Friday, June 21, 2013

The Not-So-Glamorous Asana

Transition: A movement, development or evolution from one form to another.

It is easy to focus solely on the state of the asana in Ashtanga Yoga practice. The mind quickly attaches itself to the idea, energy, and shape of the posture and the body follows.  Sometimes it does this so quickly that the simplest transition, or step, toward the glamour of the posture is ignored and glossed over carelessly.
If one were to remove all of the postures we hold for five or more breaths within the Ashtanga system we would see a sequence of a series of transitions. In my opinion, these transitions are elements of the practice that are often overlooked and overshadowed by the asanas we hold. I believe that these transitions if practiced and studied as diligently as the asanas hold the keys to harnessing the bandhas and further channeling the therapeutic aspects of the postures.  

In Yoga Mala, Sri. K. Pattabhi Jois warns students to learn the practice under the guidance of a qualified teacher so that the benefits of the practice may be realized. He also states that when practiced properly the body becomes stronger and healthier where the postures are intended to do their work. He goes further to state that if practiced incorrectly parts that were supposed to be strengthened become weaker and from this disease ensues. 

As I have mentioned in previous posts, I rarely, almost never, discuss the bandhas or teach them outright to anyone unless it is in a workshop format  or the student requires more focused work integrating them into practice for therapeutic purposes. I might have also said that the physical bandhas are always there. One just has to know where to look. They are constantly coming and going and changing in quality unless you’re dead. 

Digest that last sentence for a moment…

Take a moment to consider the movement of the breath and the tension which ebbs and flows with every inhalation and exhalation. Each phase of the breath carries with it a constricting or controlled and measured release of that tension. The transitions from asana to asana perform a similar function in creating and releasing mental and physical tension for the posture that follows. 

For example, when stepping or jumping to the side in preparation for Trikonasana or Parsvakonasana I see several common expressions of that simple movement. The student:

1.      Steps to the side without paying attention to the feet and how they are aligned. The feet end up pointing out the sides a little or a lot. 

2.      Steps to the side and immediately turns the right foot out in preparation for the right side of the posture.
3.      Steps to the side and doesn’t open the arms and goes down into the posture and then raises the left arm after lowering down to the right side.

4.      The student finishes the right side, comes up and immediately moves the feet for the left side.
Stepping or jumping to the side may not sound important or glamorous. You won’t see anyone taking a picture “doing” that posture. You definitely won’t see it on the cover of a yoga book or magazine. 

Try this:
1.      Step to the side without raising the arms but make sure the feet are aligned and facing forward. Notice what you feel or don’t feel in the abdomen and waist and the upper body. Step back to the front. 

2.      Now step to the side without raising the arms, make sure the feet are aligned and slowly raise the arms to the side. Notice how the raising of the arms begins to narrow the waist away from the lower body. The waist draws in from all sides, the rib cage rises, the chest expands and there is a feeling of tension and stability in the waist. Step back to the front. 

3.      This time step to the side but this time lift the arms out to the sides as you are stepping to the side. You’ll probably notice that the tension you felt along the waist and abdomen is further magnified when you raise the arms as you step to the side. Step back to the front.

4.      Once again step to the side without raising the arms, and align the feet. This time allow either the right or left foot to point outward slightly and notice how that side of the abdomen sags. Turn the foot back in so it is facing forward. Do the same thing with the left side. Once again notice the sagging sensation along that side of the abdomen. Step back to the front. 

5.      Finally, step to the side while raising the arms to the side. Make sure the feet are aligned facing forward. Notice the extra tension in the waist and abdomen and the lift in the chest. Turn one foot out slightly and notice how that side softens and sags a little. Repeat for the other side. Notice how that waist draws in and becomes taut once again when you turn the foot back to the neutral starting position. Step back to the front. 

Personally, I think that if the entry was not important it would not have the distinction of being counted as a vinyasa into and out of Trikonasana and Parsvakonasana. Furthermore, this simple movement can help bring awareness to the subtle lift (bandha) that is encouraged in asana practice.  Stepping to the side isn’t just stepping to the side. There is an important physical and mental quality that is drawn into the body with this simple movement.

Many students find themselves searching or looking for the bandhas in their postures. If one knows where to look the bandhas are neatly tucked away into the transitions of the practice. One just has to slow down enough to feel them automatically occurring. 

One of the things I love about the Ashtanga system is that there are many hidden treasures peppered throughout each series especially in the sun salutations and the fundamental asanas. Slow down and have a closer look.

Tuesday, August 14, 2012

Where's Your Belly At?

This is not an attempt to explain the bandhas, or to offer a definitive technique. These are just concepts until they can be directly transmitted by a teacher. One cannot learn the bandhas by reading about them. Bandhas are to be learned directly from a teacher who understands, through personal experience, the obstacles, pitfalls and signs of correct progress.  It is possible to gain glimpses of what they might be, but only a proper introduction and skilled guidance can ensure correct understanding and application. 

It’s always interesting working with students who have an established practice. The easiest part about working with them is that the general sequence of their Ashtanga practice tends to be memorized. The initial process involves observing their practice and seeing how they interface with the practice on a daily basis before attempting to ‘teach’ or alter much about their practice. From there, priority tends to shift toward clarifying the internal connections between each asana and set of asanas so that the sequence and series being practiced is more clearly understood. Next is the clearing of extraneous flashy elements that are not part of the system and bringing awareness to areas in the practice where energy is being wasted and/or not channeled at all.  

Inevitably, an element that receives a lot of attention is the proper placement, position and organization of the belly during practice. Most students have static perspectives of how to incorporate the use of the abdomen. A static perspective does not allow a flexibility of shape, size and proportion; the belly is not allowed to shift in relation to context of practice. Maintaining a static perspective of the abdomen while the general shape of the body is changing during practice, hinders a clear understanding of the importance of the abdomen’s shape and its influence on the control of the limbs. The physical bandha must come and go according to the need. The mental aspect of the bandha must always be present for this to occur.

Consider engaging the Ashtanga method as a belly practice more so than what one can do with the limbs. Contemplate the difference in shape, direction, and internal texture of the abdomen in every vinyasa into and out of a posture, and also while in the posture. The focus on the belly allows the asana to only go as far as one is able to understand, organize and shape the abdomen. It’s a safety mechanism that is built into the practice if one knows where to look.  It takes time to get to the point where one can clearly understand what the shape transmits throughout the body. Especially since the practice is initially about stretching and developing strength during the beginning stages of building a practice. 

Speaking of stretching, it’s not always necessary to go for the stretch. It’s not always necessary to go for the limit of expression. Sometimes the asana requires self-containment in mind, body, breath and edge. This is a topic for another post but it has come up recently.

Saturday, June 30, 2012

Random Yoga Pictures from 2000-Present

Juan Anguiano and Lino Miele
Bakasana in Florianapolis
Intensive with Lino in Rio De Janeiro
Guruji in NY 2001
Guruji in NY 2001
Juan Anguiano in Parighasana
Juan Anguiano in Kurmasana
Juan Anguiano in Marichyasana B
Juan Anguiano in Parsva Dhanurasana
Snapshot from Matthew Sweeney Workshop at Castle Hill Fitness in the Lotus Room
Juan Anguiano in key entry position for Karandavasana
Guruji watching the the practice room in Mysore
Juan Anguiano in Laghuvajrasana
my refrigerator at my old house
headstand at the Puck Building for Guruji's 2001 visit
Juan Anguiano in Pasasana
Lino Miele in Mountain View California at Yoga is Youth. I'm 3rd from Lino lifting up.
snapshot from Mathew Sweeney workshop at Castle Hill Fitness in the Lotus Room
Juan Anguiano in Padmasana
Juan Anguiano Mulabandha workshop at the Texas Yoga Retreat