This past weekend, my sisters and I took a class taught by a teacher trained in the TriYoga tradition. It was a much-needed post-Thanksgiving flow. I’ve never taken a TriYoga class before, though, so it took some getting used to to hear adho mukha svanasana (downward-facing dog) referred to instead as “mountain pose.” Or to be guided into what feels like pigeon pose and be told it’s swan. Uttanasana (standing forward fold) was cued as “Earth touch.”
I didn’t remember ever hearing about TriYoga before that class, so I hopped on my iPhone on the ride back from the yoga studio and learned that, according to TriYoga.com, TriYoga began this way:
On January 5, 1980, as Kali Ray led a group in meditation, she shared a concentration technique of energy rising up the spine. As soon as the meditation began, kriyavati siddhi awakened within her. At that moment, students witnessed her flow of asana, pranayama and mudra. This later was to become known as the birth of TriYoga. Moved by the powerful energy and beauty of these flows, students asked that she teach what they had witnessed. In this way, Kaliji began to teach TriYoga, which arose as did the ancient yoga, from the continuing flow of kriyavati. Kriyavati, as defined in Sanskrit texts, is kundalini manifesting on the plane of hatha yoga.
I also learned about TriYoga Prasara (TriYoga Flows):
TriYoga’s hatha yoga method, TriYoga Prasara or TriYoga Flows, integrates posture, breath and focus that is asana, pranayama and mudra. The inspiration and guidance for the TriYoga Flows comes from yogini Kaliji’s direct experience of kriyavati. This inner prana flow has given the knowledge to develop the systematic and complete TriYoga method. The evolution of TriYoga Flows continues to be guided by kriyavati.
Yoga Chicago covered Kali Ray’s visit to Chicago in 2010:
Kaliji brought three TriYoga teachers to help us, and we all received lots of personal attention. They began by demonstrating TriYoga’s graceful, tai-chi-like movements, which had them effortlessly flowing in and out of poses ranging from the easy to the most advanced. ‘There’s a feeling of relaxation in action,’ Kaliji explained. ‘Asana is being used as a tool of concentration. You are never losing awareness. Each movement is equally important.’
One of the most interesting parts of the sequence for me involved doing a breathing method — kapalabhati pranayama — while in a standing pose (trikonasana). In power yoga classes, my teachers will sometimes have us do bhastrika pranayama in a seated lotus, but doing a fiery breath in a standing pose was a new experience for me.
There are definite differences in postures of the same name between the Ashtanga system and the poses I see in B.K.S. Iyengar’s Light on Yoga, and it always fascinates me why one school of yoga settles on a certain approach (parighasana in the style of Light on Yoga and parighasana in the Ashtanga style — gate pose — come to mind).
A posture’s name shouldn’t matter, right? What’s important is a posture’s design and how someone experiences it. I can’t help but wonder, however, if we sometimes initially make a different connection to a pose depending on the posture name. Is it easier to feeling more grounded when you have four points of connection to the mat if you know you’re in mountain pose versus downward-facing dog? Do you lose some of the suppleness of down dog if you call it mountain? What do you think?
I’ll let Louis Armstrong and Ella Fitzgerald take it from here:
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