Yantrayoga is a form of physical yoga peculiar to the Tibetan Buddhist tantric tradition, whose origin comes from the anuttarayoga tantras of India. Yantrayoga is usually practiced within the context of the "yoga of channels and winds", which deals with the transformation of our Vajra body, that is, the subtle level of our body which is composed of the three basic components; channels, wind, and vital essences (Tib. rtsa, rlung, thig le). Unlike hatayoga of Hindu tradition, yantrayoga is very dynamic and the movements are sometimes even harsh and quite fast. Among the many types of yantrayogas which have been preserved and practiced in Tibet, this paper focuses on the "yantrayoga of the union of sun and moon", the most ancient one which was introduced to Tibet in the 8th century C.E.. I argue that this yantrayoga preserves the most ancient elements of both yantrayoga and hatayoga tradition and could be considered as a bridge between them, in addition to clarifying its three different, but closely related fields of application: the pursuit of spiritual illumination, maintenance of health, and clinical treatment within the context of Tibetan medicine.

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We set out to investigate the differences in electrical characteristics of strongly reactive points including a moxibustion point and a point contraindicated for moxibustion. Methods: 1) We evaluated the electric potential of the skin surface at each measurement point, including strongly reactive points. 2) We measured the resistance between two strongly reactive points before and after changing the direction of the electric current applied with an external voltage. Results: 1) The measured electric potential of the skin surface was highest for the electro-dermal point, diminishing in the order of point contraindicated for moxibustion, moxibustion point, acupoint, and control point. 2) With the electric current flowing from the moxibustion point, the resistance was lower than with the current flowing in the other direction. Conclusion: The point contraindicated for moxibustion had higher electric potential than the moxibustion point. The electric potential of the skin surface is caused by abnormalities in the body and reflects the degree of influence that interventions can have on the skin surface. The two strongly reactive points differed in the electric potential of the skin surface, and this difference affected the load voltage. When the electric current flowed between two strongly reactive points, the resistance value differed.

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The purpose of this paper is to review the Research on meditation practices affecting stress-related diseases. We conducted computer searches of research on meditation over the last 30 years (1979-2009), in PubMed and Japan Medical Abstracts, limiting meditation to Transcendental Meditation (TM), Mindfulness-based stress reduction (MBSR), and Zen Meditation (ZM), and their efficacy in stress-related diseases such as cancer and circulatory disease. We identified 69 studies documenting effects of meditation on stress-related disease over this 30-year period. TM significantly reduced in blood pressure, alleviating hypertension and cardiovascular disease. MBSR improved immune functions and patient quality of life, and reduced chronic pain symptoms. ZM stabilized the autonomic nervous system. The results indicate that the three meditation practices can prevent or alleviate symptoms of stress-related diseases. These effects should be utilized in health promotion.

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In dance performance, the viewer sometimes has a sense that he is attracted to a specific dancer. However the viewer is not attracted to other dancers like he is to the specific one. It can be said that the dancer who attracts the viewers has a special "body" or bodily image. In this study such body is defined as "the dancing body", which is the state of mind-body unity that Yuasa analyses with his mind-body theory. The purpose of this study is to discuss the change in the relation between mind and body of dancer through dance experience, on Yuasa's mind-body theory and Shimizu's field theory. (to discuss how the mind-body relation changes occur through dance experience) The process of a dancer reaching "the dancing body" is the same as the process of discipline (Shugyo) in the Eastern philosophy. The dancer forms his mind and body based on his bodily senses gained from his dance experience. The bodily kinesthetic is a sense unique to a dancer. It can only be obtained through stage experience, and experiencing the state of "non-separation of the self and the other" with the audience. When the dancer dances with his mind and body in unity and becomes one with the audience's mind and body, the dancer can reach the state of mind-body unity.

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