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Vinyasas

Asanas The system of expanding and balancing the Arsenal of forms
Position of the Form in the dimensional space Vinyasas
Psychic-energy Mandala Multilevel Vinyasas Algorithm
Hierarchy of Vinyasas

Vinyasa is the movement of the body synchronized with the breath.

The formation theory allows to classify all possible dynamic movements (Vinyasas) beginning from the neutral position. According to their dynamic characteristics, Vinyasas are divided into several groups:

1. Direction of movement single-directional (for example, from the first form of the body to the second, then to the third, without returning back to the first one) and bi-directional (for example, from the first form of the body to the second one and back to the first one).

Single-directional Vinyasas are usually used to connect moves when making the transition from one form of the body to another, whereas bi-directional forms make ring-type movement cycles, and are used to achieve specific psychic-energy results.

2. Number of repetitions single (for example, one cycle, from the first form of the body to the second, and back to the first one, and then subsequent transition to the third form), and multiple (for example, repetition of several similar cycles in succession, from the first form of the body to the second, and back to the first form).

The number of repetitions determines the accumulated psychic-energy effect. And this number depends on intermediate tasks in the general algorithm of reaching the training goal.

3. Number of moving elements of the body single-element Vinyasas (for example, the movement of one arm, without changing the form of the other parts of the body) and group Vinyasas (for example, simultaneous movement of the arms, legs and the spine).

Single-element Vinyasas are used in the following cases: in changes of position of one of the limbs; in movements of the spine without changing position of the limbs; while push-ups on one hand or squats on one leg and etc. Due to the intertwined nature of the movements of different body parts, group Vinyasas are used much more frequently in practice.

4. Speed of motion fast (for example, movements at maximum speed without the loss of quality), slow (for example, special deliberately slow motion) and extra slow (for example, in movements, which are so slow that they cannot be differentiated if looking from the side).

Speed depends on the style of the training, and in turn determines the characteristics of the psychic-energy processes.

High speed facilitates general activation and the concentration of the Power of Spirit.

Low speed increases the density of the energy flowing to the maximum point, and is of greatest use in the development of physical strength and endurance. Low speed can also reduce injury in practice.

The extra-slow motion mode increases energy flow density to the maximum point, requiring extreme will-control, physical power and endurance. Extra slow mode almost corresponds to static fixation. Therefore, its training effect is close to the practice of static forms and develops static power and endurance.

5. Influence on bodily form symmetric (for example, upon symmetrical forward bend from the standing position) and asymmetric (for example, raising one leg from symmetrical standing position).

Symmetric and asymmetric movements depend on the energy configuration of the training algorithm and the motivations generated during spontaneous training.

6. Relation to counter-force superior (for example, lifting the body weight in raising on hands from the floor) and inferior (for example, lowering the body to the floor from the raised position).

In the superior movement phase, muscle strength dominates body weight, while the inferior movement phase allows the body weight to dominate.

It should be remembered that the inferior phase should always be smooth and slow without jerks and tension fluctuations. For example, lowering the legs to the floor from a handstand position should occur as a restrained, controlled movement rather than an uncontrolled fall.

7. Spine direction in the dimensional space unchanged (for example, movement of the arms or legs with the spine remaining in vertical position) and changed (for example, in the change of the spine from the horizontal position to vertical).

An unchanged direction of the spine allows only limb movements. Therefore, such Vinyasas usually change positions of the limbs with respect to a relatively fixed form, or move this form along the gravitation component using various arms or legs presses. Position of the form determines subconscious reactions and the psychic-energy result. Therefore, Vinyasas with the changed spine position are used for special purposes (see below).

8. Influence on the spine when curved (for example, in the back bend of the spine from upright position), and when fixed (for example, in the change of position of the spine from horizontal to vertical, keeping the spine straight).

Movement without curving the spine is only possible when the limbs move to change positions, or when doing presses while maintaining a fixed form of the body. Energy circulation depends on the form of the spine. And Vinyasas with spinal bends are often used in the practice of Yoga for special purposes (see below).

Movements in Vinyasas require muscular efforts, which develop dynamic strength, endurance and coordination. These efforts may be different and depend on the scope of the force necessary to move a particular body element or the whole of body. Therefore, according to complexity levels, Vinyasas are subdivided as follows:

  1. Turns and revolutions of the body on the floor.
  2. Steps and jumps while changing the relevant position of the feet in standing position.
  3. Waves and punches with arms or legs.
  4. Pushups and jumps on one or two arms with support on one or two legs.
  5. Somersaults over the head, arms, or legs, and cartwheels.
  6. Squats and lunges on one or two legs while lifting the weight of the whole body.
  7. Presses with one or two arms while lifting the weight of the whole body.
  8. Various acrobatic movements of the whole body in the air like flips or their fragments.

Different schools and styles, depending on the main orientation, use different movements or combinations of movements from the above groups of Vinyasas.

All theoretical possibilities of the Vinyasas are, no doubt, interesting for the development of artistic training, and to obtain consciousness-developing experience. But from the point of view of time, only some of them are efficient in practice.



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