Showing posts with label handstand. Show all posts
Showing posts with label handstand. Show all posts

Tuesday, 30 April 2013

What is an advanced student?


The term ‘advanced students’ is kind of a misnomer, if one defines ‘advanced students’ as those who can grab their heels in chakra bandhasana or hold a handstand without support. As teachers of yoga the definition or interpretation of what is an ‘advanced student’ has a great bearing on the experience of yoga for our students.



On a purely physical level, after two years of regular practice, I would expect to see from students the kind of results one would expect to see from people who take up some form of exercise e.g. increased strength and stamina, but also flexibility, which most forms of conventional exercise overlook. An increase in body awareness and maybe a bit more confidence, both on and off the mat. But to try to measure the advancement of a student by asana alone would be missing the point completely. 

There are 6 series of Ashtanga Yoga, each series including more advanced asana, but most students will never complete the Primary Series. But this does not means that students practicing Primary are any less advanced that those practicing sixth. It just means that the ‘edge’ of the person practicing sixth has moved quicker/further than the student practicing Primary. It means they have to practice more advanced asana in order to reach their edge. It doesn’t mean they’re any more of an ‘advanced student’.

The classic texts state that asana practice is purely a means to enable the student to be able to sit comfortably for a long time in order to meditate. If one’s hips and hamstrings are tight and one’s concentration is lacking, sitting still for long periods of time is unlikely to happen. So one could say that if one were proficient at asana, then sitting would be easy, which would easily enable meditation. But it is not just about stilling the physical body. You could be the most flexible person in the world, but if your mind is not still and focused when sitting, what is the point? Gymnasts can perform amazing physical feats, but one would not say that makes them ‘advanced yoga students’. A friend of mine worked as a porter in a hospital and says that some of the best yogis he’d ever met were completely paralyzed, unable to move any part of their body.

The more I think about yoga and meditation and the more people I talk to about it, meditation in this day and age is absolute absorption in anything, where time and space cease to exist; painting a canvas, playing a violin, carving a piece of wood, even doing crochet! Hartranft calls meditation “interiorisation”, the shifting of perspective away from externality toward an interiorised point of view. From the outer world of people, things, relationships; to the inner world of the attentional processes with which the external is seen. Or more specifically, interiorisation is the growing sense that awareness is not seeing an object per se, but instead observing a consciousness representing an object. (Hartranft, 2012: 13) Once one gets to this point, we’re getting nearer to being ‘advanced students’.

This interiorisation is a realisation and complete acceptance and meshing with the matrix of the external world, which is a more inclusive and comprehensible concept of the state of Samadhi, for the western mind. Once one feels intimate with their external environment and realises their connection to every other sentient being on the planet, compassion arises and with compassion comes unconditional love, this is true yoga (union) and this is what ‘advanced students’ experience. 

The skill of the teacher is to accommodate and nurture each individual student and their unique development whilst remaining true to the wisdom shared by Patanjali. In my opinion, one can only measure a student’s knowledge and understanding of yoga by the actions of that student once they step off the mat. 

Sunday, 25 November 2012

Jumping back - a helpful tip...

So I've been working a lot of strength building in my practice recently...and it's really damn hard! 

But in order to balance out the flexibility of my spine it needs to be done. I'm used to lifting my sternum and my lower ribs away the pelvis, creating lots of length in the lumber spine for drop backs / kapo etc. So the whole feeling of contracting the body in the opposite direction for jump-backs and jump-throughs / navasana to handstand etc feels very alien. 

Nevertheless, I'm really working hard to find this strength and to achieve a balance in my practice. 

Found a good video about jumping back the other day which said to keep the head lifted, eyes looking up when you go to jump back. It kind of helps engage the back more I think as well as bringing the weight forward more so the feet can scoot back. I'm visualising a tortoise, back rounding like its shell but neck and chest lifting out and up!! 

David Swenson said the same thing about jump-throughs at his workshop, keep the gaze lifted and the hips will follow through the arms. So I spent a good 20 minutes extra today just jumping back and through and I'm so close...This tip could just be what enables me to build the strength to pull off the jump-back. 

WORK IN PROGRESS :)

Just another thought...there's kind of the same action in bhujapi, I might practice this a bit more and see what happens :)

Sunday, 4 November 2012

Hop up to handstand, done!

Literally just finished my practice and could not wait to get on here to write about it! 

I knew that once I'd find my bandhas the practice would open up for me, but I didn't realise how quickly this would happen. If it hadn't have been for the post by Nobel http://yogadragonden.blogspot.com/2012/09/inhale-through-your-anus.html on the 'Anal Breath' I would never have found mula bandha and never achieved the full forward bend. Without the full forward bend I would never have found uddiyana bandha, and without uddiyana bandha I would never have just got up to handstand by a little hop 3 times in one practice...

Mark Darby's post on paschimottanasana is also a fantastic post about how to 'find' the bandhas. The curling under of the tailbone, the sucking in of the lower abdomen, the reaching out of the SI area, the drawing in of the arms completing that contracting movement of the whole body. 

This morning's practice was one of those ones which you don't think will come to much. A nice home practice extending the breath, watching the body, just stretching out. I managed to do my knees in last weekend and they've taken 5 days for the swelling to go down, but since Friday they've been good. So I thought I'd throw in a little handstand practice. Try and form some new positive samskaras, then hopefully they would stick and handstand would be part of my practice each time. I had about 4 attempts before I finally got up! I came down, ecstatic! Where has this been hiding? I tried another 4 times and got up again...came down and lay on the floor, gasping. I thought, right, I need to do this one more time, 3's a good number, so had another 4 goes and got up again...and again I came down, laughing to myself with joy, turned to my statue of Ganesha, hands in prayer and and thanked him again and again. 

Now I just have to stay there. I can stay in handstand but only with the top of my head on the wall as some kind of stabiliser, but it feels good and you can kinda work on on sucking in the ribs and pressing the hands into the floor, that kind of thing whilst you're there. 

....Ganesha must really like 3 candles lit around him and some Nag Champa burning!! (The first time I've done this little ritual, must do it every time now ;).....


Monday, 21 May 2012

"Jack and Break" - working on the band has

Got introduced to a fantastic bandha workshop courtesy of Edward Clarke of Tripsichore Yoga.

Edward's take on bandha and lifting into arm balances/inversions/handstands is the opposite to how I've been taught, or possibly just how I'm getting the vinyasa breath count incorrect, I'm not sure.  Anyway he lifts on an exhale, rather than an inhale. I haven't had chance to try it out for myself yet due to this weekend's illness, but it seems to make sense. Anyways, I thought I'd share some of his concepts, which are brilliant.

"Jack and Break" - In a squatting (utkatasana) position he "Jacks" up his sitting bones by straightening the legs and directly the "pointy bits" (sitting bones!) back and up. However, "Jacking" on its own can cause a crunching of the lower vertebrae, so the "Break" needs to be applied to counter this. The "Break" is uddiyana bandha (the fold at the hips) directing the energy back, keeping the abdominals long. Uddiyana for Edward appears to extend from the bottom of the rib cage down to the pubis. He literally pushed the top of the pubic bone downwards between his legs towards the "moola region", which is pointing upwards and backwards. Basically, the pubic bone travels towards the coccyx.

Somewhere between the sitting bones is where the moola is situated (the zero point of what is going on in the spine and the extension if energy, I guess the end point is the crown of the head). Edward says that you want to keep a straight line for the energy to travel from the moola region up through the crown of the head and maybe beyond. He says that if you have a kink in the line then the energy will not flow, i.e. if you crunch your lower back by overextending the lumbar region or if you overextend/crunch the neck when looking up. These actions will prevent the upward flying energy.

Whilst doing "Jack and Break" in utkatasana the knees are over the toes, so that weight is evenly distributed across the feet, and not leaning backwards. (He demonstrates in utkatasana because it's an easy pose to go from to get into arm balances.)

"J & B" for forward bends = if you take an uttanasana, you may find that the moola region drops down and uddiyana is squished/contracted and no longer lengthened. You are not going to benefit from this posture apart from a hamstring stretch. Edward takes his torso away from his thighs until he is working into a forward bend (uttanasana) of about 80 degrees (so his chest is almost parallel to the floor). Edward says you are not working the principles of uddiyana and moola, as J & B define them, if uddiyana is not lengthened and extended. (Edward goes on to say that he'll work there until he is 92 when he may feel a lot more stretched! I love this great tip for beginngers to back off the toes in a forward bend!)

"Drag" - Not a form of dressing up, oh no....

"Drag" is what happens to the feet on an exhale and what happens to the hands on an inhale. Take a forward bend, hands placed on the floor. You do "Jack and Break"and whilst exhaling your feet want to drag backwards behind you with the force of the exhale. On an inhale your shoulder blades press down the back bringing the arms back with them. This movement of the shoulder blades can either pull the torso forward or drag the hands back, depending on how much pressure is in the hands. For a handstand you want to inhale drawing the shoulder blades down tieback and the torso forward and exhale dragging the feet back to draw them off the floor.

"Scissoring and Splitzing" - this is how Edward describes the legs actions in postures such as revolved triangle and padmottanasana. Inhaling the legs have a tendency to move apart from each other and on the exhale you try and draw them together towards each other and the midline of the body. I guess this is a bit like the spiral dynamics theory I was taught a while ago, which helped in these postures to "square" the hips.

"Pubic bone to Coccyx" - Edward talks about this starting in a high arch on an inhale. On an exhale pulling the pubic bone to coccyx, resulting in a lengthening of the lower part of uddiyana. It should not be confused with overarching the back. Both pubic bone and coccyx are stretching down between the thighs (something you can only talk about in a yoga video ;) The lower back stays long and the uddiyana stays long.

"Piking" (up into scorpian/headstand/handstand etc) - usually happens on an exhale, a back bend and a forward bend happen at once. Keeping "Jack and Break" on to resists the temptation to sink into the lower back

Two common mistakes about uddiyana - 1st: pulling the navel back towards the spine; no you want it to pull it back and up, you will crunch the back and stick the ribcage and bottom out.

Jalandhara: Edward says that dropping the chin to the chest to lengthen the uddiyana not advocated and dropping the head back so the face is looking upwards is also not advocated. Edward advocates keeping the head on line with the spine. Do not shunt the head back so that it gives you a double chin but just so that the back of the neck is long and in line with the rest of the spine. You are essentially still gazing forward.

I love all this stuff and cannot wait until I'm better to have a go with it all in my practice :) (Exciting!!)