tag:blogger.com,1999:blog-89013819586615483662024-03-13T03:13:28.753+00:00Ashtangi AngelAshtanga Yoga Coventry UKMicquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.comBlogger201125tag:blogger.com,1999:blog-8901381958661548366.post-79593124893830226872017-06-06T10:58:00.001+01:002017-06-06T10:58:56.438+01:00Recovery after pregnancy and C-Section<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, Helvetica, sans-serif;">Recovering after pregnancy and C-Section in particular is hard. You have a new baby (or more!) to think about, if you've had a C-Section then you have your own body to care for and if you've never had a major operation before it can feel as if you'll just never recover or be the person you were before. Throw in a week spent in critical care unit following the birth of your baby and a bad dose of the baby blues and well, for me, it left me in a bad place. Following my 6 week check I decided I needed to do something with my broken body and mind. These are the 4 things which saved me!</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Yoga</b> - Getting back to basics to relieve the strains of caring for a newborn was essential. Gentle exercises and stretches to slowly re-build the body and stitch the abdomen back together. Neck and shoulder releases, simple seated side stretches, gentle rolling glute bridges are key. Breathing, my god, breathing deeply and fully... </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Pilates</b> - I used to hate pilates...what was the point when I had yoga?! Well, I was wrong! The small and controlled movements of pilates do wonders for your core strength, balance, spine and posture which I've never experienced with my ashtanga practice. I'm definitely a pilates convert! </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Structural integration</b> - I went to see a fantastic therapist for 6 sessions of structural integration, which is based on the bodywork 'Rolfing'. From the first session I could stand up straight again! With every session my tummy (and the rest of my torso) changed shape, so I am nearly back to pre-baby shape and with no residual pain! I can't recommend Angela Donovan (or SI) enough. Here's the explanation of Structural Integration from Angela's website (<a href="http://www.structuralbalance.co.uk/">www.structuralbalance.co.uk</a>)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">KMI is a form of Structural Integration working with unique myofascial lines developed by Tom Myers called Anatomy Trains. These lines map connections through the whole body from foot to head, front to back and superficial to deep. Imbalances add strain to the body’s structure and can be felt as aches which often manifest over time into acute pain. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">KMI sessions look at the whole body and aim to balance the Anatomy Trains lines using hands on precise anatomical techniques. The techniques release the connective tissue (fascia) to re-form tissue health, resolve complex postural and movement patterns and align the whole body. The changes provoke ease of movement, greater balance and enhanced physical performance.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">To achieve long standing results a structured series of 12 sessions is most affective. Angela’s skill is to specifically design the series to suit individual problem(s). What may be felt on the surface may not be the cause. The sessions will work all areas of the body from toe to head and superficial to deep; allowing the body to rebalance. Integrating the whole system is an approach that sets KMI apart from other kinds of bodywork or manual therapies.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">And here's a link to a fascinating page on how it helps with the postpartum body and why other forms of exercise just won't work as well: </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://rolfing-ca.com/ben_birth.htm">http://rolfing-ca.com/ben_birth.htm</a></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Finally, Mindfulness: I am reluctant to say meditation as though I love a sit, I rarely have time for it. Mindfulness however, can be practiced throughout the day and is important in maintaining a healthy mind and healthy relationships with yourself and others, which can often feel strain following the birth of a baby. 'Peace is every step' by Thich Nhat Hahn is a go to for me as it makes it so simple and is beautifully written. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Let me know if there was anything that helped you following the birth of your babies, I'd like to hear about it. There's not much advice out there I've found but it's such an important topic as the health of mums is soooo important! </span><br />
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-73089064032344727632017-03-27T17:07:00.001+01:002017-03-27T17:07:07.697+01:005 Yoga and Mindfulness tips for New Parents<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Pattabhi Jois used to say that parenthood was the seventh
series of Ashtanga Yoga. Having practiced and studied yoga for the past 10
years and got half way through the second series, I thought I was doing quite
well. My body and mind were slowly making the necessary psychological and
physiological changes to enable me to progress throughout the practice. I could
do splits, deep backbends, even put my legs behind my head, but none of that
could prepare me for what was in store once baby was here!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There are many, many things no-one tells you about being a
new parent. The first few weeks are often crazy and fraught from dealing with
your newborn, dealing with the deluge of family and friends and often dealing
with the pain of childbirth and even caesarean section. <o:p></o:p></span></div>
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<img alt="Young family" class="img-responsive pinnable-image" data-pin-description="New policy is unprecedented — even by lavish Silicon Valley standards." src="https://media.mnn.com/assets/images/2015/08/young-family.jpg.653x0_q80_crop-smart.jpg" style="border: 0px; box-sizing: border-box; color: #333333; display: block; font-family: 'Open Sans', sans-serif; font-size: 14px; height: auto; margin-left: 0px; margin-right: 0px; max-width: 100%; vertical-align: middle;" /></div>
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(Photo: <a href="http://www.shutterstock.com/pic-170358467/stock-photo-young-couple-with-their-newborn-baby.html?src=Xw5UU8EHonFqCMGB5v9lLA-1-2" style="box-sizing: border-box; color: #389bd3; text-decoration: none;">Luna Vandoorne</a>/Shutterstock)</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I’d planned a midwife-led birth and ended up with an
emergency c-section, so it wasn’t the best of introductions to parenting. I
found the first 5 weeks extremely difficult, dealing with my baby, whilst
trying to look after myself post-op. Having practiced yoga and meditation for
10 years, it quickly occurred to me how much I now needed to implement my
practice, taking it off the mat and meditation stool, into my daily life, so in
a spare few minutes (in my head, whilst feeding!) I have come up with some,
hopefully, useful tips for keeping sane and keeping relaxed in those first few
weeks!<o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">11<span style="font-size: 7pt; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: normal;"> </span></span></span><!--[endif]-->Look and listen – In a way I was fortunate that
I was housebound the first 6 weeks post-partum. I had LOTS of time to sit and
stare at my baby whilst recovering from the c-section. It may not seem like it
to begin with but babies have patterns of behaviour, I call it ‘Eat, Play,
Sleep, Repeat’ based loosely on a 90 minute cycle. If you keep an eye on your
baby and his actions, a pattern will emerge and soon you will be able to know
why it is your baby is crying, and minimise the guess work! Remember, your baby
is your best teacher for being a parent! <o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">22<span style="font-size: 7pt; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: normal;"> </span></span></span><!--[endif]-->Slow down – When your baby is crying, 1 minute
feels like 15 minutes and it is hard to stay relaxed through the noise when all
you want to do is make everything better for baby. In the first few weeks I was
so anxious, I was rushing around to do things, often dropping things, breaking
plates and mugs and my nerves were on edge due to being so stressed. As soon as
I realised I needed to slow down, things became much easier. I could focus much
better on each task and see what needed to be done, the wider picture. <o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">33<span style="font-size: 7pt; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: normal;"> </span></span></span><!--[endif]-->Deep breathing – When we are anxious, our breath
speeds up, our bellies tense and our chest tightens. Sometimes we even feel a
sense of dread and the taste of adrenalin in our mouths. When you go about your
daily tasks slowly, bring your attention to your breath and slow it down too.
Release your stomach muscles and feel your belly soften and automatically your shoulders
will release and you will feel instantly calmer. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">44<span style="font-size: 7pt; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: normal;"> </span></span></span><!--[endif]-->Posture – It may sound silly but being a new
parent quickly takes its toll on your body, especially mums. Feeding in
particular is one where we need to be mindful of our posture as whether we
breast feed or bottle feed, we are spending a LOT of time in certain positions
and this can cause Repetitive Strain Injuries. I began to get pains in my
wrists and thumbs from bottle feeding and hand-expressing milk, now I’m dealing
with an RSI called ‘mummy’s thumb’, a form of tendonitis, and not nice! The tip
I have is to alternate sides when you feed every time; when you can get other
people to feed your baby to give yourself some respite. If you can, do some
yoga, some downward dog to stretch out your wrists and arms and build back up
any strength lost. When feeding relax your tummy, shoulders and jaw and breathe
deeply. If you do get pain then early action is required to prevent it from
becoming chronic, ice your wrists regularly to reduce inflammation. Change the
way you do things like carrying the car seat with baby in to the car, instead
leave the seat in the car and take baby to the seat. <o:p></o:p></span></div>
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<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">55 <span style="font-size: 7pt; font-style: normal; font-variant-caps: normal; font-weight: normal; line-height: normal;"> </span></span></span><!--[endif]-->“This too will pass’ – Always remember what the
Buddha said if you are having a bad time of it or even suffering with baby
blues or PND, ‘this too will pass’. Nothing is forever, the early days will be
difficult as you are settling, mind and body, into the role as new parent. But
it WILL become easier and life will get back to a ‘new normal’ quickly,
especially if you follow the 4 previous tips!<o:p></o:p></span></div>
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Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-64244299609096060582015-12-18T19:32:00.000+00:002015-12-18T19:32:19.419+00:00Samskaras and neuroplasticity, breaking the habits...<div dir="ltr" style="text-align: left;" trbidi="on">
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Sutra 3:9 of Patanjali's yoga sutra states:</div>
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The transformation toward total stillness occurs as new latent expressions fostering cessation arise to prevent the activation of distractive stored ones, and moments of stillness begin to permeate consciousness. (Chip Hartranft, 2003).</div>
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Exploring the word samskara; Sam = To come together; kara comes from the root 'kud' which means 'to create'. So samskaras are creations, things that we create ourselves. If we think of samskaras as grooves, we can think of our repeated actions chiselling out these grooves, making them deeper, imprinting them deeper into our consciousness, which makes these grooves harder to get out of, harder to fill in. </div>
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Samskaras are things that come into being, through a process, through the coming together of actions. If this is the case, then what comes into being can also come apart. What arises can also pass away. All formations created out of conditions are transient, they come and they go. Beliefs too, are samskaras. Beliefs are born out of our conditioned (material) world. Therefore if beliefs are born out of conditions, which are arbitrary and transitory, then it follows that they have no solid foundation and as such can pass as quickly as they were born. Luckily for us, samskaras are transitory, the grooves can be deep, but we can create new grooves and the old grooves over time will infill themselves until they are just a faint scar in our conscious mind, having no hold over us. We all have the innate power to change through practice. </div>
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<tr><td class="tr-caption" style="text-align: center;">http://www.divinityseeds.com.au/images/brain3.jpg<br />
You are not just a brain in a vat!</td></tr>
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Thus as Patanjali states, we can create new latent expressions (samskaras) which will stop the old distractive stored ones and total stillness and peace can arise. 'Neurons that fire together, wire together'.<br />
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Neuro-plasticity is the core of understanding samskaras; no-one is 'hard-wired', they may have deep samskaras yes, but the brain is plastic and as such can change its structure and function by how we act, re-act, don't act, how we think and how we imagine things. It may just be harder and require more practice to carve out new and healthier neurological pathways. Plasticity exists at every level, the behaviour of the body, of bones, of cells, of thoughts and images. So in yoga we first of all work on the gross body, we change the way it moves, it functions and the more we do this the deeper those changes permeate into the bones, the muscles, the cells, our thoughts and our beliefs. It is even thought it can change on a genetic level, with the possibility of affecting the evolution of the human species. </div>
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So we can use our regular practice to re-sculpt our brain, first finding more plasticity in order for it to change, then to create more structure so that new, healthier patterns remain. </div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-36549328938826369292015-11-24T12:33:00.000+00:002015-11-24T12:40:55.498+00:00Maintaining a Healthy Psoas <div dir="ltr" style="text-align: left;" trbidi="on">
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Responses to stress are hardwired into our nervous system and result in the contraction of the major flexors of the torso—somewhat like the response of a caterpillar if you poke it with a twig. For example, a tightening in the gut, the hunching of the shoulders, the sinking of the heart. As with all responses to stress, the problem is that the response becomes habitual, resulting in chronic tension and contraction, which we then experience as our “normal” state. Our yoga practice is an opportunity to undo this chronic tension and establish a deep and abiding sense of harmony in the body and mind. </div>
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<span style="font-size: small;">Tension in the Psoas</span></h3>
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The psoas (so-as), an important flexor muscle, is particularly sensitive to emotional states. It runs from the thigh bone through the length of the belly and is the major flexor of the hip—it’s the psoas that lifts the thigh as you walk. It also acts in conjunction with the spinal muscles to support the lumbar spine. The psoas is a paired muscle, originating on the lowest thoracic vertebra and each of the five lumbar vertebrae of the lower back, and extending down through the pelvis to attach on the inside of the upper femur. It crosses three major joints—the hip socket, the joint between the lumbar spine and the sacrum (L5-S1), and the sacroiliac joint (SI joint between the sacrum and the pelvis). So it’s easy to see that if the psoas is not healthy and strong, there are major repercussions throughout the body.</div>
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Chronic contraction of the psoas, whether from stress or repetitive activity, limits range of movement in the hip sockets, with the frequent result of strain in the lumbar spine and the knees. </div>
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Through its attachments to the thoracic and lumbar vertebrae, the psoas affects a number of other important muscles, including the diaphragm, the trapezius and the quadratus lumborum, which also attach on these vertebrae. Through these muscles, tension in the psoas has the potential to seriously compromise structural integrity and physiological functioning throughout the upper torso as well as the pelvis and abdomen. If the upper segment of the psoas is tight and constricted, the lumbar spine hyperextends, the chest collapses, the lower ribs thrust forward, and breathing patterns are affected. Many problems in stability and alignment in yoga postures, lower back discomfort or injury, integration between the pelvis and the chest, meditation sitting postures and dysfunctional breathing patterns are directly related to tension in the psoas.</div>
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Strengthening and/or stretching alone may not result in a healthy psoas. Repetitions of leglifts, sit-ups, weightlifting, even standing postures, when done mechanically, may only reinforce existing patterns and do little to restore a healthy resting length for the psoas. In fact, improper training may increase the tension, restricting blood flow and increasing rather than reducing the overall stress level. For that reason a systematic relaxation practice can help with alignment, physiological functioning and the host of evils we have touched on above. A few simple stretches done with the intention to gently release the grip of these flexors and open up the breath will go a long way to restoring balance and comfort to all your body. </div>
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For the full article including yoga postures to help release tension in the psoas, please see </div>
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<i>https://yogainternational.com/article/view/release-tension-in-the-psoas</i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Happy stretching!</span></div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-32262384891848053622014-11-06T20:30:00.000+00:002014-11-06T20:30:02.515+00:00Martha Heilland-Allen RIP<div dir="ltr" style="text-align: left;" trbidi="on">
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In April 2011 I attended a yoga retreat in Portugal where I met a wonderful girl called Martha Heiland-Allen. She shined with light and beauty and had a deep passion for yoga. She was incredibly strong and flexible and could a great chaturanga :) She was training with Claire Missingham in London and after completing her course later that year, travelled to India where she continued her sadhana in Rishikesh, the Krisnamacharya Yoga Mandirim in Chennai and then down in Kerala. She came back and forged a full time career as a vinyasa flow teacher at many studios across London, including Tri Yoga. I was so inspired by Martha's strength and passion for the practice of yoga, we continued to email and she and her blog helped me to plan my own yoga sadhana in 2013. Below is the link to an extremely informative blog of her time in India, a must read for anyone wishing to travel India..</div>
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http://marthaheilandallen.blogspot.co.uk</div>
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Martha in action</div>
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We tried to meet in the summer of 2013 to chat about both our impending travels, but unfortunately our busy schedules meant that didn't happen. I was in my bedroom at Stan's House in Mysore, India, December 2013 when I read that Martha had died suddenly. I was in complete shock and disbelief as I read the words and felt so sad that such a beautiful and caring person had been taken from this world, just 28 years old. </div>
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It wasn't until 2 weeks ago that I learned that in fact Martha had taken her own life, in the midst of a severe bout of depression and self-doubt. Yes, even yogis suffer depression. Even yogis suffer self doubt. It's not always 'namaste', 'light and love', even though that's what we sometimes show and try and want to believe. I came to yoga during a period of being lost. In western medicine they call it </div>
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depression, in the east it is translated as 'being lost', I prefer the latter. At least with the latter term, there's the hope of 'being found'. It's not a permanent state, like everything in life, its impermanent. 'Even this will pass…' </div>
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<tr><td class="tr-caption" style="text-align: center;">Martha 1984-2013</td></tr>
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Many people come to yoga during difficult times in their lives. Yoga is known for its relaxing qualities, many students come just for the 'little lie down at the end' or 'savasana' as we know it :) A few minutes a week out of their busy daily lives to give themselves some peace and quiet and the space to let go, away from the demands of family, kids, husbands, work, life. It can make such a difference. When I teach I try to give the last 10 minutes of the class to this little bit of peace, this tiny taste of freedom. It means the world to many people. </div>
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But the loss of Martha just shows that even us who try and follow the path of yoga, to make our lives better, are not infallible. Trying to be happy all of the time, doesn't necessarily work. Well, it doesn't work. I wanted to say that being aware that even this, these feelings, will pass, well, even that doesn't sit well with me when it comes to thinking about Martha, because I'm almost positive that she would've been well aware of those words and their meaning. It just shows that we are all susceptible to mental health problems, no matter how hard we try to stay on the path. </div>
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So a year on, Martha, I'm so glad to have met you. You inspired me and gave me the courage to give up everything and go off on my own spiritual journey, for which I will always be indebted to you. I wish we had had the opportunity to 'catch up'. Maybe in the next life…</div>
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Claire Missingham has a scholarship fund for aspiring yoga teachers in need of financial support called 'Martha's Mat', which I find lovely. See here: http://claireyoga.com/marthas-mat-scholarship/</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-61420146782278068732014-10-21T20:23:00.002+01:002014-10-31T18:55:52.480+00:00Book review: Yoga Sadhana for Mothers by Anna Wise and Sharmila Desai<div dir="ltr" style="text-align: left;" trbidi="on">
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So I've been graciously sent a copy of a new book from Yogamatters entitled, 'Yoga Sadhana For Mothers' for review. Many thanks to the guys at Yogamatters for the opportunity to read and review this book :) Was a little worried at first as I'm not a mother, in fact have not a single maternal bone in my body, but upon reading last night, was instantly drawn in and could not put it down. It's been written as an offering to women and families in the practice. The intention was to create a resource for women steeped in the practice of ashtanga yoga who are going through the rite of passage to becoming a mother. </div>
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Here are the contents:<br />
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The book beings <span style="font-family: Times, Times New Roman, serif;">begins with a section entitled Parampara. The word
parampara means an uninterrupted succession; the direct and unbroken transmission
of knowledge from teacher to student. In this section we hear directly from the female
lineage holders of Ashtanga yoga—R. Saraswathi, Guruji’s daughter, and Sharmila
Mahesh, Guruji’s granddaughter. These interviews offer insight into the Jois’s family life
and Ashtanga yoga as practiced by women. Both Saraswathi and Sharmila share their
memories of life with Guruji and his beloved wife, Amma, revealing how this impacted
on their own personal journeys into motherhood. They also share traditions that have
been passed down through generations, and which Indian women follow for health,
healing, and longevity. Parampara gives a cultural and historical background for what
is to follow, and sets the book firmly in the traditions and teachings passed directly
from Guruji himself.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The following section called Sadhana addresses the Ashtanga yoga practice itself in
the context of pregnancy. Sadhana can be translated as ‘practice towards a spiritual goal.’
Written with direct input from Sharath and Saraswathi and using the Primary series by
way of example, each asana is listed according to the traditional Sanskrit count, with
instructions and photographs to show how it should be modified during pregnancy.
These guidelines are primarily aimed at pregnant women who already practice Ashtanga
yoga, and show how they can adapt their practice while maintaining a sense of form
and flow.</span><span style="font-family: Balaram;"> </span></div>
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<span style="font-family: Times, Times New Roman, serif;">The personal narratives in the next section, Anubhava, are the heart of this book.
Anubhava means ‘knowledge based on personal experience,’ and here 31 women from
the worldwide Ashtanga community share their stories about conception, pregnancy, </span><span style="font-family: Times, 'Times New Roman', serif;">birth, and motherhood. These women come from all walks of life, often with long years
of practicing with Guruji and Sharath and have experienced a wide range of realities in
pregnancy and birth. The stories as a whole naturally unfold the different ways in which
women weave pregnancy and motherhood with their </span><span style="font-family: Times, 'Times New Roman', serif;">Ashtanga </span><span style="font-family: Times, 'Times New Roman', serif;">practice. What they all
illustrate is that motherhood is a path that relies very much on personal intuition.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The final section is called Chikitsa, which means ‘therapy.’ This final part of the
book focuses on approaching postpartum recovery from a holistic perspective and
especially how to use the practice as a tool for healing. Included here are Ayurvedic
foods for mothers that give strength and health, supporting the process of recovery
after birth. All the tips in this section and in the appendices that follow are ones directly experienced by the women and who have found particularly useful in their own pregnancies,
postpartum, and in teaching pregnant women over the years. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Whilst I am not a mother myself, I found this book just beautiful and insightful. The accounts from the women who have shared their own accounts of the practice, pregnancy, birth and motherhood are both profound and at some times heart wrenching. I have not read all of the women's stories yet (as I wanted to get this post done asap) but I read those stories of the women I have met, who are Saraswathi, Lucy Scott, Joanne Darby, Bella Rossi (my Oxford teacher, along with her wonderful husband Manu), Harmony Lichty (my first teacher at Purple valley, Goa) and Katia Marcia Gomez who along with her lovely husband Nick I had the pleasure to practice along side in Bali, late last year. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Included is the suggested primary series for women who, after the first trimester, are advised to practice. This is a great tool for both the pregnant practitioner but also for the teacher who wishes to teach pregnant students the primary series. This section of the book has given me the confidence to teach the primary series to pregnant women, as it goes into great detail about modifications which Guruji gave and has photos of all the modified asana, for example…</span></div>
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<span style="font-family: Times, Times New Roman, serif;">These modifications would also be helpful for teachers and practitioners of any form of yoga. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">The last section is returning to practice and outlines the basic principle of sensibly returning to practice. What I found most heartwarming and inspiring is the honesty of the women in how their practice changed after childbirth. Sometimes, a lot of the time, the body did not go back to how it was pre-childbirth and the honest accounts of how these women now practice is both inspiring and encouraging. I sometimes feel even practicing in this way during a period would be beneficial. I can imagine myself (if I ever have a baby) looking to this book for encouragement and inspiration. It even goes as far as giving ayurvedic advice on how to look after your body and your baby's after childbirth, which it seems most mothers did follow and which worked for them. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">There are also 'prenatal appendices' detailing the potential issues of pregnancy and how to overcome them. Finally the book gives advice from 'Birthlight Yoga' on the five gentle steps to postpartum recovery. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">All in all, this book is well worth the buy, for any female practitioner, whether or not they are a mother or not, it is inspirational for any woman. Thank you, Anna and Shamila.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Below is the link to buy the book from YogaMatters.</span><br />
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http://www.yogamatters.com/product/478/bkdesaysad/yoga-sadhana-for-mothers.html</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-72790837425051775822014-10-19T20:10:00.002+01:002014-10-19T20:10:40.400+01:00Sharing our lives...<div dir="ltr" style="text-align: left;" trbidi="on">
"Nobody's life is just their life, it is an expression of the place and time we're living in." (Fisher, 2014)<br />
<br />
This time of year, when the nights draw in and as it gets closer to my birthday, my mood changes. I tend to withdraw from society, hibernate, spend more time on my own, sleep more, and reflect on my life more. It's normally a difficult time for me. I should probably spend more time with others, get out more and socialise, but I just can't summon the energy. As a result I feel more alone.<br />
<br />
In Heideggan philosophy, it is said that human suffering results from the fact that you live in the world with others, all of the time. Even if you are alone, you are with others, given the impact others have on all aspects of your life. There is no such thing as an isolated 'me'. We can only experience the feeling of 'being alone' because we are fundamentally always with others. So even the time spent on my own, I'm not alone, I'm always being affected in some way by others.<br />
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We all share the same ontological structures, such as time, space, mood and body, these intertwined experiences. However, our experiences of those ontological structures are not the same, they are our own (ontic) experiences, on which we imprint our own stories and individuality. So whilst you may have shared experiences with someone, both of your experiences will be different. This is why it is a waste of time trying to understand another person. It's healthier to accept that you've had different experiences and understand that you can't change them. The only thing you can change is your own reaction to the other (person), and yoga and meditation helps.<br />
<br />
We all breathe the same air. We breathe it in (the they) and inside, we translate it and breathe out our selves, our own interpretation. </div>
Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-62960910084943629522014-10-18T13:11:00.000+01:002014-10-18T13:11:10.118+01:00Mindfulness and compassion<div dir="ltr" style="text-align: left;" trbidi="on">
What I like to teach students in my yoga classes (without them really knowing) is the art of mindfulness. You cannot practice yoga without mindfulness, mindfulness cannot be divorced from yoga. I'm enjoying seeing my students asana improve through the teaching of being mindful.<br />
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I was first introduced to mindfulness when I was suffering a really low point in my life back in around 2006. My mum had read somewhere about a book called 'Peace is Every Step' by the Buddhist monk, Thict Nhat Hanh. What I learned from this beautiful little book, I still practice every day.. Stuff like making my bed every morning, taking my time when washing the dishes, making sure my clothes are put nicely on the washing line, enjoying taking them in when dry, the smell of freshly washed clothes, bed linen, mmmmm…one of the best things.<br />
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Mindfulness is being taught everywhere now, people are being taught how to pay attention and this leads to being more effective at what you do, which is great yet sometimes it feels like it's just being taught as just being able to pay attention to something and not much else. But I feel its more than that. Mindfulness cannot be divorced from the practice of meditation, it is meditation. Michael Stone puts in nicely, mindfulness is being taught as having one foot in the traditional meditation practice and one foot in secular society. And that's fine too, as long as it's getting out there. It's like someone coming to a yoga class to get physically fit, and finding it more a spiritual practice.<br />
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What I didn't know about mindfulness (well, zen meditation/buddhism actually), was that it was taught to the Nazi's and the Japanese Military, so they were able to be more effective in killing and well, I guess, be able to separate their actions from themselves. So whilst mindfulness is seen as a great thing, we must be aware that it can lead to being able to bad things effectively too.<br />
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But deeper than the 'being able to pay attention' part of mindfulness practice, beneath the superficial layer perhaps, lies the true meaning of the practice, compassion and right ethical conduct, being truly present and being able to fully engage with life in this moment. Being fully present in the moment doesn't mean you are always going to be happy however, it means being fully present even in the unhappy times. Not hiding from them or putting your head in the sand.<br />
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I have resurrected my pranayama and sitting practice, which I'm so glad about, it's made me feel about the practice the way I did about ashtanga practice back in the beginning, when I couldn't wait to get home and practice along with David Swenson's DVD :) Now I can't wait to get up, out of bed, still dark, lighting a candle, wrapping my blanket around me and sitting quietly. I actually enjoy watching the thoughts as they come, acknowledging where they have arisen from, why they have arisen, distinguishing the good thoughts from the bad and letting the ones that do not serve me, drift away. And in the midst of these 40 minutes, there are one or sometimes two moments where there is nothing, but pure clarity.<br />
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There is a free mindfulness and compassion event on tonight at Coventry Cathedral, being run by The Flame where I teach my saturday class. If you're in the area you should go, Dav Panesar, an amazing teacher will be there to lead the meditation. I've attached the link to the Facebook page below.<br />
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https://www.facebook.com/notes/coventry-city-centre/mindfulness-and-compassion-event-breaking-new-ground-at-coventry-cathedral-for-s/780061405386122</div>
Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-85084140155382985402014-10-09T22:05:00.000+01:002014-10-09T22:05:06.504+01:00Black eyes, aversion (dvesha) and the quest for enlightenment...<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, Helvetica, sans-serif;">During my ongoing quest for 'enlightenment' I nearly knocked myself out jumping into bhujapidasana on Monday night. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">It was funny, all in slow motion of course, but just prior to the jump, thought, 'hmmm my bandhas don't feel right tonight' (I was struggling with navasana (boat) and then 'I feel a little heavy' and 'my balance was awful in utthita hasta - will I make it?'...then jumped….nothing engaged, leant forward and then, 'tiiiimmmbbeeerrr!!!' as I fell head, well face, first into the brick wall of Ben's shala…! There was an almightily crack and I let out an audible 'Oh noooo…' as I curled into a ball on the floor, unravelled my arms from my legs, saw the egg which had appeared on my brow out the corner of my eye, put my hand over it and through the gasps from the back of the room, sloped out into the loo… </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">(Just wanted to reach out to those who came to my rescue with cold water eye patches and neurofen, big love, you know who you are :)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Anyway, with my first workshop pending (Nov 8th) on 'Overcoming Fear in Asana' maybe it was meant to happen, maybe to focus my mind on what I'm trying to get across in my workshop! I was also asked today by someone who is interesting in attending, what my workshop is about, so started writing an itinerary for the afternoon. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Here is my reply:</span><br />
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<span style="background-color: white; line-height: 21px;"><span style="font-family: Arial, Helvetica, sans-serif;">"Hi Janey</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Nice to hear from you :) </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Yes, the workshop is on overcoming fear in the ashtanga practice. I decided to bring together all the knowledge gained from my year studying ashtanga in Mysore/Bali/US/Canada and formulate it into some kind of workshop! I haven't finalised the program for the afternoon but it will include:</span><br />
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<li><span style="font-family: Arial, Helvetica, sans-serif;">Examining why and where fear arises in the practice</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">The nature of fear - examining the Kleshas (the '3 poisons') of Hindhuism and Buddhism</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">Exploring attachment and how to 'let go' in postures - a short guided meditation</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">How to effectively employ breath, bandha and drishti in postures and transitions</span></li>
<li><span style="font-family: Arial, Helvetica, sans-serif;">Then on the practical side looking at postures of the primary series and some of intermediate if that's appropriate on the day; hip openers such as baddha konasana and lotus, balancing in bakasana (crow), jumping out of bakasana, jumping into and out of bhujapidasana, jumping in and out of tittibhasana and back bending, including dropping back."</span></li>
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<span style="font-family: Arial, Helvetica, sans-serif;">I've just had a reply from Janey, asking to book her and a friend on, so I'm really quite pleased :) Mercifully she didn't ask where I got the black eye from ;) Anyway…</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">For those of you who don't know what the 'kelshas' are, here's a brief summary…. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">In hindhuism, there a 5 kleshas, namely, ignorance (misconceptions of reality); egoism (erroneous identification with the self and mind); attachment (raga); aversion (dvesha) and fear of death (clinging ignorantly onto life). </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">In Mayayana buddhism, they've wittled the 5 down to 3 main kleshas (the root of other 'minor' kleshas ), namely, ignorance; attachment and aversion. These 3 kleshas are known as the 'Three Poisons' in the Mahayana tradition. Other traditions have other kleshas, such as anxiety, fear, doubt, anger, jealousy, desire, depression and pride. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">So the kleshas are, to cut a long story short, destructive emotions which obscure actual reality, they dull the mind and lead us into 'Maya' or illusion (dillusion), where were end up with a 'wrong view' of reality. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Now, whilst these philosophical view points are based primarily on overcoming obstacles to meditation and 'enlightenment', they can be used as a framework for how we approach our asana practice, our ashtanga (or other yoga) practice. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">But, the good news is, these kelshas, (these 'afflictions') can be overcome, so you can progress your practice in the 'right' direction by the correct application of breath, bandha and drishti. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">And so I don't give all my workshops secrets away, I'm going to stop there. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;">Book onto my workshop! It'll be fun and for anyone who has any doubts over whether their practice is advanced enough for the workshop, yes... yes it is... breath, bandha and drishti underlie the whole ashtanga system, no matter where you are in your practice. Oh, and I should mention, just in case you're worried about getting a black eye, the studio I've booked has a cushioned floor, so perfect for experimenting and allowing yourself to 'let go'… :)</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">And just so you know, I had Tuesday off as my unofficial moon day and practiced wednesday instead. I did intermediate, and whilst s**t scared of jumping into anything which could potentially damage the other eye, I did all the jumps. Aversion (dvesha)? What aversion?!! :)</span></div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-46042311820552473682014-09-28T18:05:00.001+01:002014-09-28T18:32:27.247+01:00Yoga, TYM and Gary Lopedota<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">They say that following receiving the "10 series" of Rolfing (Structural Integration) the body can continue to 'open' on its own for quite a while, before the need for further therapy. This certainly has been my experience, as I continue to be able to experience subtle shifts in energy and shifts within the physical body as I practice, deepening the experience of breath and postures. </span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">A good friend of mine Ray, a Thai Yoga Massage therapist based in Coventry and Warwickshire recently gave me some great info on TYM and releasing energy in the body following a conversation we had about it. (https://www.facebook.com/ray.cluer)</span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">“Happy reading may not
answer all your questions fully but you might find it interesting, Re energy
lines, and energy awareness, again speaking from personnel experience only, in
a recent chat with you, you asked which came first yoga or Thai massage well I
guess in an intelligent way Thai massage came first and yoga is recent although
having dabbled with it for years but now its to stay and I am finding it very
beneficial, but my experience with Acupuncture and our energy came 25 years ago
when suffering from stress related illnesses, I was fortunate enough to meet a
guy who in my opinion was a master Acupuncturist and also chiropractor, over a
two year period he kind of rebuilt me and left me with a interest and knowledge
of<span style="mso-spacerun: yes;"> </span>the energy lines and pressure points
that work for me, kind of a personal prescription so to speak, I have a good
awareness, when certain points are buzzing, so I just palpate the point until
the energy dissipates, but what I think you are describing is that since you
had the “10 series” Rolfing treatment you have kind of been "switched
on" to your own energy and its<span style="mso-spacerun: yes;">
</span>subtle ways in which it guides you, I have had a couple of people say
that they are now more aware how they stand or how they walk after of few TYM’s
(postural adjustment maybe) and report subtle energy shifts in areas worked on.
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">It's my view that you have
great physical body awareness through your practice and have now developed a
energy awareness, I recently read that when sitting in padmasana its the right
leg first with the left leg on top the liver and spleen are purified, so to
high light that there are 600 recognised Acupuncture point on the human body it
would be remarkable to think that they were not being worked whist doing
practice, however Chinese medicine is complex and I feel very lucky to be
married to a qualified Acupuncturist (mind you trying to get a treatment is
like blood letting from a stone lol ) so it's my view that its better to look
at your energy in simpler terms as in Thai sen lines or Indian Nadis although
still quite complex but much easier to get your head around, here goes…<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">The Sen Lines / Myofascial
Pathways - The traditional model of Thai Yoga Massage works on the notion of
energy flow, which until now has made it a deeply intuitive and feeling based
art form built up over thousands of years. This had caused problems for some westerners
used to working on the physical, on symptoms and with sound empirical evidence,
but learning to feel and not think too much was good for them. It’s about that
letting go thing again and learning how to feel and flow with natural forces;
learning to tap into the deep unconscious and instinctive aspect of nature and
ourselves. It was this intuitive ability that could feel and work with the
subtle energy body and map it. The physical body is only a part of who we are,
but its also the tangible basis upon which we can work and influence the deeper
and more subtle aspects of our being. Until very recently nothing was really
known about Sen lines, but there has now been some important research, which
shows that the 10 Sen lines manipulated in Thai Yoga Massage are in essence the
same as Nadis and Meridians, in being subtle energy pathways and part of a huge
inter-connected network running throughout the entire body. </span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">On surface
appearance Sen lines seem to follow different pathways to meridians, because
Sen lines follow muscular contours, the myo-fascial pathways between muscles
and between muscles and bones. So the myofascial Sen lines are what we can get
our hands on, whereas the meridians of TCM also follow the internal cyclic flow
of energy between vital organs. Research though carried out at the University
of Vermont and college of medicine used high frequency ultrasound scanning
acoustic microscopy to study acupuncture channels and the effects of needling,
and found that most meridians are located between muscles and between muscles
and a tendon or bone also. So it could be that meridians, nadis and sen lines
are part of the same subtle connective tissue network of fascia and that the
meridians which follow the cyclic flow of energy between organs are in fact
part of the deep fascia, subserous facia and membrane linings. Although the 10
Sen lines are a complete system and very effective model to follow, there are
some contradictions on the precise location of these lines between some
schools. </span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">Most professionals though and myself seem to agree that Sen Lines are
energy lines of connective tissue, known as the myo-fascial pathways between
muscles throughout the entire body. This network of fascia is so vitally important
because it provides stability and structure to the body, enables movement of
muscles, metabolism to take place, protects the vital organs and nervous
system, allows for communication between cells and boosts our immunity to fight
infection to name a few functions. One common point of view now is that Thai
massage can be explained in the same way that Structural Integration therapy or
Rolfing can, because each of them apply a deep and sustained pressure into the
body’s fascial binding in order to release deeper tensions and blockages fixed
into the fascia elsewhere in the body. It can do this because fascia forms an
intricate web co-extensive throughout the body, central to its performance and
well-being, and so releasing these trapped tensions in one area of the body can
correct postural imbalances, chronic conditions and unexplained pain symptoms
elsewhere in the body, because they are often caused by tensions locked into
the binding tissue of the fascia. These blockages are often quite subtle and
may be due to injury, or emotional trauma, so when therapist and client both
focus into the same area being worked, then its far more than the physical body
being manipulated, and even childhood issues and holding patterns can be
unearthed from the depths of sub-conscious being and let go of. </span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">Fascia is so
important. The myo-fascia extends from the deep fascia in the body, which is
central to the flexibility and function of vital organs, and it covers,
supports and separates skeletal muscle. Myo-fascia helps attach muscles to
other muscles, and runs between and separates them, thereby improving movement
function and acting as a protective sheath. It also provides a protective route
and sheath for blood vessels, nerves and lymph to flow through. The fascia also
acts as a very important circulatory and communication system and recent
evidence now suggests that within the collagen cells of myofascia is
cerebrospinal fluid and thus creating a very complex communication system,
stemming from the ventricles of the middle brain and reaching out to the heart
of every living cell. The effects then of manipulating fascia during thai
massage are endless and perhaps timeless as we tap into a karmic web of the
bodies history and capacity. It is obvious that the early Buddhist monks and
teachers of Thai Yoga Massage understood this and therefore laid great emphasis
on becoming and giving Metta in Thai Massage, which is Indian Sanskrit for
loving Kindness. So meditation is practiced at all the main teaching schools in
Thailand before the beginning of each class to bring one into the right frame
of mind and focussed intention.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">We influence the people we
touch with our state of mind and so its important to achieve that feeling of
benevolence and loving kindness within ourselves because this quality and
healing vibration is transmitted to every cell in the body through the huge and
living conscious inter-connected web we call the fascia Despite common
agreements, there still exist conflicting ideas around whether Sen Lines can
actually be used as a diagnostic tool, as in TCM. But we might say ‘can the
body or meridians really be used as a diagnostic tool anyway? Meridians can be
used to diagnose a problem in the body and with a particular function, but this
does not reveal an underlying cause. The body just reveals symptoms of
underlying causes, and all treatments using their particular model try to work
on the energetic basis of them. We can work on the symptom, but we can’t always
get to the causes which are more often than not based in the mind, past
experiences, present stressful conditions and specific attitudes that are
preventing the free flow of vital energy in the mind body network. In my
experience of giving Thai Yoga Massage, I think we can treat Sen lines
revealing a blockage and at the same time help to unlock the flow of energy and
stimulate a vital psycho/physical healing process for a client</span><span style="color: #30353b; font-family: Arial;">." </span></div>
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<span lang="EN-US" style="color: #30353b; font-family: Arial;">Following my last post on energy channel stuff a blogger friend Doug asked if I'd heard of trigger points and although I had, I've not read anything about them. He also said that, </span><span style="background-color: white; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18px;">"</span><span style="background-color: white;"><span style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="line-height: 18px;">Anthony Gary Lopedota noted that when adjusting Paschimuttanasana Sri K. Pattabhi Jois always used to press the same pressure points you've mentioned." Which I found really interesting. I've tried Googling Gary Lopedota to try and find further info on it. The only thing I could find was on his website in one of his articles where he talks about 'the series' and how he used postures for therapeutic reasons, adapting postures for students where necessary:</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #6d3a00; line-height: 18px; text-align: left;">"Tim (Miller) has a rare anomaly; his liver and spleen are switched. Maybe 1 in 70-100,000 people have this condition. Therapeutically he switches his lotus; keeping with the theory that the liver and spleen are the reason the legs/feet are place in that order. That is all good, he does what he thinks is best being the responsible person that he is. My point is that as the therapist, Patabhi Jois told him to switch his lotus to be in therapeutic alignment</span><span style="line-height: 18px; text-align: left;"><span style="color: #333333;">" (</span></span><span style="text-align: left;">http://ashtangayogatherapy.com/the.series)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="text-align: left;">If anyone has any further information on the use of trigger points or can point me to more Gary Lopedota information I'd be very grateful. There are also some great </span>old school photos from back in the day of the guys with Jois. :)</span></div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com1tag:blogger.com,1999:blog-8901381958661548366.post-12841503240633689762014-08-30T21:11:00.000+01:002014-08-30T21:11:29.691+01:00Ashtanga, pressure points and more energy channel stuff...<div dir="ltr" style="text-align: left;" trbidi="on">
I don't really know how to start this post, I've had the concept of a post in my mind for a while on pressure points and utilising them in a yoga practice, especially since being 'Rolfed' and since my Mysore experience, but having very little experience and knowledge on pressure points and body work in general, I kinda felt I didn't really have enough knowledge to be able to explain my experience in a useful way. Nevertheless, its something I'm gonna just throw it out there and maybe I'll get some positive (or negative) feedback, and either way it'll be helpful :)<br />
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So, having been someone who came to yoga with very little (if any at all) body awareness, the journey towards becoming aware of what's going on in my body has been a long one. But also, a very interesting and enlightening one. I started my ashtanga practice off going to a David Swenson retreat at Purple Valley, having only practicing a very tenuously linked style of ashtanga yoga at a gym! What a shock! At this point I couldn't even do chaturanga, The concept of chaturanga evaded me, to the point when David was explaining it I put my hand up and said 'but what it you just can't hold your belly off the floor?!'. David was like, 'Don't worry it'll come!!'. On my return home I sent the best part of an afternoon practicing going from downward dog to chaturanga, possibly around 65 times, until my arm muscles learnt what they had to do to hold chaturanga! To this day I still can only hold it for a short length of time…anyway, I digress…<br />
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It's only been since I have had the '10 series' of Rolfing that I have actually felt energy in body and as I have said before it's changed my life and especially changed my outlook on yoga and the 'energy body'. My Rolfing experience has enabled me to notice specific energy lines in my body and where they aren't working properly. It's really hard to explain in generic terms but I'm going to try and explain where certain concentration on certain pressure points in the body help in certain postures. OK, here goes…<br />
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Dropping back: Before dropping back, going up onto your tip toes seems to energise the correct muscles in the front of your legs. Slowly coming down whilst still engaging these muscles gives a firm foundation in the legs and abdomen to be able to drop back. After all, it's all about the foundation.<br />
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Kapotasana: There's a tiny point on the inside of your kneecap which is a bit fleshy, haven't a clue what it's called.. anyway, when setting up for kapo, pressing this part of the knee into the mat, which I feel creates an internal rotation of the femur and engages the front thighs, enables the thighs to remain engaged enough to be able to drop without collapsing in the lower back. It's useful to mess around with this in your practice, I know if I rush kapo without sorting the knee position out I tend to not be able to engage properly.<br />
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Paschimottanasana: The one holding your toes - always hold with two fingers and a thumb. Krishnamacharya obviously had a reason for this kind of bind. I haven't read anywhere why it was so important, but I have a suspicion it was because of energy lines. There's something going on in that little fleshy bit between the big toe and the second toe which when pressed creates energy though to the groin area (if you haven't got blockages in rest of your legs). Always hold on tight, point your toes to create an opposition and don't interlink your fingers like I tend to do without noticing!<br />
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Urdhva mukha svanasana - upward dog - pressing the base of your big toe into the mat will engage your leg muscles correctly, if you don't do this your heels will splay and your lower back will suffer. Many students tend to outwardly rotate their feet and 'sink' into their lower back. Hamish Hendry teaches this slightly different by flexing your ankles so the topes of your feet/toes engage, but I don't think you have to necessarily go this far to protect your back. (My opinion)<br />
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Actually, all postures where you grab your toes, make a point of pressing through the base of the big toe/second toe, so utthita hasta, urdvha padangustasana etc. Same in the Janu postures and baddhakonasanas.<br />
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In Baddha konasana pressing into the big toe/second toe area seems to automatically outwardly rotate the femur at the same time as pushing the thigh away from the midline, then you can work on outwardly rotating it down, by using mula bandha (squeezing the anus). <br />
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I must have more tips in this vein, but I'm tired, so I'll leave you with these for now and hope they'll help you in your practice :)<br />
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com1tag:blogger.com,1999:blog-8901381958661548366.post-36379626185125064922014-08-27T19:56:00.000+01:002014-08-27T20:20:00.326+01:00Hyper-flexibility, energy channels and the not-so-helpful 'micro-bend'…..<div dir="ltr" style="text-align: left;" trbidi="on">
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Probably gonna get lynched for this post but I think I'm giving informed advice and from the heart and from personal experience. Feel free to give your two-pence worth, I've asked the question for years to teachers but haven't had sufficient enough answers…here goes...<br />
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During many classes I have taken throughout the years, I have been told to keep a 'micro-bend' in my elbows and in my knees so as not to 'hyper-extend'. Thing is, yes I do hyper-extend, that's my body's make-up, it's its natural holding pattern, but, I've been practicing yoga now for what, 7+ years and I think have a good enough understanding of my own body, not to have to be told to keep a bend in my arms and legs, which let's face it, feels unhelpful and bloody awful.<br />
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Now, don't get me wrong, I understand the need to teach beginners who have hyper-flexible joints not to hyper-extend them, because it could cause further instability. But I have a problem with the instruction 'keep a micro-bend' itself. What is a 'micro-bend'? One millimetre? One centre metre? Enough of a bend so your teacher can see you're bending your flexible bits? I can understand teachers are trying to ensure the safety of their students and I have been one of those teachers. However, I just don't think it's helpful and I've changed my mind.<br />
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In my own personal experience, keeping a micro-bend, of whatever degree, in my hyper-flexible joints, actually creates, rather than reduces instability. For me, the instruction should be, 'do not hang in your joints' or something similar and to that effect. 'Hanging' meaning, allowing the joint to extend to its maximum potential without engaging the muscles around the joint to keep it stable. Basically, what you don't want is to be in downward dog say, 'hanging' in your elbows, and some guy to fall out of a handstand into you whilst you have no 'strength' in the joint and your arm snaps in half! Nice thought...<br />
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Paul Grilley appears to be the only yoga anatomy teacher to agree with me. I've asked the question to many others and they all say, 'must keep the micro-bend'. Not helpful. Are any of you hyper-flexible?<br />
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So I'm gonna take this even further. Having had the 10 series in Rolfing, having had my entire body re-aligned, I can finally feel energy flowing, where once it just did not. I can feel energy flowing from my toes to my groins, I can feel it flowing through my hyper-flexible knees. I can feel it flowing from my thumbs to my armpits and up through my hyper-flexible elbows. I can feel it. Do not try and tell me I can't. BUT when, I am told to keep a micro-bend, I cannot feel the energy flowing. When I press my knees back in downward dog I feel the energy, when I press the knees back in paschimottanasana I can feel the energy. When I bend them…nothing. Stagnant.<br />
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Now I'm not anatomical expert. I just know what I can feel. I believe that the postures we do day in, day out, we should try and do them so, just like in Rolfing, your body is working in its most efficient manner. We should be, in my opinion, trying to, at all times, align the body with gravity so it works most efficiently, continually encouraging the body to work towards its vertical axis, creating a sense of lightness, as if we are being lifted up through our joints rather than gravity pulling us down. Chronic holding patterns take a lot of energy to maintain, for me, the 'micro-bend' takes a lot of energy to maintain.<br />
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I spend most of my practice at the moment indulging in these new subtle body sensations, which I have been afforded, due to structural integration. Releasing restrictions I had in my body, my knees especially after suffering trauma, have directly stimulated energy channels, which I never believed existed. This increase in energy, has, changed my life, changed my outlook on yoga, the energy body and the way I look at consciousness and psycho-spirituality. We work on the body to change the mind, no? Of course be careful, work on strengthening the muscles around your hyper-flexible joints, but don't let the uninformed, non-hyper-flexible yoga teacher block your path to greater energetic awareness.<br />
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“True verticality, the goal of Structural Integration, is a functional phenomenon, </div>
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a line around which the body’s energy fields balance. They manifest </div>
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in real myofascial material structures…The vertical expresses an energy </div>
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relation between Earth and sun.”</div>
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- Ida P. Rolf, PhD.</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com4tag:blogger.com,1999:blog-8901381958661548366.post-85167554562327934682014-08-24T13:11:00.000+01:002014-08-24T13:11:15.181+01:00It always come back to mula bandha...<div dir="ltr" style="text-align: left;" trbidi="on">
As everyone who practices regularly knows, your practice is cyclical. Postures come, postures go, postures come back again and…. go again. The body always finds the path of least resistance. So too does the mind. Which is exactly why we practice day in, day out, to explore the whys and wherefores of these changes. Giving up on this exploration, for us, is not an option.<br />
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I've been suffering with pain in the right side of my sacrum and tightness in the left hand side of my erector spine muscles. The sacrum pain is dull and feels dense and congested. The tightness in the spinal muscles eases with each forward bend….I can feel and hear whatever it is there releasing on every inhalation and every exhalation, and it feels good. The pain in my sacrum is at its worse when I am back bending. I have a bendy back, well, lumbar spine. And this is exactly what is causing the problem. This week at the height of my pain I practiced second. My teacher thought I was nuts! But given the pain in the sacrum I wanted to see if practicing with more awareness would cause some shift to release the pain. I concentrated all my efforts into engaging uddiyana banda in my backbends and from this point of contraction in the lower abdomen, lifted my spine out from it and who knew…the pain was not there! The thing is I did know, I'd known all along, but for a while that awareness I'd let slip and the pain came. It came back. I've had this before and it had gone due to the exact same method I'd used before. Cyclical. Memories come and they go. Muscle memory comes and goes when you are in the early stages of your practice, which, of course, I still am (7 years now). Pain, it seems, is a great reminder of this. A reminder to embrace the dark as well as the light.<br />
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"When you practice, the other shore comes to you". (Can't remember who said that)<br />
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Thing is, I find it hard to engage the bandhas (doesn't everyone) but I find it very difficult to engage unddiyana. My teacher Ben, sticks his fingers deep into my transverse abdominus in the hope it will remind me. All I feel is his fingers sticking into layers of flesh, pain…<br />
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And then there's my hips. My right hip especially. It drops, I notice it in the standing sequence, the prasaritas, parsvottanasana, my left hip doesn't seem to want to rotate outwards enough, forwards enough, funny, especially when I thought my left hip was more open…? It's causing pain in my left knee. Not a good sign for ashtangis. But again I feel Ben's fingers in my hip socket, reminding it to rotate, fingers press into the left hand side of my abdomen willing me to engage uddiyana and a constant reminder to engage mula. It's funny, I sometimes feel as if I only engage mula on my right side, how can this be?! But the more I focus internally on the engagement of muscles, the more I notice. and the more I can work on these little nuances which affect every aspect of my practice. It's working at least :)<br />
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I'm awaiting arrival of a couple of dear friends. My girls from uni. K is down, having had a shit time of it the past two weeks. The FB post from earlier said, 'it's been an awful couple of weeks so it is with gratitude and love I get to spend the next 24 hours with my girls B and Michelle'. B replied, 'Always helps to spend time with soul mates'. When you need grounding, when you need re-centring, you always come back to your core friends, the ones always there for you, the ones who will always support you. Mula bandha, you are one of my bestest friends. :)<br />
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-19991788295468432202014-08-02T13:29:00.001+01:002014-08-02T13:29:15.796+01:00Samskaras and neuroplasticity<div dir="ltr" style="text-align: left;" trbidi="on">
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So I've moved back into my house after just over a year away. Things are, 'same same, but different', to coin a phrase used a lot throughout my time in Mysore :) Settling into new patterns of work whilst settling into my old, whilst familiar house is hard. Things are the same, but very different.</div>
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Sutra 3:9 of Patanjali's yoga sutra states:</div>
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The transformation toward total stillness occurs as new latent expressions fostering cessation arise to prevent the activation of distractive stored ones, and moments of stillness begin to permeate consciousness. (Chip Hartranft, 2003).</div>
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Exploring the word samskara; Sam = To come together; kara comes from the root 'kud' which means 'to create'. So samskaras are creations, things that we create ourselves. If we think of samskaras as grooves, we can think of our repeated actions chiselling out these grooves, making them deeper, imprinting them deeper into our consciousness, which makes these grooves harder to get out of, harder to fill in. </div>
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Samskaras are things that come into being, through a process, through the coming together of actions. If this is the case, then what comes into being can also come apart. What arises can also pass away. All formations created out of conditions are transient, they come and they go. Beliefs too, are samskaras. Beliefs are born out of our conditioned (material) world. Therefore if beliefs are born out of conditions, which are arbitrary and transitory, then it follows that they have no solid foundation and as such can pass as quickly as they were born. Luckily for us, samskaras are transitory, the grooves can be deep, but we can create new grooves and the old grooves over time will infill themselves until they are just a faint scar in our conscious mind, having no hold over us. We all have the innate power to change through practice. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgiyU_3naRCf3gptzNPprtFHPDttjAVT8eu0CpwpqzBoxENEdvxWZiUp6gOO3ilRnuGXoqETiQkKKVGrzQeE4KErSBoP9VNioLwm7f-GJnJGbLlNqBhwhAeWmIXOHxddip1N8HjvKX2JE/s1600/brain3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgiyU_3naRCf3gptzNPprtFHPDttjAVT8eu0CpwpqzBoxENEdvxWZiUp6gOO3ilRnuGXoqETiQkKKVGrzQeE4KErSBoP9VNioLwm7f-GJnJGbLlNqBhwhAeWmIXOHxddip1N8HjvKX2JE/s1600/brain3.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">http://www.divinityseeds.com.au/images/brain3.jpg<br />You are not just a brain in a vat!</td></tr>
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Thus as Patanjali states, we can create new latent expressions (samskaras) which will stop the old distractive stored ones and total stillness and peace can arise. 'Neurons that fire together, wire together'. </div>
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Neuro-plasticity is the core of understanding samskaras; no-one is 'hard-wired', they may have deep samskaras yes, but the brain is plastic and as such can change its structure and function by how we act, re-act, don't act, how we think and how we imagine things. It may just be harder and require more practice to carve out new and healthier neurological pathways. Plasticity exists at every level, the behaviour of the body, of bones, of cells, of thoughts and images. So in yoga we first of all work on the gross body, we change the way it moves, it functions and the more we do this the deeper those changes permeate into the bones, the muscles, the cells, our thoughts and our beliefs. It is even thought it can change on a genetic level, with the possibility of affecting the evolution of the human species. </div>
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So we can use our regular practice to re-sculpt our brain, first finding more plasticity in order for it to change, then to create more structure so that new, healthier patterns remain. </div>
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So for me at this moment in time, these new patterns which I find myself in are exciting but challenging at the same time. We are creatures of habit, but we must be careful not to let the grooves we sometimes find ourselves in become too deep, as they could become too deep to easily climb out of! </div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-78436247665475821382014-07-08T21:39:00.000+01:002014-07-08T21:39:05.222+01:00The red sun, reflected on the square, of the TV...<div dir="ltr" style="text-align: left;" trbidi="on">
I'm back to work as an urban planner, exactly one year after I took redundancy from my previous job. I'm grateful, of course, especially given the area I am now in charge of assessing planning applications is ridiculously beautiful, with some of the most stunning English landscape I have ever seen. I even have a favourite view from my car on my commute into work, the morning light radiates gold off a vast wheat field viewed from the brow of a hill, off the A429 toward Stratford. However living in Coventry I sometimes forget that nature is everywhere. Living in the city you have just to listen a little harder sometimes. I knew I'd find some haikus which reverberate with how I'm feeling right now...<br />
<br />Instead of foxes howling, or waterfalls, there's a car-roaring up the street, or the drone of a refrigerator ... part of the life in which we are living.<br /><br /> The red sun<br /> reflected in the square<br /> of the TV.<br /><br /> Neons flash red & green.<br />April rains on still street. Man<br /> Nods. Red lights blink, blink.<br /><br /> After April rain<br /> -in puddles of oil<br /> city rainbows<br /><br /> The whole block flooded.<br /> Men hauling pumps & hoses;<br /> children, plastic boats.<br /><br /> A great freight truck<br /> lit up like a town<br /> through the dark stony desert.<br />
(<a href="http://www.haikuworld.org/">www.haikuworld.org</a>)<br /><br /><br />So as sure as nature is found in the city, human nature leaves traces, samskaras if you like and cuts tracks in nature. Haiku can express not only nature, but human nature too. The name for this kind of haiku is "senryu". Putting human nature in the foreground and nature in the background, everyone can see something of universal human nature in themselves or the world around.<br />
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-51734876329495537542014-06-23T14:50:00.001+01:002014-06-23T14:50:59.356+01:00Anthony Hall's Krishnamacharya's Ashtanga Vinyasa Krama Workshop Review, June 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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I was really lucky this weekend to have been able to attend a workshop run by Anthony Hall, his only teaching gig in the UK before he leaves to live back in Japan. Anthony is known mainly for his awesome blog Krishnamacharya's Ashtanga Vinyasa Yoga at Home. I've been following Anthony's musings on yoga since I began my ashtanga apprenticeship a few years back, found his blog extremely relevant being a mainly home practitioner and so helpful in breaking down the practice, the asanas and the philosophy, so I have a real soft spot for his teaching. </div>
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Anthony doesn't see himself as a teacher, OK, he's done a couple of teacher trainings, Ramaswami's and Manju's, but he first and foremost considers himself 'just a blogger'. However, I would argue that it is his blogging and his dissection of his and 'our' practice of ashtanga that makes him such a great teacher, and his willingness to share every single detail of the ins and outs of his practice, the highs and the lows, the successes and failures. He's also shared so much information on Krishnamacharya and has spent hours upon hours dissection and analysing his writings, making sense of it all for the benefit of the western mind. So it was Anthony's work on Krishnamacharya and his teachings of Vinyasa Krama as taught to him by Ramaswami that he chose to share with us at the workshop and I felt blessed to have been there. </div>
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The first half of the workshop was on Krishnamacharya's primary series and he led us through the postures, with detailed explanations of how and why he thought he chose the postures based on other writings, for example from the older texts such as the Yoga Pradipika. It was really helpful to be reminded of what could be called the 'key' postures of our modern practice and to be given the time and space to explore them in their entirety without that 'guilt' of not doing the entire primary series as taught be Pattabhi Jois! He explained how Krishnamacharya would use the breath in different ways in different postures to achieve desired results, however, as with many of the older yoga texts, not always defining what those benefits are/should be, leaving questions unanswered allowing us to experiment for ourselves. (Something I don't think all practitioners do, given that ashtanga can be taught as a seemingly regimented practice). </div>
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Anthony's second half was showing us the style of Vinyasa Krama as taught by Ramaswami, a 30 year student of Krishnamacharya. This half was also very focussed on the breath and Anthony gave us opportunities to explore different postures, using different breathings techniques such as breathing 'normally' for the first attempt, then consciously halving the number of breaths on the second…something I didn't dream was possible in postures such as utkatasana!! Such a great reminder of how the posture should follow the breath. And something which I will continue to explore, especially in the postures that scare me :)</div>
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I loved Anthony's take on home practice, how he's taken bits from here and there to build a practice which works for him, at least for the moment. However, I always have of course, being a home practitioner!! Check out Anthony's inspiring blog at: <a href="http://grimmly2007.blogspot.co.uk/">http://grimmly2007.blogspot.co.uk</a> and if you can catch any of his workshops in the future (I'm sure there'll be more to come :) then do so, a teacher and inspiration not to be missed! Thanks Anthony :)</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-78027784507337988052014-06-12T14:14:00.001+01:002014-06-12T14:14:57.174+01:00Even Art has a "Mysore Style"!! <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">During my stay in Mysore, 'after the yoga', I was fortunate enough to spend my afternoons learning how to paint 'Mysore' style. My teacher was a beautiful man called M.S.Anand whose studio was on the 3rd floor on a traditional Mysore apartment block. He lives there with his wife, his gorgeous son and his Great Dane, 'Rocky'! You might think it a bit cruel to keep such a big dog on the 3rd floor of an apartment block, but Rocky loved it, loved the visitors and used to keep us company…by lying across the entrance the studio! But unfortunately Rocky's residence on the 3rd floor was not without incident! Because Rocky loved birds, loved to chase them that is, but despite great efforts on Anand's part to teach Rocky the pitfalls of chasing birds on a 3rd floor balcony, Rocky fell off said balcony no less than 3 times! Breaking his little legs on a couple of occasions, but mercifully surviving! Apparently Rocky used to be a canine model…however I think his modelling days are unfortunately up.. :)</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But enough about Rocky. I was lucky enough to be taught by Anand in the beautiful Mysore style of painting in the typical 'Mysore' tradition. Watch and repeat. Watch Anand draw something and then attempt to repeat it until I had perfected it. I had pages and pages of hands in mudras, hands holding lotuses, feet decorated in anklets, until I perfected every possible combination of hand/mudra/symbol combinations! </span></div>
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<span style="color: #252525; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Anand has his latest masterpiece displayed in the departure lounge at Bangalore Airport. Here's a link to a piece on Anand in the Hindu Times:</span></span></div>
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http://www.thehindu.com/todays-paper/tp-national/traditional-and-modern-in-a-blend/article5087497.ece</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So what makes Mysore painting so special? Apart from its vibrant colours, Mysore paintings are known for their elegance, muted colours, and attention to detail. The themes for most of these paintings are Hindu gods and goddesses and scenes from Hindhu mythology such as the Ramayana and Mahabharata. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #252525;">What Wikipedia says about Mysore painting:</span> (Kannada: <span lang="kn" xml:lang="kn">ಮೈಸೂರು ಚಿತ್ರಕಲೆ</span>) is an important form of classical <a href="http://en.wikipedia.org/wiki/South_India" style="background-image: none; text-decoration: none;" title="South India"><span style="color: black;">South Indian</span></a> painting that originated in and around the town of Mysore<span style="color: black;"><span style="color: black;"> </span>in Karnataka encouraged and nurtured by the Mysore rulers. Painting in Karnataka has a long and illustrious history, tracing its origins back to the Ajanta times (2nd century B.C. to 7th century A.D.) The distinct school of Mysore painting evolved from the paintings of Vijayanagar times during the reign of the Vijayanagar Kings (1336-1565 AD) The rulers of Vijayanagar and their feudatories encouraged literature, art, architecture, religious and philosophical discussions. With the fall of the Vijayanagar empire after the Battle of Talikota the artists who were till then under royal patronage migrated to various other places like Mysore, Tanjore, Surpur, etc. Absorbing the local artistic traditions and customs, the Vijayanagar School of Painting gradually evolved into the many styles of painting in South India, including the Mysore and Tanjore schools of painting.</span></span></div>
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<span style="color: #252525; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;">Techniques: The ancient painters in Mysore prepared their own materials. The colours were from natural sources and were of vegetable, mineral or even organic origin such as leaves, stones and flowers. Brushes were made with squirrel hairs for delicate work but for drawing superfine lines a brush made of pointed blades of a special variety of grass had to be used. Due to the long-lasting quality of the earth and vegetable colours used, the original Mysore paintings still retain their freshness and lustre even today. </span></span></div>
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<span style="color: #252525; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Devotion: Mysore Paintings are characterized by delicate lines, intricate brush strokes, graceful delineation of figures and the discreet use of bright vegetable colours and lustrous gold leaf. More than mere decorative pieces, the paintings are designed to inspire feelings of devotion and humility in the viewer. The painter’s individual skill in giving expression to various emotions is therefore of paramount importance to this style of painting. </span></span></div>
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<span style="color: #252525; text-align: start;"><span style="font-family: Arial, Helvetica, sans-serif;">Embossing: Gesso work was the hallmark of all traditional paintings of Karnataka. Gesso refers to the paste mixture of white lead powder, gambose and glue which is used as an embossing material and covered with gold foil. The gesso work in Mysore paintings is low in relief and intricate as compared to the thick gold relief work of the Tanjore School. Gesso was used in Mysore painting for depicting intricate designs of clothes, jewellery and architectural details on pillars and arches that usually framed the deities. The work was taken up in the morning when the base of the gold work on the painting was still moist so as to hold the gold foil firmly. After allowing the painting to dry, glazing was carried out by covering the painting with thin paper and rubbing over it with a soft glazing stone known as kaslupada kallu. When the thin paper was removed the painting shone brightly and looked resplendent with the combination of gold and a variety of colours.</span></span></div>
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<span style="color: #252525; font-family: Arial, Helvetica, sans-serif; line-height: 22px;">Finally following weeks of repetition and perfection, I chose a painting to begin my own Mysore style masterpiece. As a die-hard ashtangi I inevitably chose Patanjali, the beautiful depiction of half man, half snake depicted holding the conch and chakra. Here he is below</span><span style="color: #252525; font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 22px;">…</span></span></div>
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<span style="color: #252525; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">I gave the original to my teacher Vijay Kumar in Mysore, didn't know any other way to thank him... It's now proudly up in his shala next to Krishnamacharya :) </span></span></div>
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<span style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #252525;"><span style="line-height: 22px;">Since I have been back in the UK I have continued to practice the teachings of Anand, experimenting with more modern techniques of embossing, utilisation of gold leaf, form and composition. I think I may possibly be the only artist in the UK offering Mysore style paintings, taught by the master himself M.S.Anand. So far I have been fortunate enough to paint pieces for a number of yoga studios in the UK and India. Should you have any ideas for paintings to adorn your home practice space, puja room or shala, I currently take commissions, you can choose the God, the background, the iconography you want depicted and I will design something one-off especially for you!</span></span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Hanuman</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Seated Buddha</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Shiva Nataraja</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Lord Krishna</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Durga Maa (work in progress)</td></tr>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com3tag:blogger.com,1999:blog-8901381958661548366.post-40452884459457938662014-05-01T15:45:00.001+01:002014-05-01T15:46:43.364+01:00The places that scare you...<div dir="ltr" style="text-align: left;" trbidi="on">
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I'm home…. Just in case you didn't know.. Keeping a low profile though... (mind you, pretty unsuccessfully) as it's damn hard to live in the UK, without a job, with your parent at the age of 35, without feeling somewhat uneasy…</div>
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<tr><td class="tr-caption" style="text-align: center;">Feel like this man in a box<br />
Courtesy of www.experiencelife.com</td></tr>
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Living in the same situation in India, however, is completely different, you're surrounded by like-minded people, you don't stand out as the 'odd' one, everyone's given up their jobs, the 'normal life' in search of something... you have no society telling you you're different, that you have to live in a certain way, earn a certain amount of money, 'settle down' (I hate that word 'settle' - I would be damn happy if the word 'settle' never had to be part of the vocabulary of my life.) The uncertainty of India is liberating, you just know you're going to be OK there..but back here I feel the uncertainty…very...smothering. Anxiety, hovering around the edges, waiting for its chance to take hold...trying desperately not to let it.. My mother would kill me…</div>
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I went away to explore the places that scare me….I did this through my yoga practice and by living with uncertainty, so why now is it so hard to keep this perspective?</div>
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Chogyam Trungpa Rinpoche used to say 'Live your life as an experiment'. Life is ever changing, we have no control over what happens around us or to our bodies, but if we live our lives as a controlled experiment, keeping your mula bandha on, or with complete awareness of our true-immovable self, whilst the variables around you are changing, you can observe the external changes without affecting the internal, pure you. But I'm still finding it hard. Clearly I have a low tolerance for discomfort. </div>
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The complete acceptance of ourselves as we are is called maitri….a simple, direct relationship with the way we are. There are four qualities of maitri; steadfastness, clear seeing, experiencing our emotional distress and attention to the present moment. These qualities can be cultivated when we meditate, when we are mindful and relate to difficult situations in our daily lives. I'm not meditating per se at the moment, but this doesn't stop me from trying to cultivate these four precepts during my daily ashtanga practice. The practice, well it pure and simply reflects you as you are that day. The practice is my mula bandha at the moment, that immovable place where I can check I'm still functioning properly, check that I'm not letting anxiety take hold, but at the same time keep pushing and testing my boundaries, moving towards the places that scare me, but where I know I have control….well, at least for the moment…</div>
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Mula bandha….who knew it worked on so many levels….</div>
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Where are those places in your practice that scare you? Jumping into Bhujapidasana? Into tittibhasana? Breathing in kapo? Jumping into bakasana? Out of it? Do you take each of these postures as the perfect opportunity to take yourself to the edge? To the places which scare you? Do you ask yourself why you don't jump into bhujapidasana? Have you ever even tried it? If the answer is 'no' then, well, you should…the postures are there to test you, to reflect your mindset…they're there for a reason, not just to make the practice look cool! (They do though, don't they?…which is exactly why you should be practicing this stuff!) They are there to take you beyond your self-imposed limits...</div>
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So I'm standing here at this present moment, completely groundless… but knowing that everything is constantly changing, that I have to hang on in there and go a little bit further with the irritation of uncertainty, of not being given any satisfaction and whilst I'm not liking it at present, like a zen koan, accept that life is neither form, nor emptiness, but a beautiful groundless answer. </div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com1tag:blogger.com,1999:blog-8901381958661548366.post-42708032093545902952014-04-07T18:55:00.001+01:002014-04-07T18:55:04.302+01:00Canada, Stillness and David Robson<div dir="ltr" style="text-align: left;" trbidi="on">
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So I finally got to the last country of my little yoga tour, Canada…9 months after I left the UK, the last leg of my journey. This country is so beautiful, so vast and I'm so glad I came at a time when there is still so much snow on the ground, to see the country in all its white and peaceful beauty. The nights are so silent, amazingly different from the mountains of Portugal and Bali, the horns of India and the sirens of LA. Yet it is this silence which has enabled me to focus once again on a home, self-practice which no teacher to push me. It's funny, I've practiced in many countries now and I never thought I'd say it but each country has it's own energy which imprints on your practice. </div>
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I wanted to come to Canada not just to see my family here but to practice with David Robson of Ashtanga Yoga Toronto. I'd heard lots of good things about David and he seemed nice on his little youtube clip, so I thought I'd look him up! There just happened to be a Toronto Yoga Conference on at the time I got there and David was going to be there, so I booked onto his 'Jumpback/Jumpthough' workshop. And I'm so glad I did…</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNJgHSlKHpM6xIMZCUnEn_yXKoKWcGbekaKXxq5YHx9d2ajIhyphenhyphen7eLOFXkTPaeQ-WCJlJQBdr1-TRmLAKWD9bjf6299lm9FF6pcavVLBCtoEh0d7gWIKrshpk8x-9gJLT___8uqNeTyq-Y/s1600/Screen-shot-2012-03-29-at-14.45.51.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNJgHSlKHpM6xIMZCUnEn_yXKoKWcGbekaKXxq5YHx9d2ajIhyphenhyphen7eLOFXkTPaeQ-WCJlJQBdr1-TRmLAKWD9bjf6299lm9FF6pcavVLBCtoEh0d7gWIKrshpk8x-9gJLT___8uqNeTyq-Y/s1600/Screen-shot-2012-03-29-at-14.45.51.png" height="228" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: www.elephantjournal.com</td></tr>
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The most striking thing about David's teaching was his focus on the ashtanga practice as a tool for meditation. It's easy to forget this when focussing so much on the asana side of the practice as I have been, so it was a great reminder and he gave conducive tips on how to keep your focus. </div>
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David reminded us that any fidgeting, any extraneous movements or little flourishes in our vinyasas take us away from the meditation of our practice. Ashtanga is a tool that helps us realise any kind of fidgeting. Fidgeting does not belong in the practice!! When you see a thought and do not act on it you come a little closer to attenuating the 'kleshas' or obstacles to yoga and take one step closer to stilling the mind. It's the same in sitting meditation. </div>
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Holding the exact conditions of a posture will show you the distractions of the mind. David says it's obviously harder to keep this focus whilst jumping back or through. However, if you see the 'vinyasa' (Jumpback/through) as a tunnel, or as a linear path to the next posture, then this will make it easier to remain focussed. The tunnel acts as 'blinkers' to anything going on outside your mat.</div>
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The fidgeting thing is very interesting in itself. I still have this hamstring issue which has been ongoing for a couple of months now…not sure whether it is a tear, blockage or what… Anyway, I'm working around it and whilst doing this with complete awareness a couple of patterns emerged where I could see I was unnecessarily adjusting myself. I noticed that when I stopped adjusting myself in these two postures/transitions, there would be no pain. Keeping samasthiti, whilst going into and out of postures, with no fidgeting seemed to be the key. It made me think that these unnecessary, minor adjustments (one being moving the feet one by one in downward dog…be aware, most of us do this!) were the cause of the pain/injury. How about that?! So I've started doing a little flick of the feet together to get the correct positioning in downward dog, it feels uncomfortable at first, but it's just another groove you have to get out of right? And doing it a few times will create new more comfortable and healthier patterns of movement. </div>
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The other tool is the breath. David works on a 4 second inhale and 4 second exhale and had us practice the sun salutations to his drumbeat CD. </div>
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<a href="http://learntofloat.com/products/learn-to-float-primary-series-mp3%C2%A0">http://learntofloat.com/products/learn-to-float-primary-series-mp3 </a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkkFw-HZD2-q6VfNmP7VsMawkxaT_BTIlzxnzRnvKJWQMh9ZEqTPtk51jcSHCcFx6VKJXLsrLRiPkSTo7C4QB8vGQtKQysGPTQt_26xt5qas7dPmJctglnQeTbo8g1lWwCFehtZQPuM0/s1600/l2fprimaryseriesproduct.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYkkFw-HZD2-q6VfNmP7VsMawkxaT_BTIlzxnzRnvKJWQMh9ZEqTPtk51jcSHCcFx6VKJXLsrLRiPkSTo7C4QB8vGQtKQysGPTQt_26xt5qas7dPmJctglnQeTbo8g1lWwCFehtZQPuM0/s1600/l2fprimaryseriesproduct.jpg" /></a></div>
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Whilst practicing to the drumbeat, you cannot fail to concentrate on the breath, its quality and how the conditions of a posture affect the breath and the mind. I bought the CD and have been practicing along with it and it is so unbelievably effective. It's more effective than a led class, as the drumbeat is hypnotic and sends you into such a trance, mercifully you've completed the series before you know it! Navasana hold no prisoners, neither does Utthita Hasta Padangustasana which made David laugh when he told me about it! Who knew that I have a massive aversion for warrior 1?! I mean, it's an easy posture, no? But spending 8 seconds in it makes me panic, God knows what that's all about….!!</div>
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For all intents and purposes, the drumbeat CD shows you the yoga, it shows you where you need to spend more time, it shows you your fears. It's totally worth downloading (see link above). (Oh, and David's talk through voice is rather sexy, to say the least…:)</div>
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So, there it is…I have 36 hours before I leave Canada to fly home. The end of this little yoga journey. But I'm sure only the beginning of others. </div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-40481810178072044062014-03-13T02:56:00.000+00:002014-03-14T16:57:35.769+00:00My soul, Mysore<div dir="ltr" style="text-align: left;" trbidi="on">
<em style="-webkit-text-size-adjust: none; background-color: white; color: #555555; font-family: Helvetica, Arial, sans-serif; font-size: 12px; line-height: 18px; text-align: -webkit-auto;">"This yoga is not for exercise. It is for looking at the soul. That is all". Sri K Pattahbi Jois</em><br />
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<span style="color: #555555; font-family: Helvetica, Arial, sans-serif;"><span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px;">It's been a strange transition this past couple of weeks...from Gokulam, the 'Beverly Hills' of Mysore, to, well, 'Beverly Hills' Los Angeles!! One of the first things that hit me was the lack of noise, the hustle and bustle of the Mysore streets, the organic weaving of the traffic, manoeuvring through cows, the horns...oh the horns..!! This has been replaced by the vast silent suburbs of LA where the only real sounds are at night ... the sirens of police cars and the hovering helicopters. But I miss Mysore. Really miss it. </span></span></div>
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<span style="color: #555555; font-family: Helvetica, Arial, sans-serif;"><span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px;">After a couple of days I found a yoga class which I could cycle to, it take 25 minutes there and 25 minutes back, I'm knackered by the time I get there because it's uphill but the cooling ride home is nice! The teacher there Maria Zavala (www.mariazavala.com) is a long time student of Tim Miller, having spent over 8 years studying and assisting with him and before that Derek Ireland. She's lovely and helpful and her adjustments are soft </span></span><span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">but firm, it's nice to have a woman's perspective on the practice too, after such a long time only studying with men. But the 50 minute cycle each day plus the 2 hours practice is taking its toll on my body now, shame I have to cycle there, because it's only that that's hurting me, not the practice itself, which is just getting better and better. </span></span></div>
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<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">I am still following Vijay's advice and doing 3 days primary, 3 days second and my hips continue to open as the pain subsides. In fact there is no pain, (I'm still quick to jump to that false conclusion) just a little bit of fear left in there which continues to erode away during each practice. I'm back to grabbing the heels in kapo and Maria has got me catching my hells in chakra bandhasana again after a few weeks of rest due to a slight straining of the intercostals of my right ribcage. I also still have the injury to one of my left hamstrings which hurts sometimes in the standing forward bends and janu sirsasanas, but it's one of those injuries which teaches you things... I can now isolate the hamstring which hurt to stop the pain and use the others which is helping to engage the healthy hamstrings properly, which is helping with paschimottanasana and utthita </span></span><span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">hasta too, so I'm not too bothered about the injury because I can now see why people call them 'openings', I think it needed to happen to teach me another lesson :) </span></span></div>
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<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div>
<div style="text-align: -webkit-auto;">
<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">I am still amazed with the teachings of Vijay, he's really made me believe. After I finished my teacher training with him we spoke about my hips and he made the joke about practicing for 5 years - 'Why aren't they open? What have you been doing?!' Kind of made me wonder what HAVE I been doing for the past 5 years?!! Seems like just carving out deeper and deeper negative samskaras through not enough practice with a teacher. I asked can you open them for me? He replied, do you want the hard way or the painful way? Both will take 8 weeks!! I took the hard option, (I didn't fancy multiple torn hamstrings!) but it was still bloody painful every practice as my hips were pushed to their limits in baddha konasana, upavistha konasana and pashimottanasana. True to his word, 2 days before I left Mysore, 8 weeks after his promise, my hips opened and I had my chest to the floor in all the above poses! I left the next day...</span></span></div>
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<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div>
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<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">This practice, it's transformational. Believe me, I've been transformed. I am not a naturally flexible or strong person. But I've overcome the fear that postures will kill me, now I know they won't! And I will meet each new posture, each new challenge on and off the mat with my heart, my soul wide open, all thanks to Mysore. The body can take a lot before it breaks, if the mind believes...and is still and focussed. </span></span></div>
<div style="text-align: -webkit-auto;">
<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;"><br /></span></span></div>
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<span style="-webkit-text-size-adjust: none; font-size: 12px; line-height: 18px; text-align: left;"><span style="color: #555555; font-family: Helvetica, Arial, sans-serif;">As Vijay says, 'Why so much fear when you are so flexible?' Cultivating flexibility of mind and body WILL overcome your fears... Now how do you want to do this...the painful way or the hard way?!</span></span></div>
</div>
Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com1tag:blogger.com,1999:blog-8901381958661548366.post-85193352510686432872014-03-02T00:55:00.000+00:002014-03-14T16:58:06.814+00:00Ashtanga Beverly Hills?<div dir="ltr" style="text-align: left;" trbidi="on">
I'm now in Beverly Hills and I'm desperately looking for a studio with a good Mysore teacher...I can't find anywhere! Please advise!! :)</div>
Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com1tag:blogger.com,1999:blog-8901381958661548366.post-62120687416483716442014-02-17T13:46:00.003+00:002014-03-15T00:07:24.804+00:00'Rolfing', ashtanga and getting myself back...<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://www.blogger.com/blogger.g?blogID=8901381958661548366" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">A few weeks ago I began a course
of ‘Structural Integration’ also known as ‘Rolfing’, as a yoga teacher told me
once that it was the best form of body-work that they’d experienced. I
hesitated at the price back in the UK (it can be quite expensive, I think 40-50
GBP and there weren’t that many Rolfers around) so when I saw that there were a
couple offering it for less than half that in Mysore, I jumped at the chance to
give it a go. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">My yoga teacher has been working
with me for a few months now, trying to entice my hips to open, but for some
reason they just weren’t budging! He even said, ‘Michelle, I don’t understand,
you’ve been here for 5 months now and you still cannot do baddha konasana?!’ So
I decided to ‘get Rolfed’ and see if the manipulation of the myofascial tissue
would somehow release my hips. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">I explained I’d been having pain
in the front of my right hip, but that both were sore most of the time,
restricting movements especially in marichi A and C as well as ardha
matsyendrasana. So she took a look and did some work on the SI and the hips as
well as doing something to my arms as I had wrist pain but also across my
collar bones. The results the next day were astounding! The wrist pain was
gone, she said that because of the growth of muscle in my arms it was squeezing
my nerve to my wrist and that by separating them it would release the nerve and
there would be no pain and, the next day there was no pain. My SI and hips
found a kind of space that they’d never had before and I could do leg behind head
without ‘much’ pain! But the best result of this session was that I could
instantly breathe deeper and without holding tension in my left shoulder which
for some reason I noticed always happens. I was told that there was what
Rolfers call the 10 series where they work on the whole body over 10 sessions
to get your body back to its natural balance. So given the results I signed up
for the whole course. <o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj41moa5Ep6Js0H1Y9gUyFBSLfSH7s4GPUU4BN8w4Z_fv7C9nLC1dm1EB5ABq7-S40s9mVVAH9Sa8uaA9HOoC2KggijAJBN6LVWkDOtF8IoWcULFYSXGonznGRK8tG5AJpl2HQ-Xh5Bzy4/s1600/rolfing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj41moa5Ep6Js0H1Y9gUyFBSLfSH7s4GPUU4BN8w4Z_fv7C9nLC1dm1EB5ABq7-S40s9mVVAH9Sa8uaA9HOoC2KggijAJBN6LVWkDOtF8IoWcULFYSXGonznGRK8tG5AJpl2HQ-Xh5Bzy4/s1600/rolfing.jpg" height="115" width="320" /></a></div>
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">So </span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">sessions 1-3 are</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> referred to as the "sleeve" sessions,
which address the superficial layers of connective tissue. They are devoted to
improving the quality of your breath with work on the arm, ribcage and
diaphragm. Opening is also started along the upper leg, hamstrings, neck and
spine. The next aim is at
providing you a powerful foundation by balancing your foot and lower leg.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 3 f</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">ocuses on creating balance between the
front and back of the body. This is done through a side view for understanding
how the head, shoulder girdle and hips are related to one another when standing
in gravity.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Sessions 4-7 are r</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">eferred to as the “core”
sessions and address the area between the bottom of the pelvis and the top of
the head, as well as the deep tissue of the legs, which play a role in support.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 4 e</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">stablishes a floor to the pelvis and
brings awareness to the medial line of the leg through work extending from the
inside arch of the foot, and up the leg, to the pelvic floor.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 5 is c</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">oncerned with
establishing balance between the surface and the deep abdominal layers with
respect to the curve of the back.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 6 aims at</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> finding more
support and movement in the legs, freeing up the coccyx, and creating a
horizontal pelvis.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 7</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> focuses solely on the neck and head,
the positive pole of the body. Looks to balance the head neutrally over the spine.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Sessions 8-10</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> are “integrative”
sessions strive to blend the previous advancements, and ones yet to be made,
into the body in a way that encourages smooth movement and coordination. They
are designed to further deconstruct twists and rotations, which affect the
freedom and integrity of the lumbars (vertebrae of the low back) by lifting the
thorax up and ordering the legs and pelvis below.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-hansi-theme-font: major-latin;">Session 10</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;"> relates the fascial planes to each
other and creates an overall balance of the body. This is a final tuning taking
you from a state of static balance to dynamic balance.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">I have 2 sessions to go, but I am
literally addicted to Rolfing now! It’s great to practice yoga in between the
sessions because you can notice the changes so much. My balance whilst standing
is better because she worked on my feet and heels, moving the heel into proper
alignment and taught me how to stand properly. I used to stand with an
exaggerated lumbar curve which has now gone and she also sorted out my head
which I used to hold forward but now it sits properly at the top of my spine. A
few years back I injured both knees (doing yoga in fact and have never been the
same since) and my whole body contorted to try and protect them. The rolfing
has ‘unstuck’ all my hamstrings and quads so that my knees now track properly
and this has allowed me to use the muscles properly, instead of them acting
like other muscles, pulling and straining and twisting my legs and knees. I’m
not describing this well at all, but the overall experience has been amazing.
Probably one of the best things I’ve done for my body ever. It’s one of those,
‘why didn’t I try this before’ moments. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">This is the best comparison I
have found for yoga and ‘Rolfing’ from www.connectivehealing.com.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">“These
two disciplines in many ways are variations on a single theme: both work
towards the physical and emotional evolution of the individual by addressing
structural alignment and whole-body integration. They share the same
fundamental goals and principals, only their methods differ. Combined the two
reinforce each other and allow for an even deeper exploration and awareness of
self.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">In
yoga you practice asanas to lengthen, strengthen and align your structure. In
Structural Integration (SI) your practitioner uses their hands to work with
3-dimensional soft tissue patterns that limit the body's comfort, balance and
alignment in the gravitational field. It does this by focusing on the fascial
system.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Fascia
surrounds, supports and penetrates all of your muscles, bones and organs
throughout your body in continuous web-like layers. This fascial net is the
body's internal system of flexible support giving strength and shape to our
bodies. This system responds to injury, chronic tension and habitual movement
patterns by shortening, thickening and becoming glue-like thereby locking in
these unhealthy patterns of strain and pulling the body out of alignment. SI
works systematically and globally to release fixations, restore ease and create
deep, comprehensive order in your body. It literally changes your shape,
sometimes quite dramatically. People feel lighter, energized, more grounded and
balanced. They experience greater breathing capacity, increased range of
motion, ease and fluidity of movement, and a body more resilient to injury.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Yoga
actually had an early influence in the birth of Structural Integration. Dr. Ida
P Rolf, the biochemist who created SI, studied Iyengar yoga and drew upon its
principles along with those of osteopathy, homeopathy, and the Alexander
Technique. Dr. Rolf believed yoga was the best exercise system ever devised if
done with the right teacher. She also believed that hands-on manipulation was
needed to fully free the structure and to achieve ultimate length and
separation in the joints. This led to the development of what is commonly
referred to as <a href="http://connectivehealing.com/index_files/structural_integration_10_series.html"><b><span style="color: windowtext; text-decoration: none; text-underline: none;">"The 10
Series."</span></b></a> This series is comprised of ten sessions, referred
to as hours, which balance your body in segments with each session addressing a
different aspect of your structure and movement. The results become cumulative
as each session adds to the results of the previous ones.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Just
as breath is the foundation of a yoga practice, it is also a focal point of The
10 Series. The first hour is devoted to improving the quality of your breath
with work on the arm, ribcage and diaphragm. Ida once pointed out, "<i>When
the position of the ribs change, breathing changes. Getting more air into the
lungs and getting it to move faster is going to change the chemistry of every
cell in the body. So, in a first SI hour, we have started changing the
chemistry of every cell in the body in the first 10 minutes</i>."<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">One
client of mine recently told me that for her SI is "<i>like being yoga’d</i>."
Another described her experience with the following: "<i><o:p></o:p></i></span></div>
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<i><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin; mso-no-proof: yes;"><!--[if gte vml 1]><v:shapetype
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin; mso-no-proof: yes;"><br /></span></i></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<i><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Prior to being structurally integrated, I "worked" on having
better posture. Now, I can "relax" into good posture because my body
is properly aligned from head to toe. In yoga my balance increased
significantly as I was able to spread my toes to increase surface area and
reach longer through my spine. In addition, my flexibility increased
exponentially with no additional effort. </span></i><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">."<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 12.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">While
SI is successfully used to treat everything from migraines to fibromyalgia this
was not Ida's primary objective. She was more interested in the evolution of
the individual. Dr. Rolf saw SI as a means to evoke the greatest human
potential lying within each one of us. In this way SI and yoga also share the
common goal of facilitating deeper levels of consciousness and aliveness. As a
more intimate and comfortable relationship with your physical body is fostered,
the emotions and attitudes which are housed and expressed in your posture and
patterns of holding are brought to light and given the opportunity to dissolve
and become integrated.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: major-latin;">Yogis have long been noticing the effects of SI as they find they are
able to reach new depths and levels of ease both in mind and body. At the same
time yoga is one of the best ways to support and maintain the benefits of SI.
The combination of the two is a rich opportunity to broaden your sense of self
thereby allowing the chance to transform limiting patterns of movement,
thinking and behavior.” (http://connectivehealing.com/index_files/structural_integration_SI_and_yoga.html)<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Well, I still can’t do baddha konasana
and get my chest to the floor, but it’s improved greatly! However, something's definitely shifted as I can now get both legs behind the head relatively comfortably (eka pada for some reason is a little harder but I'm putting that down to a wonky SI joint/anteriorly tilted pelvis on the right), over the past 3 weeks I've been working on the Tittibhasana sequence in Intermediate and can now complete the sequence with full correct vinyasa, without collapsing in a heap and dead thighs on my mat! I think Vijay's pleased with my progress...well he must be cos he's given me Pincha Mayurasana to practice now...and I know what's coming next...more baddha konasana, upavistha and lotus work needed for that one for sure...</span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Nevertheless, the bit in the
article about feeling energized is completely true too. I used to feel a lot of
weight in my legs and the lower part of my body but now feel like that weight
is distributed evenly throughout my body, I feel like my energy is moving a lot
more freely now and I can differentiate single muscles now, when before they
were all just ‘stuck’ together. I’d got to a point where my body no longer felt
like my own body, I knew something was wrong but just couldn’t work out what
was wrong. I knew there were blockages in energy, I could feel them and I have
tried physiotherapy, psychotherapy, meditation, yoga, cardio-work, even an energetic healer
and I would have to say that Rolfing by far, is the best thing I’ve done. Yep,
even over yoga. But now I can continue my yoga practice with greater energy and
use it to ensure that the blockages and unhealthy patterns, those physical and
mental samskaras don’t come back!!<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">If you would like the details of
the Rolfers in Mysore, drop me a message </span><span lang="EN-US" style="font-family: Wingdings; font-size: 11.0pt; mso-ascii-font-family: Calibri; mso-ascii-theme-font: major-latin; mso-char-type: symbol; mso-hansi-font-family: Calibri; mso-hansi-theme-font: major-latin; mso-symbol-font-family: Wingdings;">J</span><span lang="EN-US" style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com2tag:blogger.com,1999:blog-8901381958661548366.post-31988232372375002622014-02-06T14:46:00.003+00:002014-03-14T16:59:22.445+00:00Objects in the mirror are closer than they appear...<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US">Objects in the mirror are closer than they appear….<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">This was the line Vijay came out with following an attempt at
catching my heels on my own in chakra bandhasana a few days back. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">He’s been working with me on it daily, one day with him assisting me
into the posture the next day I have to do it on my own. One day I fell to my
elbows after I lost balance when my hands were really near the heels…he was
crouching next to me and as I fell all I heard was an, “Ouch!” from Vijay. I
was pissed with him as he was there and watching and could see it happening and
instead he just let it happen, let me fall. OK, so I didn’t die…didn’t even
break an elbow thank God, but the fear, you know, the fear was there, the fear
is still there. But I guess it’s a little less now, knowing nothing bad can
happen. He does stuff like this. A lot. To me. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">But this day, I was walking, walking my hands in and it was the
first time I could see my own heels and I could see how far my hands were away
from my heels…and it was about a hands-span away. After I came back up and
jubilant and all, he said, “Good” and I said, “Yeah I was only a hands-span
away from my heels” and he shook his head and said, “Noooo…you were 1 inch away
from touching!! What does it say on those rear view mirrors??...Objects in the
mirror are closer than they appear!!” and walked off…<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">Vijay’s comment resonated with me. It reminded me of how little
self-confidence I have in my practice. I could see my heels, but still my mind
was saying, “It’s not good enough”. The mind playing tricks on me again. You
can’t do it, you can’t do it. Then Vijay comes along and acts as the true
reflection of my capabilities. He knows what I can do before I even know
myself. He’s like the purusha to my prakriti…the stepping stone between my
reality and the truth… <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">“It is only in still water that we can see.” (Taoist Proverb) <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Vijay is my still water. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US">The truth is you need a good teacher. If you’re anything like me, a
little too laid back, a little tamasic maybe and maybe a little kaphic, you
need a good push in your practice. You don’t believe in yourself? It’s probably
just fear manifesting in a bit of a sloppy practice, which was fine before I
came to Mysore, but it doesn’t wash! The practice reflects your fears, your
weaknesses, it breaks you down and then builds you up again, stronger than
before. I used to think that this was just on a physical basis, but it works on
so many levels. You think you have it? Nah….think again…there’s a Buddhist
saying that goes something like, ”Nati, nati, nati” (I may have spelt this
wrong)…not that, not that, not that. Never assume you have it, there’s always
another level, another layer to peel away. But this is a good thing. It means
your practice should never get boring, that if the primary series doesn’t bring
on a sweat anymore that there is something more that you can give to it,
another level to find in it, one that brings on that sweat, that heat, that tapas
to burn away through another layer, bringing you closer to the truth.</span></div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-53833123395615412442014-01-30T03:38:00.003+00:002014-03-14T17:00:39.359+00:00Enthusiasmos and getting stuck...<div dir="ltr" style="text-align: left;" trbidi="on">
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Feels like I haven't posted about my practice in ages despite it going through constant changes. The fact is I'd been sick for 3 weeks solid and my energy reserves were getting dangerously low. The last two days I've felt like a different person, full of prana.</div>
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In class today Vijay told me after a painful upavistha konasana where I thought my adductors would tear apart (we are working on opening my hips), that I should still do a jump back (not step back - oh no!) .....but with enthusiasm... as without enthusiasm I would not be looking forward to the next posture. When Vijay mentioned enthusiasm I immediately thought of a line in <i>'Zen and the Art of Motorcycle Maintenance'</i>.</div>
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<i>"The Greeks called it 'enthousiasmos', the root of 'enthusiasm', which literally means 'filled with theos', or God, or Quality."</i> A person filled with enthusiasm doesn't sit around dissipating and stewing about things. He's at the front of the train of his own awareness, watching to see what's up the next track and meeting it when it comes. Enthusiasm occurs when one is quiet long enough to see and hear and feel the real universe, not just one's own stale opinions about it.</div>
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You have to <i>care </i>about your practice. It is important to try to practice with care as it is closely tied to quality. And as we know, things made without quality, frankly suck. <i>"A person who sees quality and feels it as he works is a person who cares. A person who cares about what he sees and does is a person who's bound to have some characteristics of quality." "Quality is the Buddha. Quality is scientific reality. Quality is the goal of Art."</i></div>
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The practice should be carried out with as little effort as possible and without desire. If you become restless, speed up, if you become winded slow down. You practice in an equilibrium between restlessness and exhaustion, then when you're no longer thinking ahead, each posture, each vinyasa, isn't just a means to an end but a unique event in itself. You begin to notice things as they are. <i>"To live only for some future goal is shallow.</i> <i>It's the sides of the mountain which sustain life, not the top." </i>So I've been told... I need to put more quality into my practice, every little detail is important. Vijay's very strict, but very wise.</div>
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So about getting stuck. I am so close to being able to jump back like they do in the films, that I can almost touch it...But I get stuck. I get stuck right at the point where I need to bend my elbows and shoot the legs back. I'm even hovering there arms straight, knees pulled in to chest, feet off the floor and Vijay's shouting 'bend your elbows! bend your elbows!' and I'm just there stuck mid-air willing my elbows to bend but for some reason the message from the brain is not getting to the arms...some kind of short circuit. </div>
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The fact is I've not been bending my elbows for so long that it's a habit that is going to be hard to break. What I need to do is it in lolasana and practice bending my elbows so at some point along the line, like at about the 61st time of bending them, the new pattern will begin to ingrain itself into my muscle memory. Basically if something isn't working in your practice, preventing you from doing something, something needs to change. It may even be the smallest thing, like moving your foot 1 centimetre to the left. Mind you, it's easy to say all this, it's harder to do it. </div>
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<i>"Quality is not static, its dynamic. And when you really understand dynamic reality you never get stuck. It has its forms but the forms are capable of change."</i></div>
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<i></i>Quality is something you can develop, it's not just intuition, not just an unexplainable 'skill' or 'talent'. It's the direct result of contact with the basic reality, which dualistic reason has tended to conceal. You can gain quality by simply practicing...enthusiastically!</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0tag:blogger.com,1999:blog-8901381958661548366.post-43715254118357578432014-01-22T07:48:00.001+00:002014-01-22T07:48:28.096+00:00Sometimes letting go is just not pretty...<div dir="ltr" style="text-align: left;" trbidi="on">
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I've been sick with something, don't know what, thought it was a gastro flu virus which 3 of us in the house had, but then it kept on so took some anti-biotics, then it kept on and took some pro-biotics...now I'm just not sure what's going on! </div>
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Obviously being in Mysore, the 'letting go' capital of the world, people are fast to jump to the conclusion that when you are sick in the stomach it's your body trying to get rid of something that is not good for it, that it doesn't want anymore. A few weeks back I had a session of 'Rolfing' after being advised by a yoga teacher that it was amazing. I went and gave my details to the girl along a list of stuff going on with my body, tight left shoulder, dodgy knees, relentlessly tight hips. She worked for 1.5 hours on my ankles, IT bands, knees and hips and later on that evening I was pretty sore around those areas. That night I had a rumbling in the stomach and had to dash to the bathroom with severe diarrhoea. But it wasn't just once, it went on and on, until the point where I had no control over it and 'let go' all over the kitchen and bathroom floor... :( </div>
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Despite my bedroom only being 5 metres away from the bathroom, I had to have a bucket next to my bed for the rest of the night. Big sigh. I spent the next hour on my hands and knees cleaning my own crap up off the floor with 2 rolls of tissue paper...half naked...in the dark... Thankfully it was the middle of the night and somehow I managed to maintain a small semblance of dignity. The next day I had to explain to the housemaid who's english isn't great that I had been 'sick' over the kitchen and bathroom floor and when she saw the bucket, well, she didn't speak to me for 3 days. (Actually, thank god she didn't, trying to get through to her using the english language is like trying to get blood from a stone...my own english is going downhill drastically here with everyone speaking with badly strung together sentences of random words!! Anyway, I digress...) </div>
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But here's the strange part....Somehow I managed to drag myself to class the next morning, expecting a poor practice and instead I had the most open hips ever! Postures which had been killing me like baddha konasana, upavistha konasana and eka pada sirsasana seemed like I had been practicing them for years (well I have but with little progress). Finally some space has appeared in the joints which I hadn't felt before and I can feel what it feels like to have open hips, which I can continue to work on slowly each day. I'm still suffering with some discomfort in the hips, but for christ's sake, I have 35 years of crap to clear out!! </div>
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Unfortunately I cannot be sure what is was that caused this opening...it could have been the rolfing, it could've been the diarrhoea, it could have been having to clean my crap up off the kitchen floor, or it could have been just continuous, dedicated practice over a long period of time. Nevertheless, I like all 4 reasons equally!!</div>
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Micquihttp://www.blogger.com/profile/06805452096378023748noreply@blogger.com0