W3.4 Teaching Concentration/ Dharana and Meditation/ Dhyana
List the order in which you might introduce concentration and meditation techniques to your classes, giving your reasons
Ginny Clother 2061 words
I am unlikely to introduce meditation to my classes at the moment as I do not feel that I have sufficient knowledge or skill to teach these techniques at present.
However the introduction of concentration can enhance asana and build a stepping stone towards meditative practise and I do feel more confident in my ability to bring methods of concentration in to the class.Lidell and Rabinovitch (1983) quote Swami Vishnu Devananda as explaining ‘During concentration, one keeps a tight rein on the mind; during meditation, the rein is no longer necessary…A beautiful tree grows slowly. One must wait for the blossom, the ripening of the fruit….’.
Tratak or steady gazing is a way to focus the mind-by fixing the eyes and gaze on a single point so the attention is captured. The object is then visualised with the eyes closed.
The aim is to encourage the student to repeatedly return the attention to the object, so that wandering of the mind is diminished.
This practise is easily accessible to the majority of students as long as sitting is not an issue (I would recommend use of blankets/ blocks/ wall/ chair to my students to ensure that comfort can be achieved and the body will not distract the mind.)
Desikachar (1995) recommends starting ‘with the easiest thing-a comfortable sitting position and….an object that is pleasing to us…start with something to which you can relate…you must begin where you are and with what you like.’
Traditionally focusing on a candle was used, but the risk of damage to the retina and of burns or fire mean I would rather use a non flammable object or a picture of a candle.
A picture of a chakra or yantra (geometrical diagram) could be used but I would prefer something that does not have spiritual associations in order not to alienate any of the class participants. I would therefore chose something from nature such as a stone or pebble as this should not carry any negative associations.
I would use a stone rather than a flower or shell so that no living thing is harmed by the practise (this relates back to the first yama listed by Patanjali of ahimsa or non violence. I would consider current headache or history of migraine to be a contraindication to the practise. However if the headacheis of musculoskeletal origin it can be eliminated by addressing posture or hydration levels and concentration practise resumed once all symptoms have cleared perhaps later as a home practise. Those in the class who were not participating could be given one of the alternative practises below.
Mandala, can be used as a source of contemplation just as pictures of chakra or yantra or objects for tratrakas described above. A mandala is a circular symbol of the divine (Brealey 2004). The practise of colouringthe mandala in or making one’s own could be introduced as part of the concentration practise. I would not personally use this technique as I would not be comfortable with it’s overt association with religion/mysticism. Mandalas are particularly associated with Buddhist and Hindu heritage but may also be found in Christian and Islamic art (Brealey 2004).
Drishti are looking points. There are nine dristi used in astanga yoga (Scott 2000). These are the tip of the nose Nasagrai, the thumbs Angusta ma dyai, between the eyebrows Broomadhya, navel Nabi chakra, upwards Urdhva, hand Hastagrai, toes Padhayoragrai and Parsva left/right. By bringing the attention to the drishti the student can release in to the pose by bringing the concentration to a single point. Focusing attention on to the mat or a point on the wall can also assist with balance. I do use some of these dristi with my classes and the feedback from my students has been that they find these to be helpful.The tip of the nose and space between the eyebrows can be fatiguing for the eye muscles so if used students should be encouraged to release and relax the muscles regularly.
Internal drishtis include the heart or the third eye. I have not used these drishti partly because I am not comfortable with the mystical nature of the exercise and the shortened focal point. The practise could also be considered as uncomfortably introspective for those dealing with issues affecting self esteem/ grief/ depression etc.
Breath awareness. Scott (2000) recommends use of equalisation of inhalation and exhalation as an excellent method for beginners to engage with the breath as this practise requires continual concentration. The attention can then also be engaged in the pause between breaths. The breath can also be the targeted by observing the coolness of the inhale at the upper lip or nostril and warmth of the exhale, or by following the movement of the breath and it’s mechanical effect on the body and by dividing the breath in to segments of various proportions. I have introduced these practises to my classes who have been receptive to them.
Breath led movement; Scott (2000) suggests this is initially difficult for the beginner especially if strain of breath or body is to be avoided. If simple, slow movements are employed closing the eyes can enhance the experience except that for some students this will compromise their balance if they usually rely on visual input. I have used breath led movement in class and find most students really enjoy the practise as the synchronisation of movement and breath allows everyone to achieve a harmony and symmetry and sense of achievement. The key is in making the movement and instructions as clear and easy to follow as possible.
Pranayama. Scott (2000) recommends that this should only be commenced when the student has attained an advanced level of asana practise. However he does recommend use of ujjayi or victorious breath throughout asana practise, both to increase concentration and improve length and symmetry of the inhalation and exhalation. However if ujjayi is not possible for some students the alternative could be to focus in to the sound of nose breathing. I have found some class members receptive to use of ujjayi but for some of the more self conscious or sensitive they find this uncomfortable or are disturbed by the sounds of other class members.
Brahmari or bee breath can be another form of pranayama to assist with concentration. The difficulties with self conscious or sensitive students can be diminished by asking everyone to place their fingers on their tragus so as to block out external sound. This modification also has the benefit of increasing the vibration of the sound through the skull and thus intensifying the experience.
Other methods of concentration include a walking meditation. If I had safe access to the outdoors for my class Idefinitely would try this with them. Unfortunately I am not convinced that this would be safe in the halls I teach in as even though I do vacuum the carpet prior to class, outdoor shoes are not removed atthe door as there are no safe storage arrangements. The risk then is that stones or glass from outside could be present on the floor and could cause injury.
Lidell and Rabinovitch (1983) recommend synchronising the breath with the footsteps-inhale for three steps, exhale for three steps. However the speed of this walking may need to be moderated to individual taste and ability. Silent walking with concentration on the present and not attaching to the surroundings, or concentrating on the sensory input through the feet, is very powerful for those that prefer movement based activities (I include myself in this category). However modifications are necessary to protect those that may feel self conscious- it may help to give the instruction to recommend that participants look only at their feet or cultivate a soft blurry gaze so as to exclude direct vision of other class members.
Sound is another method of enhancing concentration. Lidell and Rabinovitch (1983) recommend repeating a mantra frequently through the day so that it is not restricted only to a meditation session, including it’s use during asana. A mantra can be a word or phrase.
There are great claims made for the healing powers of certain sounds Lidell and Rabinovitch (1983) state ‘it is best to be initiated into a mantra by a guru, who will invest it with his own pranic energy’ I am sceptical of these claims but accept that some of us have more highly developed responses to sensory input than others. For those that find sound is particularly effective a mantra may well be the key, and chanting may access that connection. For those that have a more visual sensory system mantra writing or Likhita japa may be more effective.
Chanting can include om, which is particularly easy for students to remember especially if broken down in to individual syllables and this then removes any issues of pronounciation. Or chanting can be of a word either in Sanskrit or it’s translation e.g. peace or joy may be used or a passage from Patanjali’s sutras. However this is inherently a risky practise as those of religious belief may take offence at the use of a word from a different religious tradition and those without religious/ spiritual belief may find the inclusion of such practise unwelcome. If the venue is a church hall this may not be acceptable to the venue owners. For all these reasons I am not planning to use chanting in the foreseeable future.
Less controversial is focus on environmental sounds, shifting from what can be identified outside the room, to inside the room, to inside the body. Or recordings of natural sounds such as the sea or rainforest (with awareness of the PRMC licensing stipulations). I have used this practise in class and serendipitously on a few occasions as I have asked students to focus on sound outside the room, the silence has been broken by church bells/ emergency services alarms/ singing which has lead some of the students to enquire whether I have been stage managing these events!
Music, performed with bowls, bells, gongs, drums can also be used, again with awareness that if these are recordings there is a need to meet licensing requirements. However music can trigger strong emotion both negative or positive that can interfere with the aim of concentration and cause upset to the individual. I have experienced this myself therefore I remain very hesitant to introduce music to my classes for concentration for fear of eliciting negative reaction/ distraction.
Other techniques include using affirmations such as ‘I am still’ or ‘peace’ but it may be better for students to choose the language or word that has positive meaning for them. In a class situation there is risk of causing offence or negative emotion. For this reason I have not experimented yet with this technique.
Visualisation can be used rather than as customarily for relaxation as long as an intense focus is retained. One example being of thinking of the sky, and associating the clouds with thoughts and then encouraging the thought clouds to clear/ dissipate. The risk is that the mind becomes distracted by the imagery and negative intrusive thoughts may predominate. I have not used this technique in class as I feel that some of the other practises listed above are more immediately accessible.
Mindfulness is a way of cultivating mental focus even whilst performing daily tasks or household chores and traditionally this would include meal preparation (Lidell and Rabinovitch 1983). This practise is increasingly being used in healthcare setting and I would be wary of using it in class for fear of bringing up unpleasant associations.
The more advanced techniques include witnessing the stream of consciousness of the mind without getting attached to or judgemental of the thoughts themselves. This could produce negative emotion to some participants. This could eitherbe related to the content of those thoughts which could induce anxiety, depression or unpleasant introspection. Or may produce boredom for those that are finding the practise difficult.I don’t feel that either myself or the participants in my classes are ready for engaging in these practises during the class but I would probably discuss them in the context of home practise.
Concentration is particularly valuable in the time poor, sensory overload world that we inhabit with our students. Teaching concentration gives ourselves and our students valuable tools to introduce some peace and calm to all our daily lives.
Bibliography
Brealey E (2004) The Spirit of Meditation Cassell Illustrated
Desikachar TKV (1995) The Heart of Yoga Inner Traditions International
Lidell L, Rabinovitch N and G (1983) The Book of Yoga Ebury Press
Scott J (2000)Ashtanga Yoga Three Rivers Press New York
Pictures
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