“Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet….
‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet;”
— Juliet (on the balcony) in Act II, scene I of Romeo and Juliet by William Shakespeare
Here we are, a New Year and a new beginning — but we still have a big mess leftover from before. The world has been here before. In fact, Johannes Mercurius found himself here in 533 AD. He was a native of Rome, who became a priest at the Basilica of Saint Clement (Basilica di San Clemente al Laterano) on Caelian Hill, one of the seven hills of Rome. The basilica has an interesting history — not the least of which is that contains memorials and references to “Johannes surnamed Mercurius” and “Presbyter Mercurius.” I might dive into that rabbit hole one day, but I mention all this today, because Johannes made quite a name for himself in the church.
Quite literally, he made a name for himself: Today in 533, he was elected pope and decided to change his name to Pope John II. Nowadays, someone changing their name when they are elevated to the Papacy is the ruler rather than the exception. However, Pope John II was the first pontiff to take a new name to mark the beginning of his Papacy and he did it for two reasons. First, he was named after the Roman (and therefore “pagan”) god Mercury; which made his birth name highly inappropriate. Second, he wanted to send a message to the Church and the world about his intention and expectations as Pope.
Pope John II started his Papacy during a time when everything and anything within the Church was for sale. “Simony,” named for a Simon who is associated with sorcery in The Acts of the Apostles, is the practice of purchasing or selling religious appointments, offices, and positions. According to The Catholic Catholic Encyclopedia: Infamy-Lapparent (as published in 1910), the Church’s highest office was unfilled for two months and, during that time, people were very openly, and “shameless[ly] trafficking in sacred things…. Even sacred vessels were exposed for sale.” Given that the position was ultimately filled by a man bearing a Roman god’s name, who had given the Church quite a few “gifts,” one can’t help but wonder how Pope John II came into his position. Either way, simony was outlawed by the Church and the teenage king, Athalaric, right around the time the new pontiff was elevated.
“And when Simon saw that through laying on of the apostles’ hands the Holy Ghost was given, he offered them money, Saying, Give me also this power, that on whomsoever I lay hands, he may receive the Holy Ghost. But Peter said to him, “Your money perish with you, because you thought that the gift of God could be purchased with money! Thou hast neither part nor lot in this matter: for thy heart is not right in the sight of God. Repent therefore of this thy wickedness, and pray God, if perhaps the thought of thine heart may be forgiven thee.”
— The Acts of the Apostles (8:18 – 8:22, KJV)
The 533 decree outlawing simony is interesting in that this rule banning bribery required that whenever there was a disputed election, the Church had to pay the poor three thousand pieces of silver. King Althalaric gave Pope John II the responsibility of overseeing the collection and distribution of such penalties. At the same time, the new pontiff had to deal with an adulterous bishop and also decide whether or not to reinstate bishops in Africa who had started teaching and practicing a form of Christianity that rejected the theology of the Holy Trinity. Clearly, he had a lot on his plate and he wanted — nay, needed — a name that sent a very definitive statement about his intentions moving forward. He needed a name that held some esteem, especially as it related to the bishops in Africa. Ultimately, he choose to name himself after Pope John I, who had been beatified and venerated as a martyr after establishing a precedent in relation to Christians who denied the divinity of Jesus in Constantinople during the Byzantine Empire.
Pope John II did not have a chance to make a ruling on the issue of bishops in Africa, as the controversy was brought to him shortly before his death on May 8, 535. But the practice of changing one’s name had been established. It didn’t take right away. In fact, it would be 450 years after Pope John II changed his name before another pontiff (this time, birth name Pietro Canepanova — a very good Catholic name, as he was named after the first Pope) would change his name: also to John. This Pope John (XIV) would immediately be followed by a “John” who actually kept his birth name, Pope John XV (born Giovanni di Gallina Aba), who would be followed by a series of pontiffs who would change their names. Thus far, Pope John is the most popular papal name, with 23 (excluding the ones known as John Paul).
“In Bengali the word for pet name is daknam, meaning, literally, the name by which one is called , by friends, family, and other intimates, at home and in other private, unguarded moments. Pet names are a persistent remnant of childhood, a reminder that life is not always so serious, so formal, so complicated. They are a reminder, too, that one is not all things to all people.”
— quoted from The Namesake by Jhumpa Lahiri
There is something to be said for naming things, and people — even, maybe especially, ourselves. January 2nd is a day when I usually ask people to consider what name they would use to indicate how they would like to move through the new year. The name would be something positive and active — something from the heart — that can serve as a message to others and a reminder to one’s self: something to bring the awareness back to your purpose, mission, or guiding principle. Something to keep you focused.
Yoga, Buddhism, and even modern Psychology all have practices centered around the naming of things. The naming, or sometimes labeling, of an object (even a non-tangible object) is a way of bringing awareness to awareness and also to one’s understanding (or lack of understanding) about the nature of things. This practice can be a vital aspect of practicing non-attachment. It can also help someone stay focused, in particular by continuously turning the awareness back to a single point and/or away from that which may be distracting.
You can try this by doing “that 90-second thing” with the intention of focusing on your breath and anytime your mind drifts away bring it back by thinking, “Inhale. Exhale,” along with the breath. Alternately, you can think there word, “Thinking,” or some combination thereof. There more you do this the less you may need to do this in order to stay focused, but never forget that there is merit/benefit to doing this type of practice every time you sit (if that’s what the mind-body needs).
“‘Every act of perception,’ [Dr. Gerald] Edelman writes, ‘is to some degree an act of creation, and every act of memory is to some degree an act of imagination.’”
“Many composers, indeed, do not compose initially or entirely at an instrument but in their minds. There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. It is possible that his musical imagery was even intensified by deafness…. There is an analogous phenomenon in those who lose their sight; some people who become blind may have, paradoxically, heightened visually imagery.”
— quoted from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks
Pratyāhāra, the fifth limb of the 8-limbed Yoga Philosophy, is often defined as sense withdrawal. People may think of it as suppressing the senses or ignoring sensation, but in fact the practice is more about acknowledging all that is and choosing on what to focus the mind. Additionally, the yoga tradition understands the experience of sensation as being an engagement of the sense organs and also the mind. So there is internal and external action, which makes the practice two-fold and as much, if not more, about turning inward as about turning away from something outward.
In the commentary for this week’s sūtra, Pandit Rajmani Tigunait, PhD, explains that, “Following the grammatical rules of Sanskrit, it is translated from back to front: hāra means ‘to pull, to withdraw, to bring, to carry’; ā means ‘from every direction in every respect’; and prati means ‘toward.’ Thus pratyāhāra means ‘pulling the mind from every direction and in every respect to a focal point.’”The Yoga Sūtras of Patanjali not only defines and lays out a path towards the practice; it also offers instruction on some beneficial focal points.
One point that consistently stands out as beneficial is the practice of drawing all awareness to the breath and the experience of breathing. (YS 1.34) Remember, however, that before one can really focus all awareness on the breath and the experience of breathing one’s mind-body has to stable and comfortable, steady and at ease, balanced between effort and relaxation. (YS 2.47) Even then, one has to be aware of all the parts of the breath and the different experiences of breathing in order to transcend the experiences of the various parts. (YS 2.49 – 2.51) Even then, one has to be willing to put in the time and effort… especially the time, because there is a bit of math related to the practice.
— “Withdrawing from every direction toward a focal point, the sense organs and actions cease engaging with the [corresponding] sense objects and become like the true nature of the mind.
“A minimum of 48 seconds is required for the bonding between prana and mind to fully mature. Thus pranayama is not defined by how long we hold the breath but rather by how long we hold our mind on the subtle movement of prana in the pranic field.
When mental concentration is 12 times longer than the period of concentration defining pranayama, it is pratyahara…. Dharana, concentration, is 12 times longer than pratyahara. Our capacity to concentrate increases with practice, allowing dharana to mature into dhyana and Samadhi.”
— commentary on Yoga Sūtra 2.54 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
Please join me today (Tuesday, January 2nd) at 12:00 PM or 7:15 PM for a (virtual or in-person) yoga practice.You must be registered to attend in person. You can use the link from the “Class Schedules”calendar if you run into any problems logging into Zoom for the class. You can request an audio recording of this practice via a comment below or (for a slightly faster reply) you can email myra(at) ajoyfulpractice.com.
Tuesday’s playlist is available on YouTube and Spotify. [Look for “10202020 Pratyahara”] NOTE: The YouTube playlist has been updated for more consistent timing and additional music has been added to the before/after practice music.
“[T. K. V.] Desikachar realized that his father felt that every action should be an act of devotion, that every asana should lead toward inner calm. Similarly, [Sri. T.] Krishnamacharya’s emphasis on the breath was meant to convey spiritual implications along with psychological benefits. According to Desikachar, Krishnamacharya described the cycle of breath as an act of surrender: ‘Inhale, and God approaches you. Hold the inhalation, and God remains with you. Exhale, and you approach God. Hold the exhalation, and surrender to God.’”
— quoted from the May/June 2001 Yoga Journal article entitled “Krishnamacharya’s Legacy” by Fernando Pagés Ruiz
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
May you be safe and protected, during the 16 Days of Activism Against Gender-based Violence (November 25th – December 10th) and on all the other days of your life.
For Those Who Missed It: The following was originally posted in 2020. Some sections have been edited to bring the context into the present.
“The timing of the electrical failure seemed dramatic and perfectly correct, as if the lights had said, ‘You have no need for sight. Listen.’”
— quoted from Bel Canto by Ann Patchett
There was a time, not too long ago really, when I felt like I had a certain amount of control over how I began a practice and, therefore, how I told the story that was the class. Sometimes, in part because of my history in technical theatre, I relished days like today when I could combine my thirst for the practice with my love of literature and of the performing arts. I relished creating a dramatic moment when some of my favorite things converged and collapsed into one moment. But, alas, things change and in rolling with the punches I am reminded of the original intention of the story. No matter the drama, it was always about love and the practice (and love of the practice).
In Yoga and in Buddhism, there are techniques that became so popular they are now seen as styles or traditions. There are people, in both cases, who practice each technique as if it is the whole practice. The classic example in Yoga is vinyasā – which literally means “to place in a special way” and involves sequencing poses that exaggerate the body’s natural tendencies (to expand on the inhale and flex on the exhale). In Buddhism, the classic example is vipassanā – which literally means “to see in a special way” and involves paying attention to the way the body responds to the breath (see above). Notice the common root in the Sanskrit words? Notice also the connection to the breath and the body?
There are more these two things have in common, but the most common thing may be people’s habit of translating them into English words that (sometimes) barely hint at their original meaning. So, vinyasā becomes “flow” and vipassanā becomes “insight.” The English words are true; but, make it easy to miss the point and also to miss two key elements of both practices: breath and sense withdrawal.
“She sang as if she was saving the life of every person in the room.”
— quoted from Bel Canto by Ann Patchett
Imagine singing as if you were saving lives; imagine the breath awareness and control that would take. When they hear the words bel canto, many people outside of classical music think of the novel written by Ann Patchett, who was born today in 1963. The novel is based on the 1996 — 1997 hostage crisis that took place at the Japanese Embassy in Lima Peru (Dec 17th — April 22nd). It details the interactions of the terrorists and their hostages — including a world renowned opera singer. Opera and music are central themes throughout the novel, which is named for the Italian term for “beautiful singing” or “beautiful song.” The thing is; bel canto, like vinyasā and vipassanā, is a technique that became known as a style — and it requires control (and awareness) of the breath.
At one time, “bel canto” was just a term applied to beautiful singing — much like some of the music on today’s playlist — but, specifically, to beautiful Italian singing. During the later 18th and early 19th century, however, people started using it in reference to a very specific type of Italian singing, which emphasized even tone; legato (“tied together” or long) phrasing deliberately juxtaposed to staccato (“detached” or short) phrasing — which sometimes also involved dramatic tempo changes; and vibrato (“vibrating” or pulsating). There was also an emphasis on emphasis (or accent) and how emotion was being conveyed. The technique was sometimes applied (and understood) outside of Italian music, but often with less drama attached to it.
“Love was action. It came to you. It was not a choice.”
— quoted from Bel Canto by Ann Patchett
By the end of the 19th century, people were using the term “bel canto” to specifically distinguish a certain style of opera and classical music (mostly associated with Italian and French composers) from operatic and classical music that was described as “weightier, more powerful… speech-inflicted” (and mostly associated with German composers). Similarly, as we moved into the middle and late 20th century, people started using the term “vinyasā” — and even “vipassanā” — to distinguish one type of practice from other traditional styles of practice.
In the parallels I am drawing, one of the things to note is what gets lost in translation. Sometimes, without awareness of why we move the way we move in vinyasā, people just think it’s about putting poses together and moving as swiftly as one can. In fact, there are people who are drawn to that type of practice for the very same reason it turns some people off. Similarly, some people say that they “only practice vipassanā” as a way to distance themselves from Buddhism (or their understanding of cultural Buddhism). The thing is, as I see it, the point of these techniques was to go deeper into the overall practice — and the minute you distance yourself from the intention of the practice is the minute you start spiraling into the “hear be dragons” part of the experience. Sure, it is cool to explore what is considered unchartered territory, but it must always be done (to paraphrase J. R. R. Tolkien) with awareness of the dragons / dangers.
“‘Most of the time, we’re loved for what we can do rather than for who we are. It’s not such a bad thing, being loved for what you can do.’ ‘But the other is better,’ Gen said. Roxane pulled her feet into the chair and hugged her knees to her chest. ‘Better. I hate to say better, but it is. If someone loves you for what you can do then it’s flattering, but why do you love them? If someone loves you for who you are then they have to know you, which means you have to know them.’”
— Roxanne Cross (the soprano) and Gen Watanabe (the translator) in Bel Canto by Ann Patchett
One of the “dangers” of being in close quarters for long periods of time, as people were during the hostage crisis and in the novel (and as we all were in 2020), is that people’s best and worst qualities get exaggerated. It becomes harder, sometimes impossible, to avoid conflict. Other times, it becomes harder (sometimes impossible) to ignore someone’s bad behavior. Similarly, however, we are confronted with people’s good behavior and the heart of people — if we’re paying attention and if we are open to that possibility. Certain situations are opportunities for more trauma and drama — as we have seen ever since the beginning of the pandemic. These same situations are opportunities for forgiveness and healing. But because the lines get blurred with such close proximity, it can all happen at the same time and with the same people. And, I find, that these are the times when we need to withdraw a bit.
I know, I know, you’re thinking, “But where would I go? Where can I go when everything is closed and winter is upon us?” Well, I’m glad you asked.
Some people escape inside of books, some inside of music or movies, and some inside of themselves (through practices like meditation, prayer, yoga, Tai Chi, or Qigong). The idea here is not to escape as if you are running away from home. The idea is to take a moment to turn inward, reflect, and remind yourself of what is in your heart. It’s also a way to remind yourself of what you value and of your guiding principles. Sure, it is harder to do these things during a pandemic. However, it’s harder to do these things if you are in prison or in the middle of a hostage situation… or a war — and yet, people do!
I mentioned earlier that sense withdrawal is one of the key elements shared by vinyasā and vipassanā. In the Yoga Philosophy, pratyāhāra (“withdrawing the senses”) is the fifth limb of the practice. Swami Jnaneshvara Bharati, of the Himalayan tradition, explains that placement in the philosophy by writing that “The willingness or unwillingness to withdraw attention from sensory experience is a significant dividing line between those who experience true meditation and those who experience only physical relaxation.” In other words, in order to focus, concentrate, and meditate on a single point — to the point that we are completely absorbed into (and merged with) the object our focus — we must let go of everything else.
Pratyāhāra is not, as some people believe, forcefully ignoring something or someone. Instead, this is a gentle releasing of awareness. It is something we already do unconsciously or subconsciously when we are really invested in a project or a person. In those times, we may really enjoy the experience. On the flip side, sometimes, the letting go is neither gentle nor peaceful. Sometimes, it is unexpected and jarring and creates a great deal of stress and strain. On a certain level, over the last few months years, we’ve all experienced both kinds of letting go. The question becomes, how have you perceived it (the letting go) and what have you received in turn?
“It was too much work to remember things you might not have again, and so one by one they opened up their hands and let them go.”
— quoted from Bel Canto by Ann Patchett
Please join me today (Saturday, December 2nd) at 12:00 PM, for a 90-minute yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Saturday’s playlist is available on YouTube and Spotify. [Look for “12022020 Ann P’s Beautiful Singing”]
“But together they moved through the world quite easily, two small halves of courage making a brave whole.”
— quoted from Bel Canto by Ann Patchett
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
### HOW AWARE ARE YOU THAT YOU’RE BREATHING? (How about now) ###
The following was originally posted in 2021. I have added some extra bits for 2023; but, if you had a particularly challenging 2022, you might also be interested in last year’s post for January 2nd. You can request an audio recording of Saturday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice. Donations are tax deductible.]
“Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet….
‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet;”
– Juliet (on the balcony) in Act II, scene ii of Romeo and Juliet by William Shakespeare
Here we are, a New Year and a new beginning – but we still have a big mess leftover from before. The world has been here before. In fact, Johannes Mercurius found himself here in 533 AD. He was a native of Rome, who became a priest at the Basilica of Saint Clement (Basilica di San Clemente al Laterano) on Caelian Hill, one of the seven hills of Rome. The basilica has an interesting history – not the least of which is that contains memorials and references to “Johannes surnamed Mercurius” and “Presbyter Mercurius.” I might dive into that rabbit hole one day, but I mention all this today, because Johannes made quite a name for himself in the church.
Quite literally, he made a name for himself: Today in 533, he was elected pope and decided to change his name to Pope John II. Nowadays, someone changing their name when they are elevated to the Papacy is the ruler rather than the exception. However, Pope John II was the first pontiff to take a new name to mark the beginning of his Papacy and he did it for two reasons. First, he was named after the Roman (and therefore “pagan”) god Mercury; which made his birth name highly inappropriate. Second, he wanted to send a message to the Church and the world about his intention and expectations as Pope.
Pope John II started his Papacy during a time when everything and anything within the Church was for sale. “Simony,” named for a Simon who is associated with sorcery in The Acts of the Apostles, is the practice of purchasing or selling religious appointments, offices, and positions. According to The Catholic Catholic Encyclopedia: Infamy-Lapparent (as published in 1910), the Church’s highest office was unfilled for two months and, during that time, people were very openly, and “shameless[ly] trafficking in sacred things…. Even sacred vessels were exposed for sale.” Given that the position was ultimately filled by a man bearing a Roman god’s name, who had given the Church quite a few “gifts,” one can’t help but wonder how Pope John II came into his position. Either way, simony was outlawed by the Church and the teenage king, Athalaric, right around the time the new pontiff was elevated.
“And when Simon saw that through laying on of the apostles’ hands the Holy Ghost was given, he offered them money, Saying, Give me also this power, that on whomsoever I lay hands, he may receive the Holy Ghost. But Peter said to him, “Your money perish with you, because you thought that the gift of God could be purchased with money! Thou hast neither part nor lot in this matter: for thy heart is not right in the sight of God. Repent therefore of this thy wickedness, and pray God, if perhaps the thought of thine heart may be forgiven thee.”
– The Acts of the Apostles (8:18 – 8:22, KJV)
The 533 decree outlawing simony is interesting in that this rule banning bribery required that whenever there was a disputed election, the Church had to pay the poor three thousand pieces of silver. King Althalaric gave Pope John II the responsibility of overseeing the collection and distribution of such penalties. At the same time, the new pontiff had to deal with an adulterous bishop and also had to decide whether or not to reinstate bishops in Africa who had started teaching and practicing a form of Christianity that rejected the theology of the Holy Trinity. Clearly, he had a lot on his plate and he wanted – nay, needed – a name that sent a very definitive statement about his intentions moving forward. He needed a name that held some esteem, especially as it related to the bishops in Africa. Ultimately, he choose to name himself after Pope John I, who had been beatified and venerated as a martyr after establishing a precedent in relation to Christians who denied the divinity of Jesus in Constantinople during the Byzantine Empire.
Pope John II did not have a chance to make a ruling on the issue of bishops in Africa, as the controversy was brought to him shortly before his death on May 8, 535. But the practice of changing one’s name had been established. It didn’t take right away. In fact, it would be 450 years after Pope John II changed his name before another pontiff (this time, birth name Pietro Canepanova – a very good Catholic name, as he was named after the first Pope) would change his name: also to John. This Pope John (XIV) would immediately be followed by a “John” who actually kept his birth name, Pope John XV (born Giovanni di Gallina Aba), who would be followed by a series of pontiffs who would change their names. Thus far, Pope John is the most popular papal name, with 23 (excluding the ones known as John Paul).
“In Bengali the word for pet name is daknam, meaning, literally, the name by which one is called , by friends, family, and other intimates, at home and in other private, unguarded moments. Pet names are a persistent remnant of childhood, a reminder that life is not always so serious, so formal, so complicated. They are a reminder, too, that one is not all things to all people.”
– quoted from The Namesake by Jhumpa Lahiri
There is something to be said for naming things, and people – even, maybe especially, ourselves. January 2nd is a day when I usually ask people to consider what name they would use to indicate how they would like to move through the new year. The name would be something positive and active – something from the heart – that can serve as a message to others and a reminder to one’s self: something to bring the awareness back to your purpose, mission, or guiding principle. Something to keep one focused.
At the end of 2021, I heard someone talking about a retreat (or workshop) where people wrote down a name that they associated with themselves before a transformative experience. Similar to what we used to do at the end of the New Year’s Day 108 mala, they threw the names in a fire; letting go of what no longer served them. Hearing about that ritual reminded me that we know the story behind Juliet imploring Romeo to change his name and we know why Pope John Ii changed his name. Being just as clear about our own motivations can help us stay focused in the year ahead.
Yoga, Buddhism, and even modern Psychology all have practices centered around the naming of things. The naming, or sometimes labeling, of an object (even a non-tangible object) is a way of bringing awareness to awareness and also to one’s understanding (or lack of understanding) about the nature of things. This practice can be a vital aspect of practicing non-attachment. It can also help someone stay focused, in particular by continuously turning the awareness back to a single point and/or away from that which may be distracting.
You can try this by doing “that 90-second thing” with the intention of focusing on your breath and, anytime your mind drifts away, continuously bringing it back by thinking, “Inhale. Exhale,” in tandem with the breath. Alternately, you can think there word, “Thinking,” or some combination thereof. The more you do this, the less you may need to do this in order to stay focused. Never forget, however, that there is merit/benefit to doing this type of practice every time you sit (if that’s what the mind-body needs).
“‘Every act of perception,’ [Dr. Gerald] Edelman writes, ‘is to some degree an act of creation, and every act of memory is to some degree an act of imagination.’”
“Many composers, indeed, do not compose initially or entirely at an instrument but in their minds. There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. It is possible that his musical imagery was even intensified by deafness…. There is an analogous phenomenon in those who lose their sight; some people who become blind may have, paradoxically, heightened visually imagery.”
– quoted from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks
Pratyāhāra, the fifth limb of the 8-limbed Yoga Philosophy, is often defined as sense withdrawal. People may think of it as suppressing the senses or ignoring sensation, but in fact the practice is more about acknowledging all that is and then choosing on what to focus the mind. Additionally, the yoga tradition understands the experience of sensation as an engagement of the sense organs and also the mind. So there is internal and external action, which makes the practice two-fold and as much, if not more, about turning inward as it is about turning away from something outward.
In the commentary for this week’s sūtra, Pandit Rajmani Tigunait, PhD, explains that, “Following the grammatical rules of Sanskrit, it is translated from back to front: hāra means “to pull, to withdraw, to bring, to carry”; ā means “from every direction in every respect”; and prati means “toward.” Thus pratyāhāra means “pulling the mind from every direction and in every respect to a focal point.” The Yoga Sūtras of Patanjali not only defines and lays out a path towards the practice; it also offers instruction on some beneficial focal points.
One point that consistently stands out as beneficial is the practice of drawing all awareness to the breath and the experience of breathing. (YS 1.34) Remember, however, that before one can really focus all awareness on the breath and the experience of breathing one’s mind-body has to be stable and comfortable, steady and at ease, balanced between effort and relaxation. (YS 2.47) Even then, one has to be aware of all the parts of the breath and the different experiences of breathing in order to transcend the experiences of the various parts. (YS 2.49 – 2.51) Even then, one has to be willing to put in the time and effort… especially the time, because there is a bit of math related to the practice.
– “Withdrawing from every direction toward a focal point, the sense organs and actions cease engaging with the [corresponding] sense objects and become like the true nature of the mind.
“A minimum of 48 seconds is required for the bonding between prana and mind to fully mature. Thus pranayama is not defined by how long we hold the breath but rather by how long we hold our mind on the subtle movement of prana in the pranic field.
When mental concentration is 12 times longer than the period of concentration defining pranayama, it is pratyahara…. Dharana, concentration, is 12 times longer than pratyahara. Our capacity to concentrate increases with practice, allowing dharana to mature into dhyana and Samadhi.”
– commentary on Yoga Sūtra 2.54 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
There is no playlist for the Common Ground Meditation practices.
The playlist revised for 2022 is available on YouTube and Spotify. [Look for “10202020 Pratyahara”]
Did you know that I spent 2022 making a video series about changing perspectives and habits? Here is the last video in the series, which is an invitation to begin the series.
“[T. K. V.] Desikachar realized that his father felt that every action should be an act of devotion, that every asana should lead toward inner calm. Similarly, [Sri. T.] Krishnamacharya’s emphasis on the breath was meant to convey spiritual implications along with psychological benefits. According to Desikachar, Krishnamacharya described the cycle of breath as an act of surrender: ‘Inhale, and God approaches you. Hold the inhalation, and God remains with you. Exhale, and you approach God. Hold the exhalation, and surrender to God.’”
– quoted from the May/June 2001 Yoga Journal article entitled “Krishnamacharya’s Legacy” by Fernando Pagés Ruiz
Errata: The 2021 post cited the wrong Romeo and Juliet scene number.
“She sang as if she was saving the life of every person in the room.”
*
– quoted from Bel Canto by Ann Patchett
Imagine singing as if you were saving lives; imagine the breath awareness and control that would take. When they hear the words bel canto, many people outside of classical music think of the novel written by Ann Patchett, who was born today in 1963. The novel is based on the 1996 – 1997 hostage crisis that took place at the Japanese Embassy in Lima, Peru (Dec 17th – April 22nd). It details the interactions of the terrorists and their hostages – including a world renowned opera singer. Opera and music are central themes throughout the novel, which is named for the Italian term for “beautiful singing” or “beautiful song.” The thing is; bel canto, like vinyasā and vipassanā, is a technique that became known as a style – and it requires control (and awareness) of the breath.
Please join me tonight, Friday, December 2nd, 7:15 PM – 8:20 PM (CST), for First Friday Night Special #26: “Breathe As If You’re Singing” on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
*
Friday Night’s playlist is available on YouTube andSpotify.[Look for “12022022 Breathe As If…”]
This practice will feature gentle movement, pranayama, and meditation. It is accessible and open to all.Prop wise,this can be kitchen sink practice. You can practice without props or use “studio” props and/or “householder” props. Example of Commercial props: 1 – 2 blankets,2 – 3 blocks, a bolster, a strap, and an eye pillow. Example of Householder props: 1 – 2 blankets or bath towels, 2 – 3 books (similar in size), 2 standard pillows (or 1 body pillow), a belt/tie/sash, and a face towel.
You may want extra layers (as your body may cool down during this practice). Having a wall, chair, sofa, or coffee table may be handy for this practice.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
[This is the post for Saturday, January 2nd. You can request an audio recording of Saturday’s practice via a comment below or (for a slightly faster reply) you can email me at myra (at) ajoyfulpractice.com.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.]
“Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet….
‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet;”
– Juliet (on the balcony) in Act II, scene I of Romeo and Juliet by William Shakespeare
Here we are, a New Year and a new beginning – but we still have a big mess leftover from before. The world has been here before. In fact, Johannes Mercurius found himself here in 533 AD. He was a native of Rome, who became a priest at the Basilica of Saint Clement (Basilica di San Clemente al Laterano) on Caelian Hill, one of the seven hills of Rome. The basilica has an interesting history – not the least of which is that contains memorials and references to “Johannes surnamed Mercurius” and “Presbyter Mercurius.” I might dive into that rabbit hole one day, but I mention all this today, because Johannes made quite a name for himself in the church.
Quite literally, he made a name for himself: Today in 533, he was elected pope and decided to change his name to Pope John II. Nowadays, someone changing their name when they are elevated to the Papacy is the ruler rather than the exception. However, Pope John II was the first pontiff to take a new name to mark the beginning of his Papacy and he did it for two reasons. First, he was named after the Roman (and therefore “pagan”) god Mercury; which made his birth name highly inappropriate. Second, he wanted to send a message to the Church and the world about his intention and expectations as Pope.
Pope John II started his Papacy during a time when everything and anything within the Church was for sale. “Simony,” named for a Simon who is associated with sorcery in The Acts of the Apostles, is the practice of purchasing or selling religious appointments, offices, and positions. According to The Catholic Catholic Encyclopedia: Infamy-Lapparent (as published in 1910), the Church’s highest office was unfilled for two months and, during that time, people were very openly, and “shameless[ly] trafficking in sacred things…. Even sacred vessels were exposed for sale.” Given that the position was ultimately filled by a man bearing a Roman god’s name, who had given the Church quite a few “gifts,” one can’t help but wonder how Pope John II came into his position. Either way, simony was outlawed by the Church and the teenage king, Athalaric, right around the time the new pontiff was elevated.
“And when Simon saw that through laying on of the apostles’ hands the Holy Ghost was given, he offered them money, Saying, Give me also this power, that on whomsoever I lay hands, he may receive the Holy Ghost. But Peter said to him, “Your money perish with you, because you thought that the gift of God could be purchased with money! Thou hast neither part nor lot in this matter: for thy heart is not right in the sight of God. Repent therefore of this thy wickedness, and pray God, if perhaps the thought of thine heart may be forgiven thee.”
– The Acts of the Apostles (8:18 – 8:22, KJV)
The 533 decree outlawing simony is interesting in that this rule banning bribery required that whenever there was a disputed election, the Church had to pay the poor three thousand pieces of silver. King Althalaric gave Pope John II the responsibility of overseeing the collection and distribution of such penalties. At the same time, the new pontiff had to deal with an adulterous bishop and also decide whether or not to reinstate bishops in Africa who had started teaching and practicing a form of Christianity that rejected the theology of the Holy Trinity. Clearly, he had a lot on his plate and he wanted – nay, needed – a name that sent a very definitive statement about his intentions moving forward. He needed a name that held some esteem, especially as it related to the bishops in Africa. Ultimately, he choose to name himself after Pope John I, who had been beatified and venerated as a martyr after establishing a precedent in relation to Christians who denied the divinity of Jesus in Constantinople during the Byzantine Empire.
Pope John II did not have a chance to make a ruling on the issue of bishops in Africa, as the controversy was brought to him shortly before his death on May 8, 535. But the practice of changing one’s name had been established. It didn’t take right away. In fact, it would be 450 years after Pope John II changed his name before another pontiff (this time, birth name Pietro Canepanova – a very good Catholic name, as he was named after the first Pope) would change his name: also to John. This Pope John (XIV) would immediately be followed by a “John” who actually kept his birth name, Pope John XV (born Giovanni di Gallina Aba), who would be followed by a series of pontiffs who would change their names. Thus far, Pope John is the most popular papal name, with 23 (excluding the ones known as John Paul).
“In Bengali the word for pet name is daknam, meaning, literally, the name by which one is called , by friends, family, and other intimates, at home and in other private, unguarded moments. Pet names are a persistent remnant of childhood, a reminder that life is not always so serious, so formal, so complicated. They are a reminder, too, that one is not all things to all people.”
– quoted from The Namesake by Jhumpa Lahiri
There is something to be said for naming things, and people – even, maybe especially, ourselves. January 2nd is a day when I usually ask people to consider what name they would use to indicate how they would like to move through the new year. The name would be something positive and active – something from the heart – that can serve as a message to others and a reminder to one’s self: something to bring the awareness back to your purpose, mission, or guiding principle. Something to keep you focused.
Yoga, Buddhism, and even modern Psychology all have practices centered around the naming of things. The naming, or sometimes labeling, of an object (even a non-tangible object) is a way of bringing awareness to awareness and also to one’s understanding (or lack of understanding) about the nature of things. This practice can be a vital aspect of practicing non-attachment. It can also help someone stay focused, in particular by continuously turning the awareness back to a single point and/or away from that which may be distracting.
You can try this by doing “that 90-second thing” with the intention of focusing on your breath and anytime your mind drifts away bring it back by thinking, “Inhale. Exhale,” along with the breath. Alternately, you can think there word, “Thinking,” or some combination thereof. There more you do this the less you may need to do this in order to stay focused, but never forget that there is merit/benefit to doing this type of practice every time you sit (if that’s what the mind-body needs).
“‘Every act of perception,’ [Dr. Gerald] Edelman writes, ‘is to some degree an act of creation, and every act of memory is to some degree an act of imagination.’”
“Many composers, indeed, do not compose initially or entirely at an instrument but in their minds. There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. It is possible that his musical imagery was even intensified by deafness…. There is an analogous phenomenon in those who lose their sight; some people who become blind may have, paradoxically, heightened visually imagery.”
– quoted from Musicophilia: Tales of Music and the Brain by Dr. Oliver Sacks
Pratyāhāra, the fifth limb of the 8-limbed Yoga Philosophy, is often defined as sense withdrawal. People may think of it as suppressing the senses or ignoring sensation, but in fact the practice is more about acknowledging all that is and choosing on what to focus the mind. Additionally, the yoga tradition understands the experience of sensation as being an engagement of the sense organs and also the mind. So there is internal and external action, which makes the practice two-fold and as much, if not more, about turning inward as about turning away from something outward.
In the commentary for this week’s sūtra, Pandit Rajmani Tigunait, PhD, explains that, “Following the grammatical rules of Sanskrit, it is translated from back to front: hāra means “to pull, to withdraw, to bring, to carry”; ā means “from every direction in every respect”; and prati means “toward.” Thus pratyāhāra means “pulling the mind from every direction and in every respect to a focal point.” The Yoga Sūtras of Patanjali not only defines and lays out a path towards the practice; it also offers instruction on some beneficial focal points.
One point that consistently stands out as beneficial is the practice of drawing all awareness to the breath and the experience of breathing. (YS 1.34) Remember, however, that before one can really focus all awareness on the breath and the experience of breathing one’s mind-body has to stable and comfortable, steady and at ease, balanced between effort and relaxation. (YS 2.47) Even then, one has to be aware of all the parts of the breath and the different experiences of breathing in order to transcend the experiences of the various parts. (YS 2.49 – 2.51) Even then, one has to be willing to put in the time and effort… especially the time, because there is a bit of math related to the practice.
– “Withdrawing from every direction toward a focal point, the sense organs and actions cease engaging with the [corresponding] sense objects and become like the true nature of the mind.
“A minimum of 48 seconds is required for the bonding between prana and mind to fully mature. Thus pranayama is not defined by how long we hold the breath but rather by how long we hold our mind on the subtle movement of prana in the pranic field.
When mental concentration is 12 times longer than the period of concentration defining pranayama, it is pratyahara…. Dharana, concentration, is 12 times longer than pratyahara. Our capacity to concentrate increases with practice, allowing dharana to mature into dhyana and Samadhi.”
– commentary on Yoga Sūtra 2.54 from The Practice of the Yoga Sūtra: Sadhana Pada by Pandit Rajmani Tigunait, PhD
Saturday’s playlist is available on YouTube and Spotify. [Look for “10202020 Pratyahara”]
“[T. K. V.] Desikachar realized that his father felt that every action should be an act of devotion, that every asana should lead toward inner calm. Similarly, [Sri. T.] Krishnamacharya’s emphasis on the breath was meant to convey spiritual implications along with psychological benefits. According to Desikachar, Krishnamacharya described the cycle of breath as an act of surrender: ‘Inhale, and God approaches you. Hold the inhalation, and God remains with you. Exhale, and you approach God. Hold the exhalation, and surrender to God.’”
– quoted from the May/June 2001 Yoga Journal article entitled “Krishnamacharya’s Legacy” by Fernando Pagés Ruiz
“The timing of the electrical failure seemed dramatic and perfectly correct, as if the lights had said, “You have no need for sight. Listen.”
– quoted from Bel Canto by Ann Patchett
There was a time, not too long ago really, when I felt like I had a certain amount of control over how I began a practice and, therefore, how I told the story that was the class. Sometimes, in part because of my history in technical theatre, I relished days like today when I could combine my thirst for the practice with my love of literature and of the performing arts. I relished creating a dramatic moment when some of my favorite things converged and collapsed into one moment. But, alas, things change and in rolling with the punches I am reminded of the original intention of the story. No matter the drama, it was always about love and the practice (and love of the practice).
In Yoga and in Buddhism, there are techniques that became so popular they are now seen as styles or traditions. There are people, in both cases, who practice the technique as if it is the whole practice. The classic example in Yoga is vinyasā – which literally means “to place in a special way” and involves sequencing poses that exaggerate the body’s natural tendencies (to expand on the inhale and flex on the exhale). In Buddhism, the classic example is vipassanā – which literally means “to see in a special way” and involves paying attention to the way the body responds to the breath (see above). Notice the common root in the Sanskrit words? Notice also the connection to the breath and the body?
There is more these two things have in common, but the most common thing may be people’s habit of translating them into English words that (sometimes) barely hint at their original meaning. So, vinyasā becomes “flow” and vipassanā becomes “insight.” The English words are true, but also make it easy to miss the point and also to miss two key elements of both practices: breath and sense withdrawal.
“She sang as if she was saving the life of every person in the room.”
– quoted from Bel Canto by Ann Patchett
Imagine singing as if you were saving lives; imagine the breath awareness and control that would take. When they hear the words bel canto, many people outside of classical music think of the novel written by Ann Patchett, who was born today in 1963. The novel is based on the 1996 – 1997 hostage crisis that took place at the Japanese Embassy in Lima Peru (Dec 17th – April 22nd). It details the interactions of the terrorists and their hostages – including a world renowned opera singer. Opera and music are central themes throughout the novel, which is named for the Italian term for “beautiful singing” or “beautiful song.” The thing is; bel canto, like vinyasā and vipassanā, is a technique that became known as a style – and it requires control (and awareness) of the breath.
At one time, “bel canto” was just a term applied to beautiful singing – much like some of the music on today’s playlist – but specifically beautiful Italian singing. During the later 18th and early 19th century, however, people started using it in reference to a very specific type of Italian singing, which emphasized even tone; legato (“tied together” or long) phrasing deliberately juxtaposed to staccato (“detached” or short) phrasing – which sometimes also involved dramatic tempo changes; and vibrato (“vibrating” or pulsating). There was also an emphasis on emphasis (or accent) and how emotion was being conveyed. The technique was sometimes applied (and understood) outside of Italian music, but often with less drama attached to it.
“Love was action. It came to you. It was not a choice.”
– quoted from Bel Canto by Ann Patchett
By the end of the 19th century, people were using the term “bel canto” to specifically distinguish a certain style of opera and classical music (mostly associated with Italian and French composers) from operatic and classical music that was described as “weightier, more powerful… speech-inflicted” (and mostly associated with German composers). Similarly, as we moved into the middle and late 20th century, people started using the term “vinyasā” – and even “vipassanā” – to distinguish one type of practice from other traditional styles of practice.
In the parallels I am drawing, one of the things to note is what gets lost in translation. Sometimes, without awareness of why we move the way we move in vinyasā, people just think it’s about putting poses together and moving as swiftly as one can. In fact, there are people who are drawn to that type of practice for the very same reason it turns some people off. Similarly, some people say that they “only practice vipassanā” as a way to distance themselves from Buddhism (or their understanding of cultural Buddhism). The things is, as I see it, the point of these techniques was to go deeper into the overall practice – and the minute you distance yourself from the intention of the practice is the minute you start spiraling into the “hear be dragons” part of the experience. Sure, it is cool to explore what is considered unchartered territory, but it must always be done (to paraphrase J. R. R. Tolkien) with awareness of the dragons / dangers.
“‘Most of the time, we’re loved for what we can do rather than for who we are. It’s not such a bad thing, being loved for what you can do.’ ‘But the other is better,’ Gen said. Roxane pulled her feet into the chair and hugged her knees to her chest. ‘Better. I hate to say better, but it is. If someone loves you for what you can do then it’s flattering, but why do you love them? If someone loves you for who you are then they have to know you, which means you have to know them.’”
– Roxanne Cross (the soprano) and Gen Watanabe (the translator) in Bel Canto by Ann Patchett
One of the “dangers” of being in close quarters for long periods of time, as people were during the hostage crisis and in the novel (and as we are now), is that people’s best and worst qualities get exaggerated. It becomes harder, sometimes impossible, to avoid conflict and other times it becomes harder (sometimes impossible) to ignore someone’s bad behavior. Similarly, however, we are confronted with people’s good behavior and the heart of people – if we’re paying attention and if we are open to that possibility. Certain situations are opportunities for more trauma and drama – as we have seen during the pandemic. These same situations are opportunities for forgiveness and healing. But because the lines get blurred with such close proximity, it can all happen at the same time and with the same people. And, I find, that these are the times when we need to withdraw a bit.
I know, I know, you’re thinking, “But where would I go? Where can I go when everything is closed and winter is upon us?” Well, I’m glad you asked.
Some people escape inside of books, some inside of music or movies, and some inside of themselves (through practices like meditation, prayer, yoga, Tai Chi, or Qigong). The idea here is not to escape as if you are running away from home. The idea is to take a moment to turn inward, reflect, and remind yourself of what is in your heart. It’s also a way to remind yourself of what you value and of your guiding principles. Sure, it is harder to do these things during the pandemic. However, it’s harder to do these things if you are in prison or in the middle of a hostage situation – and yet, people do!
I mentioned earlier that sense withdrawal is one of the key elements shared by vinyasā and vipassanā. In the Yoga Philosophy, pratyāhāra (“withdrawing the senses”) is the fifth limb of the practice. Swami Jnaneshvara Bharati, of the Himalayan tradition, explains that placement in the philosophy by writing that “The willingness or unwillingness to withdraw attention from sensory experience is a significant dividing line between those who experience true meditation and those who experience only physical relaxation.” In other words, in order to focus, concentrate, and meditate in a single point – to the point that we are completely absorbed into (and merged with) the object our focus – we must let go of everything else.
Pratyāhāra is not, as some people believe, forcefully ignoring something or someone. Instead, this is a gentle releasing of awareness. It is something we already do unconsciously or subconsciously when we are really invested in a project or a person. In those times, we may really enjoy the experience. On the flip side, sometimes, the letting go is neither gentle nor peaceful. Sometimes, it is unexpected and jarring and creates a great deal of stress and strain. On a certain level, over the last few months, we’ve all experienced both kinds of letting go. The question becomes, how have you perceived it (the letting go) and what have you received in turn?
“It was too much work to remember things you might not have again, and so one by one they opened up their hands and let them go.”
– quoted from Bel Canto by Ann Patchett
Please join me today (Wednesday, December 2nd) at 4:30 PM or 7:15 PM for a yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You will need to register for the 7:15 PM class if you have not already done so. Give yourself extra time to log in if you have not upgraded to Zoom 5.0. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Wednesday’s playlist is available on YouTube and Spotify.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
“But together they moved through the world quite easily, two small halves of courage making a brave whole.”
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.
***
“Are you sleeping? / Still dreaming? / Still drifting off alone.”
– “Sleeping” by Glen Hansard & Marketa Irglova
“And he became old in as many days as he had slept years;”
– Diogenes Laertius writing about the philosopher Epimenides
Upon hearing that the short story author Washington Irving was born April 3, 1783, some might suppose that today’s peak pose will be Savasana. Such an assumption, however, would mean that “some” are making the same error as Rip Van Winkle.
“The great error in Rip’s composition was an insuperable aversion to all kinds of profitable labor.”
– from “Rip Van Winkle” by Washington Irving
Contrary to popular belief, Savasana, which is sometimes used as a starting pose, but is most commonly practiced as a final pose, is not the time to take the deepest nap you’ve taken all day. Instead, Savasana (Seat of the Corpse) marks the death of the practice and creates an opportunity to practice the final four limbs of yoga (pratyahara, dharana, dhyana, and Samadhi).
Swami J of the Himalayan tradition says, “The willingness or unwillingness to withdraw attention from sensory experience is a significant dividing line between those who experience true meditation and those who experience only physical relaxation.” Pratyahara (sense withdrawal) is the fifth limb of yoga and serves as a bridge between engaging the mind-body in order to connect with the spirit and recognizing that the mind-body-spirit connection eternally exists. It allows one to direct their attention towards a single point, without distraction. That point could be light, love, the sun, God (whatever that means to you at this moment), your parents, or some aspect of the divine (such as loving-kindness, peace, or playfulness). That single-pointed focus, dharana, is the sixth limb of yoga. Over a long period of time, dharana becomes dhyana, concentration. Over a long period of time, concentration becomes meditation – maybe even that “perfect meditation,” Samadhi, which is sometimes referred to as “union with divine.” Symbolically, Savasana is the opportunity to release all worldly concerns and goods, to release your efforts and your awareness back to the source of all things.
“Rip’s heart died away at hearing of these sad changes in his home and friends, and finding himself thus alone in the world.”
– from “Rip Van Winkle” by Washington Irving
All that being said, it is not uncommon for people to fall asleep in “Corpse Pose.” Moving through the physical practice is preparation for a deep seated meditation; however, in a day and age where we have trained ourselves to be in perpetual motion, to multi-task, and to be sleep-deprived, calming the body and the mind, naturally creates an opportunity for a nap. This is especially true if we are holding a lot of residual tension or stress – which may be keeping us from sleeping well at night. And, it is true that Rip Van Winkle was presumed as dead as so many of his friends and family.
But, we’re still not spending the whole practice in Savasana.
“One of the greatest and simplest tools for learning more and growing is doing more.”
– Washington Irving
FEATURED POSE for April 3rd: Half Moon Pose (Ardha Chandrasana)
Washington Irving’s short story “Rip Van Winkle” is paired with “The Legend of Sleepy Hollow.” Yes, yes, that is a story about another “sleepy” Dutch settlement and a ghost. But, it’s a headless ghost, and the last thing we want to do during the practice is loose our heads! Delving a little deeper, you will find that both stories feature the appearance and/or reference to the ghosts of Henry Hudson and the crew of the Halve Maen*, a Dutch East India Company boat whose name, in English, is “Half Moon.”
There are at least two (2) variations of Half Moon that regularly appear in the physical practice. The first, a “Hot Half Moon” can be done at any point in the practice and does not require a lot of warm-up. It can also be done seated or lying down, is prenatal approved, and can be embellished. To practice “Hot Half Moon,” come into Samastithi (Equal Standing), either standing or seated with feet together or slightly apart. Inhale arms overhead and, as you exhale, come into a steeple grip so that index fingers are extended like a church steeple or like the main mast of a sailing vessel. If it’s accessible to you, places the thumbs one next to the other. If it is more comfortable, cross the thumbs – and make sure to change the cross when you come back to center. Inhale reach up and length; exhale and lean to the left so that the left hand/arm pulls the right hand/arm over to the side. Make sure weight is balanced in the feet, legs, and hips – so that even though you are leaning left, you are still engaging the right. From the thighs, start to rotate the body up towards the left armpit and gaze up towards the right elbow (if that is accessible and comfortable). After 3 – 6 breaths, inhale to center. Like Rip Van Winkle after his long nap, notice what’s changed and then switch to the other side. After the second side, feel free to move between the sides one-breath-one motion. Ultimately release back to Equal Standing.
Ardha Chandrasana, as it appears in a vinyasa practice, is a standing balance similar to Triangle Pose (Trikonansana) or Supine Big Toe Pose (Supta Padangusthasana) without the bind. Since this variation of Half Moon pose requires leg strength, flexibility and strength in the hips, and lots of core strength, I recommend moving through a warm up sequence like Cat/Cow and/or some Salutations plus some standing poses. For the standing poses, consider an externally rotated sequence with Warrior II (Virabhadrasana II), Triangle (Trikonasana), and Extended Side Angle (Parsvakanasana). You could also practice Supine Big Toe Pose (Supta Padangusthasana) and pay particular attention to how you root down through the (heels of the) feet and stabilize with the core. In all the poses, extend through the arms and collar bones.
After preparing the body, make your way into Triangle Pose. On an exhale, gaze down. On an inhale, shift the weight into the front leg (so it appears you’re moving into an awkward Side Angle Pose). Exhale and zip up by spreading your toes, squeezing your perineum muscles like you’re trying not to go to the bathroom, and lifting the belly button up and back. Once the core is engaged, inhale and stand on the front leg. Reach the lifted foot towards the wall behind. It might be feet away, but you want to engage your lifted foot and leg as if you are standing on the wall behind you. Reach the lifted arm up with the same awareness and intensity that you’re using to reach the lower arm down. Find balance within the imbalance. After at least 6 breaths, exhale to Extended Side Angle and inhale to standing. Again, take a moment to be like the newly awakened Rip Van Winkle and then move to the second side.
Ardha Chandrasana can be practiced with your back or your lifted foot against the wall. You can also make the pose easier by placing the lower hand on a block and folding the lower arm against the back into a half bind. (The half bind will lower your center of gravity. As with the first variation, this variation of “Half Moon” is prenatal-approved: Just keep in mind that your center of gravity is continuously changing while you’re pregnant.
After practicing any variation of “Half Moon,” move into a gentle forward fold – such as Child’s Pose (Balasana) – or, sneak in another “pose of the day”: Hands-to-Feet Pose (Padahastasana), which is often referred to as “Gorilla Pose,” but today you can call it “Chimp Pose.”
Now, as you like, Savasana!
(*SIDE NOTE: The Halve Maen set sail on April 4, 1609. On July 25, 1609, some of the crew assaulted a village in Nova Scotia. In 1610, Henry Hudson headed out in a new ship, the Discovery. Hudson, his son John, and the non-mutinous members of the ship disappeared in the spring of 1611.)
A Joyful Practice 