W3
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
necessaryA 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
usstart with something to which you can relateyou 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 headache is 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 tratrak as described
above. A mandala is a circular symbol of the divine (Brealey 2004).
The practise of colouring the mandala in or making ones own could
be introduced as part of the concentration practise. I would not
personally use this technique as I would not be comfortable with
its 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 its
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 I definitely 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 at the
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 its 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 its translation e.g. peace or
joy may be used or a passage from Patanjalis 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 either be 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 dont 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
http://blog.shreevedic.com/article/wp-content/uploads/2010/09/tartak-300x200.jpg
http://www.mandalas.com/images/Lrg_image_Pages/yantras/SriYantraSquare_8.jpg
http://hairyprincess.files.wordpress.com/2011/04/mandala.jpg
http://soulisticwellness.files.wordpress.com/2009/01/ganapati_qc60_l.jpg
http://www.meditatebehappy.com/wp-content/uploads/2010/09/feet_walking.jpg
http://2.bp.blogspot.com/_3UGRITHCVIE/S8c3qZozMUI/AAAAAAAACnM/vYfsNRTiJN0/s400/om-13.jpg
http://www.3worlds.co.uk/Gallery-02-Bell/Singing-01a.jpg
http://upload.wikimedia.org/wikipedia/commons/6/6e/Camomile_Colza_Clouds.jpg
http://meditationsecrets.net/wp-content/uploads/2011/06/1308048498-89.jpg
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