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SINGING BOUT MY STUFF – 2018 Kiss My Asana Offering #21 April 27, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Art, Bhakti, Books, Buddhism, California, Changing Perspectives, Confessions, Dharma, Donate, Faith, Gratitude, Healing Stories, Hope, Karma Yoga, Langston Hughes, Life, Lorraine Hansberry, Loss, Love, Men, Minneapolis, Minnesota, Movies, Music, Mysticism, Ntozake Shange, One Hoop, Pain, Philosophy, Poetry, Religion, Suffering, Surya Namaskar, Texas, Tragedy, Twin Cities, Volunteer, Wisdom, Women, Writing, Yoga.
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Please join me tomorrow (Saturday, April 28th) for a donation-based class at Flourish! Click this link for details.

“somebody/anybody
sing a black girl’s song
bring her out
to know herself
to know you
but sing her rhythms
carin/struggle/hard times”

The Lady in Brown with all the other Ladies from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

“somebody almost walked off wid alla my stuff
not my poems or a dance i gave up in the street
but somebody almost walked off wid alla my stuff
like a kleptomaniac workin hard & forgettin while stealin
this is mine!
this aint yr stuff
now why don’t you put me back
& let me hang out in my own
Self”

The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

I said it before, and I’ll say it again: The danger in not telling your story isn’t only that it might not be told, it’s also that someone else might tell your story. Someone else might, to quote the choreopoem, run off with all of your stuff. And, if someone else tells your story, they may (at best) leave out your rhythm, your tone, and what is most important to you. At worse, however, someone else telling your story can objectify you or turn you into a caricature, a living breathing stereotype come to life on the page – or on the stage.

Up until recently, certain individuals had a hard time telling their own stories in a way that they could be heard, seen, and validated. They didn’t have the money, the prestige, or the influence. I say this knowing full well that certain marginalized groups (people of color, women – of almost any color, GLBTQI, people who practice certain faiths, people who have been abused by people with power, the physically disabled, and the mentally disabled…just to name a few) still have a harder time getting their stories told, heard, seen, and validated than people who identify in a way that is not marginalized. Slowly but surely, that is changing. Still, as hard as it is, it would be harder were it not for people like Lorraine Hansberry and Ntozake Shange and works like Hansberry’s A Raisin in the Sun and Shange’s choreopoem for colored girls who have considered suicide/when the rainbow is enuf.

“Write if you will: but write about the world as it is and as you think it ought to be and must be—if there is to be a world. Write about all the things that men have written about since the beginning of writing and talking—but write to a point. Work hard at it, care about it. Write about our people: tell their story. You have something glorious to draw on begging for attention. Don’t pass it up. Don’t pass it up. Use it. Good luck to you. The Nation needs your gifts.”

– from a speech to Readers Digest/United Negro Fund creative writing contest winners (May 1, 1964) by Lorraine Hansberry

Lorraine Hansberry’s A Raisin in the Sun was inspired by real life events. It was also the first play written by a Black woman (and directed by a Black person) to appear on Broadway (1959). At some point during high school, I read excerpts from Lorraine Hansberry’s play What Use Are Flowers? and her autobiography To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words. Reading her words, I thought, “I could be that. I could write, I could act, and I could represent the world…as I see it.” I can only imagine where I would be if that idea – of being on stage while putting my work on stage – hadn’t been cemented in my mind. But, there it was, an inspiration not unlike the Langston Hughes poem that inspired the title of Hansberry’s most famous play. And, like a raisin in the sun, my dream kinda got deferred.

I auditioned for The Sunshine Boys during my first semester of college. The directors kept asking me to read with different people who were auditioning, which I took as a good sign. Unbeknownst to me, they weren’t considering me for a role on stage. Instead, the directors asked if I would be their assistant. I said yes and then found myself in the role of their stage manager… and their producer and their publicist. Fast forward 7 years and I was working as a professional stage manager for the writer/director who’s most famous play was the second Broadway play written by a Black woman: Ntozake Shange.

“hey man
where are you goin wid alla my stuff?!
this is a woman’s trip & i need my stuff”

– The Lady in Green from for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

 

In 1974, Shange and four other women started performing the choreopoems that would become for colored girls…. Seventeen years after Hansberry’s Broadway premiere, Shange’s work found its way to the Great White Way. (I say, [It] found its way,” but in truth, Ntozake is (to this day) a force of creative nature and moving across the country was the least of the things she did to shepherd her work.) Twenty years after she wrote and first started to perform the poems, Shange was in Houston directing a revival.

Ntozake Shange was not the first arts and entertainment legend with whom I worked – and she would not be the last – but holy cow did she leave an indelible impression. I worked with her twice and both times I was struck by her unwavering commitment to her own vision. While it is not unusual for a director to be strong, fierce, and artistically determined, she was one of the first woman (not to mention one of the first women of color) with whom I worked who was unapologetic about who she was and what she wanted. Also notable, she saw the world and, therefore, presented the world in a very different way from the mainstream. She was (and is) defiantly herself, singing her songs, dancing to her own rhythms, and – in doing so – giving us permission to do the same.

Everybody has a rhythm, a cadence, a pace of life and one big part of the physical practice of yoga is to find your rhythm and to move to it. Your breath sets your pace, but even within the pace there is room to (physically) harmonize. Find your pace, find you rhythm, and let the movement tell your story.

for colored girls who have considered suicide/when the rainbow is enuf by Ntozake Shange

(Practice Time ~40 – 45 minutes)

Standing on your hands and knees, bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Make sure your shoulders and elbows are comfortable. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Notice your joints and how the angle of your body changes the sensations of your joints.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Change as little as possible when you stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. Consider how it feels to be chosen.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior chosen and ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how this Warrior balances the perspectives of the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, inhale to Plank Pose or Cow Pose, lower all the way to the floor on the exhale, and then rollover. Take a full body stretch; reach through your fingers and toes. On an exhale bend your knees so that your feet are flat on the floor. Consider the story of being fully supported. As you exhale, hug your right knee into your chest. Move the right ankle and/or knee as needed. Find stillness and then inhale to extend the right leg up towards the ceiling, with the ankle flexed so that the toes point down. Give the right leg support, first by pressing the left foot down and then by interlacing the hands behind the thigh or shin. Focus on pressing the heels away from each other as you inhale (right heel up, left heel down). This is the beginning of Supine Big Toe Pose I (Supta Padangustansana I). Consider how each foot and each leg has a different perspective as you stretch (don’t pull) the right leg towards the crown of the head. If you can maintain the extension of the right leg – without bending the right knee or losing the engagement of the left heel – feel free to extend the left leg out on the ground.

After about a minute, bind the right leg with the right hand. If you can grab the big toe with the peace fingers without bending the knee, feel free to do so. Otherwise, if you need to bend the knee, use some kind of strap (on the heel) so that the right arm and leg are as extended as possible. Left hand moves to the left hip/thigh or stretches out like a “T” to serve as a stabilizer. Making sure the left hip (and heel) stay connected to the ground, exhale and lower the extended right leg over to the right. Again, only go as far as you’re able to go without the left hip lifting up and without the left knee and toes collapsing to the left or to the right. Once you find you your edge, use the inhales to press the right hip and heel away from each other; use the exhales to flex the ankles and stabilize through the left hip and heel. This is the Supine Big Toe Pose II (Supta Padangustasana II).

After about a minute, use your core to lift the right leg back up to center and then let it float down to the floor. Place the left leg next to the right and notice how each side of the body feels. As you inhale, take a full body stretch and repeat the Supine Big Toe Poses I & II sequences on the left side.

After the second side of Supine Big Toe Poses I & II, rollover to your belly. Point the toes behind you and, with hands by your hips, reach the fingertips in the same direction as the toes. As you inhale, lift your gaze, lift your heart, and lift your arms. As you exhale, lift your legs. This is a variation of Locust Pose (Salabhasana). If there is pain or discomfort in the low back, bring the feet back to the ground and actively press them down to support the heart lifting up. Consider stretching the arms out wide.

After several breaths in Locust, exhale to release the pose. Inhale to Table Top and then exhale to Downward Facing Dog. Use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana). Find your edge, making sure your core works harder than your jaw or your arms, and offer yourself some compassion by bending your knees as needed.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath into your heart and follow the breath out of your heart. Feel what is in your heart.

At the end of the choreopoem for colored girls who have considered suicide/when the rainbow is enuf, the women repeat the words, “I found god in myself / & I loved her/I loved her fiercely.” Regardless of the production, this powerful moment brings all the women – and all the colors of the rainbow – together. When I worked on that anniversary production in 1994, I was (as I think everyone is) on a path to/with God, but I hadn’t started on the yoga path. And, even though I had heard of yoga, I had no idea it was an eight-limb philosophy culminating in Samadhi, which is sometimes translated as “perfect meditation” and sometimes as “union with Divine.” So, I never considered why the rainbow might be enuf. Nor did I previously wonder if each woman’s personality is reflected in the color of her costume as well as in her poems.

Even if you’ve never practiced yoga, you may still have heard or seen the colors of the rainbow associated with seven points along the center of the body. In yoga and Ayurveda (yoga’s sister science), the energy of the body flows through energy channels or rivers (nadis) which overlap to create energy wheels (chakras). There are more than seven chakras in the body, but the three primary nadis overlap at seven points and these are associated with the colors of the rainbow, starting with red. The lower chakras are associated with tangible or physical elements of being, while the last three (sometimes four) are associated with the metaphysical.

The term metaphysics was first applied to the work of Aristotle in reference to topics sequentially appearing beyond discussions on the physical or “natural” world. It has come to mean anything beyond the physical or beyond our understanding of the physical. Even if you are only interested in hatha yoga (the physical practice regardless of style or tradition) stepping on the mat is a first step towards transcending the physical. It doesn’t matter if we practicing standing on our feet or sitting in a wheel chair, at some point the practice takes us beyond what is easily explained. At some point we may even stop trying to explain and just be, just breath…and feel what we feel – even when we’ve been told/taught that there’s nothing to feel.

The opportunity to feel something, anything, is why I keep asking you to Kiss My Asana! If you Kiss My Asana this weekend, your donation will be doubled thanks to the generosity of the Calmenson Family Foundation.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely given. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

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REMEMBERING, COMPASSION – 2018 Kiss My Asana Offering #19 April 21, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Books, Buddhism, Changing Perspectives, Depression, Donate, Faith, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Love, Men, Music, One Hoop, Pain, Peace, Philosophy, Poetry, Suffering, Super Heroes, Surya Namaskar, Twin Cities, Uncategorized, Vairagya, Volunteer, Wisdom, Women, Writing, Yoga.
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“Life of meaning 

Life of hope 

Life of significance

is mine to cope.”

– from an untitled poem by Rachel Joy Scott

 “They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years contemn. 

At the going down of the sun and in the morning 

We will remember them.”

– from For The Fallen by Laurence Binyon

Even though I’m running behind and posting this super late on April 20th, what is true of today was true of yesterday: We lost somebody, somebody we should never forget.

We could go back as far as April 19, 1506 (to the Lisbon Massacre) or April 20, 1916 (to the Ludlow Massacre) and 1945 (to the Neuengamme / Bullenhuser murders) – or as recently as April 19, 1993 (to the Branch Davidian siege in Waco, TX) and 1995 (the Oklahoma City bombing) or April 20, 1999 (to the Columbine High School massacre): Either way, we lost somebody…somebody who should not be forgotten.

Obviously, and unfortunately, I’m leaving some people out.

I’m leaving out the 47 sailors killed when a gun turret exploded on the USS Iowa on April 19, 1989. I’m leaving out David Beverly who was killed in a shooting at Johnson Space Center on April 20, 2007. I’m leaving out people killed on April 20th in an explosion (2010, Deepwater Horizon accident), a plane crash (2012 in Pakistan), an earthquake (2013 in China’s Sichuan province), and a bombing of a UN convoy (in Garowe in Samolia). That’s over Four hundred, forty-six people I was going to leave out, but didn’t…and yet, I’m leaving somebody out, somebody we need to remember.

Poems are a way to tell a story, to send a message, to inspire, to remember. They can be historically accurate – or not. They can rhyme – or not. They can be laugh-out-loud funny or satirical – or not. The can be somber and serious – or not. They can be visual and/or repetitive – or not. What is a poem if it can be all of these things?

According to one definition from the Oxford Dictionaries, a poem is “both speech and song that is nearly always rhythmical, usually metaphorical.” Another definition, also from Oxford Dictionaries, says that it is “something that arouses strong emotions because of its beauty.” Meaning that maybe somebody, and their life, can be a poem.

Rachel Scott, age 17, loved poetry. She was also the first person shot in the Columbine High School. Neither of those facts are the most interesting part of her too short life. It is likely that had she lived there would be a whole litany of things that made her life interesting; however, given the facts, one of the most interesting things about Rachel is how she lived…and how she is remembered.

Rachel was buried in a casket covered with the words of the people who knew her. Mixed in with the typical condolences were messages of love and gratitude. Rachel was a firm believer in compassion and unity, and what struck her parents after her death was how many people gave thanks for the brief amount of time they knew Rachel. In an effort to continue her legacy of positivity and inclusivity, Rachel’s father and step-mother started Rachel’s Challenge, a non-religious, non-political, non-profit organization dedicated to reducing violence, bullying, and teen suicide.

“I am sure that my codes of life may be very different from yours, but how do you know that trust, compassion, and beauty will not make this world a better place to be in and this life a better one to live? My codes may seem like a fantasy that can never be reached, but test them for yourself, and see the kind of effect they have in the lives of people around you. You just may start a chain reaction.”

– from the essay “My Ethics; My Codes of Life” by Rachel Joy Scott

Practicing yoga, physically as well as philosophically, creates plenty of opportunity to offer yourself self-compassion, but it also taps into a wellspring of compassion you can offer to others. Remember every time you bend over backwards for someone, you are opening your heart for them. The chain reaction starts with you!

An untitled poem by Rachel Joy Scott & For the Fallen by Laurence Binyon

(Practice Time ~35 – 40 minutes)

Standing on your hands and knees, give thanks for the support and start to consider how you can engage on the inside to lessen the stress on the outside. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the position of the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice the sensation of being supported – how the body rests between or on the legs, how the breath deepens. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Be grounded in order to create more space. Bring awareness to your hands and feet. Now, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the sensations in your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the sensations in your entire back body (including legs and feet). If you have lost some of the sensation/information in the back of the legs, return to the Half Lift/Flat Back. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready. Consider how it feels to be anointed by love.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I). Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). Notice how it feels to be a Warrior ready to answer the call to action.

After several breaths, exhale hands to the mat and adjust the feet so that the right foot is more centered and the left foot is parallel to the short edge of the mat. You may need to heel-toe the left foot further away (front to back) from the right foot, but once your right heel lines up perpendicular to your left arch, inhale blossom or cartwheel your arms and heart up for Warrior II (Virabhdrasana II). Arms will end up in the letter “T” position, with the hips and heart open to the long edge of the mat. Bend the right knee as close to 90 degrees as you are able to get it, but keep the weight balanced between both feet, both legs, and both hips. You may feel a tendency to put all the weight and effort into the front foot and leg; but find the place where you feel balance. Make sure your sits bones are pointed down between the ankles. Engage your locks (bandhas). Notice how it feels to be a Warrior balanced between the past (the left arm and leg), the present (the heart), and the future (the right arm and leg).

After a few breaths, step back to Downward Facing Dog or step forward into a Forward Fold. From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warriors I+II and Dog poses, inhale to Plank Pose or Cow Pose and lower all the way to the floor on the exhale. Point the toes behind you and, with hands by your hips, reach the fingertips in the same direction as the toes. As you inhale, lift your gaze, lift your heart, and lift your arms. As you exhale, lift your legs. This is a variation of Locust Pose (Salabhasana). If there is pain or discomfort in the low back, bring the feet back to the ground and actively press them down to support the heart lifting up. Consider stretching the arms out wide.

After several breaths in Locust, exhale to release the pose. Inhale to Table Top and then exhale to Downward Facing Dog. Use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana). Find your edge, making sure your core works harder than your jaw or your arms, and offer yourself some compassion by bending your knees as needed.

Now, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath into your heart and follow the breath out of your heart.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely give it. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

Click here for more information about Rachel’s Challenge.

 

If you or someone you know is struggling emotionally, please call 1-800-273-TALK.

 

### do yoga. share yoga. help others. ###

CAPTAINING BODY AND SOUL – 2018 Kiss My Asana Offering #17 April 18, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Baseball, Basketball, Books, Buddhism, Changing Perspectives, Confessions, Depression, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Love, Meditation, Men, Minneapolis, Minnesota, Movies, One Hoop, Pain, Peace, Philosophy, Poetry, pro, Religion, Science, Suffering, Super Heroes, Surya Namaskar, Texas, Tragedy, Twin Cities, Vairagya, Volunteer, Wisdom, Women, Writing, Yin Yoga, Yoga.
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“In the fell clutch of circumstance

      I have not winced nor cried aloud.

Under the bludgeonings of chance

      My head is bloody, but unbowed.”

– from Invictus by William Ernest Henley

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly;”

– from “Man In the Arena”  by the then former U. S. President Theodore Roosevelt, Jr.

The psychiatrist M. Scott Peck started his most famous book (The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth) with the words “Life is difficult.” He then outlined the attributes of a fulfilled human being. Bottom line: Life requires a lot of work, discipline, non-attachment, love (as an action). In some ways, Peck highlighted the same values President Theodore Roosevelt emphasized in his “The Strenuous Life” and “Citizenship in a Republic” speeches. These same qualities are valuable on the mat, as well.

Yoga, the philosophy as well as the physical practice, can be hard. Our bodies and minds fall into the rut and the groove of our habits, building strength and flexibility that may also contribute to stiffness and weakness. Our bodies want to bend where they are already flexible and resist where we are strong. If, however, we continually and habitually engage our bodies in this way we develop imbalances which ultimately breakdown the body. Yoga is one way to transcend unconscious behavior patterns, because it brings active awareness to our personal tendencies. But, that awareness doesn’t magically appear when one steps on the mat. It’s not petrichor (the smell of rain on dry soil). One must work for that awareness.

“I wish to preach, not the doctrine of ignoble ease, but the doctrine of the strenuous life, the life of toil and effort, of labor and strife; to preach that highest form of success which comes, not to the man who desires mere easy peace, but to the man who does not shrink from danger, from hardship, or from bitter toil, and who out of these wins the splendid ultimate triumph.”

– from “The Strenuous Life”  by U. S. President Theodore Roosevelt, Jr.

People who only like to do the things they are already good at doing tend not to appreciate their first yoga experience – unless they get really lucky. That said, people who only like to do the things they are already good at often benefit the most from yoga, because right off the bat they are being challenged.

Yoga has no shortages of challenges. Obviously, there are challenging poses and sequences in some styles and traditions. However, no one style or tradition has a monopoly on challenges. Yin Yoga and restorative traditions are also challenging, because one of the most challenging parts of yoga (especially for beginners) is staying present on the mat and in the body. Equally challenging, in this day and age, is being still and being quiet.

We live in an over-stimulated world that often values quantity over quality, and being right over everything.  Being right looks different in different situations; but, ultimately, it compels people to look at others, on and off the mat, to find the epitome of everything. The problem – and thus the challenge – is that nobody else has your body, nobody else has your mind, and therefore nobody else has your practice.

Yes, absolutely, there are alignment principles, movement, and action related to every pose and every sequence – and this is valuable information a teacher passes to a student. But that’s only the beginning of the practice. Ultimately, the practice is what happens when the student starts to process, synthesize, and activate the information in their own body and mind.

Another big challenge is applying elements of the philosophy – which at first glance seem to have nothing to do with the mind-body. One of the reasons my early teachers said, “How you do yoga is how you do life,” is that each of us comes to the practice with instinctual and conditioned behavior. Whether we think about it or not, each of us also steps on the mat with a moral compass, which we use to guide us in the way to treat things, the way we treat other beings, and the way we treat ourselves. Starting with the beginning of the philosophy means we mindfully gut check out thoughts, our words, and our deeds on the mat. If we get in the habit of being mindful about our actions (karma) on the mat, we are conditioning ourselves to behave in a similar fashion when we are off the mat. Truly, it doesn’t matter which compass you use. It could be the 10 Commandments (which hold significance in all three Abrahamic religions) or the Buddhist precepts, just as easily as it could be yoga’s yamas (external restraints or universal commandments) and the niyamas (internal observations).

“It matters not how strait the gate,

      How charged with punishments the scroll,

I am the master of my fate,

      I am the captain of my soul.”

 – from Invictus by William Ernest Henley

One of my favorite parts of practicing yoga is the opportunity to engage the story behind the poses. This can be a literal and energetic engagement, focusing on the inspiration behind the poses or it can be a symbolic engagement, focusing on attributes that come to mind based on the name of the pose.

Virabhadrasana is most often translated into English as “warrior pose.” This is fitting given the story that Shiva, in a fit of anger, tears out a lock of his hair and creates a great warrior. But, the word “virabhdra” literally means “hero friend.” So, when you move into a Hero Friend Seat, it is interesting to consider the qualities of a hero friend and those of a warrior, as well as the times when we recognize warriors as friends and the times when we do not.

Some people may feel a little odd or uncomfortable with the idea of embodying the qualities of a mythological or historical character. This way of practicing may feel too much like moving through the Stations of the Cross or observing Passover – and, in fact, these are similar ways of engaging the mind-body-spirit. These are also ways of practicing that move beyond the physical; which makes people uncomfortable. But, the practice is always more than physical. At the very least, it is physical and mental – at the very most it boundlessly extends into every aspect of our beings.

William Ernest Henley and President Theodore Roosevelt were both soldiers who, at different times in their lives, had to deal with physically debilitating dis-ease. Their words continue to inspire others, because they speak the truth about the human spirit. “Invictus” is Latin for “unconquered.” To paraphrase Prince Henry, it is knowing that, if you have the will, anything is possible. If nothing else, focus on that quality of yourself.

 

Invictus – by William Ernest Henley

(Practice Time ~30 – 35 minutes)

Standing on your hands and knees notice how the strength and power of your body at this moment. Focus on what you can do. Bring your big toes to touch and spread your knee as wide as feels comfortable. Play with the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice how you are supported – how the body rests between or on the legs. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Be grounded in order to create more space. Bring awareness to your hands and feet. No, reach the hands and feet further away from each other (without changing the overall position of the body).

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released. You are engaging what is solid and true within you, what is solid and true all around you.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up – as if you are going to spring off the mat, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down. Make this is your favorite part of the practice and you are savoring it.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Push through your hands and feet to stretch the full body in this position. Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and use the hands on the thighs to press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the feeling of your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the feeling of your entire back body (including legs and feet). Allow feel the weight of your upper body being engaged by gravity. Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and press up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, isometrically engage the adductors by squeezing the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Make sure your back thigh is firmly engaged and lifting away from the floor (unless, you are modifying for stability). Appreciate that you are building strength and preparing your lower body for what’s to come.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana). This pose is sometimes referred to as “Anointed Warrior,” indicating the warrior is blessed, prepared, and ready.

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Once the arms are straight, become aware of the isometric engagement of resisting the mat. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart. Notice the isometric engagement of your hands and arms.

After the second side of standing poses and backbends, move into Downward Facing Dog. While in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push the hands and left foot into the earth to create more space. Then push through the hips and both heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate how gravity pulls on the lifted leg and then extend the knee and rotate the hip down to return to Three-Legged Dog.

If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

Exhale and step the right foot in between your hands for Low Lunge. If the foot needs help reaching the space between the hands, lower the back knee so that you can use your hand to scoop the leg forward. (NOTE: Never go back with the hands, as this will cause you to crawl off the mat as you move through the practice.) Take a deep breath in to extend the spine and then use the exhale to heel-toe the right foot towards the right. At the same time you are creating space for the hips, lower the back heel down to the mat (even if that means you have to step the back foot up). Remember, the hips will go where the toes point them; so, place your feet in the position that allows the hips to be parallel to the short/front edge of your mat. One your feet are flat on the floor, inhale your arms and heart up for Warrior I (Virabhadrasana I).Let your hands melt down if you are manually adjusting your hips. As you inhale, isometrically squeeze the thighs towards each other. As you exhale, use the front foot and leg to push the front hip back. Use the back foot and leg to push the back hip forward. Press down to inhale arms and heart up. Make sure the sits bones are pointed down. You can even repeat the earlier hip adjustment from Crescent Lunge/Anointed Warrior. Engage your locks (bandhas). After several breaths, exhale hands to the mat and step back to Downward Facing Dog or step forward into a Forward Fold.

From Downward Facing Dog, firmly push your hands and feet into the ground, glide your body forward until the shoulders are over the wrists and the arms are perpendicular to the ground. Lengthen your neck so that your cervical spine continues the line of the rest of your spine and your head is lifted, eyes forward. This is the beginning of Plank Pose. You can always bring your knees down for extra support, but keep the thighs firm. If you are skipping the arm balances, repeat Half Lift / Flat Back or Extended Forward Bend with arms reaching forward and wrists flexed so that palms face away from the body. This can also be done seated in Staff Pose.

Lengthen the spine so that it is parallel to the mat and you have similar engagement to Half Lift/Flat Back or Extended Forward Bend. Spread your fingers and toes, push into your thumb and first finger. Resist the earth and use that resistance to push the shoulders into your metaphorical back pockets. Rotate your elbows towards your belly button and broaden across the collar bones. Find Equal Standing/Mountain pose in this position. Resist the urge to lift your hips away from the mat or let them flop down. Engage your locks (bandhas). After several breaths, exhale to Child’s Pose, inhale to the backbend of your choice, and exhale to Downward Facing Dog and repeat the sequence on the left side, starting with the Three-Legged Dog.

After the second set of Warrior I and Dog poses, use an inhale to lift your gaze and hips (by standing on your tip toes if you are in Downward Facing Dog). Exhale to bend your knees deeply and quietly step or “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. This pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how you isometrically engage the feet and legs, pressing down and squeezing into your center.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward – and notice that gravity keeps you grounded, but allows more engagement. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. Captain this boat and give thanks. Give A LOT of thanks!

Then, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath in and follow the breath out. Allow yourself to be held by the breath and float within its embrace.

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely give it. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

SEEKING vs SAVORING – 2018 Kiss My Asana Offering #15 April 15, 2018

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“My desire
is always the same; wherever Life
deposits me:
I want to stick my toe
& soon my whole body”

– from Desire by Alice Walker

“Expect nothing. Live frugally
On surprise.
become a stranger
To need of pity
Or, if compassion be freely
Given out
Take only enough”

– from Expect Nothing by Alice Walker

These days everyone comes to yoga seeking something. It might be a healthier body and/or mind. It might be peace, ease, and well-being. It might be better sleep. It might be more flexibility, it might be strength. It might be redemption. It might be___________ (fill in the blank). You name it and we are seeking it.

Then, we get on the mat and discover there’s a plethora of benefits we didn’t even know existed. Thus, we seek more. We desire more, and as much as we set ourselves up for success we are also setting ourselves up for disappointment – and, according to the Buddha’s Four Noble Truths, we are setting ourselves up for suffering.

Historically speaking, the Buddha would have known about (and maybe even practiced) yoga. But he didn’t find it a practical path away from the suffering caused by desire and ignorance. So, he offered the Noble Eightfold Path. While I understand, historically, why yoga was not (and sometimes still is not) accessible and practical for certain individuals we are now surrounded by teachers like Matthew Sanford, Dianne Bondy, Jessamyn Stanley, and even Diamond Dallas Page (yep, that Diamond Dallas) who are committed to remind us that yes, the practice is accessible. And, I firmly believe that if you practice on the mat, you practice off the mat – especially if you start at the beginning.

The first two limbs of the philosophy of yoga make up a moral compass based on 10 ethical components. Even if you have never heard of the yamas (external restraints, also known as the universal commandments) and the niyamas (internal observations), they will sound very familiar to the Western mind, because they are already part of the bedrock of our society. The yamas are a dedication to non-harming, truth, non-stealing, following in the path of God*, and non-hording/non-grasping. The niyamas are a dedication to cleanliness; contentment; practices that build spiritual, mental, and energetic heat (and the heat itself, which is also discipline and austerity); self-study; and letting all efforts return to the source/God.

When Patanjali outlined the philosophy in the Yoga Sutras he referred to the combination of the final three niyamas as Kriya Yoga – union through purification. Q: Of what are you being purified? A: Any and all obstacles that stand in the way of your ultimate Goal. If you practice, on or off the mat, you will find time and time again that one big obstacle is desire.

Desire is tricky, because it can be both helpful (e.g., will and determination) and harmful (e.g., blind ambition or obsession). Some would say that desire leads to progress and survival of the species. However, desire can also bring about our demise. What balances will and determination is a solid connection to our ultimate Goal and the second niyama: contentment (santosha).

In American English we often associate “being content” with “settling” – which implies that there is something more or better that we are missing and (rather than keep struggling to achieve it) we just “settle” for what’s in front of us. But, being content actually means being satisfied, grateful, even happy for what’s in front of us. I associate it with the awe, the wonder, and the curiosity of a child. It is, to me, like the Zen Buddhist concept of “beginner’s mind” (shoshin).

 “In the beginner’s mind there are many possibilities, in the expert’s mind there are few.”

Zen Mind, Beginner’s Mind by Shunryu Suzuki

When we approach the practice with the mind of a child doing something for the first time, everything is fascinating and everything is possible. When we approach the practice with that sense of wonder, we practice whole-heartedly, with our whole bodies, our whole minds, and our whole spirits. When we approach the practice as if we are an expert who has mastered what we have already done and, therefore, will master what we have not yet done, our expectations cloud our overall experience. Sometimes the clouds enhance the sunny day, but sometimes they are storm clouds – covering the sun and moments from drenching us.

“It seems impossible that desire
can sometimes transform into devotion;
but this has happened.
And that is how I’ve survived:”

– from Desire by Alice Walker

 

Desire + Expect Nothing + Don’t Be Like Those Who Ask For Everything by Alice Walker

(Practice Time ~30 minutes)

Begin as if you are beginning for the first time. Empty your mind of expectations. Be grateful for this moment, which is unlike any other moment. Standing on your hands and knees, bring your big toes to touch. Spread your knee as wide as feels comfortable. Play with the knees and then sink the hips to the heels and lower the forehead and nose to the mat. This is Child’s Pose (Balasana). Notice how you are supported – how the body rests between or on the legs. Make sure your knees are comfortable. You can always place a cushion under the knees, under the hips, or under the chest. Breathe into your heart and consider what is new about this moment. Be present with the sensations/information in and around your body. Bring awareness to your feet. Consider the different directions in which you can move.

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air shifting around you. As you inhale, lift your heart and hips up for Cow Pose and, on an exhale, round your spine like a Halloween Cat. “Un-Cow” is another option – especially if you work hunched over a computer all day or have a lot of curve in your upper back. For the “Un-Cat,” inhale to Cow (as described above) and then sink the hips to the heels (keeping the feet apart). Move through the sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down. Make this is your favorite part of the practice and you are savoring it.

Once your mind, body, and spirit are synchronized, curl your toes under and lift your hips up in the air as you exhale. This is Downward Facing Dog (Adho Mukha Svanasana). Check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Find something to appreciate about your mind-body at this moment and as you explore the moment.

Notice the feeling of your entire back body (including legs and feet). Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

Still in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push through the hips and the heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate and then extend the knee and rotate the hip down to return to Three-Legged Dog. Exhale to release back into Downward Facing Dog and then repeat the sequence on the left side.

NOTE: you can skip the arm balancing, by sitting down with legs stretched out in front of you for Staff Pose (Dandasana). In Staff Pose, position the arms over the head as if you are in Downward Facing Dog. Other options include “Dolphin Dog” (forearms on the mat, with elbows right under the shoulders, and hands clasped.) or you can do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet). If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

After the final Three-Legged Down Dog, stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the feeling of your entire back body (including legs and feet). Give thanks for something about this moment.

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent.

Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the feeling of your entire back body (including legs and feet). Let something roll off your back – and appreciate the process of releasing what no longer serves you.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and lift up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Embrace yourself on an exhale, inhale stretch the arms wide and then embrace yourself again (alternating the arms with each exhale).

Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

While maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Appreciate the fact that you are prepared for the next sequence. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a Low Lunge. Now is the time to really appreciate this moment and this pose. Make sure the feet are in two separate lanes. Inhale and extend the spine as if you are in Cow Pose of Half Lift / Flat Back. Press the right hip towards the left heel, so that the hips and sacrum are as neutral as possible. As you inhale, squeeze the thighs towards each other for external stability and then engage the locks (bandhas) for internal stability. Appreciate the effect of the effort: Allow the weight to come out of the hands. Appreciate that you are building strength and preparing your lower body for what’s to come. Notice that your heart is open and supported.

Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh. Again, notice how you are supporting your heart with your feet.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart.

After the second side of standing poses and backbends, move into Downward Facing Dog and then lift your gaze and hips (by standing on your tip toes) on an inhale. Exhale to bend your knees deeply and quietly step of “float” your feet to the outside of your hands. Turn your toes out to a 45 degree angle so that toes are down and out and heels are down and in for a squat. Knees bend deeply so that you are in a Yogi Pray Squat (hips close to the ground – or even on a block) or you can stay up high for Horse/Goddess Pose. Notice that the upper body and lower body have similar construction. Spread your fingers and press the hands together. Do the same with the toes. Push the hands together and the feet down to create more space between the elbows and the wrists, as well as with the hips and the knees. Elbows and knees are pressed back. Drop the sits bones down toward the Earth, and simultaneously lift the pubic bone and heart. This could be the beginning of several other poses: Empty your mind of those poses and focus on the current inhale and the current exhale.

Staff Pose (Dandasana). As gracefully as possible, sit down sitting down with legs stretched out in front of you. Ths pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it. Eyes are on your nose.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how the space shifts between your belly and legs. Give thanks for the gentle compression and massage that starts to calm your system and prepare you for the final meditation.

After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. Give thanks. Give A LOT of thanks!

Then, lower down onto your back (with gratitude) for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Follow the breath in and follow the breath out. Listen to the song the breath sings.

“Don’t be like those who ask for everything:
praise, a blurb, a free ride in my rented
limousine. They ask for everything but never offer
anything in return.”

Don’t Be Like Those Who Ask For Everything by Alice Walker

This opportunity to explore a poem is part of my offering for the 2018 Kiss My Asana yogathon. It is freely give it. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

*It is very common for people to refrain from offering an American English translation of Bramcharya, the fourth yama. There is also a tendency to only associate this part of the practice with celibacy (or, as indicated by the similar Buddhist precept, “refraining from illicit sexual activity). Recognizing the observation as being connected to a higher reality, whatever that means to you at this moment, reveals that celibacy is often a by-product of the awareness.

### do yoga. share yoga. help others. ###

FEELING THE FEET – 2018 Kiss My Asana Offering #13 April 13, 2018

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“The problem with love is not what we feel but what we
wish we felt when we began to feel we should feel
something.”

– from The Laws of Motion by Nikki Giovanni

Humans are sensational beings; in that, we are beings full of sensation. And there is no shortage of sensation on the mat. We feel our clothes and the mat, the floor, or the cushion. We feel the fluctuating temperature of the breath and the body. We feel weight in our shoulders or soreness in our joints. We feel… That’s what we humans do. But we don’t just feel physical sensations. We also feel things mentally, physically, and emotionally – and all of that sensation is also information.

Whether we are feeling wonderful or puny, weak or strong, flexible or stiff, wise or ignorant, it’s important to be grateful for the sensation/information, because the sensation/information informs the practice. Even misinformation can inform the practice, but that’s not the big problem with teaching yoga.

The big problem with teaching yoga is articulating what we feel when we’re on the mat, while simultaneously holding space for what other people feel on the mat. It’s a matter, to quote Nikki Giovanni, of feeling despite what we think “we should feel.”

On any given day, someone will ask me some variation of the question, “What should I be feeling in…?” As an English major (and the daughter of my parents to boot), my first instinct is to offer some powerful purple prose describing what is happening in the pose – anatomically – and how that feels in my body. My description might be helpful – especially if the person in question is practicing in my body or practicing in my mind. However, since they are not – ever – my response can be problematic. Instead of being helpful and informative, the words I choose may cause the practitioner to feel they are doing something wrong and that they need to adjust their pose. Sometimes, the thought that their pose is not quite right can also lead to the second arrow…they start to think they need to fix their body.

As a teacher of asana, I am not alone in this quandary. Some teachers avoid the issue by never telling people what they should/could/will feel in a pose. Others have an uncanny knack for going to the other extreme.  A more skillful middle ground would be channeling Dharma Yoga teacher Kim Jeblick and saying some variation of, “I don’t know. Come into the pose. Now, tell me: What are you feeling?”

Because everybody’s body is different, everybody is going to feel something different. There is no shortage of sensation on the mat: Even if you’re paralyzed.

His book Waking describes Matthew Sanford’s experiences being paralyzed at the age of 13 and the subsequent journey that led him to yoga. The book is full of sensation – it is also full of people telling Sanford, and themselves, that he can’t feel anything. Not feeling is the beginning of the story and, it could have been the end, except, Sanford was aware of feeling presence. Somehow he understood that the feeling of presence was an intimate connection between his mind and his upper body. His lower body, however, presented itself as a brick wall, a place where he was not present:

“I am now living in a body that presents silence rather than tangible sensation…. This silence that I perceive within my body came upon me abruptly through a spinal cord injury. For most people, however, the process is slower. It develops through aging. Over time, the body becomes slower to respond, more likely to sit at rest, more content to observe rather than act. But, in each case, the fundamental healing question remains the same: What aspect of consciousness will transverse the increasing gap between the mind and body? The answer will depend upon our healing stories.”*

Sanford goes on to describe how “I hear(s) silence where there is pain” as a means of protection. This is 60 pages in; it’s still the beginning of the story.

As the story continues, Sanford describes an exploration of presence, which is also an exploration of sensation/information – which is also an exploration of the intimate energetic connection between the mind and the body. This awareness of intimacy, plus the alignment knowledge that comes from Iyengar, is what now informs Sanford’s practice, as well as his teaching.

His awareness of presence is also what makes Sanford such a powerful teacher. While other teachers struggle to define how the pose feels on the outside (in order to feel something on the inside), Sanford focuses on the inner sensations and “how the physical instructions are intended to amplify, guide, and direct the flow of energy. When I teach, I give instructions and then I observe not just whether the physical actions are occurring, but also whether the intended energetic release is happening through the student’s mind-body relationship.”

As I post this, I have been practicing yoga for 18 of my 49+ years. The only thing I have been doing longer is reading and being a black woman.

“If I could make a wish I’d wish for all the knowledge of all
the world. Black may be beautiful Professor Micheau
says but knowledge is power.

– from The Laws of Motion by Nikki Giovanni

The Laws of Motion & The Song of the Feet by Nikki Giovanni
(Practice Time: ~ 15 – 20 minutes)

Very deliberately and mindfully place yourself in Child’s Pose (Balasana). Notice how you are supported – how the body rests between or on the legs. Make sure your knees are comfortable, and remember that you can always place a cushion under the knees, under the hips, or under the chest. Notice where you feel heaviness and notice where you feel lightness. Notice how your head rests so that your neck can lengthen. Breathe and notice how the body expands on the inhale, settles on the exhale. Be present with the sensations/information in and around your body. Bring awareness to your feet.

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air again shifting around you. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and exhale into Downward Facing Dog (Adho Mukha Svanasana). Double check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. With the arms straight (but not hyper-extended) rotate the elbows towards the nose. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body.

Notice the feeling of your entire back body (including legs and feet). Spread your legs a little wider (finding similar alignment as described above) and notice how the energy changes. Again, adjust the legs bring them closer and notice where you feel the pressure of the body. Notice, also, where and how you are working the hardest to keep the spine aligned. Separating the legs wider again, adjust the alignment of the spine. Notice where and how the body works in order to maintain length in the spine. Bring the big toes back behind the thumbs or the middle fingers. Align the spine with new awareness.

Still in Downward Facing Dog, point the right toes behind you so that the tops of the toes are on the mat. Lift the leg just enough to flex the ankle so that the toes point down instead of backwards. Now, balancing the weight with both arms and the left leg) making sure you do not dump on the left side) start to mindfully lift the right heel up – as if you are drawing a line up the space behind you. Keep the outer thighs rotated in towards the space beneath the body so that the right knee and toes point down. Pause when you notice the right hip rotating the knee and the toes out to the right; then adjust to find that internal rotation and make sure weight is still balanced in all 3 standing limbs. (Note: If the left elbow starts to bend or the right hand wants to lift up, you are probably dumping the weight on the left.) Continue to lift the heel, pausing as needed, until you can no longer balance the weight and/or control the alignment of the hip. Once you reach your edge, push through the hips and the heels so that you create more space between the right hip and heel and more space between the left hip and heel. After a few breaths in Three-Legged Dog, consider exhaling into Tinkling Dog by bending the right knee and externally rotating the right hip. Still, keep the weight balanced. Play, explore, investigate and then extend the knee and rotate the hip down to return to Three-Legged Dog. Exhale to release back into Downward Facing Dog and then repeat the sequence on the left side.

Remember you can skip the arm balancing, by moving into Staff Pose (Dandasana) and positioning the arms accordingly or using “Dolphin Dog.” Another modification would be to do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet). If you move into Staff Pose, the leg lifts up in front of you and your awareness is focused on keeping the hips grounded and the back straight. Cues for lifting the leg in “Dolphin Dog” or when on the wall are basically the same as in the original cues above.

After the final Three-Legged Down Dog, stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the feeling of your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent.

Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the feeling of your entire back body (including legs and feet).

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and lift up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, root down through your feet and extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

Now, maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a low lunge. Make sure the feet are in two separate lanes. Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend.

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). Notice how your support your heart with your feet. After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh. Again, notice how you are supporting your heart with your feet.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs. Again, notice how the engagement of the feet supports your heart.

After the second side of standing poses and backbends, move into Downward Facing Dog, and then into Staff Pose (Dandasana). Sitting tall with legs stretched out in front of you: remember, this pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how the space shifts between your belly and legs. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. And then, lower down onto your back for Corpse Pose (Savasana). Find a place where your body and mind can be still. Breathe into the space between your soles, your heart, and your soul. Again and again, this practice comes back to the roots, back to the feet. Just as Rabbi Abraham Joshua Heschel did in 1965, give thanks for your feet and how they support your heart.

“It is appropriate that I sing
The song of the feet

The weight of the body
And what the body chooses to bear
Fall on me”

– from The Song of the Feet by Nikki Giovanni

 

pexels-photo-267313.jpeg

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

* Matthew Sanford defines “healing stories” as “…the stories we have come to believe that shape how we think about the world, ourselves, and our place in it.”

 

### do yoga. share yoga. help others. ###

WORKING TOGETHER – 2018 Kiss My Asana Offering #12 April 12, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Bhakti, Books, Buddhism, Changing Perspectives, Depression, Dharma, Donate, Dr. Martin Luther King, Jr., Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Love, Mala, Meditation, Men, Minneapolis, Minnesota, Music, Mysticism, One Hoop, Pain, Peace, Philosophy, Poetry, Suffering, Surya Namaskar, Tantra, Texas, Twin Cities, Vairagya, Vipassana, Volunteer, Wisdom, Women, Writing, Yin Yoga, Yoga.
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“As far as I can tell, daughter, it works like this:
You buy bread from a grocery, a bag of apples
From a fruit stand, and what coins
Are passed on helps others buy pencils, glue,
Tickets to a movie in which laughter
Is thrown into their faces.
If we buy a goldfish, someone tries on a hat.
If we buy crayons, someone walks home with a broom.
A tip, a small purchase here and there,
And things just keep going. I guess.”

– from How Things Work by Gary Soto

If you practice yoga (or anything) long enough – sometimes it only takes a few seconds, sometimes a few hours, sometimes days, sometimes months – you start to notice how things work. If you practice yoga (or anything) long enough – sometimes it only takes a few minutes, sometime a few weeks, sometimes years, sometimes a lifetime – you start to notice how everything is connected. The awareness of interconnectedness develops on and off the mat.

But, let us just begin with awareness on the mat.

The physical practice, hatha yoga, regardless of the style or tradition, is a combination of the third limb of the philosophy (asana, seat) and the fourth limb (pranayama, awareness or extension of breath/life force). Again, regardless of the style or tradition, building a pose starts with establishing a base – that’s the seat – and then building from the ground up so that you can breathe – that’s the awareness of breath. This makes sense, right? I mean, a carpenter does not build a house by magically floating a chandelier over an empty space and then building the ceiling, followed by the walls, and then the foundation. And, even if they used a crane instead of magic (to hold up the chandelier) at some point they have to figure out a way to remove the crane. One method makes sense, and is sustainable. One method might be a fun experiment, but eventually leads to chaos and a big mess.

Vinyasa is a technique as well as a very popular style of physical practice in the West. It involves the linking of breath and poses, but the way in which it is practiced can look and feel very different – depending on how and why things are connected. When we think of vinyasa as “flow,” instead of the literal “to place in a special way,” we may miss why some poses feel natural when linked together and why other sequences feel awkward and clunky.

Vinyasa karma is the science of placing things in a (special) way that leads to a step-by-step progression towards a goal. There is an element of vinyasa karma in every good practice – even when the practice is not a vinyasa practice. Here, I am defining a “good” practice as being one where you feel your time on the mat was well spent and that time leaves you feeling more connected. And, over time, you may notice that it is the sequencing of poses which creates that sense of connectedness.

Sequencing can also help us gain more awareness of how things work, because it brings our awareness to how we prepare. When we are focused only on the outside of the body, and not on the inner engagement or the breath, we miss the opportunity to prepare for the next pose or the next breath. Yes, the body and the mind can do amazing things – including, if we desire it enough, contort into one pretzel shape after another – but, some amazing feats are not sustainable.

For instance, if a non-dancer or non-gymnast starts off a physical practice with a big back bend like Camel Pose (Ustrasana) they may find the legs are a little shaky, the hips sink back, the core collapses, and the upper back is stiff – in fact, they may find the only thing ready for the pose is a hyper-flexible neck: Notice the difference. One the flip side, a person who works hunched over at a desk or an assembly line all day can progress into the pose if they first do something to engage the strength of the legs; the flexibility of the hips; the stability of the core; and the flexibility of the full spine, shoulders, and arms. What they do to achieve these effects depends on the style and tradition and, ideally, on the individual needs of their mind-body-spirit.

As another example, consider how you move into a balancing pose. Some people establish a base, shift the weight, engage the core, and “float” up. They then spend their time in the pose breathing deeply in, breathing deeply out. On the other hand, some people “jump” into balancing poses. They often get lucky – which means they don’t immediately crash and burn, but they may spend the whole time in the pose worried that they are going to crash and burn. Yes, everybody falls down. The question is what did falling down teach you?

The body and the mind have a way of naturally finding balance within the imbalance. When we mimic the body’s natural tendencies, we feel stronger, more flexible, more open and lighthearted, more grounded, and more at ease within ourselves and our surroundings. When we feel more connected to ourselves and our surroundings, we also have more awareness into what is. More awareness leads to more insight, which enables us to respond, rather than react, to the situations in which we find ourselves. (Note: Vipassana is a very popular technique and style of meditation that literally means to see in a special way.)

Great teachers, on and off the mat, have said, “You don’t have to believe me. Try it for yourself.” In “Looking Around, Believing,” Gary Soto wrote, “How strange that we can begin at any time.” Begin now.

How Things Work + Looking around, Believing + Between Words – by Gary Soto

(Practice Time: ~ 15 – 20 minutes)

Very deliberately and mindfully place yourself in Child’s Pose (Balasana). Notice how your body rests between or on your legs, and make sure your knees are comfortable. Remember, you can always place a cushion under the knees, under the hips, or under the chest. Notice how your head rests so that your neck can lengthen. Breathe and notice how the body expands on the inhale, settles on the exhale.

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice your awareness of your body when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air again shifting around you. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Once your mind, body, and spirit are synchronized, curl your toes under and exhale into Downward Facing Dog (Adho Mukha Svanasana). Double check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body. Notice the feeling of your entire back body (including legs and feet).

Remember you can skip the arm balancing, by moving into Staff Pose (Dandasana) and positioning the arms accordingly or using “Dolphin Dog.” Another modification would be to do the pose on the wall. Either way, strongly engage your legs and your core. Notice the feeling of your entire back body (including legs and feet).

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Again, notice the feeling of your entire back body (including legs and feet).

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent.

Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Again, notice the feeling of your entire back body (including legs and feet).

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and lift up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal muscles to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana).

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Make sure the lower rib cage drops down as the sternum lifts up and notice how that helps you engage your core. After several breaths, lower the arms to your sides on an exhale.

Now, maintaining the previously established alignment and awareness of breath, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement and breath are seamlessly fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a low lunge. Make sure the feet are in two separate lanes. Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). Focus on the stability of the feet, legs, and hips. Focus, also, on the extension of the front of the back hip and thigh. This is the beginning of a backbend.

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or, first time through, slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.) Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Shoulders and hips are still pressing down. Notice the difference between how the front of your lift hip and thigh feel versus the right hip and thigh.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right). After the Child’s Pose, you may inhale to Cow Pose, Cobra Pose, or, second time through, glide your body up and forward so that the legs stretch out behind you with the arms straight and the hips lifted away from the mat. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Upward Facing Dog (Urdhva Mukha Svanasana). Thighs are strongly engaged and lifting up towards the ceiling. Kneecaps lift up towards the hips – again, so that the thighs are firm. Again, compare the feeling at the front of the hips and thighs.

After the second side of standing poses and backbends, move into Downward Facing Dog, and then into Staff Pose (Dandasana). Sitting tall with legs stretched out in front of you: remember, this pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how the space shifts between your belly and legs. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. And then, lower down onto your back for Corpse Pose (Savasana). Classically, the physical practice is intended to prepare the body and mind for deep seated meditation. This final moment is an opportunity for your body and mind to process and absorb what you’ve done during the practice. Find a place where your body and mind are still. Let the breath naturally ebb and flow. Breathe and allow your mind to follow the breath into the space within you and the space all around you.

“Love,
The moon is between clouds,
And we’re between words
That could deepen
But never arrive.”

– from Between Words by Gary Soto

If you practice long enough, you start to notice how everyone is connected.

Poets, philosophers, preachers, students of dharma are all fascinated by the inner (and outer) workings of the world, how everything and everyone are connected. You see it in the poems of Mark Strand and Misuzu Kaneko, as well as in the poems of Gary Soto. You see it in the sermons of Dr. Martin Luther King Jr. and in the dharma talks of Thich Naht Hanh. You see it in Martin Buber’s concept Ich und Du; that we only truly exist in relationship. You see it, again and again, and yet….It is so easy not to see it.

One of the reasons I practice yoga is to actively and mindfully see the connections. Moving through the practice is like moving through life, with all of its twists, turns, and challenges. Sometimes, like in the practices I’m offering this month, we symbolically move through the stages of life: from the pose of a child we learn to stand up, to walk, to play and explore, and finally to slow down and rest. We do this every day, we day this every lifetime. Still, no part of us does it alone – everything is connected.

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

Keeping Things Yoga…keeping things yoga – 2018 Kiss My Asana Offering #11 April 11, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Art, Bhakti, Books, Buddhism, California, Depression, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Men, Minneapolis, Minnesota, Music, One Hoop, Pain, Peace, Philosophy, Poetry, Suffering, Surya Namaskar, Tantra, Texas, Tragedy, Twin Cities, Vairagya, Vipassana, Volunteer, Wisdom, Women, Writing, Yoga.
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“In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.”

– from Keeping Things Whole by Mark Strand

 

“Are you just an echo?
No, you are everyone.”

– from Are You An Echo?  by Misuzu Kaneko

At the end of my very first yoga class, I learned about the philosophy and meaning of yoga. My first teacher, Robert Boustany, asked me to explain what I did for Houston Ballet, because I wasn’t one of the dancers or one of the musicians. When I explained my role in Production was to bring together the various artistic and design elements during a performance, he said, “Oh, you do yoga.”

Yes, it turns out we can do yoga off the mat, without doing a single pose.

Yoga is a Sanskrit word that means union. There’s lots of different ways to describe “union,” but ultimately it’s the coming together of two or more elements – with the underlying idea being that once together these elements will work as one unit. The elements can be our mind, body, and Spirit. The elements can be different kinds of energy. The elements can be an individual and a goal. The elements can be an individual and the community, the Universe, or God (whatever that means to you at this moment). The elements can be the Seeker and the Beloved. The elements can be two people whose life experiences are so different on the outside it seems natural that they would approach life in very different ways.

Misuzu Kaneko (b. 1903) and Mark Strand (b. 1934) were both born today and were both considered literary celebrities during their lifetimes. However, they (and their poetry) lived very different lives.

Born Taro Kaneko, Kaneko was able to attend school through the age of 17, despite most Japanese girls of the time only attending up to 6th grade. Her poems started to become very popular when she was 20 years old. Unfortunately, her private life as an adult was so tumultuous and tragic that Kaneko committed suicide just before her 27th birthday. At the time of her death, she had published 51 poems.

When Strand was born in Canada, four years after Kaneko’s death, Kaneko’s poems had been all but lost.

Strand grew up moving around the United States, Columbia, Mexico, and Peru. Raised in a secular Jewish home, he went to a Quaker-run college preparatory school in New York; earned a BA at Antioch College in Ohio; moved to Connecticut to study art and graduated with an MFA from Yale; studied poetry in Italy on a Fulbright scholarship; and finally attended the Iowa Writers’ Workshop (where he received an MA in writing) before teaching all over the East Coast and spending a year as a Fulbright Lecturer in Brazil. In addition to ultimately teaching all over the U.S., Strand won a Pulitzer Prize, served as U. S. Poet Laureate, and was honored with numerous other awards and titles. At the time of his death, at the age of 80, he had published at least 21 collections of poetry, plus three children’s books, several books of prose, and served as editor and/or translator for at least 13 more publications.

To my knowledge, Kaneko never left Japan.

Despite the wildly different details of their lives, both poets wrote about loss and darkness, belonging vs. being alone, how personal perspectives create our world, human’s vs. nature, and personal responsibility. They used different words, but they seemed to share an underlying idea: True power comes from being present with what is despite our desire to possess, change, and understand everything around us.

Are You an Echo? & Benton Island by Misuzu Kaneko / Keeping Things Whole & The Idea by Mark Strand

As you move into Child’s Pose (Balasana), notice the space you occupy. Notice the air moving within you and all around you. Notice how your body and breath shift the air. Breathe and allow your mind to follow the breath into the space within you and the space all around you.

Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha). Notice how the air flow changes when the locks (bandhas) are engaged versus when they are released.

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Notice the air again shifting around you. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Find the place where your body like the last wave of sound at the end of an echo, and then curl your toes under and exhale into Downward Facing Dog (Adho Mukha Svanasana). Double check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Engage the air between your arms, between your legs, and in the space beneath your body.

Remember you can skip the arm balancing, by moving into Staff Pose (Dandasana) and positioning the arms accordingly or using “Dolphin Dog.” Another modification would be to do the pose on the wall. Either way, strongly engage your legs and your core.

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able. Feel the air above and below your torso.

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas).  Notice the length of the spine. Notice how you can engage the air.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and lift up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas).  As you press down in order to lift the sternum up, use the core abdominal to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana). Notice how each side of your body echoes the other side.

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Notice the air above and below your arms. Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana). Double how the engagement of each side of the body echoes the other side, and vice versa. Notice the length of your spine. Notice the air between your arms. After several breaths, lower the arms to your sides on an exhale.

Now, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel your movement is as fluid as a surfer resting on calm water between the waves.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a low lunge. Make sure the feet are in two separate lanes. Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). If you have Hot Half Moon (Ardha Chandrasana) in your practice, feel free to add it by lifting the left arm up and reaching it towards the right. Notice how the air shifts around your body as you breathe.

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, you may inhale to Cow Pose or slide your body forward so that the legs stretch out behind you. Press the tops of the feet down, push the hands into the floor beneath your shoulders and inhale into Cobra Pose (Bhujangasana). Elbows should be bent behind the back like grasshopper legs (unless you are working on a baby cobra.)Thighs are strongly engaged and pushing into the floor. Hips stay on the ground. Keep the shoulders down the back and either isometrically engage the arms – by pushing the hands down and engaging the arms as if you’re going to pull your body forward – or let your hands hover (breathing into the space between your hands and the mat). After a few breaths, consider extending your Cobra by pressing the hands and feet down and lifting the body up until the arms straighten. Shoulders and hips are still pressing down.

On an exhale, curl your toes under and press back to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right).

After the second side of standing poses, move into Staff Pose (Dandasana). Remember, this pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. Notice how the air moves within you and all around you. Pay particular attention to how the space shifts between your belly and legs. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.) Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose. This is Boat Pose (Navasana).

Find your edge, making sure your core works harder than your jaw or your arms. And then, lower down onto your back for Corpse Pose (Savasana). Find a place where your body and mind are still. Let the breath naturally ebb and flow. Notice the space you occupy. Notice the air moving within you and all around you. Notice how your body and breath shift the air. Breathe and allow your mind to follow the breath into the space within you and the space all around you. Allow your body and breath to spread into the space. Just be.

“Benton Island was still there
floating on top of the waves
wrapped in golden light,
green as always.

– from Benten Island by Misuzu Kaneko

 

“And we stood before it, amazed at its being there,
And would have gone forward and opened the door,
And stepped into the glow and warmed ourselves there,
But that it was ours by not being ours,
And should remain empty. That was the idea.

– from The Idea by Mark Strand

Yoga means union and brings two or more elements together as a unified whole. The elements be our needs and the needs of another. The elements may be someone who needs support and someone who can be supportive. And this is one of the ways the Kiss My Asana yogathon is yoga. Mind Body Solutions and the yogathon bring together people in community around the practice of yoga. They also bring together people who need support with people who can support them. Then, Mind Body Solutions goes one step further: They support the supportive, recognizing that caregivers also need yoga.

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based class on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body.  They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

NOTE: Two (2) poets, four (4) poems, one (1) additional pose, and an Easter egg brings this practice to approximately 15 minutes.

 

If Misuzu Kaneko’s story resonates with you, because you or someone you know is struggling emotionally, please call 1=800-273-TALK.

 

### do yoga. share yoga. help others. ###

STILL CLIMBIN’ – 2018 Kiss My Asana Offering #10 April 10, 2018

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Don’t you set down on the steps
’Cause you finds it’s kinder hard.
Don’t you fall now—
For I’se still goin’, honey,
I’se still climbin’,
And life for me ain’t been no crystal stair.

– from Mother to Son by Langston Hughes

 

“The only easy day was yesterday.”

– from Navy Seals

My early yoga teachers often said, “How you do yoga is how you do life.” I sometimes repeat this statement to myself and to people who come to my class, because I find it’s true. We humans only have so many reactions and responses. Our reactions on the mat are pretty consistent with our reactions off the mat, whether we are dealing with things we enjoy, things we dislike, things that challenge us, things we do well, things we fear, and/or things we don’t understand. (Substitute the word “people” for the word “things” and you see how we end up with some of our current problems.)

We delay gratification or we rush in to quickly experience the things we enjoy. We procrastinate or we push through that which we do not enjoy. We appreciate what we have or we focus on what we don’t have.

When something blocks our progression, we stop and turn back – or, as Marcus Aurelius encouraged, we pause and figure out a way to keep going. When we fall down, we either pick ourselves up – rising above the challenge – or we fall down and stay down. We either, as Thomas Edison did when his warehouse caught fire, learn from past mistakes and enjoy the unexpected – even when it seems catastrophic – or we curl up in a fetal position and watch the world go by. We pick up the pieces and re-build (again, like Edison) or we sweep the debris under the rug and step over the bulge, pretending it’s not there.

We are capable of putting blame behind us and focusing on what is, but (more often than not) blame occupies our minds when something goes wrong. We blame ourselves, we blame others, and/or we blame God and the fates. We live in the past (which is no longer), the future (which is not yet), or we live the present to its fullest.

The details change, but the overall responses are the same: We fight, we flee, or we freeze/collapse. Note that in this case, fighting is not always arguing or coming to fisticuffs; fighting is engaging, which in life can sometimes bring us to a compromise. This all happens in the present moment and, if we experience trauma, we can experience it in the present even after the original situation is in the past.

Benjamin Franklin said, “By failing to prepare, you are preparing to fail.” In life, as in yoga, there are challenges. Some challenges are expected and we mindfully prepare for them. On the flip side, some challenges are expected, but we don’t prepare for them. Finally, there are those challenges we didn’t see coming. When life (or a yoga teacher) throws us a curve ball, we swing or we don’t. In this analogy, it’s not whether or not we hit the ball that matters. What matters is that we are prepared to swing.

This brings us back to Marcus Aurelius, Thomas Edison, and those Navy Seals.

Ryan Holiday’s The Obstacle Is the Way: The Timeless Art of Turning Trials into Triumph, highlights successful people at their most resilient moments. One of the things that stood out to me when I read Holiday’s book, was that many of the people he referenced spent their whole lives preparing for what became a defining moment. It wasn’t that they anticipated the challenge; instead, they lived life to the fullest and it turned out the causes and conditions that caused them to “fall down” also gave them the tools to get back up.

Consider the Navy Seals. An elite combat unit, the Seals only accepts the best of the best. To determine who makes the cut, qualified applicants must successfully complete one of the hardest and toughest 10-day training programs in the world. Because there is no telling what a Navy Seal might encounter in real life, the training is a way to practice scenarios which test their mental, physical, emotional, and spiritual endurance. They are taught to Survive, Evade, Resist, and Escape if confronted with capture. The skills tests become more challenging in and of themselves, but they also become more challenging because applicants are moving closer and closer to their personal edge. Each second, each minute, each hour, each day creates an opportunity for growth. Seals get better, so that the challenges of yesterday seem easier once mastered. Ultimately, though, basic training pushes Navy Seals to engage, escape, evade – or get the heck out of the way for someone who is willing to swing when the curve ball is thrown.

“Life is difficult. This is a great truth, one of the greatest truths. It is a great truth because once we truly see this truth, we transcend it. Once we truly know that life is difficult-once we truly understand and accept it-then life is no longer difficult. Because once it is accepted, the fact that life is difficult no longer matters.”

 

– from The Road Less Traveled: A New Psychology of Love, Traditional Values and Spiritual Growth by M. Scott Peck

Life, for some, is like basic training in that it can be dangerous, full of pitfalls, and something that must be survived. But, for all of us, life is full of the causes and conditions that result in people to falling down and also full of the tools that help people get back up.

Yoga isn’t intended to be as hard (or as dangerous) as life or basic training. However, the yoga mat is a safe place to notice how you engage challenges, setbacks, and desires. It’s a safe place to explore different ways of being in the world. Every moment, every breath, every pose, every sequence prepares us for the next moment, the next breath, the next pose, and the next sequence. Sometimes we are very aware of how things are put together “in a special way.” Sometimes we are full engaged in the moment and are surprised when we meet a challenge with grace, wisdom, courage, and strength. Other times, we fall flat. Either way, the process starts all over again every time we inhale, every time we exhale.

MOTHER TO SON – by Langston Hughes

Very deliberately, move into Child’s Pose (Balasana). Notice the extension of the spine. Notice the softness of the belly. Notice the deep breath in and the deeper breath out. Allow your breath to move through the spine. Allow your soft belly to rise and fall with the breath. Allow your mind to follow the breath and the body’s reaction the breath. Start to engage your locks (bandhas) on the exhale: spread the toes and press the feet down (in this case tops of the feet down) for the Foot Lock (Pada Bandha); squeeze the perineum muscles together, lifting the pelvic floor for the Root Lock (Mula Bandha) – which engages your lower abdominal cavity; belly button up and back for abdominal core lock (Uddiyana Bandha) – which engages your upper abdominal cavity; draw the chin towards the throat and chest, lengthening the neck, for the Throat Lock (Jalandhara Bandha).

Once you’ve engaged your mind-body-spirit, move into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Press down to lift up, activating the arms, the legs, and the lower three (3) locks. Notice the length of the spine, and how you support it. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. Move from your core so that the gaze is the last thing to come up and the last thing to turn down.

Find the place where your movements are strong, but not forced, and then curl your toes under and exhale into Downward Facing Dog (Adho Mukha Svanasana). Double check your engagement of the pose. Make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes. Engage your locks (bandhas) as you are able. Notice the length of the spine and how you support it.

Remember your can skip the arm balancing, by moving into Staff Pose (Dandasana) and positioning the arms accordingly or using “Dolphin Dog.” Another modification would be to do the pose on the wall. Either way, strongly engage your legs and your core.

Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able.

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas). Notice the length of the spine. Soften into yourself and into the stillness of the moment.

Inhale to Half Lift / Flat Back and use the exhale to engage your core. With hands on the hips, maintain the length of the spine and lift up to standing. Relax your arms by your sides. Balance the weight between all four corners of both feet. Feel free to move side-to-side or back and forth on the feet until you feel you are centered. Spread the toes, press big toes and little toes down, as well as both sides of the heels. (This establishes “all four corners of both feet.”) Engage the quadriceps in order to lift the knee caps and firm up the thighs. Sit bones point down so that the pelvic bones lift up. Engage your locks (bandhas). As you press down in order to lift the sternum up, use the core abdominal to draw the lower rib cage down. Relax the shoulders and gaze straight ahead. This is Equal Standing / Mountain Pose (Samasthiti/Tadasana). Notice the length of your spine.

Changing as little as possible, stretch the arms out like the letter T. Once your arms are wide, extend out of the center of your chest. Make sure shoulders, lower rib cage, and sits bones are reaching down. Now, turn the palms up and inhale your arms overhead. (Many traditions refer to this as Arms Reaching Overhead (Urdhva Hastasana), but I tend to call this Tadasana.) Double check to ensure you have maintained balance and alignment. Notice the length of your spine. After several breaths, lower the arms to your sides on an exhale.

Now, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center.

Equal Standing is like a soldier in the “Ready” position. Moving through half of a Sun Salutation (Surya Namaskar), inhale arms over head into Arms Reaching Overhead; exhale and stretch the arms out wide as you dive between the hands into a Forward Bend; inhale to a Half Lift / Flat Back; exhale back to Forward Bend. Keeping the knees bent and the core engaged, inhale to reverse swan dive and then exhale hands back to your sides. Repeat the sequence until you feel you are alignment is strong and your mind is focused (on the breath), and your movement is fluid.

After the final exhale into Forward Bend, inhale into a Half Lift/ Flat Back and then step your left leg way back into a low lunge. Make sure the feet are in two separate lanes. Inhale to lengthen the spine and then exhale the back knee to the mat. Give yourself cushion under the back knee, as needed. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh for a variation of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. Notice the length of your spine, especially your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. Again, engage your locks (bandhas). If you have Hot Half Moon (Ardha Chandrasana) in your practice, feel free to add it by lifting the left arm up and reaching it towards the right.

When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, inhale to Cow Pose and exhale to Downward Facing Dog. Repeat the sequence of standing poses (starting with the first Forward Bend after Downward Facing Dog, substituting left for right).

After the second side of standing poses, move into Staff Pose (Dandasana). Remember, this pose is not disposable. Consider the length of your spine and how you use your locks (bandhas) to maintain it.

Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath in order to lengthen your spine. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend both knees, placing the feet flat on the floor. (NOTE: If you’d rather not balance on your sits bones, lie down on your back and follow the cues.)

Reach the arms forward with elbows next to the knees. Press down as if you are going to jump forward. Spread your toes, squeeze your perineum muscles together, belly button is up and back, press your shoulders down, and draw the chin towards the neck. Look up and press down to lift the ribs up on the inhale. As you exhale, lean back until the feet are off the ground and you are balancing on your tail bone. Bring legs up parallel to the ground. Check in with your locks (bandhas) – maybe even lifting the corners of your mouth up towards your ears for a smiling bandha. Begin to extend the legs by engaging the quadriceps and pushing through the heels. Keep your nose up and your eyes on your nose.

Find your edge, making sure your core works harder than your jaw or your arms. And then, lower down onto your back for Corpse Pose (Savasana). Find a place where your body and mind are still. Let the breath natural ebb and flow. Notice the strength of the body, all it is capable of doing. Give thanks. Notice the strength of the spirit, all it endures. Give thanks. Breathe peace in, breathe peace out. Give thanks.

In addition to being National Poetry Month and the month of when I ask you to Kiss My Asana, April is also Parkinson’s Awareness Month, National Child Abuse Prevention Month, Sexual Assault Awareness and Prevention Month, and the Month of the Military Child. The people whose stories are behind these awareness-building observations are some of the same people benefiting from the programs supported by Mind Body Solutions via your Kiss My Asana donation.

veterans-012

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at the donation-based classes on April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states….

### do yoga. share yoga. help others. ###

REMEMBERING THE MOON – 2018 Kiss My Asana Offering #8 April 8, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Bhakti, Books, Buddhism, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Japa, Japa-Ajapa, Karma, Karma Yoga, Life, Loss, Love, Mala, Mantra, Meditation, Men, Minneapolis, Minnesota, Music, Mysticism, One Hoop, Pain, Peace, Philosophy, Poetry, Religion, Suffering, Tantra, Twin Cities, Vairagya, Vipassana, Volunteer, Wisdom, Women, Writing, Yoga.
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“Remember the moon survives,
draws herself out crescent-thin,
a curved woman. Untouchable,
she bends around the shadow
that pushes himself against her, and she

waits.”

– from Remember the Moon Survives, by Barbara Kingsolver

Barbara Kingsolver, born today in 1955, always seems to point her pen in the direction of struggle and suffering. Sometimes the struggle is within a single community, sometimes it involves multiple communities; sometimes it involves an individual struggling to find balance between a community; and other times the struggle is between man’s desires and the needs of the natural world. But, always, there is struggle, suffering…and hope.

The Buddha, whose birthday is also celebrated today by some Buddhists, pointed his heart towards struggle and suffering as well. Unlike Kingsolver, Prince Siddhartha Guatama didn’t grow up with awareness of the suffering of others. However, once he was aware of it, he started considering how to alleviate it. And so, like Kingsolver, the Buddha’s work includes the promise of hope.

The Buddha outlined Four Noble Truths: There is suffering/suffering exists; suffering is caused by desire and an attachment to ignorance; there is an end to suffering; and there is a path to the end of suffering. (Specifically, he points to the Noble Eightfold Path.) So again, there is suffering, there is struggle, and there is hope. However, in the middle of struggling and suffering, it is easy to get stuck in the middle of that second noble truth and forget all about the promise. In the middle of suffering, it is easy to forget all about the hope, and be filled with doubt – even when you’re on the road that promises freedom.

Just the other day, a friend of mine mentioned her rosary. “In Islam,” Mya said, “using the rosary [for prayer/meditation/contemplation] is called dhikr (“remembering”).” As the devoted move through the beads, they are constantly “remembering” God and the nature of God.

The words may be different, but this practice of “remembering” is the same in Catholicism. Hindus and Yogis use mala beads, also a rosary, to count out a mantra – this too is “remembering” what the practitioner views as important.

The Jewish tradition does not include beads; instead, some wear a prayer shawl (tallit) or small tallit (tallit katan) with a knotted fringe or tassels of blue (tzitzit). Jews do not count with them, but the tassels are intended as a reminder of what is important within the Jewish tradition.

Whether you are on the mat, on the cushion, on the pew, or on the rug, part of the practice is to remember. The question is: What are you remembering? Go back to that José Ortega y Gasset statement from the 6th offering, “Tell me to what you pay attention and I will tell you who you are.”

“You are the one who knows, behind
the rising, falling tide
of shadow, the moon is always

whole.”

– from Remember the Moon Survives, by Barbara Kingsolver

Remember the Moon Survives – by Barbara Kingsolver

Remember how to move into Child’s Pose (Balasana), but also remember it is the beginning and full of possibilities. Remember to soften into the breath and allow the breath to flow freely in and ebb gently out. Remember your intention.

When you move into Table Top remember to move with full awareness of your mind and body in the present moment. Remember to check your alignment. Press down so that the shoulders and shoulder blades are even with the rest of the back and your belly is firm. Engage your locks (bandhas) if that is part of your practice. Remember this is an opportunity to remember the connection between your mind, body, and spirit.

Remember to move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. So that, as the breath gets long and fine and deep, the movement gets richer – whatever that means to you in this moment.

On an inhale, stretch the right leg back, remembering to keep the hips level – even and equal to each other so that the low back doesn’t struggle. On an exhale, step the right foot in between the hands so that the foot is flat on the floor (with the right toes pointed forward). If the foot doesn’t easily land between the hands, scoop it forward with your hands. If needed, add a knee pad under the back knee. Pressing down evenly into both feet, lift your torso up and place hands on your right thigh. This is a form of Crescent Lunge (Anjaneyasana).

Use an exhale to slide the hips over the back knee and then place the back of the right hand on your sacrum (the flat part of your bum/hips) and place your left hand on the front of your pelvic bones. Your hands are now bracketing your hips. Slide the back hand down in order to direct the sit bones down. You may feel the front hand lifting as the pelvic bones lift. You may feel space opening up in your low back. You may also feel engagement in your left hip and thigh. Stay here or bend the front knee deeper into the lunge – remembering to maintain the space in your low back. Hands can come to your front thigh or reach the hands over head. If you have Hot Half Moon (Ardha Chandrasana) in your practice, feel free add it by lifting the left arm up and reaching it towards the right.

Remember to breathe. Remember to breathe into the heart. Crescent Lunge is one of the poses inspired by Hanuman, the monkey king in the epic poem The Ramayana. In the great adventure, Hanuman is asked to take giant leaps to save or rescue others. He hesitates, he doubts…and then he leaps. Again and again, he does what needs to be done to help others. At the end of the poem he revels what is in his heart: a devotion to God. Take a moment to remember what is in your heart.

After a few breaths, place the hands on the mat and step back to Child’s Pose. From Child’s Pose repeat the sequence again (from Cow Pose) , this time on the left side.

Once you’ve completed the second side and returned to Child’s Pose, inhale to Cow Pose and then exhale into Downward Facing Dog (Adho Mukha Svanasana).
Remember your can skip the arm balancing, by moving into Staff Pose (Dandasana) and positioning the arms accordingly or using “Dolphin Dog.”. Another modification would be to do the pose on the wall. Either way, remember to check your alignment – make sure your body is in the shape of capital A.

Remember to make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, remember to place your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Notice if you feel lighter or heavier when your feet are spaced further apart. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. Even if you have to bend your knees, remember to find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Remember, eyes are on your nose, your belly button, or the space between your toes.

Remember Downward Facing Dog is simultaneously an arm balance and a standing pose; a forward bend, as well as a back bend; and an inversion.
Stretch back (meaning, push your spine towards your thighs) and on an exhale walk your hands to your feet or bring your hands and feet together. Once hands are in line with the toes and heels are flat to the mat, inhale to a Half Lift/Flat Back or Extended Forward Bend. (This pose may be called Ardha Uttanasana or Urdhva Uttanasana.) Place your hands on your thighs and press the shoulders into the metaphorical back pockets. Remember, you want to engage in a similar fashion to Cow Pose, Staff Pose, and Downward Facing Dog. In fact, inhale and find a little bit of Cow Pose (even if you have to bend your knees). Now, press the heels down and – as much as you are able without losing the extension of the spine – engage the quadriceps to extend through the knees and press the thigh bones into the wall behind you. Engage your locks (bandhas) as you are able.

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, remember to stay here with knees bent. Otherwise, if it is not contraindicated, bend the knees and flex from the hips to prep Forward Bend (Uttanasana). Keeping the upper back extended, place the hands on the floor or a block and begin to extend through the legs while pressing the thigh bones into the backs of your legs. Do not force the extension. Use the exhales to settle the heart on the thighs (as much as you are able without losing the extension of the spine.) If your legs are completely straight, make sure the knee caps are lifted and that you are not hyper-extending the knees. Also double check to ensure that if the knees are straight the hips are over the knees, not behind the ankles. Remember to engage your locks (bandhas).

On an inhale, extend to Half Lift/Flat Back and on an exhale fold into the Forward Bend. If you are modifying and using the Half Lift throughout, keep the back in the position that feels similar to an intense Table Top and use the breath to extend the knees on an inhale and flex/bend them on an exhale. Remember to precisely match the movement to the breath. Remember all the ways you are mimicking your body’s natural tendencies (e.g., extending/flexing, lifting/grounding, creating/engaging, rising/falling, etc.).

Move into Staff Pose. Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend or extend both, as needed, and lower down onto your back for Corpse Pose (Savasana). Remember, just as the end of the inhale is the beginning of the exhale and the end of the exhale is the beginning of the inhale, this final pose is a beginning and an ending. Remember you are on the right path.

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me for a donation-based classes on Saturday, April 28th.

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body. They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. Thank you to everyone who attended the class on April 7th, and thank you to everyone who has already donated. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states…

## do yoga. share yoga. help others. ##

POSING – 2018 Kiss My Asana Offering #6 April 6, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Art, Baseball, Books, Buddhism, Changing Perspectives, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Hope, Karma Yoga, Life, Love, Meditation, Men, Minneapolis, Minnesota, One Hoop, Pain, Peace, Philosophy, Poetry, Texas, Twin Cities, Vairagya, Volunteer, Wisdom, Women, Writing, Yoga.
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“Each body has its art, its precious prescribed
Pose, that even in passion’s droll contortions, waltzes,
Or push of pain–or when a grief has stabbed
Or hatred hacked–is its and nothing else’s.
Each body has its pose. “

– from “Still Do I Keep My Look, My Identity…” by Gwendolyn Brooks

 

In Man and Crisis, the Spanish philosopher José Ortega y Gasset wrote, “Tell me to what you pay attention and I will tell you who you are.” The same concept applies to yoga. Some yoga teachers can watch someone practice and recognize what style and tradition the person normally practices. Some teachers, master teachers, can tell what other activities a person does besides yoga and/or what occupied the majority of their time when they were a child. Still other teachers (again, master teachers) can look at a practitioner in a pose and describe certain psychological and emotional aspects of the person’s personality and life.

I’ve witnessed teachers do all of the above. And, it’s fascinating! It seems magical! But, what quickly becomes obvious is that these teachers aren’t magic – they are simply describing what they see in the body. Our biology is our biography, because everything we experience has a place in the body and in the mind. Therefore, everything we experience is in us and in our poses.

Consider, for a moment, the first pose you loved to practice. Ask yourself why you loved that pose and remember how you felt in that pose. Consider how that pose (and you in that pose) reflected that particular time in your life. Now, consider how the pose, your body, you, and your life have changed over time. You can do the same with the first pose you hated to practice.

You can do the same with a pose you barely consider important to your practice, even though you do it on a regular basis. Write down your thoughts and then have someone take a picture of you in the pose. When you come into the pose, really focus on how you practice the pose. Notice what you notice when you look at the picture.

“Still Do I Keep My Look, My Identity…” by Gwendolyn Brooks

Move into Child’s Pose (Balasana) as if you are moving into a new house. Take your time to balance the effort and relaxation inherent in the pose. Watch the breath. Pause and take in the landscape that is your mind and your body in this present moment.

When you move into Table Top – hands and knees to the mat with shoulders over elbows and wrists, hips over knees – or into a seated position if that is more accessible, move as if you are taking a leisurely stroll. Take your time, and pause to get the lay of the land. Double check your alignment. Press down so that the shoulders and shoulder blades are even with the rest of the back and your belly is firm. Engage your locks (bandhas) if that is part of your practice. Notice how you feel in the pose (physically, mentally, emotionally, and energetically).

Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. So that, as the breath gets long and fine and deep, the movement gets richer – whatever that means to you in this moment.

Pause with the spine back in Table Top position and then move into Staff Pose (Dandasana). Sit down with your legs straight out in front of you. Sit up on a blanket or a block if you have a lot of tightness/stiffness in the back of your body. Press your heels down into the ground, flex the ankles so the toes reach for the nose, and then spread the toes. At the same time, fire up your thighs and engage the quadriceps (the four muscles at the top of your things) in order to lift the knee caps into their full extended position. Press the sit bones and hands down (with the hands next to the hips). If this engagement is too extreme, bend knees or place the hands behind the hips (but still wide enough to just barely be outside of the hips).

As if they are seeds you are planting, push your shoulders and everything touching the floor, the mat, or a prop down into the earth. Allow your heart to blossom. With your eyes on your nose, watch your breath and notice how you feel in the pose (physically, mentally, emotionally, and energetically).

Engage your locks (bandhas) as described yesterday’s practice. Changing as little as possible, lift the arms over the head, with wrists in line with the shoulders, and turn the palms up so that the finger tips point towards the wall behind you. Extend the elbows and, as much as you are able, rotate them towards your nose. Keeping the shoulders down the back, push the whole body down to lift the heart and the arms up. If this is too much intensity for the shoulders, modify by bending the elbows to 90 degrees and extending the wrists rather than flexing them. Again, notice how you feel in the pose (physically, mentally, emotionally, and energetically).

NOTE: If you want to skip the arm balancing below, move back into Staff Pose (Dandasana) and then repeat the arm positioning above before moving into the Sage Twist. Another modification would be to do the pose on the wall.

For the arm balance Downward Facing Dog (Adho Mukha Svanasana), return to Table Top – engaging as you did at the beginning of the practice. Curl your toes under; then use your arms and legs, hands and feet to lift your hips up in the air. Check to make sure all your fingers are spread wide, with the majority of the weight/pressure in your hands moving into the thumb and first finger. (So that, there is less weight/pressure applied to your outer wrists.) When you relax your head and shoulders, make sure your big toes are parallel to each other and at least a foot apart. Big toes can be behind the thumbs or behind the middle fingers. Notice if you feel lighter or heavier when your feet are spaced further apart. Hips are high, heels are low (reaching, but not necessarily touching the mat); and neck is long. Even if you have to bend your knees, find Cow Pose in this position (so that you have a straight line from your middle fingers all the way up to your hips and then a second straight line from your hips to the back of your knees). Eyes are on your nose, your belly button, or the space between your toes.

If you are staying off of your wrists or need something to minimize stress on the shoulders, bring the elbows to the mat when you are in Table Top and lift your hips up for “Dolphin Dog.”

No matter which variation you choose, notice how and what you feel (physically, mentally, emotionally, and energetically). Downward Facing Dog is simultaneously an arm balance and a standing pose; a forward bend, as well as a back bend; and an inversion. The only category missing from the pose is a twist (and, some would say, a hip opener) which you can add in several different ways. Just explore, play. Notice if you access some aspects of the pose more than others. Notice how you feel about the suggestion to explore, play.

Practicing with my big dawgs20151122_191851

Move back into Staff Pose. Keep the left leg extended and bend the right knee in order to set up the Sage Twist. Remember to keep the left heel and the right foot flat on the floor. You can place the right foot next to the inside or the outside of the left leg, as long as the knees are comfortable and the right foot is flat on the floor.

On an inhale, lift your right arm up and, as you watch it, reach the right arm back to the floor behind your hips. As you settle into the twist, adjust your left arm to provide additional support wherever you need it. You can always sit on a block and/or place a block under your hand if you’re hips and low back are really tight. If you don’t have a block, substitute a book.

Watch how you engage your base, your core, and your breath. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend or extend both, as needed, and lower down onto your back for Corpse Pose (Savasana). Allow your whole self to take up space. Notice how it feels to breath, to live, in this space.

This opportunity to explore a poem on the mat is part of my offering for the 2018 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with the poem as inspiration. You can practice in a class or on your own, but since the Kiss My Asana yogathon raises resources as well as awareness, I invite you to join me at one of the donation-based classes listed (April 7th and April 28th).

I also challenge you to set aside a certain amount every day that you practice with a poem in mind. It doesn’t matter if you set aside one dollar per practice or $25 – set aside that amount each time you practice and donate it by April 30th.

Founded by Matthew Sanford, Mind Body Solutions helps those who have experienced trauma, loss, and disability find new ways to live by integrating both mind and body.  They provide classes, workshops, and outreach programs. They also train yoga teachers and offer highly specialized training for health care professionals. By participating in the Kiss My Asana yogathon you join a global movement, but in a personal way. In other words, you practice yoga. Or, as this year’s tag line states, “do yoga. share yoga. help others.”

Side Note: Although, I’m not the girl in the picture, I met Gwendolyn Brooks around this same time. She smiled, signed a book, for me; said words I don’t remember. What I do remember was feeling joy and the sheer power of her presence. I also remember wondering how in the world so much power, beauty, strength, wisdom, and intellect could be contained in such a small body.

## do yoga. share yoga. help others. ##