMla!hara# mis mentally chanted

in each Chakraas "ently 5touchin"5 it from the bac! ,hile comin" down# the

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ener"y is thus visuali4ed flowin" down alon" the bac of the spinal column!

,hat is essential is a continuous will to listen internally! 7ocus all your attention

on subtle sounds that come from within rather than the audible ones from

outside! Awareness of inner sounds must happen# sooner or later! 'our listenin"sills will improve and you will become more sensitive! Each chantin" of the

syllable mshould be accompanied by an unswervin" will to trac down the

echo of that vibration you are internally producin"! Repeat the procedure at least

:F times!

The internal sounds reveal the activity of the Chakras.They capture a kriyaban(s

awareness and lead it to "reater depths without any dan"er of it "ettin" lost! They

are not physical sounds2 they have nothin" to do with the typical Kriya

Pranayamasound produced by the air that passes down the bac of the throat

into the trachea and vice versa! These sounds appear in different forms?

bumblebee# flute# harp# drum# hum lie an electrical transformer# bell!!!!

The event of perceivin" them is not produced by the intensity of a unique

moment of deep concentration but by the accumulation of effort manifested

durin" daily sessions ofKriya 0effort is the meticulous attention to any internal

sound# no matter how faint1! Those who are not able to hear any internal sounds

should not conclude somethin" is wron"! +aybe they have done an enormous

effort whose fruits will be en9oyed durin" the next day(s practice or some day in

the future! A si"n one is headin" in the ri"ht direction is a sense of mild pressure#

lie a sensation of liquid peace above or around the head often accompanied by a

certain hummin"! &t serves no purpose wonderin" if this is the real mbecause it

is probably 9ust a si"nal that the real experience is approachin"! Patience and

constancy are of prime importance! @ne day# one will awaen to the reali4ation

that one is actually hearin" a sound of 5runnin" water5!

mis similar to the sound of runnin" water or to waves breain" over

cliffs! >ahiri +ahasaya described it as a sound 5produced by a lot of people

continually striin" the dis of a bell and as continuous as oil flowin" out of a

container5!

Thi"' P!"t o* K"iy! P"!$!y!0!: 0o% th% !6!"%$%ss i$to th% pp%" p!"t o*

th% h%!'This third part of Kriya Pranayama can be approached only when you have

reached a daily number of F=Kriyabreaths and possibly whenKechari M!rais

achieved! Always be"in your practice with the first part ofKriya Pranayamafor

at least 8: breaths# and then sip to the second part ofKriya Pranayama until

you have completed F=Kriyabreaths alto"ether! ,e are "oin" to learn a hi"her

form of +hambhavi M!ra.

+hambhavi M!rais usually defined as the act of concentratin" on)hrma!hya(

the space between the eyebrows# brin"in" the two eyebrows toward the center

with a sli"ht wrinlin" of the forehead! @ur hi"her form of +hambhavi M!ra

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involves closed or half;closed eyelids# the eyes looin" upward as much as

possible as if looin" at the ceilin" but without any head movement! The li"ht

tension perceived in the muscles of the eyeballs "radually disappears and the

position can be maintained rather easily! A bystander would observe the sclera

0white of the eye1 under the iris because very often the inferior eyelids relax!0>ahiri +ahasaya in his well;nown portrait is showin" this M!ra!1 Throu"h

thisM!ra# all one(sPranacollects at the top of the head!

Burin" this M!rayou practice the instructions for the second part of

Kriya Pranayama0chantin" of min the prescribed places1 save the center of

awareness which is now in the upper part of the head! Continue until you have

completed the prearran"ed number of repetitions 06D# /: or more!1

This practice is a real 9ewel and represents the quintessence of beauty2 while

experiencin" it# time "oes by without much notice and what could seem to be an

exhaustin" tas e!"! 8D= or 8FF repetitions . turns out to be as easy as a moment

of rest! 'ou will notice the breath is rather slow! 'ou will en9oy the beautiful

feelin" of fresh air that seems to come up throu"h the spine and pierce each

Chakra(and of the warm exhaled air permeatin" each 4one of the body from top

to bottom! 'ou will actually perceive this and it is not a fi"ment of your

ima"ination* 'our attitude is apparently passive# in actual fact fully sensitive# and

therefore active in an intelli"ent way! The sound of the breath is smooth and

unbroen lie the continuous pourin" of oil from a bottle! The practice reaches

its maximum power and seems to have a life of its own! 'ou will eventually have

the impression of crossin" a mental state# which is lie fallin" asleep# then

suddenly returnin" to full awareness and reali4in" you are basin" in a spiritual

li"ht! &t(s lie a plane emer"in" from clouds into a clear transparent sy!

7. N!i K"iy!

3sin" the same method described in m /apaand without attemptin" to control

the breath# one(s awareness slowly moves up alon" the spinal column! The

Mantra m is placed in the first five Chakras# in the)in!(and in the point

between the eyebrows! The chin is then tilted down toward the throat cavity! The

hands are 9oined with the fin"ers interloced# palms face downward# and the pads

of both thumbs are touchin"! mis chanted /< times 0 some schools counsel

8DD2 let us say that a rou"h estimate between /< and 8DD is fine1 in the navel

0umbilicus1 either aloud or mentally! The thumbs li"htly press the navel for eachm! ,hile doin" this technique# a calm ener"y is perceived "atherin" in the

lower;middle part of the abdomen 0thePranacurrent there is called +amana.1

The chin is then raised . the muscles at the bac of the nec are sli"htly

contracted! The concentration shifts first to the )in! and then to the third

Chakra 0movin" downward in a strai"ht line# outside the body1! The hands are

ept behind the bac and 9oined by interlocin" the fin"ers and the palms face

upward with the pads of both thumbs touchin"! m is chanted . aloud or

mentally . approximately :< times in the third Chakra! 7or every m# the

thumbs apply a li"ht pressure to the lumbar vertebrae! %y no means should the

breath be synchroni4ed with the chantin" of m.

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The chin(s normal position is then resumed and mis mentally chanted in

reverse order from the point between the eyebrows to Mla!hara! This is one

"avi Kriya0it lasts between 8FD;86D seconds1! A kriyabandoes F repetitions of

"avi Kriya.

8. M!h! M'"!

@ne starts by bendin" the left le" under the body so the left heel is as near as

possible to the perineum 0between the scrotum and anus for males and between

the anus and cervical openin" for females1 with the ri"ht le" fully extended in

front! &deally# but not necessarily# you want the left heel exertin" pressure on the

perineum! This pressure is the best means of stimulatin" one(s awareness of the

Mla!hara Chakrain the coccy"eal re"ion at the root of the spine!

Throu"h a deep inhalation# the ener"y is brou"ht up the cerebrospinal tube

to the center of the head 0$&na Chakra1! This is a very simple and easily acquired

sensation so there is no need to complicate it!

Holdin" the breath# stretch forward 0in a relaxed way1 and interloc hands

so you can "rasp your bi" toe! &n this outstretched position# the chin is pressed

naturally a"ainst the chest! Continue holdin" the breath and mentally chant m

in the re"ion between the eyebrows 6;8: times! ,hile holdin" the breath# return

to the startin" position and with a lon" exhalation# visuali4e sendin" the warm

ener"y down to the base of the spinal column!

Repeat the procedure with the le" positions reversed2 ri"ht heel near the

perineum and the left le" outstretched!

Repeat with both le"s outstretched!

This is oneMaha M!ra2 it requires about 6D;=D seconds! Practice threeMaha

M!rafor a total of movements!

Remark

ome schools su""est drawin" the nee 0or both nees# before the third

movement1 a"ainst the body so the thi"h is as close to the chest as possible

durin" inhalation! The interloced fin"ers are placed around the nee to exert

pressure on it! This helps to eep the bac strai"ht and mae the inner sound of

the$nahata Chakraaudible!

Maha M!ramust be comfortable and it must not hurt* &nitially# most

kriyabanswill not be able to do the forward stretch without risin" bac or neein9ury! To avoid pain or in9ury# eep the outstretched le" bent at the nee until the

position feels comfortable! ,hile holdin" the breath in the outstretched position#

contract the anal and the abdominal muscles and draw the abdominal muscles in

sli"htly so the navel moves inward toward the lumbar center!

As we have seen# the bi" toe is "rasped while one is in the outstretched

position! ome schools insist on this detail and explain that by repeatin" this

action on each le"# the balance between the two channels 4!a andPingala is

improved! A variation is to squee4e the toenail of the bi" toe with the thumb of

the ri"ht hand2 the index and middle fin"ers are behind it and the left hand cups

the sole of the foot! ,hen the procedure is repeated with both le"s outstretched#

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both toes are "rasped with the interloced hands! 0A variation is that the thumbs

of each hand press the respective toenails and the index and middle fin"ers hold

the toe from behind1!

Maha M!raincorporates all the three)an!has! :,hen applied simultaneouslywith the body bent forward and without excessive contraction# it helps one to be

aware of both ends of +shmnaand produces the feelin" of an ener"etic current

movin" up the spine! &n due course# one will be able to perceive the whole

+shmna "a!ias a radiant channel!

9. K"iy! P"!$!y!0! 6ith Sho"t B"%!th

Pranayama #ith short breath is based upon lettin" the breath move freely#

observin" it# bein" conscious of each movement . pauses included . and

coordinatin" it with the movement of ener"y from the Mla!hara0first Chakra1

to every Chakra and vice versa! This fact invites the ener"y to move freely

upwards throu"h +shmna and downwards into each part of the body! This

action completes that ofMaha M!raand prepares you for Yoni M!ra!

After havin" drawn three deep breaths# each of them endin" with a fast and

complete an exhalation lie a si"h# your breath will be very calm! &f you place

your fin"er under both nostrils# the in"oin" or out"oin" breath will barely touch

your fin"er! This is the indication that the breath is internali4ed as it should be in

Kriya Yoga.Practice the followin" exercise and repeat the test at the end! 'ou

will feel a striin" difference!

7ocus your attention on theMla!hara Chakra! ,hen it feels natural to

inhale# inhale only what is necessary# as quicly as per instinct 0about one

second1# then pause an instant in the second Chakra.,hen it feels natural to

exhale# exhale# and pause inMla!hara. ,hen it feels natural to inhale# inhale#

and pause in the third Chakra. ,hen it feels natural to exhale# exhale# and pause

inMla!hara.

Continue lie that# repeatin" the procedure between Mla!hara and the

fourth Chakra# Mla!hara and the fifth Chakra 0then Mla!hara )in!#

Mla!hara Me!lla oblongata#Mla!harafifth#Mla!hara fourth#Mla!harathird and Mla!hara second Chakra.1 @ne cycle comprises 8D short breaths!

Repeat the cycle until you perceive your breath is very calm . almost

imperceptible!

. M%$t!& P"!$!y!0!

7or"et about your breath! +ove your awareness up and down the spine pausin"

in each spinal center! tart with the first# move to the second# third# and so on!

After ascendin" to the)in!# be"in the descent# pausin" inMe!lla oblongata#

fifth Chakra# fourth Chakra(and so on! mmay be mentally chanted in each

Chakra! &t is convenient to center your attention for 8D;:D seconds on each

Chakra!

:

The definition of)an!has is "iven in Chapter 8

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The Chakras are lie nots that can be untied if 5touched5 by one(s

concentration2 the secret lies in maintainin" the awareness in each of them until a

sensation of sweetness is felt . as if the Chakra were 5meltin"5! %esides a

meltin" sensation# one may also perceive the subtle radiation of each Chakra in

the body! This is a matter of pure awareness2 a natural feelin" leadin" to thereali4ation that the Chakras are sustainin" each part of the body(s vitality!

ometimes# a li"ht is perceived in the upper part of the head and a kriyaban is

able to eep the awareness there a lon" time without feelin" any fati"ue!

The process of risin" and descendin" throu"h the Chakrasis carried on as

lon" as it is comfortable! 0@ne complete round lasts about :;F minutes!1 This is

the most pleasin" part of the routine!Kriyabansdo not feel they are practicin" a

technique but en9oyin" a few moments of soothin" relaxation! This is the

moment when a deep mental silencesettles in the consciousness and in the body!

Tranquility( 5+thir %att#a5 0calm# static Prana1 is experienced in the seventh

Chakra! >ahiri +ahasaya called this state Paravastha or KriyarParavastha 5

5the state that comes after the action ofKriya5.&f# throu"h sheer willpower# such

a state were brou"ht to awareness as often as possible amid one(s daily activities#

the results would be extraordinary!

Remarks

There is a subtle difference between m /apaand mental Pranayama! m /apa

beforeKriya Pranayamais desi"ned to stimulate each Chakra! @ne pauses only

a short time in each one to vibrate the mMantra!

Burin" mental Pranayama# one is more passive# more willin" to perceive

than to stimulate and the pauses are much lon"er! ,hen the awareness stays for

:D seconds upon each Chakra# and the kriyaban is relaxed there comes the

perception of a pleasurable sweet sensation and the breath slows down

noticeably! ome inner sounds as well as hues of li"ht in the screen of Ktastha

deepen the contact with the mkardimension!

ome Yoga schools advise visuali4in" the Chakra(s specific color 0red#

oran"e# yellow- lie the sequence of the rainbow colors1! A kriyaban does not

need this in order to reali4e the location and the vibration of each Chakra! &n

time# a kriyaban"ains the ability to sin"le out the different rates of vibration of

each Chakra# which is crucial in reachin" the final "oal of Kriya Yoga!

;. Yo$i M'"!At ni"ht# before "oin" to bed# be"in your practice by calmin" the whole

psychophysical system with a shortKriyaroutine 0how to or"ani4e a shortKriya

routine is explained in the next para"raph1!

To practice Yoni M!ra# raise the ener"y with a deep inhalation into the

central part of the head! &f you are able to do Kechari M!ra# press the ton"ue

firmly on the hi"hest point inside the nasal pharynx . otherwise leave the ton"ue

in its normal relaxed position! Close every 5openin"5 in the head . the ears with

the thumbs# the eyelids with the index fin"ers# the nostrils with the middle

fin"ers# the lips with the rin" and the little fin"ers . so all the ener"y 5li"hts up5

the re"ion between the eyebrows!

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Throu"hout the practice# both elbows are parallel to the floor and pointin"

out to the side! Bo not let them drop# prop them up somehow# if necessary!

Burin" this special li"ht;witnessin" act# the index fin"ers must not put any

pressure on the eyes . this would be harmful and serve no purpose* &f a kriyaban

is distracted by the pressure of the index fin"ers on the eyelids# he draws theeyelids down with the index fin"ers and applies pressure on the corners of the

eyes . on the upper cheebones!

%y holdin" the breath and mentally repeatin" mseveral times# observe

the li"ht of the 5spiritual eye5 that is "atherin" and intensifyin"! The li"ht

condenses into a "olden rin"! Hold the breath as lon" as is comfortable and until

the necessity to breathe out distracts your attention! Exhale and brin" the

awareness down alon" the spine! Yoni M!rais usually performed only once!

&nhalin" deeply and holdin" the breath usually causes discomfort after a few

seconds! To reduce the discomfort and mae it possible to deepen the practice#

practice the followin"?

At the end of a moderate inhalation 0not a typical Kriya Pranayamaone

but a shorter one1# a kriyaban fully plu"s all the head openin"s except the

nostrils# exhales a very small quantity of air# then immediately closes the nostrils!

The thoracic muscles are to be relaxed as if one intended to be"in a new

inhalation? this will "ive the sensation that the breath has become quiet in the

area between the throat and the point between the eyebrows! &n this situation#

concentration on the point between the eyebrows and the repetition of m

several times can be en9oyed to its fullest!

Traditional instruction advises increasin" mrepetitions by one per day up to a

maximum of :DD! @f course# forcin" is always to be avoided!

First sggestions abot the rotine

Th% i'%!& ti0% *o" p"!)ti)i$4 th% 0!i$ K"iy! "oti$%

En9oy the main routine either before breafast or before lunch at noon or late

afternoon before dinner# or at ni"ht at least :; hours after eatin"!

The complete routine# which we have already implicitly "iven bynumberin" the techniques from 8 to =# does not wor for everyone! +any utili4e

Maha M!ra and"avi Kriya as preliminary techniques and avoid techniques

requirin" movement after Kriya Pranayama! They find also that Kriya

Pranayama#ith short breathis not necessary! Their routine is very simple and

extremely en9oyable? Talabya )riya +aha +udra Iavi )riya )riya

Pranayama +ental Pranayama! A "ood choice is to len"then the practice of

mental Pranayamato occupy 8$ of the whole time!

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A+ot ! sho"t "oti$% !t $i4ht %$'i$4 6ith Yo$i M'"!

&f the main routine is practiced at ni"ht# you can simply add Yoni M!raat the

end! @therwise# durin" the main routine avoid Yoni M!ra( while at ni"ht create

special conditions for en9oyin" its full power! At ni"ht# you can start yourpractice withMaha M!ra(thenPranayama #ith short breath# then Yoni M!ra!

Then remain concentrated as lon" as possible at the point between the eyebrows

tryin" to perceive the li"ht in Ktastha! Yoni M!ra "enerates such a

concentration of ener"y at the point between the eyebrows that the quality of the

ensuin" sleep chan"es for the better! &n other words# after crossin" the

subconscious layers# your awareness may succeed in reachin" the so;called

5super conscious5 state!

Remark

There are some schools that state that Yoni M!racan(t be practiced durin" the

day! 'ou can actually practice it* However the technique is best done in the deep

calmness of the ni"ht# when silence is all around and one is totally and perfectly

relaxed!

A+ot K"iy! P"!$!y!0! i$ th"%% p!"ts

&n the be"innin"# only the first and the second part of Kriya Pranayama are

practiced? usually 8:;:F times each! @ccasionally e!"! durin" a lon"er meditation

once in a wee# you can add more repetitions2 in that case# it is fine to experience

the third part ofKriya Pranayamaalso!

,arnin"

Bo not practice only the third part ofKriya Pranayama? a routine totally based

on a stron" concentration on the +ahasrarais not appropriate for be"innin" or

medium level students! Bevelopin" a stron" ma"net in +ahasrara throu"h the

third part of Kriya Pranayama is the most powerful way of stimulatin" the

Kn!aliniawaenin"! This implies brin"in" up a lot of information from the

subconscious mind to the surface! 0ee also the discussion in Chapter !1 'ou can

experience an entire ran"e of ne"ative moods# from mared alienation from

reality to panic attacks.

Final remark abot mental Pranayama

'ou must never for"et to "ive the hi"hest importance to the soothin" phase of

mental Pranayama! AKriyaroutine that does not end with mental Pranayamais

lie an orchestra "oin" on sta"e# unpacin" the instruments# tunin" them and

then leavin" at once* &t is this phase that brin"s everythin" to"ether2 the ripples

in the mind(s lae are stilled# the awareness becomes transparent# and the Last

Realityis revealed! &t is a diffuse calmness2 the mind is at rest and silent and

"ains the ener"y necessary to be more acutely alert! &t is lie a spiral which

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"radually and systematically taes care of all the levels of one(s bein"? it is a

healin" process!

The value of Mental Pranayamabecomes apparent when important decisions

have to be taen! @ne has the impression that nothin" can "et in the way and thateven the "reatest difficulties will dissipate! &nside the perfect transparency of an

inner order# all problems are solved! @ne is born to Kriyathrou"h the en"a"in"

practice of mental Pranayama? it pro9ects us into sheer heaven and its beauty

overflows our lives!

5!!!! it(s hard to stay an"ry when there(s so much beauty in the world! ometimes

& feel &(m seein" it all at once and &(m overwhelmed! +y heart feels it(s about to

burst!!!until & remember to relax and stop tryin" to hold on to it! And then the

beauty flows throu"h me lie rain! And & can(t feel anythin" but "ratitude for

every sin"le moment of my stupid little life! 0sli"htly modified from the movie

$merican )eaty2 81 5


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CHAPTER /

TECHNIQUES OF THE HIGHER KRIYAS

This Chapter is devoted to those students who have shown a passionate

commitment to the practice ofKriya! The ri"ht moment to study this Chapter is6;8: months after practicin"Kriya Yogadaily# when there is a "enuine lon"in" to

deepen the meditation experience!

,e warn the reader that the followin" techniques are not tau"ht in the

same order by other schools! The order of exposition adopted here reflects the

order of their utili4ation in a complete routine!

%heoretical vision

>et(s mae some preliminary remars concernin" >ahiri +ahasaya(s theoreticalvision of any authentic spiritual path! He essentially explains that a spiritual path

foresees four footsteps in which four internal nots are to be unfastened . the

nots bein"? ton"ue# heart# coccyx# coccyx;utastha!

The not of the ton"ue is connected with theMe!lla oblongataand with

the fifth Chakra2 the not of the heart is connected to the fourth Chakra2 the not

of the coccyx is connected with Chakra Mla!haraand# finally# the last not is

lined both with the first Chakraand with the openin" of the so;called thir! eye

between the eyebrows!

>et us attempt to put ourselves in the place of those who are about to familiari4ethemselves with the procedures called 0igher Kriyas! tudents should not be

obsessed with "ainin" tan"ible results at once# but at least understand if they are

proceedin" in the ri"ht direction! %ecomin" familiar with this simple and

effective theoretical vision is therefore necessary# for without this they ris

perceivin" Kriya Yogaas too chaotic a set of techniques amon" which they are

not able to differentiate those upon which they should concentrate# practicin"

them re"ularly for months at the exclusion of all others! ,ithout this attitude#

students relinquish Kriya practice after some unhappy attempts to devise a

satisfyin" routine! 7urthermore# a "ood theory helps a student to avoid wron"

attitudes and unfortunate choices that could hinder the process of conquerin" thedoubts and fears# settlin" in the solid territory of meditation;born intuition!

For knots

The ton"ue not is related to the physiolo"ical fact that our ton"ue is normally

unable to touch the uvula and# consequently# enter the nasal pharynx! %ecause of

this# we are not ept connected with the "reat reservoir of ener"y existin" in the

+ahasrara re"ion! 3nfastenin" such not 0/ihah 6 or /ihva 6 7ranthi 1e!1

means the freedom to access this inexhaustible internal source throu"h Kechari

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M!ra!

The obtainment of such M!ra and its use in the techniques of Kriya

implies that a subtle process of transformation is "oin" to happen in our psycho;

physical system! ,e are about to notice a quietin" of all useless# unwanted

thou"hts and intrusive mental processes# and a reindlin" of the vital force in thebody! A subtle substance 0$mrit1 be"ins to tricle down throu"h the ton"ue into

the spine and then in the whole body!

The afore;quoted "ood results are partially accomplished by turnin" bac the

ton"ue tip so it touches the middle of the upper palate at the point where the hard

palate becomes soft! This position is easy and can be accomplished ri"ht away!

As for the practice of %alabya Kriya# actually it should not be considered a

simple lin"ual frenulum stretchin" process! %alabya Kriya also closes an

important circuit! ,hen the ton"ue stics to the palate and the mouth is opened#

in that instant the ener"etic split between our body and the reserve of static

Pranalocated in the upper part of our head is momentarily healed!

,hen Kechari M!ra proper is attained# all becomes easier on our

spiritual path. &t becomes easier to perceive the exact location of Me!lla

oblongata# to listen to astral sounds# and to mer"e with the mkaraspect of the

Bivine!

This not should not be confused with the obstacle that is located in the

center between the eyebrows . this obstacle is lined with the fourth not!

The heart not obstructs the downward 9ourney of static Pranafrom +ahasrara

towardMla!hara. 3nfastenin" this not 00ri!aya 7ranti 1e!1 means brin"in"

spiritual reali4ation into the daily life! The mind is restored to health and the

superficial emotions calm down! &f# after havin" carried out your duties

conscientiously# you avoid distractions and useless chatters# a conscious

absorption in the spiritual reality spontaneously manifests# without any effort on

your part! The mind rests in stillness and the heart is full of inexpressible 9oy!

&t has been explained that the consciousness tunes with the element 5air5

0the fourth of five %att#as.1 7or a kriyaban# the theory of the %att#asGthe five

subtle elements? earth# water# fire# air and ether 0space1 is not a theme of useless

speculation! Everythin" that exists in the universe is a combination of these five

forms of ener"y! %att#asare a concrete series of states of consciousness# whose

intimate essence is experienced in the last part of the devotee(s 9ourney towardthe$bsolte Consciosness!

Tunin" with the air %att#aallows a person enter a sublime state! This

%att#a checs the cardiac plexus which controls the automatic phenomenon of

breath! A kriyabanworin" upon unfastenin" the heart not soon notices how thebreathin" process tends to calm down!

The not of the coccyxprevents a kriyabanfrom enterin" +shmnaand movin"

towardKtastha! This fact eeps the veil of illusion real! 3nfastenin" such not

0Mla!hara 7ranti 1e!1 means openin" the door to inexhaustible spiritual

reali4ation! The consciousness of the division between sexual ener"y# love


20/64

ener"y and spiritual ener"y is overcome forever! That division is the cause of

countless conflicts! %irth to the spiritual life means their end!

This not be"ins to be loosened by the practice of"avi Kriya!Pranaand

$panaunite in the re"ion of the navel by the action of the +amanacurrent! They

are "uided in the channel of+shmnathrou"h the action ofMaha M!ra!

The last phase of Kriya path happens when the awareness starts to climb the

+shmnachannel and moves towardKtastha!Pranais now perfectly tranquil

in all the body2 the more resistant forces that prevent the vision of the piritual

>i"ht ofKtastha are "oin" to be dissolved! A perpetual stay ofKn!alini in the

$&na Chakrais "radually achieved!

%efore reachin" this hi"hly advanced state# two important reali4ations

should happen at the level of the third and of the fourth Chakra.

>et us first consider the reality that in &nternal Alchemy 0Taoism1 is

nown asDantian! This center is not 9ust a theoretical hypothesis but a tan"ible

reality! &t is located about two and one;half inches below the belly button and

about one and one;half inches inside? it can be visuali4ed as a ball about one and

one;half inches in diameter! This is the place where a kriyabanreco"ni4es the5note5 which embodies our will to live in the physical body! 0&n Kriya Yoga

boos you don(t find expressions lie? 5Comin" bac to the center5# 5Cultivation

of the spiritual embryo5 or 5The birth of the "olden flower!5 'ou find

expressions lie? 5The process of elf reali4ation be"ins in the navel center5 but

this describes the same event!1

The reali4ation created in theDantianascends then into the heart re"ion!

A kriyaban attains a devotion that nows no human limitation! Burin" the

ecstatic rapture the body may appear as a corpse while the soul burns in a perfect

9oy! ,hen these two initial steps become solid throu"h further effort# a

kriyaban(s awareness mer"es with the piritual >i"ht 0inKtastha1 and reaches

the thresholds of Cosmic Consciousness!

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List of Kriya Yoga techniques and their relationship to the work

upon the four knots

0The underlined techniques are described in the previous Chapter1

[I] Tongue Knot

Talabya )riya

@m Lapa in the Charas

)riya Pranayama

G&!8Kechari M!ra as a techni-e complete in itself

G&!:Kechari M!ra cople! #ith Kriya Pranayama

[II] Heart Knot

G&&!8)asic form of%hokar

G&&!:$!vance! form of %hokar

[III] Muladhara Knot

G&&&!8 Complete form of %hokar

Iavi )riya

+aha +udra

[IV] MuladharaKustastha Knot

)riya Pranayama with short breath

+ental Pranayama

G&M!8 mkar Kriya 6 mkar Pranayama

G&M!: mkar Kriya 6 4nternalization of the practice of %hokarG&M! mkar Kriya 6 7ayatri Kriya

'oni +udra

[V] !lternati"e procedures cooperating with the second and

third part

GM!8Macro movement %ribhangamrari '$mantrak*

GM!:Macro movement %ribhangamrari '+amantrak*

GM!Macro movement %ribhangamrari '%hokar*

[VI] !lternati"e procedures cooperating with the fourth partGM&!8Micro movement %ribhangamrari '$mantrak*

GM&!:Micro movement %ribhangamrari '+amantrak*

NNNNNNNNNNNNNNNNNNN

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[I] Tongue Knot

Those who want to succeed in this practice must have their %alabya Kriya

checed.+any do not do it correctly# not havin" understood how to mae their

ton"ue adhere to the upper palate before openin" the mouth and stretchin" thefrenulum! ometimes# even when they are shown in person# they are still not able

to do it correctly! Here & can only emphasi4e that the main mistae is

concentratin" too much on where to place the tip of the ton"ue! &n a correct

%alabya Kriya( the tip of the ton"ue has no role* The suction effect is obtained

with the whole body of the ton"ue*

After several months of re"ular practice of %alabya Kriya# a kriyabanmay try to

attemptKechari M!ra! The test is whether the tip of the ton"ue can touch the

uvula! &f so# then for a few minutes a day use the fin"ers to push the base of the

ton"ue inward until the tip "oes beyond the uvula and touches the pharynxbehind it! @ne day# the tip of the ton"ue will enter a centimeter or so into the

nasal pharynx but slip out when the fin"ers are removed! After some more days#

on removin" the fin"ers# the tip of the ton"ue will remain 5trapped5 in that

position! This happens because the soft palate 0the part from which the uvula

han"s1 is soft# movable and acts lie an elastic band and creates a hoo! This

prevents the ton"ue from slippin" out and returnin" to its usual flat position! This

is the turnin" point!

7i"ure ! )echari +udra

Iotice how %alabya Kriya and Kechari M!ra are completely different*

0Compare 7i"ure with 7i"ure : in Chapter 61! @pen your mouth in front of a

mirror durin" the first part of %alabya Kriyato see the hollow parts on each side

of the fraenum which appear isolated from the body of the ton"ue2 durin"

Kechari M!ra( it is the uvula that comes forward and only the root of the

ton"ue is visible!

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Hence# by strivin" each day to practice at least 6;8: Kriya Pranayamawith the

ton"ue in this position . despite some discomfort such as an increase in

salivation# swallowin"# and occasional interruptions to reestablish the position .

its practice becomes easy and comfortable! The sense of irritation and the

increase in salivation are soon left behind! After about three wees of practicin"in this way# you should be able to reach the same position without usin" the

fin"ers! The ton"ue will be able to insert itself into the nasal;pharynx cavity!

There will still be enou"h space left in the cavity to inhale and exhale throu"h

the nose!

The only problem mi"ht be that durin" the first three wees of Kechari

M!ra# you experience 5di44iness5 and fo""ed up mental faculties! %e prepared

for this eventuality and consider abstainin" from drivin" and any wor involvin"

a si"nificant proportion of ris durin" this time!

G&!8Kechari M!ra as a techni-e complete in itself

There are two main sta"es ofKechari M!ra! After several months of tireless

practice of the afore;described sta"e 8# one achieves sta"e :# where the ton"ue

reaches the 9unction of the nasal passa"e inside the hole in the palate! The soft

tissue above the holes in the internal part of the nostrils is alluded to in Kriya

literature as the 5uvula above the uvula5! The tip of the ton"ue reaches this small

area and remains 5stuc5 there comfortably!

Accordin" toKriyaliterature# the ton"ue can be pushed even farther up!

Any "ood anatomy boo will reveal that the ton"ue cannot extend any farther

when it fills up the nasal pharynx! That assertion should therefore be understood

as a hint to what a normal person thins is happenin"! Actually# by extendin" the

ton"ue to its limit# it is possible to experience a "reat attraction toward the re"ion

between the eyebrows alon" with the sensation of havin" reached# with the tip of

the ton"ue# a hi"her position!

The same literature also affirms that throu"h Kecharione is able to perceive

5Amrita5# 5Iectar5# the elixir of life . a sweet tastin" fluid triclin" down from

the brain onto the ton"ue and then into the body! To have this experience# the tip

of the ton"ue should touch three points in sequence? the uvula# a small asperity

on the roof of the nasal pharynx under the pituitary "land# and the soft tissue

above the nasal septum! The tip of the ton"ue should rotate on each of these

spots for at least :D;D seconds2 then# in the manner of sippin" a liquid or testin"

a food# an essence will be savored on the ton"ue(s surface! The exercise should

be repeated several times durin" the day!

Kechari M!racauses the life force to be withdrawn from thou"ht processes!

%ypassin" the mind(s ener"y system and chan"in" both the path and the direction

&m unable to comment on the importance of sippin" the nectar since & haven(t had the experience nor#

& admit# have & even tried to have it! &m sharin" this information for the sae of accuracy and

completeness! &t may fascinate a kriyaban but after an initial period of intense excitement# it isfor"otten!


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of Prana flow# Kechari connects our awareness with the piritual dimension

whose seat is in the upper part of the brain! The internal chatter ceases2 silence

and transparency be"in to characteri4e one(s consciousness! The mind wors in a

more restrained way and en9oys an essential rest2 each thou"ht becomes more

concrete and precise! ,hen# durin" the daily activities Kechari M!ra ispracticed# moments of pure calmness and mental silence fill ones entire bein"*

ometimes# mental silence turns into an explosion of inner 9oy!

G&!:Kechari M!ra cople! #ith Kriya Pranayama

Kechari M!raenables a kriyabanto tae a "iant step toward perfectin" Kriya

Pranayama! Burin" Kriya Pranayama with Kechari M!ra# the exhalation

arisin" in the nasal pharynx has a fine flute;lie sound lie a faint whistle! ome

schools call it the +hakti Mantra! &t has been liened to the 5flute of )rishna5!

%lowin" "ently on the ed"e of a sheet of paper approximates the sound! >ahiri

+ahasaya described it as 5similar to blowin" air throu"h a eyhole5! He

described it as 5a ra4or which cuts off everythin" related to the mind5! &t has the

power to cut out any external distractin" factors includin" thou"hts# and comes at

the maximal point of relaxation! ,hen distraction and anxiety arise# the sound

vanishes!

Practicin"Kriya Pranayamain this way and en9oyin" its aftereffects is an

enchantin" and astonishin" experience and one of the best moments in a

kriyabans life! Cultivatin" the perfection of this sound and concentratin" firmly

on it# means creatin" the best basis to arouse the msound in a way stron"er

than can be achieved throu"h the practice of the second part of Kriya

Pranayama! >iterature onKriya Yogaexplains that when this event happens# the

mkarexperience acquires the dynamism ofKn!alini3the soul travels throu"h

the spinal cord and burns in the 9oy of +ama!hi!

+odesty is always welcome but when this result is achieved# the positive

euphoria is so overwhelmin" that it cannot be contained 0lie findin" Aladdins

ma"ic lamp!1 &n Kriya literature# it is said that those who reali4e a perfect

Pranayama(can achieve everythin" throu"h it! ,ell# if we dream of a faultless

Kriya Pranayama# then what we have described matches the ideal of perfection!

Personal reflection?

However "reat the effect of Kechari M!ra( & firmly believe it is important but not

indispensable! P!'!(s decision to allow initiation into the0igher Kriyas to those unable

to practiceKechari M!ra has my full approval! ,hen the ton"ue tip is turned bac and

up toward the roof of the mouth# you perceive 9ust the same striin" effect of

internali4ation that "ives you the chance of fully en9oyin" the0igher Kriyas!

& believe >ahiri +ahasaya also "ranted0igher 4nitiationto those who could not

achieveKechari M!ra.+y belief is based on his attitude and his partain" in human

sufferin"! & cannot conceive that the achievement ofKechariwas intended to create a

sharp division amon" people! @n one hand# we have the very proud kriyabans# deceived

into believin" they are more evolved than others and on the other hand# there are those

8DD


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who are hopelessly depressed for failin" in somethin" that depends not on effort

but only on physical constitution!

[II] Heart Knot

G&&!8)asic form of %hokar

0Thoar with one rotation . this procedure is called econd )riya by many

schools# Third )riya by P!'!(s disciples1

Throu"h %hokar( the ener"y and the intense awareness that has settled in$&na

Chakra# is directed into the$nahata Chakra! This event causes the ((death(( of the

mind? a particular state of ecstatic 5absorption5 be"ins to manifest! A kriyaban

perceives a feelin" of devotion 0)hakti1 emanatin" from the heart Chakra!

%hokaris practiced afterKriya Pranayamaand after"avi Kriya# if possible with

the ton"ue inKechari M!ra!

7i"ure F! Rotation of the head in the basic form of Thoar

Practical instructions

The syllables of the 1as!eva+antra 05m "amo )hagavate 1as!evaya51 are

mentally placed in each Chakra location!

,ith the chin restin" on your chest# inhale while simultaneously raisin"

your awareness alon" the spinal column# touchin" each Chakrawith the first sixsyllable of theMantra0mis placed in the first Chakra#"ain the second#Moin

the third#)hain the fourth# 7ain the fifth and)ain)in!.1 F Raise the chin as

if followin" the inner movement! The hands 0with interloced fin"ers1 are placed

on the navel area to create a mental pressure on the first three Chakras! Contract

moderately the muscles at the base of the spine! The breath produces only a

sli"ht# wea sound in the throat or it comes out soundless! ,hen the chin is up

F & am sure the reader nows the correct pronunciation of the Mantra2 phonetic symbols are not

included! Iotice that in the )in!( we don(t mentally verbali4e 1a but )a? this convention has

established itself over the years!

8D8


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and hori4ontal# the inhalation ends# and the awareness is in the )in!.

Hold your breath! Hold the muscle contraction at the base of the spine! The head

be"ins its rotation by movin" to the left shoulder 0left ear moves sli"htly toward

the left shoulder# the face does not turn left or ri"ht and the movement is free of

all bouncin"12 %eis thou"ht in theMe!lla oblongata! The head tilts bac a littleand in a sweepin" arc reaches the ri"ht shoulder# 0the ri"ht ear comin" near the

ri"ht shoulder1# the syllable 1ais thou"ht in the cervical Chakra! The rotation

proceeds# the head bends forward 9ust a little and moves left until the left ear is

near the left shoulder 0the face is not turned to the left1!

7rom this position# the chin is tilted down dia"onally as if to strie the center of

the chest# while simultaneously + is intensely vibrated in the heart Chakra!

Throu"h this last movement# a ind of hittin" is felt in the heart Chakra. A short

pause follows? 9ust what is needed to be enraptured in the radiation of ener"y

emanatin" from that Chakra! The contraction at the base of the spinal column is

eased off2 via a very subtle exhalation the remainin" syllables of the Mantraare

5placed5 in the first three Chakras 55Deinto the third one# 1ainto the second

one# and Yainto the first one! ,hile doin" this# the head is usually ept down!

The duration of this process is about :F seconds! Repeat the procedure 8: times!

At the end of this practice# retrieve psycholo"ical and physical immobility

by practicin" at least 8:Kriya Pranayama! Then practicePranayama #ith short

breathfollowed by mental Pranayama!

7or several wees# a kriyaban is "uided to perform this technique 8:

times a day# then to "radually increase the number of repetitions of one a day up

to :DD repetitions! After reachin" :DD repetitions# or after six months of 6

repetitions per day# a kriyabancan start the practice of the hi"her level of %hokar!

Remark

Bo not allow the wei"ht of the head to be the sole force pushin" the chin toward

the chest? lettin" your head simply drop would definitely be harmful! A mindful

physical effort is needed to lower the chin!

,hen you practice over


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%hokar an! the breathless state

Completin" the required numbers for the base form of %hokaris a deed of "reat

importance! As for the possibility of obtainin" the breathless state throu"h it# thatcan be compared only to the intensive practice of /apa!

>et us clarify that the breathless state does not simply mean that the

breath becomes "radually quieter or that after a lon" hyperventilation# the breath

is held lie free $ breath;hold divers do!

)reathless state means that the breath is entirely non;existent! This

wonderful event happens in the life of a kriyaban as a very common fact! &t can

happen durin" the practice of any Kriya technique 0in particular durin" the

practice of mentalPranayama.&t can also happen durin" the day# far from the

moment of meditation# for example when contemplatin" somethin" so beautiful

that ones own aesthetic sense vibrates!

&t must be emphasi4ed that in order to reach the breathless state# one needs

on the avera"e two to three years of re"ularKriyapractice! @ne needs not only

the overall effect of theFirst Kriyatechniques but also the action of the mkar

Kriyaand of %hokar# important for its direct effect on the heart "an"lia in the

spine which directly control the breathin" automatic reflex!

%efore considerin" the advanced form of %hokarwe counsel you to read

the third part of the boo and start the practice of /apaand see in any way to

achieve the breathless state!

G&&!:$!vance! form of %hokar

0Thoar with many rotations holdin" one(s breath . this procedure is commonly

called Third )riya or 3ccha )riya# meanin" hi"her )riya! P!'!(s disciples call it

7ourth )riya!1

This technique is a remarable acceleration of the basic form of %hokar. The

action of %hokar is repeated over and over while extendin" the len"th of the state

in which the breath is held 0Kmbhaka!1 &nKriyaliterature# the explanation is

that the heart not is st")2by the %hokar basic proce!reand then )tby the

a!vance! form of %hokar!

Practical instructions

The advanced form of %hokaris practiced afterKriya Pranayamaand after"avi

Kriya# if possible with the ton"ue inKechari M!ra!

After inhalin" 0with m( "a( Mo!!!1 and raisin" thePranato the upper

part of the lun"s# partially relax the muscles of the thoracic ca"e as if you were

"oin" to be"in a new inhalation! 0The act of sealin" the lun"s 0trachea1 as when

divin"# should be avoided!1 &n this relaxed mood# repeat numerous cycles of the

head movements unhurriedly! Consequently the mental chantin" of %e in

Me!lla oblongata# 1ain the cervical and +in the heart Chakrais done several

times 0%e( 1a( +( %e( 1a( +( %e( 1a( + ...1 while holdin" the breath! top the

8D


28/64

procedure and exhale when feelin" discomfort*

Then slowly exhale and place the syllables De( 1a( Ya in Chakras three#

two# one respectively! ,hile doin" this# eep your head down! This practice is

done ri"orously once a day! To "ive an idea of the speed of the movements# the

entire process from inhalation to exhalation with 8: repetitions of the rotation ofthe head 0each rotation concludin" with the movement of the chin toward the

chest1 lasts around /D;=D seconds!

At the end of the procedure restore the physical and mental immobility by

practicin" at least 8: Kriya Pranayama! Then practice Kriya Pranayama with

short breath followed by mental Pranayama! Then pause with the awareness

centered in the li"ht ofKtastha!

Accordin" to tradition# a kriyaban is "uided to perform this technique

with 8: rotations# then to "radually increase the number of repetitions by one a

day up to :DD repetitions! This Kriyais considered mastered when one reaches

:DD rotations without interruptin" theKmbhakastate!

Remarks

Avoid at all costs any attempts to thwart physiolo"ical processes? tryin" to

accomplish a hi"h number of rotations# doin" them quicly# and bein" obsessed

with holdin" the breath amounts to violence a"ainst one(s body! tart with 8:

rotations and increase by one a day! 7ill the upper part of the thorax to its utmost

possible extent with Prana 6 lie a container filled to the brim with water!

implify the dynamic and the physical intensity of the movements! +ove the

chin toward the chest before completin" the head rotation! Iamely# after rotatin"

your head from left to ri"ht# let your chin 5fall5 toward the chest from the ri"ht

side# then lift it to left side and continue with the rotations! %y increasin" the

rotations# the movements of the head should be only hinted at and the chin

should not come close to the chest!

The +antra m "amo )hagavate 1as!evayacontains another +antra? %e 1a +

0Tat tvam asi O Thou are That!1 The outer is a dualistic +antra 0IamoO& bow to

od which is different from me12 the inner +antra is non dualistic! Burin" the

practice of the advanced form of %hokaryou "o on repeatin"? ((Thou are That#

thou are That!!!!((

Reflect on this*

0o# to perfect the a!vance! form of %hokar

>et us first "ain proficiency with a particular way of practicin" the advanced

form of %hokar! ,hen you feel you have neared your limit holdin" your breath#

while eepin" the chest expanded and the abdominal muscles and diaphra"m

perfectly immobile# release a minimal 0almost imperceptible1 sip of air whenever

the chin is lowered toward the chest and let an imperceptible sip of air enter

whenever the chin is brou"ht up! Bo not do any specific act of inhalin" or

exhalin"? relax and allow the phenomenon we have described happen of its own

8DF


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accord! The sensation will always be that of not breathin" at all! Thans to the

effect of this practice upon the "an"lion that re"ulate the cardiac frequency# this

frequency diminishes and the practice happens in the best conditions# bestowin"

"reat satisfactions!

At this point we are still far from the ideal practice of this form of Thoar! ,hat

we have described is only a preliminary exercise! 'ou may thin it(s invalid0because you cheat1 but if you repeat it a sufficient number of times 0usually it(s a

matter of a couple of months1# you will discover that it has the power of main"

you taste the state of $ntar Kevala Kmbhaka 0absence of breath# when the

diaphra"m is tensed and the air is inside the lun"s1 durin" the dynamic procedure

of %hokar! ahiri +ahasaya(s

recommendation was 5Bon(t be in a hurry*5 @bserve the difference between

"oin" slowly and with speed! &f you "o slowly# you will perceive a tremendous

power!

Repeat the 1as!eva Mantra three times! Prana remains totally in the

head! After three perceptions of the micro;movement# repeat the same procedure

in Chakras:# # F#


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CHAPTER =

INTRODUCTION TO SOME INTERESTING istenin" of internal sounds bothdurin" and after the practice of

)riya Pranayama

S %asic and advanced form of

Thoar

PHASE 3 U$*!st%$i$4 th% 2$ot o*

M&!'h!"!

S )riya Pranayama

S Iavi )riya# +aha +udraS Particular procedures# typical of

)undalini 'o"a

S Complete form of ThoarS Tribhan"amurari macro

PHASE 7 Gi'i$4 )o$s)ios$%ss

to "is% *"o0 M&!'h!"! to

Kt!sth!

S )riya Pranayama with shortbreath# mental Pranayama

S 'oni +udra

=@mar )riyaS Tribhan"amurari micro

8:F


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FIRST PART:


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pleasurable shiver in the spine! The day after this practice# a diffuse 9oy durin" all

the day is perceived! Even the most simpleKriyaroutine fills one with 9oy!

G!Kriya Pranayama #ith Mla )an!ha

This practice is not beautiful as the previous one# the only purpose for which &describe it here is completeness!Mla )an!hameans contractin" the perineum

muscles# while a mental pressure is exerted on the lower part of the spine 0we

have only one lon" contraction and not a series of contraction and release as we

have in in$s#ini M!ra!1 ,e practice thisMla )an!ha durin" the pause after

inhalation! The "oal is to create the perception ofKtastha!

Burin" the last instants of inhalation of a Kriya breath# visuali4e the current

reachin" )in!# then 5rotatin"5 left# comin" down a little bit and enterin" the

Me!lla oblongata.&t is in this moment thatMla )an!ha is practiced intensely#

the breath is held and the eyebrows are raised! The sensation is that the ener"y is

pushed from Me!lla oblongata into Ktastha! A sensation of internal li"ht

spreads fromKtasthato the upper part of the brain!

Then exhalation be"ins# the tension ofMla )an!hais released and the

ener"y "oes down toMla!hara! Kechari M!ra cooperates with the process?

durin"Mla )an!ha# the ton"ue 0inside the nasal pharynx1 is pushed upward and

forward!

G!FKriya Pranayama #ith tight heli:

,hat & am "oin" to describe# comes out very easily to those who have practiced

Kriya Pranayamawith$s#ini M!ra!

&n this variation we for"et the existence of the Chakras and concentrate

upon the spine chord only! The spinal path of the ener"y is perceived as an helix!

&n a nutshell# startin" from the base of the spine# the ener"y comes up rotatin"

counterclocwise alon" the spinal channel! Then the ener"y comes down alon"

the same path# hence rotatin" clocwise!Kriyabansexperience a stron" sensation

of physical immobility and perceive their spine as a steel bar!

G!


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oblongataand the physical breath disappears entirely! 4nternalize! exhalation is

not accompanied by the exit of the air throu"h the nose! This is one of the

mysterious facts ofKriya# difficult to understand with the sheer lo"ic!

G!6Kriya Pranayama #ith a particlar circit insi!e an! otsi!e the spine&nhale! Misuali4e the breath lie a threadlie current comin" up inside the spine#

piercin" each Chakra fromMla!hara to Me!lla oblongata( reachin"# at the

end of the inhalation# the point between the eyebrows! Pause there for a couple

of seconds!

The path lined with exhalation is lon"er than the one lined with

inhalation! &n detail? durin" exhalation the current moves up vertically inside the

space between the frontal part of the brain and the frontal bone2 then bends

bacwards movin" over the brain 0and under the cranial bones1# then bends

downwards# pierces )in! and reaches Me!lla oblongata.Then the current

comes down alon" the bac of the spinal column? while descendin" externally to

the spine# it touches each Chakra li"htly from the bac! ,hen it reaches

Mla!hara(exhalation is completed!

&n time you will add to the practice the mental chant of min each one of

the centers involved 0 Chakra8# :# # F#


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to the navel# reachin" throu"h it the Dantian re"ion! G>et us remind that the

Dantiancan be visuali4ed as a ball about one and one;half inches in diameter! &ts

center is located about two and one;half inches below the belly button and about

one and one;half inches inside!

Burin" this lon" exhalation# mis chanted mentally# rapidly# 8D;8< times#accompanyin" the descent of ener"y throu"hout the path! After a short pause in

theDantian# the head resumes its normal position!

Iow each detail is repeated but the descent of the ener"y happens throu"h

a different path! A short inhalation draws the ener"y into the head a"ain . The

head bends but not in the front? it bends toward the leftshoulder# without turnin"

the face! A lon" exhalation 0with the same chantin" of m( m( m;1

accompanies the downward movement of ener"y which starts from the brain(s

left side and moves alon" a path outside the body at its left side 0as if shoulder or

arm would not exist1! The ener"y comes down to the waist# cross it and moves

toward theDantian!

The head moves bac into its normal position! After a short inhalation( the

head bends bacwards! A lon" expiration 0with the same chantin" ofm( m(

m;1 accompanies the downward movement of ener"y which starts from the

occipital re"ion and moves 0outside the body1 down to the waist where it bends#

pierces the third Chakra Manipra and moves toward the inside of the

abdominal re"ion 0Dantian1! The procedure is repeated liewise on the right

side!

This last exhalation concludes a mini cycle of four exhalations accompanied by

four descents of ener"y towards the waist and# crossin" it# towards the re"ion of

low abdomen! This mini cycle is repeated times! &n conclusion we have had

Fx O 6 descents of ener"y! After these exhalations# the procedure ends with a

mental chantin" of min each Chakrafrom$&na ChakratoMla!hara!

,hat we have described lasts =;8D minutes and is equivalent to F

repetitions of the basic form of"avi Kriya!

Remark

As the practitioner proceeds with the rotations and the effects of the technique

become more and more perceptible# the movements of the head become less

mared . the process internali4es! @ne phenomenon is remarable? at the very

moment the order to exhale has been imparted by the mind# it feels as if the lun"scannot move! ome instants later comes the awareness of somethin" subtle

descendin" into the body! A new ind of exhalation is en9oyed# lie an internal

all;pervadin" pressure! &t brin"s about a peculiar feelin" of well;bein"# harmony#

and freedom! @ne has the impression one could remain lie that forever! >o"ic

implies that breath is comin" out of the nose# yet you would swear it doesn(t!

This may be considered the first experience ofPranayama #ith internal breath

0also calledKriya of the cells1 that we are "oin" to introduce in Chapter 8:!

8:=


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GF! Chanting m alternatively bet#een Ktastha an! navel

All details of the basic explanation of"avi Kriya"iven in Chapter 6 up to the

forward bendin" of the head remain unchan"ed!

&n this variation 0really very sweet and comfortable1 the m Mantra is

mentally chanted in alternation between the point between the eyebrows and thenavel 0min the point between the eyebrows# min the navel# min the point

between the eyebrows# min the navel- and so on1!

The most useful way of doin" it is to synchroni4e the breath with the m

chantin"! Misuali4e a tiny silver cord that comes out from the point between the

eyebrows bends sli"htly and "oes down to the navel! ,hen it comes natural to

have a very short inhalation# inhale 0only what is necessary1# visuali4e the

movement of air risin"# throu"h the visuali4ed duct# from the navel to the point

between the eyebrows# pause an instant there 9ust chant mmentally! ,hen it

comes natural to exhale# exhale# visuali4in" the movement of air "oin" down

into the navel# pause and chant mmentally in the navel! %y repeatin" this# you

will maredly feel that your breath be"ins to subside and disappear! ,hen this

happens# "o on mentally chantin" them Mantra in alternation between the

point between the eyebrows and the navel and movin" the focus of your

awareness between these two points# without ceasin" bein" aware of the 5silver

cord5! Carry on!

,hen m is chanted about /< times# bend your head bacwards and

repeat a similar procedure by chantin" min alternation between the )in!and

the third Chakra. Misuali4e another tiny silver cord that connects 0outside your

body1 the )in!to the third Chakra! >et your breath . if there is still a trace of

breath . flow freely throu"h that cord. ,hen m is chanted about :< times#

resume the chin(s normal position and chant mentally min the point between

the eyebrows( Me!lla oblongata( Chakras


54/64

resume the startin" position with the spine erect! Throu"h a lon" exhalation the

ener"y comes down from$&na ChakratoMla!hara!

Then concentrate on the second Chakraand repeat the procedure 0ideally

raise that Chakra# bend the body forward# and so on1! 'ou can have five bows#

one for each Chakra# but since you can also ideally raise $&na Chakra into

Fontanelle# you can have six bows!

&n some schools# this technique is called 7r Pranayamabecause durin"

the first bend you can mentally bow to your 7r3durin" the second bend you

can mentally bow to yourParam;7r ... and so on Chakraafter Chakrawith

all your linea"e of 7rs.

7i"ure 8D! 7orward bendin" startin" from sittin" on the heels or startin" from the half;

lotus pose

%y repeatin" this 5Chakra a#akening proce!re5 on various days# when you

focus on a Chakra# you will perceive a feelin" of movement# a swin"in"

sensation# in it . this is a very important experience!

G

Iow practiceMaha M!ra! ,hen the ri"ht le" is extended# the ri"ht hand "rabs

the toes of the ri"ht foot while the left hand "rabs the inner side of the ri"ht foot

0the arch of the foot12 the face is turned left while the breath is retained! A

sensation lie an inner pressure is felt on the ri"ht side of the head! &t contrasts

with the free space sensation in the left side of the brain! Practicin" the opposite

position# the sensations are reversed! ,hen both le"s are extended# the pressure

must be felt on the front part of the head! A sensation of space is perceived inside

the occipital re"ion! As usual# this exercise is repeated three times! ,hilestretchin" forward holdin" your breath in the position envisa"ed for Maha

M!ra( chant mas you come up in each Chakra(and try to perceive the afore

hinted oscillation in each one!

G

eyebrows# m where the ton"ue touches the palate and m in Mla!hara!

Repeat three times in sequence! Return to the upri"ht position! Exhale down the

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spinal channel# pushin" the navel towards the lumbar centerManipra! Repeat

a"ain this particular way of mentally chantin" min the symmetrical position

and with both le"s outstretched!

Iow practice Maha M!ra in the followin" way? before stretchin" forward#practice one full Kriya Pranayama 0inhalation and exhalation1 and hold the

breath out! %end forward reachin" for the foot! ,ith breath out# apply the three

)an!has 0Mla )an!ha( 2!!iyana )an!ha and/alan!hara )an!ha1and raise

the eyes to "a4e at the eyebrow center! Place mthere# min the navel and m

in Mla!hara! Repeat three times! Return to the upri"ht position# releasin" the

)an!hasand inhale raisin" the ener"y fromMla!hara! Exhale down the spinal

channel# squee4in" the navel towards the lumbar center Manipra! Repeat a"ain

in the symmetrical position and with both le"s outstretched!

9. K"iy! P"!$!y!0! 6ith sho"t +"%!th

G6!8Pranayama #ith short breath centere! in $&na

>et us reconsider the technique of Kriya Pranayama #ith short breath. This

wonderful technique is important for two reasons? it fosters listenin" to the

internal sounds and msound and helps achieve the breathless state! Iow# we

are "oin" to learn how this procedure can be practiced by main" $&na Chakra

the pivot of the situation!

7ocus your attention on$&na Chakrain the center of your h

kriya yoga synthesis of a personal experience part 2

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