MS P 201 Yoga Therapy Technique - Il Swami Vivekananda Yoga Anusandana Samsthana (A Yoga University, established under Section 3 of the UGC Act, 1956) Block - 2 IAYT For Epilepsy, Muscular Dystrophy, Knee Pain, Oncology, Voice Culture and Saksima Vyayama: Simple and Standard Each Souls potentially Divine, The goal life sto manifest that Divinity within by controlling nature internatand extemal. Do it by Work or Worship or Philosophy or Psychic contol, by one lor more or ali thee and be FREE...” ‘Swami VivekanandaEXPERT ADVICE AND COURSE PREPARATION TEAM * Dr HR Nagendra Vice chancellor, SVYASA University * Dr Shirley Telles Joint Director - Research, SVYASA University + Dr Ramachandra G Bhat Dean, Division of Yoga & Spirituality, SVYASA University + ProfN VC Swamy Dean, Yoga & Physica Sciences, SVYASA University BLOCK PREPARATION TEAM + Ms Karuna Nagarajan Lecturer, SVYASA University Dr Nagarathna R Dean, Division of yoga & Life Sciences, SVYASA University Prof RN Iyengar Dean, Division of Yoga & Humanities, SVYASA Dr NCB Nath Dean, Yoga & Management, SVYASA University Prof R Venkatram Directorate, Distance Education, SVYASA University Swami Vivekananda Yoga Anusandana Samasthana (A Yoga University) Altrights are reserved. No part of this work mey ereproduced in any form, by mimeograph or any other means, without permission in writing from the Swami Vivekananda yoga Anusandana Samsthana, University. Printed & Published by ‘Swami Vivekananda Yoga Prakashana (SVYP),Block - 2 Unit-l: Yoga for Epilepsy, Muscular Distrophy, Knee Pain, Oncology, Voice Culture and Siksima Vyayama: Simple and StandardUNIT 1 YOGA FOR EPILEPSY, MUSCULAR DISTROPHY, KNEE PAIN, ONCOLOGY, VOICE CULTURE AND SUKSSMA VYAYAMA: SIMPLE AND. STANDARD Structure 1.0 Introduction 1.1 Objectives 1.2 Yoga for Epilepsy 1.3 Yogic for Muscular Distrophy 1.4 Yoga for Knee Pain LS Yoga and Oncology 1.6 Yoga for Voice Culture 1.7 Saksma Vyayama: Simple and Standard 1.8 Summary 19 Review Session 1.10 Suggested Readings Appendix for Kriyas Appendix for Asanas Appendix for Prnayama and Meditation 1.0 INTRODUCTION Yoga not only provides techuiques for the growth of nian frou his animal evel to heights of perfection, it carves out a way of life for him, Yoga way of life is characterized by peace and tranquility, harmony and health, love and happiness, precision and efficiency. The dri such a way of happy life is not an indiscriminate instinctive drive of an animal-man, The drive is featured by discrimination, right understanding of happiness and harmony and a calculated adoption of a suitable value system congenial to the accomplishment of increasing happiness. The drive and the norms are preseried by the Santana Dharma. The social philosophies in action today have started showing up their inadequacies in solving the problems of man. The basic drives used in the construct of the social dynamics considering the macro forces operating in the social growth processes are cither too crude akin to the animal instincts (fear) or social growth and sex as the main drive to achieve allhappiness). Yoga way of life offers a newer understanding of the social dynamics for the construct of an ideal society. Not only does the Yoga way of life provides a frame-work for the intelligent management of forces within (the inner micro world), but it also provides the right basis for the macro transactions in the society. Apart from providing a philosophical base to the social dynamics, a wholesome approach based on the comprehensive wisdom of Sandthana Dharma is provided for the society. ‘And that is the yoga way of life. Thus Yoga way of life answers the quest of man. Hence, Yoga is now once again coming to the fore to prove its role as vital to human growth and well being, to social harmony and peace which alone can make an ideal society. We are in a transition to move from an era of science and technology to an era of Yoga and spirituality. Concept of Health and Yoga According to the World Health Organization (WHO) the state of health is defined as a state of complete physical, mental, ‘ocial and spiritual well being and not merely an absence of disease or infirmity. It is clear from this definition that health and ill-health are not two discrete entities as commonly understood but health should be conceived as a continuous function indicating the state of well being, In RFECTION STATE OF HEALTH : ‘POSITIVE HEALTH ¢— NORMAL HEALTH . STATE OF WELL BEING PHYSICAL «MENTAL SOCIAL » SPIRITUAL ILLNESS In the diagram, the 3rd quadrant ‘the region of ill-health’ represents what normally we designate as ‘Sickness’. Below this, man acts iastinetively and is akin to animal man, Coming to the first quadrant, the region of ‘normal health’ the state of normal man is indicated. As he moves along the line further up, he becon healthier featured by the dormant facultiesexpressing more vividly in man. This is shown as the region of “positive health’, the next, region after the human spectrum. In this state, the limitations of normal man namely the strong urges of thirst, hunger, fear and sex are reduced greatly and are fully under control. In the concept of Sri Aurobindo, the new faculties of deeper perceptions of the world beyond the five senses emerge in this phase of superhuman existence. Further growth leads man to unfold even deeper layers of consciousness and widen the spectrum of his knowledge to move towards divinity or *perfection’. In this march towards perfection. Yosa is a systematic conscious process for accelerating the growth of a human being from his animal level and ultimately to divinity. It is a systematic methodology for an all round personality development-physical, mental, intellectual, emotional and spiritual components of man, ‘Thus, Yoga in its general methodology for the growth of man to divine heights includes techniques useful for therapeutic applications in making man healthier. ‘The five layers of existence Notwithstanding the sincere and subtle (atomic level) researches the attempts to understand life as an offshoot of matter, a conglomeration of atoms and molecules (called DNA & RNA), are leading man to regions of greater complexity. Decades of subtler and expensive research have yielded much less fruit than expected. However, better understanding of life appears to be forthcoming with efforts directed towards fields of modern psychology and parapsychology. ‘The forerunner of many of these efforts comld he traced back ta the work of Kislian Contmuorsies apart, Kilian photagenphy triggered the interest of a large number of scientists and technologists all over the world. Investigations into the unknown regions of human existence started unraveling the mysteries of life. Parapsychology institutes have grown in number. Scientists have started reconsidering their hypothesis that life also is an emergence from matter. They recognize some existence beyond the phy: cal body. The scientific study of the human Aura by Tart, the professor of psychology at the University of California at Davis. USA, delineates the following aspects of human aura (a) ‘The physical aura; (b) ‘The psychological aura; (c) ‘The psychical aura, and (d) The projected aura. In relating the experience of the psychics, the terms human aura, Etheric double, Astral body, Thought-forms, etc., have often been used, ‘The second category of ailments are Anddhijah Vyadhayah-those not originated by mind. These would probably include the infectious and contageous diseases. The text says that Anadhija Vyadhis can be handled through conventional medicines (the chemotherapy of 6‘modern medicine and Ayurveda), Mantras (with their natural vibrations) and good actions. ‘These bring about the purity of mind, the Prina flowing freely in the body and the food getting digested better and assimilated properly allowing the diseases to vanish. ‘The psychosomatic illnesses Among the two types of Adhis described the Samanya (ordinary) type corresponds to the ‘modern psychosomatic ailments. When the mind is agitated during our interactions with the world at large, the physical body also follows in its wake. These agitations cause violent fluctuations in the flow of Prana in the Nadis. The Prana flows in wrong paths flying from one to the other without rhythm and harmony. ‘The Nadis can no longer, in this condition, ‘maintain stability and steadiness, but quiver. Due to these disturbances of the Prana and. unsteadiness in the Nadis, the food does not get properly digested. There arises Kujimmatvam (wrong digestion), Adijirpatvam (non-digestion) and Ajirpatvam (over digestion). When this, improperly digested food settles down in the body amidst such commotion it results in ailments of the psychosomatic type. Contained in this process of generation of, psychosomatic ailments is the method for treating such ailments. ‘THE INTEGRATED APPROACH The disturbances in the Manomaya Kosa percolates into the physical layer (Annamaya Kosa) through the Prinamaya Kose, Herce, in the treatment of these psychosomatic ailments it becomes mandatory to work at all these levels of our existence to bring about th quickest results. ‘The integrated approach, thus, consists in not only dealing with physic: sheath, the rel cf of which could at best be temporary as is happening with the drugs used in modern medicine to treat diseases of the psychosomatic type like Asthma, Diabetes Mellitus, Hypertension, etc. it also includes using techniques to operate on different sheaths of our existence. The large number of yoga practices available in the xts of yoga and upanisats are adopted to balance and harmonize the disturbances at each of the five Kosas and tackle this type of complex psychosomatic ailments. ‘The following is the translation of the Sanskrit text taken from Yoga- vasistha Annamaya Kosa In the tradition of Yoga and Upanisads, this concept of pancakosa is described in Yaittireya upanigat where in the teacher Varuna the father is guiding the student Bhrgu in his search for reality. The son asks the father to tell him what is the most fundamental stuff of this universe from which all creation has come. The father leads him on through hints to 7perform Tapas (internal research) to find out an experiential answer to the question. The son goes into silence and comes back to the father with an answer that all this universe is made up of 'Anna’ (matter). Every thing in the universe is made of Anna’, everything comes out of Anna, everything is sustained by Anna and every thing dissolves into Anna, Father is very happy that the son has been able to arrive at one common principle of the external universe. This matter (Anna) based aspect of our physical personality is called Annamaya Kosa. Annamaya KoSa consists of five elements (Pancabhiitas) namely the earth (Prthvid. water Jala or Ap), fire (Agni Or Tejas), wind (Vayu), and space (Akasa), This is normally nourished by the gross food that we consume. ‘This is what the modem science also has understood. It has successfully unraveled the subtleties of this Kosa. In his search towards reality or the unchanging fundamental unit of this universe, a scientist started with the external gross world of solid matter which is simple and easy to see, divide, and do experiments with. This search led him through steps of understanding of this entire world of matter starting from elements, molecules, atoms, protons, neutrons and electrons; He further understood. that it is all packets of energy. The atoms conglomerate together to form various chemicals; our body is therefore a permutation and combination of various chemicals (Le., packets of energy in various configurations). When they join together they form molecules, cells, tissues, organs, ete. These follow certain well defined laws of nature and are controlled by nervous (electrical) and chemie: (hormone) mechanisms to bring about movement and action in each and every cell. Thus annamaya Kosa is the physical frame which isthe grossest of the five Kosas. A. Practices at Annamaya Kosa (The Physical layer) A healthy yogic diet, Kriyas, loosening exercises and Yogasanas are used to operate at the Annamaya Kosa level and to remove the physical symptoms of the ailments () Kriyas-Vhese are Yogic processes described in Hatha Yoga to cleanse the inner organs of our body. They bring about the following effects (a) Activating and revitalising the organs, (b) Toning up Geir functions, (©) Desensitization and (a) De the texts of Yoga, simplified versions of a few Kriya like catheter Neti, Jala Neti, clopment of deep internal awareness. Among the major Kriyas enumerated in Kapalabhati, Agnisara, Vaman Dhouti (Kunjal Kriya), etc, are used extensively.(ii) Physical exercises and Movements - Sithilikaraga Vyayime Very simple physical movements to mobilise and activate the affected parts of the body are used. Some casy physical exercises are adopted to fulfil the needs of the particularailments to (a) loosen the joints (b) stretch and relax the muscles, (c) improve the power and (d) develop stamina, ‘The following is an extract from Laghu Yoga Vasistha (in Sanskrit) which describes the genesis of Hlnesses and suggests the remedy fer the sam (iti) Yogas inimals Yogasanas are physical postures often imitating the natural positions of the ‘meant to make the mind tranquil. Througt these postures, the physical revitalization and deep relaxation and mental calmness are achieved. B. Pranamaya KoSa (The layer of Pripa) Prana is the basic life principle. Pranaydma is a process for gaining control over Prana. ‘The five manifestations of Prina and the corresponding most comprehensive definition of Pranayma in the human system are described in Prasnopanisat. Also. the conventional Pranayama through regulation of breath is described thercin. ‘Through the practice of proper breathing, Kriyas and Pranayama, we start operating on the Pripamaya Kofa. Suitable types of Priniyama and breathing help to remove the random agitations in Pranic flows in the Prindmaya KoSa. Thus, the ailments are handled at this Prinamaya Kosa level. C. Practices at Manomaya KoSa (The meatal laver) i) Dharana and Dhyana A direct operation on this level is made possible by the last three limbs of Astanga Yoga of Patanjali - Dharana, Dhyana and Samadhi. The culturing of mind xecomplished by focusing of the mind (Dharana) initially, followed by relaxed dwelling of the mind in a single thought (Dhyana) for longer and longer durations leading ultimately to super consciousness (Samadhi). A progressive habituation allows the mind to remain relaxed during the period of meditation (Dhyana). The benefits of Transcendental Meditation, a simple standardized technique, are numerous, interesting and noteworthy. Its application to. treat many psychosomatic ailments has become popular.ii) Emotion Culture ‘To handle and gain control over the basic cause for mental agitations, we use the Yoga techniques that control our emotions. A devotional session containing Prayers, Chents, Bhajans, Namavalis, Dhuns, Stotras etc., help to build a congenial atmosphere to evoke, recognise, attenuate and dissipate the emotions. ‘Thus. control over emotions is oblained through the devotional session. ‘The emotional imbalances and upsurges are eli nated by such control. D. jindnamaya Kosa. (The layer of wisdom) ‘A basic understanding is the key to operate from Vijninamaya Kosa. Upanigads are the treasury of such knowledge which is the redeemer of all miseries and obsessions. It is the lack of that inner Inna which is responsible for many wrong habits, agitations, etc. The Happiness Analysis - Ananda Mimamsa of the Taitteriya Upanisat handles the most fundamental problem relevant to all living ervatures. The analysis systematically leads the and reader to that substratun from which Pra d eamerge ~ the Amandaunaya Kosa, It helps the person to change his attitude of greed and deep attachment to material possessions and enjoyments towards the realization that happiness is within and ‘each one of us” in our causal state is ‘Ananda’ embodied. As a result, man’s outlook in life changes. Knowledge burs the strong attachments, obsessions, likes and dislikes which are the basic reasons for the agitations of mind. 1 1: Sara type of Adhis can only bo removed by this knowledge (Atma-Jndina or Self-realization).. E, Anandamaya KoSa (the layer of bliss) To bring the bliss of our causal body (Karana Sarira) called Anandamaya koSa in all our actions is the key for a very happy and healthy life. This also brings our innate healing powers to effect, a complete cure of our ailments. ‘The techniques used come under the heading Karma Yoga, the secret of action. The serel in maintaining an inner silence, equipoise at the mental level as we perform all, our actions. Normally we get upset, or excited over things which we do not like or we like. But we have to learn to maintain equipoise (samatva) The next step is to have a deep silence and a blissful awareness in the inner subtler layers of our mind while we are in action.This is accomplished by self awareness, constant drive to change oneself and auto- suggestions. To recognize that * Iam getting tensed’ is the first step. Correct by withdrawing to the inner compartment of total bliss, peace and rest. Remember this by repeated inner silence se al times in the day. Retain a smiling relaxed face during all the yoga practices. Vijnanamaya Kosa ‘As Bhrgu reports to Varuna about this wonderful discovery , the master is happy but he says Please ght direction.” Now JOVE OM. You have just a few steps W go ahead, you are in the through intense long tapas, Bhrgu realizes that it is all the Vijndna (knowledge) from which the entire creation has happened and that could be the final reality. Vijnanamaya Kosa is the fourth layer of our existence. We all have two minds, For e.8., when the manomaya kosa said that "It is a beautiful rose, I want to have it" and you started instructing your hands to pick up the flower, he inner mind said " Sorry, you cannot pluck that flower; it does not belong to you; itis from the neighbor's garden” and you stopped the action. This conscience within that continuously guides us to do a thing or not to do a thing is the Vijnanamaya koSa, It is this component of the mind that has developed in human race greatly that differentiates man from animals, Bhartrhari says. comrere Fran wa opt ‘area AA: TOT, ‘afafe dat feat fete: ‘afafder: waft: waa: Bhartrhari brings out this point as to how the higher faculty, the Vijnanamaya continuously guides the manomaya koSa to get mastery over the basic instincts, Hence in man we know that, even these basic instincts are all psychological. For example we have lost the cyclical behavior as in animals who get into reflex estrus cycles (heat) for sexual behavior. This freedom element which is inbuilt in all human beings, guides him to discriminate what is "good and bad”, "right and wrong", sseful and not useful” to move towards long term sukha (happiness). Thus, viindnamaya koSa is the discriminating faculty. Anandamaya Kosa, ‘Varuna now directs the son to go back to tapas and this time Bhrgu never returns. The master goes to check why the son has not come back. He was surprised to see that Bhrgu is completely engrossed in deep Ananda(bliss). There is no individual "1 ' of the Vijnina or ‘manomaya koSa, that can report to the father about his realization, Brehu is now established ulin the knowledge of the final truth that Ananda is the basic stuff of this universe from which every thing has been created. ‘This is called Anandamaya kosa - the bliss layer of our existence. This is the most subtle aspect of our existence which is devoid of any form of emotions; a state of total silence - a state of complete harmony, and perfect health. While in Manomaya KoSa the creative power predominates, in Vijndnamaya KoSa it is the power to disccun aud discriutinate, Dliss iy cududied in Auanlamaya KuSa, the highest stage of evolution in the manifested existence. It is the subtlest among the five layers of existence, In his journey towards the Ultimate, man crosses these koSas of existence one by one. ‘Through analysis called ‘Panca KoSas Viveka’ (Knowing through experience, one’s five Kosas of existence) and the associated practices called “Tapas” man transforms himself by gradually getting relieved from the bondages and constrictions of each KoSa. This is one of the methods of reaching the ultimate goal enumerated and described in the Upanisads. ‘The science of illnesses In Anandamaya Kosa a man is healthiest with perfect harmony and balance of all his faculties. At Vijndnamaya KoSa there are movements, but are channelised in the right direction. As such, it is in the Manomaya level the imbalances start, say the yoga texts. Likes and dislikes have come to play at this level. They start governing our actions; often they are In the wrong direction. ‘The king of Gulab Jamoon in a dlabewle may lure him 10 eat the same against doctors advice. Thus going against what is right causes imbalances. These imbalances amplify themselves resulting in mental illnesses called Adhis'. At this stage there are no symptoms at the physical level. Prompted by the perpetual growth of desires, these mental diseases concealed in us, begin to manifest themselves externally and gradually they percolate to the physical frame, Preponderance of Ajndna (ignorance about one’s real state of bliss) leaus one to perform wrong actions such as cating of unwholesome food, living in unhealthy dwellings, doing things at untimely hours, association with the wicked, evil thoughts, inflict injuries, ete. These breed physical diseases called Vyadhis or the secondary diseases. ‘The Adhis (primary diseases) are two fold-Samanya (ordinary) and Sara ( essential). The former includes the diseases incidental to the body while the latter is responsible for rebirth to which all men are subject . The Sdmanya are normally produced during the interactions 12with the world. These may be termed as psychosomatic ailments. When dealt with by suitable techniques and congenial atmosphere, Adhis of the ordinary type will vanish. the Vyadhis caused by these Adhis ra) which cause the birth of Along with it are destroyed the physical ailmeats -Adhijah Vyadt the physical body can be destroyed only by the realization of the causal states of mind and a yyah, ‘The subtler Adhis of the essential ype corresponding ability to live in Vijnanamaye and Anandamaya KoSas. In that state, man transcends the cycles of birth and death, 1.1 OBJECTIVES Tn this unit you will Team Yoga therapy techniques for epilepsy, muscular distrophy, knee pain, oncology, voice culture and sukssma vyayama: simple and standard — which is generally prescribed for rheumatism, arthritis, high blood pressure, heart problems or other aii cal exercise is not advised. ients where vigorous phy 1.2 YOGA FOR EPILEPSY Epilepsy is defined as a tendency to have repeated seizures that originate in the brain. Epilepsy can develop at any age. However, it is diagnosed most often before the age of 20 and after the age of 60. Epilepsy is a disorder with many possible causes. Anything that disturbs the normal pattern of neuron activity - from illness to brain damage to abnormal brain development - can lead to seizures. Epileptic seizures are due toa temporary interruption of brain activity, causing disturbance of consciousness or impaired awareness, strenge or out of place sensations, or changes in movement or posture. Primary Epilepsy is considered as “Adhija Vyadhi” ~ a disease caused by an internal imbalance within the system and not caused by an outside agent (such as infection). Although we know that external causes like head injury (old or recent) or infections (old or recent) can cause the epilepsy the commonest type of epilepsy has hereditary tendency as the cause. Stress anxiety, loss or lack of sleep, flickering light, fast breathing are some of the known triggers that could be the immediate cause for an attack.The brain is a highly complex structure composed of millions of nerve cells (neurons) that generate and conduct electrical currents. These are responsible for a wide range of functions including consciousness, awareness, movement, body posture ete. In Epilepsy, the normal pattern of neuronal activity becomes disturbed leading to signal abnormali Yoga defines thie internal imbalance az an excessive reactivity to situation (known/unknwon) at manomaya kosa. This speed ‘Vega’ at the manomaya kosa triggers off very high electrical potentials in too many nerve cells in different parts of the brain. This heightened activity sends down a big shock that shows up as altered consciousness and body movements. ‘Once epilepsy is diagnosed, it is important to begin treatment as soon as possible. Most people with epilepsy lead outwardly normal lives. While epilepsy cannot currently be cured, for some people it does eventually go away. Most seizures do not cause brain damage. It is not uncommon for people with epilepsy, especially children, to develop behavioral and emotional problems, sometimes the consequence of embarrassment and frustration or bullying, teasing, or avoidance in school and other social setting. For many people with epilepsy, the risk of seizures restricts their independence (some states refuse drivers licenses to people with epilepsy) and recreational activities. Yoga therapy aims at developing master over these excitations by training to develop an internal balance through technique of slowing down of activity at all levels, It is the deep rest to the mind body complex that heals. The brain cells have to be given very deep rest by conscious slowing down of thoughts though meditation. Hence loud chanting followed by mental chanting of AAA, UUU, MMM and OM as used (MSRT) is a very useful tool for epileptics. Any form of meditation which does not ‘our Mind Sound Resonance technique allow you to go off to partial sleep is very useful. Meditation using body movements (Tai Chi, Cyclic meditation) or chanting (Om meditation, MSRT) or Devotion to the divine (MEMT) or observing slow breathing may all be used.Are there any yoga practices that are dangerous to epilepsy? Any practice that involves fast breathing (Hyperventilation) could trigger off an icated (Avoid kapalabhati, Bhastrika, Rabbit breathing, Mukhadhouti etc) Balancing postures are to avoided. What are the asanas that are attack and hence is contra i good for epileptics? Forward bending and inverted postures are good Padahastasana, Sasankasana, Ardha Sirsasana, Sarvangasana, Matsyasana and their variations followed by deep relaxation technique. These postures help in bringing your awareness and concentration to the head region following which you can experience deep relaxation in the head region. IAYT Practices for Epilepsy 2. Pavanamuktasana Kriya 3. Sirya Namaskara 4, Head Rolling 5. Quick Relaxation Te Suksma Vyayama (Strengthening Exerises) 6. Mani Bandha Sakti Vikasaka (writst) 7. Kara Prista Sakti Vikasaka (back of hand) 8. Anguli Sakti Vikasaka (fingers) 9. Kaphoni Sakti Vikasaka (elbows) 10. Gai aki Vikisaka I (neck) 11, Griva Sakti Vikasaka - II (neck) 12, Kati Sakti Vikasaka -1 13. Kafi Sakti Vikasaka - II (back) 14, Janu Sakti Vikasaka (knees) 15, Pindali Sakti Vikiisaka (calves) 16, Netra Sakti Vikasaka (eyesight) 17. Karna Sakti Vikasaka (power of hearing)Asana 18, Ardhakati Cakrisana 19, Sas ‘ana / Yoga Mudra 20, Ustrasana 21 2 23 Vipariiakarani 24, Sarvaiigasana 25, Matsyasana 26, Ardha Sirsdsana / Sirsisana 27. Deep Relaxation Technique Pranayama 28, Candra Anuloma Viloma Pranayama 20, Nadi Suddhi Pranayama Meditation (Dharana Dhayana ) 30, Nadanusandhana 31, Mrutyuijaya Mantra Chanting Kriya 33, Jala Neti 1.3 YOGA FOR MUSCULAR DYSTROPHY Muscular dystrophy is a group of inherited disorders that involve muscle weakness and loss of muscle tissue, which get worse over time. Causes, incidence, and risk factors Muscular dystrophies, or MD, are a group of inherited conditions, which means they are passed down through families. They may occur in childhood or adulthood. There are many different types of muscular dystrophy.‘Symptoms ‘Symptoms vary with the different types of muscular dystrophy. All of the muscles may be affected. Or, only specific groups of muscles may be affected, such as those around the pelvis, shoulder, or face. Muscular dystrophy can affect adults, but the more severe forms tend to occur in early childhood. Symptoms include: + Mental retardation (only present in some types of the condition) + Muscle weakness that slowly gets worse + Delayed development of muscle motor skills + Difficulty using one or more muscle groups + Drooling + Eyelid drooping (ptosis) + Frequent falls + Loss of strength in a muscle or group of muscles as an adult + Loss in muscle size + Problems walking (delayed walking) Signs and tests A phys al examination and medical history will help the doctor determine the type of muscular dystrophy. Specific muscle groups are affected by different types of muscular dystrophy. ‘The doctor's exam may show + Abnormally curved spine (scoliosis) + Joint contractures (clubfoot, clawhand, or others) + Low muscle tone (hypotonia) Some types of muscular dystrophy involve the heart muscle, causing cardiomyopathy or disturbed heart rhythm (arrhythmias). Often, there is a loss of muscle mass (wasting), which may be hard to see because some types of muscular dystrophy cause a build-up of fa: and connective tissue that makes the muscle appear larger. This is called pseudohypertrophy. A muscle biopsy may be used to confirm the diagnosis. In some cases, a DNA blood test may be all that is needed. Other tests may include:+ Heart testing - electrocardiography (ECG) + Nerve testing - electromyography (EMG) + Blood testing - including CPK level + Genetic testing for some forms of muscular dystrophy Incorporating a therapeutic practice like yoga can help ease the conditions of muscular dystrophy and greatly improve the quality of life. Muscular dystrophy yoga uses a series of gentle and easy movements in combination with deep breathing techniques to improve muscle tone and reduce pain. Through gentle yogic movements, the muscles are moved, worked, and toned. The deep breathing techniques help you breathe more fresh oxygen as compared to regular shallow: breathing. As fresh oxygen is infused into the body, a fresh supply of nutrients is supplied to all the organs and tissues in the body. It improves blood circulation and strengthens the weakening muscles. Along with maximum inteke of oxygen, the body is also able to expel adequate amounts of toxins using breathing techniques of yoga for muscle dystrophy. Other benefits include: ‘* Increased Range of Movement Stretching will help to increase the length of muscles and tendons, which results in a reduction in general muscle tension, and an ease in your normal range of movement. The benefits of an extended range of movement include: increased comfort; a greater ability to move freely; and a lessening of your susceptibility to injury. ‘© Increased Muscle Power By increasing your muscle and tendon length you are increasing the distance over which your ‘muscles are able to contract. This results in a potential increase to your muscles’ power and therefore increases your athletic ability. while also leading to an improvement in dynamic balance, or the ability to control your muscles. ‘+ Improved Recovery Stretching, as part of an effective cool-down, helps to alleviate post exercise muscle soreness by lengthening the individual muscle fibres, increasing blood circulation and removing waste products. © Decreased Fatigue Increased flexibility through stretching can help prevent the effects of fatigue by taking pressure off the working muscles. For every muscle in the body there is an opposite or opposing muscle. If the opposing muscles are more flexible, the working muscles do not have 18,to exert as much force against the opposing muscles. Therefore each movement of the working muscles actually takes less effort. IAYT for Muscular Distrophy (Standing near the wall) Pada sanchalana Heel walking once in two hours. Pada hastasana Trikonasana (each side) \Vrikshasana (each leg) Instant relaxation Technique SITTING Passive stretching of foot Knee cap tightening Paschimatasana Vakrasana Shashankasana/yoga mudra QRT SUPINE Acute thigh flexion ( wit Knee cap tightening Straight leg raising Pavanamuktasana Folded leg lumbar stretheh Dorsel stretch Side leg raising Rolling on the floor Instant Relaxation Technique PRONE Knee Fkexion & EXTENSION Ardha / Pura shalabhaasana Tiger breathing 5 rounds 2 mins 1 min I min 30 secs 2 mins 5 times a day * 20 rounds 5 times a day * 20 rounds I min I min 1 min 2min 11 rounds 5 times a day * 20 rounds 11 rounds 11 rounds 11 rounds 11 rounds 11 rounds I min 2 mins 11 rounds 11 rounds 11 roundsQuick Relaxation Technique 10 mins BREATHING PRACTICES Hands stretch breathing 3 stages each 11 rounds Hands in and out breathing 11 rounds Rabbit breathin 1 min Dog breathing 1 min Sima mudra 11 rounds KRIYA Jala Neti ‘Vamana dhouti Trataka Kapalabhati 40 to 100 strokes PRANAYAMA Chandra anuloma — viloma 9 rounds Surya anuloma — viloma 9 rounds Sitali, Sitkari, or Sadanta 9 rounds Bhramari 9 rounds MEDITATION (Dharana, Dhyana) ‘Nadanusandana AAA.9,UUU-9,MMM-9, Om-9 Om Meditation 15 mins Mind Sound Resonance Technique ‘Note : Emphasis on repetition 1.4 Yoga for KNEE PAIN The knee is the largest joint in the body, [tis made up of the lower end of the thighbone (or femur), which rotates on the upper end of the shinbone (tibia), and the kneecap, which slides in a grove on the end of the femur. The knee joint also contains several muscles, which straighten the leg and bend the leg at the kree; tendons, which attach the muscles to the 20bones; ligaments, which help control motion by connecting bones; and cartilage, which serves to cushion the knee or help it absorb shock during motion. Because of its size, and because it is such a complex structure, it is also one of the most frequently injured joints. Knee injuries can be caused by several factors. Most complaints of knee pain result from some form of trauma, such as a tom or ruptured ligament; a broken or fractured kneecap; tom cartilage; or an accident that causes damage to the area or strains the knee beyond its normal range of motion. Being overweight can also contribute to knee problems by causing excess strain on ligaments and cartilage. Structure and Funetions of J ‘Types of Joints : 1. _Immobile joints are seen in the skull bones. They hold the flat bones of the skull together and are simple. The irregularly sawed margins of one bone fits into the irregular crevices in the margin of the other bone. 2. Mobile joints are also called Synovial joints. These could be i, Hinge joints as in knees, elbows and fingers. Ball and socket joints as in hips and shoulders, Facet joints of the spine between vertebral bones. Among these two major types of joints, arthritis affects only the mobile joints as they are ‘most vulnerable {o injuries and inflammations Whaat is Synovial joint? In most of the mobile limb joints. the expanded ends of the two long bones come together to form the joint. ‘The two bony surfaces that touch each other are lined by a thin pearly white, smooth, shiny, hard material called articular cartilage. The two bone ends are enclosed inside a well protected space covered by a tough outer sheath called joint capsule. There are strong thick cord like structures (ropes) that hold the bones firmly together called ligaments, The frve joint space is filled with a lubricating fluid called Synovial fluid. This fluid is slimy and is continuously replenished, Synovial membrane forms the velvety soft inner coating of the joint capsule, This is full of blood vessels and glands that secrete and reabsorb the lubricating fluid. Muscles are attached directly to the bones that go to form the joint, Contraction and relaxation of these muscles cause movement of the joints. As the muscle approaches the point 21of attachment to the bone it may change its texture into a tough non-contracting material called tendon. Tendons are strings that can manocuvre the narrow passages to reach the hone across the joint in which the movement takes place. For e.g., the hands and feet are full of thin long tendons extending from bulky muscles of the forearm and calf, so that the fine ‘movements of fingers and toes can be ensured. What canses Avth inflammation. Not all pains in joints ean be in the joint and muscles occurs without any inflammation, it is is can be called arthralgia and myalgi According to yoga texts all types of pain in the j classified under two major headings. Adhija - stress born and Anadhija - non-stress born causes. Arthritis due to Anadhija causes (external causes) include those due to infections, injuries and. toxins. Apart from direct invasion of joints by germs as in chronic TB, Leprosy etc, ot pus producing acute arthritis, reactive arthritis is another condition wherein inflammation in the joints occurs as a response to infection anywhere else in the body (e.g., cheumatic fever, post dysentery arthritis etc.). ‘The treatment of infections certainly requires antibiotics ines. Here the role of yoga is to strengthen the immune system to fight better; and also to prevent and correct deformities. ‘The other common Anddhija causes of painful joints are due to injuries ice., post-traumatic effects on joints. Here yoga practices have been used effectively to minimize pain and swelling, prevent or correct deformities. ‘The other common causes of chronic arthritis fall under the category of “Adhija vyadhi” or stress related arthritis. Osteo arthritis and rheumatoid arthritis are two common conditions under this category. Fibromayalgia, autoimmune connective tissue disorders with musculo skeletal pains and non-specific arthralgias, are other Adhija causes of musculo-skeletal pains. Stress and Joints Today modem science has understood the mechanisms of how this stress can trigger off the autoimmune process. Psycho-neuro-immunology is the science that has understood these connections vividly both through animal and haman experiments. ‘The Central Nervous System (CNS) is disturbed if your mind is disturbed. Long standing persistent emotional surges and suppressions trigger off the loop of persistent excitement nicals have 22 starts off chronic imbalance in their chemical regulation mechanism. Several chibeen identified (ACTH, cartisones, cytokines etc.) that are released in large quantities from. different parts of this psycho-ncuro-immune pathway that affect the immune system functions. One way you could understand this is, when there is a danger we fight to survive: if there is a long standing danger we become more and more violent; we lose our discrimination, and start getting muddled; turn into a brute; forget the soft human qualities and get lost in acts of destroying the fellow human beings who may not be our enemies; this, is what happens to your immune system. The most highly developed faculty of differentiating self from non-self is the first function to be knocked off, when you are chronically stressed. The joints. iller instinct takes the upper hand and produces an autoimmune inflammation in the IAYT for Knee Pain ‘The integrated approach of yoga therapy provides techniques to address the problems of all aspects of the stressed fast life style of the individual. According to yoga we all have five bodies. The solid physical body visible to our eyes made of @ permutation and combination of hydro- gen, oxygen, carbon, nitrogen, calcium, and potassium etc. is called Annamaya koSa (physical body). The life energy (praina) that makes each and every cell carry on its functions is prinamaya kosa (vital energy body). Right dose of prana is supplied to all cells to maintain health, The mind which carries on the functions of perception, memory and emotion: is called manomaya koSa (mind body or astral body). The inner mind that controls and guides the manomaya kosa is called vijnanamaya Kosa (Knowledge body). This is the judge who decides what is right and wrong based on life’s experiences so that we can live a life of contentment, bliss and happiness. Inthe fifth which is the subtlest body called anandamaya koSa(bliss body), the person is in perfect health at physical, mental, emotional, social and spiritual level because of total inner mastery over the functioning of each one of the other four koSas. III health results if there is lack of mastery According to yoga psychosomatic problems begin in Mandmaya Kosa (mind layer of our ja vyadhi. Aat existence) as an Ad is stress. Stress begins in the mind (Manas) as uncontrolled surge of emotions (Bhavana). ‘These emotions such as anxiety, worry or depression, tension ete, are psychological responses to deman-ding situations either real or imagined. Stress is defined as Jesie ( Vega) -excessive speed. Stresses are our emotional reactions (2"|- Udvega) described as the six enemies of man namely, 37% (intense desire) 3% (anger), @™ (miserliness) *¢ (infatuation) + (arrogance) and Hef (jelousy). In all these 23emotions there is one common factor namely the excessive speed of the rate of flow of our thoughts. This is described as “ am aiitaré i“ (Kama Krodhodhhavam vegam in Bhagavad sila - intense desire and anger lead to excessive speed.) These stresses carry enormous power (energy) by gathering momentum by the recycling of thoughts unceasingly in the Mandmaya kosa. This speeded up loop goes out of control and wwe get lost in the speed. This speed when suppressed over a long period of time starts clouding the faculties and disturbs the balance of the $ kofas. The nanda or Jnana- the right knowledge, is clouded by the emotions. We get completely lost when worrying becomes a full time occupation. We start feeling tensed up all day, worried all night and depressed for days. Sleep gets disturbed. As the energy is drained out in this speeded up loop of worry, the other soft faculties of the mind like cheerfulness, patience, and contentment get replaced by violent emotions of reactiv , restlessness, depression, unfounded apprehension, lack of drive, indecisiveness, irritability and forgetfulness ete. ‘These are the manifestations of the uncontrolled stress reactions i.c., speed of the mind. When this goes on for some time it percolates into the Prainamaya_koSa and disturbs the Prana balance; excessive erratic surges of Prana manifests initially as functional disturbances like excessive generalized tiredness, body aches, feverishness, exhaustion and immune disturbances . At this phase the most commonly noticeable imbalance is in the form of irregular breathing pattern - disturbed rate, rhythm, and depth of breathing followed by inegularities in digestion with disturbed appet and bowel habits. When the suppressed stresses continue for some more months or years, it settles down in the joints as excessive Prana that gets locked up in Nadis around joints. The inflammation that shows up in the joints is the excessive speed that has percolated from Manémaya to annamaya via Pragamaya Koia, Inflammation, a war against the synovial ‘membrane -an auto immune fight- a civil war. The speed is grossed up into visible structural damage. Yoga says that you had the full freedom to react or not to react or react other wise in the Mandmaya Kosa initially when there was ¢ demanding situation, But when you amplified the reactions, you started losing the freedom. Once you lost the freedom, the chain of reactions went on gathering momentum and it settled down in the joints as inflammation, Yoga texts also explain this phenomenon as a process of constriction, as in the example of formation of Ice. The molecules that had complete freedom to diffuse into a wide space in the gaseous state, became confined to the boundaries of a container in the liquid state which later became constricted with very minimal freedom in the solid state of ice. Similarly when the stress reactions are in the state of “thought” in Manomaya Kosa there is full freedom. ‘Then it recycles and gets bound into the Praia (liquid state) with less freedom. As it constricts further 24it solidifies into annamaya KoSa as joint problem with least freedom. ‘This understanding is useful to you because it is a reversible process. Just like the ice can melt into water and. vapour, you can reverse this whole process of constriction (in the form of arthritis) towards expansion or complete freedom from disease, This process is called _sfforra (Pratiprasava- retracing). You can start reversing the whole process of inflammation by using three tools namely ‘internal awareness’ , ‘slowing down’ and ‘expansion’. You need to work with enormous confidence and fearlessness to achieve complete cure from this autoimmune all arthritis or the aging arthritis. The IAYT provides techniques to change the imbalanc the re KoSas. Sithilikarana Vyayama (Loosening Exercises) Sitting 1. Knee Cap tightening 2. Sitting position loosening 3. Patella movement (Passive) 4, Straight Leg raising (sitting on a chair) 5. Tiger Breathing Supine 6. Folded leg lumbar stretch 7. Cycling 8, Pavanamuktasana lumbar stretch 9. Straight Leg raising Standing 10. Knee Cap tightening 11, Side Bending 12. Twisting 13, Siryanamaskara 14, Quick Relaxation Technique ‘Yogasana 15, Bhujaigasana 16, Salabhasana 17. Dhanurasana 18, Viparita Karani 25,19, Haldsana 20, Sethubandhasana 21. Pacimottandsana 22, Deep Relaxation Technique (Legs resting on wall) Pranayama 23, Kapala Bhati 2A, Vibhiga Pranayama 25, Nadiguddhi Pranayama 26. Bhramari Meditation (Dhyana and Dharana) 27, Nadamusandhana 28, OM Meditation Kriyas 29, Jala Neti 30, Siitra Neti 31. Vaman Dhouti 1.5 YOGA AND ONCOLOGY ‘Cancer (medical term: malignant neoplasm) is a class of diseases in which a group of cells, display “uncontrolled growth” (division beyond the normal limits), “invasion” (intrusion on and destruction of adjacent tissues), and some:imes "metastasis" (spread to other locations in the body via lymph or blood). These three malignant properties of cancers differentiate them from benign tumors, which are self-limited, and do not invade or metastasize. Most cancers form a tumor but some, like leukemia, do not The branch of medicine concemed with the study, diagnosis, treatment, and prevention of cancer is oncology. Oncology, meaning bulk, mass, or tumor, and the suffix "-logy", meaning "study of”) is a branch of medicine that deals with tumors (cancer). A medical professional who practices oncology is an “oncologist” Oncology is concerned with: + The diagnosis of any cancer in a person + Therapy (e.g, surgery, chemotherapy, radiotherapy and other modalities) 26+ Follow-up of cancer patients after successful treatment + Palliative care of patients with terminal malignancies + Ethical questions surrounding cancer care + Screening efforts: + of populations, or + of the relatives of patients (in types of cancer that are thought to have a hereditary basis. such as breast cancer) ‘The most important diagnostic tool remains the medical history: the character of the complaints and any specific symptoms (fatigue, weight loss, unexplained anemia, fever of unknown origin, paraneoplastic phenomena and other signs). Often a physical examination will reveal the location of a malignancy. Diagnostic methods include: + Biopsy, either incisional or excisional; + Endoscopy, either upper or lower gastrointestinal, bronchoscopy, or nasendoscopy; + X-rays, CT scanning, MRI scanning, ultrasound and other radiological techniques; Scintigraphy, Single Photon Emission Computed Tomography, Positron emission tomography and other methods of nuclear medicine; + Blood tests, including Tumor markers, which can increase the suspicion of certain types of tumors or even be pathognomonic of a sarticular disease Apart from in diagnosis, these modalities (especially imaging by CT scanning) are often used to determine operability, ie. whether it is surgically possible to remove a tumor in its entirety, Cancer is fundamentally a disease of failure of regulation of tissue growth. In order for a normal cell to transtorm into a cancer cell, the genes which regulate cell growth and differentiation must be altered. Patho physiology of Cancer Cancer is fundamentally a disease of regulation of tissue growth. In order for a normal cell to transform into a cancer cell, genes which regulate cell growth and differentiation must be altered. Genetic changes can occur at many levels, from gain or loss of entire chromosomes to a ‘mutation affecting a single DNA nucleotide. There are two broad categories of genes which are affected by these changes. 27Oncogenes may be normal genes which are expressed at inappropriately high levels, or altered genes which have novel properties. In either case, expression of these genes promotes the malignant phenotype of cancer cells. ‘Tumor suppressor genes are genes which inhibit cell division, survival, or other properties of cancer cells. Tumor suppressor genes are often disabled by cancer-promoting genetic changes. Typically, changes in many genes ere required to transform a normal cell into a cancer cell There is a diverse classification scheme for the various genomic changes which may contribute to the generation of cancer cells, Most of these changes are mutations, or changes. in the nucleotide sequeni © of genomic PNA. Ancuploidy, the presence of an abnormal number of chromosomes, is one genomic chaage which is not a mutation, and may involve either gain or loss of one or more chromosomes through errors in mitosis. Large-scale mutations involve the deletion or gain of a portion of a chromosome. Genomic amplification occurs when a cell gains many copies (often 20 or more) of a small chromosomal locus, usually containing one or more oncogenes and adjacent genetic material Translocation occurs when two separate chromosomal regions become abnormally fused, often at a characteristic location. A well-known example of this is the Philadelphia chromosome, or translocation of chromosomes 9 and 22, which occurs in chroni myelogenous leukemia, and results in production of the BCR-abl fusion protein, an oncogenic tyrosine kinase. ‘Small-scale mutations include point mutations, deletions, and insertions, which may occur in the promoter ofa gene and affect its expression, or may occur in the gene's coding sequence and alter the function or stability of its protein product. Disruption of a single gene may also result from integration of genomic material from a DNA virus or retrovirus, and such an event may also result in the expression of viral oncogenes in the affected cell and its descendants. YOGIC MANAGEMEN’ ‘The immune system has the capacity to scavenge away the abnormal cells. Yoga works through strengthening immune system which consists of different types of white blood cells. ‘The Indian seers (Yogis) has understood the mechanism of how to invoke and canalize this, inner healing potential to the best of its ability. When the mind is agitated in response to long, 28,standing stressfully demanding situations (either external calamities or unfinished intemal targets) the homoeostasis (balance) is disturbed at Manomaya Kosa. This percolates into the Pranamaya Kosa as uncontrolled activity of Prana.. In course of time this becomes a bad habit. Thus it assumes the nature of a reflex response of drawing too much Prana for very minor situations and this becomes your nature. As time passes this creates imbalance in the functioning of all the control panels such as the nervous system, endocrine system and the immune system. Once the highest control is disturbed the organization collapses leading to ‘malfuncti ing of the whole organism. Yogis also understood that all these start off at the psychological level by erratic life style of wrong eating and sleeping habits, bad company, wrong way of sense pleasures, wrong ways of earning money etc. Hence the therapy includes tackling the problem at all levels. The importance of this knowledge is that even at this stage when you seem to have reached the terminal phase in the process of descent, complete reversal is possible by exercising your will. (prati prasava), The entire program in your soft ware can be reset if you debug it, Yoga is the antivirus program. How does this work? It works simply through giving very deep rest to each and every cell in the body which helps to rejuvenate the cells and restores the DNA repar mechanism. ‘The set of yoga practices should include the following - A few physical postures - when you maintain in the final posture of the asana, concentrate intensely on the internal changes at the site of stretch; relax all unnecessary muscle contractions by passing your mind through the whole body; focus again on the point of stretch; start relaxing the point that is stretched (called prayatna saithilya); now move on to defocus by imagining the pain of the stretch diffusing away like a drop of ink that spreads into the surrounding pool of water. (Called Ananta Samapatti). The asanas that are selected should be those which improve the digestion (Pavanamuktasana, Vakrasana, Paschmatanasana, parivritta-trikonasana); and the asanas that would give a mild stretch to the affected part of the body. For example Vakrasana and Bhujangasana in breast cancer, Ardha- Cakrasana for throat cancer, Ardhasirsasna fer head and neck cancer etc. In these postures Prayatna Shaithilya and anantha samapatti with deep internal awareness helps in giving very deep rest to the fighter cells that are in large number in the sit. Pranayama and PET - the violent surge of Prana which has caused the aggressive multiplication of the cells, has to be controlled by slow deep abdominal breathing and all other breathing practice which is the essential step to move on to PET (Pranic Energization Technique). The slow breathing is the vehicle to become aware of the subtle energy that 29makes you breath. Once this is achieved you will move on to reduce the surges of prana in PET. Meditation techniques - meditation on OM, Cyclic meditation and MSRT (Mind Sound Resonance technique) are all very subtle methods to directly handle the violence in the conscious and subconscious layers of the mind. In MEMT (Mind Emotion Management ‘Technique)you will understand and open up a lot of the hidden emotional suppressions in the Pandora's Box of the subconscious mind. Systematic regular practice of devotion and surrender to the divine with full faith invokes enormous strength into your White Blood Cells VISAK (Vignana Sadhana Kaushala) is another technique for Notional Correction. This takes you into the knowledge from the upanisads which reveal the trick to be happy and be contented under all circumstances be its difficult family or job or business situation; you will eam to exercise the complete freedom within. To realize the truth "Stress is speed, bliss is silence” is the key. This correction helps you to reset your life style completely. No person, or no situation can now affect you as you now know the trick of non-reaction and inner joy. ANAMS (Anandamrita Sinchana), is the trick to overcome the fear of death by a systematic analysis and training. The eight steps of ANAMS puts you in the state of absolute fearless state which you know is the most important fuctor that helps you to cure yourself as in the example of lan Gowler. To accept and face death, you need to walk through the thick psychological barrier that stops you from imaging that you would die, PRACTICES FOR ONCOLOGY Breathing Exereises 1. Hands in and out breathing Hands stretch breathing 3. Ankle stretch breathing Straight leg raising (Alternate legs) Suksma Vyayama (Strengthening Exercises) 5, Manibandha Sakti Vikasaka (Wrists) 6. Karapristha Sakti Vikasaka (Back of hand) 7. Kaphoni Sakti Vikasaka -I Elbows) 8, Griva Sakti Vikasaka - I (Neck)9, Griva Sakti Vikasaka -II (Neck) 10. Kati Sakti Vikasaka - I (Back) 11. Kati Sakti Vikasaka - IT (Back) 12. Netra Sakti Vikasaka (Byes) Yogasana 13, Ustrasana 14, Bhujafgasana 15, Viparita Karapi with wall support 16, Deep Relaxation technique Pranayama 17, Kapalabhati 18, Vibhaga Pranay 19, Sarya Anuloma Pranayama ima(Sectional Breathing) 20. Candra Anuloma Pranayama 21, Naadi Suddhi 22, Sitall/ Sitkavi / Sadanta Pranayama 23, Bhramari Meditation (Dharand, Dhyana) 24, OM Meditation 25. Cyclic Meditation 26. Mind sound resonance Technique (M$ R 27. Pranic Energisation Technique (P ET) Kriyas 28, Jala Neti 29. Siitra Neti 30, Vman Dhouti r)1.6 YOGA FOR VOICE CULTURE Voice Physiology The larynx is the primary organ involved in voice production. However, phonation requires a complex interaction between many bodily systems to achieve the sound that we associate with the voice, Mechanics of Voice Production Production of the voice involves the same biephysics as the mechanics of sound production from any source. The production of sound requires four main components: airflow, an oscillator, a resonator, and an amplifier. the source of airflow is the wwice productios lungs. The abdor I muscles, chest, and beck contribute 1 airflow in voive production. The oscillator is the vocal folds, which vibrate and place the air from the lungs into a wave- like motion, The resonance chamber and amplifier are composed of the remainder of the vocal tract: the supraglottic (above the vocel folds) larynx, the pharynx, the oral cavity including the tongue and palate, the nasal cavity, the sinuses, and the head. Sound Source The sound source for voice production is the larynx and the vibrating voeal folds. The vocal folds themselves are made of five layers of tissue. The deepest layer is the muscle of the vocal fold, termed the vocalis or thyroarytenoid muscle, Next to the vocalis are the deep and intermediate layers of the lamina propria, which form the vocal ligament. Overlying the middle layer is the superficial layer of lamina propria, which is a gelatinous matrix that permits the last layer, the epithelium, to glide over the vocal ligament (the intermediate and deep layers) during phonation. When one makes the decision to talk, the vocal folds come together in the midline. Air is forced from the lungs against the closed vocal folds, forcing them to separate. The epithelium of the vocal folds glides, over the superficial layer of lamina propria. As they open, air travels past the vocal folds and into the upper parts of the larynx and into the pharynx, When the vocal folds snap shut, sound is produced. ‘The frequency of opening and closing of the vocal folds determines the frequency of the sound waves, and, thus, the pitch of the voice. The frequency of vibration of the vocal folds is, termed the fundamental frequency, and the character of the sound that is produced from the vocal folds is very similar to the sound that is produced from buzzing lips. This sound is then modified by the resonance chamber of the vocal tract and produces the voice that gives ceach person his or her characteristic vocal signature, A louder sound can be produced by one 32of two methods: by increasing the airflow from the lungs or by increasing glottal resistance. Here is a rendering of what the inside of the human head looks like when viewed sideways, showing those structures involved in vocal preduction: Below is a drawing that represents parts of the respiratory system, Note how high up the it contracts to dome-shaped diaghragm sits when at rest. Whei Il the lungs with air the dome descends, pushing the body's internal organs, intestines down and out. The intercostal muscles (not shown) support the breath and keep the rib sage extended out sideways during a sustained exhalation as when singing or in projected speech. —— ae) |. 2) ae Below is a representation of what the larynx looks like, if you were looking at it from above. They lie horizontally in the throat. The vocal folds or cords are actually a muscle that is closed in the front (behind your Adam's apple), and open in the back. The vocal folds are actually much smaller than most people think. In the typical Soprano they are the size of a dime. When you are quietly inhaling they are open, allowing air to flow into the lungs. The muscles within the larynx open and close the vocal folds and also act to tilt the larynx stretching them to raise or lower pitch. The vocal folds are covered with a mucous layer (not 33shown) that carries the sound wave which creates vibration. During vocalization the vocal cords open and close very quickly while a stream of air passes through them creating a "wave-like" motion in the mucous covering. This is the source of the sound you make, eA. rect Folds tmyroid Cartage) Voice disorders Voice is typically described in terms of three characteristics: pitch, intensity, and quality. Pitch may be described as the relative tone of a person's voice—how high or low it is, how ‘monotonous, or how it demonstrates repeated inappropriate pitch pattems. A disorder may result from pitch being inappropriate for an individual's age and gender. An inability to perceive pitch and pitch pattems may result ir a monotonous voice, a high-pitched voice, or inappropriate use of repeated pitch patterns. Loudness describes the volume or intensity ofa person's voice. A person who spends a great deal of time in a noisy location or who is suffering from hearing loss may speak with high intensity, or louder than normal. A soft or inaudible voice may be associated with a psychological condition such as shyness or with a structural defect of the vocal cords. Some disorders of voice quality are related to how the vocal cords function: breathiness is caused by vocal cord vibration that does not have a closed phase, while hoarseness is caused by vocal cords that are closed too tightly, so they cannot vibrate properly. Other disorders are related to how the voice resonates in the oral (mouth), nasal (nose), and pharyngeal (throat) cavities. If the nasal passage becomes blocked such as with a cold, then air is unable to reach the nasal cavity and a voice sounds hyponasal. Hypernasality results when too much air passes through the nasal cavities during phonation or when there is an obstruction in the anterior nasal cavities (pinching the nostrils. ‘Normal voice production The larynx is an organ found in the neck that kelps to control the flow of air during breathing and to produce sound during speech. The voral folds, also called the voeal cords, are two folds of muscle covered by a thin membrane that lie inside a framework of cartilage and soft 34tissue. The tension, position, and shape of the vocal folds are controlled by a number of muscles called intrinsic muscles. Prior to the production of sound, the vocal folds are brought together by the intrinsic muscles. During exhalation, air pressure builds up beneath the closed vocal folds, causing them to separate. They are brought back together, only to separate again when pressure increases. This cycle repeats itself approximately 200 times per second in order to produce sound, How to avold voice aisoraers? 1. Maintain optimal breathing patterns. Speak relatively slowly. Articulate clearly. Speak in at a comfortable pitch level 2 3. 4 5. Speak at a comfortable loudness level 6. Use pitch change, rather than loud volume, for emphasis. 7. Monitor posture (no hunched shoulders or curved spine). 8. Avoid monotonous delivery. 9. Watch out for muscle tension. Causes and symptoms Abnormal voice production Some of the most common causes of voice disorders in adults include infection, inflammation, vocal misuse or abuse, cancer, neuromuscular disorders, and psychological problems. In children, vocal misuse or abuse 18 the most common cause ot voice disorder ot quality INFECTION. A viral or bacterial infection may directly or indirectly result in voice problems. Upper respiratory infections may cause inflammation of the vocal fold membranes, resulting in changes in voice pitch and/or quality; this condition is called acute viral laryngitis. Recurrent respiratory papillomas (RRP) are wart-like growths caused by infection by the human papilloma virus (HPV); papillomas may grow on the larynx or in the throat, nose, or trachea and cause hoarseness and/or shortness of breath, INFLAMMATION. A condition called laryngopharyngeal reflux disease (LPRD) has been LPRD is caused by the backflow (reflux) of acidic stomach contents into the larynx, causing inflammation, Hoarseness, associated with approximately 55% of voice d sorder cas difficulty swallowing, pain, and coughing are some symptoms of LPRD. 35Exposure to cigarette smoke has been shown to cause inflammation of the larynx, leading to a negative change in voice quality. Long-term cobacco use has also been associated with the development of LPRD. Reinke's edema, a term used to describe very swollen vocal cords, is, another condition common in long-term smokers; fluid accumulates under the outer covering, of the voeal folds and causes the voice to become low pitched. VOCAL MISUSE OR ABUSE. Examples of vocal misuse are singing or speaking out of range and producing harsh vocal sounds. éxtended screaming and yelling are other examples of vocal abuse. The result of vocal misuse or abuse may be swelling of the vocal folds (edema), followed by the formation of vocal fold nodules (calluses). Consequences may range from vocal fatigue or hoarseness to vocal fold hemorrhage (bleeding). LARYNGEAL CANCER. Laryngeal cancer accounts for 2-5% of cancers diagnosed in the United States. Chronic tobacco and alcoho. use are major risk factors for developing laryngeal cancer. Symptoms include chronic hoarseness, coughing, sore throat, difficulty swallowing or breathing, and/or pain that radiates to the neck. NEUROMUS LAR DISORDERS. Vocal fold paralysis and paresis (partial paralysis) are examples of neuromuscular voice disorders. The cause of vocal fold paralysis is usually due to trauma or to cancer. It may also occur as 4 result of tumor involvement of the laryngeal nerves, Spasmodic dysphonia (SD) is another neuromuscular disorder and is caused by abnormal contractions of the muscles that control the voeal folds, resulting in a hoarse, shaky, and/or strained or strangled voice. Finally, the causes of neuromuscular disorders include degenerative conditions both of the nervous system and muscle, PSYCHOLOGICAL CONDITIONS. Voice is often affected by one’s emotions; psychological stress may cause changes to leudness or pitch. More rarel ¢ disorders may be caused by psychological trauma or extreme stress. Aphonia, or a complete loss of voice, may be a result. Often, sch voice disorders may be successfully treated with psychological therapy. The production of the voice is a complex interaction among a number of different body systems. This discussion can be simplified by thinking of the voice as a musical instrument, For any instrument to produce sound, something must activate the sound (such as plucking a string on a guitar or blowing into a (umpel), something must vibrate (like the guitar string or the reed), and something must resonate (the body of the instrument). 36The lungs serve the role of the activator in human voice production. As one breathes in, negative pressure is produced that actually pulls air into the lungs. As we expire or exhale, that air serves as the source of power for setting up the vibration of the vocal folds. The vocal folds themselves serve as the vibrators, and it is the fine control of the movements of the vocal folds that allows for the flexibility ef the speaking and singing voice. In the body, the face and sinuses and the chest serve as resonators, which give the voice its timbre or character, In addition to these three important areas, other body parts and systems play important roles. Tension in the jaw or neck will reduce flexibility and increase the onset of fatigue. The voice is strongest when the body is in the upright position (not many opera roles allow the figure to recline) and musculo-skelatal problems can affect the best posture. In addition, the diaphragm and abdomen are important in the support of the voice, so abdominal conditions such as cramping or bowel disorder may have a negative impact on voice. The psychological system is important in the confidence one has in his cr her voice, as can be seen by the fluttering of the voice when a person is nervous or anxious. Finally, refined coordination of ‘muscle movement and sensory control are adjusted by the neurological system. YOGIC MANAGEMENT Yoga for voice culture helps not only to treat problems related to speech but also in improving the quality of voice for an individual. The primary source of energy to produce the voice is the smooth flow of air provided by the breathing apparatus. All varieties of voice modulation and the voice leveling can be mastered only when we have enough breathing capacity. Incorrect breathing can cause disorders in voice production, Hence Yoga and Pranayama are integrated in the voice training methods with a set of Asanas, Breathing exercises, Bandhas and Meditation specially selected and developed, Many disorders of voice and failure of successful performance are due to psychological reasons. One has to condition the mind to get rid of all negative aspects of mind, Techniques of Auto Suggestion, Visualization etc are incorporated to enhance the Unconscious Competence and also to build High Self Esteem, Integrated Approach of Yoga Therapy includes prac ces at physical, mental, emotional and intellectual levels. ‘At physical level the practices bring about deep rest to the muscles of voice box and the inflamed flaps of vocal chords. The hoarseness of voice is due to three factors 37‘© Thickening of the vocal chords due to inflammation because of injury to the vocal cords ‘+ Spasm or persisting tightness in the muscles that control the movements of the vocal cords, ‘* Blockage due to swelling of the lining of the sinuses and the nasal passages which normally contribute to the resonance and quality of the voice. During practice sessions you need to bring your awareness to breathing, the feeling of the touch of the air in the nose and throat. Also feel the effort in the muscles around the voice box when you are chanting A or U or M. Immediately after every practice relax the throat region to feel the soothing effect. It is this affer-effect of deep rest and relaxation with awareness that corrects the problem locally. When you rest, the blood flow improves and the tissue repair begins by clearing up all the unnecessary material in the vocal chord. Re! from tightness of the thin delicate muscles tha: are attached to vocal cords in different angles is the other major factor that contributes to the improvement. Opening up of the sinuses through kriyas adds to the quality and modulation of the voice. ‘You cannot relax the voice box if your nervots system which controls the inflammation and the local muscle contractions, is not rested. Stress, worry and anxiety make it worse. Hence in order to promote healing a calm mind, mastery over emotional surges and a deep internal feeling of contentment with are essential, Pranayama and meditation are very important. Breathing Exercises 1, Hands Stretch Breathing 2. Dog Breathing ‘Tiger Stretch 4. Tongue Massaging ‘Tongue In and Out ‘Tongue Rotation Bhramari Lip Stretch 9. Karna Sakti Vikisaka 10, Mukha Dhouti 11, Laughter 12, Mouth Twisting 38,13, Tongue Twisting 14, Head Rolling 15, Vaksakti Vikisaka Yogivana 16, Ardhakati Cakrasana 17. Ardha Cakrasana 18, PaclaFas 19, Bhujaiyasana 20, Salabhisana 21. Viparita Karani 22, Sarvaiigisana 23, Hallsana 24, Matsyasana 25. Deep Relaxation Technique Pranayama 26, Kapila Bhati 27. Vibhaga Pranayama 28, Nadi Sudal 29, Ujjayi Pran: 30. Bhastrika Prindydima 31, Bhrdmara / Bhramari Prandyama 32. Chanting (* Maha Mrityunjaya Mantra, * Songs & Bhajans) 33, Simha Mudra Meditation (Dharana, Dhyana) 34, Nadanusandhana 35. OM Meditation Kriyas 36, Jala Neti 37. Siitra Neti 38, Vaman Dhouti1.7 SUKSMA VYAYAMA: SIMPLE AND STANDARD INTROUDUCTION This group of dsanas is concerned with loosening up of joints of the body. It is particularly useful for eliminating energy blockages in the joints and outer extremities of the physical body and works on the pranic and mental bodies as well. It is excellent for thoce with rhoumaticm, arthritis, high blood pressure, heart problems or other ailments where vigorous physical exercise is not advised, Awareness: ¢ The practice: may he performed with awareness of the actnal physical movements. ‘* This method induces peace, balance and one-pointed ness which in turn brings about ‘+ harmony in the physical body. ‘* The practice may also be performed with awareness of the physical movements and synchronized with breath, ‘+ The movements, in this case, become slower which in turn slows down the brain waves, further enhancing relaxation and awareness. This method of practice has a ‘greater influence at the physical and pranic levels and is pecially useful for harmonizing and revitalizing the body and improving the function of the internal “organs. Still greater benefit will be gained if Ujjayi Pranayama is used as a breathing technique. This effectively stimulates and balances and balances the pranic eneray flow through the nadis. Periodic rest: + Aficr every two or three movements, sit quietly in leg stretch position with the eyes closed. ‘+ Be aware of the natural breath and of the part or parts of the body that have been moved. ‘* Also be aware of any thoughts or feelings that come into the mind. © Fora minute or so continue the practice. ‘* If tiredness is experienced at any point of time during the practice, rest in Savasana. Practice note ‘* Only those muscles associated with any particular practice should be used while the rest of the body should be completely relaxed. 40‘+ For maximum benefit the eyes should remain closed. * Do not practice mechanically. Maintain awareness throughout the practice. SUKSMA VYAYAMA (SIMPLE TECHNIQUE) LIST OF PRACTIC! 1, Passive Rotation of Toes 2. Toe Bending 3. Ankle Bending 4, Ankle Crank 5. Knee Bending. 6. Knee Crank 7. Half Butterfly Rotation 9. Full Ratterfly 10. Hand Clenching. 11. Wrist Bending, 12. Wrist Joint Rotation 13. Elbow Bending, 14, Shoulder Socket Rotation 15. Neck Movement 16. Neck Movement 17. Waist Rotation 18, Deep Relaxation Technique STEP BY STEP INSTRUCTIONS LP, a) STARTING POSITION: Sthiti: Dandasana or on a chair. [VE ROTATION OF TOE! b) PRACTICE: ‘* Bend the right leg at the knee, place the right foot on the left thigh. 41‘© Move the individual toes with the left hand (Le., passive movement) bending them forward ‘© & backward right and left and rotating clockwise and anti-clockwise five times each, ‘+ Then hold all the toes with the left-hand squeeze and bend them forward and backward © afew times. + Repeat the same practice with the left foot. ©) NOTE ‘© While practicing with individual toes, rull them with the hand and practice, ‘* If necessary, the instructor does the passive movement of the patient. 2. TOE BENDING. a) STARTING POSITION: ‘© Sit with the legs outstretched and the feet slightly apart. ‘* Place the palms slightly behind the buttocks, fingers pointing backwards. ‘© Slightly lean backward taking support of the straight arms, © Keep the spine straight, b) PRACTICE: + Become aware of the toca. '* Move the toes of the feet slowly forward and backward. ‘© Keep the feet upright and the ankles relaxed and motionless during the practice. ‘* Hold cach position (forward and backward) for a few seconds, ‘* Can be practiced with normal breathing. Repeat ten times. ‘© This practice can also be done while sitting on a chair. ‘© Ifnecessary, do this practice with each foot separately, 3. ANKLE BENDING a) STARTING PO ION: ‘* Sit with the legs outstretched and the fect slightly apart* Place the palms slightly behind the buttock finger pointing backwards. ‘Slightly lean backward taking supports of the straight arms. © Keep the spine straight b) PRACTIC © Become aware of the feet Move both feet slowly forward and backward, bending them from the ankle joints. ‘© ‘Try to stretch the feet forward to touch the Moor, and then draw them back wowards, the © knees, ‘© Hold each position (forward and backward) for a few seconds. ‘© Repeat ten times. * This can also be practiced sitting on a chair. essary, do this practice with each foot separately. D) BREATHING: ‘+ Inhale as the feet moves backward and exhale as they move forward. ‘* This can be practiced with normal breathing too. 4, ANKLE ROTATION: a) STARTING POSITIO! = Susi Dauylasanua ‘* Separate the legs a little, keeping them strai b) PRAC STAGE ICE: I (Each foot) * Become aware of the right foot. # Slowly rotate it clockwise form the ankle 10 times and then anti-clockwise 10 times. © Repeat the same with the left foot. E (Both feet separated) © Become aware of both feet. * Slowly rotate both feet form the ankles together but in opposite directions. © The big toes should touch each other on the inward stroke of each foot. © Do 10 rotations in 1 direction and then 10 rotations in the opposite direction, 43STAGE -III (Both feet placed together) © Bring both the feet close to each other. Be aware of them. * Now, slowly rotate both feet together in the same direction, ing them in contact with each other. '* Practice 10 times clockwise and them 10 times anti-clockwise. ©) NOTE, = Keep the hicely in contact with the ground ditous yout the practice. '* Do not allow the knees to bend. ‘* This can also be done sitting on the chair or cot keeping the knees straight. d) BREATHING: ‘© Inhale on the upward movement and exhale on the downward movement, ‘© Itcan be practiced with normal breathing too. 5. ANKLE CRANK RTING POST DN: © Sthiti: Dandasana ‘+ Now bend the right knee and place the -ight foot on the left thigh. ‘* Make sure that the right ankl PRACTICE: is far enough over the thigh to be free for rotation, ‘+ Hold the right ankle below with the right hand to support the ankle, = Hold the tes of the right fout with the feft haul ‘© With the help of the feft hand, slowly rotate the right foot 10 times clockwise and then 10 times anti clockwise. ‘© Repeat the same with the left foot placed on the right thigh. ©) NOI If possible, insert the fingers between the toes and do this practice so that it becomes more effective. d) BREATHING: ‘* Inhale in the upward movement and exhale on the downward movement. © This can be pract ced with normal breathing too. 44BENEFITS OF 1, 2,3, & 4 6. KNEE BENDING a) STARTING POSITION: Sthit b) PRACTICE: All the foot and ealf musele movements help in returning the stagnant lymph and venous blood. ‘They, thus relieve tiredness and cramp, and prevent venous thrombosis specially in bedridden, post-operative patients Dandasana. Bend the right knee and clasp the hands under the right thigh. Now straighten the right leg by pulling up the kneecap so that the right heel is off the floor. Keep the arms straight. Now, bend the right leg at the knce so that he thigh comes close to the chest and the heel near the buttocks. ‘Then make the right leg straight with heel off the Noor. This is one round, Practice 10 rounds. ‘Then repeat the same practice 10 ronndk with the left leg ©) NOTE Beware of the knee joint during the pr d) BREATHING: Inhale while straightening the leg and exhale while bending it, 7. KNEE CRANK a) STARTING POSITION: Sthitis Dandasana Bend the right leg at ch knee and pull it towards the body so that he right thigh presses against the chest Place the hands under the right thigh with the fingers interlocked or with the arms crossed and holding the elbows. 45b) PRACTICE: ‘* Rotate the lower leg from the knee in a large circular movement ‘© Do this 10 times clockwise and then 10 times anti-clockwise. ‘* Repeat the same with the left leg. ©) NOTE © Ty tost fen the leg atthe top of the upward movement. +The upper leg and the trunk should be completely still ‘© Be aware of the knee joint during the practice. d) BREATHING: ‘© Inhale on the upward movement & exhale on the downward movement. BENEBITS of 5 & 6 © Since the knee joint bears the whole weight of the body and has no strong muscles for support, it is most vulnerable to injuries, sprains and osteoarthritis, ‘© All the knee exercises strengthen the quadriceps muscles and the ligaments around the knee joint. These movements rejuvenate the joints by activating the healing energies. 8. HALF BUTTERFLY: a) STARTING POSITION: Sthiti: Dandaana, Dp be ‘+ Bend the right leg and place the right foot as far up on the left thigh as possible. If ‘© possible, right heel touching the groin, ‘© Place the right hand on top of the right knee. ‘¢ Hold the toes of the right foot with the ‘eft hand. b) PRACTICE: ‘* Gently move the right knee up towards the chest and then gently push it down and try to touch the knee to he floor, ‘* Slowly practice 10 up and down movernents of the right knee. ‘* Repeat the same with the left leg 46©) NOTE ‘* Keep the leg muscles relaxed as much as possible ‘* The leg muscles should be passive, the movement being achieved by the use of the arm only. © Do not force this movement in any way. ‘© ‘The trunk should not move. 4) BREATHING: Inhale on the upward movement and exhale eon the downward movement. 9. HIP ROTATION: a) STARTING POSITION: Sthiti: Tadasana b) PRACTICE: ‘¢ Spread the leg for about one to two feet apart. ‘* Place the palms on your waist fingers pointing forwards. ‘* Start rotating your hip forming a full imaginary circle around your body, © Keep the knees straight ‘+ Rotate the hip clockwise and anti clockwise 10 times each. 10. FULL BUTTERFLY a) STARTING POSITION: © Sthiti: Dandasana. ‘* Bend the knees and bring the soles of the feet together. ‘+ Then pull them as close to the body as possible. ‘The heels may touch the perineum, if possible. © Completely relax the inner thigh muscles. b) PRACTICE: STAGE -I (Clasping the feet with the hands) # Clasp the ficet with both hands 41+ Now gently bounce the knees up and down, if required, using the elbows as levers to press the legs down. ‘+ Try to touch the knees to the ground on the downward stroke. ‘* Practice 30 to 50 up and down movements. STAGE -I (Hands on the knees). ‘© Place the hands on the knees. + Using he palms, gently push the knces down towards the floor, allowing them to spring up again. © Repeat 20 t0 30 times. ‘© Straighten the legs and relax. ©) NOTE, ‘* Do not force the movements. ‘¢ Try to keep the back, neck and head straight © Also keep the trunk still during the practi 4) BREATHING: Normal, BENEEITS of 7, 8 or 9 ‘Excellent preparatory practices for loosening up the knee and hip joints for mastery of Padmasana and other meditative poses, © Practice of half butterfly is quite beneficial for these who cannot sit comfortably in cross legged positions ‘© ‘These movements relieve the tension in the inner thigh muscles. They also remove tiredness because of long hours of standing and walking 11. HAND CLENCHING: a) STARTING POSITION: © Sthiti: Dandasana * Hold both arms st ht in front of the body at shoulder level, with the hands open and palms down. b) PRACTICE: ‘© Stretch the fingers as wide apart as possible. ‘Tense them. ‘* Now close the fingers to make tight fists with the thumbs inside. ‘© ‘The fingers should be slowly wrapped around the thumbs. 48,‘Again open the hands and stretch the fingers. Repeat 10 times ©) NOTE ‘© This can be practiced even in Vajrasana, cross-legged sitting position, sitting on a chair or in Tadasana, d) BREATHING: + Inhale on opening the hands. Exhale on los 12, WRIST BENDING a) STARTING POSITION: ‘* Same as in 10 with all options available. b) PRACTICE: ‘© Bend the hands backward form the wrist as if pressing the palms against a wall with the fingers pointing the ceiling, ‘* Then bend the hands forward from the wists so that the fingers point towards the floor. ©) PRACTICE: © Keep the palms open and fingers straight throughout the practic # Keep the elbows straight throughout the practice. © Do not bend the knuckle joints or fingers. * Keep the back, neck and head straight end still. © Inhale with backward movement, Exhale with forward movement. 13. WRIST JOINT ROTATION a) STARTIGN POSITION: Sthiti: Dandasana b) PRACTICE: STAGE-I (One wrist at a time) Extend the right arm forward at shoulder level. ‘© Make a fist with the right hand with the thumb inside. * The left hand may be used as a support if necessary. * Now slowly rotate the fist about the wrist 49© Practice 10 times clockwise and 10 times anti-clockwise, ‘Repeat the same with the left hand. STAGE-II (Both wrists together and in same direction) ‘+ Extend both arms in front of the body with the fists clenched. ‘* Rotate both the fists together in the same direction. ‘© Practice 10 times clockwise and 10 times anti-clockwise. + STAGE-IT Both fists twzeticr but in uppusite directions) ‘+ Extend both the arms in front of the body at shoulder level. © Clench the fists. ‘© Rotate the fists together in opposite directions. ‘© Practice 10 times in each direction, ©) NOTE © ‘The arms and elbows should remain pz straight and still * Make as large a circle as possible, ‘* Ensure that the palms face downward throughout the rotation. ‘© Can be done sitting on a chair or even in Tadasana. 'S OF 10, 11 & 12 ©The hand and wrist movements are beneficial for arthritis of the related joints. ‘© They also relieve tension caused by prolonged writing, typing and so on. 14. ELBOW BENDING: a) STARTING POSITION: Sthiti: Da b) PRACTICE: STAGE: (Arms in front of the body) + Stretch the arms in front of the body al shoulder level. ‘* The hands should be open with the palms facing up. ‘+ Bend the arms at ch elbows and touch the fingers to the shoulders. ‘© Straighten the arms again. ‘* This is one round. Repeat 10 rounds. STAGE-I (Anns al the sides) ‘tend the arms sideways at shoulder level. © Keep the hand open and palms f 50‘© Bend the arms at the elbows and touch the fingers to the shoulders. ‘+ Again straighten the arms sideways. ‘*Thisis on round. Repeat 10 rounds ©) NOTE © Inboth Stages, the upper arms remain parallel to the floor, and unmoved. © Can be done in cross legged sitting position, Vajrasana, sitting on a chair or in ‘Tadasana. ©) BREATHING: * Inhale while bending the arms. Exhale while straightening the arms. 15. SHOULDER SOCKET ROTATIO? a) STARTING POSITION: Sthiti: Dandasana b) PRACTICE: STAGE -I (One elbow at a time) * Place the finger of the right hand on the right shoulder. © Keep the left hand on the left knee. Beck straight, ‘+ Now, rotate the right elbow in a large circle. © Practice 10 times clockwise & 10 times anti-clockwise. + Repeat the same with the left elbow. STAGE -II (Both elbows) * Place the fingers of the left hand on the left shoulder and the fingers of the right hand ‘on the right shoulder. ‘* Bring both the elbows in front of the chest, if possible, touching cach other. ‘+ Now, fully rotate both elbows at the same time in large circles. ‘+ Practice slowly 10 times clockwise and 10 times anti-clockwise. NOTE * Try to touch the elbows in front of the chest on the forward movement. ‘+ Arms also touch the ears while moving up and the trunk while coming down. ‘+ Keep the head, trunk and spine straight and still. ‘* Gradually make the circles bigger and bigger. 51© Can be done in cross- position, Vajrdsana, sitting on a chair, or even in ‘Tadasana d) BREATHING: * Inhale in the upward movement and exhale in the downward movement. + BENEFITS OF 14 ‘+. The shoulder movements relieve the sirain of driving and office work. + ‘They are helpful in cervical spondylosis and frozen shoulder, ‘+ They also maintain the shape of the shoulders and chest. 16. NECK MOVEMENT TARTING POSITION: a) Sthiti: Dandasana, b) PRACTICE: STAGE -I (Forward- Backward movement.) Slowly move the head forward and try to touch the chin to chest. ‘* Then move the head as far back as comfortable. ‘* Try to feel the stretch of the muscles in front and back of the neck and the loosening Of the spine in the neck ‘+ Practice 10 times, ‘¢ Inhale on the backward movement and exhale in the forward movement. STAGE-I (Bend to the Right and the Left). © Close the eyes and face directly forward. ‘* Slowly bend the head to the right and sar coming to the shoulder without turning the head or lifting the shoulder. ‘© Bring the head back to the normal position. © Then hend it to the left side and try totouch the left ear to the left show same fashion, Lift the head to the center. ‘* This is one round. Practice 10 rounds. Inhale on the upward movement and exhale in the downward movement, STAGE-III (Turning the head to Right and Left). © Keep the head upright and eyes closed ‘* Gently turn the head to the right so thet the chin is in line with the shoulder. 52Slowly turn the head to the left though the center till the chin is in line with the shoulder, Bring the head to center. ‘This is one round. Practice 10 rounds. Inhale while turning to the front, Exhale while turning to sides, ©) NOTE (For all the three Stages) = Move the head as far as comfortable. Do not strain. ‘+ Keep the shoulders relaxed and unmoved. ‘© Peel the release of tension in the neck muscles and the shoulder muscles. CONTRA-INDICATIONS * Should not go the extreme positions by elderly people. '* Cervical spondylosis cases to avoid during actor pain. BENI ‘These movements release tension (accumulated especially after prolonged work at a desk), and also heaviness and stiffness in the head, neck and shoulders region. ADDITIONAL POINTS TO NOTE © Make the movements cautiously and slowly when three is Neck Pain. ‘* Practice them with normal breathing. Hold the neck in the final positions for a few moments If you have pain at any stage, stop in tat position for a while. As you bring your complete awareness to the arca of pain, start breathing consciously and deeply, then continue the movement. It can be practiced even while standing in fadasana or sitting on a chair, or in Vajrasana, 17. NECK ROTATION a) STARTING POSITION: Sthiti: Dandasana, b) PRACTICE: STAGE -I (Half Rotation) * Relax the head bending forward. © Bring the right ear to the right shoulder in a circular way. Bring the left ear to the left shoulder in circular bending the head forward. 33* Now relax the head forward again in acircular way and finally lit the head to normal position. This is one round. ‘© Repeat 10 rounds clockwise and 10 rounds anti-clockwise with breathing. STAGE-II (Full Rotation). ‘+ Relax the head forward trying to touch the chin to the chest. ‘* Slowly route the head in as large a circle as-possible, keeping the chin tucked in, + Practice 10 rounds clockwise and 10 rounds anti-clockwise while breall c) NOTE © In both cases (Half and Full Rotations) you may take about one minute or even ng normally, longer for one eycle. Allow normal breathing without trying to synchronize the breath & neck movements * In full rotation, try to make the circle bigger and bigger. ‘+ Keep the eyes open throughout the practice. ‘+ Feel the shifting stretch around the neck and loosening up of the joints and muscles of the neck, fart with half rot © Practice full rotation very carefully. $ jon and then go for full rotation, ‘© If there is pain in any position, hold the head in that position, Become aware of the point or arca of pain and start breathing consciously and deeply. This will relieve you of pain and then you can continue. ‘© Can be practiced in eross-legged sitting position, or sitting on a chair. CONTRA-INDICATIONS © Should be performed carefully by elderly people, * Cervical spondylosis cases to avoid during acute pain. BENEFITS # These practices release tension (accumulated especially after prolonged work at a desk), and also heaviness and stiffness in the head, neck and shoulders region. 3418. WAIST ROTATION a) STARTING POSITION: ‘© Stand with the legs apart, hands placed on the waist. b) PRACTICE: ‘© First push your hips forward as far as possible '* Move the waist to the right, then to the back and then to the loft. Ultimately bring it to the front where you started, This, 24 completes one round. Practice 10 rounds clockwise and 10 rounds in anti-clockwise direction. ‘Come back to normal standing position, put the hands by the side of the thighs and relax in Tadasana. ©) NOTE ‘* Maintain good balance all through the practice, ‘© Stand firm on the ground. ty to make the circles bigger and bigger. ‘+ You can do this with the feet together too. d) BREATHING: ‘© Inhale on the forward movement, Exha‘e on the backward movement, © You can do it with normal breathing too. SUKSMA VYAYAMA (Standard Technique) LIST OF PRACTICES Strengthening Exercises 1, Mani Bandha Sakti Vikasaka (wrist) 2. Kara Pristha Sakti Vikisaka (back of hand) 3. Kara Tala Sakti Vikasaka (palms) Anguli Sakti Vikisaka (lingers) Kaphoni Sakti Vikasaka (elbows) Bhuja Bandha Sakti Vikasaka (upper arms) Skandha Tatha Bahu Mala Sakti Vikasaka (shoulder blades and joints) nawe 558, Griva Sakti Vikiisaka - I (neck) 9. Griva Sakti Vikisaka - II (neck) 10. Geiva Sakti Vikiisaka - IIT (neck) 11. Kati Sakti Vikdsaka - I (back) 12. Kati Sakti Vikisaka - IT (back) 13. Kati Sakti Vikasaka - IIT (back) 14. Jangha Sakti Vikasaka -I (thighs) 15, Jangha Sakti Vikasaka - II (thighs) 16, Janu Sakti Vikasaka (knees) 17. Pindali Sakti Vikasaka (calves) 18, Gulpha, Pada Pristha, Pada Tala Sakti Vil 19. Netra Sakti Vikasaka (improving the eyesight) saka (ankles and the feet) 20. Karana Sakti Vi ka (improving the power of heari 21. Kapola Sakti Vikasaka (rejuvenating the cheel 22. Vak Sakti Vikdsaka 23. Deep Relaxation Technique STEP BY STEP INSTRUCTIONS 1. MANI BANDHA SAKTI VIKASAKA (Wrists) a) STARTING POSITION: © Sth: Yadasana by PRACTICE: © STAGE-I (Ams stretched in front) © Stretch your arms straight in front of the chest at shoulder level, keeping them parallel to the ground. # Make loose fists of your hands (palms facing down.) # Now, move the fists up and down from the wrists with force. © Repeat ten times, STAGE-II (Arms bent) ‘Stretch your arms sideways at shoulder level, keeping them parallel to the ground. ‘© Now, bend them at the elbows and bring the hands near the chest, palms facing downward. 56* Make loose fists of your hands and move them up and down from the wrist with force. ©) NOTE (For both Stages) ‘+ The movement should be from the wrists and forceful and vigorous. ‘+ While bringing your fists up and down, try to touch the forearm, © Keep the arms as stiff as possible. 4d) BREATHING: Normal breathing. .KTI VIKASAKA (Back of hand) a) STARTING POSITION: Sthi b) PRACTICE: : Tadasana STAGE-I (Arms strotched in front.) Stretch the arms in front of the chest at shoulder level. Palms open and facing downwards, fingers close together. + Now, move the paln up and down forcefully from the wrist. © Repeat ten times, STAGE -II (Arms bent). Bring the palms near the chest as in Stage -II of I. Here, keep the palms open and palms facing downward, and all the fingers together. * Now, move the palms up and down forcefully from the wrist. © Repeat ten times, NOTE © The movement should be from the wrists and forceful and vigorous. © While bringing the palms up and down try to touch the forearm (without bending the ingers) ‘+ Keep the arms as stiff as possible. d) BREATHING: Normal 373. KARATALA SAKTI VIKASAKA (Palms) ‘Everything is same as in 2 above except that the fingers are spread out here, as far as, possible. 4, ANGULI SAKTI VIKASAKA (Fingers) a) STARTING POSITION: ~ Sthiti: Tadasana PRACTICE b) PRACTICI STAGE -I (Arms in front) © Throw out your arms in front, keeping them parallel to the ground at shoulder level. ultaneously give the fingers of both arms the shape of a hood of a cobra. + Now, stiffen the entire length of the arms from the shoulder joints to the fingertips as much as you can, so that they start trembling. * Maintain this at least for a minute. STAGE -II (Anns bent) ‘+ Bend the arms at the elbows so that the hands are near the chest. Repeat eh same practice. ©) NOTE ‘© Tighten the arms so much that they start trembling. ‘* Ifyou can not hold the arms while trembling for a minute hold it as long you can + You can repeat it a few times. BENEFITS of 1,23 & 4 ‘© They strengthen the wrists, the knuckles, the palms and the fingers ‘© They ate also supposed to stimulate the action of the heart ‘+ May minor ailments of the heart are cured and the condition of the heart improves. ‘* Especially recommended to the writers, typists, those who play musical instruments, Weavers, sculptors ete. 58.5. KAPHONI SAKTI VIKASAKA a) STARTING POSITION: Sthiti: Tadaisana 9 b) PRACTICE: STAGE-I (with fists). ‘© Stretch the arms straight downwards beside the body and make fists ‘© Bend the arms at the elbows and raise your clenched fists forward to the level of the shoulders with a jerk. ‘© Then stretch them downwards again with a jerk. ‘© Repeat twenty times. STAGE -II (With open palms). ‘+ Here, keep your palms open (facing fo-ward) and with the fingers close together. ‘© Repeat jerking your arms up and down from the elbows as before © Repeat twenty times. ©) NOTE (For both Stages) ‘* The elbows should remain stationary. ‘©The fists / palms must come up to the level of the shoulders and then down straight. ‘+ The fists / palms must not touch the shoulders when going up, nor touch the thighs when coming down, BENEFITS ‘© Cures malformation of the elbows and strengthens them, ‘© The circulation of blood in the art ' accelerated bringing fresh strength to the centire length of the forearm beginning from the elbows. ‘+ By constant practice, women develop rounded forearm while men acquire strength and symmetry. 396. BHUJA BANDHA SAKTI VIKASAKA (Upper arms) a) STARTING POSITION: 2 33 eee Sthiti: Tadasana, ‘© Make fists of your hands with the thumbs tucked in, ‘* Bend the elbows and raise the forearms till they are parallel to the ground (forming 90 with the upper arm.) b) PRACTICE: STAGE -I (Alternate arms) ‘+ Now, push the right arm forwards forcefully and vigorously to the level of the shoulders. ‘+ Then, pull it back to the starting position. ‘© Next, push the left arm forward and pull it back in the same manner. ‘© Thus, move the arm alternately and vigorously 20 times. STAGE -II (Both Arms). Do the same movement as above with both arms together, now. ‘© Repeat twenty times ©) NOTE ‘© Push and pull the arms forcefully and vigorously, ‘+ When pushed, the arm (s) should be parallel to the ground. ‘+ When pulled back, the elbow (s) must aot go further back than the body (ic., the starting position.) 4d) BREATHING: Normal BENEFITS * Develops the arm muscle wel pecially strengthens the week biceps nicely ‘+ Heavy arms will become slender. ‘* The elbow-joints receive unexpected strength. ‘© Cures deformities of the arms and the arms and the shoulders. ‘* Constant practice will make the arms look like an elephant's trunk, and they will be just as strong. 607. SKANDHA TATHA BAHU- MULA SAKTI VIKASAKA (Shoulder blades & shoulders joints.) a) STARTING POSITION: Sthiti: Tadasana # Make tight fists of your hands with the thumbs tucked in. b) PRACTICE: + Give your mouth the shape of a crow's beak and suck in the air through the mouth. * Blow out your cheeks and hold the breath with your chin resting on the chest (sterna notch) and eyes closed, + Now, keeping the back straight and arms downwards, move the shoulders up and down, * Vigorously and stiffly in a pumping metion. © Move the shoulders up and down as above 10 times. * Then, lift the head to normal position, epen the eyes and exhale gradually through the nose and relax. ©) NOTE ‘+The arms should be kept rigidly stiff and straight atthe side. ‘* The up and down movement should be as vigorous as possible. ‘© Incase of difficulty do it with normal breathing keeping the head straight. BENEFITS ‘+ The bones, blood vessels, the muscles snd the nerves in the shoulder are toned up. 8. GRIVA SAKTI VIKASAKA-I (NECK) a) STARTING POSITON: Sthil a b) PRACTICE: STAGE-I (Turning or Twisting). * Relaxing your neck, turn your head with a jerk first towards your Tada right shoulder, then towards your left shoulders. ‘* Repeat this ten times. STAGE-I (Forward and Backward), ‘* Relaxing your neck, jerk your head first forward and then backward, 61‘* When it is forward, the chin should touch the sterna notch (chest). © Whenit g es back, it should touch the nape of your neck. ‘* Repeat this ten times. ©) NOTE (For both Stages) ‘© Movements are done with a jerk to have appropriate effect + Neck must be completely relaxed. = Keep the mivuth closed aud eyes wide open Uwughuut the practice. d) BREATHING: Normal. 9. GRIVA SAKTI VIKASAKA -II (NECK) TARTING POSITION: Tadasana ‘* Relax you neck completely; k b) PRACTICE: ep your eyes wide open ‘© Keep your chin in and rotate the head from left to right and then right to left alternately. ©) NOTE ‘* Try to make your ear touch the shoulder. ‘© Take particular care to avoid raising the shoulder. ‘* Keep the chin in throughout the practice to have good benefit. 10. GRIVA SAKTI VIKASAKA -III (NECK) a) STARTING POSITION: Sthiti: Tadaisana ‘© Relax your neck completely, keep youreyes wide open. b) PRACTICE: ‘* Inhale and exhale through the nose (Bellows Effect) vigorously making the veins of ‘your neck stand out. ‘* Blow out your stomach while inhaling. Draw it in while exhaling. ‘+ Repeat twenty times. BENEFITS of 8, 9 & 10 it beautiful, ‘* This triple exercise strengthens the neck and make 62Disease peculiar to the throat such as Tonsillitis, Laryngitis, and Pharyngitis ete, can bbe checked © They make the voice resonant. '* Speech defects such as lisping and starumering are completely removed. With perseverance and in conjunction with a few other practices, they yield marvelous results in case of dumbness. + Singers will derive great benefit. 11. KATI SAKTI VIKASANAI (Back) Forward & Backward Bending STAGE - a) STARTING POSITION: ve Sthiti: Tadasana © Clench your right hand to form a fist w:th the thumb tucked in and take it behind the back. Now, hold the right wrist with the left hand. © Both hands remain in contact with the back. b) PRACTICE: * While inhaling deeply bend backwards as far as you can by keeping the hands in contact with the back. ‘+ Maintain this posture for a few moments ‘+ Then, while exhaling, bend forward trying to touch the knees with your head. ‘© Repeat this operation ten times STAGE a) STARTING POSITION: As above except that the left hand should be formal into a fist and right hand holding, the left wrist, 63b) PRACTICE Same as in Stage -I c) NOT 2 (For both Stages) © ‘The hands at the back must always be in contact with the body. ‘© Hold the positions (forward & backwanl) for a moment. 12. KATI SAKTI VIKASAKA -II (BACK) Forward & Backward Bending a) STARTING POSITION: ‘* Stand with your legs separated as far as possible ‘* Place your hands in the hips with the thumbs pointing forward and the fingers pointing hackward b) PRACTICE * Wh c inhaling bend backward from the waist as far as you can go. Maintain this posture for sometime. ‘+ Then while exhaling bend forward trying to touch the ground with the head (without bending the knees) ‘* Repeat this ten times, ©) NOTE Hand continues to be in the hips all through. Do not bend the knees at any time during the practice. Make the mavemonts within yor capacity 13. KATI SAKTI VIKASAKA -III (BACK) Side Bending I STAGE a) STARTING POSITION: Sthiti: Tadasana © Str +h the arms sideways at shoulder level parallel to the ground, b) PRACTICE: * Bend the trunk to the right as far as you can and return slowly to the starting position. © Repeat it on the left side. * This is one round. Repeat ten rounds. ©) NOTE # During the practice arms should not meve up or down. © ‘The trunk should not bend forward or backward. 644d) BREATHING: Normal STAGE.-IL © Everything is same except for the fact that the feet are separated by about two fect. ‘© While bending to right or left, the hand touches the calf. 14, JANGHA SAKTI VIKASAKA -I (THIGHS) Jumping up a) STARTING POSITION: Sthiti: Tadasana b) PRACTICE: STAGE I * While inhaling throw up your arms and jump up at the same time and come down on. your toes with the feet going apart * Wh xhaling, reverse the whole process and come back to the starting position. * Repeat ten times, STAGE-II ‘* Now, just reverse the breathing pattern and repeat the movements in the same manner. ©) NOTE «Palms should not touch each other while going up. They should not also touch the thighs. ‘© While coming down (after jumping up), the legs should not bend at the knees. © Always come down on the toes. 15. JANGHA SAKTI VIKASAKA -II (THIGHS) a) STARTING POSITION: Sthitis Tadasana b) PRACTICE: STAGE: (Chair Sitting) ‘* Stretch out your arms straight in front of you at should height, palms facing down, © While inha ing bend your knees gradually till your thighs becomes parallel to the ground. ‘© Hold the breath and maintain this position. ‘+ Then while exhaling, begin to raise gradually. © Repeat it five times. 65©) NOTE © The knees must be together throughout the practice. ‘* You must not raise the heels or toes form the ground at any time during the practice. ‘© If you find it difficult to hold the breath, you can do it with normal breathing for a few days ‘© Keep the arms parallel to the ground all through + Keep the back, neck and head ercet as far as possible STAGE -II (Knee Spreading) © Spread your arms sideways at shoulder height. ‘* Raise your heels (both touching each other) and throw your entire weight on the toes, ‘While inhaling bend the knees and spread them apart but never sit on your heels, ‘* Hold your breath in this position ‘* Then, while exhaling begin to rise gradually. BENEFITS of 15 & 16 ‘* Develop the thighs and made them shapely. + Make yourself able to walk long distance without tiring. ‘* Thin limbs acquire healthy flesh, while flabby ones get rid of superfluous flesh. ‘* Within a very short time, benefits of a lasting nature are noticed. 16. JANU SAKTI VIKASAKA (KNEES) a) STARTING POSITON: Sthiti: Tadaisana. b) PRACTICE: See pictures 37 & 38 * Raise your right foot forward with a je-k at the right knee and then take it backward hitting the buttock with the heel. ‘© Repeat ten times. © Then repeat it with the left leg. 66©) NOTE ‘* Keep the upper part of the body erect and firm. ‘* You can place your hands on the waist, if you like. ‘© While taking the leg back, the heel must hit the buttock. d) BREATHING: Normal BENEFITS + Ibis good for sheumatic conditions of the knees as it improves the circulation of blood in the region. © Particularly fective for football players. 17. PINDALI SAKTI VIKASAKA (CALVES) a) STARTING POSITON: Sthiti: Tadasana © Clench the fists and hold your arms in front of you at —— shoulder height. b) PRACTICE: See picture 36 ‘© While inhaling, squat and go down as far as your can. ‘© Holding your breath, stand up while your arms deseribe one full e in the style of rowing a boat. ‘© On completion of the circle, the arms should be held before the chest, fists touching, cach other. * Then exhale sharply while pulling the arms slightly backward ad explaining the chest. ‘© Repeat ten times. ©) NOTE ‘* Maintain balance of the body throughout the practice. ‘* The knees should remain close to cach other all through, ‘© The feet should remain on the ground all through. 18. GULPHA, PADA PRISTA, PADA TALASAKTI VIKASAKA (ANKLES AND THE FEET) a) STARTING POSITION: Sthiti: Tadasana b) PRACTICE See picture 39 67