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Methodology of Ashtanga

The Tristhana method in Ashtanga Vinyasa Yoga is a key aspect of the practice that involves the coordination of three essential elements: Ujjayi Pranayama (breath control), Bandhas (locks), and Drishti (gazing point). Tri-sthana, which translates as “three places,” is a systematic approach that helps bring focus and depth to the practice. Although the terminology may be new, Tristhana has its origin in the early tantric texts in the 12th Century with the Dattatreya Yoga Shastrawhich mention of the use of Maha Mudra (the Great Seal), Maha Veda (The Great Piercing), and Maha Bandha (The Great Lock), principles that somehow resemble the Tristhana. In the Vinyasa Yoga system, the body is used as a mantra, the postures represent beads of the Mala, and the three fundamental techniques form the string that holds the beads together to create a garland of yoga postures. The system is designed to work as a movement meditation, where the transitions from each posture to the next are as important as the posture itself.

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Pranayama (Breath)

Rooted in the ancient yogic tradition, pranayama transcends the boundaries of mere respiratory exercises, to a transformative practice that harmonizes breath, movement, and spiritual awakening. In the rhythmic dance of Ashtanga Vinyasa, where breath seamlessly intertwines with a flowing sequence of postures, pranayama becomes the silent orchestrator, guiding practitioners through the symphony of their breath. The breath becomes the bridge between the external and internal dimensions consciously harnessed to navigate the energetic pathways of the body. In Sanskrit, the energetic pathways are often referred to as nadis and chakras. Nadis are subtle energy channels through which prana (life force energy) flows. Chakras are energy centers aligned along the spine, each corresponding to specific physical, emotional, and spiritual aspects of human existence.

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The term pranayama is a combination of two words: prana and ayama. Ayama means extending or stretching, while prana is usually taken to mean life force, making up part of the subtle body. Ujjayi pranayama is a process of stretching the breath, and in this way extending the life force. The hallmark of Ashtanga Vinyasa, Ujjayi Pranayama (Victorious Breath) is characterized by a slight constriction of the throat, producing a gentle oceanic sound. This audible breath becomes a rhythmic companion, linking each movement to inhalation and exhalation. Ujjayi not only amplifies the breath’s depth but also serves as a meditative anchor, grounding practitioners in the present moment.

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Other types of pranayama taught by B.N.S. Iyengar:

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  • Vishama Vritti Pranayama: Known as “irregular breath,” an approach that acknowledges and works with irregular or uneven breath patterns. Contrary to traditional practices that emphasize smooth and controlled breathing, Vishama Vritti intentionally introduces variability into the breath, aligning with the concept of irregular mind fluctuation.

  • Nadi Sodana Pranayama: Alternate Nostril Breathing in English, is a foundational pranayama practice in yoga aimed at balancing the body’s nadis (energy channels). The technique involves alternating the breath between the left and right nostrils using specific hand positions.

  • Bhastrika Pranayama: Known as “Bellows Breath,” a dynamic breathing technique that involves rapid and forceful inhalations and exhalations. This technique aims to energize the body, increase respiratory capacity, clear nasal passages, stimulate digestion, enhance mental alertness, and promote warmth.

  • Sitali Pranayama: Known as the “cooling breath,” a breathing technique designed to cool the body and calm the mind. In this practice, the breath is drawn in through a rolled tongue, creating a cooling sensation. The air is then slowly and smoothly exhaled through the nostrils. Sitali is believed to have a soothing effect on the nervous system, reduce stress, and bring about a sense of calmness.

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Bandhas (Locks)

Bandha means lock or bind and refers to holding the body’s strength and energy. The first bandha, Mula Bandha, translates as “root lock.” The root refers to the root of the spine, precisely, the center of the pelvic floor, the perineum, which is the muscular body between the anus and the genitals. By slightly contracting this muscle, we create an energetic seal that locks prana into the body. Mula Bandha is said to move prana into the central channel, called sushumna, which is the subtle equivalent of the spine. In the beginning we employ mainly a gross muscular lock, but through practice we shift to an energetic lock, which works more on the subtle body. To become familiar with Mula Bandha, sit tall and upright in a comfortable position and focus on slightly contracting the perineum, which is the center of the pelvic floor. With the exhalation, visualize the breath beginning at the nostrils and slowly reaching down through the throat, the chest, and the abdomen until it eventually reaches the pelvic floor, which contracts slightly. As we keep the breath locked, with inhalation, there will be an automatic reaching upward through the entire core of the body. This is Mula Bandha.

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The second bandha is Uddiyana Bandha, which means “flying upwards.” It consists of lightly contracting the transverse abdominis muscle (TVA), to draw the abdominal contents in against the spine. To switch on Uddiyana Bandha, it is important to isolate the upper TVA muscle and use only the part below the navel, in order not to interrupt the free movement of the diaphragm. The more subtle Uddiyana Bandha is, the more the more influence it will have on the subtle body. By holding Mula Bandha, we are redirecting the flow from going down and out. Uddiyana Bandha then transforms this energy to go even higher.

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Jalandhara Bandha, the third bandha, is the water pipe lock. It binds the network of subtle energy channels. Engaging Jalandhara Bandha improves the extent of prana in the thoracic region. By pressing the chin to the chest, prana is captured, preventing it from escaping the upper body. The combined activation of all three badhas simultaneously, aims to channel and control the flow of prana within the body. This is called engaging Maha Bandha.

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To practice Maha Bandha:

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  • Traditionally, practitioners sit in a meditative pose like Padmasana (Lotus Pose) or Sukhasana (Easy Pose).

  • Begin by engaging Mula Bandha, focusing on the perineum.

  • Lift and pull in the abdominal region toward the spine, creating a strong lock.

  • Tuck the chin toward the chest, completing the trio of locks.

  • With all three bandhas engaged, practitioners often hold the breath after a full

    exhalation.

  • To exit Maha Bandha, release Jalandhara Bandha, then Uddiyana Bandha, and

    finally Mula Bandha. Inhale slowly and deeply.

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Dristhi (Focused Gaze)

The concept of Drishti serves as a vital thread in the Tristhana method, weaving together the physical and spiritual dimensions of the practice. Drishti, which translates as “gaze” or “focused view,” is a foundational element that guides practitioners on an inner journey, fostering concentration, balance, and profound self-awareness. The practice of drishti involves directing the gaze to specific points or focal areas during asana practice. Each asana in the Ashtanga Vinyasa sequence is accompanied by a prescribed drishti, creating a map for the eyes to follow. The significance of drishti extends beyond the physical realm. While it aids in alignment and stability, its primary function is to draw the practitioner’s focus away from external distractions and towards the internal landscape.

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There are nine specific drishti points in the Ashtanga Vinyasa system, each linked to a particular asana or group of asanas. The practice of drishti aligns with the broader yogic philosophy, emphasizing the interconnectedness of body, mind, and spirit. It mirrors the ancient yogic adage, "Where the eyes go, the mind follows." As the gaze becomes steady and unwavering, so does the mind. This unity of focus becomes a gateway to a meditative state within the dynamic flow of the practice. As practitioners refine their ability to direct and sustain their gaze, they simultaneously refine their capacity for sustained focus in all aspects of life. In essence, drishti becomes a metaphor for the yogic path itself—a journey inward. It is in the stillness of the focused gaze that the true essence of the practice unfolds, revealing the interconnectedness of body, breath, and spirit on the path to self-realization.

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The nine Drishti points are:

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  • Nasagrai - the space just beyond the tip of the nose (e.g., Maricyasana B)

  • Ajña Chakra/Bhrumadhya - the space between the eyebrows

  • Nabi Chakra - navel center (e.g., Adho Mukha Svanasana)

  • Hastagrai - hand (e.g., Trikonasana)

  • Padhayoragrai - toes (e.g., Sarvangasana)

  • Parshva - far to the right (Utthita Hasta Padangustasana B)

  • Parshva - far to the left (e.g., Maricyasana C)

  • Angushtha ma dyai - thumbs (e.g., Urdhva Hastasana)

  • Úrdhva Drishti/Antara drishti - up to the sky (e.g., Virabhadrasana A)

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