Kundalini Yoga & Bhangra Indian Dance- Theresa Powers

Using the Entire Body as an Expression of Love

Kundalini Yoga & Bhangra Dance

Kundalini Yoga Boston

Theresa Powers

5 October 2012

CSOCS 3452 Yoga: Theory, Culture and Practice

                I took a trip to Inman Square for the experience of expressing my love with my whole entire body, only I didn’t know that at the time. I went in to this class blind, which probably wasn’t the best idea, but I almost didn’t want to know what to expect. I was drawn to the class because the title included “Indian Dance,” and I thought that would be fun and different. Really, I had no idea what I was getting myself into.

What is Kundalini Yoga?

            Kundalini Yoga is the yoga of awareness. “Kundalini” itself means “the curl of the lock of the hair of the beloved,” which serves as a metaphor that we as humans have all the energy already inside of us and helps us to connect with our universal Self. Kundalini Yoga is for everyone because everyone has their own inner energy (prana) to awaken (Kundalini Research Institute 2009).

            Kundalini was brought to the U.S. in 1971 when Yogi Bhajan founded the Kundalini Research Institute after completing his teacher training in 1970. He came to America the previous year and founded a non-profit organization called 3HO (Healthy Happy Holy Organization) which strives to improve physical and mental well-being through the teachings of Kundalini Yoga. Kundalini has been passed down for hundreds of years from Master to student, and Yogi Bhajan was declared a Master of Kundalini at age 16 ½. He was the first to teach Kundalini publicly in the U.S, and said he came here ‘to create teachers, not to gain students.’ (Kundalini Yoga Teachers Association 2011).

            Kundalini Yoga is the most formalized style of yoga taught in the world (Kundalini Research Institute). Any class attended, one can expect to start with a chanting mantra, move onto warm-up/pranayama, then kriya (postures), relaxation, meditation, and finally the closing blessing song “May the Long Time Sun Shine Upon You.” The Kundalini Research Institute claims that Kundalini Yoga is unique because of its efficiency and effectiveness. “The changes you want to affect in your life happen much more quickly with Kundalini Yoga as taught by Yogi Bhajan than many other styles of yoga” (Kundalini Research Institute 2009). Because this branch of yoga heightens awareness of oneself, it is a proven path to the Self and the Soul.

“It is your birthright to be healthy, happy and holy.” – Yogi Bhajan

What is Bhangra Indian Dance?

            Bhangra comes from the Punjab, an area shared by northern India and northeastern Pakistan. The area was occupied by many religions and races throughout history, so conflict and war was bound to happen. While Harmeet Singh (the instructor of the class I attended) says that Bhangra stems from a long time ago in history when the warriors would “dance with swords,” because one had to work to kill someone (it wasn’t respectable to just stab them, you had to work for it), Punjab Online (n.d.) says that it comes from the Punjabi wheat farmers passing time during the harvest. Today, Bhangra dance has evolved to dance competitions, and songs have been remixed to become popular. Traditional Bhangra dancing is done at weddings New Year’s parties, and other important events (Punjab Online, n.d.). Type Bhangra dance into YouTube and you’ll find everything from Bhangra Fusion competitions to wedding dances to “how-to” videos. The culture of Bhangra has changed, clearly, because in my research I didn’t find anything about spirituality and Bhangra. Harmeet uses Bhangra as an expression of happiness and love to the outside world, and to oneself.

“As we are sitting here in meditation, I want you all to smile to yourselves. The biggest smile you have. If there is one thing you will take away from this class, it is happiness. Bring that happiness outside to the rest of the world.” – Harmeet Singh, Bhangra Instructor

My Experience

            I was looking for yoga studios in the area, and I just happened to click on this one’s website. They looked interesting, so I just decided to go for it. I took my friend Laura with me, because I was hesitant to go by myself. I chose to take a Friday night class called “Friday Night Kundalini Yoga and Bhangra Indian Dance” with Harmeet Singh. I don’t really know what I was expecting, because honestly, I didn’t do any research before I went. I liked the idea of going in not knowing what to expect, even if that was a little scary. I was ready to be out of my comfort zone, because I have never taken a yoga class outside of Lesley before. I knew it was going to be interesting, but I didn’t anticipate the degree of interesting.

            Laura and I walked into the studio, and it was dark and quiet. At first we thought they weren’t open, but then someone came out and said there was a class going on and we needed to be quiet, please. There was a man in the corner of the room on a cushion (who I would late learn to be Harmeet) meditating, and Laura and I checked in at the desk. The receptionist led us to a back room to change and put our things away, and then we waited to go into the room where our class would be held.

            There were only seven of us attending the class, which is less than I would have expected. I assumed that I was probably the youngest there, and it seemed like there was someone from every age group. The only two males were Harmeet, the instructor, and another man who chose to practice in the outside room. I’m unsure as to why he wouldn’t join us (he mentioned something to me at the start of class about how people think he’s crazy, I didn’t really know how to interpret that), but he didn’t. The rest of us were females, most of us dressed in the usual Americanized yoga clothes, but both Harmeet and another woman were dressed in loose white clothing and had their heads wrapped. After some extra research I learned that the white clothes reflect and radiate light, helping to expand the aura of the self (Spirit Voyage Blog, 2012).

            Just like my research said, we started class with a chanting mantra. I’m not completely sure if it was the one used by all Kundalini instructors, because I know for me it was very hard and complicated to follow. After this chanting, we moved on to the pranayama, which comes next in the structure of Kundalini Yoga. Harmeet said that this breathing was meant to loosen up our bodies and really feel all of our energy from within. This is where the Kundalini structure ended, and turned into something else. Harmeet instructed us to smile, and then he instructed us to laugh. He was laughing so loudly, and we all were expected to join in with him. In my mind, all I could think was “What did I get myself into?!!” Once I forced myself to laugh, it started to come naturally. I turned the awkwardness into hilarity, and I was finally able to let go and laugh so hysterically I was crying. After laughing while sitting, he had us stand up and laugh. I’m assuming that the smiling and laughter have to do with Bhangra and bringing our happiness out into the world, but I’m not really sure about it.

            After the laughing, we finally got into the Bhangra dancing. Harmeet instructed us to keep a smile on our face at all times, and to really connect with our partners so they could feel our happiness. The dancing was just so goofy to me, with the shoulders bobbing up and down, the head shaking back and forth, I couldn’t help but laugh. In doing my research on Bhangra dancing, I didn’t find anything about it being a spiritual practice, or any connection to happiness and smiles. I only read about the history of wars and farming, and then how it evolved into being mainstream and westernized. In looking at Harmeet’s teacher bio on KYB’s website, it mentions that he was born in India and brought up using Bhangra as “a way of life to express and share happiness (Kundalini Yoga Boston). I wonder if this is personal to him, or if many people who practice Bhangra feel the same way.

            We closed the class with a relaxation and gong meditation, and my first thoughts were “Oh my gosh, the Universe is swallowing me up.” The sound of the gong was just very eerie to me, and I know that’s not the point. I think that by going to KYB, I have learned that Kundalini probably isn’t for me. Maybe I will try out another class, but most likely, I won’t.

Theory, Culture & Practice

            I feel as though my experience at KYB was probably very different than others who have been there and taken different classes. I would assume that their classes were more structured, and that they did the physical yoga poses and maybe they didn’t have a laughing session. After doing research, I definitely made connections between Kundalini practice and the class that I took with Harmeet. I think that he was aiming for a fusion of Kundalini and Bhangra, and he achieved it. I am a little confused with the Bhangra, though. In all my research, I saw that Bhangra had become westernized and mainstream, rather than focused on its original roots. I guess I could say that Harmeet used both of these aspects of the Bhangra. He told us the history of how the dancing came to be, but then when we were dancing, the music was to remixed Indian pop songs (which I thought was very funny). In the end, the dancing did make me happy and gave me a great work out… I just wish that I could have experienced a more traditional side of it! Compared to other styles of yoga, I would say that Kundalini is one of the lesser Americanized. Kundalini has stayed true to its tradition of being the yoga practice of awareness, and the Bhangra dancing did help me to become aware of my inner self. If going to KYB taught me one thing, it is definitely to keep an open mind. I had a lot of thoughts directly after the class, but the more I think about it, the more beneficial the experience was to me. I can now safely say that laughter is the best medicine, even if it’s really weird at first, and that your happiness should be spread throughout the world.

References

Kaur, R. (2011). The Kundalini Yoga Guide to Yoga Clothes. Spirit Voyage Blog. Retrieved      from http://www.spiritvoyage.com/blog/index.php/the-kundalini-yoga-guide-to-  yoga-clothes/

 Kelly, C. & Thind, J. (n.d.). History of Bhangra. Punjab Online. Retrieved from             http://www.punjabonline.com/servlet/library.history?Action=Bhangra

Kundalini Research Institute. (2009). What is Kundalini Yoga? The Teachings of Yogi            Bhajan. Retrieved from    http://www.kundaliniresearchinstitute.org/What%20is%20KY.htm

Kundalini Yoga Boston. (n.d.). Welcome to Kundalini Yoga Boston. Retrieved from             http://www.kundaliniyogaboston.com/

Kundalini Yoga Teachers Association. (2011). About Yogi Bhajan. Retrieved from             http://kundaliniyoga.org.uk/information/about-yogi-bhajan

Anusara-Inspired Yoga at Karma Yoga Studio

Katie McCarthy

Professor Douglass

CSOCS 3452 Yoga: Theory, Culture, and Practice

10 October 2012

Twisting at Karma Yoga Studio

            Karma Yoga Studio is located in Harvard Square in Cambridge, MA.  Having walked past it several times, I was very intrigued to see what it looked like from the inside.  The cozy café area was very inviting, and I was tempted to sit down and have a cup of tea.  But on September 25 I was there to try a new kind of yoga practice.  I chose to take an “Anusara-inspired” yoga class because I hadn’t heard of it before, and from the description on the website, it seemed relaxing and calming. 

            When I walked into Karma Yoga Studio, I wasn’t sure where to go.  I was looking for some sort of front desk area, but all I saw was the café.  The man at the café asked what I wanted to have from the café and I told him I was actually here for yoga.  It turned out that the café was also the front desk.  I stood there filling out the necessary paperwork and feeling a little out of place.  Other people signed in while I filled the forms out and they all seemed to know where they were going.  Two men signed in while I stood at the front desk and I began to worry that I was going to a physical, power-yoga class instead of the relaxing “stepping into grace” yoga class that the website promised.  I had to remind myself, though, that I did not know exactly what I had signed up for because I didn’t look into what Anusara yoga consisted of before going.

            I took the staircase down to the lower level and found the studio space.  The building was very calming and inviting.  The simple architecture and layout created an atmosphere fit for slowing down the pace of daily life.  I wanted to slowly shift into this calming state, but I had a feeling of rushing to get all the props and get a spot on the floor.  The instructor asked if I had been here before and I said no, so she told me what I needed for the practice.  I needed a mat, a block, a roller, and a blanket.  I wasn’t sure what a roller was, but I was sent into the closet to find everything anyway.  People were already rolling their backs on their rollers while I was setting up which made me anxious.  I started rolling on my back and my ponytail got caught underneath the roller, pulling my head back.  I couldn’t help but think to myself that this was going to be a rough hour and fifteen minutes. 

The room was full, with around twelve people in the space.  Three of the people were men, the rest women.  Almost everyone in the class seemed to be 35 years old or older, with the exception of myself, my friend, and another girl.  Many of the people in the class looked like they came straight from work, which made sense to me because the Karma Yoga Studio is located in the heart of Harvard Square in Cambridge.  The yoga instructor was a petite blonde woman who greeted everyone at the entrance to the studio.  Before I knew it, we were starting the session. 

            In the beginning, the instructor mentioned that we would be doing a lot of twisting because the autumnal equinox had just passed a few days prior.  Throughout the practice, she occasionally went back to this twisting theme in the poses we did.  I wanted to know more about why twisting and autumn were related, but she stopped there.  After doing some online browsing, I found out that themes in yoga are common, especially in relation to nature (Strover, S., 2012).  Because autumn is the season between summer and winter, there are a lot of shifts that occur in nature and in the body.  I really liked the idea of having a theme to yoga.  I felt like it gave the practice a purpose.  Just like with meditation, I feel like I am more likely to go deeper when there is a theme or reason for doing it. 

            Even though there was a theme during this yoga practice, I still found myself struggling to really get into the session.  Because she only occasionally went back to the autumn-twisting theme, I would lose sight of it and get caught up in my body shaking from holding a pose, or I would start wondering if I was doing the right thing because I didn’t hear what she said.  I liked the dark lighting in the room, but it was so dark that I felt like I couldn’t see the instructor if I wasn’t sure what she meant when she was describing a pose.  Even the room threw me off a bit.  The space itself was long and narrow, which was fine at first, but the only places left to choose on the floor were in the center of the studio.  In a new, unfamiliar place, I usually like staying near the edge or in the back, but I didn’t have much of a choice.  There were people on either side of me and behind me, which made me feel uncomfortable and in the spotlight, despite the dark lighting. 

            The practice itself was very physical.  I was thankful that the instructor provided variations to the poses because I was not mentally prepared to work myself very hard on a physical level.  I realized then that Anusara yoga must not be what I imagined it would be.  At one point near the end of the practice the instructor even said, “alright now let’s do some abs.”  She then led us in a short abdominal workout routine.  I was surprised when we started doing actual crunches because, although we were twisting while we were exercising, it didn’t feel like yoga.  Throughout the session there were some complicated poses that I had never tried before.  I was expecting a fairly simple session because the schedule said that this class was for all levels, not for more intermediate levels. 

            One part of the session I really liked was when we chanted “om” at the beginning and at the end.  The instructor took out this large instrument that looked like some sort of accordion and played it while we chanted a few rounds of “om.”  The sound that came out of the instrument filled the room and I felt like I was no longer in that studio space in Cambridge but somewhere underwater or in some sort of sacred cave.  This was my favorite part of the session because something inside me stirred and awakened.  The poses gave energy to my body but it was the simplicity of sitting while the instructor played the instrument that energized my spirit. 

            Once the session was over, everyone got up quickly and started putting their props away.  I also had to put my things away quickly because I had somewhere to be, but I didn’t want to rush out of it.  I wanted to sit a little while longer and really take in my experience: what I liked about it, what I didn’t.  But seeing everyone pack up and leave brought me back to reality and to the next place I had to be.  Reflecting back, I wish I had looked into the type of yoga that Anusara was.  I was looking to try something more meditative and gentle, and Anusara-inspired yoga is a type of hatha yoga.  Overall, though, I had a positive experience.  I really enjoyed the instrument that the instructor played and I liked the fact that she had a theme to her session.  I liked that the instructor encouraged doing any variations to any of the poses and the physical space was very inviting. 

            Afterwards, I did some research on Karma Yoga Studio.  I had difficulty finding a lot of information on its history of the studio because the website focuses mainly on the classes offered.  The founder of Karma Yoga Studio is Jesse Winder, who opened the Cambridge studio in 2002 (“Karma Yoga Teachers,” n.d.).  According to his biography, Jesse’s passion is in tying the eastern traditions with the western science (“Karma Yoga Teachers,” n.d.).  This makes sense because the studio is fully equipped with a gym with machines along with the studios for yoga.  The studio offers a wide range of classes, from gentle meditative practices to physical exercise classes.  They provide nia, bollywood dance, and even a type of yoga created by the founder of Karma Yoga Studio called “Physioyoga” which combines traditional yoga practices with modern sport medicine (“Karma Yoga Teachers,” n.d.). 

            Karma Yoga Studio has three locations: Harvard Square, Allston, and the South End in Boston.  They describe themselves as an “independent holistic fitness studio” (“Karma Yoga Studio,” n.d.).  Karma Yoga Studio has four core values.  They believe that “choice, personal attention, and a beautiful, healing environment are essential to the health and well-being of all” (“Karma Yoga Studio,” n.d.), they are committed to “the belief that compassion and non-violence are the indispensable components of progressive and social change” (“Karma Yoga Studio,” n.d.), they work to “create a better world” (“Karma Yoga Studio,” n.d.) through various support systems, and they dream to help people transform their bodies, clear and refresh their minds, and enlighten their spirits (“Karma Yoga Studio,” n.d.). 

            I left the yoga session without a clear impression of what anusara-inspired yoga was.  It felt similar to the kind of yoga that we do in class: chanting “om,” doing a series of poses, focusing on breath, and ending with a short meditation.  The only clear difference I noticed was the use of props in the anusara-inspired yoga class.  I wondered for a while if I even went to the class I intended on going to or if I went into the wrong class.  The instructor never announced that it was an anusara-inspired class, and nothing about the class seemed to stick out as anything particularly special in my opinion.

            Once I did some research on anusara-inspired yoga, though, I realized that I had gone to the correct class.  Anusara yoga, founded in 1997 by John Friend, is a type of hatha yoga derived from Iyengar yoga (“About Anusara,” 2009).  The term “Anusara” has a few translations, including “flowing with grace” (“About Anusara,” 2009).  The methodology of Anusara yoga states that each class has a theme (“Methodology,” 2009), and in this case the theme was centered on the autumnal equinox.  Anusara yoga begins in a place where everyone is inherently good, and those who practice it look for the goodness in everything (“Methodology,” 2009).  Anusara-inspired yoga differs from Anusara yoga in that the instructors are not certified in Anusara yoga but have had extensive training in Anusara yoga.

            Looking back, I wish I had done some more research before committing to this type of yoga.  I enjoyed it, but I was looking for a much different experience than a hatha yoga practice.  Going into the session with the expectation that it would be meditative and more inwardly focused left me with a sense of disappointment in the end. If I had the chance to go to another Anusara-inspired yoga class, I would arrive earlier so I could ground myself before beginning the practice and choose a place on the floor that felt more comfortable and less exposed.  I would know what to expect, which might help me be more present during the class.  Going out and trying this different kind of yoga has inspired me to continue to try other types of yoga in the future. 

References

“About anusara yoga.” (2009). Retrieved from

http://www.anusara.com/index.php?option=com_content&view=article&id=68&Itemid=77.

“Karma yoga studio.” (n.d.). Retrieved from http://www.karmayogastudio.com.

“Karma yoga teachers.” (n.d.). Retrieved from

http://www.karmayogastudio.com/teachers/.

“Methodology.” (2009). Retrieved from

http://www.anusara.com/index.php?option=com_content&view=article&id

62&Itemid=114.

Strover, S. (2012). “Creating a theme-centered class” in Yoga Journal. Retrieved from

http://www.yogajournal.com/for_teachers/2281?page=3.

The Yoga Studio: Iyengar Summary

                                          The Yoga Studio: Iyengar Summary

Courtney Miranda

October 10, 2012

Dr. Laura Douglas

CSOCS 3452

Yoga, in the most simplistic definition is the modification of the mind. Through various breathing techniques (asanas) and postures (pranayama), one can develop a deeper awareness of the self emotionally, mentally, and spiritually. The distinctions among the different types of yoga not only vary in its own subgroup but in its culture, studio, and instructor. I chose to explore the practice of Iyengar yoga and the particular structure at The Yoga Studio in Dartmouth, Ma.

During my long weekend, I decided to attend a yoga class at the studio I always drive by and want to take a look in. The studio is quite small, standing on the side of one of the busiest highways of Dartmouth. It is almost impossible to not miss it when driving. There are large frosted windows wrapping around the building, and a welcoming feeling when walking up the steps. My first impression of the studio was a warm and welcoming environment with a modern spin on the yoga culture. The natural lighting from the large windows made it comfortable and the smiling woman at the little desk surrounded by bamboo and yoga mats for sale helped me immediately. There was mostly all women chatting in their matching yoga gear and tights with tea. Most of the conversations consisted of what new creams were said to work in a specific magazine and what food was better to get from Whole Foods. I came ten minutes before, and the class was almost full when I approached the room we were in. The instructor was a woman by the name of Mege Posner, and she was a very soft-spoken woman who radiated a passion for teaching in a methodical style. I noticed little wooden cubbies to put belongings and shoes outside the class. The class was an open level, but I started to feel intimated when I noticed the skill level of the other people. I also noticed I was the youngest one. The age difference could have been because I chose to go to a morning class on a Saturday. I did choose the back of the room, not only from intimidation, but so I could easily observe the class fully and openly while continuing the practice myself. The space was very light and clean, with mirrors and bamboo walls. One interesting observation is the pile of blocks the instructor told us we were to use during the class. I have taken a few yoga classes, but I have never integrated the blocks. I always assumed the blocks were for those who need the extra support but the studios I have been to never have enough to everyone attending the class. The instructor had her little corner set up with a round yoga mat, a block, chair, and an ipod and speaker. She did not actually announce when we were to start, it seemed like people instantaneously knew when to start and jumped in.

The practice was very slow, seemed to have an emphasis on alignment. Our instructor almost always told us to use the block or the strap in order to make sure the alignment can be perfect. Each pose had at least ten steps before actually reaching completion. When the posture was set, then we sat in it and breathed for at least ten times which for me made me completely anxious and agitated because my body was uncomfortable and in pain. There was always a build up to one pose throughout the whole practice. For example, when we were in Trikonasana (triangle pose) we used the blocks to allow us to bring us closer to our alignment in the pose. She kept checking in to see if we were balanced on all sides and kept bringing us back to our breath. The breath I was told, is to be smooth and effortless, but I felt myself in tomas. Each step was slow and was held for at least ten breaths. Oddly enough, as slow as it was, there was a gymnastics aspect to it in the slight rigidity I saw through out the room. When going into each pose, the instructor kept mentioning that the practice is very beneficial with someone with injuries. Another example was the emphasis on re aligning the shoulders in tadasana gomukhasana. We spent at least twenty minutes alone to get into one pose such as a shoulder stand or spinal twist. Even though the practice is not about the skill level, I could see the flexibility and agility through out the room. Patience is not my strong suit when involving slow body movement and postures, and I discovered a long intention span is required for this type of practice. The meditation at the end was my favorite part, and I can admit to feeling a release and sense of accomplishment when realizing I made it through the class. Overall, I am pleased about my choice of placement but unsure if I experienced Iyengar’s philosophy. The studio and the class seemed very westernized and molded to fit the culture of the town. I am not doubting that the atmosphere was completely beautiful, but the class seemed like a glamorized fitness program at times.

The Yoga Studio’s main message was to promote a systematic and complete approach through yoga postures. “The technique encourages a deep understanding of the physical body which leads to not only a physical transformation but also a mental, emotional and spiritual transformation” (Posner 2012).  The thought is through perfect alignment in the body, then the breath becomes easy and grounded resulting in a clear mind. The website quoted the founder of Iyengar, “The rhythm of the body, the melody of the mind and the harmony of the soul create the symphony of life” (Iyengar, Posner 2012). I thought this quote was powerful and rang true to the essence of the practice in its compassion and reverence, however, I do not feel as though I would have received the intentions of the studio until after looking it up on the website and further research.

Iyengar focuses on three main points, alignment, sequencing, and timing. The alignment through use of props such as blocks or chairs can assist the body in maintaining and developing perfect alignment. The sequencing is to build up one’s pose through out the practice and create a better understanding of the finer adjustments. The pacing or timing is to develop stability and a deeper emotional awareness and usually means one can hold a headstand for up to eight minutes. The practice is comparative to a meditation in action and provides a better understanding of deeper parts of your body through refinement and precision. During the class, I could feel the methodological style to reach perfection of postures but I did not sense the transpersonal aspect. The westernized influence seemed to radiate heavily which is not necessarily a negative aspect, however, it dilutes the true essence of the practice. Yoga in general is a universal communication through the body, transcending a deeper understanding of oneself emotionally, mentally, and spiritually.

Like in class, the movement came from various placements of the body. For example, in a spinal twist the movement comes from lifting up and out of the hips, not from just twisting. As we move, we expand we an in breath and an emphasis of stopping and breathing halfway through the pose. The stopping and softening is thought to allow more movement. This principle was practiced during Paschimottanasana, when we used a strap around the feet and lift upwards in order to bend forward to the thighs. Again, there is no emphasis on the skill level, as said in class, rather a reminder when soft and breathing, one can then notice how the body’s innate ability to know what to do.

B.K.S Iyengar, who developed this out of a form of Hatha yoga with use of props in order to gradually advance through poses, created Iyengar yoga (Iyengar, 1918). The focus is on the structural alignment of the physical body through the progress of the asanas. The foundation was created on the eight limbs of yoga but depending on the instructor and level of practice, one generally would practice fewer different yoga postures in order to receive a detailed evaluation of the execution of the posture. I definitely noticed the similarities in our own class, particularly the last several classes. Even though the movement was much slower and we covered less poses, I felt as if time passed quickly and I developed more energy. The class I observed, however, seemed rigid yet soft, and did not provide the same lasting effect. In class, I do not feel pressured to be the best or exceed my limits, I have been exploring how my body handles pain and each week it becomes easier for me to focus and breath. This exploration of each pose acts as a reminder to slow down and reduces the pressure to maintain a fast pace. Sometimes when the class is too fluid, I get lost in thoughts and trying to force myself into the pose, instead of taking my time. At times, I find it hard to focus on breathing when certain poses of particularly difficult, or when I know I need to hold the certain pose for a long period of time. The biggest concern is quieting the mind chatter and fears of judgment. I did not feel personally attacked or endangered when I was in the experimental class, yet I found it harder to relax and noticed myself looking around more not only to gain insight for my paper but through insecurities and distractions of others doing the same comparing techniques.

When partaking on further research, I found many articles on the benefits of yoga in multiple subjects such as aging, cancer, blood pressure, depression, and other physical injuries. This relates back to the instructor relating many of the poses to each benefit if someone in the room was suffering from a physical injury. This had me reflecting on my own physical body after taking the Iyengar class. The day after I felt lighter in my body and less tension in the areas I hold stress such as my lower back and shoulders. Instead of forcing myself into the poses I would allow my body to take over and guide me to where I should go. In one article, the emphasis on the type of yoga chosen and the environment is key in order to providing a truly beneficial experience for the physical body. “It is possible that the differences in fitness outcomes found in the comparison studies of yoga and exercise might not have been found if exercise were compared to the more vigorous forms of yoga” (Ross, Thomas, 2009). Iyengar can be beneficial for those with physical injuries because of the heavy use of props in order to maintain better posture and focus on breathing into the problem areas. This can stimulate the cognitive effects on the mind and create a transcendental experience and a deeper understanding of the self.  I understand the need to compare the types of yoga and the various techniques, but I find it hard to maintain a consistency since there are numerous studios within this country alone claiming to follow the philosophy of a form of yoga and create their own spin. Iyengar states in Light on Yoga, “The study of Yoga is not like work for a diploma or a university degree by someone desiring favourable results in a stipulated time” (Iyengar, 1918).

In conclusion, Iyengar yoga helps develop a deeper understanding of the self through alignment, sequencing, and timing of the body in practice. My experience in the class seemed to hold the slightest intention of the essence, yet tainted by the westernized effects of exercising and maintaining a healthy body image instead of an overall acceptance and compassion with the self and the Universe, Divine, the whole, or whichever it may be. Like much of our culture, the true philosophy and essence can be diluted in order to meet the limited attention spans and feed the consumerism of our country in order to reach complete satisfaction and a hunger for more. I did see the comparisons between the types of Hatha yoga in the class and the class I practiced outside. Even though I find variations in the yoga postures, instructors, and environments, I have found a distinct correlation and meaning amongst the variations and difference and it is the self. Through each practice the transformation starts with the self and radiates out into the world. This can be developed through a progression and training of yoga postures and integration of breathing in order to reach complete peace.

Sources

"B K S Iyengar - Home." B K S Iyengar - Home. Ramani Iyengar Memorial Yoga Institute, n.d. Web. 09 Oct. 2012. <http://www.bksiyengar.com/>.

Howe, D.K. "B.K.S. Iyengar: A Long Rewarding Journey." American Fitness (2011): 45-46.

Iyengar, B.K.S. Light on Yoga: Yoga Dipika. New York: Schocken, 1979.

Posner, Mege. "The Yoga Studio - Iyengar Yoga." The Yoga Studio - Iyengar Yoga. N.p.,

2012. Web. 09 Oct. 2012. <http://theyogastudio.ws/>.

Ross, Alyson, and Sue Thomas. "The Health Benefits of Yoga and Exercise: A Review of Comparison Studies." The Journal of Alternative and Complementary

Medicine 16.1 (2010): 3-12.

Samara Yoga Studio: Vinyasa Yoga (Midterm Paper)

Julianne Smith

Laura Douglass

Yoga: Theory, Culture, and Practice

October 10, 2012

Vinyasa Yoga at the Samara Yoga Studio

The Samara Yoga Studio, located in Somerville’s Davis Square, offers a variety of classes taught by instructors experienced and trained in their specific area.  I could not find much about the history of the studio, but it was founded within the past 3 years by Nicoline Valkenberg.  On its website, the Samara Yoga Studio describes each of their classes and the different level of experience at which each is taught.  These classes include meditation, vinyasa, yin yoga, anusara-inspired, dynamic flow, form and flow, yoga of energy flow, and slow flow.  For the midterm I decided to attend a vinyasa yoga class instructed by the studio’s founder, Nicoline Valkenberg.  

I visited Samara Yoga’s website to research their classes and theory, but I mainly chose it for the convenience it offered in terms of location, price, and time.  The description reads; “Vinyasa yoga is the experience of joining, or unifying a sequence of poses in an intentional way to create a flow of movement that requires us to cultivate an unbroken stream of awareness and breath” (Samarayoga; 2012).  From this description, I was expecting a slower flow of transitions that emphasizes an integration of breath and motion and even breathing exercises similar to the pranayama we practice in class, but the class turned out to be a lot more fast paced and physically focused.  

On the website, the meaning of the name, Samara Yoga, is given.  The studio is located on Elm Street in Somerville and from that, Nicoline Valkenberg was inspired to name the studio after the fruit of the elm tree, the samara.  The website states that samaras are the “winged pockets which carry the seeds of the parent tree further then they would otherwise be able to travel on their own” and that “the fruits of one’s efforts and growth have a way of spreading far beyond the source of that labor” (Samara Yoga, 2012).  This idea of effort transcending its source and spreading through out all parts of life is fundamental to Samara Yoga’s ideology.  It also reflects the vinyasa concept of ease with transition permeating not just your action in yoga, but in life.  The instructors at Samara Yoga aim to give their students the ability to bring themselves further than they thought they might otherwise.  This value was apparent from the supportive manner in which Nicoline Valkenberg taught the class I attended. 

After paying and taking my shoes off, I retrieved two blocks, a blanket, and some sort of strap; all of which I had no experience with or any idea of how to use in terms of yoga.  I found a spot on the side of the studio room in the middle.  The room had a very clean, but welcoming feel to it with bright natural lighting and hard wood floors.  It was smaller than the room we use, but big enough to fit around twenty people comfortably.  The class I attended mainly consisted of  white women in their twenties and thirties and two or three men also white and somewhere between twenty and forty.  This demographic suggests that the class is going to be more westernized in terms of theory and practice.

The instructor was a younger, white women named Nicoline Valkenberg.  She was a guiding voice through out the whole class; prompting, advising, and demonstrating.  Nicoline has completed over 200 hours of Kripalu Yoga Teacher Training under Yoganand Michael Carroll and is working toward completing 500 hours of  Prana Flow Yoga training with Shiva Rea.  I will actually be using quotations from one of Shiva Rea’s articles in Yoga Journal later in this paper to dissect vinyasa yoga theory.  

During the class, Nicoline instructed on poses and breathing in a very supportive, but non-controlling way that allowed people to guide themselves through the poses.  Through out the class she gave options that suited everyone’s abilities, and demonstrated the use of equipment as well.  She began the class with three “ohms” in unison.  From there we began transitioning through different postures that lengthen the body and enhance muscle stability.  I did recognize some of the moves from our class, such as tadasana (mountain pose), adho mukha svanasana (downward-facing dog), and savasana (corpse pose).  There were many I had not done before such as eka pada rajakapotasana(pigeon’s pose), utthita trikonasana (extended triangle pose), and natarajasana (lord of the dance pose).  Some of the newer poses were really challenging, and I could definitely feel the effects of them on my muscles the next couple of days.  

I found this class to be difficult because of the poses, but it was more so the pace at which we transitioned from one posture to the next.  It was a very fast paced class, and I found myself brought up to a state of rajas for most of the class even when we were in poses such as savasana.  Because of the class pace and my lack of experience, I had trouble focusing on both my movements and breathing.  Often they did not match up, and because of this I could not get into a type of flow of movement explained in the class description.  I tried employing some techniques from class to transition to sattoa.  With difficult poses, I scanned my body for tension and tried to work with it/accept it rather than fight it, but I would find myself just settling into a pose as it was time to transition.  I also realize that I get into my own mind sometimes and tell myself something is going to be difficult, and I did not do a good job of being in the present.  When we reached the end of the class and went into savasana I had a hard time relaxing my body and mind, but I focusing on my breathing helped.  We closed the class with three “ohms” in unison.  I could really feel those three “ohms” come from a deeper breath inside me, and that helped me to leave the class feeling better about the experience.

The class ended up being different than what I expected based on the description, and I wanted to see if what other sources of yoga theory had to say was similar to Samara Yoga Studio.  I looked through our books and did not find much about the actual practice, but an article by Shiva Rea on the website, “Yoga Journal,” describes vinyasa yoga as “a flowing sequence of specific asanas coordinated with the movements of the breath” (Rea, 2012).   From our reading I know that asana is one of the eight limbs central to yoga theory, and it focuses on right posture.  This concept of unifying breath and movement is reflected in Samara Yoga’s description.  It was also present in practice as well.  Even though I had difficulty focusing on my breathing, the instructor would prompt us to inhale and exhale during specific movements that matched the pattern described by Rea as “expansive actions [being] initiated with the inhalation, contractive actions with the exhalation” (Yoga Journal, 2012).  This practice of inhaling during expansive actions and exhaling during contractive actions was not new to me because when exercising at the gym, I was always taught to breath that way.  Recognizing that rhythm helped me to match my breathing with my actions.

There was another important aspect to vinyasa yoga I experienced at the Samara Yoga Studio.  Vinyasa yoga “teaches us to cultivate an awareness that links each action to the next”(Yoga Journal, Rea 2012).  The underlying theory of vinyasa yoga is to create a flow of actions with a smooth transition.  This theory was applied in the vinyasa class by the repetition of the movements for each leg or side of the body.  Because we did cycles/sets of motions it was easier to go from one pose to the next after awhile.  I notice some people would even pr to the next pose.  Although I struggled with the pace of the class, the fast pace may have contributed to the emphasis on transition between actions that is seen in vinyasa theory.  Because there were quick repetitive sequences, the focus is definitely placed on transition.  

This idea of transition reflects the concept of “parinamavada” in yoga.  Parinamavada encompasses the idea that “constant change is an inherent part of life” (Rea, 2012).  This idea of constant change and transition connects to a couple concepts we have covered in class.  Mainly that everything physical in this life is impermanent.  The body is just a vessel from which the soul and mind grows and changes.  Vinyasa yoga’s emphasis on transition helps attune the body to changing actions in yoga, but the practice extends to the mind and real life situations as well.  Shiva Rea also states that “In vinyasa, how we complete an action and then make the transition into the next is very important in determining whether we will receive the action's entire benefit” (Rea, 2012).  Not only is learning how to deal with change and impermanence important, but it is essential to fully experience and evaluate the actions and situations from which we transition.

A final unique aspect of the class I would like to note was the incorporation of music.  This addition of music was not an aspect I found in any other description of vinyasa yoga besides the Samara Yoga description.  This additive would seem to be a reflection of the teacher and the culture this class serves.  It was the instructor’s personal music from her ipod, and it was at a level that I did not find distracting or intrusive.  I really did not notice it until the quiet moments of class when we were supposed to be looking inward.  I grew up with music constantly playing in the background so it did not really bother me, but at the same time I feel like it appeals to a more western view of yoga and meditation.  The existence of background noise can be looked at two ways; as something to block out or something to focus on.  I feel like from a traditional view having background music would be seen as an obstacle to meditation, but for people that are not use to meditating, the music can act as something to focus and settle the mind; much like breathing.  Because of my background and culture, I enjoyed the addition of music.

Refocusing on Samara Yoga’s description and application of vinyasa yoga, there are certain practices they employ which reflect the theory, but the studio appears to have a westernized practice of vinyasa yoga.  The demographic of the class as well the emphasis on physical practice at a fast pace indicates that studio has adopted a western/exercise influenced practice of vinyasa yoga.  The website as well as the atmosphere of the studio give a very calm and earthy feel to the student.  The session combined breathing and movement, but the prompting for breathing and savasana were not as thorough or as emphasized as the physical movements.  I see this as a way to balance between westernized and traditional yoga.  Neither way is particularly championed, but nor are they denied.  

Although I struggled with this class, I was really glad I could attend it and see a different interpretation/practice of yoga.  Vinyasa yoga is a type of hatha yoga, but the fact that the class had a more physical emphasis, faster pace, and background music made me realize differences in yoga cultures.  It also highlighted certain parts of the theory we have studied and made me ask questions.  I would be interested to go back and see if my experience changes with attending more classes.  I would also be interested in attending one of their other classes, such as meditation or slow flow, to see what the differences would be.

Work Cited

A trulygood & jl erickson creation. (2012). Samara yoga studio website. Retrieved from 

http://www.samarayogastudio.com/

Rea, S. (2012). Consciousness in motion. Yoga journal, Retrieved from

http://www.yogajournal.com/wisdom/909

Molly Trayner

Molly Trayner

Professor Douglass

Midterm

Oct. 10^th 2012

                                                                                                                                                                                          Attending “Restorative” at Back Bay Yoga Studio

            When I walked up to the tall brick building, with large bay windows facing Boylston Street and enter the doors of Back Bay yoga, I immediately felt comfortable.  I had picked Back Bay Yoga because of their large and broad class offerings.  When you walk into the lobby of the studio, you are asked to take off your shoes and check in.  The front desk folks were very helpful and friendly.  I was pleasantly surprised by Back Bay studios setup.  They had a clean area, a locker room and nice sitting area.  The members of the studio were pleasant.   It was a nice balance of men and women.  The studio seemed very popular for Teacher Training and many of the clients seemed right at home at the studio.  All in all, it was a great experience attending Back Bay Yoga.

           

            The class I choose to attend for the midterm assignment was Restorative Yoga.  “Restorative yoga is a gentle therapeutic style of yoga that uses props to support the body in restful still positions”.  (Back Bay Yoga) The all-around general goal of Restorative Yoga is to find complete physical and conscious relaxation in soothing positions that you hold in pure relaxation.  “It is most commonly called, Yoga for the nervous system.” (Ryan Cunningham, Class Teacher)  I picked this class because I wanted to try something a little different from the more popular classes that I would generally go to.  I was very intrigued to the idea of pure relaxation, and using props.

            At the root of modern restorative yoga classes are the teachings of B.K.S. Iyengar, who taught his students to use various props for the purpose of perfecting poses.  (Livestrong 2009) He is considered one of the foremost yoga teachers in the world.  His teachings developed into an official style of yoga, named “Iyengar Yoga.”  His teachings directly inspired the creation of Restorative yoga.   

            The Restorative Yoga class teacher at Back Bay yoga is Ryan Cunningham.  Ryan teaches a handful of classes at the studio as well as serves as the Manager of the studio.  Ryan has been teaching yoga for a few years now. 

           

            Walking into the sunroom for my 75 minute Restorative Class, Ryan asked me to set up my mat and from the wall, put 4 blankets, 4 blocks, 1 strap, 1 bolster and a metal chair.  Gathering these props and putting them around my mat, I thought, “What did I get myself into?”  The class was small; there were a few males and handful of women.  Age range was from college to mid 40s.  The room lighting was dimmed with orange lanterns and Ryan Sat in the middle of the class for everyone to have view of him doing the poses.  This set up had me nervous and it was very unknown to me, sitting next to a pile of props waiting for directions.  But as soon as the class started I felt at ease with Ryan’s teaching.  Ryan calmly started describing the first pose and walked around to gently adjust everyone and gave personal hints for comfort.  Between each pose, Ryan would say, “Adjust and set up the physical part of the pose, let yourself fall into the pose, then focus on the inner part of this pose.”  It was odd at first, the setting of just lying in a dark room on an object for several minutes. But, I found myself using the montra, physical and then focus on the inner pose.  With that, I found complete peace and relaxation in the pose I was doing. 

           

            The class was 75 Minutes of 7 poses.  Each pose was described before hand.  Then we fell into these poses for several minutes.  Here are just a few poses we did in class. 

            Paschimottanasana (Chair Variation): Fold a blanket and sit on it while sitting in a cross -legged position letting the weight of your legs drop. Then put the metal chair directly in front of you with a blanket on the seat and lean forward to lay your arms and head on the chair. 

           

            Supta Baddha Konasana:

Lay down and putting a blanket under your spine and head, release the tension in your back.  Bringing your feet together, with knees bent and opened out to the side of the mat, while placing blocks under the knees to support the weight for complete relaxation.

           

            Supported Seated Twist:

Sit straight up in a right angle to the bolster, left hip into the side of the bolster with your legs folded with a blanket between the thighs to avoid compression of the hips.  Twist and lie on the bolster, make sure you are not twisting so much you are stretching. After a few minutes, we sat up and switched sides.

           

            Viparita Karani (Chair Variation): Pull the chair onto your mat. Put a blanket on the seat of the chair and put you lower legs on the chair.  Lay down flat on your back. Once you are flat on your back with you legs on the chair, put a folded blanket under your lower back.

           

            Each Restorative sequence is designed to move the spine in all directions. These movements illustrate the age-old wisdom of yoga that teaches well being is enhanced by a healthy spine. Some of the restorative poses are backbends, while others are forward bends. Additional poses gently twist the column both left and right.

            Restorative Yoga was one of the most relaxing and supported yoga classes I have yet to encounter.  Once I had myself set up in the poses, I completely fell into them.  Focusing on my breathing, letting my thoughts come and go, I found peace with my body in the poses.  It’s a relaxing style of practice that leaves you feeling open and refreshed.  It was a completely quiet, effortless form of yoga designed to impact, in subtle yet powerful ways, the mind and body. 

                                                                                                                                                                                                                                                                                                                                                                                   

                                     References:

"Back Bay Yoga Studio." - Home. N.p., n.d. Web. 09 Oct. 2012. <http://www.backbayyoga.com/>.

"Judith Hanson Lasater." Judith Hanson Lasater. N.p., n.d. Web. 09 Oct. 2012. <http://www.restorativeyogateachers.com/learntopractice.html>.

Adkins, Carissa. "What Is Restorative Yoga?" LIVESTRONG.COM. N.p., 21 Nov. 2009. Web. 09 Oct. 2012. <http://www.livestrong.com/article/38606-restorative-yoga/>.