A yoga room of one’s own

 

Yoga room

When my husband and I started the hunt for our first home back in February, we had a hard time settling on what we wanted. Neither one of us had grown up in one home. His parents were ninjas at fixing up houses, so he lived in about eight different addresses growing up. (Incredibly, all these homes were located in one tiny — as in, population: less than 1,200 — town in Michigan’s Upper Peninsula.) My family seemed to move from one region of the country to another every five to seven years, so what I knew growing up consisted mostly of rentals.

We were set on one thing, however: We needed to find something in our price range that allowed me to have a yoga room, and gave him space for his guitars. At some point during every open house visit we made, Scott would ask, “So which one would be the yoga room?” Usually it was obvious, and when it wasn’t, that house had no chance of making the cut.

When we walked into the house we eventually closed on in May (the same week as our wedding, no less), we knew it was the one. There was one bedroom that had been used as an office, so it lacked a closet and featured interesting display shelves. The room faced east, had a skylight, and featured double French doors. I felt as if I had won the yoga room lottery, especially given how unideal our apartment had been when it came to a home practice.

The French doors were beautiful, but I did want some modicum of privacy, to maintain the  sense that this space is separate from the rest of the house on both a practical level and a symbolic one. So, after we moved in in late June, my father-in-law and husband covered up the glass panes with beautifully delicate rice paper.

Yoga room window

The centerpiece of the room is a stone tray with a Ganesha puja spoon and a Ganesha murti. Ganesha, son of Shiva, is the lord of thresholds and new beginnings, and it’s fitting inspiration for me on so many levels. I wrote about this in my last blog post.

Ganesha part of yoga room

To the left of Ganesh is a Nandi bell, which I picked up at the Ashtanga Yoga Center based on my fascination with, and affinity toward, Shiva thanks to his seemingly paradoxical — though ultimately, it’s basically a seamless dynamic — energy of creation and destruction.

Nandi bell

To the right of the Ganesha centerpiece is a crater bowl formed using Maui clay that I picked up during my honeymoon in May. The lava-like nature is a result of being pulled from a burning inferno at temperatures exceeding 2,000 degrees, and the molten pieces are placed in pits filled with leaves and Koa wood shavings. Thinking about fire, smoke and raw elements – and what they can do together – reminds me of the sacred fire of tapas that can transform an ashtangi on such a deep level.

Raku bowl

I love the incarnation of Shiva as Nataraja. I picked this up the last time I was Yoga on High  in Columbus, Ohio.

Nataraja

I have a penchant for collecting Ashtanga yoga practice cards, and on one shelf, I’ve displayed some of the cards I own.  Beyond being graphically gorgeous, I think practice cards are great reminders that while the physical practice of the Ashtanga system is a traditional, set sequence, it has elements of fluidity. Poses do change somewhat, depending on when the practitioner studied in Mysore. The slight differences from one practice card to another offer reminders that while the design of the sequence is brilliant, it does change to accomodate different types of practitioners, different time periods, and different areas of focus. I think if we can embrace the power of the tradition without holding on too tightly to rigid rules (two paschimottanasanas! no, four!), we can remain more fluid and enhance our ability to receive a particular moment’s lesson.

Practice cards

On one of the shelves sits a frame my mom made for me. In Thai is written, “Everything in this world is created, is sustained, and fades away.” She made that for me to help me during a time when I hated my job. I needed to be reminded that this job — and my whole situation in life at the time — would not last forever. I know the flip side is also true, so while I am grateful for everything I have right now — fresh off a wedding, honeymoon, and the grounded blissfulness of having your own new space in which to make a new start — I know that life’s ups and downs will continue to take their course.

Thai plaque

The other shelves hold yoga books, along with binders, folders and notebooks that contain the notes I’ve taken during workshops and trainings over the years.

The yoga room also houses my meditation cushion, which I hope to start using more frequently than I am now (finding a daily sitting practice is my goal for the latter half of 2012).

One final note: the yoga room currently has carpet. When funding allows (perhaps 2014, at the rate I’m going?), I’d like to replace the carpeting with bamboo floors. Right now, though, I’m practicing on my LifeBoard in this perfect space, and all is good.

© 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.

About this blog’s new header

New blog header July 31, 2012

From left to right, one set of triple gems in my life.

Ganesha centerpiece

Inspiration

Ganesha is the lord of thresholds and new beginnings, and here you have a Ganesha puja spoon purchased in 2010 from the Ashtanga Yoga Center in Carlsbad, Calif., and a Ganesha murti gifted to me and my husband when we moved into our new house in 2012. They’re both resting on top of a stone tray given to me by my sister Alisa. I’ve been waiting for years to find the perfect use for this tray, and I finally have.

The tray is the centerpiece of my new yoga room, and below it are the blue-and-gold Thai sashes I wore in May for a marriage blessing at Dhammasala, a Thai Theravada forest monastery in, of all places, Perry, Mich. My mom and dad bought the Thai outfit for me, and my sisters meticulously pinned all the pieces of the outfit for the short ceremony. The sashes are there, in short, because objects from my family are important to me. My parents and my two sisters, along with my husband, embody the qualities I want to nurture in myself — kindness, patience and generosity. The yogic system encourages humans to see the divine in all things; I’m not there yet. But I can always find a type of divine inspiration in the radiant spirit of my loving and wise family members.

Padmasana with Tim Miller

Teachings and teachers

This photo was taken by Michelle Haymoz, a photographer based in Encinitas, Calif., who always seems to capture the most striking and compelling aspects of the human spirit. Luckily for the yoga world, she enjoys turning her lens to the practice. Here, she used her camera for photos of the summer 2010 primary series teacher training led by Tim Miller. Tim has a loyal, worldwide following — he’s the kind of teacher students uproot their lives for, to be close enough to study with him — and is the first American certified to teach Ashtanga vinyasa yoga. I first met Tim at a workshop in Columbus, Ohio, in April 2010, and within five minutes of being in his presence, I knew I had to make the trek to his studio some day (which I did, at the urging of my now-husband, later that same year). Tim has a gift for synthesizing the Yoga Sutras and the Ashtanga vinyasa yoga practice — a gift for mapping the yogic principles contained in the 196 aphorisms of the sutras to foundational elements of the Ashtanga practice. The powerful sense of equanimity he conveys is, in and of itself, instructive.

I’m in the foreground in padmasana wearing a custom spinning ring I bought myself in 2009, when the beginning of a shift started to take place. That shift was from a perspective of fitting yoga into your life to fitting your life into your yoga, and it really started when I decided to deepen my sporadic Ashtanga practice (the product of living in areas of the country lacking Ashtanga teachers) by taking a 200-hour vinyasa-based teacher training program with Hilaire Lockwood at Hilltop Yoga. I had absolutely no desire to teach yoga at the time, but I was drawn to the possibility of what I could learn from Hilaire, who is a pistol of a woman with a passion for offering students the level of challenge they need in their practice to start to make discoveries about themselves. She did exactly what she promised she would do during that teacher training and a subsequent 500-hour training I took with her in 2010 — she opened doors for further exploration, and I’ll always be grateful to her for that.

Inside the ring was etched, “Do your practice and all is coming.” I lost that ring a year later, and while I’m still sad about it, I decided against ordering a replacement. I saw the loss as a way to remain detached to the physical object while internalizing the spirit of the ring’s meaning to me.

Stone Arch in Saline, Mich.

Community

This is a photo of the Stone Arch in Saline, Mich. — a church that’s been beautifully converted into an event space — taken mid-morning during this year’s Ashtanga Yoga: Ann Arbor summer retreat, just after the Mysore practice time ended. The energy inside the main space of the Stone Arch was tremendously calm during the practice — and if you’ve ever practiced in this style, you know there is nothing quite like a Mysore room and the pulsing of the rhythmic breath of your fellow practitioners. The work being done on each of the 30 or so mats was so individual, and yet so communal.

Angela Jamison, who has been building AY: A2 since moving to Michigan a few short years ago, invests deeply in helping her students find their individual paths, and she also works to strengthen the Ashtanga community by connecting practitioners from different areas — whether it’s different parts of Michigan or different parts of the world.These AY:A2 retreats are, much like events such as the Ashtanga Yoga Confluence, tremendous opportunities to bring more people who are interested in the eight limbs of the practice into your orbit.

I met Angela in person in 2011, after returning from an important (in that shedding kind of way) trip to Mt. Shasta. While I wish I had met her years ago, it was also the perfect time for our paths to cross. Thanks to her teaching, and her guidance by example, I’ve been able to integrate many threads of a more yogic life. These threads — such as practicing six days a week and finding ways to let go of deeply seated emotions — were threads that I would start to braid, but they would unravel for one reason or another. Often, it was work demands. Sometimes, it was simply life. Others, for reasons I can’t understand even now.

I’ve been told the first part of my last name, “Tantra,” means “to weave” in Sanskrit. My three-and-a-half-decade journey has shown me that it helps to have a lot of help in this enterprise of weaving strands of your life together. Triangulation with a triple gem. I started out my career with a vague sense that I wanted to tell people’s stories, so I went into journalism. I had a love/hate relationship with the field — it was like playing the right song in the wrong pitch. (Now, as a communications professional, I work for clients who need their story told.)

I started this blog in the summer of 2010, when my life was more or less on track, but in a pretty different place — a much more unsettled, frazzled and searching place. To the extent that I can, I’m sharing my own stories, as they come. You won’t find an enlightened yogi in these posts, because it’s two steps forward, three steps back for me. But if you follow the trajectory of the blog, you might see that the thread of the Ashtanga yoga method has been working wonders in slow and unpredictable ways. A decade and a half after I started out trying to tell everyone else’s story, I’ve come to realize that perhaps all these journalists, poets and novelists were right: You have to write what you know.

© 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 took my breath away today: The schedule of the first annual Ashtanga Yoga Confluence

The fine folks organizing the first annual Ashtanga Yoga Confluence announced today that registration is now open.

I just read the schedule. You should too, because it will take your breath away.

Basically, you’re getting the chance to study with five of the most amazing Ashtanga teachers on this planet — Richard Freeman, Nancy Gilgoff, Tim Miller, David Swenson and Eddie Stern. You get to deepen your understanding of everything from asana, pranayama, puja ceremonies and the Hindu deities Ganesh and Hanuman. And you’ll get to hear music by MC Yogi.

You’ll be doing all this while staying at the Catamaran Resort Hotel & Spa in San Diego. I’m actually less excited by the venue because as amazing as it looks, the organizers could have held the conference in Alaska (if you know me, you know I am not a fan of cold weather of any sort) and I would be as excited.

When this conference was first announced, “first annual” was not included in the title. The fact that this is currently envisioned as an event every year is pretty awe-inspiring. Start saving now!

Seriously, I am really having to really focus right now to take deep breaths. This is incredible.

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© 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.

Dancing with the Deities (A Not-So-Epic Overview)

How can stories of Hindu deities enrich a yoga practice? I wrote this blog post to accompany a two-hour workshop I gave to Hilltop Yoga teachers on May 15, 2011. But it’s meant to serve as a stand-alone post — so whether or not you were part of the workshop, I hope you enjoy the post and share your thoughts by commenting below or on the YogaRose.net Facebook page. I plan on doing future posts that take a look at the stories of individual deities, including Hanuman, the monkey king. I had thought about including Hanuman in this post, but decided, man, he needs a blog post all to himself!


Workshop description

Dancing with the Deities

In this workshop, we will explore some of the stories behind the postures that we have encountered so many times in our practice. We know natarajasana as dancer’s pose — but who was Nataraja, and what did his dance signify? Why do we honor Hanuman — the monkey king — by searching for a split? Through stories, we may find that we can spark a sacred energy deep within us. Through myths, perhaps we find a new way to connect our presence in practice to the boundlessness of ancient tradition.

Choreographing the dance

I knew long before I finished the classroom portion (so to speak) of Hilltop Yoga’s 500-hour teacher training program last fall that I wanted my workshop to be on the myths that can transform any yoga practice into a larger-than-life story. (Hilaire Lockwood, owner of Hilltop Yoga in Lansing, Mich., has made it a requirement for 500-hour teachers to give a two-hour workshop to fellow teachers and teacher trainees. I haven’t heard of other programs that require this, and I think it’s a great component of the program.) I’ve long been fascinated by stories and narratives — so much so that I chose to pursue a career as a daily newspaper reporter when I finished graduate school.

Some people become journalists because they have aspirations to write the next great American novel or become a published poet, and they choose a day job that will at least let them write for a living. I did not fall into that category. One of the few things I’ve known about myself since I was young was that what fascinated me most was not what could come out of my imagination, but the true stories all around — the kinds of stories that prompt you to say, “You can’t make this stuff up.” So I went into journalism to discover other people’s stories — whether inspirational, tragic or plain old strange —  and share those stories through the written word.

Over the years, I’ve become increasingly fascinated by the incredibly rich stories of Hindu deities. I would often find myself in a posture and wonder, “Why is this pose named after the sage Marichi? What did he do that was so cool?” The more I’ve read about these gods and demigods, these humans and animals, the more intrigued I’ve become. Like with any good myth, these ancient tales hold the power to teach us a lot about our own strengths and weaknesses, fantasies and foibles.

I’m writing this blog post — and giving my teachers’ workshop — not as an expert. Far from it. I am coming from this as a fellow explorer. I want to you tell you what I know (which, in the scheme of things, is not much at all) and who told me, so that if a curiosity is sparked in you, you can start that journey yourself and begin to explore.

Studying the dance

One of my favorite parts of the two-week Ashtanga primary series teacher training at the Ashtanga Yoga Center in Carlsbad, Calif. was story time. You take a Mysore Ashtanga class in the morning, perhaps assisting a second class, and then take lunch. After lunch, when everyone was still digesting and taking pulls from their coffee cups to try to stave off that desire for an afternoon nap, Tim Miller would tell stories from the Mahabharata, Bhagavad GitaRamayana and more modern sources as well. We’d lie down, get comfortable, and enjoy story time like we were in kindergarten again.

But these tales were not for the innocent or faint of heart. Gods and demos would be banished, killed, brought back in other form (or at least with a new head, as in the case with Daksha, who returns to life with a goat’s head. Read more about that story in the chapter on virabhadrasana in Myths of the Asana, described below.). If ever there were epic soap operas, these were it. The Mahabharata is said to be three times longer than the Bible. To make matters more confusing, where in soap operas you might find out someone has a twin, in these tales, gods all seem to have hundreds, if not more, incarnations. How can anyone possible keep up? (Maybe there’s an app for that now?)

Over the past few years, some excellent books and CDs have been published and produced that weave these tales. Here are some of the ones I recommend. (You can buy all of these using your Amazon.com account through the YogaRose.net Bookshop and Boutique.)

Stories about the deities

Myths of the Asanas: The Stories at the Heart of the Yoga Tradition
Alanna Kaivalya and Arjuna van der Kooij

This is an outstanding book that came out last year. It’s beautifuly told, beautifully put together, and is about as relevant as it gets, in terms of how the authors bring everything back to the modern Western lifestyle. I remember one day last year when I had just had a horrible, soul-sucking day. I went home, started crying and pulled this book off the shelf. I started reading these stories about gods and mortals in binds far worse than I could imagine, and yet had managed to find redemption and moved on. It was the most calming and reassuring book I could have opened that day. (In addition to the paperback copy, this book is also available as a Kindle ebook.)

The Little Book of Hindu Deities
Sanjay Patel

I picked up this little gem from Moksha Yoga in Chicago when I attended a workshop with Ashtanga master Lino Miele. The author describes himself as an “ABCD (American-born confused Desi (Indian),” even though he was born in the United Kingdom. He grew up in the United States disinterested in his parents’ culture, but was drawn to these stories after becoming an animator at Pixar. Searching for a way to tell these tales while being respectful, Patel made a connection with “Sanrio’s ultracute Hello Kitty designs and thought, ‘Well, there’s a style no one could be offended by.” The result is a handy guide to deities, with bonus sections that provide overviews of Hindu epics, the Hindu chronology of creation and the nine planets. It looks like a book for children, but looks can be deceiving. Publishers Weekly says the book is most popular with teens and 20-somethings.

Ashtanga Yoga The Intermediate Series: Mythology, Anatomy and Practice
Gregor Maehle

The best way I can describe Gregor Maehle’s excellent books on Ashtanga yoga is “heady.” He is thorough, intellectual and esoteric — but without being inaccessible. I picked up his first book on Ashtanga primary series and his newest book on second series for the anatomy details. But the true gift in Maehle’s intermediate series book, in my opinion, is the section on mythology. A table in this book, for example, lists four categories of postures (lifeless forms, animals, human forms, divine forms), along with the dominant guna of those sets of postures (whether tamas, rajas or sattva) and the asanas in the Ashtanga second series that fall into each category. You will get insights from this book you won’t find anywhere else — starting with pasasana, the first posture in second series, and one which we typically hear of as “noose posture.” Maehle picks up where everyone else would stop: “Noose refers here to the posture of the arms, which are thrown like a noose around the legs. Pasha is also one of the thousand names of the Lord Shiva, who is also called Pashaye, Lord with the noose.” The book is gorgeously annotated. And have I mentioned it’s thorough? (In addition to the paperback copy, this book is also available as a Kindle ebook.)

Elephant Power
MC Yogi

Elephant Power, centered around stories of Ganesh, is actually a really fun way to get to know the stories of some of the most famous deities. MC Yogi, whose father initially got him into Ashtanga yoga when he was 18, grew up in northern California listening to Beastie Boys and Run DMC. He has a unique hip-hop style, and he knows his mythical tales. I was pretty incredulous when I first heard about MC Yogi — I can be a total music snob, and I admit it — but he is the real deal. He’s also got some heavy hitters in the kirtan world featured on this album, including Bhagavan Das, Krishna Das, Sharon Gannon, and Jai UttalSee some lyrics and listen to samples.

Flow of Grace
Krishna Das

Flow of Grace, which came out in 2007, is a book and a set of two CDs. Flow of Grace would have to be a large part of a blog post on Hanuman, but the short version might be best described by Krishna Das’ website: “Krishna Das has been singing the Hanuman Chalisa for over thirty years, and on his newest CD, Flow of Grace, he takes us deep into the heart of this powerful prayer to Hanuman, the embodiment of devotion, service, strength, and compassion.” If you’ve never heard the Hanuman Chalisa, you can listen to the samples found online, but I can tell you from experience that you won’t feel the power of the chalisa until you are sitting in a room full of people chanting it — perhaps with someone playing a harmonium. Pick Flow of Grace up to start to understand why the great monkey king is so revered.

The epic tales

The Little Book of Hindu Deities offers this pithy overview of Hindu epics:

The two great Hindu epics are the Mahabharata and the Ramayana. The Mahabharata is a sprawling history of India’s ancient dynasties’ struggle with one another for land and power. It also explains most of Hinduism’s major gods and goddesses. It has been said that everything worth knowing is found within its pages, including the stand-alone portion called the Bhagavad Gita. The Ramayana is more intimate in its scope, primarily following Rama and his small band of devotees in their quest to rescue his wife, Sita. These sacred texts are the cultural foundation of India and the Hindu mythology.

Bhagavad Gita
Various translations 

If you have the time and the interest, it would be amazing to dig into the juiciness of the Mahabharata and the Ramayana. I would love to, but I think I’m being realistic in saying that I don’t see myself getting through these texts in this lifetime. (As it stands now, I already don’t have time to read what I want to read.)  I do, however, hope to find time this year to reread the Bhagavad Gita. I had to read the Bhagavad Gita as a freshman in college, and it’ll be a different book now that I’ll be looking at it from an Ashtanga yoga perspective.

Ramayana: Divine Loophole
Sanjay Patel

I literally just saw this book when finding links for the book of Patel’s that I do have, The Little Book of Hindu Deities (description in the section above). On the strength of that book, I’m going to recommend this book, sight unseen. Here’s the Amazon.com review: “Teeming with powerful deities, love-struck monsters, flying monkey gods, magic weapons, demon armies, and divine love, Ramayana tells the story of Rama, a god-turned-prince, and his quest to rescue his wife Sita after she is kidnapped by a demon king. This illustrated tale features over 100 colorful full-spread illustrations, a detailed pictorial glossary of the cast of characters who make up the epic tale, and sketches of the work in progress. From princesses in peril to gripping battles, scheming royals, and hordes of bloodthirsty demons, Ramayana is the ultimate adventure story presented with an unforgettably modern touch.” I’m going to pick this book up soon — can’t wait to see how it unfolds.

>>If you are so inclined, you can buy all of these using your own Amazon.com account through the YogaRose.net Bookshop and Boutique. 😉

A closer look at Nataraja

The photo at the top of this post is of Nataraja, Lord of the Dance. Nataraja is yet another incarnation of Shiva. Perhaps more than any other deity, Shiva is the one I am most enthralled by — his ashen face, matted hair, his proclivity to disappear to the mountains to meditate for hundreds of years, his stamina to make love for hundreds of years (remember, the gods have a different time reference than the rest of us do), his equanimity, his temper. Shiva creates through the act of destruction. He is a study in contrasts — and most of us can relate to dichotomies. It’s particularly the case for me — on so many levels, dualities and contrasts mark my life and my personality.

MC Yogi has an awesome song about Ganesh called “Son of Shiva.” To understand the son you have to understand the father, so this song is a fun way to learn more about Shiva too. My favorite part talks about Shiva returning from his deep meditation on Mount Kailash:

it was at that time when Shiva returned
not knowing that his wife recently gave birth
when Shiva saw the boy he told him to move
but not knowing who his father was the boy refused
now Shiva’s like this, truth consciousness and bliss
but he’s crazy when he’s angry so don’t get him pissed
feeling dissed and dismissed Shiva started a rumble
an epic struggle that shook the jungle
then out of nowhere Shiva’s trident went chop
and that’s when the boy’s head was cut off

Oops.

But all is not lost. Buy the album if you don’t already have it, and listen to the rest of the story.

There’s much more to know about Shiva (another blog post!) and so much more to know about his particular incarnation as Nataraja. Why is does Nataraja appear with four arms and one leg lifted? And what is that creature he appears to be standing on? See how two Ashtangis, Tim Miller and Michael Gannon, interpret this powerful symbol:

Tim Miller on Nataraja

I remember first reading Tim Miller’s “The Alchemy of Yoga” essay while staying at a hotel in Columbus, Ohio. (It’s always interesting to find a spark of inspiration while away from home, staying alone in a hotel.)  In this quick-read essay, Timji — as his students like to refer to him — talks about how he believes “Nataraja, the King of Dancers, beautifully symbolizes the alchemy of Ashtanga yoga.”

Michael Gannon on Nataraja

Michael Gannon, who uses social media heavily, just posted this link to his recent talk on Shiva about 16 hours ago. In “Shiva Comes to Town,” Gannon does a lovely job of sharing how he uses the symbolism of Nataraja as destroyer to make sense of, accept, and move on from personal and even global tragedies. It’s 26 minutes long. If you’re like me and have a crazy schedule and the attention span of a tweet, let me tell you that it’s worth taking the time to listen. Play it while you’re waiting for coffee to brew, or as your’e whittling down your work email inbox.

I titled this post “Dancing with the Deities (A Not-So-Epic Overview)” because — while it’s rather long (probably too long) for a blog post — it hardly skims the surface of these rich stories. Take advantage of some of the labors of love listed here — whether you’re more into the iconized depictions as in The Little Book of Hindu Deities or into the kind of thoughtful, historical perspective you’ll find in Gregor Maehle’s book. Keep searching and uncover sweet wells of tales not listed here. More than anything, I hope you continue to get on your mat and find inspiration for your practice, and through your practice, however you can.

Photos (from top)
Nataraja: Photo of Nataraja statue, taken at The Yoga Sutra (a New York City yoga studio), May 2011
Aum: Aum at Hilltop Yoga’s Old Town 2 studio in Lansing, Mich., May 2011

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