Oxford & Region Iyengar Yoga Institute

Transcription

1 Oxford & Region Iyengar Yoga Institute Welcome to the Winter 2010/11 edition of our e-newsletter. Dear Members and all who are associated with ORIYI, All those lovely yoga holidays in the sun seem a very distant memory now good job we have our yoga to sustain us through the winter months! For those of you who didn t see the fantastic yoga display at the 2010 Commonwealth Games opening ceremony you really missed a treat it was quite mesmerizing and culminated in a gigantic seated figure with the seven chakras emerging from the centre stage. You can view it at While looking at youtube I found the following example of BKS Iyengar practicing backbends in have look it is truly inspirational. I have been searching for interesting and suitable images to brighten up this newsletter please let me know if you have any images we could use for future editions. Many thanks to Sheila Haswell for sending me some interesting photos taken when she visited temples in India three are included as well as the sign to Samadhi. Judith Jones, Judi Sweeting and Tig Whattler were in Pune during August and have brought back an interesting message about how we use props. See the article written by Judith in this newsletter. Finally, we have some great events coming up in Do try to support your local institute coming to these workshops and teachers please encourage your students to come too. We are especially privileged to have Bobbie Clennell from the USA coming to teach us in May it should be a wonderful experience. Keep in touch and let me know if you have any useful yoga news to share with other ORIYI members. Best wishes Mary Membership Secretary maryfitzpatrick@ntlworld.com

2 Yoga Events for 2011 Kirsten Agar Ward Saturday 19 th March am pm St Bartholomew s School Newbury. Nathalie Blondel Saturday 2 nd April 2011 from 10.30am pm St George s Church Hall, 206 Andover Road, Newbury. RG14 6NU Bobbie Clennell Friday 13 th May pm for teachers and experienced/intermediate students Saturday 14 th May 10.00am pm general workshop St Bartholomew s School Newbury. Flyers for these events with full details will be circulated in the New Year. ORIYI AGM The next ORIYI AGM will take place on Saturday 21st May at the URC Woodbridge Room Newbury RG14 1AF at 1.30pm until 2.30pm. Using Props. By Judith Jones Every time I visit the Iyengar Institute in Pune to attend classes, even though the regime is much the same, the experience is always different. This time was no exception, mainly because Geetaji wasn t teaching. Geetaji normally conducts five classes each week in the first floor yoga hall, which accommodates around 150 students. Both local people from Pune and visitors from around the world attend her classes. The RIMYI teachers normally take the Beginners and Intermediate classes in the second floor studio, which are attended mainly by local people. However on this occasion these teachers were also standing in for Geetaji, with Prashantji leading her Thursday pranayama class. Two of Geeta s weekly classes are for ladies only, and very fortunately for us Guruji was directing these classes to train the teachers who delivered his instructions and observations. In one class he asked why all the young people were using so many props in their practice. Guruji said that the new generations of students will never experience the classical asanas if they practice with props all the time. We were told to look at Light on Yoga! So we had to put away all the bolsters, blankets, bricks and from then on, in all the classes, we practiced without using any equipment, not even a blanket when sitting for the Invocation. Only Sarvangasana was practiced on a lift (3 thick mats and a folded sticky mat) but with no belt for the

3 arms. Anyone with a specific problem practiced at the side of the room and used some support where necessary, but the rest of us had to work! The first props Guruji used to help his own practice were heavy stones which he found in the street to weight down his legs in Baddha Konasana. He did backbends over oil drums. Later he evolved the use of all kinds of specially designed wooden props and ropes for people with ailments so they could manage to do the asanas independently, safely and get the full benefits. He says the healing process is quicker as extension and relaxation take place at the same time. But also even healthy students with no medical problems couldn t do the poses as in Light on Yoga, so he innovated ways of working with supports for better performance and understanding of the asana. Practicing in this way there is no fear and the mind is stable. However many of us have become too prop - orientated in our practice. We habitually take the props because poses are more comfortable and more easily achieved, and we don t learn from their use to penetrate more, to find where we are lacking and work to overcome our failings. We like things to be too easy. So Guruji has said: If you have an injury, use a prop until the pain is relieved and healing has come. Then remove reliance on the prop bit by bit. If you are healthy see what you can do without the prop. If the pose doesn t come persevere! If it still doesn t come or understanding isn t there, use a prop to learn. Then try again without. When teaching, see what the students can do. Don t treat all as therapy cases. Don t overload with props which are confusing and can be ineffective and even dangerous if not used correctly. Ref: BKS Iyengar. Yoga Wisdom and Practice

4 What happens on a Yoga Shoot. By Judi Sweeting Two years ago Dorling Kindersley publishers asked Judith (Jones) and myself to act as consultants for B. K. S. Iyengar s book Yoga Wisdom and Practice. We were to supervise the step by step sequence photography as well as the text that accompanied it. Our names had been approved by Guruji as well as the list of asanas to be covered in the book. Our travel arrangements were made, airline tickets received and Judith jetted off to the beautiful mountains of mainland Spain. Judith was the "trail blazer" and was in almost daily contact so I would know what to expect. The following week, I flew out to Majorca and took a taxi to the hotel which was to be my base for the next few days and where I would make the acquaintance of my model Mikey, (a trainee teacher from London), the editor Susannah Marriot, super photographer John Freeman, lovely stylist Nicky Collings, and John's assistant Erin Eve. The days were long, starting by 8am, and often not finishing until 7pm in the evening, with a short lunch break and the odd tea break. One of our locations was a beautiful Majorcan villa (used by a British photographer to photograph fashion which was going to end up in catalogues). Every day a minibus would arrive and we could see the models in their dressing gowns, rollers and scarves, high heeled shoes, and frequently holding a cigarette in their fingers, they seemed to live on them. We also spent one day on a fantastic beach where the unusual rock formation (piles of rocks and stones arranged in towers) looked like a lunar landscape. However, rain threatened the shoot and we spent an anxious half an hour under yoga mats huddled against big rocks waiting for it to stop - it did. Then Nicky and Susannah cleared the sand from on top of a huge rock, spreading it out to form a smooth surface so Mikey could be photographed doing backbends and twists. Mikey became like a much loved and cosseted boy, with Nicky and I arranging his hair, powdering his sweating brow, pulling his tee-shirt straight (no creases allowed) then I checking his pose and giving him adjustments to get the best possible asana. John would say, "Judi come and look (through his viewfinder) is this OK? Then, "Mikey, can you move...can you hold it...can you do that again (for the 6th time)?" Then Susannah, at her computer, asking, "Judi, come and see if this is right, this is what Guruji said in Yoga Rahasya (or Astadala Yogamala), and I would check what she had typed. The fashion side of the shoot had to be considered. Decisions had to be made about the colour of Mikeys' tee-shirt, bright pink, orange or red, what equipment were we to use, the colour of the mat, the blocks, the blankets? Then there was the business of the light, so important to John. Often, by the time all was in place, the mat, the equipment, the model in the pose the light would change. John and Erin were so so patient. Where possible the six to eight asanas to be photographed each day were taken in an order that was harmonious to the model s body. While the area chosen for each photo was selected according to the light. At the end of each days shoot, I would be asked to look at all the photographs taken, something like one hundred photos from which to choose say eight shots, the best ones to submit to Guruji - no pressure! It was more difficult than you might imagine because the differences between some photos were minute, but terribly important. Each evening I would read the original article, text or book that Guruji had listed as a reference for the next days' work. It was then that I gained an understanding of the props/equipment to be used and why. I learnt so much from what I read and then by looking at what Susannah had written and checking through the photos. It was a very intense process. So to bed. I honestly didn t see anything of where I was staying; we left when it was just about light

5 So to bed. I honestly didn t see anything of where I was staying; we left when it was just about light and arrived back in the dark. I was absolutely shattered each evening only managing a simple practice to restore my energy. It was hard work for Mikey too, showing asanas in incredibly hot and sticky conditions but he was a trooper and had great energy. When I saw the photographs in the book I was struck by his quiet, peaceful demeanour - a good result. We did have a few funny incidents. We were working on the asana Sarapanjarasana (Bed of Arrows pose). The text in the book introduces this pose by saying, "When Bhismacarya was totally injured in Kurksetra, he kept himself alive with sheer will power. He lay on a bed of arrows, known as Sarapanjara. But was it not a strain for him to lie on a bed of arrows? He prefered to lie in the same position. Why? Because he was supported by arrows at the cardiac nerve. The ventricle of the heart was supported and that brought him a restful state... In the Institute (in Pune), those who suffer from cardiac problems are asked to do this asana. Page 226. Mike was photographed as shown in the book. Then Susannah asked if she might try it, she was placed on the equipment - she experienced comfort and quietness, so as you might guess, in turn the team all tried. Last of all John was placed carefully on the equipment, I adjusted his shoulders and the equipment shifted slightly and he fell with me on top of him. I was rather glad he wasn t behind his camera at this point; it would have made a provoking out take. As I have written this down I am living it all again and enjoying it even more. I shall make use of these memories to come up with another episode next time. Garth McLean s visit to High Wycombe June 2010 By Sheila Haswell In September 2009 when Stephanie Quirk was teaching the remedial course at Sarva, she mentioned that Garth McLean, from the USA, was the guest teacher at the French Teachers Convention in October. My ears immediately pricked up as one of my brothers had been diagnosed with Multiple Sclerosis (MS) in November 2008 and Garth also has MS. He controls his condition with Iyengar Yoga and diet and so I was very keen to meet up with him to see how he works and copes with MS and I hoped I would get a chance to have a chat with him. I managed to get a late place at the convention and it was definitely worth it. His approach to the subject was impressive and he was very easy to talk to so I invited him to teach at Sarva. He came in June 2010 and was very well received. Being an actor he had great presence and a good voice and his sessions were good fun and entertaining as well as hard work. We did so much in the sessions that I can only touch on a few points here. We first had an introduction to MS and Garth let us know what many and varied symptoms he has had to deal with, he told us that Guruji encouraged him to learn for himself instead

6 of just giving him answers. Guruji told him Every day walk the line between courage and caution. Some triggers for symptoms of MS are heat (both inside the body and outside) and stress, so in asana practice Garth had to ask himself What do I need to do? His body had to be prepared to receive the restorative asanas, he had to find the archetype of the asana yet give the nervous system a break (working with courage and caution). He told us, When working with MS learn to move from the periphery to the core, move the femur into the socket, make connections. The nervous system is like an electricity cable and when the connection is made the light comes. The key to using yoga as therapy is to adopt and adapt ; the therapist has to be Sensitive, Observant and Sensible (SOS). First get the nerves to calm down then adopt asanas from a regular sequence adapting them to take account of the limitations of the student. There were so many asanas shown with props that it would be impossible to write about them here but what was demonstrated is that there is so much which can be done to get the essence of the asana and thus the benefits. Inversions are very important because of the health of the brain but it is essential to go for softness so that the student doesn t have eyes or throat bulging. For beginners inversions may first need to be done by just getting the legs in the air; proceed with caution. Some general points to bear in mind: Do standings supported (trestler, wall, chair etc) Look down (for a cool brain) Don t hold asanas for too long If student shakes, switch to recuperative programme Do a full range of asanas using props where necessary When helping, do so with compassion and friendliness and teach from your heart so that they have a good experience And in particular, For yoga to be beneficial it has eventually to become a daily practice. My brother attended the classes and derived a lot of benefit. He was not a yoga practitioner but he is now doing little bits of what he learnt to keep himself stronger, more mobile and in touch with his body. He has already put the 2011 date in his diary and has been in touch with Garth about changes to his diet. The classes we ran were attended by both students and teachers, mostly without MS but some had come specifically because of their MS or because they teach someone with the condition. During the French convention which was for teachers only, Garth took everyone through a one and a half hour class to demonstrate the qualities that we have to find in a practice for the MS sufferer. The class went like this: Adho Mukha Virasana (joints connected) Adho Mukha Svanasana (eyes back in their sockets; though you see your feet let the eyes be as though you see your fingers like sitting in a train going backwards) Walk hands back to Uttanasana (hold elbows) Adho Mukha Svanasana jump to Uttanasana, place hands on thighs to take inner front thighs back and come up to Tadasana. Salamba Sirsasana eyes look back as in AMS previously and make space between the top of the eyeball and the top of the orbit. (Garth said this was a bath for the brain cells)

7 What happens on a Yoga Shoot. By Judi Sweeting Two years ago Dorling Kindersley publishers asked Judith (Jones) and myself to act as consultants for B. K. S. Iyengar s book Yoga Wisdom and Practice. We were to supervise the step by step sequence photography as well as the text that accompanied it. Our names had been approved by Guruji as well as the list of asanas to be covered in the book. Our travel arrangements were made, airline tickets received and Judith jetted off to the beautiful mountains of mainland Spain. Judith was the "trail blazer" and was in almost daily contact so I would know what to expect. The following week, I flew out to Majorca and took a taxi to the hotel which was to be my base for the next few days and where I would make the acquaintance of my model Mikey, (a trainee teacher from London), the editor Susannah Marriot, super photographer John Freeman, lovely stylist Nicky Collings, and John's assistant Erin Eve. The days were long, starting by 8am, and often not finishing until 7pm in the evening, with a short lunch break and the odd tea break. One of our locations was a beautiful Majorcan villa (used by a British photographer to photograph fashion which was going to end up in catalogues). Every day a minibus would arrive and we could see the models in their dressing gowns, rollers and scarves, high heeled shoes, and frequently holding a cigarette in their fingers, they seemed to live on them. We also spent one day on a fantastic beach where the unusual rock formation (piles of rocks and stones arranged in towers) looked like a lunar landscape. However, rain threatened the shoot and we spent an anxious half an hour under yoga mats huddled against big rocks waiting for it to stop - it did. Then Nicky and Susannah cleared the sand from on top of a huge rock, spreading it out to form a smooth surface so Mikey could be photographed doing backbends and twists. Mikey became like a much loved and cosseted boy, with Nicky and I arranging his hair, powdering his sweating brow, pulling his tee-shirt straight (no creases allowed) then I checking his pose and giving him adjustments to get the best possible asana. John would say, "Judi come and look (through his viewfinder) is this OK? Then, "Mikey, can you move...can you hold it...can you do that again (for the 6th time)?" Then Susannah, at her computer, asking, "Judi, come and see if this is right, this is what Guruji said in Yoga Rahasya (or Astadala Yogamala), and I would check what she had typed. The fashion side of the shoot had to be considered. Decisions had to be made about the colour of Mikeys' tee-shirt, bright pink, orange or red, what equipment were we to use, the colour of the mat, the blocks, the blankets? Then there was the business of the light, so important to John. Often, by the time all was in place, the mat, the equipment, the model in the pose the light would change. John and Erin were so so patient. Where possible the six to eight asanas to be photographed each day were taken in an order that was harmonious to the model s body. While the area chosen for each photo was selected according to the light. At the end of each days shoot, I would be asked to look at all the photographs taken, something like one hundred photos from which to choose say eight shots, the best ones to submit to Guruji - no pressure! It was more difficult than you might imagine because the differences between some photos were minute, but terribly important. Each evening I would read the original article, text or book that Guruji had listed as a reference for the next days' work. It was then that I gained an understanding of the props/equipment to be used and why. I learnt so much from what I read and then by looking at what Susannah had written and checking through the photos. It was a very intense process. So to bed. I honestly didn t see anything of where I was staying; we left when it was just about light and arrived back in the dark. I was absolutely shattered each evening only managing a simple practice to restore my energy. It was hard work for Mikey too, showing asanas in incredibly hot and sticky conditions but he was a trooper and had great energy. When I saw the photographs in the book I was struck by his quiet,

8 Remedial classes for teachers with Stephanie Quirk Stephanie is an Iyengar yoga teacher who lives in India and works in the Institute in Pune. She helps out in the library there and has worked with the Iyengar family for many years in the medical classes as they call them at RIMYI. With Mr Iyengar s permission, Stephanie has been spending the last four years travelling the globe delivering a series of six workshops on remedial yoga in each place, to help teachers better understand how to help students with specific ailments who want to practice yoga. These workshops are invaluable in giving teachers the confidence and experience of working to alleviate many conditions; everything from a stiff neck and shoulders right through to a systemic condition, such as Parkinson s, with a great deal more in between. Stephanie will be running a further series of these workshops at Sarva IYI in High Wycombe starting in April Only teachers who held an Intermediate Junior certificate and above were permitted on the first series of courses run in the UK because of the sheer number of certificated teachers in this country. However, throughout the rest of the world Introductory teachers have been eligible to attend the first two days of the early levels, as they deal with the average strain, sprain or condition that is likely to turn up in your regular class. It is for this reason that all levels of teacher may apply to attend these workshops. Places will be limited. As many teachers will already know, the workshops have to be done in sequence so if you miss a level you cannot complete the remaining levels this time. It is therefore preferable if you can commit to attending all six. (Please be aware that at the time of going to print we don t know of any further plans to run more courses.) If you were one of those teachers who had to drop out part way through the series, you will be glad to know that you can pick up where you left off, thus completing the sequence. Do bear in mind that you don t have to be running a remedial class or assisting in one to benefit from this knowledge. Teachers who do help in remedial classes run by a senior teacher may also be eligible to attend the whole series of workshops. If you are interested in helping in a remedial class, Sarva are always looking for suitable volunteers to assist with their class at 5pm each Thursday. If interested, please to speak with their senior teacher, Sheila Haswell, for more information. If you would like further information about these great workshops please contact the Sarva team on or drop them an on enquiries@sarva.co.uk. They will be happy to explain more about the courses and let you know times and costs. The proposed dates are as follows: Level 1: 29 th April 2nd May 2011 Level 2: 20 th - 23 rd Oct 2011 Level 3: 4 th -7 th May 2012 Level 4: 30 th Aug -2 nd Sept 2012 Level 5: 12 th -15 th April 2013 Level 6: 1-4 th Nov 2013