jump to navigation

First Friday Night Special #9: “The Effort to Free/Liberate Yourself from…” (a post practice post) July 3, 2021

Posted by ajoyfulpractice in Books, California, Changing Perspectives, Depression, Faith, Fitness, Healing Stories, Health, Hope, Karma, Karma Yoga, Life, Loss, Pain, Peace, Suffering, Traditional Chinese Medicine, Tragedy, Wisdom, Women, Yin Yoga, Yoga.
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
add a comment

[This is the post for the “First Friday Night Special” #8 from July 2nd. This was a restorative practice with opportunities with a lot of stillness and silence.

You can request an audio recording of Friday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.

In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.

Check out the “Class Schedules” calendar for upcoming classes.]

“On June 7, [Medgar] Evers spoke at a rally in Jackson. The speech Evers gave was one of the most emotional of his career:

‘Freedom is never free… I love my children and I love my wife with all my heart. And I would die, die gladly, if that would make a better life for them….’

Five days later, Medgar Evers was dead.”

– quoted from “Chapter 2 – A Short but Heroic Life: The Jackson Movement” of The Assassination of Medgar Evers by Myra Ribeiro

Like a lot of people associated with the United States, this is the time of year when I my mind keeps thinking about Freedom, Liberation, and Independence. Since I was born in Texas, I’ve celebrated Juneteenth all my life. And, even though I don’t always mention it around this time, I often think about what it must have been like for Sengbe Pieh (also known as Joseph Cinqué) and the other enslaved Mende, West Africans who revolted on the Amistad around July 1, 1839 – and how John Quincy Adams (then a 73-year old former president and, at the time an active member of the House of Representatives) helped them secure their freedom through the U. S. Courts system. I think about how Caeser Rodney, a Delaware delegate of the American Continental Congress and Brigadier General of Delaware Militia (just to name a few of his roles), rode two days in – across muddy roads, rickety bridges, slippery cobblestones, and swollen streams; enduring extreme heat, dust, and thunderstorms; all while suffering from suffering from asthma and wearing a face mask to cover his cancer-ravage jaw – just to represent his constituents and “vote for independence” today in 1776. And, I know, he wasn’t specifically riding for me (or people like me), but that’s not the point.

My point in bringing him up every year is the same reason I think about (and want others to think about) why John Adams (who would go on to become president) thought people would be celebrating today, July 2nd, as “the most memorable Epocha, in the History of America” (according to a letter he wrote to his wife Abigail on July 3, 1776). It’s also why I talk about a descendant of slaves who was born today in 1908, given the name Thoroughgood Marshall, and grew up to become chief counsel for the NAACP and a United States Supreme Court Justice.  Finally, it’s why I’ve been known to reference Medgar Wiley Evers, the Civil Rights activist who was born today in 1952, worked as Mississippi’s field secretary for the NAACP, and served in the United States Army during World War II – before he was assassinated because people objected to his efforts to overturn segregation and enforce voting rights for African Americans.

Within that last sentence is my ultimate point: Freedom, Liberation, and Independence require effort – effort that should be celebrated rather than taken for granted and/or forgotten. While I highlight the efforts that take place on a national, constitutional, and legal front, let us not forget that freed, liberation, and independence also have to be achieved on a personal front. And that too requires effort: physical, mental, emotional, and energetic effort.

“Who is free? The free must certainly be beyond cause and effect. If you say that the idea of freedom is a delusion, I shall say that the idea of bondage is also a delusion. Two facts come into our consciousness, and stand or fall with each other. These are our notions of bondage and freedom. If we want to go through a wall, and our head bumps against that wall, we see we are limited by that wall. At the same time we find a willpower, and think we can direct our will everywhere. At every step these contradictory ideas come to us. We have to believe that we are free, yet at every moment we find we are not free. If one idea is a delusion, the other is also a delusion, and if one is true, the other also is true, because both stand upon the same basis — consciousness. The Yogi says, both are true; that we are bound so far as intelligence goes, that we are free so far as the soul is concerned. It is the real nature of man, the soul, the Purusha, which is beyond all law of causation. Its freedom is percolating through layers of matter in various forms, intelligence, mind, etc. It is its light which is shining through all.”

– quoted from the commentary on Yoga Sūtra 2.20 from Raja Yoga by Swami Vivekananda

In Yoga Sūtra 2.18, Patanjali breaks down the composition of the “objective world” – that which we can sense – and explains that “has a twofold purpose: fulfillment and freedom. He goes on, in the subsequent sūtra, to further breakdown the range of the inherent forces that make up the world, thereby giving some explanation as to how one might understand (and even attempt to explain) the nature of things. However, in Yoga Sūtra 2.20 he throws a bit of a curveball – one he had already warned was coming: We can only see what our mind shows us.

In other words, we can only understand the freedom and fulfillment that is promised when we are ready to understand the freedom and fulfillment that is promised. Furthermore, as long as we are stuck between freedom and bondage, we will interact with others through that same paradigm. We will do things that create suffering and, therefore, create bondage. Here I am talking about physical and legal bondage as well as mental, emotional, energetic, and spiritual bondage. There are, after all, multiple ways to hold someone back or hold someone down. And, on a certain level, it doesn’t matter if that “someone” is our self or someone else. Ultimately, our belief in bondage goes hand-in-hand with our attachment to the things that cause suffering. Just as effort is required to break physical and legal shackles, effort is required to break mental, emotional, energetic, and spiritual shackles.

Just a few years before I did my first yoga teacher training, I was in a situation where most of my yoga practice was through an online practice group and via Steve Ross’s Inhale. Yes, it’s had for even me to imagine myself getting up for a yoga class that was broadcast (on the Oxygen Network) at 5 or 6 AM, but that’s what I did off and on for about 6 months out of a year. I loved the practice so much that at one point I looked up his book. Steve Ross’s Happy Yoga: 7 Reasons Why There’s Nothing to Worry About is where I first heard two of my favorite elephant stories – although one is really, really horrible.’

According to the horrible story, circuses train elephants by shackling them when they are very young. The metal shackle is first attached to chain (maybe about 12 feet long) that is driven into the ground with a metal stake. You can imagine what happens if the young elephant manages to pull the stake up and make a run for it. After some years, the metal stake is replaced with a wooden stake. Then, the stake is removed but the chain remains. Eventually, the chain is removed and then, finally, the shackle may be removed. Despite no longer being physically tethered, the adult elephant has been conditioned to stay within a 12-foot radius – and so it does.

“Forever and truly free,

The single witness of all things.

But if you see yourself as separate,

Then you are bound.”

“If you think you are free,

You are free.

If you think you are bound,

You are bound.

For the saying is true:

You are what you think.”

– quoted from The Heart of Awareness: A Translation of the Ashtavakra Gita (1.7 and 1.11) by Thomas Byrom

What is true about the elephant is also true about human beings (and the nature of human beings): effort is required to shackle someone and effort is required to be free of the shackles. The effort and the shackles can be physical. They can, simultaneously and independently, also be mental, emotional, energetic, and spiritual. As an example, consider something that has been in the news pretty much since the tignon laws were passed in New Orleans in 1786: Black people’s hair.

Tignon Laws required women of color to wear head coverings in public so that, no matter how fair (in complexion), how “elegantly” dressed, and/or how (legal) free the woman might be she could be identified as someone who could – under the “right” circumstances – be bought and sold at will (just not her will), and thus could be treated accordingly. A similar law, established in the French colony of Saint-Domingue in 1776, prohibited women of color from wearing shoes – again, with the intention of subjugating the women. In both cases, the women the laws were intended to shackle turned the restrictions into fashion statements that extended beyond the statutes. They kept their spirits up and took back some of their power… but they were still marginalized.

As integration moved into the workplace, some American corporations created employee manuals which included acceptable and unacceptable hairstyles and/or blocked the advancement of certain people based on their hairstyles. While many were (and are) quick to say that the hairstyles in question were “unprofessional,” the hairstyles were (and are) consistently traditional ways to manage and style Black hair. By traditional, I mean that you would see these hairstyles in pre-colonial Africa. Equally important, these are hairstyles that could/can be achieved without harsh chemicals. In other words, they are natural….yet, they were deemed unnatural by people with different hair textures and types.

On July 21, 1976, the United States Court of Appeals, Seventh Circuit, upheld an earlier ruling in favor of Beverly Jenkins (in Jenkins v. Blue Cross Mutual Hospital Insurance Inc.) – although they had previously restricted how far the ruling could be applied. Ms. Jenkins had sued her former employer (in Indianapolis) on the grounds that she had been denied “promotions and better assignments” and was ultimately terminated “‘because of her race, sex, black styles of hair and dress,’ in violation of Title VII of the Civil Rights Act of 1964, 42 U.S.C, 2000E et seq. and 42 U.S.C, 1981.” The basis of her lawsuit? She wore her hair in an afro.

Despite the aforementioned 1976 ruling, a New York court ruled against a woman who sued American Airlines in 1981, because (the court) decided that “an all-braided hairstyle is a different matter” than an afro, because it was an “artifice.” Strictly speaking in terms of word meanings, “artifice” is defined as “clever or cunning devices or expedients, especially as used to trick or deceive others.” Keep that definition in mind when you consider that the same New York woman who was told that she could not braid her natural hair and keep her job “even if [the hairstyle was] socioculturally associated with a particular race or nationality,” could use lye to straighten her hair (so it appeared a different texture) and then curl it (or even dye it) and still keep her job. She could do all of that even though it would result in a hairstyle “associated with a particular race or nationality”… it just happened to have been the politically acceptable race.

There are similar cases over the last forty years, including situations with school children and even student athletes who have been allowed to wear their natural hairstyles one week and then told they had to cut their hair – or not compete – another week. On July 3, 2019, the CROWN (Create a Respectful and Open Workplace for Natural Hair) Act (SB188) was signed into law under California’s Fair Employment and Housing Act (of 1959) and the California Education Code. New Jersey and New York adopted similar versions of the bill and other states, including South Carolina, are following suit. But, those laws don’t protect people in all over the country and they don’t apply outside of the country.

“Back in 1964, a hotel manager named James Brock dumped hydrochloric acid into a swimming pool that Black protesters had dived into as a form of protest against segregation, leaving the swimmers with chemical burns. In 2018, a white man demanded that a Black woman show her ID to swim at a private community pool in North Carolina, despite there being no official rules at the time stating that she needed to show any form of identification to enter the area. When she rightfully refused, he called the police.”

– quoted from the July 30, 2020 InStyle article entitled, “Olympic Swimmer Simone Manuel on Her Haircare Routine and Why More Black Women Should Get in the Pool” by Kayla Greaves

Recently, as in today/Friday, it was announced that swimming caps designed for natural Black hair will not be allowed at the Tokyo Olympics. This was decided by FINA (Fédération Internationale de natation; English: International Swimming Federation), the Switzerland-based governing body, who said (a) that the caps – designed in conjunction with an Olympic athlete – “[did not follow] the natural form of the head” and that to their “best knowledge, the athletes competing at the international events never used, neither require to use, caps of such size and configuration.” Now, if you don’t see a problem with this situation, I don’t blame you; however, I would encourage you to consider – visualize even – the makeup of the people making the decision and the makeup of the people being affected by the decision. Consider, also, the governing body’s “best knowledge” doesn’t really include a lot of Black bodies. Alice Dearing, the Olympian who worked with Soul Cap, will be the first Black woman to represent Great Britain in an Olympic swimming event. Ever.

Two-time Olympian Enith Brigitha, born on Curacao, swam for the Netherlands in the 1970’s and became the first woman of African descent to win an Olympic medal (bronze in the 100 and 200 freestyle at the 1976 Montreal Olympic Games). She also set five short course records and won a silver medal and two additional bronze medals at the World Championships (and some say she would have won an Olympic gold were it not for circumstances beyond her control). She was swimming during a time when, in America at least, de-segregated pools was still a new concept, and not one that was evenly enforced. She was also competing at a time when no one else looked her in the pools where she was competing. In pictures, her hair is cut short. If you look at a picture of her with her peers, all fresh from the pool, some of the other young ladies also have short hair; however, like today, the majority swam with ponytails or pigtails.

In 1988, Boston University’s Sybil Smith became the first African-American woman to score in a NCAA final and the first to be a first-team Division I All-American. In 1999, Alison Terry became the first Black woman to make a U.S. National Team when she qualified for the Pan American Games. In 2004, Puerto Rican-born Maritza Correla became the first African-American to represent the United States at the Olympics – she won a silver medal as part of the 400-yard freestyle relay team. That same year, a French swimmer named Malia Metella won a silver medal in the 50 freestyle – which was the highest individual Olympic placing for a Black female swimmer. Ten years later, at the 2014 World Short Course Championships in Doha, a Jamaican swimmer named Alia Atkinson became the first Black woman to win a swimming world title. Just a few months later, at the beginning of 2015, there was the first all African-American podium an NCAA swimming championship, when Division I athletes Simone Manuel, Lia Neal, and Natalie Hinds placed first, second, and third (respectively) in the 100-yard freestyle. Simone Manuel would go on to become the first Black woman to win Olympic gold as a swimmer (2016), setting an Olympic and an American time record in the process. Since 2016, she has won three additional individual world championship titles and is planning to compete defend her title in Tokyo.

“‘It is kind of emotional as well… Being a swimmer in a predominantly white sport just exacerbates it in my mind so I am just hyper aware of everything. I am the only Black swimmer on the deck every day. That is something I have always noticed, but now it affects me. All those feelings you suppress as a kid.’

[Natalie] Hinds said there are situations that she sees all the time from people comparing he hai to a poodle, to specific comments about her race.”

– quoted from the September 1, 2020, Swimming World article entitled, “Natalie Hinds Discusses ‘Fighting to be Equal,’ Using Her Platform in Fireside Chat With Elizabeth Beisel” by Dan D’Addona, Swimming World Managing Editor

Natural hair, regardless of race or ethnicity, is classified by curl type – typically ranging from “straight” which would theoretically fall in a 0 or 1 category to 3 graduating types of 2, 3, and 4. So, there are 6 types that are visually recognizable as “wavy,” “curly,” and/or “kinky.” As mentioned above, Enith Brigitha wore her hair short. In 1988, Sybil Smith’s hair was relaxed (i.e., chemically straightened) and in most pictures it appears relatively short. That same is true of Malia Metella. Alison Terry’s hair appears to be 2 (B or C, but maybe 3A) and Maritza Correla’s hair appears to be type 3; meaning they could both (theoretically) pull their dry hair into a ponytail and when their hair is wet it would still hang around their shoulders. This same seems to be true for Alia Atkinson and Lia Neal.

Natalie Hinds appears to wear her hair natural, sometimes with braids, (and possibly has a 4A curl); but, in most of her public facing pictures she’s wearing her swim cap – and her hair is clearly pushing the limits of the cap. Simone Manuel sometimes wears her hair long, and has been featured in articles about natural hair care where she said (in 2020), “…I’m someone who genuinely feels that if you want to be successful in something, then sometimes you have to make sacrifices. And for me, part of that is my hair.” No shade to my hometown-sister – and I get that chlorine is harsh on hair – but I can’t helping wondering when one of her peers had to “sacrifice” their hair for their ambitions. I also can’t help but think of a dear, dear friend of mine, who is slightly older than me, and who once said that when she was growing up (here in the States) she didn’t realize having natural (unprocessed) hair was an option.

Even if we disregard all of the stereotypes about Black people and swimming that have been perpetuated over the years, the bottom line is that this is the bulk of FINA’s “knowledge” related to Black hair and Olympic swimmers. Take a moment to really notice that even as I have grouped the ladies and their hair, I’ve left out some significant facts pertaining to why their hair is so different – even within those groupings. Even more to the point, I’m willing to bet money that most of the nine athletes mentioned above use completely different hair products than the other aforementioned athletes.

“Intelligence is connected with the brain, but behind intelligence even stands the Purusha, the unit, where all different sensations and perceptions join and become one. The soul itself is the centre where all the different perceptions converge and become unified. That soul is free, and it is its freedom that tells you every moment that you are free. But you mistake, and mingle that freedom every moment with intelligence and mind. You try to attribute that freedom to the intelligence, and immediately find that intelligence is not free; you attribute that freedom to the body, and immediately nature tells you that you are again mistaken. That is why there is this mingled sense of freedom and bondage at the same time. The Yogi analyses both what is free and what is bound, and his ignorance vanishes. He finds that the Purusha is free, is the essence of that knowledge which, coming through the Buddhi, becomes intelligence, and, as such, is bound.”

– quoted from the commentary on Yoga Sūtra 2.20 from Raja Yoga by Swami Vivekananda

Letting go of what binds us and restricts us requires effort. It often requires external as well as internal effort – although, more often than not, those two go hand-in-hand. However, we can’t begin the process without acknowledging our tethers: our shackles, our chains, and our metal or wooden stake. We have to recognize what is being done to us, what we are doing to ourselves, and what we are doing to others.

This can sound all theoretical and metaphorical, but one way to think about it is to just acknowledge where you are holding tension in your mind-body. What is limiting you physically? What mental and/or emotional limitations are in balance? Even if you don’t completely understand (or believe) the energetic and spiritual ramifications of those physical-mental-emotional blocks, take a moment to consider what freedom, liberation, and independence mean to you – and then go to your “Freedom Place” and feel those embodied qualities.

Just like people have “Happy Places” that we can visualize (or sometimes, remember), I think it’s a good idea to have a “Freedom Place.” Your Freedom Place might be your Happy Place. It might be a real place and/or a real memory. Of course, it could just be a feeling, a combination of sensations. No matter how you come to understand it, know that in your Freedom Place you can take the deepest breath you’ve taken all day, every day, because you are:

  • Free of fear, doubt, anxiety, grief and anything else that shackles us (and others).
  • Liberated from the bondage of judgement and strong emotions or passions – which, remember, comes to us from the Latin by way of Old French and Middle English, from a word that means “suffer.”
  • Independent of responsibilities and burdens.

In your Freedom Place, you are carefree, but not careless. In your Freedom Place, there is no tension in your body or your mind and you recognize your possibilities. Of course, to feel this free we have change the condition of our hearts and minds – so that we change our understanding. To liberate ourselves from judgement (including self-recrimination), we must develop some insight into the attachments (shackles) that lead to suffering. Finally, being independent of our burdens requires us to lay our burdens down. When we lay our burdens down, we can either walk away from what no longer serves us – and maybe never served us – or we can choose to pick up our opportunities. Just so you know; opportunities are lighter than burdens. Furthermore, when we have a lighter load, we can share someone else’s load without feeling like it’s an imposition. When our load is light, we gratefully and joyful, can help others.

“None of us got where we are solely by pulling ourselves up by our bootstraps. We got here because somebody – a parent, a teacher, an Ivy League crony or a few nuns – bent down and helped us pick up our boots.”

– Supreme Court Justice (and former NAACP chief counsel) Thurgood Marshall referencing his SCOTUS successor in a Newsweek interview (dated October 28, 1991)

Even when we can’t name everything that holds us down and holds us back, even when we don’t find it particularly helpful to name things, we can come to the mat and start the process of releasing, relaxing, and breathing. Remember, breath is our ultimate (“pranic”) tool. We can use it to bring awareness to different areas in the body and then to release tension in those areas. We can use it to create space and then, also, to engage space. It can set our pace in a moving practice and allow us to stay centered and grounded in every practice. The way we breathe can affect our mood (and overall emotional state) in positive way or in a detrimental way. And, while the goal in yoga is always to take the deepest breaths you’ve taken all day, some practices cultivate a deeper breath right off the bat. One such practice is a Restorative Yoga practice.

You can think of Restorative Yoga and Yin Yoga as 1st cousins – in that they resemble each other on outside, but the internal experience is different. There are a lot of times in a Yin Yoga practice when people can’t wait to get out of a pose (and there may be a lot of groaning and moaning as they come out). With Restorative Yoga, however, sometimes people want to stay in a pose a little longer – even when the pose is held for twice as long as you would hold a Yin Yoga pose. There also tend to be more sighs than groans (and less cursing of my name). Both practices can be really prop-heavy, but it is (in some ways) easier to practice restorative without the props. The practice we did for the July “First Friday Night Special” featured three of the most common Restorative Yoga poses, a very soft twist, and a super sweet variation I recently learned from Aprille Walker, of Yoga Ranger Studio. (Because, like you, I’ve been practicing online.) There’s also a lot of silence and stillness!

“Practiced regularly, [Frog or Child’s Pose] also improves your breathing and your elimination…. The quality of our elimination is directly tied to the quality of our respiration. And, so, tension in the low abdomen and back can directly impact the quality of our ability to eliminate regularly.”

– Scott Blossom, explaining detoxification benefits of Mandukāsana

Friday’s playlist is available on YouTube and Spotify. [Look for “030521 Give Up, Let Go, Trustful Surrender” PLEASE NOTE: I recommend doing this practice in silence or using one of the first two tracks on the playlists. The first tracks are similar, but only YouTube has my original choice for the 2nd track.]

### “FREE YOUR MIND / AND THE REST WILL FOLLOW” ~ En Vogue ###

Preview: A Wall, Two Roads, A Streetcar, and A Hot Tin Roof walk into a yoga studio… March 26, 2019

Posted by ajoyfulpractice in Art, Books, California, Changing Perspectives, Depression, Faith, Healing Stories, Health, Hope, Life, Loss, Love, Meditation, Men, Minneapolis, Minnesota, Movies, Peace, Philosophy, Poetry, Robert Frost, Suffering, Tennessee Williams, Traditional Chinese Medicine, Women, Writing, Yoga.
Tags: , , , , , , ,
4 comments

“Something there is that doesn’t love a wall,

That sends the frozen-ground-swell under it,

And spills the upper boulders in the sun;

And makes gaps even two can pass abreast.”

– excerpt from the poem Mending a Wall by Robert Frost

 

“The violets in the mountains have broken the rocks. The world thirsts after sympathy, compassion, love.”

– excerpt from the play “Camino Real” by Tennessee Williams (The first sentence is also the epitaph on his grave)

There are people in the world who will say you haven’t read poetry until you read Robert Frost, and Southerners in the world who will say you haven’t seen a play until you’ve seen Tennessee Williams. Born 77 years and over 2,000 miles apart, these two literary icons shared a birthday (3/26) and way with words that can make you pause, look again…and again. Once or thrice you may even wonder how many ways you can see/interpret/understand what has been said, and how it applies to your life.

One of Robert Frost’s most famous, and perhaps most popular, poems is about the “road not taken” – even though people often mistake it for “the road less traveled.” The poem is about as much about perspective as it is about the way we tell a story (and the fact that the way we tell a story can change the story).

Maty Ezraty once said that every yoga practice should be like a good story. And, with any story, each character has a different purpose and a different point of view. In our practice, each pose/sequence gives each part of our bodies and minds an opportunity to tell their story. There are hundreds of poses and hundreds, thousands – maybe even millions – of ways to move into and out of pose. And each one of those ways gives us another way of looking at the story. The tricky thing is, sometimes we keep coming back to the story the same way. While we may all have a favorite story we read again and again, what happens when we view the story from a different perspective?

“We have to use a spell to make them balance:

“Stay where you are until our backs are turned!”

We wear our fingers rough with handling them.

Oh, just another kind of out-door game,

One on a side. It comes to little more:

There where it is we do not need the wall:

He is all pine and I am apple orchard.

My apple trees will never get across

And eat the cones under his pines, I tell him.

He only says, “Good fences make good neighbours.”

Spring is the mischief in me, and I wonder

If I could put a notion in his head:

“Why do they make good neighbours? Isn’t it

Where there are cows? But here there are no cows.

Before I built a wall I’d ask to know

What I was walling in or walling out,

And to whom I was like to give offence.”

– excerpt from the poem “Mending a Wall” by Robert Frost

Parighasana (Gate Pose) stretches the pelvic area and hamstrings, while also engaging the sides of the torso and abdomen eccentrically (up side) and concentrically (down side). According to B.K.S. Iyengar’s Light on Yoga, the pose “keeps the abdominal muscles and organs in condition and the skin around the abdomen will not sag but remain healthy. The sideways spinal movement will help persons suffering from stiff backs.” Another aspect of the pose is what happens to the heart area – not only physically, but emotionally.

“What is straight? A line can be straight, or a street, but the human heart, oh, no, it’s curved like a road through mountains.”

– excerpt from the play “A Streetcar Named Desire” by Tennessee Williams

Swami Rama from the Himalayan tradition said that we have three hearts: a physical heart, which for most of us is on the left side; an emotional heart on the opposite side, which for most of us is on the right; and an energetic heart that connects the two. Additionally, in yoga and other Eastern healing arts, energy for the heart flows through the arms. In Parighasana, we have the opportunity to open up the shoulders (physically) and open the gates on all sides of the heart (emotionally and energetically).

Two of my favorite lines from Robert Frost poems speak of wisdom and delight, and the gift that comes from giving our whole selves. Every time I step on a yoga mat, I experience the wisdom and the delight. I also experience a plethora of gifts. One of those gifts is how the practice affects the mind. In Cat on a Hot Tin Roof, Brick acknowledges that he is an alcoholic, but doesn’t seem to want to give up his drinking because, “It’s like a switch, clickin’ off in my head. Turns the hot light off and the cool one on, and all of a sudden there’s peace.” But then, as his father points out to him, there is the morning.

Yoga brings peace without the hangover. Another thing to consider is that the practice has a way of opening the heart so we can get to the violets.

“To me, its meaning is simple. The hard, the cold, the oppressive will—at long last—be broken apart by a force that is beautiful, natural, colorful, alive.”

– Patricia Clarkson explaining way she was quoting Tennessee Williams during a 2009 HRC New Orleans Dinner speech

### NAMASTE ###

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.
Tags: , , , , , , ,
add a comment

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. ###

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

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Bhakti, Books, Buddhism, California, Changing Perspectives, Confessions, Depression, Dharma, Donate, Dr. Martin Luther King, Jr., Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Karma Yoga, Life, Loss, Love, Mala, Mantra, Meditation, Men, Minneapolis, Minnesota, Movies, Music, Mysticism, One Hoop, Pain, Peace, Philosophy, Poetry, Rabbi Abraham Joshua Heschel, Suffering, Super Heroes, Surya Namaskar, Texas, Traditional Chinese Medicine, Tragedy, Twin Cities, Uncategorized, Vairagya, Vipassana, Volunteer, Wisdom, Women, Writing, Yoga.
Tags: , , , , , , , , ,
add a comment

“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. ###

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.
Tags: , , , ,
add a comment

“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. ###

Quick Announcements and A Thank You! May 3, 2017

Posted by ajoyfulpractice in Art, Black Elk, Buddhism, California, Changing Perspectives, Depression, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Karma, Karma Yoga, Life, Loss, Meditation, Men, Minneapolis, Minnesota, Music, One Hoop, Pain, Peace, Philosophy, Suffering, Texas, Tragedy, Twin Cities, Vipassana, Volunteer, Wisdom, Women, Yoga.
Tags: , , , , , , ,
add a comment

First, the thank you:

I am deeply grateful to everyone who participated in this year’s Kiss My Asana yogathon to benefit Mind Body Solutions. It doesn’t matter if you made a donation online, attended a donation-based class, hosted a donation-based class, or asked a question (and, maybe, are still waiting on my answer) – either way, you made a difference in how we view yoga and how we, as part of the yoga community, keep our sacred circle open to all bodies and all minds. During one class in particular, when I listed all the types of people who can benefit from adaptive yoga, I found myself referencing every person in the room. Just a reminder that it’s not about modifications, it’s about the practice.

Thank you, also, to Sandra Razieli for spending part of her birthday weekend co-teaching with me!

Thus far, we’ve raised $855 this year to support the Mind Body Solutions Solutions, where awakening the connection between mind and body transforms trauma, loss, and disability into hope and potential.

Oh, and by the way, you can still donate here!

 

And now, the quick announcements:

May the 4th is with us! While I am sad to report that I will not be leading any Star Wars yoga classes this year, I am very excited about returning to the Walker Art Center to facilitate meditation during MN Artists Presents: Marcus Young (5 – 9 PM). This free event is kid-friendly and has a lot of mindfully interactive moments. For more information, check out the event page or the Walker’s Facebook page. (Please note: road closures may create delays and detours. Breathe deeply. And may the force be with you.)

IMG_20170503_233232

Finally, my YMCA classes will have subs on Friday night (5/5), Saturday morning (5/6), and all day Sunday (5/7). Enjoy!

###

2017 KISS MY ASANA QUESTIONS #5, 6, & 7: IF YOU COULD RECOMMEND ONE BOOK…? April 15, 2017

Posted by ajoyfulpractice in 31-Day Challenge, Books, Buddhism, California, Changing Perspectives, Daoism, Donate, Faith, Fitness, Healing Stories, Health, Karma Yoga, Life, Meditation, Men, Minneapolis, Minnesota, Peace, Philosophy, Science, Tantra, Taoism, Texas, Twin Cities, Volunteer, Wisdom, Women, Writing, Yin Yoga, Yoga.
Tags: , , , , ,
add a comment

“If you could recommend one book about yoga that really impacted your practice, what book would that be?”

 

“If you could recommend one book about meditation, what would it be?”

 

“Is there a book that would help a beginner like me establish a daily practice?”

– E

There might be more books on yoga and meditation than there are ways to practice yoga and meditation. I know for sure that there are so many books on each it is sometimes hard to narrow things down to a single recommendation. Even if I had read everything that’s ever been printed – and nothing else was ever printed (which would be a shame since one of my teachers is currently working on her first book) – and even if I only focused on books that really impacted my practice, I would still end up with a bag full of books.

Jan 2016 Yoga Books 56

(NOTE: The picture above is missing Leslie Kaminoff’s Yoga Anatomy, Steve Ross’s Happy Yoga, Stephen Cope’s The Wisdom of Yoga, all my Yin Yoga and Taoist texts, a copy of the Ramayana, and Alanna Kaivalya’s Myths of the Asanas, at the very least.)

Part of me wants to break this down into a book on the physical practice versus a book on the philosophy; however, sitting with WHY I want to make that distinction, brings me to one very comprehensive option: T. K. V. Desikachar’s The Heart of Yoga: Developing A Personal Practice.

Desikachar was the son of Sri Krishnamacharya, who was the teacher responsible for the resurgence of yoga in 20th Century India. Krishnamacharya taught Desikachar, B. K. S. Iyengar, Sri Pattabhi Jois, and Indra Devi – who all had a hand in bringing the physical practice of yoga to the West. Each of the teachers mentioned above wrote at least one book which impacted someone’s yoga practice (including mine), and all of them have had books written about them. Desikachar’s The Heart of Yoga is simultaneously about yoga and about a teacher’s teacher. It is also a practice manual with a heavy focus on the philosophy. Unlike some other books I might refer to as practice manuals, The Heart of Yoga not only offers an overview of the 8-limb philosophy of yoga, it includes a translation of the Patanjali’s Yoga Sutras. (NOTE: Patanjali’s Yoga Sutras are 196 aphorisms. Most books on the sutras include each aphorism, plus a translation and commentary for each aphorism. I use several sources for translation/commentary comparative analysis; however, my go-to resource is a website by Swami J, of the Himalayan tradition.) The Heart of Yoga gives practitioners of any fitness or experience level the opportunity to build a physical practice, while also maintaining a connection to the overall philosophical practice.

My similar dilemma regarding a book on meditation could be resolved by recommending a book on yoga mediation… and a book from each of several different Buddhist traditions…plus a book on the Kabbalah…and a book on Catholic contemplation and…..You get the idea. But, when it gets right down to it, there’s one book I am continually giving away – and it’s the same book used when I guided meditation with Dr. Thomas Bushlack’s University of St. Thomas classes: The Miracle of Mindfulness: A Manual on Meditation by Thich Nhat Hahn.

I first came across The Miracle of Mindfulness when I was babysitting for some friends in Minneapolis. One day, when the kids were napping, this little violet paperback on the bookshelf in the living room caught my eye. I pulled it down, and found…stillness.

OK, I’m being dramatic. I had, of course, already experienced stillness in both yoga and seated meditation. However, Nhat Hahn’s The Miracle of Mindfulness made me pause, sit, and contemplate my overall practice and its connection to meditation. Over the last ten years, it has played an instrumental part in my re-commitment to the physical practice of yoga as a form of meditation.

Let me be clear: Nhat Hahn is not known as a yoga teacher and The Miracle of Mindfulness is not a book related to hatha yoga (the physical practice of yoga). Nhat Hanh is a Vietnamese Buddhist monk most commonly associated with Zen Buddhism, but whose training includes several traditions. His Miracle of Mindfulness is based on Buddhist principles and practices, but is not teaching Buddhism, per se. Some might argue that it is not even teaching meditation (but, rather, mindfulness). Still, it accessible to people regardless of their background or experience and includes personal anecdotes as well as a series of practices that are simultaneously simple and profound.

To answer E’s final question, The Miracle of Mindfulness definitely has the tools to help a beginner establish a daily practice. Tools, however, do not build a mansion – and the mansion will not be built overnight.

“Practice, practice, practice – all is coming.” ~ Sri Pattabhi Jois


If you find this information helpful, insightful, validating, and/or curious, please Kiss My Asana by making a donation, joining the team, asking a question, and/or joining me for a donation-based class to benefit Mind Body Solutions.

Sandra Razieli and I will co-host a donation-based class on Saturday, April 22nd (6:30 PM – 8:00 PM) at Flourish Pilates+Yoga+Bodywork. I will host a second class on Saturday, April 29th (3:30 PM – 5:30 PM) at Nokomis Yoga. Please RSVP via email (Myra at ajoyfulpractice.com). All donations will benefit Mind Body Solutions, where awakening the connection between mind and body transforms trauma, loss, and disability into hope and potential.

### OM SHANTI, SHANTI, SHANTIHI OM ##

2016 Kiss My Asana #24: Guiding and Pulling (In) the Light February 26, 2016

Posted by ajoyfulpractice in Bhakti, Books, California, Changing Perspectives, Confessions, Daoism, Depression, Dharma, Donate, Faith, Fitness, Food, Gratitude, Healing Stories, Health, Hope, Karma, Karma Yoga, Kirtan, Kundalini, Life, Loss, Mantra, Minneapolis, Minnesota, Mirabai Starr, Music, Mysticism, Oliver Sacks, One Hoop, Peace, Philosophy, Qigong, Religion, Science, Suffering, Tai Chi, Tantra, Taoism, TV, Twin Cities, Volunteer, Wisdom, Women, Writing, Yoga.
Tags: , , , , , , , , , ,
add a comment

“Music can lift us out of depression or move us to tears – it is a remedy, a tonic, orange juice for the ear.”

– Excerpt from Musicophilia by Oliver Sacks

 

“When you squeeze an orange, orange juice comes out – because that’s what’s inside. When you are squeezed, what comes out is what’s inside.”

Wayne Dyer

Yogi #24 (Marilyn) gave me some amazingly delicious oranges once. She told me a little of their back story – they had been given to her by a friend who, if I remember correctly, has a grove in California. Eating the oranges gave me great joy (as she intended) and thinking of their back story filled me with awe and gratitude – but it also made me realize that, in reality, I knew very little of their back story.

How many people were responsible for the planting, the nurturing, the harvesting, and the transporting? How were their lives affected by the oranges? Who even had the idea to start all these endeavors? There was just no way to know. In the end, I could only be grateful.

“Gratitude is our ability to see the grace of God, morning by morning, no matter what else greets us in the course of the day. That has the effect of making us gracious as well.”

– Excerpt from Hustling God: Why We Work So Hard for What God Wants to Give Us by M. Craig Barnes

Marilyn herself is a lot like those oranges: Bright sunshine on a cold January day and present after long journeys, she is delightful, joyful, and fills me with awe and gratitude – yet I only know bits and pieces of her back story. I know she teaches; I know she heals; I know she loves animals, travel, and bicycling. Bottom line: I know just enough about Marilyn to know she has seen amazing places, people, and things in the world and encountered the very best and, possibly, the very worst that the world has to offer. Yet, she is always kind and graciously grateful, for the smallest things, even when someone has wronged her. And her smile lights up a room, even when she is frustrated.

“No other light, no other guide,
Than the one burning in my heart.
This light led the way
More clearly than the risen sun
To where he was waiting for me
– The one I knew so intimately –
In a place no one could find us.”

– Excerpt from Dark Night of the Soul by Saint John of the Cross (translated by Mirabai Starr)

 

“Every human life is made up of the light and the dark, the happy and the sad, the vital and the deadening. How you think about this rhythm of moods makes all the difference. Are you going to hide out in self-delusion and distracting entertainments? Are you going to become cynical and depressed? Or are you going to open your heart to a mystery that is as natural as the sun and the moon, day and night, summer and winter?”

– Excerpt from the introduction to Dark Nights of the Soul: A Guide to Finding Your Way Through Life’s Ordeals by Thomas Moore

Marilyn practices qigong as well as yoga, which means she’s one of the people who get’s my little energetic puns when I describe one set of arm movements as “Gathering Prana” and the complimentary set of movements as “Gathering Qi.” Both qi and prana are words used to describe the life-force energy that is within us and all around us. Like ruach, pneuma, and spiritus, these are also words which were once used to simultaneously define breath and spirit.

Our ancestors, from all their different cultures, didn’t distinguish between spirit and breath – they were both divinely given and received. Our ancestors, from all their different cultures, believed spirit/breath was the light of the world – it was in them and all around them. Now, the modern mind turns to quantum physics to confirm the Truth our ancestors already knew: We can gather it, guide and pull it; dance with it and in it. Like Marilyn. Or not.

 “Of the deities presiding over light, I am the one for January, loved by all for turning the world’s course toward warmth. Of the wind gods who bring immense good in the world, I am the whirlwind. Of the daytime luminaries I am the radiant sun, and of the lights of the night I am the moon.”

Bhagavad Gita 10:21

 

“Of David: YHVH is my light and my salvation; whom shall I fear? YHVH is the strength of my life; of whom shall I be afraid?”

– Tehillim (Psalms) 27:1

Jesus said, ‘I am the light that is over all things. I am all: from me all came forth, and to me all attained. / Split a piece of wood; I am there. / Lift up the stone, and you will find me there.’”

The Gospel of Thomas 77

 “I sit in my own splendor. / Wealth or pleasure, / Duty or discrimination, / Duality or nonduality, / What are they to me? / What is yesterday, / Tomorrow, / Or today? / What is space, / Or eternity? / I sit in my own radiance.”

– Excerpt from Heart of Awareness: Translation of the Gita by Thomas Byrom 19:2 – 3

One of my favorite sacred texts is the Ashtavakra Gita (The Song of the Man with 8-Bends in His Limbs). It presents the wisdom of a person whose outside is considered less than ideal, by the people around him. According to one of Ashtavakra’s back stories, he was 12-years old when he walked into the court of the King (who would eventually become his pupil) – and everyone laughed at him. Ashtavakra also laughed, and then he started to cry.

When the King asked why he first laughed, as everyone laughed at him, and then cried, Ashtavakra said, “I started laughing because you saw only my outside. I started crying because I crawled all this way to discuss the Truth with great scholars and all I find here are shoemakers and leather workers.” When the King took great offense and proclaimed his court a court of great scholars, Ashtavakra shook his head and said, “It is only shoemakers and leather workers who are so concerned with the quality of the outside that they can’t see the Truth within.”

I’d like to believe that, in these modern times, we’re not so one dimensional that a shoemaker and a leather worker can’t also be great scholars. Yet, too often, people in a position to teach the Truth get caught up with the quality of the outside. Too often, people in a position to receive the Truth get turned away because their outsides are considered less than ideal. Too often we all forget that we are in bodies together – and these bodies are the ideal vehicle for our spirits. The work being done by Matthew Sanford and Mind Body Solutions allows more people to experience the Truth of who we all are and how we are all connected. KISS MY ASANA if you see the Truth – or the light.

 

My donation-based KISS MY ASANA class on Saturday, February 27th is full; however, I still have spaces available for March 5th (6:30 – 8:00 PM at Flourish). Contact Myra at a joyfulpractice.com to reserve a spot (or two.)Space is limited. Bay Area yogis, don’t forget: Sandra Razieli’s KISS MY ASANA class is in Oakland on Sunday, February 28th.

 

 

~ “If the family were a fruit, it would be an orange, a circle of sections, held together but separable – each segment distinct. – Excerpt from Family Politics: Love and Power on an Intimate Frontier Letty Cottin Pegrebin ~

2016 Kiss My Asana #23: This Yogi is No Slouch! February 25, 2016

Posted by ajoyfulpractice in 40-Day Challenge, Bhakti, Books, California, Changing Perspectives, Confessions, Dharma, Donate, Faith, Fitness, Food, Gratitude, Healing Stories, Health, Hope, Karma, Karma Yoga, Life, Mantra, Meditation, Men, Minneapolis, Minnesota, Music, Mysticism, One Hoop, Peace, Philosophy, Religion, Science, Sukkot, Twin Cities, Volunteer, Wisdom, Women, Writing, Yoga.
Tags: , , , , , , , , , ,
add a comment

“Be Yourself. Have Fun.”

Seane Corn on “the best advice she’s been given as a teacher

 

“Find your struggle, learn your lesson, and then know your purpose.”

– a “Monaism” (saying by Mona Miller, as quoted by Seane Corn)

People who come to my classes always talk about how the experience (of practicing asana with philosophy) is different from their other yoga experiences. From day one, my original teachers all included some aspect of the philosophy into their classes, so that’s the only practice I knew. It’s a practice that resonated with me, because even as a child I was preoccupied with the idea that we are connected to something more than ourselves, something divine.

Early in my life, I assumed everyone was a little preoccupied with issues of theology and existentialism. But, over time, I’ve realized everyone doesn’t consciously question and struggle with philosophical and spiritual matters – even when they crave the answers to that struggling and questioning.

In listening to feedback from people, I’ve now started to realize that every teacher doesn’t teach the way I teach. So, last year when I was ready to host my first yoga practice, I wanted someone who could teach the kind of classes I teach: alignment focused classes with spirit! Two teachers immediately came to mind – and Yogi #23 (Sandra) was one of those teachers.

“Ben Zoma would say: Who is wise? One who learns from every man. As is stated (Psalms 119:99): ‘From all my teachers I have grown wise, for Your testimonials are my meditation.’”

– Excerpt from Ethics of the Fathers (Pirkei Avot) 4:1

 

“The student is not above the teacher, but everyone who is fully trained will be like their teacher.”

– Luke 6:40

Sandra and I met almost five years ago at a Seane Corn vinyasa teacher training in Minneapolis. Unlike some of the other teachers in the training, we were already spirit-focused in our teaching. We had lunch together the first day, touched base throughout the week, and stayed in touch after she returned to California. One of the many reasons Sandra left such an impression on me is that she obviously teaches from her experiences – one of her specialties is Yoga for Scoliosis because she is a little curvy and has first-hand knowledge of how yoga benefits physical well-being. Another reason she left an impression on me is that she gave me her CD, “Morning Blessings”.

“The tent that houses you / houses your soul. / The Mischan, the hollow dwelling place / Be a vessel / for the love-song of God”

– Excerpt from “Morning Blessings” by Sandra Razieli (with reference to Hanna Tiferet)

“Do you not know that your bodies are temples of the Holy Spirit, who is in you, whom you have received from God? You are not your own; … Therefore honor God with your bodies.”

– 1 Corinthians 6:19-20

I spent the week of Thanksgiving 2011 practicing with Sandra’s “Morning Blessings” CD. Even though my annual trip to Texas is always busy, that year it felt like a retreat. Years later, when I was thinking about the takeaway experience I wanted people to have on a retreat I hosted, I thought about how I felt after practicing with Sandra’s CD.

Sandra is an Iyengar teacher, as well as a certified Yoga for Scoliosis Trainer, as well as a Yoga and Jewish Spirituality teacher, as well as an Anthropologist, a spiritual leader, and…I could keep going with her accomplishments; because, bottom line, she’s no slouch. Sandra is a person of integrity and honor, a true mentsch.

A mentsch is someone who respects the needs and wishes of others—especially the desires of those in his care.

In the care of each of us is entrusted a divine soul. She has a terrible allergy to all those messy deeds that darken her world, and desires only those beautiful deeds that will bring in more light.”

Based on the teachings of the Rebbe, Rabbi M. M. Schneerson

 

I can only imagine what a delight it would be to practice with Sandra on a weekly basis. What I know first-hand is that every time I am in her presence I learn something. Sometimes what I learn is obviously information inside me, just waiting for a way to be articulated; however, sometimes it feels like the information is just outside of myself, waiting to be invited in. Sandra has a way of inviting inspiration, grace, and spirit in – and she does it in a way that even someone who has refused the information in the past, suddenly is open to the invitation.

There are two ways to hug somebody. The first is to grab them and draw them in, but the second, perhaps a more refined approach, is to open your arms and create space for the other person. This opening is a passive energy of Hod (humility/gratitude) that makes room for others.”

– Excerpt from The Kabbalah Sutras: 49 Steps to Enlightenment by Marcus J. Freed

(words in parenthesis are mine)

I will always be grateful for the lessons I learned from collaborating with Sandra last year. We definitely enhanced what we each already bring to the table – and, in the process, we strengthened each other’s weak spots. However, Sandra once again upped my game when (at the end of our Sukkot/Gratitude retreat) she gave me a copy of The Kabbalah Sutras: 49 Steps to Enlightenment. I started the practice during my annual Thanksgiving trip, finished on my birthday, and experience a transformation I am still processing.

“Rabbi Ishmael the son of Rabbi Yossei would say: One who learns Torah in order to teach, is given the opportunity to learn and teach. One who learns in order to do, is given the opportunity to learn, teach, observe and do.”

– Excerpt from Ethics of the Fathers (Pirkei Avot) 4:5

I get a little goose-pimply when I think about all the ways my life-journey and Sandra’s life-journey have mystically, energetically, and spiritually overlapped. Take this weekend for example: We’re both leading donation-based classes which benefit Mind Body Solutions and the adaptive yoga program. My KISS MY ASANA class is in Minneapolis on Saturday, February 27th; Sandra’s KISS MY ASANA class is in Oakland on Sunday, February 28th. (Click on each of the KISS MY ASANA links above to find out more information about each class, as well as information about my second Minneapolis class on Saturday, March 5th.)

Just in case you’re not convinced Sandra is no slouch, you can also see her here in another Kiss My Asana video.

 

~ SHANTI, SHALOM, SALAAM, PEACE ~