Hardly a day goes by when someone doesn't ask us, "Is Bikram Yoga the same as Ghosh Yoga?" It is a valid and interesting question, as plentiful yoga systems seek to separate themselves from the competition with novel methods and attributes. The two methods are closely related, since Bikram Choudhury learned at Ghosh's College. But there are some fundamental differences that keep the two systems from being synonymous.
First, let's look at what they have in common.
Most of the exercises in Bikram Yoga are recognizably from the Bengal region of India, where Ghosh's College is located. The previous students of Ghosh taught these same postures and exercises like Half Tortoise, Rabbit and Standing Head to Knee. And several of the postures, like Stretching, Cobra, Locust, Bow and Corpse, are traditional yoga asanas found in older texts. Notably missing from both Bikram and Ghosh yogas are exercises like Up-dog, Down-dog and Warriors One and Two which come from South India and have made their way into most vinyasa yoga styles.
Another element shared between Bikram and Ghosh yogas is the alternation of effort and rest. Each posture is held in stillness for a brief period and followed by an equal portion of relaxation. While standing, the practitioner simply stands still, though some of the older Ghosh students insisted on lying down between exercises. During postures on the floor, relaxation happens by assuming the Corpse posture. This is a distinctive element of these styles, setting them apart from the popular flowing methods that link stationary positions with fluid movements and Sun Salutations.
It can seem obvious, but both Bikram and Ghosh yogas are fundamentally designed to help the student be healthy. This is similar to all the yoga in Bengal, where the postures are done to help the organs, circulation, digestion or some other element. They generally have a therapeutic purpose. This intention can be contrasted with many vinyasa styles of yoga that originated in the performative gymnastics of Mysore. Those styles, like Ashtanga Vinyasa and its descendant "flow" methods, have become more therapeutically focused over the ensuing decades. But the origin of flowing yoga was performative.
Now, let's look at what is different between Bikram Yoga and Ghosh Yoga.
The method of Bikram's yoga is largely defined by its style of instruction, the rote utterance of prewritten commands. Teachers of the style can be judged by the quality of their "dialogue." Many paraphrases and copycats have popped up, but Bikram's original is still considered by most to be the gold standard. This rote instructional style is nowhere present in the teachings of Ghosh Yoga, where the majority of verbal instruction is simply counting the duration of each exercise.
Also central to Bikram's style is a heated room, a characteristic that finds no expression in other manifestations of Ghosh's style. In India, they turn on fans or air conditioning when the day gets hot, or they forego the scorching parts of the day altogether.
A SET SEQUENCE
The two differences above are somewhat peripheral to the essence of the methods. The irreconcilable difference between these two systems is Bikram Yoga's unchanging set of exercises. The same 26 postures are "prescribed" for every student no matter their age, ability, experience, goals or ailments. Central, indeed fundamental, to the Ghosh system is a unique prescription for each student. It would be unheard of to assign the same practices to different people, especially without learning their strengths and weaknesses.
Because Bikram Yoga is defined by its specific and repeated set of postures, and Ghosh Yoga is defined by its attention to the individual, it is impossible to conclude that Bikram Yoga and Ghosh Yoga are the same thing. They certainly share several key elements, namely their postures, the alternation of effort and relaxation, and therapeutic intent. But the defining characteristics of Bikram Yoga like rote instruction, added heat and especially a single unchanging set of exercises separate it substantially from Ghosh Yoga.
Camel Posture, Ushtrasana, has at least 300 years of history in yoga texts. But the posture changed drastically in the mid-20th century from the traditional prone position (as pictured above) to the kneeling backbend that most modern yogis will recognize.
This shift from prone to kneeling happened over the course of a few decades between 1920 and 1960. Prior, Camel Posture was a posture done on the belly. After 1960 it is done on the knees. In between, one might find instruction for either.
Below we have elaborated 8 versions of the posture that show its irregular progression through these decades.
Buddha Bose (1938):
Bose instructs the posture as in the Gheranda Samhita, lying on the belly. Like many of his other instructions, Bose draws directly from Sivananda, comparing the posture to Dhanurasana, Bow Posture. Sadly, Bose does not have a photo.
"Lie on the abdomen...bend the legs backward from the knees...with the hands firmly grasp the ankles. Now lift the head." The only difference between the two postures, he says, is "do not raise the knees and thighs off the floor" in Camel.
It is possible that these two positions are unrelated, connected only by their name. It is difficult to explain why the abdominal Camel Posture was phased out at the same time as the kneeling Camel Posture was phased in. Since about 1960, the kneeling version is ubiquitous. But the older texts including the Gheranda Samhita and those by Sivananda, Buddha Bose and Yoga Mimamsa clearly instruct the same position, lying on the belly with crossed legs. Sita Devi's book from 1934 is the outlier here, with instruction of the kneeling version in such an early decade.
Also difficult to explain is the divergence between Bose and Mukerji, who were both students of BC Ghosh in Kolkata. In the 1930s, Bose describes Camel as lying on the belly, while Mukerji does it kneeling only 30 years later in 1963.
When we practice yoga postures, we might be doing them for different reasons. We may be trying to reduce the pain in our backs, improve our balance, burn a few calories or experience a deeper spirit within. These are drastically different goals, and we can't use the same techniques to achieve them all. Hundreds of "yoga" postures and practices exist these days, and they don't all attain the same things. As you practice, think carefully about what you are trying to accomplish, and use those postures that will help. Here are the 5 different types of yoga postures:
1. Seated, meditation postures. These are the oldest, most traditional yoga postures. When the Yoga Sutras (or any text that is more than 1,000 years old) refer to asanas, this is what they mean: a seated, upright, stable and relaxed position. These positions are not used for their own benefit or to create health, but to facilitate the more internal practices of breath control and meditation. These are the quintessential "yoga postures," Lotus and Siddhasana.
2. Positions to prepare the body for seated meditation or help the body recover from it. As anyone who has tried to sit still for a long period of time knows, it is difficult for the body. A certain amount of flexibility is required in the hips and knees, and some strength and control is required in the spine. How does one build these? Several positions, usually seated, were propagated in early hathayoga to help the body prepare for sitting or recover from the imbalances that arise during sitting. These postures include Cowface, Butterfly, Cobra, Bow and Locust. These are some of the first non-Lotus postures.
3. Anti-gravity postures. Influenced by tantra, hathayoga had many practices that were designed to prevent the precious bindu from dripping out of the head and into the abdominal fire. This was thought to improve vitality, spiritual potency and life. This is where we get the practices that turn the body upside down or "draw upward" the energy, winds or fluids of the body. Headstand, Shoulderstand, Mula Bandha, Uddiyana Bandha, and the upward-focused intention of many postures are intended for this purpose.
4. For physical health. These postures and exercises are much more recent, often coming from calisthenics, gymnastics and wrestling. They build strength, flexibility and health in the body. There are lots of different positions that affect varied parts of the body, so they are vast and diverse. Kuvalayananda called these "cultural" postures. These have become central to the practice of modern yoga.
5. For demonstration and impressive accomplishment. From ancient times, yogis have been associated with the ability to do remarkable feats. In the last couple hundred years, that has increasingly meant physical demonstrations of balance, endurance, strength and flexibility. Influenced by the developments of gymnastics, acrobatics and contortion, these practices include Splits, Handstand and most arm balances. This tendency toward outwardly impressive beauty has been compounded with the rise of photography, the internet and visual communication media like Instagram. Who doesn't love to see a beautiful, impressive picture of a body?
One type of posture is not better than the others. There is no hierarchy here, though as yogis some danger lies in focusing on the body and in cultivating techniques for display. Worth noting is that postures can have drastically different purposes, goals and intentions. When we practice them, we should know what we are practicing so we can move in the right direction.
Along with the introduction of modern physical practices, a lot has been lost in the world of breath control practices as they were documented through yogic texts for many hundreds of years. Pranayama is most easily translated as breath control, but “prana” means one’s life force. Pranayama is therefore, the control of one’s life force as accessed through the breath.
There are many benefits to controlling the breath. These benefits continue to be brought to the forefront through scientific study. Benefits range from relaxation to potentially suppressing tumor growth in the body. While the studies are magnificent in their potential, the most powerful reason to cultivate the breath in yoga is because of its intermediary relationship to the body and the mind.
When we access and manipulate the breath, we use two different parts of our brain. We also can access the two parts of our autonomic nervous system by changing how we breathe. If that wasn’t enough, we can also choose which nostrils we breathe through and stimulate our olfactory nerve which has a direct relationship with our brain. Many of us might question the necessity of these types of practices since our breath is an automatic function. However, it is easy to make the judgement that breath manipulation is unnecessary when we have not experienced the results. Once you realize breathing can reduce stress, focus the mind, and possibly suppress cancerous tumors, it seems an obvious practice to undertake.
When we strengthen our awareness of the body through asanas, we are mostly concerned with our muscles, bones and structural tissues. We get stronger muscles, and ease muscular tension. The benefits often translate into other systems of the body which result in things like better circulation or digestion. However it is not until we get into pranayama that we experience the body on a deeper plane.
The awareness we get from breathing is the awareness of our nervous system. It is a deep and profound level of awareness that leads us to a level untouched by most: experiencing the mind.
Most of the time we experience our thoughts. We never think about thinking, we only react to our thoughts. We get lost in the result of our thoughts, but not in what caused them to begin with.
A very common example of this phenomenon involves the idea of a movie and the screen on which the movie is projected onto. When we watch a movie, we know it is not real. The screen is blank before the movie begins and is blank after the movie finishes. We just accept this.
However our minds are no different!
They are blank before a thought arises and blank after the thought finishes. The problem is that we mistake the thoughts for reality. Through stillness, we can learn to identify the “movie screen” of our minds as reality, not the fleeting thoughts that project onto our mind.
Pranayama, and working to still the breath, is the gateway into stillness of the mind.
"Locking the knee" is a concept in yoga that was popular in the 60s and 70s, including the styles of BKS Iyengar and Bikram Choudhury. It originally comes from weightlifting, where full extension of the knee joint and concerted contraction of the quadriceps are paramount. You will still hear weightlifters talk about "locking out" to refer to the full straightening of a joint that is under stress.
For the most part, this concept has dwindled in the yoga world due to the confusion it causes. There are at least 3 different meanings to the phrase "lock the knee," depending on what position you are in and who you're talking to. An anatomist has a different definition than a Bikram Yoga teacher.
These are the three meanings:
1. CONTRACT THE QUADRICEPS
This is the original meaning of the term as it comes from weightlifting and bodybuilding. Used in quadricep-heavy exercises like squats, "lock the knee" meant to straighten the knee as much as possible by squeezing the quadriceps with great force.
In the yoga world, this has also become a way to relax or stretch the hamstrings, since engaging the quads naturally causes the hamstrings to disengage. In addition, it is sometimes believed that engaging the quadriceps, which causes the kneecap to lift up, will protect the knee joint from hyperextension. (It won't.)
2. RESTING THE FEMUR ON THE TIBIAL SHELF
Anatomically speaking, a normal knee has the ability to hyperextend by a few degrees. It can go past the 180 degrees of a straight leg by about 4-6 degrees. When we are standing and our legs are bearing weight, we have the ability to hyperextend the knees and "rest" them on the tibial shelf. They settle back and the muscles of the leg relax, allowing us to stand for long periods of time without using much energy.
When the knees are resting in this manner, they are "locked." To unlock them, there is a specific muscle (the popliteus) that unlocks the knees before they return to normal function.
This definition of a "locked knee," which is essentially slight hyperextension, is often conflated with the first: contracting the quadriceps. Unfortunately, the combination of hyperextension and contracted quadriceps will accentuate the knee's tendency to hyperextend and possible create instability.
3. ENGAGING ALL THE MUSCLES AROUND THE KNEE
Normally, the contraction of the quadriceps is accompanied by a relaxation of the hamstrings, and vice versa. It allows for effortless movement of the knee back and forth. But this relationship can be overridden with conscious effort and control, contracting both sets of opposing muscles simultaneously. In yoga parlance this is called a bandha, a "lock."
When opposing muscle groups around a joint are consciously contracted together, the joint does not move. On the contrary, it becomes immobile and quite stable. This is often done to create stability and pressure gradients that effect the blood and heat flow in the body.
As you can see, the phrase "lock the knee" can mean a handful of different things. And it is important to note that the interpretations can conflict with one another. The first involves engaging the quadriceps while relaxing the hamstrings; the second involves relaxing both the quadriceps and the hamstrings; and the third involves engaging both the quadriceps and the hamstrings.
With the forthcoming translation and publication of Labanya Palit's book from 1955 (please support the project here), we have instruction from yet another of Bishnu Ghosh's students. Much of the information is similar to the other instructors in the tradition, reinforcing our understanding of the goals and practices.
Some practices that Labanya instructs are less common, and it is illuminating to place them in the context of history. One of these peripheral postures is Standing Hand to Toe, pictured above.
This posture involves balancing on one leg and holding the toe with the hand. It is a relatively less difficult version of the popular Standing Head to Knee, since Hand to Toe allows the body to be more upright and only one hand needs to reach forward. This makes balance a lot easier.
In 1938, Buddha Bose (pictured above, right) instructed the posture with a little twist, holding the foot with the opposite hand. This adds an element of crossing the body, which can make balance more difficult. But it allows a little twist, so it doesn't require as much flexibility in the lifted leg/hamstring.
Now, Labanya (pictured above, left) has a version where the toe is held by the hand of the same side. This is similar to the yoga traditions of South India like Krishnamacharya and Iyengar. It doesn't cross the body but requires a little more flexibility in the lifted leg.
As mentioned above, either of these positions is useful for anyone who struggles with the full expression of Standing Head to Knee. They require less strength and control, so they are great for beginners and older students.
Please support the Kickstarter campaign to translate and publish Labanya's book, as well as research the forgotten women of yoga.
History is never done being written. That much is clear as we discover new characters, beliefs and links that were unknown in years past. Our knowledge is always being updated and the story of history is always changing.
It is shocking how much is unknown about our past. Where does our knowledge come from? Where did our teachers learn? When and why did practices begin and evolve? We are passionate about finding the answers to these questions, which is why we have published and made available seven volumes in the past four years.
MUSCLE CONTROL by BISHNU CHARAN GHOSH
Originally published in 1930 as part of Muscle Control and Barbell Exercise, this is the first book by BC Ghosh. It doesn't deal with yogic values or practices, but its emphasis on muscular development and technique has trickled down through the decades into modern yoga practice. It has been available around the web before as a sort of bootleg, but the Ghosh family recently approved it for sale. Its proceeds go to Ghosh's Yoga College in Kolkata.
84 YOGA ASANAS by BUDDHA BOSE
The manuscript of this volume was created in 1938, and a small section of 24 postures was published in 1939 as "Key To the Kingdom of Health Through Yoga, Volume 1." The rest was never published, lost to history through a fascinating series of events including a World War, an estate sale and an art exhibition. It was discovered by Jerome Armstrong in 2015 and published, shining a bright and powerful light into the yoga practices of the 1930s.
YOGA CURE by BISHNU CHARAN GHOSH
This is the only surviving yoga text we have from BC Ghosh. It is a small pamphlet that he wrote in 1961 in Bengali and English containing 32 postures and instructions. The photos are of his daughter Karuna. The pamphlet was recently discovered by a student (thanks Mukul!) of Ghosh, and the family approved it for sale. Proceeds go to Ghosh's Yoga College in Kolkata.
84 YOGA ASANAS by Dr. GOURI SHANKAR MUKERJI
Based on an out-of-print German volume and unpublished Bengali manuscripts, this work from the 1960s illuminates a fully-realized yoga system. Mukerji was a prominent student of Ghosh as well as a medical doctor, so this text includes medical insight as well as yogic understanding. It was published with the blessing of Mukerji's nephew (thanks Rupen!). Proceeds go to Mukerji's school and gym in Kolkata.
YOGA PANACEA by Dr. PS DAS
This book is the most modern of the yoga texts from this lineage, published in 2004 by Dr. Das, who is still teaching and prescribing in Kolkata. It is difficult to find, even in India. It has been available in the US at times because Das came to teach at Bikram Choudhury's trainings. So some westerners have this book, but we are happy to make it available whenever we can get copies from Kolkata.
CALCUTTA YOGA by JEROME ARMSTRONG
The first history of this lineage, Calcutta Yoga covers the lives of Bishnu Ghosh, Buddha Bose and Paramhansa Yogananda. It was just published last year (2018), and has recently been picked up for publication in India. A necessary volume for anyone with interest in this lineage or modern yoga history in general.
SHARIRAM ADHYAM by LABANYA PALIT
This is the latest discovery in the research of this lineage. Written in 1955 by Palit, a knowledgable student of Ghosh (and a woman, finally!), the book is comprehensive with an introduction by BC Ghosh himself. It is written in Bengali, and we are in the process of translating it for publication in English. Very little has been known about the Ghosh lineage in the 50s, so this book will fill an important gap in our knowledge.
Every new discovery and project surprises us. Of course we never know what we will stumble upon amid the great stacks of history. We are committed to uncovering the knowledge both inside and outside of this lineage.
Greetings from Kolkata!
I am nearly done with the first research trip exploring the forgotten women of yoga. It has been incredibly fruitful and already there is so much to piece together.
We have discovered a complete work by Labanya Palit from 1955! She was a student of Bishnu Charan Ghosh and we were able to find a copy of her book in the National Library. In the 60 years it has been here, it has never been checked out before! Her time period, from about 1940-1960, has been somewhat of a mystery to us. This book by Labanya Palit fills an important gap in our knowledge and our history.
The Yoga Sutras of Patanjali are known as the fundamental text for the system of yoga. They are brief and dense, only 195 short verses, and they can be difficult to understand by themselves.
The sutras are not really intended to be understood without the explanation of a knowledgable teacher, and there is a long tradition of great teachers writing commentaries and explanations of each individual sutra. "Our understanding of Patanjali's text is completely dependent on the interpretations of later commentaries; it is incomprehensible, in places, in its own terms." (1)
The first and best-known commentator to explain the sutras was Vyasa, from around the 4th or 5th century CE. Vyasa's commentary is practically inextricable from the sutras themselves and known as the bhashya, which means "commentary." "It cannot be overstated that Yoga philosophy is Patanjali's philosophy as understood and articulated by Vyasa." (2)
It has been about 1600 years since the Yoga Sutras were created. In just the past 100-200 years, the understanding of yoga and the sutras themselves has changed somewhat, mostly due to modernization and recent philosophical developments. But in the prior 1500 years the Yoga Sutras were "remarkably consistent in their interpretations of the essential metaphysics of the system." (3)
Modern yoga has gotten far from the values of the Yoga Sutras, which focus on the concentration of the mind and emptying its constructed identities to find its underlying reality. Modern interpretations of the Sutras can be shaded by Vedanta---an old Indian belief system that is separate from the Samkhya system of the Yoga Sutras---new-age philosophies and Western modalities.
As yogis, the Yoga Sutras have a lot of insight to offer, and the accompanying commentaries are vital to understanding the sutras themselves. So when you pick up a copy of the sutras, try to find one with a traditional commentary. It will help you understand the intended meaning of this important text.
1. Bryant, Edwin. The Yoga Sutras of Patanjali, North Point Press, New York, 2009, p.xxxviii.
2. Ibid. p.xl
3. Ibid. p.xxxix
So many yoga words are from Sanskrit, an ancient language that is an ancestor to modern-day Hindi and many others. When we use these words as English speakers and translate them into English, we have to convert them into our alphabet, since Sanskrit uses a different one.
We end up having to approximate some of the Sanskrit sounds since we don't necessarily have them in English. Also a system of marks, like accents, lines and dots (called diacritics), has been developed to clarify the sounds of the Sanskrit language. If we don't read these marks correctly, we can end up pronouncing a word wrong.
Let's look at two commonly mispronounced yoga words: shavasana and chakra.
Shavasana means Corpse Posture, since the word shava means corpse. The first letter of the word is श, pronounced sha. When it is written in English, the word usually gets a little accent mark over the "s", śavāsana. This is the official, scholarly way to write the word. But as you can see, if you don't read the accent, the word looks like "savasana", with the "s" sounding like "sedan" instead of "sh" like "shirt". So the word is commonly mispronounced as savasana, when the proper pronunciation is shavasana.
Chakra means wheel. In the yoga world it often refers to visualizations or energy centers of a "subtle body". The first letter of the word is च, pronounced cha, with the "ch" sound like "chair". It often gets mispronounced as shakra, with an "sh" sound like "shout" or "chandelier". The same is true of the common Sanskrit word chandra, which means "moon". It is commonly mispronounced as shandra, but the correct pronunciation is cha-ndra with the "ch" like chair.
Sometimes it is suggested that the pronunciation can vary, like toe-may-toe, toe-mah-toe. Or that a different pronunciation suggests a different meaning. That is not the case here, where the mispronunciation happens as a result of translating the Sanskrit sounds into English letters, and then reading them. The sound and spelling of these words in Sanskrit is quite clear.
Scott & Ida are Yoga Acharyas (Masters of Yoga). They are the head teachers of Ghosh Yoga. This blog is about their experience with yoga practice, study and teaching.
- Make the Hamstrings Strong, Not Long
- Understanding Chair Posture
- Lock the Knee History
- It Doesn't Matter If Your Head Is On Your Knee
- Bow Pose (Dhanurasana)
- 5 Reasons To Backbend
- The Traditional Yoga In Bikram's Class
- What About the Women?!
- What About the Hips?
- Why Teaching Is Not a Personal Practice
- The Central Psoas
- The 113 Postures of Ghosh Yoga