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Foundations 2019 July 29, 2019

Posted by ajoyfulpractice in 31-Day Challenge, Abhyasa, Books, Changing Perspectives, Fitness, Healing Stories, Health, Japa-Ajapa, Meditation, Men, Minneapolis, Minnesota, Music, Peace, Philosophy, Science, Surya Namaskar, Twin Cities, Vairagya, Wisdom, Yoga.
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(NOTE: The picture above is missing Leslie Kaminoff’s Yoga Anatomy, Steve Ross’s Happy Yoga, Stephen Cope’s The Wisdom of Yoga, all my Yin Yoga and Taoist texts, a copy of the Ramayana, and Alanna Kaivalya’s Myths of the Asanas, at the very least.)

“Form follows function – that has been misunderstood. Form and function should be one, joined in a spiritual union.”

Frank Lloyd Wright

 

“If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”

John Cage

 

Saturday mornings at the Y, just like any morning, is a great time to explore the physical and philosophical practice of yoga. However, I am partial to my Saturdays since I have 90 minutes to engage in the practice of exploration. For the last few years, I have started the new year with a “Building From the Ground Up” sequence – each Saturday adding more poses and another layer of the philosophy. Sometimes I still tie-in a meditation point specific to the date, and to whatever aspect of the philosophy is on tap for the day. Sometimes, however, it’s just straight philosophy and an opportunity to consider the meditation through movement. Whatever I plan for the year, usually wraps up around the end of July – when we start breaking down a different physical practice, the Ashtanga Primary Series.

This year, philosophically, I decided to sequentially move through Patanjali’s Yoga Sutras. Each week breaking down a sutra with commentary. (This week will be YS 1.31.) Physically, we have been breaking down a course of poses outlined by B. K. S. Iyengar in Light On Yoga.

The Saturday class is not an Iyengar class; however, (as teachers like Seane Corn have pointed out) if you are going to practice vinyasa, it’s a good idea to practice Iyengar as it will give you the solid foundation and insight into the asanas (poses).

Iyengar’s Course I is 30 weeks of detailed practice, specifically intended to build a physical practice from the ground up. While they are not limbs themselves, abhyasa (continuous practice with devotion) and vairagya (actively practicing the art of letting go or non-attachment) definitely make up the fertile soil from which the 8-limbs of yoga grow and thrive. And, they are key elements to the courses that appear in the appendix of Light On Yoga.  At first, each set of poses is practiced for two (2) weeks before additional poses are added to the sequence. Later, some sequences are repeated for three (3) or four (4) weeks – and sometimes the order of the sequence changes. The 30-week course is followed by a 3-day course, which is slightly different from the 30-day course since the asanas are timed. Finally, there is some guidance on adding sun salutations (surya namaskar) to the physical practice and a list entitled “Important asanas in Course I.”

“If these asanas are mastered then the others given in this course will come even without regular practice.

– B. K. S. Iyengar writing about the “Impostant asanas in Course I”

The important asanas list, when followed by the sun salutations, looks and feels a lot like one of the first vinyasa practices to appear in the West, the Ashtanga Primary Series introduced to Sri Pattabhi Jois.  This is not a random coincidence. While Iyengar and Jois were in very different physical/health conditions when they started practicing yoga, they practiced at the same time and with the same teacher: Sri Krishnamacharya. The practices they introduced to the West – just like the physical practices introduced by some of Krishnamacharya’s other students (including Indra Devi, T. K. V. Desikichar, and A. G. Mohan) reflect their own personal practices – which were the result of the physical and mental needs. Remember, classically, the physical practice of yoga (hatha yoga, regardless of the style or tradition) prepares the practitioner for deep-seated meditation. Ergo, even though they might practice the same poses, a very sickly young boy may use a different method of practice than a very active teenage boy.

(Side Note: It is also not a random coincidence that we generally start exploring the Ashtanga Primary series at the end of July: instead the timing coincides with the birthday of Sri Pattabhi Jois.)

YMCA classes are always open to members and their guests. If you are a member, please feel free to join us for class at any time throughout the year – and, feel free to bring a guest.

For further reading, check out Light on Yoga by B. K. S. Iyengar; Heart of Yoga by T. K. V. Desikichar; Ashtanga Yoga the Practice Manual by David Swenson; The Secret of the Yoga Sutra: Samadhi Pada by Pandit Rajmani Tigunait, PhD (Note: This is Part 1 of a series and only includes the first section of the sutras. There are many translations of the sutras, a great online resource is Patanjali’s Yoga Sutras on swamij.com.)

“Talent works, genuis creates.”

– Robert Schumann

~~~ AUM ~~~

MEET MS. BANNING: 2019 Kiss My Asana Offering #13 April 13, 2019

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The “practice preview” below is part of my offering for the 2019 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with today’s theme or concept 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 a donation-based class on April 27th or May 4th.

I also challenge you to set aside a certain amount every day that you practice with this concept/theme 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.

***

“All you have to do is open up a little bit and then you’ll be experiencing a part of that person’s soul. It’s just there – in the presence of a beautiful painting, a creation, something created by someone else. This is insight into not who they are physically, but who they are on this other plane. So, what makes it magical, always, is to hear music performed live.”

– Bill Conti

 

“When the audience and the performers become one, it is almost nearly divine, where this oneness can actually meet in some, not physical place, but in some spiritual place, in the middle, not the performers performing, not the audience receiving, but all of a sudden that contact is made and it becomes wonderful.”

– Bill Conti

Everyone does it at some point or another. It doesn’t matter if we sit down to watch a movie, a play, or a television show – or maybe we’re reading a book or listening to a show on the radio – at some point we suspend disbelief. We open ourselves to the possibility of the possibilities being laid out before us…without expectation, without attachment, and without aversion. Just for a moment, we let go of what we know and open to what is.

The job of an artist, like composer Bill Conti (born 4/12/1942), is to create something that serves as a layer or filter, a lens through which the audience sees the world unfold. Composers like Conti will often use motifs (a brief melody that is part of a longer passage) and leitmotifs (a brief melody or motif that is directly tied to a person or event) to reinforce a certain concept or emotion that the creative team wants the audience to experience. In other words, the creative team is creating samskars (mental impressions) and vasanas (in this case, a habitual subconscious reaction). And, when the creative element is iconic – like so many of Conti’s compositions are – we develop an inescapable habitual (and visceral) response to the music that exists long after the music ends. Without even knowing it, the music shapes the way we think, act, and speak – again, long after the movie ends. Think about what happens when you hear part of the theme from Rockyeven when it’s played on a piano.

But, what happens if we notice what happens? What happens if we start studying our habits and noticing the things that appeal to us and the things to which we have an aversion? What happens if we investigate why we do the things we do? What happens if we practice a little non-attachment and look at ourselves from an objective vantage point – one without the veils of our experiences (i.e., without the samskaras and vasanas?

“dŗşțā anuśravika vişaya vitŗşņasya vaśīkāra sanjñã vairāgyam ” (YS I.15)

 

dŗşțā                              seen or perceived

anuśravika                  heard or revealed in scripture

vişaya                            object, subject, matter of experience

vitŗşņasya                    free of craving or desire

vaśīkāra                        state of mastery, control

sanjñã                           awareness, consciousness, knowing

vairāgyam                   non-attachment, neutral, without attachment or aversion

 

“We are all ready to read / Just as we are born knowing what we like”

– from “The Foundation” by Thievery Corporation

 

In order to master the mind and the fluctuations of the mind, one needs to not only practice continuously and with reverence (abhyasa), as Patanjali indicates in Yoga Sutra II.14, but also with non-attachment (vairagya). Since, however, we have attachments – meaning things and people to which we have attraction or aversion – part of the practice is observing our behaviors and then gradually detaching, or letting go, of our attachments. As we consistently practice letting go, it becomes a habit so that the attachments do not form. This means that, like so many other elements in the Eastern philosophies, the practice of non-attachment is a technique as well as a state of being.

The easy misconception is that practicing non-attachment means that one forcing everything away and becoming numb. In fact, the opposite is true. When we move through our days without noticing why we lean one way or the other, then we are numb to our true nature and, in the process, we miss certain elements of our lives. If, however, we can lift the veils of our habits we start to notice more about ourselves and the world around us. We start to notice cause and effect, but we also start to interrupt behaviors and patterns that lead to suffering.

 

“In the back of your mind, when you say you want to write music for the movies, you’re saying that you want a big house, a big car, and a boat. If you just wanted to write music, you could live in Kansas and do that.”

– Bill Conti

 

An example that Swami J uses to explain the difference between detachment and non-attachment is that of two (2) ex-smokers. In this example, they both stopped smoking years ago. One smoker, however, sees a cigarette or smells smoke and immediately begins craving the cigarette. When the first former smoker recognizes that craving, resists acting upon it, and then let’s go of the desire (or allows the desire to pass) this person is practicing detachment. On the flip side, the second former smoker no longer has the craving; when there is no conscious or subconscious desire to smoke there is nothing to release and that is the state of non-attachment. (Anybody want to go down this particular rabbit hole?)

 

 “There’s a higher place that I have no illusions about reaching. There’s a sophistication and aesthetic about composers who only write only for the music’s sake.”

– Bill Conti

 

FEATURED POSE for April 13th: Half Lift or Upward Forward Fold Pose (Ardha or Urdhva Uttanasana)

There are certain poses that are easy to overlook when moving through poses one-breath-one motion or when you are predisposed to think some poses are more important than other poses. One such overlooked pose is Half Forward Fold (Ardha Uttanasana), which is also referred to as Upward Facing Forward Fold (Urdhva Uttanasana). In Sun Salutations it may be considered a “gateway pose” – because it bridges the gap between standing only on the feet and the inclined series where you are standing on hands and feet (or only on hands). If you take a moment to let go of your attachment or aversion to the pose and really examine it, you will start to notice that it’s not only a bridge, it’s also a ferry.

From a standing (or seated) position, exhale and bring your heart to your thighs (bending your knees if you have low back issues and or tight hamstrings). As you inhale, look up and lengthen the spine. Place your hands on your thighs, or bend your knees and place your elbows on your thighs. Making sure that your shoulders are pressing back, find a little bit of Cow Pose (to make sure you have a “flat back”) and then gaze at your nose or third eye center. Engage your core by zipping up (spreading toes and balancing on all corners of the feet; squeezing the perineum muscles together and up; drawing the belly button up and back). Breathe here for 3 – 5 breaths (inhale + exhale = 1 breath).

As you’re breathing here, see if you can maintain length in the spine while also starting to lengthen the legs. If it is accessible to you, reach the hands down to the floor or a block – but only if you can do so without losing the extension in the spine. Notice how you react to being in this pose.

After the requisite number of breaths, exhale and see if you can bring your heart to your thighs without losing the extension in the spine. Inhale, use the whole breath to look up and lengthen again. Exhale, and use the whole breath to fold. Inhale to your flat back; bring hands to hips as you exhale and then lift the torso up as one unit.

Consider how Upward Facing Forward Fold contains elements of Equal Standing / Mountain Pose. If Sun Salutations are in your practice, move through a couple of sets and see if you can maintain your flat back (looking forward) position all the way through Chaturanga Dandasana. This is a fun practice to do with a small ball balanced on your low back! (See if you can keep the ball on your low back until Downward Facing Dog (or your back bend).

Upward Facing Forward Fold is a great pose to do with hands up against the wall and arms extended. It is prenatal approved; just widen the legs to make room for the baby. If you have low back issues, unregulated blood pressure, eye issues like glaucoma, or certain types of osteoarthritis you may find that Upward Facing Forward Fold is a better option for you than Forward Fold (Uttanasana). If that is the case, you can do the above sequence just by bending the knees on the exhale and straightening them on the inhale. Honor your body, but also watch your aversion (or attraction) to modifying your practice.

 

### NAMASTE ###

 

WE CAN BEGIN AT ANYTIME: 2019 Kiss My Asana Offering #12 April 13, 2019

Posted by ajoyfulpractice in Uncategorized.
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The (slightly belated) “practice preview” below is part of my offering for the 2019 Kiss My Asana yogathon. I encourage you to set aside at least 5 minutes a day during April, to practice with today’s theme or concept 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 a donation-based class on April 27th or May 4th.

I also challenge you to set aside a certain amount every day that you practice with this concept/theme 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.

***

“How strange that we can begin at any time.
With two feet we get down the street.
With a hand we undo the rose.
With an eye we lift up the peach tree
And hold it up to the wind – white blossoms
At our feet. Like today. I started”

 – excerpt from “Looking Around, Believing” by Gary Soto (born 4/12/1952)

Ever look around and wonder why we begin where we begin? Every wonder if we could start our yoga practice with a different pose? Or if it even matters where we start? For that matter, what would happen if we started earlier in life? Or later?

Okay, okay, some of those are purely rhetorical. And, as the title of this post clearly states, “we can begin at anytime” – but, what about the place/position in which we start?

If you are exposed to different styles and traditions, maybe through a single teacher or through your own curiosity, you will find that some styles and traditions always start with the same pose – but that “same pose” is not universal. Some practices start with Child’s Pose (Balasana). Some start with Equal Standing / Mountain Pose (Samastithi / Tadasana).Some start with the practitioners on their backs; still others start with practitioners in a seated position – but even then it’s not necessarily the same seated position.  Why all the variety? Let’s go deeper.

There’s something to be said for tradition. If you look back at Patanjali’s Yoga Sutras there are no asanas (or poses) detailed. Instead, Patanjali provides critical instructions on how to practice the poses. Specifically, he instructs “cultivating a steady/stable, easy/comfortable/joyful seat/pose” (YS II.46) and then proceeds to explain how the awareness and extension of breath (pranayama) extends out of finding balance in the body. Classical sacred texts like Hatha Yoga Pradipika (circa 15th century), Gheranda Samhita (early 17th century), or Shiva Samhita (circa 14th – 17th century), mostly list sitting on your sits-bones poses and begin with some variation of a cross-legged position. In all cases, the focus is on having an elongated spine, with the head balanced above the shoulders and hips, and effort balanced with relaxation. This type of pose reminds one of a meditation seat and is a great way to remember that the physical yoga practice is also a meditation practice, with the ultimate meditation state as its final goal. Emotionally, energetically, and symbolically, starting in a seated position indicates that the practice is a time for study, contemplation, and devotion.

Ashtanga, one of the first vinyasa practices to come to the western world, begins with Mountain Pose (Tadasana), which is also the first pose featured in B. K. S. Iyengar’s Light on Yoga. It is a foundational pose, in that there are elements of Mountain Pose (which Iyengar also refers to as Equal Standing) in almost every pose. When standing, there is particular emphasis on balance – left to right and top to bottom – and on the extension of the spine, which is supported by the engagement of the core. It is a pose which can be practiced on the feet, in a chair, but also lying on one’s back. It’s a great starting place, because it is a great reference point: you can come back again and again and notice the changes you have brought about in your body. There is, however, another benefit of starting in Equal Standing / Mountain Pose – it is standing at attention and so it is a signal that the practitioner is ready for what comes next and, more importantly, ready to move in any direction. Like certain sitting on your sits-bones poses, this is one of the most neutral starting positions simply because you can easily move from it into almost any position.

Child’s Pose is a great place to start, because one’s head is down and (like a child preparing for a nap) one is less likely to be distracted by external surroundings. There is a physical turning inward, as well as an emotional and energetic turning inward. Even though this can be a hard pose to hold if you have knee issues, it offers a lot a physical benefits: there is an opportunity to release the low back; an opportunity to open the hips; an opportunity to compress the abdominal area and thereby stimulate the parasympathetic nervous system (in order to calm the body); it’s a baby inversion; and it is a great opportunity to stretch out the front of the legs. Most importantly, perhaps, is that once again the spine is long and there is balance. There is also a symbolic reason for starting in Child’s Pose: the beginning of the practice marks the birth of the practice (and practices that start here often move through a symbolic life cycle).

Since she draws from her experiences with different styles and traditions, Seane Corn will sometimes start practices from a standing position, sometimes from a sitting on the sits-bones position, and sometimes in Child’s Pose. During her vinyasa teacher training, however, she also points out that starting the practice on one’s back, creates openness and receptiveness. When you start on your back, you are also physically supported (along the head, shoulders, elbows, arms, hips, and heels) in a way that may allow the spine to easily align. The more supported and aligned you are, the more comfortable you might be and, therefore, the more receptive. Additionally, lying on your back indicates some form of Corpse Pose (Savasana) which, when considered in the context of reincarnation, can also be the symbolic “beginning” of the life cycle. (For example, if you start in Corpse Pose you can easily rollover into Child’s Pose and then stand up on all fours and then eventually stand up on your feet).

“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.”

– excerpt from “How Things Work” by Gary Soto

Where you begin your practice can set the emotional and energetic tone of the practice. And, while a good starting position will allow you to go anywhere (even if some poses require more movements than others – think 6 degrees of separation), some starting positions specifically prepare you for what’s to come. For instance, starting in Cow Face Pose (Gomukhāsana) legs, prepares the body for hip opening, while sitting in Hero’s Pose (Virasana) stretches out the front of the legs and knees (similar to Child’s Pose).

FEATURED POSE for April 11th: Easy Pose (Sukhāsana)

Easy Pose (Sukhāsana) can be the beginning, middle, and end of your practice. Sitting on the floor, with shoulders and hips aligned, bend your knees so that shins/ankles are crossed and each foot rests underneath the opposite thigh (i.e., right foot is under left thigh). Tilt the sits-bones slightly back and root them down in order to lengthen the spine.

Hips should be in line with or higher than the knees. If there is compression in the back and hips and/or if the knees are higher than the hips, sit up on top of something (making sure your stability is not compromised by the prop you’re using for support). If the knees are uncomfortable, experiment with the hips being higher than the knees, switching which leg is in front / on top, and/or squeezing the legs closer or further away from each other and from the hips.

Once you have your legs crossed, wiggle your arms and then let them rest on your thighs – palms up if you want a little energy, palms down if you want to be grounded. You can take any seal (mudra) or leave the palms open and relaxed.

Stack your spine as if you have coins in your back, with the largest denomination on the bottom so that you end up with a dime, a nickel, and a penny on top of whatever hair is on your head. Relax your shoulders and jaw, creating a little space between your lips and teeth. (Not so much space that someone could look down your throat to see if you still have your tonsils, but enough space so that the mouth, lips, teeth, jaw, and tongue can relax.)

Gaze 4 – 6 feet in front of your belly button and either softly shutter your eyes or blur your eyes through that focal point (drishti). Set a timer for 5 – 10 minutes and begin to notice your breath and the parts of your breath.

At the beginning of the practice, see how long you can sit and breathe in Easy Pose before you get distracted. Notice the first three (3) things that distract you. For instance, if your mind wanders away from your breath and you start thinking about something outside of the moment, your #1 today is “Thoughts.” If you deliberately refocus your mind on the breath and the parts of the breath, you may find your body getting a little antsy – in which case, your #2 today is “Sensations.” (Sensations can be pain or discomfort in the body that makes you want to move, the feeling of being too hot or too cold, and or the feeling that something needs to be scratched.) If you deliberately refocus your mind on the breath and the parts of the breath, you may find yourself feeling like it’s time to move or that you’re getting sleepy and then you could label your #3 today as “Emotions.”

Obviously, the examples above are generic examples and you may experience them in a different way or in a different order. However, note how long it takes for you to be distracted.  You could also make a note of how many times you bring your awareness back to breath. Keep in mind, this (bring the mind back, again and again) is the practice.

Make a note regarding your experiences during the time allotted and then move through any set of yoga poses or some other physical activities. If you notice specific physical discomforts/distractions, focus your practice on strengthening of relaxing the areas of the body that distracted you. If you found you were having a lot of mental distractions, challenge yourself by doing something that requires your complete attention. (If you’re looking for a practice, click here and see how Gary Soto’s poems inspired last year’s 12th offering.)

When you come back to the pose, set the timer again and notice what happens.

“Beneath my steps, my breath”

– excerpt from “Oranges” by Gary Soto

(for my twin and her best friend)

 

### NAMASTE ###