Tuesday, 20 March 2012
Monday, 19 March 2012
Richard Freeman's 'The Yoga Workshop' Boulder Col.
Practising and then listening more closely (while transcribing) Richard Freeman's back bending workshop at the Ashtanga Yoga Confluence last week has turned me on to Richard's teaching in a big way (see my comment at Claudia's yesterday). I fished out his Primary and 2nd series DVD's and practiced with them at the end of the week. I also found the Yoga Matrix Cd's hidden away on my back-up HD and downloaded his Panayama cd as well as his Book, Mirror of Yoga for my iPad, also made a link to his Studio talks. Sadly I can't make it to Boulder for a month intensive (although I did check out hostels in Boulder last night) but can kind of make my own month long, Richard Freeman intensive here in the home Shala.
UPDATED: Yogagodess has just posted on a downloadable Richard Freeman Into to Intermediate class on her blog .
Why such an interest all of a sudden, I mean I've had his DVD's and CD's for years but never really got on with them until now. Maybe it's just the right time, perhaps we're ready for different teachers at different times or different things they have to say at different periods of our practice, the gap between teaching and learning or rather appropriating, embodying. There's a lot of Richard's teaching I'm still not sure about but then that's part of the fun of it, exploring and trying it on anyway. My feeling is that Richard's is an approach to Ashtanga that seems somehow less far from my Vinyasa Krama practice and as I'm not prepared to give up one for the other the idea is to find way to balance and complement them both ever more effectively.
Besides I've spent the last few years just focussed on practice now I'm becoming more interested in the idea of skilful practice.
Also I loved the write up about his place on his website below, especially the highlighted section.
The Yoga Workshop
'lineage
An integral part of all classical schools of yoga is their lineage, or a tracing of their roots from teacher to teacher to teacher. The importance of a lineage to any tradition is that due to the interplay of different perspectives brought together by generations of teachers, the teachings automatically encompass subtle breadth and depth—a merging of awakening minds. The presence of lineage guarantees a transmission of the most essential and subtle experience of yoga which otherwise can be missed in the shadow of the ego.
The Ashtanga Vinyasa Lineage
Like all lineages, that at the Yoga Workshop is a hybrid of yoga methodologies and philosophies which converge clearly in the teachings of the early Upanisads and blossom later in the practices of Hatha Yoga and Tantra. The teaching at the Yoga Workshop is in the lineage of Ashtanga Vinyasa yoga.
The internal forms of Ashtanga yoga using bandhas, mudra and dristi with ujjai breathing are the pinnacle of Tantric technique brought to light in the broad clarifying context of Patanjali’s yoga philosophy and the non-dualism of the Upanisads. This traditional approach is recognizable in Hindu and Buddhist contemplative traditions as well as in the direct experience the practice uncovers.
These living lineages come to us directly through T.K.V. Krishnamacarya and K. Pattabhi Jois drawing the potent thread of yoga into the present from thousands of years since its formulation in Ancient India.
The current series in the Ashtanga Vinyasa system were developed by T. K. V. Krishnamacarya around the internal principles of vinyasa found in the ancient Indian text, the “Yoga Kurunta”. He instructed his student K. Pattabhi Jois of Mysore, South India to master and to use these series in teaching the Ashtanga Vinyasa system.
Richard Freeman, the Yoga Workshop’s founder, was one of the first Western teachers to be certified to teach by K. Pattabhi Jois. All teachers at the Yoga Workshop have studied extensively with Richard. This form of yoga has been practiced and taught at the Yoga Workshop for over 20 years.
At the Yoga Workshop
A fundamental aim of the teaching at the Yoga Workshop is to keep an open mind as we continually refresh the linage of Ashtanga Vinyasa system by making it applicable to the immediate condition of our bodies, minds and cultures.
We encourage students to read and ask questions about original ancient texts that have been influential in this lineage. Students are also encouraged to contemplate and question the ever changing context and landscape of yoga, both within their own practice (self reflection) and within the broader context of yoga as it evolves in the 21st century. We encourage the juxtaposing of our tradition with other traditions and lineages to challenge, to critique and to refine both ourselves and others.
As part of this we offer classes not only on asana, but also on meditation, pranayama and philosophy.
In Boulder we have the luxury of having many visiting Buddhist teachers and Rinpoches as part of Naropa University and the Shambhala community with whom we can interface. In addition we frequently have senior Iyengar teachers visiting the area. B.K.S. Iyengar is a contemporary of K. Pattabhi Jois and both were students of T.K.V Krishnamacarya, so Iyengar yoga is closely related within the lineage. We encourage teachers and students to broaden their perspectives by studying with senior teachers in these traditions as they deepen their yoga practice.
The practice allows us to see through the workings of our own minds, to ground our experience in the present moment and to have a compassionate and clear understanding of the ideas, beliefs and rituals which surround our yoga practice and daily lives. Ethical conduct, honesty and compassion are at the heart of the practice.
Heart of the Practice
As part of the asana practice, core strength and alignment are accessed by integrating movement with the structural patterns along the central axis of the body. This is accomplished by meditation on the structural tones in the pelvic floor which balance the body and open its midline into deep direct experience of the life process. In this way one can establish a genuine ground for the further practices of pranayama, opening of internal energy channels, awakening of kundalini, and meditation.
Within the Ashtanga Vinyasa system postures are linked together through flowing movement (vinyasa), and the joining of that movement with the gaze, the breath and the currents of internal sensations. There are seven formal series of postures which are each practiced in sequential flow. All series begin with the Sun Salutations and contain the same standing postures. All end with the same finishing sequence. The postures sandwiched between vary from series to series, and are designed to address specific issues, such as structural integration, cleaning the nadis, or strengthening the internal mudras. Most students practice the Primary or Intermediate series, and a few advanced students work into the Advanced series.
Ongoing Classes
All classes at the Yoga Workshop incorporate the internal, meditative approach integral to the Ashtanga Vinyasa system. Led classes are based on the sequencing and flow of the traditional series.
To help students deepen their practice, refine alignment or avoid injury, teachers may focus on particular facets of movement in the context of a series. Mysore classes are modeled after the self-practice asana classes traditionally taught by K. Pattabhi Jois in Mysore, India. A Mysore practice allows students to work on the appropriate series or therapeutic loop, with input and assistance from the teacher. Students chant together to begin the Mysore class and at the conclusion of class students practice the finishing postures together, ending with the corpse pose. We also offer special classes and workshops, detailing various aspects of the practice.'
UPDATED: Yogagodess has just posted on a downloadable Richard Freeman Into to Intermediate class on her blog .
Why such an interest all of a sudden, I mean I've had his DVD's and CD's for years but never really got on with them until now. Maybe it's just the right time, perhaps we're ready for different teachers at different times or different things they have to say at different periods of our practice, the gap between teaching and learning or rather appropriating, embodying. There's a lot of Richard's teaching I'm still not sure about but then that's part of the fun of it, exploring and trying it on anyway. My feeling is that Richard's is an approach to Ashtanga that seems somehow less far from my Vinyasa Krama practice and as I'm not prepared to give up one for the other the idea is to find way to balance and complement them both ever more effectively.
Besides I've spent the last few years just focussed on practice now I'm becoming more interested in the idea of skilful practice.
Also I loved the write up about his place on his website below, especially the highlighted section.
An integral part of all classical schools of yoga is their lineage, or a tracing of their roots from teacher to teacher to teacher. The importance of a lineage to any tradition is that due to the interplay of different perspectives brought together by generations of teachers, the teachings automatically encompass subtle breadth and depth—a merging of awakening minds. The presence of lineage guarantees a transmission of the most essential and subtle experience of yoga which otherwise can be missed in the shadow of the ego.
The Ashtanga Vinyasa Lineage
Like all lineages, that at the Yoga Workshop is a hybrid of yoga methodologies and philosophies which converge clearly in the teachings of the early Upanisads and blossom later in the practices of Hatha Yoga and Tantra. The teaching at the Yoga Workshop is in the lineage of Ashtanga Vinyasa yoga.
The internal forms of Ashtanga yoga using bandhas, mudra and dristi with ujjai breathing are the pinnacle of Tantric technique brought to light in the broad clarifying context of Patanjali’s yoga philosophy and the non-dualism of the Upanisads. This traditional approach is recognizable in Hindu and Buddhist contemplative traditions as well as in the direct experience the practice uncovers.
These living lineages come to us directly through T.K.V. Krishnamacarya and K. Pattabhi Jois drawing the potent thread of yoga into the present from thousands of years since its formulation in Ancient India.
The current series in the Ashtanga Vinyasa system were developed by T. K. V. Krishnamacarya around the internal principles of vinyasa found in the ancient Indian text, the “Yoga Kurunta”. He instructed his student K. Pattabhi Jois of Mysore, South India to master and to use these series in teaching the Ashtanga Vinyasa system.
Richard Freeman, the Yoga Workshop’s founder, was one of the first Western teachers to be certified to teach by K. Pattabhi Jois. All teachers at the Yoga Workshop have studied extensively with Richard. This form of yoga has been practiced and taught at the Yoga Workshop for over 20 years.
At the Yoga Workshop
A fundamental aim of the teaching at the Yoga Workshop is to keep an open mind as we continually refresh the linage of Ashtanga Vinyasa system by making it applicable to the immediate condition of our bodies, minds and cultures.
We encourage students to read and ask questions about original ancient texts that have been influential in this lineage. Students are also encouraged to contemplate and question the ever changing context and landscape of yoga, both within their own practice (self reflection) and within the broader context of yoga as it evolves in the 21st century. We encourage the juxtaposing of our tradition with other traditions and lineages to challenge, to critique and to refine both ourselves and others.
As part of this we offer classes not only on asana, but also on meditation, pranayama and philosophy.
In Boulder we have the luxury of having many visiting Buddhist teachers and Rinpoches as part of Naropa University and the Shambhala community with whom we can interface. In addition we frequently have senior Iyengar teachers visiting the area. B.K.S. Iyengar is a contemporary of K. Pattabhi Jois and both were students of T.K.V Krishnamacarya, so Iyengar yoga is closely related within the lineage. We encourage teachers and students to broaden their perspectives by studying with senior teachers in these traditions as they deepen their yoga practice.
The practice allows us to see through the workings of our own minds, to ground our experience in the present moment and to have a compassionate and clear understanding of the ideas, beliefs and rituals which surround our yoga practice and daily lives. Ethical conduct, honesty and compassion are at the heart of the practice.
Heart of the Practice
As part of the asana practice, core strength and alignment are accessed by integrating movement with the structural patterns along the central axis of the body. This is accomplished by meditation on the structural tones in the pelvic floor which balance the body and open its midline into deep direct experience of the life process. In this way one can establish a genuine ground for the further practices of pranayama, opening of internal energy channels, awakening of kundalini, and meditation.
Within the Ashtanga Vinyasa system postures are linked together through flowing movement (vinyasa), and the joining of that movement with the gaze, the breath and the currents of internal sensations. There are seven formal series of postures which are each practiced in sequential flow. All series begin with the Sun Salutations and contain the same standing postures. All end with the same finishing sequence. The postures sandwiched between vary from series to series, and are designed to address specific issues, such as structural integration, cleaning the nadis, or strengthening the internal mudras. Most students practice the Primary or Intermediate series, and a few advanced students work into the Advanced series.
Ongoing Classes
All classes at the Yoga Workshop incorporate the internal, meditative approach integral to the Ashtanga Vinyasa system. Led classes are based on the sequencing and flow of the traditional series.
To help students deepen their practice, refine alignment or avoid injury, teachers may focus on particular facets of movement in the context of a series. Mysore classes are modeled after the self-practice asana classes traditionally taught by K. Pattabhi Jois in Mysore, India. A Mysore practice allows students to work on the appropriate series or therapeutic loop, with input and assistance from the teacher. Students chant together to begin the Mysore class and at the conclusion of class students practice the finishing postures together, ending with the corpse pose. We also offer special classes and workshops, detailing various aspects of the practice.'
Saturday, 17 March 2012
...on practice (after watching Being in the World).
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| Link to post and trailers |
world of the practice
involvement in a/the world
Skilful coping
tools (mat, asana, body?)
inhabit the world differently
our bodies, a way of being attuned to the world
risk takers
disclose new ways to be (human/in the world)
engagement
commitment
creating meaning, a meaningful existence
resoluteness
this practice
If you want to know what a hammer is you don't think about it, don't describe it but pick it up and use it
a tool is a way the craftsman has of engaging with the world
don't get in the way of the practice
what's included in the world of the practice, of the room
concern
a meaningful practice
'...just as skills allow things to show themselves, they also allow people to show up and be the people they are'.
authenticity
confronting, attuning to
spontaneity
owning it
'...to practice anything authentically is to appropriate the traditions and customs'.
express something within the confines of the rules
innovation leads to a new style
disclosure
we have the unique capacity to be able to disclose whole new worlds
opening up
inhabiting
there is something there independent of me
'...life is made most meaningful when you respond to meanings that are independent of you'.
'...there are things that have never been seen but when we articulate them together we can see that they are really there'.
focal practices
drawing people together around something that matters
connecting
a sense of the sacred
skilful practice
something impossible, magical
absorption.
Friday, 16 March 2012
Kino MacGregor - Home Yogi, Chakra Bandasana & Eka Pada Chakra Bandasana
Had to share this here as it's the only video I've seen of Kino practicing at home.
Would make a nice post, video's of a bunch of certified and long term practitioners practicing at home,
In the end everyone becomes a home yogi (I know, I know some hate the use of 'yogi' but yoga practitioner is too long winded, we all know what we mean right, not suggesting any of us are Durvasana or Vashista, Ramaswami had a nice term for a yoga student but I always forget, must look it up).
I was thinking about this yesterday while I was transcribing Richard Freeman's Confluence workshop video, while he was talking you could almost picture all those hours practicing alone, all those ahhh moments as he noticed something new or something ...'interesting'.
We think about all those hours Richard, Tim, David, Nancy, Eddie and others, many many others, spent with Pattabhi Jois and yet they spent thousands more over the years, after they became teacher in their own right, working on their own practice alone, developing it, taking it deeper, finding new textures, colours.
Eka pada Chakra Bandasana above looks fun but I was thinking during the sury's yesterdays how a workshop with Richard would be interesting, how to keep finding the wonder in even just a sun salutation for the next twenty years let alone anything else.
It's a nice thought, looking forward to the next ten years of practice and if I'm lucky, the ten after that.
In the end everyone becomes a home yogi (I know, I know some hate the use of 'yogi' but yoga practitioner is too long winded, we all know what we mean right, not suggesting any of us are Durvasana or Vashista, Ramaswami had a nice term for a yoga student but I always forget, must look it up).
I was thinking about this yesterday while I was transcribing Richard Freeman's Confluence workshop video, while he was talking you could almost picture all those hours practicing alone, all those ahhh moments as he noticed something new or something ...'interesting'.
We think about all those hours Richard, Tim, David, Nancy, Eddie and others, many many others, spent with Pattabhi Jois and yet they spent thousands more over the years, after they became teacher in their own right, working on their own practice alone, developing it, taking it deeper, finding new textures, colours.
Eka pada Chakra Bandasana above looks fun but I was thinking during the sury's yesterdays how a workshop with Richard would be interesting, how to keep finding the wonder in even just a sun salutation for the next twenty years let alone anything else.
It's a nice thought, looking forward to the next ten years of practice and if I'm lucky, the ten after that.
Richard Freeman AYC backbending workshop transcribed, "It works I tell ya".
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| New, blue rug |
Yesterday I practiced 2nd series and and tried to employ some of Richards instruction and noticed a quite striking difference in my kapo.
I posted the video last night and here it is with the description of how I had Interpreted Richard's instruction
Exploring something Richard Freeman seemed to be saying'ish at AYC. I've tended to bring my sitting bones together then nutate my hips as much as possible, tilting my hips upwards before dropping back. Richard talked about bringing the sitting bones together and the coccyx forward but then also attempting the draw the pubic bone back towards the coccyx, bringing all four points towards each other and drawing up mula bandha ...then bringing the sacrum through, so the whole unit comes forward and up...something like that, either way it made a surprising difference to my kapo today which has tended to be semi committed winter kapo's for the last couple of months.
For the last couple of months I've tended to do half hearted winter kapo's, happy to just drop back near my feet and walk in before settling down holding the balls of my feet. I've also mostly focussed on Primary through the winter, it's cold in the home shala no matter what I do, I'm happy to reach spring with some semblance of my practice intact.
Here though is my kapo from January employing some of what I picked up from heather Morton's Backbending DVD, I'm working on tilting the pubic bone up and holding it up there with mula bandha.
I was quite happy with this at the time. I'd had another lay off second series due to my Vinyasa Krama practice book project which had taken three months, I managed to graze my heel with my fingertips coming down, not bad after a long lay off, thank you Heather.
The Richard Freeman one above felt quite amazing though, after no heels kapo for a long time I pretty much drop back straight on to them, it all felt comfortable and relaxed.
So what's different.
As I mention in the youtube description I'd tended to nutate/tilt the pelvis backwards leading with the pubic bone but for Richard that's leaving the coccyx behind, he wants you to bring the pubic bone and coccyx together and then bring the sacrum through.
This seems to keep keep the whole unit further forward ( often the big weakness in our kapo's is to let the hips, the pelvis, come back as we lower taking our hands beyond our feet), the attempt to bring the sacrum through seems to tilt the pelvis but as a whole unit, a whole unit because your also bringing your sitting bones together, mula bandha is drawn up (you can see me thinking through all this just before I go back in the first video).
So everything is more...solid, more space created = better, deeper and more importantly, a more comfortable, secure kapo.
But is that what Richard was saying?
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| Image from here |
Richard Freeman's Backbending workshop at Ashtanga Yoga Confluence
I've been waiting all morning for a new rug to arrive (getting irritated with towels) and while waiting have gone through the whole backbend workshop video taking notes which ended up as pretty much a partial transcription of as much as I could catch of what Richard was saying (though mainly the parts about coccyx/pubic bone/sitting bones/sacrum unit).
Here's the first video (the workshop is divided up into four) you can reach the others by clicking on channel.
And here's the transcription. This remember is imperfect as it's so hard to hear (which is why I haven't used quotation marks) but may be helpful if your watching along and want to try some of this out. The section at the end on Urdhva Danhurasana is a combination of all that's said through the first three. For completion sake I'll try and add the last ten minutes of the workshop ( the counter poses ) soon.
Note on the timings: I've stitched the video's together so my timings are based on that
around 2.00
Do you know where your PC muscle is, the kegal muscle connecting the pubic bone with the coccyx?
Chain of muscles running from the rectus abdomens across the pubic bone to the coccyx.
Coccyx bone and pubic bone, they almost touch (?)
'pulling a smoothie up through a straw, between your legs…don't think about it'
...sacrum goes down, the pubic bone goes down the sitting bones go down.
13:21 The pelvic floor in terms of it's movement has four corners, two sitting bones, the pubic bone and the coccyx.
They (the angels ?) are working to anchor the four corners back. When you get four corners anchored back and they communicate, the middle point pops up in the opposite direction. Mula Bandha. that's the only way to get mula bandha. But you have to get the four Darkini's (angels?) to help to help you.
You don't squeeze the buttock muscles because the buttock muscles and PC muscles are different.
you can soften the buttock muscles, keep the mid line of the pelvic floor slightly taut
pull the pubic bone way up to the back
another angel pulls the coccyx back and towards the pubic bone
get those two actions balanced and your spine will lengthen to twice it's normal length
drop the coccyx
pull your perineum up to your tonsils : )
kidney wings
four angles pull the your corners of the pelvic floor back (Oh OK because the want to spread apart, pulling them back towards each other)
16:47 don't allow the elbows to go cross eyed
25:20 Cobra hoodie
29:00 raised arms with twist relaxes the psoas
raise the arm up above your head, rotate the shoulder blade outwards
posterior rotation around the horizontal axis
(BUT keep space between the shoulder blades)
33:00
…come up onto the fingertips as if playing the piano, rotate the shoulder blades out i can move the coccyx back, push down the fingers, widening, rolling back the collar bones the pubic bone goes back.
the pubic bone carries the prana pattern, the coccyx the apana and the two become attracted to each other
36:59 Pashasana (arm movement)
47:00 pelvic floor widens, coccyx dives in the pelvic floor
coccyx is like a bumble bee, pelvic floor like a flower
48:08 end of the exhale tones the pc muscle, holding the coccyx down, a bright gold golden tail.
53.14 bhekhasana ? relax the pubic bone, keep the coccyx going back, play the two patterns back and forth.
59:30 We're going to drop the coccyx, let it flow into the pc muscles but we want to get the pubic bone down and back, because the pubic bone, she's receiving the coccyx and the fibres of the PC muscles toned actually bring the coccyx and pubic bone slightly closer together.
if we just pinch the buttocks, push the pubic bone forward, we're making the pelvic floor longer, more narrow, this will create (tension?) in the Si joints and if not there then the lumbar spine.
We trim the legs slightly inwards, spin them downwards, the coccyx drops, pubic bone stays down and the sacrum goes in and up,
The sacrum is not the coccyx, if the sacrum follows the coccyx down and tries to go into the pelvic floor, the pubic bone gets freaked out.
See the sacrum is the mother of the coccyx, the coccyx is the groom and the bride the pubic bone. In yoga time, the pubic bone sets up the width, the right shape of the pelvic floor and the the coccyx comes and everything is OK. then if the mother-in-law of the also follows the little prince, she is huge, wedge shaped, she tries to come into the pelvic floor, the bride sees the mother-in-law and runs out the other side.
In all these backbends, the direction of the sacrum, once the pelvic floor is balanced, the SI joints become balanced in a way in which the sacrum seems to float forward and up out of the SI joints.
But the coccyx drops down and comes forward, pubic bone drops down and stays back
The coccyx and sacrum are going in two different directions (?).
01:02:30 Ustrasana
Inhaling lift the kidney wings, reach up Spin the arms inwards rather than outwards, radical and then move your sacrum in and up, spreading the kidney wings, then the head goes back
1:05:21 inhaling, nudge your sacrum up and in, keeping the pubic bone dropped down, the coccyx lights up, put a little bend in the elbows to accentuate the inward spin of the arms so that your kidney wings come up, coccyx drops and comes forward….. head goes back, look down your nose and imagine a cobra hood opening up over your head.
1:07:00 cobra hoodie (comes out of the back of the head when shoulder blades are relaxed)
1:09:15 if you balance the width of your sitting bones you can get the sacrum to sit smoothly in the illium and if you change the width of the sitting bones it makes the sacrum tilt forward or back depending on the forces, forward bend back bend. So you use your pelvic floor to adjust the width of your sitting bones and you can get rid of an SI bone pain by adjusting the width of your sitting bones.
1:14:58 Urdhva Danhurasana (Instruction comprised of all three UD's)
You feel like your psoas is in your arm
EXHALE: Draw your knees up, come on to the tips of your toes,
Pull sitting bones, coccyx and pubic bones to a point between the knees ( pull your coccyx to a point between your knees, let your pubic bone go to that same point (drop your pubic bone back onto the coccyx))
Smile before you go up.
INHALE, up we go, fill your kidneys with a hundred gallons of fresh air, come to a headstand with your heels lifted, bring your elbows back in, so your upper arms are almost parallel. Pull that sacrum up and in, spread the skin of the lower back,
EXHALE, feel the skin of the lower front ribs softening (the skin of the lower front ribs draws down towards the pubic bone), Put the inner heel down but don't lose the golden quality in the coccyx,
INHALE Up to the summit, lengthen those arms to twice the natural length, let the collar bones roll back as the kidney wings spread. spread your lower back, wrap the kidney wings (kidney wings stay wide.), wrap the shoulder blades, push on through the inner heel, the collar bone rolls back,…
Imagine the cobra hoodie stretching all the way up your spine, spreading, you're patanjali
After a number of breaths...
EXHALE Come down , the shoulders, once the sacrum is on the floor, relax the pallet ahhhh
1:28:45 Another UD
Remember this is a breathing exercise. The breath already knows all this stuff, so turn it over to the breath. One more
Deep breath in, still the kidney wings, Exhale, pull the four corners of the pelvic floor to a point between the knees and then when your ready the inhale boots you off, wrap the shoulder blades wides, lengthen the arms, remember the arms stretch the psoas muscles, the coccyx pops up between the legs like a ...tail, your pubic bone should fall back onto the coccyx
Last ten minutes of counter poses to come.
Obviously I'll be coming back to this to tidy it up some more and review it but somebody might be helpful, especially if they attended the workshop and suffered from information overload.
All things Richard
Richard Freeman's website http://yogaworkshop.com/
His Book (left) The Mirror of Yoga
Pranayama CD
I downloaded this earlier in the week, post to come
His DVD's of course, must practice with his Intermediate series again this week and see if any of this stuff comes up, I remember a lot about the palate last time I practiced with it. In fact here's a link to the store on his website. http://yogaworkshop.com/store/
UPDATE: Nice video of Richard discussing yoga posted on Eddie Stern's blog today http://ayny.org/richard-freeman.html
Now my new rug has arrived, I'm off to practice 2nd and try and put all this into practice.
