Wasn't going to post this because there are too many things wrong with it. But then I figured that never stopped me with my jump back videos, it's all work in progress. Kino's DVD should turn up soon and I'll have a more current model to work from. Mine is more of a Swensonish version, though I forget to bring my head between my arms when I first bend forward. Struggling with getting my head all the through my arms actually.
I don't hold the lift for long or take it as high as usual, probably because I was conscious of the camera. Half the time when I try to take it high I slip off my arms and land on my arm if I'm lucky or my chin if I'm not. Sweaty gaijin.
I like this angle looking down along the length of my back. From the side it tends to be more flattering, this angle gives me a clearer idea of the work I need to do to get more lift and yet remain stable..
2 comments:
Swenson's practice manual says to put your knees on the floor outside your hands...so I would say that you are definitely NOT Swensonesque, which is admirable. That knees on the floor thing seems like a bit of a "cheat"...see...I can't quite eliminate those words from my own vocabulary, even as I put my knees on the floor before I lift up into the pose, myself!
So he does, I used to do it that way then started using the Freeman DVD but still kept taking my arms up.
I'm guilty of thinking of certain variations as cheats too. I received a comment from Suzie last night on another post on the question of age. I think generally we tend to use 'cheat' in a kind of soft teasing way in Ashtanga. That's fine perhaps when your progressing well enough, but If your stuck on a pose for a long time then referring to your best variation as a cheat must become irritating. And if your older when you begin Ashtanga, perhaps one of the Swenson variations is as far as your going to get in a pose (or your perhaps going to progress much more gradually, of course this is not always the case) and that should be considered an appropriate variation rather than a 'cheat'. Surely you shouldn't be held back in this case even if it means variations throughout the series.
But then there's that tendency in Ashtanga to think of achieving one pose perfectly as physically essential before you can progress. I remember the dogma about coming up before starting 2nd. But perhaps that's just certain students who are that dogmatic rather than experienced teachers. Sharath just says it's preferable.
I'm sure experienced teachers in other styles take account of age and physical condition. I imagine it's more problematic for purist Ashtanga teachers and where teaching experience is so important. It can't be easy in a Mysore class holding one person back while allowing another to employ variations, bit of a balancing act.
What I've read about SKPJ and Krishnamacharya this is something they were very aware of and would tailor a practice to the needs of the practitioner.
In a sense Ashtanga should be the ideal system for this with it's Mysore style self practice and the relationship you can build up with a teacher who can explore expectations and potential in a way class teachers perhaps are unable.
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