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

– from The Laws of Motion by Nikki Giovanni

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

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

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

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

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

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

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

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

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

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

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

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

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

– from The Laws of Motion by Nikki Giovanni

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– from The Song of the Feet by Nikki Giovanni

 

pexels-photo-267313.jpeg

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

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

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

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

 

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

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

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

– from How Things Work by Gary Soto

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

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

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

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

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

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

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

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

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

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

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

(Practice Time: ~ 15 – 20 minutes)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– from Between Words by Gary Soto

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

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

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

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

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

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

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

WALKING IN & IN AGAIN – 2018 Kiss My Asana Offering #9 April 9, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Art, Bhakti, Books, Changing Perspectives, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Japa, Japa-Ajapa, Karma Yoga, Kirtan, Life, Mala, Mantra, Mathmatics, Meditation, Men, Minneapolis, Minnesota, Music, Mysticism, Oliver Sacks, One Hoop, Philosophy, Poetry, Surya Namaskar, Twin Cities, Vairagya, Volunteer, Wisdom, Women, Writing, Yoga.
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“Go in and in…
and turn away from
nothing
that you find…”

from Go In and In by Danna Faulds

“There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it.”

– from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks

There is something about repetition and the repetition of movement. It is something you find in Nature, something you find in music, and it is something you find in the visual arts. That something was felt by Henry David Thoreau when he went into the woods and its one of the reasons Walt Whitman perambulated. It is part of what Ranier Maria Rilke recommended again and again in his letters to the young poet Franz Kappus and it is the key that unlocks Wendell Berry’s “Sabbath Poems” when he walks his Kentucky lands. That something is what Diane Ackerman references when she talks about the creativity of walking and bicycling in her book Play – and it’s something you find in the practice.

In Light on Yoga, B. K. S. Iyengar systematically broke down over 200 yoga poses and their benefits. Iyengar started off his exploration with Samasthiti / Tadasana (Equal Standing / Mountain Pose), which seems like a pretty disposable pose. In fact, it is all too easy to discount the pose – people do it all the time. You might even find yourself doing it if you aren’t encouraged to pause and notice where you’re going.

If your time on the mat is an in-depth exploration of you and your practice, you will find yourself going into Samasthiti/Tadasana again and again. It turns out that there is an element of the pose in almost every other pose. Another element that appears again and again in the practice is Cow Pose. Finally, you’ll keep coming back the connection to the breath that allows you to mimic your body’s natural tendencies.

“As many times as I
forget, catch myself charging forward
without even knowing where I’m going,
that many times I can make the choice
to stop, to breathe, and be, and walk
slowly into the mystery.

– from Walk Slowly by Danna Faulds*

Bryan Kest refers to walking as the best exercise known to man. When you move through your practice, move like you are strolling through the woods. Keep finding that Tadasana spine so that you find that Tadasana smile.

Go In and In & Walk Slowly – by Danna Faulds

Take a moment to breathe, be still, and then soften into Child’s Pose (Balasana). Settle in as if this is your whole practice. Notice the extension of the spine. Notice the deep breath in and the deeper breath out. Allow your breath to move through the spine. Allow your mind to follow the breath. Notice the rhythm of the breath. Notice the breath as music.

Once the mind is focused on the breath and the body’s reaction to the breath, use the breath as your pace. The inhale allows you to meander into Table Top: stack shoulders over elbows, elbows over wrists, hips over knees. Check your interior landscape to make sure it supports the exterior. Notice the length of the spine. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. This is a moving meditation. Just like in a seated meditation, when the brain wanders away from this present moment, use the breath to bring it back.

Again, find the place where you mind is focused on the rhythm and then curl your toes under and exhale into Downward Facing Dog (Adho Mukha Svanasana). Scan the exterior and interior landscapes. 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. Notice the length of the spine.

Feel free to walk your dog!

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

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

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

Changing as little as possible, stretch the arms out like the letter T. Scan the interior and exterior landscape, checking to ensure you have maintained balance and alignment. Now, take the next few steps: 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). Scan the interior and exterior landscape, checking to ensure you have maintained balance and alignment. Notice the length of your spine. After several breaths, lower the arms to your sides on an exhale.

Now, use the whole inhale to lift the arms overhead and the whole exhale to press the hands together through heart center. On the exhale of the third centering breath, walk to the front of the mat with hands through heart center. Equal Standing is like a soldier in the “Ready” position. You are now ready for the next part of the practice.

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 the natural rising and flowing, ebbing and flowing. Notice the similarities between Cat/Cow. Notice the length of the spine in every pose.

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. 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.

As many times as you forget, remind yourself to breath in and out of the length of your spine. When you are ready to move on, place the hands on the mat and step back to Child’s Pose. From Child’s Pose, inhale to Cow Pose and exhale to Downward Facing Dog. Repeat standing sequence from

Once you’ve completed the second side and returned to Child’s Pose, inhale to Cow Pose and then exhale into 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 maintain it.

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

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

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

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend or extend both, as needed, and lower down onto your back for Corpse Pose (Savasana). Allow your body to settle into the spaces around your spine. Allow your breath to move through the spine. Allow your mind to follow the breath. Notice the rhythm of the breath. Notice the breath as music.

“Music seems to have a special power to animate us. Kant called music, ‘…the quickening art.’ There’s something about rhythm, as a start, compels one to move…with the beat…. There’s something about the rhythm of the music, which has a dynamic, animated, propulsive effect that gets people moving in sympathy with it; and gets people moving in sympathy with one another. So…the rhythm of music has a strong bonding thing. People dance together, move together…”

– from an interview with Dr. Oliver Sacks

“There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals… We tend to hear the sound of a digital clock, for example, as “tick-tock, tick-tock” – even though it is actually “tick tick, tick tick.”

– from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks

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

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

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

*Yes, it’s another two (2) poem day. It’s also a two (2) video day! Happy Monday!

sukkot-meditation-myra-2015

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

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

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

waits.”

– from Remember the Moon Survives, by Barbara Kingsolver

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

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

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

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

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

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

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

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

whole.”

– from Remember the Moon Survives, by Barbara Kingsolver

Remember the Moon Survives – by Barbara Kingsolver

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Perfecting Understanding – 2018 Kiss My Asana Offering #7 April 7, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Books, Confessions, Dharma, Donate, Faith, Fitness, Food, Healing Stories, Health, Hope, Japa, Japa-Ajapa, Karma Yoga, Life, Love, Men, Minneapolis, Minnesota, One Hoop, Peace, Philosophy, Poetry, Twin Cities, Vipassana, Volunteer, Wisdom, Women, Writing, Yoga.
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“And now I see with eye with eye serene
The very pulse of the machine;
A being breathing thoughtful breath,
A traveler between life and death;
The reason firm, the temperate will,
Endurance, foresight, strength, and skill;”

– from Perfect Woman by William Wordsworth

The more you practice yoga the more insight you gain, insight into yourself and, also, more insight into the practice. The more you practice the more you may start to appreciate the beauty and the perfection of the human mind-body-spirit. For instance, the body and mind are constantly striving to maintain balance. You can see the natural balancing act in the way we process food and waste, as well as in the way we breathe.

Let’s say, for instance, that a person consumed the perfect amount of calories, proteins, carbohydrates, vitamins, minerals, and fluids for their body type and activity level. That person with the perfect dietary habit would still produce waste – a good amount of waste, in fact. Because, the body is a machine that uses what it needs, in order to flush out what it does not need. It may be hard to view the food/waste analogy on the mat, but part of the practice is observing the process of breathing (which is another way the body takes in fuel and releases waste). Part of the practice is noticing how the inhale and exhale are opposite and equal reactions – and how the body reacts to the breath.

Since we were in the womb, our bodies have responded to breathing by extending on the inhale and flexing on the exhale. The reactions are subtle and autonomous, and they mirror the breath in that they are opposite and equal. So, here again is an example of the body-mind seeking balance within the imbalance.

In most physical yoga practices (hatha yoga, regardless of the style or tradition), poses are engaged in a way that exaggerates the body’s natural tendencies – extending on the inhale, flexing on the exhale. This is true even in static poses: we press down to go up or find a backbend on the inhale and engage the core or fold forward on the exhale. Vinyasa literally means “to place in a special way” and is a technique, as well as a style of yoga (sometimes referred to as flow, whereby the poses are linked with the breath – again, in a way that exaggerates the body’s natural tendencies. Vipassana literally means “to see in a spacial way” and is a technique, as well as a style of Buddhist meditation (sometimes referred to as Insight Meditation).

William Wordsworth’s poem Perfect Woman, also known as “She was a phantom of delight,” chronicles the poet’s growing perception and understanding of his wife. When they first meet, Wordsworth (born today in 1770) views Mary as “a lovely apparition” and very literarily refers to her as eye candy, an object that looks good on his arm. But, as they get to know each other better, Wordsworth starts to recognize his future wife as a multi-dimensional human being. Even though he is still slightly in awe of her otherness, in the end Wordsworth’s esteem reaches a point where he can describe her in the same way he might (as a Romantic poet) describe a peer. He develops insight.

People new to yoga often experience a similar evolution of perspective. At first, they may just see the top surface of the practice; they see the obvious physical benefits. Over time, people may start to notice that there is something more going on than just the physical elements. They get more in touch with their emotions and become more of how to manage their emotions. They also start to notice that the practices changes as the body and mind change, and that every day is different. Ultimately, people begin to see things in a special way. They start to recognize the symbolic elements of the practice; how the sequences often mimics life – like “A traveller between life and death;” – and how there is “something of angelic light” in all beings everywhere. As they gain insight into themselves, they may also gain insight into the world.

Perfect Woman – by William Wordsworth

Placing your body parts in a special way, move into Child’s Pose (Balasana). Notice how much of what you do is now automatic and how much is mindful of the way your mind and your body are in this present moment. Has your understanding of Child’s Pose changed over the last week? Has your understanding changed over the entire lifetime of your practice? Does your appreciation of the pose – even as a simple possibility – change throughout any given practice?

When you move into Table Top again check to ensure you are moving with full awareness of your mind and body in the present moment. Double check your alignment. Press down so that the shoulders and shoulder blades are even with the rest of the back and your belly is firm. Engage your locks (bandhas) if that is part of your practice. Notice how you feel in the pose (physically, mentally, emotionally, and energetically).

Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. So that, as the breath gets long and fine and deep, the movement gets richer – whatever that means to you in this moment. This is the first vinyasa in this practice, notice all the ways you are mimicking your body’s natural tendencies (e.g., extending/flexing, lifting/grounding, creating/engaging, rising/falling, etc.).

Pause with the spine back in Table Top position and then move into Staff Pose (Dandasana). Sit down with your legs straight out in front of you. Sit up on a blanket or a block if you have a lot of tightness/stiffness in the back of your body.

Press your heels down into the ground, flex the ankles so the toes reach for the nose, and then spread the toes. At the same time, fire up your thighs and engage the quadriceps (the four muscles at the top of your things) in order to lift the knee caps into their full extended position. Press the sit bones and hands down (with the hands next to the hips). If this engagement is too extreme, bend knees or place the hands behind the hips (but still wide enough to just barely be outside of the hips).

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

Engage your locks (bandhas) as described in earlier practices. Changing as little as possible, lift the arms over the head, with wrists in line with the shoulders, and turn the palms up so that the finger tips point towards the wall behind you.

Extend the elbows and, as much as you are able, rotate them towards your nose. Keeping the shoulders down the back, push the whole body down to lift the heart and the arms up. If this is too much intensity for the shoulders, modify by bending the elbows to 90 degrees and extending the wrists rather than flexing them. Again, notice how you feel in the pose (physically, mentally, emotionally, and energetically).

NOTE: If you want to skip the arm balancing below, move back into the poses after Downward Facing Dog. Another modification would be to do the Downward Facing Dog or “Dolphin Dog” with hands on the on the wall.

For the arm balance Downward Facing Dog (Adho Mukha Svanasana), return to Table Top – engaging as you did at the beginning of the practice. Curl your toes under; then use your arms and legs, hands and feet to lift your hips up in the air.

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

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

No matter which variation you choose, notice how and what you feel (physically, mentally, emotionally, and energetically). Notice how Downward Facing Dog is simultaneously an arm balance and a standing pose; a forward bend, as well as a back bend; and an inversion. Notice how much of the engagement in the Staff Pose variations you can also feel here. How and what can you adjust to experience more of the sensations of Staff Pose?

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. Again, 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. You can play with the position of the arms for a moment; again, noticing the similarities between this pose and the other two poses.

If you have unregulated blood pressure, low back issues, eye issues like glaucoma, or if this is already challenging, 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. Engage your locks (bandhas). When you reach your edge, take a moment to notice you feel (physically, mentally, emotionally, and energetically).

On an inhale, extend to Half Lift/Flat Back and on an exhale fold into the Forward Bend. If you are modifying and using the Half Lift throughout, keep the back in the position that feels similar to an intense Table Top and use the breath to extend the knees on an inhale and flex/bend them on an exhale. This is the second vinyasa. Move through the sequence precisely matching the movement to the breath. So that, as the breath gets long and fine and deep, the movement gets richer – whatever that means to you in this moment. Notice all the ways you are mimicking your body’s natural tendencies (e.g., extending/flexing, lifting/grounding, creating/engaging, rising/falling, etc.).

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

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

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

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend or extend both, as needed, and lower down onto your back for Corpse Pose (Savasana). Notice the breath, as Spirit, and how it is still moving you towards balance.

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

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

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

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

BEING WATCHFUL – 2018 Kiss My Asana Offering #5 April 5, 2018

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Books, Buddhism, Changing Perspectives, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Japa, Japa-Ajapa, Karma Yoga, Life, Meditation, Men, Minneapolis, Minnesota, Movies, One Hoop, Peace, Philosophy, Poetry, Science, Tantra, Texas, Twin Cities, Vairagya, Vipassana, Volunteer, Wisdom, Writing, Yoga.
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“Practice, practice, practice…all is coming.” – Sri Pattabhi Jois

“It comes in its own good time
and in its own way to the one who will go where it lives,
and wait, and be ready,
and watch.
Hurry is beside the point, useless, an obstruction.
The thing is to be attentively present.
To sit and wait is as important as to move.”

– from Being Watchful by Wendell Berry

We’ve been here before, and we will be here again – that is the nature of the practice. Practicing hatha yoga (the physical practice, regardless of style or tradition) can be a little like being in an old Western where characters pass the same rock again and again. In the movies, the only thing that changes is the characters’ bodies and their awareness.

Come to think of it, the same thing is true of our practice.

Some practices (e.g., Ashtanga – one of the earliest forms of vinyasa, introduced to the West by Sri Pattabhi Jois; Bikram Choudhury’s hot yoga sequence; and Sivananda Yoga – based on the teachings of Swami Sivananda)  include the same poses in the same order every time. These practices give people a standardized measure by which to gauge their practice and their evolution within the practice.

On the flip side, some practices include an ever rotating set of poses and sequences so that we keep coming at the metaphorical rock from a different direction.

Either way, as the body and the mind change, the practice also changes. The body and the teacher will repeat the same information again and again, but we won’t “hear” the information until we’re ready to process and synthesize it. That’s why, when people new to yoga ask me how they can hurry up and get up to speed, I tell them to keep practicing.

“And then I began to learn perhaps
the most important lesson that nature had to teach me:
that I could not learn about her in a hurry.

– from “Being Watchful” by Wendell Berry

We’ve been here before…but now something is different. It may be a while before we notice the difference, but it’s there…just waiting for us to be ready. In some ways, this is all like walking the land.

Walking the land is not unusual for a farmer – it’s what they do after all. They walk the land, pausing to assess something or just to soak it all in. Sometimes they just walk for the sake of walking. And, anyone who has walked just for the sake of walking will tell you, it is not unusual for the mind to open up on a walk.

Wendell Berry is a poet, a farmer, a novelist, an environmentalist, a Christian, an activist, and a Kentuckian. He is also a walker – and by that I mean, he walks. Naturally, being a farmer who is also a poet, he writes poems inspired on his walks. He calls them “Sabbath poems.” Consider today’s practice a “Sabbath poem.”

Being Watchful – by Wendell Berry

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

When you move into Table Top – hands and knees to the mat with shoulders over elbows and wrists, hips over knees – or into a seated position if that is more accessible, move as if you are taking a leisurely stroll. Take your time, and pause to get the lay of the land. Move through Cat/Cow or the “Un-Cat” sequence precisely matching the movement to the breath. So that, as the breath gets long and fine and deep, the movement gets richer – whatever that means to you in this moment.

“from this

moment this moment

is the first

– from Be Still In Haste by Wendell Berry*

Pause with the spine back in Table Top position. Sit down with your legs straight out in front of you. Sit up on a blanket or a block if you have a lot of tightness/stiffness in the back of your body. This is Staff Pose (Dandasana), which appears on the Top 10 Poses People Overlook/Underestimate.

Press your heels down into the ground, flex the ankles so the toes reach for the nose, and then spread the toes. At the same time, fire up your thighs and engage the quadriceps (the four muscles at the top of your things) in order to lift the knee caps into their full extended position. Press the sit bones and hands down (with the hands next to the hips). If this engagement is too extreme, bend knees or place the hands behind the hips (but still wide enough to just barely be outside of the hips).

As if they are seeds you are planting, push your shoulders and everything touching the floor, the mat, or a prop down into the earth. Watch how the engagement of your feet, your legs, your hips, your core, your hands, and your arms allows you to lift the heart and the ribs away from the lower body. You are actively creating space. Now, engage the space: squeeze your perineum muscles for the root lock (mula bandha); draw the belly button up and back for the core lock (uddiyana bandha); and press the chin into your throat for the chin lock (jalandhara bandha). With your eyes on your nose, watch your breath.

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. Again, like you a planting, use every inhale to press down in order to lift up – creating more space between your ribs and your hips. Use every exhale to twist and rinse – engaging that space. Remember to start the twist in your base (not in your neck). Do not allow your body to collapse or untwist until you complete 3 – 5 complete breaths. After the third or fifth exhale, inhale to center, give the lifted knee a squeeze, and return to Staff Pose. Repeat the Sage Twist instructions for the Sage Twist (replacing right with left).

After the third or fifth exhale on the left, inhale to center and give the lifted knee a squeeze. Bend or extend both, as needed, and lower down onto your back for Corpse Pose (Savasana). Be here, and be watchful.

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

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

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

*Yes, clock watchers, the extra poem in this post is just for you!

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

 

Going With The Flow, When There’s An Obstacle In The Way December 31, 2017

Posted by ajoyfulpractice in 108 Sun Salutations, Abhyasa, Books, Changing Perspectives, Faith, Fitness, Healing Stories, Japa, Japa-Ajapa, Life, Mala, Meditation, Minneapolis, Minnesota, New Year, Peace, Philosophy, Science, Surya Namaskar, Tantra, Twin Cities, Vairagya, Vipassana, Whirling Dervish, Wisdom, Yoga.
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If we learned nothing else in the last year, it was that things don’t always go according to (our) plan.  2017 was a year that, for some of us, seemed to go awry even before it started. There were times when we fell down and wanted to throw our hands up. But, instead, many got up…and kept moving forward. There’s merit in that.

I didn’t think I needed a personal reminder of the merit of moving forward, no matter the obstacles. But then I started confirming my plans for the New Year’s Day 108 Sun Salutations and well…let’s just say William Butler Yeats had it right:

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;

In 2013, I started leading a New Year’s Day morning japa-ajapa mala practice of 108 Sun Salutations. A year later I added an afternoon practice. At times I thought about renting a space and combining the two, but I ignored the writing on the wall. I was in the flow of my own making, totally and utterly attached to the momentum that worked for me.

So, this year I was thrown into a bit of a tailspin when I discovered I needed to relocate the morning practice. I kept moving forward, confirmed a new location, and, for the sixth year, the practice is full.

Then, on Wednesday, I learned about a scheduling issue that resulted in the cancellation of the afternoon 108 practice at the Downtown Minneapolis YMCA. Thankfully, anyone who was planning to attend that practice can scroll to the end of this blog post for options which will allow them to keep moving forward.

And there’s merit in that. Not just merit in the idea that we keep moving forward, no matter the obstacles. There’s something to be said for letting go of our attachments and going with the flow.

Don’t get me wrong. I’m not suggesting that we rollover and play dead when things don’t go our way. Nor am I suggesting that we jump on a band wagon headed for Hades just because there’s a lot of momentum pushing us in that direction. Instead, what I’m suggesting requires going a little deeper – into ourselves and into the situation – in order to leverage the momentum in a skillful manner. What I’m suggesting requires understanding the powerful dynamics of movement(s).

Vinyasa, a popular form of Hatha Yoga (the physical practice of yoga) is often referred to in English as “Flow” or “Yoga Flow.” Three (3) of the 12 poses in Surya Namaskar (Sun Salutation) are so ubiquitous in the West that some practitioners think those poses are what makes something a vinyasa practice. All of which contributes to people overlooking a key element of the style and tradition: the meaning/intention underlying the practice.

The word “vinyasa” comes from the words “nyasa, “ which means “to place, to touch, to apply” and “vi,” which means “in a special way.” In a Vinyasa yoga practice, poses are placed so that, in theory, the movement matches the human body’s natural tendencies (to extend/expand on an inhale; to flex/contract on an exhale) and practitioners can move one breath (to) one motion (i.e., flow). When we match the movement to the breath, the movement becomes seamless and very much like a dance – or a moving meditation.

Similarly, the name of the insight meditation technique and tradition “vipassana” literally means “to see or to recognize” (“passana”) “in a special way” (“vi”). In Insight Yoga, Sarah Powers wrote, “So vipassana is the art of seeing or relating to life freed from the mesmerizing power of our entrenched prejudices and preferences. This unconstricted view breeds insight into the underlying nature of things.”

Therefore, if we can see and/or recognize the underlying nature of ourselves and our surroundings (causes and conditions), if we have insight into the evolution of ideas (starting with the desires, which are the seeds of these ideas), then we may place or apply ourselves in a way that works with the flow of energy, rather than against it. The very thing that stood in our way (the obstacle) becomes our way. Or, as Marcus Aurelius wrote is his personal notebook, “Our actions may be impeded, but there can be no impeding our intentions or dispositions. Because we can accommodate and adapt. The mind adapts and converts to its own purposes the obstacle to our acting. The impediment to action advances action. What stands in the way becomes the way.”

In a 2014 Psychology Today review of Ryan Holiday’s The Obstacle is the Way (which is a great handbook on old fashioned stoicism), Dr. Alex Lickerman refers to situations that train us to deal with challenges, stating, “… when victory over external barriers is contingent upon victory over internal ones, the greatest benefit a situation has to offer us is training—by which I mean a challenge that forces us to grow in a way that makes achieving our goal possible.”

To me, the physical practice of yoga (any style or tradition) or a seated meditation practice are ways to train the body and mind for the challenges of life. Each practice comes with a different set of challenges, and a different set of obstacles. Every practice, in its own way, pairs internal barriers with external barriers, and (because so many of my practices are vinyasa practices) a different set of ways to go with the flow.

2018 promises to be a year full of challenges.

Let’s start it off with a practice, or two.

Monday, January 1st – New Year’s Day:

9:00 AM – 11:00 AM 108 Sun Salutations with Susan (Yoga Center of Minneapolis, St. Louis Park – REGISTRATION)

10:00 AM – 1:00 PM 108 Sun Salutations with Myra (reservations required – THIS PRACTICE IS FULL)

10:00 AM – 12:30 PM “Set Your Course!” with Nora Gordon (Big River Yoga – REGISTRATION)

10:30 AM – 1:00 PM New Year’s Day Practice with Nancy Boler (reservations required – THIS PRACTICE IS FULL)

12:00 PM – 2:00 PM 108 Sun Salutations & Restorative Yoga with Vie Boheme (Radiant Life Yoga – REGISTRATION)

12:00 PM – 2:30 PM 108 Sun Salutations with Aubrey Weger & live music (Yoga Sanctuary Mpls – REGISTRATION REQUIRED)

12:00 PM – 2:00 PM 108 Sun Salutations with Kate L and Rachel R (CorePower Maple Grove)

1:00 PM – 2:30 PM New Year’s Day with Ian M (Downtown Minneapolis YMCA, members & their guest)

1:30 PM – 4 PM “Sankalpa Shakti: The Power of Inspired Intention” with Ben Vincent (Vincent Yoga at One Yoga – REGISTRATION REQUIRED)

2:00 PM – 3:45 PM 108 Sun Salutations with Jennifer Davis (Blaisdell YMCA, members & their guests)

Tuesday, January 2nd – “What’s In A Name?”

Wednesday, January 3rd – “New Beginnings”

Saturday, January 6th – Epiphany / “Manifesting Your Intention”

~ SEE YOU ON THE MAT ~

###

2017 Kiss My Asana Question #2: Why 108? April 3, 2017

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“The number of words you use to answer these questions is going to be divisible by 108? Why 108?” – the obvious questions

The significance of 108 is something pondered pretty much whenever people get ready to practice 108 Sun Salutations (for New Year’s Day, Spring/Fall Equinox, and Summer/Winter Solstice). It is considered an auspicious number in a variety of disciplines and traditions. So much so that if I listed 108 reasons, I might still be missing some. Swami J has a pretty comprehensive list; however, here are some of my favorites:

  • 108 is a harshad (or, “great joy” bringer) number in mathematics, meaning that it is divisible by the sum of its parts (1+0+8=9; 108/9 = 12)
    • Note also 1+2 = 3; 12/3 = 4 and 108/3 = 36; 3+6 = 9; 36/9 = 6
  • 108 is a prime example of numbers being exponentially powerful {(1, raised to the 1st power) multiplied times (2, raised to the 2nd power) multiplied times (3, raised to the 3rd power), i.e., 1*4*27}
  • 108 suitors pursue Penelope in Homer’s Odyssey.
  • In Buddhism, the 108 feelings or sensations humans experience result from external/physical and internal/mental stimuli (2) being received through our senses and consciousness (5+1) multiplied times our perception of sensation as positive/pleasant, negative/painful, or neutral (3) multiplied times our ability to experience feelings or sensations in the past, present, and future (3). {2*(5+1)*3*3}
  • In Eastern religions and philosophies, a mala used to count repetitions during meditation contains 108 beads – or a fraction of 108, and this coincides with an old school Catholic rosary which allows you to count out 10 decades, and provides 8 additional beads (for mistakes). The cross would be considered the guru bead.
  • In some religions there is only one God; however there are 101-108 names for God.
  • In an Indian creation story, God as Dance (Nataraja) creates the universe through a dance containing 108 steps or poses; and, there are 108 forms of dance in Indian traditions.
  • Some martial arts forms contain 108 steps or poses.
  • According to some yoga texts, there are 108 nadis (energy rivers carrying the bodies vitality) intersecting at the heart chakra.

Since I’m writing this on opening day 2017:

  • The 108 double stitches on a Major League baseball are hand stitched; AND
  • It took 108 years for a much loved baseball team to break a curse (that may or may not be real) – and they did it in the 10th inning with 8 runs!

Finally, it would be seriously auspicious if a couple of people (2) Kiss(ed) My Asana by clicking here and donating $54 each. Or, you know what would be a real joy bringer? If a certain number of individuals (108) clicked above and donated $108 each.

For those of you doing the math: $25 shares a “Beyond Disability” DVD with a home-bound person living with a disability; $250 provides four yoga classes at a battered women’s shelter or veterans center; $500 provides full tuition for an Opening Yoga Teacher Training Workshop; and $1000 transforms the life of someone living with a disability by providing them an entire year of adaptive yoga. While these numbers focus on the people directly receiving the service, consider how yoga affects not only the individual on the mat, but everyone that individual encounters off the mat.

~ LOKAH SAMASTAH SUKHINO BHAVANTU ~

Seriously, Is That All You’ve Got? December 31, 2016

Posted by ajoyfulpractice in 108 Sun Salutations, Books, Changing Perspectives, Depression, Faith, Fitness, Gratitude, Health, Hope, Japa-Ajapa, Karma, Life, Loss, Mala, Meditation, Minneapolis, Minnesota, Mysticism, New Year, One Hoop, Pain, Peace, Philosophy, Science, Suffering, Surya Namaskar, Texas, Twin Cities, Whirling Dervish, Wisdom, Yoga.
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It is New Year’s Eve eve. And, while I still have things to do in anticipation of the New Year, I am more than ready for the arrival of 2017. Funny thing is, all of us who are “D-O-N-E, stick-a-fork-in-it, done” with 2016, have to admit that it hasn’t all been bad. There have been some memorable and very personal highlights and there have been many changes for the better. Oh, then there’s the fact that this whole “new year” thing is completely arbitrary.

Yes, yes, there are reasons and explanations for why the Western world celebrates a beginning and an ending at this time of year. But, in some ways those reasons and explanations are beside the point. What’s important is that change is always happening – and most of it is beyond our control. Since being out of control can be psychologically uncomfortable, we take control by choosing a transition to celebrate. The celebration is a reminder that everything, including hard times, ends and that the end of one thing marks the beginning of another thing.

We can only hope the new thing is better than the old thing.

Even when, it’s the same thing over and over again.

Throughout history, different cultures have had different ways of marking transitions. One yoga tradition is to practice 108 Sun Salutations (Surya Namaskar) when the seasons change on the equinoxes and solstices. Here in the West, we have also taken to practice this yoga variation of a marathon when the calendar year changes. (I am again leading the Surya Namaskar malas at Nokomis Yoga (this practice is full) and at the Downtown Minneapolis YMCA (3 PM – 6 PM).)

Sun Salutations (Surya Namaskar) are a moving meditation consisting of 12 poses. The series of poses are linked with breath so that we mimic our bodies’ natural inclination to extend the spine and open the heart as we inhale, to flex the spine and engage the core as we exhale. Or, you could think of it symbolically: as reaching for the sun as you inhale, drawing its energy to the earth as you exhale. Or, you could reach to the Source of all the things as you inhale, surrender to that Source as you exhale. Or…you get the idea. Whether you come to the practice from a physical-mental, psychic-symbolic, or emotional-energetic perspective, this series of poses engages your whole being: mind, body, and spirit.

Since the practice mirrors the cycle of time – the beginning of each breath marking the end of another, the end of each pose marking the beginning of the next – we inevitably find ourselves appreciating it, enjoying it, and then wishing it were done. We can be lost in/absorbed by the effortless repetition (ajapa japa), but then find our brains want a delineated break.

We seek the break, not because we’re tired, per se, but because it’s a way for our brains to absorb the pattern. And, in that moment, we may create the break by asking the question that has been coming up a lot in my practice: Is that all you’ve got? Seriously, is that all you’ve got?

I can’t remember if it was during an interview or during a teacher training, but I very clearly remember Seane Corn describing a conversation where she said to the Universe, “Bring it; but, bring it gently.” I love that sentiment. It acknowledges that throughout our lives we are going to be faced with challenges, and it simultaneously reinforces the idea that we can be ready to meet those challenges head on. It is a statement sourced in strength, courage, and wisdom – without being braggadocios. In fact, it embodies the splendor of humility.

This secular calendar year, 2016, New Year’s Eve happens to fall on the 8th Night of Chanukah. (Therefore, New Year’s Day 2017 is the 8th Day of Chanukah 5777.) Hod (humility, splendor, surrender, or gratitude) is the eighth aspect of the Divine found on the Tree of Life (in Jewish mysticism, Kabbalah). Physically it is symbolized by the left foot and leg. Energetically it is directly connected to Gevurah (Strength, discipline), Tiferet (Balance, Compassion), Netzach (Endurance), and Yesod (Foundation or Bonding). It can also be energetically connected to the 3rd Chakra, our physical core, which is related to our personality, our sense of self, and our self esteem.

I could go on, but what I’m getting at here is that the question (Is that all you’ve got?) isn’t something I’m asking the Universe. I know the Universe has more in store for us. I know it’s going to bring it (hopefully, gently). What I’m really doing, at those moments when I want to throw in the towel, is asking myself the question: Is that all you’ve got? Seriously, is that all you’ve got?

My early teachers often said, “How you do yoga is how you do life.” Whether we are in the middle of 1 hour, 90 minutes, or 3 hours of yoga – or anything else – we all have that moment where we want to throw in the towel. But, if we pace ourselves, we inevitably get a second wind. And, while I don’t always feel this way after I other physical things I do, in yoga and in life I almost always feel like I could have handled a little bit more. Not that I want to or need to – but, that if I had to, I could dig deep and pull up a little bit more of whatever I need to face the challenge.

The first day of 2017, is just another day on the calendar; just another day in our lives. It’s a beginning and it’s an ending. So, yes, celebrate, set an intention, and move on.

But, don’t forget that this liminal or transitional moment is also a middle. And, ultimately, the most significant thing that’s changing is your awareness and your perspective. Start noticing what you’re doing when you ask a question like “Is that all you’ve got?” Start noticing what you’re doing when your answer to the question changes.

Feel free to share your experiences by commenting below!

~ Happy New Year, Happy New Perspective ~

2016 Kiss My Asana #26: Mastering the Art of SODOTO February 28, 2016

Posted by ajoyfulpractice in Books, Changing Perspectives, Confessions, Dharma, Donate, Faith, Fitness, Gratitude, Healing Stories, Health, Hope, Japa-Ajapa, Karma, Karma Yoga, Life, Love, Mathematics, Meditation, Men, Minneapolis, Minnesota, Movies, Music, Mysticism, One Hoop, Peace, Philosophy, Science, Suffering, Tantra, Taoism, Texas, TV, Twin Cities, Volunteer, Wisdom, Women, Writing, Yoga.
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“Even in the animal kingdom, the ability to search and reapply know-how is a key attribute that moves a species from survival to prosperity.

 

Just as the guru tutors the novitiate so does the goldsmith his apprentice. The same is true for officers and engineers and in all fields where the mastery of craft is a matter of certification. The greater enlightens the lesser. The maxim is “See One, Do One, Teach One” or as the sensei might say ‘SODOTO.’”

– Excerpt from The Enlivened Self: The Art of Growing, Part II – Creativize by Jeff DeGraff

 

During my first year teaching, a student approached with questions about yoga teacher training. He had been practicing long before I arrived, but now he was ready to consider the possibilities. We talked about his goals, and the will/determination driving those goals. I gave him a summary of the big teacher training programs in the Twin Cities. A few months later, someone else approached me. I had the list (and the highlighted bullet points) ready. Those first two students, and many of the ones who came later, ended up completing yoga teacher training and started teaching. Sometimes I would even take classes from them. Often I would refer others to them. At least one of those early students who became the teacher began teaching other students how to teach! Eventually, I discovered trainings were changing and growing in the Twin Cities; so I started updating the list.

And the people kept asking, again, and again…and again. But they weren’t always people who regularly practiced with me. Once the person who asked was someone I just knew from a neighborhood coffee shop. Once, someone visiting from California before entering Kripalu teacher training, emailed me for additional tips as she approached her finals. Once a woman approached me after I subbed her regular class – she was already in a training program, but seriously considering dropping out over a major theological issue. By the time Yogi #26 (Annamaria) approached me it had occurred to me that maybe my presence as a teacher reminded people that they had something to offer the world. It was as if, after years of ruminating and precontemplation, something in them woke up and shouted, “If she can do that, I can so do that!”

 “Wax on, right hand. Wax off, left hand. Wax on. Wax Off. Breathe – in through nose, out the mouth. {Sound of inhale, sound of ‘ha’ out} Wax on. Wax off. Don’t forget to breathe – very important. Wax on. Wax Off. Wax on…”

– Noriyuki “Pat” Morita as Mr. (Kesuke) Miyagi in The Karate Kid

Daniel: So, you’re suppose to teach and I’m suppose to learn….

Mr. Miyagi: You learned plenty.

Daniel: I learned plenty. I learned how to sand your decks, maybe. I waxed your car. Paint your house. Paint your fence. I learned plenty – right!

Mr. Miyagi: Ahh. Not everything is as seems.

– Ralph Macchio as Daniel LaRusso and Noriyuki “Pat” Morita as Mr. (Kesuke) Miyagi in The Karate Kid

 

Yoga teacher training requires adjusting one’s life off the mat, in order to spend more time on the mat – even when the mat is all in one’s head. That adjustment can be extra hard for a modern day householder – who already has to balance life-at-work with life-at-home, life-at-play, life-with-family, life-with-friends, life-with-oneself, and life-with-one’s-spirit. Adding to all that, teacher training requires doing things over and over again, even when your arms no longer want to move, until whatever you’re doing becomes hardwired – hopefully without all the bad habits you’ll discover along the way. And, the more yoga you do, the more your personal yoga practice changes. Your body is different; your awareness of your body is different. Whereas before part of your mental challenge was letting go of all your regular daily life chatter, once you go through teacher training you’ll find yourself judging the poses (or the teachers) and thinking about how you’d cue the sequence you’re practicing if you were teaching your students – especially if your students are very different from the people surrounding you at a major yoga studio.

As a modern day householder, Annamaria decided pursuing teacher training was totally worth the personal investment. She wasn’t looking at teaching yoga as a stepping stone into a new career. She wanted to start with a basic 200-Hour training, which typically involves more than 200 hours worth of curriculum, and gradually add blocks which would enable her to serve in some underserved communities. Like me at the beginning of my yoga journey, she was inspired by the people around her who might find yoga beneficial – but didn’t (or couldn’t) want the benefits to come at the price of a new outfit and an $18 – $20 drop-in fee. Right now, we’re converging – still discussing what comes next as she evolves and grows as a teacher – but evidence of divergence is hard to ignore. Soon, Annamaria will do things as a yoga teacher that I will only ever dream of doing. She’s going to be one of our greats.

 “What I think is very special about this is that he’s one of our great teachers, and great spiritual luminaries, and that there was anything that I did that inspired him…that inspires me. And it touches me. And it makes me feel like I’m on the path that I prayed to be on. So, I feel blessed to have had that reflected back to me – through the eyes, and through the words of the, one and only, Wayne Dyer.”

India.Arie talking about Wayne Dyer talking about her song inspiring his teachings

 

 “If I have seen further than others, it is by standing on the shoulders of Giants.”

– my father paraphrasing Sir Isaac Newton

I grew up surrounded by teachers: my dad’s a professor; his mother was a school teacher; Sunday school teachers reign on both sides (starting for me with my mother’s grandmother); and one of my cousins taught people how to drive buses and trucks. All that before even mentioning all the behind-the-scenes mentoring, guiding, and teaching we take for granted because, ‘Hey, that’s what moms do, right?’ Loving school as I did, certain teachers always had a special place in my heart. Annamaria’s dedication to going deeper on behalf of her yoga students reminds me of my favorite teachers.

A few years after I started practicing yoga, I noticed myself referring to some people as “my yoga teacher” and others as “my yoga instructor” – for a moment I wondered why my subconscious mind would so consciously make that distinction. Then I wondered if it was true; was there a difference, and (if there was a difference) was it my perceptions of the teachers’ perceptions?

During my yoga teacher training, there was a lot of discussion about people who teach yoga and people who teach asana. Looking back, I realized that even though all my early classes included basic elements of the yoga philosophy, some teachers were focused on instructing us how to exercise the bodies, while others were focused on teaching us how to engage the mind-body connection on (and off) the mat. In the end, we teachers are like everybody else: We teach what we know.

 “Teach what is appropriate for an individual.”

– The teaching philosophy of T. Krishnamacharya, described in Krishnamacharya: His Life and Teachings by A. G. Mohan

 

If you follow a certain yoga SODOTO trail, like you might follow a tiny creek or a small drop of water into the earth, you will find the following: T. Krishnamacharya, a great scholar of all the Indian philosophies, taught his brother-in-law B. K. S. Iyengar, a very sickly teenage boy, who grew up to teach Jo Zukovich, whose “realization that yoga is a wide-ranging subject” enabled her to teach Matthew Sanford how to “cultivate a presence within his body through awareness, breath and attention.” If you’re following the tiny creek, you may realize that Matthew Sanford is the beginning of a waterfall. If you’re an MIT scientist following the small drop of water into the earth, you may realize that Mind Solutions is giving us an opportunity to take the ancient practices of yoga airborne. Be a tiny bubble of air – KISS MY ASANA once more with feeling!

A big giant thank you to the 15 yogis who held the space and shared the practice during my donation-based KISS MY ASANA class on Saturday, February 27th(details coming soon). If you’re interested, there are still 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.

~ JAI GURU DEV, JAI JAI ~