INSTRUCTIONS FOR USE
Welcome to

Even today you have chosen to be there and we are grateful to you.

Today's practice is designed to give rhythm and method, to provide nourishing information to make your practice fluid and well-functioning.

So, respect your rhythm, find the synchrony between breath and movement throughout the practice, whether you are doing simple asanas or you are in the ashtanga sequence.

Find the rhythm that marks the agreement between the directions to follow and your listening, between the techniques to be performed and your personal feeling. It is possible that the rhythm proposed by the guided practice of the audio track does not reflect your needs, your rhythm; it can be too fast or too slow. Agree on yourself.

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Even today the proposal is divided into two distinct moments:

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• Let's start with a written outline (which you can follow from the screen or print from the pdf format)

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• Next we enter the guided practice of the audio track. Below you can download the sheet relating to the audio track, if you prefer to know the positions in advance.

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Audio track that today will have a different rhythm from the previous one.

Remember to respect your breathing and your rhythm so as not to go free diving.

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Like last time we prefer not to provide too difficult indications (skipping those positions foreseen by the sequence but which require more attention and understanding for their development), given the limit of the virtual and the non-presence , so if you are already a practitioner, face with serenity and without hesitation even the most complex positions, taking your rhythm and advancing independently even exiting the audio track when you feel the desire. If you are not very experienced, stick to the directions when you are asked to pay more attention to the steps to enter the positions, and rest or take a break when the directions do not seem clear to you. (Keep yoga chart, ashtanga card with you if you feel the need).

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INTRODUCTION

Everything has a rhythm and everything works according to a very precise method, a functioning.

The atoms that move, meet, exchange and unite have a rhythm and a method.

The cells have a precise rhythm and method of growth, functioning and reproduction.

The glands of the endocrine system or the red blood cells of the circulatory system have a rhythm.

Love has a rhythm and the act of meeting and exchange between the bodies of lovers.

The breath and the heart have a rhythm.

The dance has a rhythm; the dance of the bodies, the dance of the celestial stars, the dance of the clouds at sunrise and sunset, the dance of the dew at each awakening.

The days have a precise rhythm marked by a regular alternation of light and darkness, because the Sun has a perfect rhythm. Always, to the thousandth of a second. The same goes for the Moon.

The seasons have a rhythm with their alternation and each season has a precise rhythm and perfect functioning that regulates the biological processes of life.

The earth's cycle has a rhythm; from the preparation of the soil to its rest, passing through the sowing, the care, the harvest and the plowing.

Plants, animals, oceans, sea, winds, stars in the sky ... everything has a rhythm.

From the smallest cell to the boundless galaxy.

Rhythm and method; that is, everything works in synergy with everything else because these laws, these operating rules, are not transient and provisional like the laws of man, artificial lights, useful only for this or that ideology or system of thought, social, political or religious, but they are fundamental and dominant laws, eternal lights, with which every living being must enter into harmony if it wants to live in well-being.

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In the practice of Yoga the first rhythm is that of the breath. And the breath, as we have seen, has its own method and its functioning in compliance with the laws of physiology.

When the rhythm and movement of the breath guide  and harmonize the rhythm and movement of the body structure, the practice is rich, joyful and gives well-being.

The perfect synchrony between breath and movement, between the breaths of inhalation, exhalation, retention and the execution of the asanas, is the cornerstone of the practice. 

Entering (in) and leaving (from) a position, respecting the synchrony and movement of the respiratory act, generates health, strength, stability, balance and nourishment.

Not respecting this synchrony in practice and not letting oneself be guided by the breath makes the practice fragile and poor. Not nutritious. Although aesthetically, externally it appears well done or virtuous.

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Each of us is different in physical structure, breathing capacity, experience and awareness.

This diversity, in addition to being a richness, is proof that a practice cannot be standardized and homologating and that everyone must respect their own rhythm if they want to receive the gifts that the practice of yoga offers. With method, that certain method that respects  both the procedures foreseen by the practice, and the needs and feelings of the individual practitioner.

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The beautiful thing is that Life has foreseen all this not with fanatical dogmatism, coercive laws or provisional and limiting tendencies; but with rhythm and method that always and only instill Joy and that give well-being.

The choice remains to us to see and live this evidence or to deny it to adhere to something else.

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Good practice, with Gratitude and Joy

Thomas for Kyem

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BEGINNING OF WRITTEN TRACK AND PRACTICE

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( The practice today involves starting lying down. We therefore recommend that you first read the track carefully, assimilate it and then practice. In case of doubt it is always possible to read the text again). The whole practice (written text + audio track) lasts about 90/100 minutes.

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I spread the mat, with care and gratitude. The space around me is clean and I am taking the time to take care of my physical, mental and spiritual well-being.

Slowly I lie down on my stomach and with my back firmly attached to the floor. I listen to the sounds coming from the outside and I don't let myself be distracted. I integrate these sounds when listening.

I feel the body lying down and I bring the listening to the points of support on the ground.

Breath.

I imagine that I am lying on a bed of fresh clay and I perceive the imprint that the body leaves on this bed. The contact points (feet, thighs, buttocks, shoulders, hands, head ...) are full supports; the non-contact points (tendons, knee cavity, lumbar lordosis, cervical ...) are empty points, of no imprint.

I listen to the body, weight and lightness. I make small adjustments to find the most comfortable position.

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(I maintain the lying position for at least 10 minutes, without rushing)

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I breathe, unhurriedly, deeply, with rhythm. Breath rhythm and heartbeat rhythm.

I inhale and exhale and return to awareness of the breath, savoring each of its phases.

I inhale deeply, letting the movement of the breath start from below, from the bowels and expand with rhythm and graduality through the chest. I feed myself

I exhale, relaxing and facilitating the release of air. I let it go.

I activate ujjay pranayama and listen to the passage of air through the glottis, into the larynx. I listen to the sound of the ujjay.

I remain lying down as long as I feel the desire, integrating fullness and lightness of the body sensations.

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Slowly I begin to bring movement to the practice. With rhythm, letting the breath lead me and that the movement is always synchronous to the respiratory phases.

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Sequence of Setu bandasana

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• I bend my knees, bringing my feet parallel slightly away from the buttocks. The hands are along the body on the ground, the palms of the hands touch the mat. Half bridge position (Setu bandasana-hatha yoga)

• I inhale and arch my back without separating the knees between them, always leaving the same distance that there is between the hips and the feet. The shoulders and the neck and the head are resting on the ground.

• Exhale and bring my back to the ground, unrolling vertebra after vertebra. From the cervical to the sacrum.

• I repeat 5 times; with rhythm and synchrony.

• Finally, I inhale and hold the final position, with my back arched for 5 breaths.

• Slowly I exhale and bring my back to the ground, unrolling.

• I repeat the static position 2 more times.

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Pavanamukta asana sequence (short)

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I bring my knees to my chest, hug them and rock them.

I put my hands on my knees:

• inhaling, I move my knees away

• exhaling bring the knees towards the chest

I repeat several times.

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Slowly I rotate on my side and helping myself with the support of my hand I am seated.

I breathe and listen to the heartbeat.

I listen to how the points of support have changed (I was lying down and now I am sitting)

I put myself in Marjari asana (cat, in quadrupedal) and I find the way to come standing, in Samasthiti, repeating the sequence of Chaturanga, Urdhva muka, Adho muka (vinyasa 4-5-6); or I go up slowly by unrolling my back.

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Samasthiti.

The three fundamentals:

• Ujjay.

• Drishti, active and aware gaze.

• Bandha, gentle and conscious activation and release of the pelvic floor and lower abdomen. Effortlessly. (for practitioners with experience and awareness of the correct physiological functioning of the area in question)

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I bring my hands folded to my chest; I close my eyes and breathe and give thanks because even today, with Care, Rhythm and Method I am practicing.

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I am ready to start the sequence, remembering to respect my rhythm; find the right and functioning synchrony between the breath and the movement of the body; the suitable method to make the practice nourishing and profound, not superficial or dogmatic.

I follow the track in accordance with my possibilities. By doing my best but accepting difficulties if they arise.

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I inhale and exhale, in Joy.

Good practice.

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  Today the audio track is split into three due to the heaviness of the audio file

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