A brief on Navakaraṇa Methodology edited by Dario Calvaruso
Definition of Navakaraṇa Vinyāsa
Navakaraṇa Vinyāsa literally means “Composition of the nine units of movement” from the Sanskrit: “nava” (nine), “karaṇa” (movement) and “vinyāsa” (composition). From a spiritual prospective Navakaraṇa stands for “continuous transformation” of the individual and in all of his/her aspects; from the Sanskrit: “nava” (new or continuous changing), “karaṇa” (process of transformation).
Navakaraṇa Vinyāsa
Dario Calvaruso developed Navakaraṇa Vinyāsa™ Methodology after over 20 years of study, research, practice and teaching. This method re-systematises the ancient practice and teaching of karaṇa, multidisciplinary arts and holistic sciences.
Navakaraṇa Vinyāsa Practice
Navakaraṇa is a very systemic method. Every sequence includes the nine essential categories (nava-karaṇa) of exercise:
neutral (sama), posterior stretch (pṛṣṭha-dairghya), anterior stretch (agra-dairghya), side-stretch (pārśva-dairghya), twisted-stretch (parivṛtta-dairghya), inverted (viparīta), balancing on the limbs (aṅga-ādhāra), strengthening (tejaskara) and recovering (punarnavīkāra). These exercise a choreograph into sequences (krama), then sequences into series (sārāṇi).
The first syllabus named Navakaraṇa Vinyāsa Mālā consists of 30 sequences (krama) arranged into 12 series (sārāṇi).. The sequences (krama) include compositions of movements and postures given in progression, allowing practitioners to personalise the practice according to their own levels. Every sequence works integrally and holistically on the physical, praṇic and mental level. Indeed every sequence has a specific anatomical focus and character.
Navakaraṇa Vinyāsa classes are generally taught following a particular routine for the practice. This routine named Navakaraṇa Kraṃa Maṇḍala consists of 12 Morning Intensive Classes which cover the full syllabus of 12 series in two weeks programme. Thus, participants practise a different series every day for the whole two-week routine. Series are taught in a led-class format with options for every level from beginner to advanced. The varying of sequences helps to target different muscles, develops a wider range of skills, speeds up progress, optimises the results and minimises the risk of injuries. The morning practice generally closes with prāṇayāma and dhyāna.
Dedicated practitioners and teachers interested in the practice and/or teaching can learn the full syllabus under a meticulously structured Teacher Training Programme named Navakaraṇa Vinyāsa Hṛdayam.
Navakaraṇa Vinyāsa Hṛdayam (lit. The Essentials of Navakaraṇa Vinyāsa) focuses on how to practice and teach the complete collection of 12 series. The syllabus is divided in 4 distinct modules. Each module of 108 hours consists in a in-depth study, practice and teaching skills training of three series. The syllabus of 12 series is therefore covered in 4 Teacher Training Modules (432 hours). For more detail please visit our page: Navakaraṇa Vinyāsa Hṛdayam (The Essentials of Navakaraṇa Vinyāsa).
The Artistic Perspective of Navakaraṇa
Navakaraṇa is an bi-dimensional art-form: a methodology for vinyāsa practice and an art of self-transformation. Navakaraṇa systematises the methodology and practice of vinyāsa. Sequences are developed using particular compositions just like a choreographer would have choreographed a dance, a musician a song or a poet a poem. Movements (karaṇa) are arranged into compositions (vinyāsa) with defined frameworks and choreographic rules which are based on kinesthetics principles. The result is harmony and beauty. From a spiritual prospective Navakaraṇa aims to inculcates into the practitioner the seed of self-enquiry, self-discovery and self-tranformation opposes to any believe system including Yoga. Navakaraṇa leads into a continuous process of self-transformation in all the dimensions of the individual.
The origins of Navakaraṇa vinyāsa
Originally Dario Calvaruso developed Navakaraṇa Vinyāsa as a method for self-practice. Today the same methodology is applied for teaching dedicated students in both one-on-one setting and group classes. Navakaraṇa brings together different but inter-related fields (śāstra-s).
Dario Calvaruso draws the spiritual aspects from his master Svāmi Jñānānada Bharati (Himalayan yogi, India), the physical aspect from his Haṭhayoga master Pandit Om Prakāśa (Varanasi, India), the technique of movement and choreography from his Bharataṇāṭyam master Nāṭyācarya Vṛnda Rāmanan (Trichy, India), the musical aspect from his Indian Classical Pandit Om Prakāś Māharaj. Navakaraṇa reached the shape of a method only after two decades of studies and researches which Dario accomplished under the guidance of Prof. Śrī Rangasvāmi Sourirājan of the Śrīrangam Veda pāṭha-śāla who guided me in the study of yoga śāstra-s, and his Prof. Śrī Rangasvāmi Tirunārāyaṇan who has been patiently guiding him in the study of Sanskrit language and ancient scriptures”. Navakaraṇa is continuously evolving and today brings into it also element of suizen (吹禅, blowing meditation) and Wu-Shu (武 術). It is one in the oneness between teacher-pupil that Navakaraṇa reveals its essence.