“Iyengar” is listed in the Oxford English Dictionary as: “Noun: A type of Ashtanga yoga focusing on the correct alignment of the body, making use of straps, wooden blocks, and other objects as aids to achieving the correct postures. Origin: Named after B. K. S. Iyengar (born 1918), the Indian yoga teacher who devised this method.”
There are hundreds of yoga studios around the world that teach “Iyengar Yoga”. One becomes a teacher in this tradition only after rigorous training, practice and apprenticeship lasting many years.
Mr. Iyengar always maintained that Yoga is One, and he only teaches the eight-fold path of yoga as laid down by Sage Patañjali in Yoga Sutra.
“Yoga is one but people call it by different names…Iyengar is my name. My yoga is not Iyengar Yoga. I only codified it… It is a subject which I am teaching which was taught by my Guru who learnt from his Guru. So it is a lineage.”
Precision, timing and sequencing are the distinguishing features of Mr. Iyengar’s teaching methodology. These are not rigid rules, but depend on various internal and external factors like aim, age, physical condition, mental condition, time of the day, weather condition etc. These three should be considered independently, and also together. The triad expects the students to act while they are reflecting , and demands reflection/ contemplation while they are acting. We are conditioned to do only one of the two at a point in time.
“It is through the alignment of the body that I discovered the alignment of my mind, self and intelligence.”
The technical details are not the complexities, but the intricacies. They provide the means to go beyond the peripheral physical body.
“When I am in an āsana, I go beyond the chronological and psychological boundary of time.”
Mr. Iyengar emphasises the aspect of maintaining an āsana to develop and surface the effects and reap its benefits. As endurance, power and confidence grow, the timing should be increased.
Sequencing is important for realising the collective and cumulative benefits of āsana. There is no standard sequence. Much like Indian classical music, there are certain basic elements, and ascending and descending patterns. At the end of the sequence, a state of quietitude and equanimity is expected to be created.
“Yoga is for all. I designed props so that all can benefit from it.”
“Body is my first prop.”
A prop is a support. During his early days of teaching, Mr. Iyengar used to become a prop for his students. Props are helpful on multiple levels:
“There is a difference between involuntary breathing which is zigzag; deep breathing which is a rough, forceful physiological movement; and prānayāmic breathing in which the energy seeps and touches from the core of the being to the periphery, and from the periphery to the core.”
“Breath is a form of nourishment. Forcing breath is a form of greed.”
Yoga Sutra of Patañjali unequivocally states that the practice of āsana is very important to derive benefits of prānayāma. Only once the body is under control, the spine firm, and nerves calm, can one start prānayāma. In prānayāma practices, the nostrils, nasal passages and membranes, the windpipe, the lungs and the diaphragm are the only parts of the body which feel the full impact of prāna, the breath of life. Improper practice of prānayāma lead to respiratory diseases and the nervous system is shattered. Therefore, while the conditioning and culturing of breath starts as soon as the āsana practice begins, prānayāma is introduced to students only after they have developed some proficiency in their āsanapractice.
“All the eight petals of yoga are interlinked and interwoven. If one petal is explicit, others are implicit, and that is how yoga works.”
A unique concept in Mr. Iyengar’s teaching is that he does not distinguish the limbs of Astanga Yoga as separate. He has demonstrated how yama and niyama can be observed in āsana and prānayāma. How pratyāhāra is to be attained in and through āsana and prānayāma; and how dhārana, dhyāna and samādhi can form an integral part of āsana and prānayāma.
More in the Resources section here
In order to ensure that these most basic concepts are not coloured by our interpretation, the text in this section is largely derived from publications written by Mr. B.K.S. Iyengar, or put out by RIMYI/ other Iyengar Yoga Associations around the world. All copyrights on content are held by the original sources.
References for the content in this section:
Guruji – An exhibition displayed by the students of RIMYI, Pune as part of Guruji’s 90th birthday celebrations held in Pune.
“What is Yoga”, B.K.S. Iyengar, page 24-25, Yoga Rahasya, Volume 18, No. 3, 2011