Body Prayer with Seane Corn

"Breathe and everything changes" says Seane Corn. I have been learning the Body Prayer vinyasana from a video excerpted from her program "Yoga from the Heart". Seane suggests that it is valuable to set an intention for the practice before beginning. This is a challenging sequence. I have modified it by substituting plank pose for chaturanga dandasana and simplifying upward facing dog by lowering the knees to the floor. It is important not to push the sequence on your body but to modify the poses in tune with your body in the moment. To hear an interview with Seane visit The Speaking of Faith website. There are many wonderful comments from Seane Corn in this interview including her observation that we may be, "culturally addicted to tension." I am certainly thinking about this as I begin my fall teaching schedule. If we are addicted to tension as a community, breathing more consciously might be a good way to begin moving in a new direction.

Stages of Change and a Glimmer of Bliss

photo:Benjamin Jastrzembski
Pre-contemplation, contemplation, preparation, action, maintenance and relapse, the stages of change were developed to guide us through major life changes. Sitting in a doctor's office recently I saw a poster that applied the stages of change model, developed by Prochaska and DiClemente, to smoking. Could this method be applied to developing a yoga practice? Students often express the desire for a self-directed personal yoga practice.
My daughter, Amanda, when queried offered, "I think one connection between this and the practice of yoga in the United States is that people develop a very structured view of all their time and their habits, and use the kind of structures you see in this model, which are probably intended to make difficult and important changes in behaviors that threaten quality of life, and apply them to hobbies, sports, minor diet changes, interests and diversions."
I suppose that is exactly what I was doing as I sat on the exam table waiting. Am I forgetting the most important motivation of all?
Upon reading advice to the relapsed, "re-asses motivation and barriers", found at a UCLA Nutritional Counseling webpage, Amanda reminds me that - "Yoga is not a chore. Get in touch with your genuine interest and the good sensations it brings. Don't objectify it into a medicine, a badge of hipness or a solution, or you risk ending up feeling forced by yourself to do it. That's one take."
Point well made. Find the glimmer of bliss in whatever stage you currently reside. "The source of the universe is bliss; this is what it says in the Taittiriya Upanishad." according to Sharon Gannon. "When yoga practices become dry, they're never going to work; they are not going to make you ultimately happy." (as quoted in American Yoga by Carrie Schneider)
Still, I am tempted to make use of the stages of change model and recognize that all of the stages have value to us, the power to move from one to the other is in our hands.

Why do it?

photo: James O'Brien

"What do you think are some of the most common mistakes that people make when they're practicing Yoga?" Miriam Austin author of Yoga for Whimps was asked. "I think people try too hard. I tell my students, 'Don't do your best pose. Just do the pose in a whimpier way than what you can' — if we do a pose several times, start out lightly and then by the third or fourth time you can go deeper into the pose." - good advice which will help us all avoid injuries. The description "whimpier way" doesn't immediately connect us to the attitude of precision that we try to cultivate in our yoga practice. But, Austin also recognizes that a good sense of humor and cultivating a spirit of fun can be helpful in yoga practice. The interview ends with this sentiment, " I mostly do Yoga for fun, because it is fun to me! It's great to do handstands and backbends. I probably don't practice the poses I don't like so much! (laughs) But I think that's okay because ultimately if you're not having fun, why do it?"

Utkatasana and the Power of Observation

We've been working through James Higgins' vinyasana "Strength and Grace" from the Yoga Journal ( Feb. 2008). It begins with Utkatasana (chair pose). In her discussion of this pose in "Yoga in Action, a Preliminary Course" Geeta Iyengar reminds us that the effects of the asanas are to be observed in the practice of the asanas. "This observation needs to be learnt and cultivated the same as any skill. It does not require any special talent in the execution of the asanas and so is available to all." The possibility of sharpening our powers of self-observation in the asanas is available to all of us. Regardless of our current physical limitations, the number or height of the props we use, the modifications we require. It is available to all of us, all the time, in every pose. Whew! That's a relief. As our perception and observation skills improve we're better able to perform the asanas and reap their physiological, mental and spiritual benefits. Begin with Utkatasana, back against the wall, try it lying on the floor with your feet on the wall, or try the actions seated in an actual chair if you like. See what you can observe about the position of the diaphram in the pose (lifted) and the all-important alignment of the buttock bones. According to Geeta "When bending the knees in Utkatasana, take the buttock bones straight down, do not push them out behind." Then take your observations with you as you get to your feet and try the pose standing. Sharpen your powers of self-observation.

"The Study of yoga is not about anything external to you."

Gary Kraftstow reminds us that, "It is important to remember that the study of yoga is not about anything external to you. It is about studying yourself and learning tools to reduce the undesirable things in your life, like back pain, and increasing the positive things, like happiness. It is about refining yourself at all levels." In "Watch Your Back", a December, 2007 Yoga Journal, article Kraftstow reminds us that we can easily learn yoga techniques and use them to feel better and address our health concerns. This has been "Gary Kraftstow" week for me. His ideas inspired my classes. "Asana is fundamentally about moving awareness in the body and then about moving energy in the body through awareness." (American Yoga by Carrie Schneider). That is what it is all about, building body awareness through yoga asana and using that increased sensitivity to move energy in your body. It is not esoteric, it is accessible to every yoga student. When you increase your awareness of the soles of your feet in baddha konasana can you use that to increase awareness of your feet in standing poses and then in inverted poses when your feet are in the air? Your own personal body map will have many new data points. This feedback can help you tune into your body, give your thinking mind a bit of a breather and increase your ability to address your body's dull areas. Can you move energy in your body? In yoga practice sometimes it is "all about you".

Yoga Asana How-to Videos

If you like video asana instruction take a look at the offerings on Howcast. Look to the right sidebar of this page and select the pose you'd like to view.

Begin with Geometry

Ramanand Patel's website yogirama.com contains a wonderful description of his approach to yoga study in six levels. Initially the mind directs the body into the alignment of the various postures - the geometric level. The student moves on over time to the physiological, organic, pranic, sensory and meditative levels. I was particularly struck by this comment on the pranic level: "Even as the foundation of the prior levels is held, the mind now has to learn how to let go and stop interfering with the natural ease that is inherent in a healthy body. The nature of inner alignment changes as the mind learns to be alert even as it lets go of inadvertently held tensions." In my experience many of us need to ease up a bit on the willful doing of yoga and begin to become more sensitive to the messages our bodies send us. Using our mind and will aggressively on the body is not the way to proceed. Letting go of our ideas of what our body should look like and feel like is moving in the right direction. How can the individual determine where he or she is on the continuum of willfulness to inertia? Do we do more, try harder or do less and let go? I believe yoga practice can over time tune our awareness to the extent that making these distinctions becomes easier. The use of the will that is essential to the first level becomes an interference to the meditative level according to Ramanand Patel.

Sam Dworkis tells us how to "successfully do yoga ... not try to do yoga"

I am very happy to have found Sam Dworkis' website. In the past I have relied upon his book Recovery Yoga for tips for those, myself included, who may need to approach yoga slowly and carefully either as the result of injury, illness or a chronic condition. In his new web book The Mechanics of Yoga Mr. Dworkis explains how doing less correctly gets you more. So if you have ever been discouraged or afraid of injury take heart. Sam Dworkis can guide you along the path of yoga. Sam asserts "that you can substantially enhance your flexibility, strength, and endurance without trying hard. In fact, I'm fond of saying that you can become more flexible, stronger, and create enhanced endurance by hardly trying." These techniques are not aggressive and do not add additional stress to the body the mind or the spirit. As we move in yoga we can really benefit from the wisdom Sam has gained. He has some wonderful words for those who suffer chronic pain.

Yoga is the Study of Conciousness

"Pragnya is Consciousness. We have to practice yoga with consciousness." Read an interesting interview with Yoga Praveena, Arun H.S. who is pictured above in parivrtta janu sirsasana. Arun offers advice for those who have reached a period of stagnation in their practice. He reminds us that Patanjali recommended a change of direction in pranayama, a change of pace in asana and a deepening of faith in ourselves. "We lack faith in everything and in ourselves and so we look elsewhere. We should have faith." Arun will be teaching in the USA later this year.

The Link between Body and Mind

"The breath is the link between body and mind; it is the stepping off place from the physical to the mental. If your breathing is short and rapid, your mind will work nervously agitatedly. If your breathing is erratic your mind must be disturbed and anxious. But if your breathing is long, slow, smooth and even the wildly racing, mechanical nature of your mind will become tranquil and peaceful!" (Richard Hittleman from Guide to Yoga Meditation)
"Breathing techniques have been used for thousands of years as an essential element in virtually every meditative technique or healing practice."(William B. Salt MD, Neil F Neimark MD from Irritable Bowl Syndrome and the Mind Body Connection)
Breathing connects the autonomic nervous system to the voluntary nervous system. Stress can change our pattern of breathing without our being aware of it. Consciously controlling our breath can affect our stress level. In my experience focusing on the breath is a very simple way to focus my attention. When I've gathered my attention to the breath and away from other stimuli I can re-direct it to what I want or need to do next.
Breathing exercises can be oriented toward creating a relaxation response to reduce stress or used as a way to direct the power of attention or employed in an exploration of concentration and meditation.
This week I'll be teaching the relaxation response technique popularized by Herbert Benson MD.

"They act as a diagnostic tool."

This quote from Emmy Cleaves in the book American Yoga by Carrie Schneider caught my eye this morning. In class we have been working at linking the standing poses into a series. It is difficult and the series includes many asanas. Sometimes I wonder if challenging sequences are helpful or not. Emmy Cleaves' comment reassured me. She was referring to Bikram Choudhury's twenty-six posture series. Choudhury's series is so comprehensive that, in her opinion, it covers a normal range of motion for most people and allows practitioners the opportunity to discover their own problem areas. I do not do Bikram's series, nor do I work in a hot room. But, I do find that there is benefit in challenging sequences when they are done with wisdom and respect for one's body. The sequence I have been teaching is from Brad Priddy's Yoga Notebook. Working poses one right after the other focuses my attention and challenges me. I discover the areas where I am weak or tight or simply unsure of the dynamic of the pose. It is helpful to work on individual poses at the wall as a compliment to the vinyasana and take the insights gained back into the series. I try to cultivate a light-hearted attitude and go with the flow. The sequences are our tools of self-discovery not tests. The movement from one asana to the next keeps us from getting stuck in our difficulties. We just keep moving toward greater freedom.

Suryanamaskar

Sun salutation can be very simple as seen in this animation at santosha.com or you can add as many different asanas as you like to the series. I often add additional elements to the prone part of the sequence including ardha bujungasana (half cobra), salabasana (locust pose), and half and full dhanurasana (bow pose). These backbends extend the work that begins with the initial standing backbend of the series. It is instructive to compare ardha bujungasana to the standing back bend. The actions required to do the prone backbend contribute to our understanding of the standing backbend. There are variations on table position that fit in nicely as a transition to the prone position including lifting and extending an arm and leg on opposite sides of the body to create the "bird dog" balance. Cat and cow poses worked from table position are a good warm up during your first sun salutation of the day. Most yoga books include a version of the sun salutation. These provide a starting point for your own custom series. Ending suryanamaskar with the hands in namaskarasana (palms together in front of the chest) is a meditation in itself. The balance of the body facilitated by the series of poses finds its reflection in the relationship between the two hands. The thumbs near the center of the sternum remind us to lift the chest, to breath and to balance our intelligence of mind with the intelligence of the heart.

Sutra 3.32 Immobile like a tortoise

Sutra 3.32 is in the vibhutipada, the book that discusses the exceptional faculties attained by yoga adepts. With so many people suffering sore throats around here I went looking for a sutra that pertained to the throat area. I found this one in BKS Iyengar's "Light on Pranayama". "By samyama on the pit of the throat, the yogi can make his body and mind firm and immobile like a tortoise." Who would want to be immobile like a tortoise? Or have the power to "hibernate mentally by completely immobilizing the functions of the body and intellect."? Maybe a student or anyone who works hard on mental tasks would appreciate such a rest. There are many possible interpretations of the sutras. The image of the tortoise withdrawing into its shell and not emerging until she is good and ready is a powerful one. The limbs that are withdrawn could represent many different aspects of a person. Iyengar associates them with negative emotions that are brought into a state of steadiness and transformed within the shell. I thought of the five senses and pratyahara, withdrawing the senses. We go inside in savasana, relaxation pose, and we quiet our senses. We take a break from the sensations of the world to emerge with greater freshness and steadyness of mind.

Yantras

Yantra has fascinated me for awhile. I love these yantra images.
This is the work of E.J. Barnes of Massachusetts. How can we use yantra in our yoga practice? What is the effect on our brains and consciousness of looking at or imagining a yantra?

A Sense of Balance

We had a great start for our new series of classes at the Ray School yesterday. Everyone jumped right into the stream as we challenged ourselves with some vinyasanas from Sharon Gannon of Jivamukti yoga. Interestingly, Sharon's sequences require precise balance and this week Jane Brody's column in the NYtimes.com:"Preserving a Fundamental Sense:Balance" addresses the importance of balance. A quote:

"Remember, balance is a motor skill,.....To enhance it, you have to train your balance in the same way you would have to train your muscles for strength and your heart for aerobic capacity."

I'd say we had some good balance training yesterday. You can find the article online (you may have to go through a free registration process first). The article includes some simple balance exercises.

The Bond Between Body and Soul

"...the bond between body and soul is indivisible. The life of one gives life to the other. Every physical act, except simply mechanical ones, has an inner source of feeling. Consequently we have both an inner and outer plane in every role, inter-laced. A common objective makes them akin to one another and strengthens their bonds." This passage from: "An Actor Prepares" by Stanislavski is consistent with yoga, the body and the soul are modified together. I would add to this link our emotional and mental lives. So supporting our minds, emotions and soul with yoga asanas is not far-fetched but very practical. I am really enjoying the parallels between the study of yoga and the study of acting that I am finding in this book.

"Decidedly more supple, agile and expressive."

I have been reading "An Actor Prepares" by Constantin Stanislavski. To my surprise he has a chapter on "Relaxation of Muscles". His method calls for the development in actors of a "sort of control; an observer, as it were. This observer must, under all circumstances, see that at no point shall there be an extra amount of contraction. This process of self observation and removal of unnecessary tenseness should be developed to the point where it becomes a subconscious, mechanical habit. Nor is that sufficient. It must be a normal habit and a natural necessity, not only during the quieter parts of your role, but especially at times of the greatest nervous and physical lift." This level of observation of the body reminded me of the skills developed in yoga practice. Later in the chapter the acting students are asked to raise their right arms, " Their arms were slowly raised like the bars at a grade crossing. As they did it Rakhmanov felt their muscles and made comments: 'Not right, relax your neck and back. Your whole arm is tense" - and so on." This reminds me of yoga class and urdva hastasana. How a simple action can "throw the whole body off in the opposite direction from the raised arm, to compensate for the movement." Stanislavski goes on to instruct about cultivating the ability to isolate one group of muscles from another and use only those that are required for the action and relax the rest. After the lesson the student said, "The impression that remains with me from today's lesson is that the Director took us all apart , like so much machinery, unscrewed, sorted out every little bone, oiled, reassembled and screwed us all together again. Since that process I feel myself decidedly more supple, agile and expressive." Just the way we hope to feel after a good yoga practice. The key is to do this for ourselves in our own practice.