The long and the short of it: On the Ashtanga breath (which, for the record, is not ujjayi!)

Speed limit of 8 via Gary Dincher's Flickr photostream

We ashtangis seem to love talking about the breath as much as we love the rhythmic act of breathing itself. Whether new to the practice or a decades-long practitioner, questions about the right and the wrong of breathing frequently bubble up. Answers to questions about the breath are as varied as the breath itself. Below, I’ve chosen some answers that have helped me get a better feel for this art of breathing.

How long and fast should the breath be?

“Medium” and “breathable,” according to David Garrigues:

Partly it’s going to be based on your mood, or your feeling at the time. It’s going to be based on what the posture is demanding. The point is, the breath is breathable. It’s varying. Guruji, he said that the breath is a medium breath. Which meant that it’s not too long and it’s not too short. It’s not like your best pranayama each vinyasa position — if that was the case, it would take too long; it would become forced, unnatural.

Watch the whole segment here:

Mark Darby says this in an interview posted on Wild Yogi:

Going back to the breath, if you see Jois teaching, in a way he teaches standing postures are slow, the breath is very long, when he comes to do the primary series it gets fast. And then it gets very slow again when it comes to finishing postures, because there is no vinyasa in standing and finishing postures so he makes the breaths longer. But as long as you have full breath and rhythm it doesn’t matter how long you breath.

What is the Ashtanga breath called?

This one seems pretty straightforward, right? The Ashtanga breath is called ujjayi breath, right?

Well . . . no. I was stunned to hear my teacher say this at a workshop last month. It turns out the more accurate way to refer to the breath used in the Ashtanga vinyasa practice is “breathing with sound.”

This revelation rippled a while ago among ashtangis who study in Mysore (or those who closely follow their blogs). I remember reading about it this past winter but I think I chose to not try to read too much into this — not enough context, as Steve at the Confluence Countdown noted at the time.

To catch you up if this is new to you, here is an excerpt of Suzy’s Mysore Blog’s coverage of Sharath’s conference notes from Jan. 8, 2012:

The ujjayi breath – how loud should it be?

Answer – which ujjayi breath? It is not ujjayi – it is just deep breathing with sound that’s all. Ujjayi is a pranayama. It is wrong to say that is ujjayi breath.

In the olden days, Guruji he didn’t understand English very well. You all have different accents. It is very difficult to understand people from New Zealand. So Guruji would say yes it’s ujjayi breath. Sometimes for me it is difficult to understand accents. So like that it became many things [Sharath impersonates Guruji] – ‘oh yeh, yeh, yeh’. If he said ‘okay, okay, okay’ it didn’t mean ‘yes’, it meant ‘I’ll think and tell you’. His heart was like a baby’s heart, his mind like a baby’s mind.

It should be deep breathing with sound. Not shallow breathing. Only the nervous system can purify if the breath goes in deep. Each part of my body can feel that breath, up to my toes. The blood is circulating everywhere. If I just do shallow breath, a dog’s breath [Sharath pants like a dog].

It is especially important in sarvangasana (shoulder stand). Shirshasana (head stand) and sarvangasana are very important – we should do for a long time. Sometimes when you get pain this is all because of not breathing properly. When you are doing kurmasana (turtle posture) your shoulders are like this [Sharath demonstrates hunched shoulders]. Try to relax in asana, try to take long breath.

Something will happen for me if you throw me in the water. The more you relax in water, the more easy it is to do the strokes.

Back in 2011, David Robson was surprised to learn this as well:

On my last trip to Mysore, I heard something new. It was during the weekly conference with Sharath. While talking about the breath during practice, someone mentioned “Ujjayi Breath.” Sharath corrected them, saying Ujjayi is a pranayama, a formal breathing exercise, and then moved on to another topic.

At first, I assumed I had misunderstood what Sharath was saying. I had always thought Ujjayi Breath was one of the key principles of Ashtanga Yoga. Confused, I went to the source, Yoga Mala, by Sri K Pattabhi Jois, to see what he had written more than 50 years ago. To my surprise, there is no mention of Ujjayi Breath with vinyasa. None.

A month later I saw Sharath again. I had the chance to ask him if we do Ujjayi Breath during our asana practice. He said no, explaining that Ujjayi Breath is one of the Pranayama techniques of Ashtanga Yoga. In Ashtanga, Pranayama is begun only when a practitioner has started the Advanced Series. During our asana practice we only do steady and even purakaand rechaka, inhalation and exhalation.

In honor of the lineage of this tradition, I’ve stopped using the word “ujjayi” on this blog and when I teach. But I think until an entirely new generation of ashtangis comes up, the Ashtanga community at large might have to agree to disagree on the label of this breath with sound. My guess is that the first generation of Westerners who were the first to study with Pattabhi Jois will likely continue to use “ujjayi” and make a distinction between ujjayi during asana practice and ujjayi pranayama. (Correct me if I’m wrong on this!) The new generation of authorized teachers are already following Sharath’s lead. It’s all good, though, right? Isn’t this a classic tomato vs. tomahto situation? [At least I hope so, because I really don’t want to go back through two years’ worth of blog posts and change every instance of ujjayi. :-) ]

Or maybe a better analogy would be using a brand name for a generic item — saying “Kleenex” when holding a box of Target’s generic brand tissues isn’t technically correct, but we understand how the product is supposed to be used. The label doesn’t change how useful, powerful and beautiful this breath is.

For no particularly great reason, I’ll let “Speed of Sound” close this post.

>>Read more: More on the Ashtanga breath: What the Haṭha Yoga Pradīpikā tells us

(Photo credit: “Speed limit 8??” via Gary Dincher’s Flickr photostream)

© YogaRose.net and Rose Tantraphol, 2012. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to YogaRose.net with appropriate and specific direction to the original content.

On cybershalas and old-school blogs

In Italy, I was absolutely inspired by the food. Back home and now mostly (hopefully!) recovered from a nasty bug picked up on the plane ride returning stateside, I have a renewed commitment to being more vigilant about what my consume. Three related events from earlier today:

All the while, I’m thinking that as I get deeper into the Ashtanga blogging world — like, when I start to know gossip going on in Mysore right now — am I being vigilant enough in the Ashtanga-related information I’m consuming? There’s plenty of potentially distracting yoga drama right here where I live — do I need to know the ins and outs of the good intentions and bad feelings taking place half a world away from me? Is that helping my practice — and just as important, my teaching? (You could argue it potentially helps my blogging, but that’s a topic for another day.)

When I got home, I looked up the link that @ClaudiaYoga had referred to.  And that brings me to this post. The link goes to “Virtual Transmission, Visceral Practice: Dance Central and the Cybershala,”  a blog post based on a scholar’s recent paper. It’s a fascinating discussion and I recommend reading the entire post. But here’s the core introducing why Kiri Miller, who is a practicing ashtangi herself, is exploring this:

An overwhelming number of yoga blogs, videos, Facebook updates, Twitter feeds, and other forms of online social media now constitute a ‘cybershala’ of ashtanga yoga practitioners—many who work with teachers regularly, others who are cultivating a practice as ‘home ashtangis’ (cf. Finnegan 1989 on ‘hidden musicians’). Yoga bloggers face a challenge familiar to ethnomusicologists and dance scholars: how can one communicate kinesthetic, multisensory experiences without bodily presence and a shared sensorium?

In delving further into this issue, Miller finds herself watching videos and thinking the experience was “very much like the experience of listening to music that I knew how to play.” Then she realizes that watching the Ashtanga videos gave her the uncomfortable feeling that she might be “cheating” on her teacher:

Ashtanga students are not supposed to start experimenting with advanced asana of their own accord. On the other hand, the structured nature of ashtanga makes it particularly well suited to independent practice, amateur-to-amateur pedagogy, and online discourse among a dispersed community of practitioners. Browsing YouTube videos of ashtanga backbends quickly led me to “grimmly2007,” who had uploaded about 300 videos so that he could embed them in his yoga blog.

Miller describes Grimmly’s challenge to the Ashtanga tradition of one-on-one transmission from teacher to student, and then goes on to discuss the popular video game Dance Central.

If you don’t know about Grimmly, you should definitely read her synopsis and head over to his blog.

I’m less interested in Dance Central — only because I’ve only seen it on TV and have never played it myself — but I am quite intrigued by the questions that Miller is raising for Ashtanga practitioners because I live in the middle of the Mitten State. Here in Lansing, Mich., even though there is no dedicated Ashtanga shala, I  have fine access to Ashtanga classes and teachers, and I have friends who are as enamored of the practice as I am. But…I don’t really have anyone to consistently geek it out with, if you know what I mean. And even if I were in New York City or Encinitas, it’s not really fair to ask of anyone to be available — by phone, by email, whatever — when it’s 2 a.m. and I can’t sleep and I want to discuss more research postures for supta kurmasana (sleeping tortoise). (Who has that? Even if your significant other practices, can you really wake them up during your insomnia to talk more Ashtanga?) Anyway, when I started blogging more frequently, I started getting more engaged with the Ashtanga community via blogs, Twitter and Facebook and, yes, YouTube. It was like having a community full of people who understood me — where I didn’t have to justify (like I on occasion have to do with non-ashtangis) how I don’t get bored by doing the same sequence day after day — especially now that I’m practicing six days a week.

In short, I thought the online Ashtanga community — what has apparently been coined the “cybershala” — was ultimately deepening my practice. But in recent weeks — and really, I mean recent — a seed’s been planted about whether I’m always reading the right blogs. Whether it’s a good thing or a bad thing when I know about the latest elephant journal post related to Ashtanga. I should stress that these are just seeds of thoughts — that on the whole, I don’t think I’m even close to subsisting on a diet of junk yoga products. (And whenever I worry about that last elephant journal post, I know I can consume organic Ashtanga produce again by heading here, a blog’s that’s as heady as it is honest, as esoteric as it is earthy.)

All I know is that I am consuming enough Ashtanga-related news, information and instruction that I know I need to be as vigilant about this as I am about what I’m putting into my body.

Back to the cybershala. Miller concludes (emphasis mine):

Both the cybershala and Dance Central make it possible for practitioners to learn a physically demanding, minutely codified repertoire without ever interacting with a physically-present teacher. Grimmly and his fellow cybershala practitioners are creating new transmission modalities for ashtanga yoga, from reflective writing to side-by-side slideshows that might reveal hidden traces of corporeal knowledge. Meanwhile, Dance Central players are learning hours of choreography while also working through their ideas about gender identity, public and private performance, and virtual community. These paradigm shifts in yoga and dance transmission might shed light on similar changes in the transmission of performing arts traditions that rely on a lineage of teachers and students, body-to-body pedagogy, and a codified repertoire or fundamental skill set. Dance Central and the cybershala show how professional game designers, home ashtangis, and living-room dancers are all finding ways to use available technology and social media platforms to support the virtual transmission of embodied practice.

“New transmission modalities for ashtanga yoga” is interesting. I mean, isn’t that exactly what was driving my desire to create the Ashtanga Yoga + Social Media Grid? Grimmly is an amazing case study, but what I find as important to think about are authorized and certified teachers such as Kino MacGregor and David Garrigues, who are prolific in their online teaching modalities — tweeting, YouTubing, blogging and more. Like many other practitioners, I’ve benefitted from what they put out there and I share with others what speaks most to me.

Where all that falls short, of course, is the part about supporting “virtual transmission of embodied practice.” In this practice, we use the body to go beyond the body, and if you’ve found your teacher, then you know that no amount of instructional videos can transmit that radiance of being the same space as that teacher. I love social media — it’s a large part of what I do for work. But I’m happy that virtual transmissions can’t replace perhaps the most important element of a teacher-student relationship.

I kind of used to wonder why Tim Miller — the biggest spark of inspiration in my practice, aside from finding the practice in the first place — has never done an instructional DVD or book. Or why his blog focuses on Vedic astrology, his personal reflections, the meanings of holidays, and just about everything but the Ashtanga practice itself. This blog post about the rise of virtual transmission of embodied practice might be the answer I’ve been looking for. He is — bless his heart — an old-school kind of guy. Probably exactly what we need as a counterpose in this modern world of smart phones, on-demand access and virtual realities.

P.S. — On the topic of consumption: I’m happy to report that my dinner consisted of open-face sandwiches of fresh sourdough, black truffle butter (Italy ruined me on the black truffle front — I love it!), baby kale, provolone and cajun Boar’s Head meat. If you’re judging on the meat, let that go, because this is a huge step up from the meals that I prepare for myself. And that’s all we can ask on the self-improvement front, right?

P.P.S — I’m looking forward to reading The Information Diet — after, of course, I finish Thinking…Fast and Slow.

(Screenshot souce: Click on it, and you will see…)

© YogaRose.net and Rose Tantraphol, 2012. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to YogaRose.net with appropriate and specific direction to the original content.

Starting Ashtanga second series and tossing that ‘collection of asana trophies’


Different Ashtanga instructors have a different answer to the often-asked “When can I start Ashtanga second series?” Philadelphia-based David Garrigues, who was certified by Pattabhi Jois to teach Ashtanga yoga, says the following near the end of a new instructional YouTube video about pasasana (noose pose):

It’s after you’ve made a very mature, sustained effort in the primary. And that does not mean binding in this or that or doing any posture or dropping back.

This summer, Kino MacGregor, who is also certified, released “Are You Ready to Start the Intermediate Series?“, a short YouTube video addressing just this topic. In the video she hits on key milestone primary series poses and then says:

The most crucial and fundamental test of your ability to move into the second series is your ability to stand up and drop back from backbending, or urdvha dhanurasana.

The description of this video offers a more succinct answer:

Generally you want to have a firm foundation in the Ashtanga Yoga Primary Series before considering moving into Second Series. You will know that this is established once you feel stable in these postures and movements: Utthita Hasta Padangusthasana, Marichyasana D, Supta Kurmasana (posture and jump back) and Standing Up and Dropping Back from Backbend/Urdhva Danurasana.

The summary continues, and here’s what I think is critical to keep in mind, especially for Type A yogis accustomed to pushing hard and flying fast in their careers, personal lives and yoga practice:

The Primary Series is a foundational and fundamental part of the journey. There is really no need to rush, when you’re ready it will be more than evident and your teacher will surely encourage you to start.

I see this proclivity to rush at the power yoga studio where I teach Ashtanga — students who try primary series a few times and then move on to mainly take second series classes (the studio offers only led classes, and the studio’s policy is that second series is open to anyone who wishes to take it). In most cases, students who take this route of leap-frogging over primary series excel in everything they do, including yoga. I deeply disagree with practicing second series this way, but I understand the impulse, especially for power or vinyasa-flow yogis who only dabble not in the Ashtanga practice, but in Ashtanga classes. (Yoga in the Dragon’s Den, by the way, yesterday asked, “Is it possible to compartmentalize Ashtanga in one’s life?” It’s a thought-provoking post sure to rile some. Check it out.) The mentality is sort of, well, you can only hit so many classes in a week — why spend money and time on a class you don’t particularly want to be in?  Second series rocks it out with poses like pincha mayurasana and eka pada sirsasana and a float into bakasana. Why stay grounded when you can take flight?

Second series can be exhilarating on many levels, especially compared to the much more low-key, grounding (and, to some, boring) practice of primary series. The backbends, extreme hip openers and arm balances found in the intermediate series offer an intense challenge with big payback — physically, energetically (oh, that shiva and shakti energy!), on the level of emotional release (all those backbends), and, in my humble opinion, on the level of the ego for some.

Noose for the ego

Ganesh is the 'wielder of the noose'

 

But it seems as if the intermediate series — called nadi shodhana, or nerve cleansing — was designed with ego in mind. The very first pose is an incredibly challenging one — a true gatekeeper of the series, when practiced according to Mysore tradition in which you don’t move on to a new pose until you have the pose before it. Pasasana is a balancing twist. Garrigues talks about how hard it is for most people (I’m in this group for sure) to make progress in this pose. He then says:

It’s an ego check is what it is. A noose that hangs your ego. So you have to get a different reason to practice other than collecting asana trophies.

What a beautiful way to put it.

By the way, both Garrigues and MacGregor are featured in the Ashtanga Yoga + Social Media Grid, if you want to keep up with their videos, blog posts, tweets and more.

Last but not least, here is the full Garrigues video. The first 12 minutes break down the pose. Starting at the 12:13 mark, he talks about second series. Hear more about Ganesh around the 12:45 mark. (If you want even more on the noose, you can read Garrigues’ blog post about pasasana, which includes a video on ways to lengthen the Achilles tendon.)

(Image credits: Screenshot of David Garrigues’ video on pasasana (top); Ganesh via mutantMandias‘ Flickr stream (bottom))

© YogaRose.net and Rose Tantraphol, 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to YogaRose.net with appropriate and specific direction to the original content.

What keeps you from the mat? For ashtangi blogger Claudia Azula, it’s Lyme disease

 

Flame of a burning citronella candle magnified 10X by Jonathan Gill via Flickr Creative Commons

Claudia Azula Altucher was the first ashtangi blogger who really caught my attention. As a daily blogger and a frequent tweeter, I could count on interesting observations or some Ashtanga news tidbit whenever a tweet from @claudiayoga flittered by on my HootSuite dashboard. I’ve never met the New York-based blogger, but I hope to some day.

When I do, I hope she’s got more energy than she does now.

Claudia has Lyme disease. Earlier this week, this trio of tweets gave her followers a 140-character sense of what she was experiencing:

Take that Lyme Disease, I have energy right now and I am loving it! I cannot Fail! I am working with the LIGHT and antibiotics too

…followed by:

Aaaanddd down I go again #Lyme

….followed by:

Hey, Lyme rhymes with Light…

The next day, Claudia went into more detail in a blog post titled “Asana meltdown.”

‘Time for me to go to bed’ I said at 7:34 AM. Yes, AM. Are you sure Honey? said James. How about we try something different?

He then sat on the floor in the small space in front of the coffee table and did something that resembled paschimotanasana. He did not say anything, just attempted it. I got up from the sofa, slowly, sluggishly, and sat on the floor. Tried dandasana first, my eyes locked on James, scared to what may come, then on the exhale walked the hands and tried to go down.

That is when it hit me and I started to cry uncontrollably.  That was my paschimottanasana of three years ago maybe four, barely could touch the toes, three breaths and I was out.

He did not pay attention to the tears at all but rather pointed out that I was touching my toes and my back was relatively straight, or rather, not so rounded. From his perspective the asana was glorious.

 

Yesterday, her husband, James Altucher, wrote a blog post that begins:

In a few minutes, Claudia will collapse. It’s making me sad. Her normal schedule is to wake up around 4:30-5am, read with me for awhile, and then begin her yoga routine which could last from 2-3 hours. But for the past six weeks she has not done yoga. For the first time in ten years.

I highly recommend reading both blog posts in their entirely. They’re beautiful testaments to a strong love for a practice and a strong love between a husband and a wife during a time of intense challenge.

Following Claudia’s struggles with Lyme disease as I fight to start, and maintain, a six-day-a-week practice is a reminder to me that our Ashtanga practice is our greatest teacher — whether or not we are physically able to get on the mat.

Our ability to do the physical practice changes throughout the course of our lives — due to illness, due to injuries or lack thereof, due to our commitment levels, due to teachers whose paths we cross (gifted teachers can make such a difference in our relationship of the practice). Basically, our ability — for better and for worse — to do the physical practice changes due to the unpredictability of life. But I think our connection with the practice is a fire that can burn consistently strong regardless of all other circumstances.

Eight limbs

The founder and owner of Hilltop Yoga, my home-base yoga studio here in Lansing, Mich., has experienced extended periods of not being able to physically practice yoga. Hilaire Lockwood has metastatic resistant thyroid cancer, and by all accounts, she shouldn’t even be alive. She’s alive because she’s a pistol of a human being, and she’s alive because of her eight-limbed yoga practice, as she explains on her website:

I have since in six years had five radical neck dissection and lymphectomies, my last one just more than a year ago. Each time my practice continues to come back, reassuring me that it is always there regardless of my physical or emotional state. They say I will never be in remission as I live with my cancer. I found my cancer through meditation and continue to find it every time it is back or revisiting in my meditation sit time, which is crucial. Not only did this experience provide perspective for my practice but has also allowed me to teach yoga as a healing modality.

Yoga in the classical sense is a lot more than physical postures, of course. It includes the eight limbs — ethical practices, breathing exercises, meditation and sense withdrawal among them.

From my observations, it seems that for any committed yogi, being kept from the physical practice due to circumstances beyond your control is a combination of frustrating, saddening and painful — even though we know there are seven other limbs. I mean, for the die-hard ashtangis accustomed to a six-day-a-week practice, missing even one practice is an event (and not a desirable one). Most of my power yoga friends don’t do well if they miss any practice they had counted on getting to.

And when the circumstances beyond your control move beyond a traffic jam, a late babysitter or an overdue work project and into the realm of Lyme disease or cancer — I can’t even imagine. It’s hard not to feel a sense of “there but for the grace of god go I…”

Six days a week?

David Garrigues says this in “Six days a week since ’93,” a blog post based on a workshop talk:

Do you see it? What is holding you back, from going further, I’m talking about things that truly don’t belong there. Not things in your life that do belong, like a great job, relationship, children, art and such, ultimately, those things feed you and your soul in just as necessary ways as your practice does. I’m talking about the things only you’ll know what they are. The expendable parts of your life that you are choosing to divert your energy into. The reality is that Ashtanga might help a person be better at nearly any physical activity, but nearly any other physical activity will compromise your Ashtanga practice in some way. For me, even how much I admire the soul of true surfing, I still choose my Yoga practice. There’s a subtlety to it that is not found elsewhere.

The thing that most often keeps me from my mat is my work schedule, and over the years, I’ve seen how much “I can’t fit that in” has changed. In the beginning, that meant I got to a yoga class once every two weeks, maybe once a week. In 2009, I stepped it up and would take vinyasa yoga classes at my local studio up to five, six days a week.

At heart, though, I’m an ashtangi, and most recently, I’ve stopped letting it be a hindrance that there aren’t daily Ashtanga classes offered at local studios that I can fit around my work and teaching schedule. For the past two months, I’ve fought to get as close to a six-day-a-week Ashtanga yoga practice as I can by practicing at home.

I’ve been doing OK — last month, 19 Ashtanga classes, one vinyasa yoga class at the studio. So far this month, 18 Ashtanga practices — all but a couple on my own, in the less-than-ideal setting of my little apartment. I practice at different times every day. In less-than-ideal circumstances. In a shorter timeframe than I would like. But I am practicing far more frequently than I ever have in my life — and I hope to work up to a daily 6 a.m. practice some day. Baby steps, right? (To reach this last phase, I need to figure out how to let go of sleeping at 1 or 2 a.m. I’ve always been a night owl, and I feel most at peace and most creative between the hours of 11 p.m. and 2 a.m.)

That said, if I really and truly can’t practice these days, I let it go. I couldn’t agree more with Confluence Countdown blogger Steve — a former journalist like me whose current job still comes with deadlines and unpredictable hours — when it comes to this:

Some busyness — my work this week — just drains, and while Ashtanga can buffer against that, at a certain point there’s a balance you have to find. You have to let go, I guess, and realize that getting up that next morning isn’t the best thing for you.

Other busyness, perhaps that brings with it more straight-on stress, might demand an extra practice, or at least some extra attempts at yoga with everything around you. You know those times when you need those focused moments, just you and your body and the practice.

I try to listen to how I’m feeling. And that’s certainly one of the benefits, or effects anyway, of a dedicated yoga practice, right? You can hear your body better. (Or maybe it’s just that your body learns to yell louder and more persuasively.) I try to put my ego aside and agree that maybe tomorrow does need to be a rest day, when my body is arguing that.

I am grateful every time I have the chance to get on my mat and start the Ashtanga opening invocation. “Vande gurunam” is such a source of comfort for me, because I know that getting to that point was the hardest part.

Dedication

When I practice next, I will dedicate it to all those who can’t practice due to circumstances beyond their control. And Claudia — lots of people are thinking about you. Thank you for blogging your experiences and being honest enough to share your struggles and victories. Namaste.

(Photo credit: Flame of a burning citronella candle magnified 10X by Jonathan Gill via Flickr Creative Commons)

© YogaRose.net and Rose Tantraphol, 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to YogaRose.net with appropriate and specific direction to the original content.

 

 

YogaRose.net Explainer: Keeping up with yoga topics using Google+ Sparks

 

If social media is a part of your life, about the only way you haven’t heard about Google+ is if you’ve had a complete blackout of internet connectivity for the past four months. Google+ is the social network that fans hope/predict will take down Facebook and take over the mantle of social networking goliath.

Because it’s a Google product — with all the web ubiquity that comes with — Google+ is a big deal, whether or not you think it has the potential to KO Facebook. I coordinate the Central Michigan Public Relations Society of America’s social media lunch and learns — a monthly brown bag lunch in which PR professionals get together to learn about new platforms and services — and our September session, held this past Friday, was on Google+. Andrea Ness and Naomi Burton, two of my colleagues at Martin Waymire Advocacy Communications, led the session, which garnered more interest than most topics.

One interesting Google+ feature they noted is Sparks, which Google describes as the feature that “brings you stories on the things you love from all across the Web, so it’s easy to strike up meaningful conversations with your friends.” It occurred to me that perhaps yogis on Google+ would like to know how to use this feature to follow yoga news.

1. Sign up for Google+

Get a Google+ account.

2. Go to Sparks from your profile

From your main Stream page, click “Sparks” on the left.

3. Type in an interest and add it.

In this example here, I’ve typed “Ashtanga” into the search box and clicked on “Add to Interest.” I get a page that includes a video from David Garrigues:

That’s it. Any time you want to check out the latest “sparks” that have popped, head to this same page. For more, read the Google+ guide to Sparks. For more on Google+, see Mashable’s Google+: The Complete Guide.

Related features:
>>Ashtanga Yoga+ Social Media Grid 

© YogaRose.net and Rose Tantraphol, 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to YogaRose.net with appropriate and specific direction to the original content.