 Mae'r grwp yma o'r cyfrannu ar y cyfrannu, yr EOC, y Rhyngor Llywodraeth Ym Llywodraeth, a'r ysgol ym 5 ym 5 ym Mhwylwyr, ychydig o'r Yogi, ym Yogi ym Yogi ym Llywodraeth. Ac rwyf wedi'i gael y 20 ym Mhwylwyr ym Yogi ym Mhwylwyr ym Llywodraeth. Mae'r cyfrannu ym Llywodraeth, mae'r cyfrannu ym Llywodraeth ym Llywodraeth, dwi'n fwy gynnwys ym Llywodraeth ym Llywodraeth, Ac rwy'n dweud yn gofo. Felly fe Morel ofio yn gwneud. Unrhyw ddod o'ch kaun record hon. Rydyn fe ddweud i chi'n wneud fan o fewn y form yma. Ond fe dyna'r eich gwneud o'r bus Chwanwr, mae'n du wneud y form i gyfrygiad yn Llyfrgell i Nidia orrhyng o'r ymddangos. A fyddwn ni'n gwneud a fyddwn ni'n gweinio yw pourio i llwy. Felly mae'n busu o'ch trwynydd o yn ysbryd i'r hyn o'r citol. a dyna'r cyfnodd yn ymdweud o'r 10 o 15 oed yn ymdweud o'r cyffredigau yma'r ymdweud o'r ymdweud o'r hynny. Let's read. So, the first verse, very nice. I prada bhabha tusha jagato malasrihi. On the basis of meaning as well as on the basis of this metric patterns and on the basis of grammar. And if we have different sources like this manuscript is having one reading, another manuscript is having another reading we can compare and choose. We can have some guess what is behind and so on. Parihari moham having removed the delusion, confusion of one's mind. Krithwa bapus thirataram, this is also maybe interesting, made the body a former, steady. Thirataram prathiyadisiddim, a meditator, a yogin achieves, finally attains perfection. Can I go back to the Vyasa Diyar? I may have missed something. What was your suggestion? Samasa Diyar, Vyasa Diyar. So thinking that it would be too much elaborate. I agree with that except that I suspect that it should be Vyasa Diyar. Something has gone wrong there. Impossible. But as I told you that the transmission is really problematic. Out of 400 verses we have only 243. So I come down to the question of philosophical underpinning. This is a rather big topic. But I try to again just say something very simple and elementary about it. You remember that the poor Vapakshan, I had imagined him saying, well they are all yogacharas or madhyamakas. In any case they cannot possibly believe in the existence of external objects including the body. External means external to mind. And far from believing those external objects to be real, they believe that their appearance is a symptom of error and is caused by our mistakes. Let's say that they are habitual ignorance. One of the texts I'm working on, a recent discovery, is that the earliest text to teach the practices of physical yoga was in fact composed by Buddhists. So I had to completely revise my understanding of the history of the whole tradition that I've been working on for 20 years or whatever. Hang on, suddenly the root text of it is Buddhist and not Hindu tantric. Yoga is not a religion in itself. In fact the texts are pretty non-sectarian. But at the same time it's clear that this text was written within a Buddhist community. Hi, I'm Dr SVB KV Gupta. I'm working for this hatha yoga project as a researcher to collect various manuscripts in India in different libraries. First we take the references from the catalogs. Then we go to the libraries. Without mishandling them, it is very comfortable to scan them with our scanner. So we scan them and we use for the research work. This will be a rather informal presentation. See, yeah, so this is one. Bower dates it to the end of the fourth century, second half of the second quarter. So what is particularly nice for me is that since you have a whole leaf you can see many features of early porties that you don't see even in some of the oldest palm leaf manuscripts. This is a collection that is not cataloged anywhere. This is a collection from Bengal that was given by Evans Vence to Johnstone and then here to the Bodleian. It's made up of these Bengalis manuscripts. I wanted to show you this. These are simply part of the collection which is not cataloged at all. So nothing is known about it. There are some great, great scholars at this workshop, but the real guru of all of us is Professor Alexis Sonson who is my PhD supervisor at Oxford. He spent seven years in Kashmir in the 70s living with a traditional Tantric Shaiva Guru and he's then spent the rest of his life studying the traditions of Tantric Shaivism. So Shaivism is like the worship of Shiva. So I began looking in this literature to somehow build up an understanding of the historical process which led to the traditions I was studying in Kashmir which were late, highly sophisticated, very learned traditions which rested on a long pre-history. So I've been trying in the last 40 years to expose that history to get some sense of how the religion developed and changed over the centuries. But there are other areas of Indian religion which have remained completely obscure, have not been looked at and yoga is certainly one of them. And Jim Malenson started getting into this area and did his doctoral thesis on the text which seems in many ways to be continuous as a Shaiva yoga tradition. And so the question was to what extent, how are these two bodies of meditative practice related? How has the Hatha yoga tradition say, or the tradition of other yogic groups positioned itself in relation to these dominant cultural forms that the Shaivas developed? And in this way, through this careful analysis looking at many unpublished texts, he's gradually built up a picture of how this trend in Indian religion became central and influential in many different sectarian groups and how eventually it became mainstream. And then the rest of the text goes through each of these centres and tells the yogin what he will hear as proof of the fact that he's now penetrated this level. Of course, because the words are non-semantic, because they are onomatopoeic, the manuscripts have trouble with them because they're not as well in the dictionary. So there are quite a few varied readings, which is a problem for a yogin who's listening out for the requites. Did I hear shimmy shimmy or simmy simmy? And are you sure it was dumu dumu? So it's like when you put your hands against your ears, you hear some subtle sounds inside, but they're supposed to change as the mantra rises through these levels until it departs from the body. So I take the lead of the venerable feat of Abhinavagupta, iti nathryfi wadbir asmabiam asuitaviam. I pray that the learned will not be too angry with me. I wanted to end with that because I think it does show that the tradition is undergoing constant transformation. But the sad thing is I always feel as a student of shivaism in the background is something even more weird and interesting. I can't quite reach through the texts. So Stjomyn notes the cure of the shivaism. So Stjomyn notes the curious divisions of the Shri Tatvanidhi and the confusions in the texts, such as Arsena's being referred to anaphorically before they're described and illustrated, which shows that they've kind of moved around. The Hatabya Sepadati has 112 postures, while the Shri Tatvanidhi has 122. Six of the extra postures here, 75 to 80, are simple classical seated postures. So Sukhasana, Singhasana, Badrasana, Virhasana, Padmasana and Siddhasana, ending with Siddhasana as number 80. And the poses after 80 are said to be additional. So all those extra poses of the Hatabya Sepadati sort of are dumped at the end. And I think this indicates clearly that the compiler had an agenda to make a set of 80 arsena. He believed that there should be 80 arsena's and they should end with Siddhasana and these other poses. And it strengthens, I think, the hypothesis that the reordering of the HAP's postures in the Shri Tatvanidhi was a conscious and intentional choice by the redactor, if not a wise choice. We have, of course, complex arsena's, but also quite a physical type of pranayama, where the breath is manipulated, the inhalation, the exhalation lengthened, perhaps, and the breath held. Well, in Hatha yoga, it's more similar to some of the Karanas, in the sense that, but there's different terminology. They're not called Karanas, they're called Bandas, and they're integrated with the phases of the breath. So as the yogan breathes in, he, at the end of the inhalation, applies the chin lock and the root lock, he grips the anus and squeezes the chin like this and then he draws the navel in and up towards the spine, which causes the diaphragm to hyperextend. It does this while holding the breath, then at the end of the breath retention, he releases the chin lock, but then actually exaggerates the hyperextension of the diaphragm using Udyana bunda and then holds Udyana bunda while breathing out, and this enables the practitioner to breathe out for a very long period of time. There are many forms of yoga and very important in the history of the evolution of yoga is the Shiva Tantras. You sit in a posture which is conducive to meditative activity and then you concentrate on God. And there are a lot of breathing exercises, but no complicated stretching exercises. And a lot of ritual, in fact tantric ritual, involves things that you're doing really with your mind, you're not, so you cultivate the divinity in your heart, which is of course not your physical heart, but this imagined heart in your yogic body. And before you predict the same divinity that you will worship in an outside substrate. So there's all sorts of different approaches to these texts, to the history of yoga. For some people it's much more personal in terms of how they're going to apply these things. And for others it's maybe a more intellectual academic pursuit. But those two don't have to be in opposition. And I think for these Sanskrit intellectuals or authors themselves, this is an interesting question of were they themselves practitioners, those who wrote these texts, or were they simply academics? I'm inclined to think that they were practitioners often themselves based on the content and the exquisite details of these postures, some of which we saw today. You can see that a lot of this information would have only been written by somebody who tried and tested these things out. Yoga today is quite contested. What is it? There are so many different traditions. So there's ayengi yoga, shdangi yoga, bitkrum yoga, shivananda yoga, hot yoga, flow yoga, power yoga, all these kinds of yoga. And then there's haffi yoga. It was really interesting to see them using the knowledge of their bodies and what their bodies could do and have that help us interpret the text. And it was intoxicatingly beautiful to watch, wasn't it? To hear the sounds great, to see them practice. Cwrpwra pariantaw hastawd hraama wasthabhia januni nabhaos ankuncia tishteyt gyda'r casyn yn bhafytu. Supporting oneself on the ground with the hands as far as the elbows, cwrpwra pariantaw hastawd, bend the knees at the navel and remain thus this is the chataka asana, the sparrow posture. So I read the sounds great and I translate it. I have no idea what I'm going to see when I look to the left. This is ayenga himself here. This is gyta ayenga. So his daughter and his son Prashant, I think number three along on the wall there. This is the kind of things that people still get up to in ayenga yoga studios today. So he very much, I think, pioneered the use of ropes. In her book, gyta ayenga's book, Yoga Gem for Women of 1983, ayenga's daughter described seven rope postures referring to the technique as yoga kurunta strangely and translating kurunta as puppet because the practitioner resembles a puppet on a string. Okay, so my name is Daniela Bevilakwa and I am a team member of the hatha yoga project. Actually I am the ethnographer of the group. My purpose is to collect information about the ascetic practitioners of hatha yoga in India today to put together the development of the practice over the centuries and to create comparison between what is written in the text, what is represented in the temples and what they are doing today. Many sadhus appreciate the fact that we are actually working on this kind of project because yoga is a very important element of Indian religiosity. And then they were very helpful with my questions. They gave me a lot of examples. But on the other side there were also the sceptical sadhus that don't understand this kind of research because they think, of course, for them yoga is more a religious discipline it's something that cannot be understood simply reading or talking about it but has to be experienced and so it will be a bit more difficult to get information from these kind of ascetics but I'm quite good in that. That's it, this is my work till now so let's see in the next time what will happen if I will be still alive, who knows. I mean after a kamakya, let's see. After a kamakya. Yeah, after a kamakya it can be scary. They are female victims. Oh, thank God, not a goat. One thing I would like to add is just to acknowledge how incredible a workshop like this is and what an exciting time it is for yoga studies we can almost take it for granted being at a conference like this to have such a learned audience and group of scholars of Sanskritists of specialists in yoga and Indian religious traditions all come together but this is actually something quite new a novel that's happening right now and it really speaks to the work that folks like Dr James Mallinson and Jason Birch and Mark Singleton are doing I mean 10 years ago this was not happening if I told somebody I was getting a PhD in yoga studies they would just scoff and laugh at me but today it's actually really earning the respectability in the academy and as we can see with the grant like the ERC even from the European Union and the research council it's actually getting funded at the government level so it's almost like in the medieval period when you'd have kings who were patronising some of these Brahmin intellectuals to write these texts today the government is actually paying scholars like Jim and Jason and Mark to study, to analyse and contextualise these texts It's been a really good process of looking at the materials and trying to incorporate that into my practice and how that would feel in the body started off just reading them going this doesn't make sense how do you get your ear to your thingy and I'm used to learning in a very traditional manner where it's taught sequentially you're given a posture by your teacher he might demonstrate it but usually they just tell you what to do and then you practice that for years before you get something else and you're expected to get a good level of proficiency before you move on to the next one so to come to a written sequence with no person to guide and no person to demonstrate there's been a totally different experience from how I normally practice I'm really happy with the way that we went I'm having a covered various extremes of scholarly endeavour from the highest flown philosophy to just basic philology what we call trying to make sense of texts Learning is collaborative you can't do this stuff on your own you need to build on the work of others There are a lot of students here who have just been in awe of these masters of the Sanskrit scholarship who have been at it for 20, 30, 40 years at the top of their game and they'll be inspired by that and they'll make relationships projects and so forth so hopefully this will kind of keep the tradition of this kind of scholarship invigorated as well It's a great opportunity for me to attend and present about my work in the great Hatha Yoga project here in London so it's really a fortunate for me to express my views in front of the advisory panel of the Hatha Yoga project For me it's very interesting and because usually when I work we don't use text because it's very rare that the studies have reading texts so for me it's very important because then I can create a kind of comparison between these two approaches not the textual and the practical and especially the last part I mean I will think and I will try to memorise what did I do like the two girls to see if I can see among aesthetics this kind of practice It's been a really exciting week to be a part of to come along to the discussions and to hear the enthusiasm and the expertise with which all of these people are sharing, they really are sharing where they're at and what they've been working for so many years on different texts so to be a part of that and to see it is thrilling Well the workshop is great in the sense that it might have seen and it might have seemed a lot very philological but that's because there are so many different schools of yoga and some of them are rather more distant from modern yoga and what we're trying to do is examine the roots of yoga and those are in all sorts of different traditions so many people had to come together and we discussed many things that seemed really very far from the yoga that people recognise today and I thought that it was very good it had more spectacular moments and slightly duller moments and photogenic moments I would have thought Their way of combining the texts and embodied practice and interviews with sadhus and images it is groundbreaking