This post relates to an old, really old post of mine from 2009 on practicing with short arms
Are my arms too short? Paul Grilley DVD Anatomy for Yoga (FRIDAY, 2 JANUARY 2009)
I recently received a new comment on that post calling me out, that my arms weren't actually that short.
Anonymous12 December 2012 18:24
First, I love your website and videos! Thank you so much!
I was looking at your jump back videos, and your arms are way long proportionally than people with "short" arms. I say this because in Dandasana, even when your hands are reached out in front of your hips, you can still bend the elbows.
For short armed people like me, where the heels of my palms are above ground at least one inch to be able to sit up back straight, jumping back feels like an impossible feat. Of course, proportionally, this means I have long torso and short limbs.
I have been practicing for over 20 years. But, I'd love it if you can share videos or advice from Ashtangis whose arms are truly short and can do a jump back. I would love to be able to finally do it some day if there's a way.
My response, fair point
Anthony Grim Hall13 December 2012 09:02
Hi Anon, thank you for your comment, amusing for me to look back on a post from a couple of years back, the other comments too, his guys.
I would be happy to post videos from short armed people, feel free to send one yourself, you can post it to youtube and send me the link. If I posted it others might have useful comments/suggestions.
More and more over the last couple of years I've come to feel that the jump back is about technique (bandhas just add the finesse/control), but the right technique for the right person. For a long time I was trying to lift up and jump back like Lino Miele, thought that was how it was done....still can't jump back like Lino.
You have to find the way that best workes for you, trying out all the different approaches you can but really trying them, and there are lots on youtube now, work at all of them and perhaps if your lucky bits and pieces from the different techniques will come together in some strange way that will work for you, that will make the difference. Later you can refine it.
Try and attend a workshop if you haven't done so already with those who focus on it, Kino , David Swenson, David Garrigues ( who has a good video on it this week in his Asnana kitchen.
http://davidgarrigues.com/blog/?p=2134
This video might be useful for you lots of curling of the torso
They should at least be able to tell you if it's going to be realistic for you or if your going to need to settle for a half jump back variation ( Which can still be smooth and elegant).
Everyone used to tell me in the beginning that it's not important and it's true but if you've stuck with the practice for twenty years you know that, still it's elegant and adds lightness to the practice and gives the practice that nice rhythm so I get why you want to keep working at it.
I'm guessing you have issues with jumping through too or is that Ok for some reason. I've switched around, a high Kino style for a while, then a clumsy straight leg version that was always ...clunky. These days I'm back with a simple, delicate little Sharath Jump through, such economy of effort, worth taking a look at again.
http://grimmly2007.blogspot.co.uk/2012/05/sharaths-jump-through.html
And then, because Angela had commented on the post when it originally came out and so would have seen Anon's comment above, she came back with her own short arm perspective.
(0v0) 13 December 2012 14:59
:-)
My arms are far shorter than my torso, and my posterior is far larger than most any other advanced practitioner. I'm a female, and I can clear many inches from the floor to pick up.
I would suggest to you that short arms do not exist. The people who have the most difficulty learning this technique use that term. Only very, very poor teachers tell students that this is a limitation.
Two suggestions for starters:
Make the torso shorter. Ut pluthi. Don't do it from the shoulders. Do it by shortening the torso. :)
Make the arms longer. Most people can get 1-2 inches of length by releasing the delts and any mounded-up stuff around the lower insertion of the traps (where at times they get all bunched up with the scaliness). Self massage, castor oil and deliberate stretching outside of practice will do this. Maybe some myofascial release with a skilled therapist, too, but bodywork shouldn't really be necessary.
Hope this helps. It pulls on my heart-strings a bit each time I encounter the idea of short arms. You can do this.
And then one more comment came in from Taiko
Taiko21 December 2012 08:08
Thank you Anthony and all!
Would love to see 0v0 post a video showing the jump back. I'd love to see the proportions of arms to torso and how the jump back is executed. I'm a petite woman. I measured the distance between the heels of my palms to the floor--it's two inches.
Again, I've been practicing for a looong time and very limber and strong; however, jump back is not one that I'm able to do despite the effort and various techniques. Having practiced as much as I have and taught for 14 years, body proportions do matter greatly and can often dictate the relative ease (or lack of) in a pose. Sure, limbs can be lengthened, but they can't grow longer, just like I can't make my body taller than my height.
By the way, Anthony, I can jump through with straight legs, no problem :-). The leverages of jumping through is different, hence, my short arms are not an issue as much since I don't land with the heels of my palms down.
Thanks again for the tips!
Angela didn't get to make that video last weekend but here is one from the previous year at the same shala I believe, Breath in Motion in Toronto. It cuts off a bit suddenly at the end but there's enough to be going on with.
And check out that floatiest of straight leg jump through's, haven't tired of watching that yet. Tried it all through practice that morning.
I asked Angela if she had any more videos and she directed me to this one that unfortunately isn't on YouTube, oh and there's no fast forward feature to move about, but that's OK, find yourself a free ten minutes or so and enjoy. I love the setting and Angela's practice is rather wonderful, I've always loved the complete elimination of any faffing about, she's straight into the posture, check out kapo in particular and look how straight she stands up in Durvasana.
http://www.ashtangaannarbor.com/000.html
So I can't embed it but here are a couple of screenshots to entice you over.
I just love this space.
I remember that 'No faffing about kapo' from a few years ago and an old video of her's shot in he kitchen but can't find the link, she goes straight back into a deep kapotasana in the blink of an eye, can't find the link though.
Angela is authorised to teach at level 2 by Sharath and teaches at AYA2
And while we're at it here's a classic blog post by Angela, House Recommendations, that's she's allowed me to reproduce, you can check out other blog posts from AYA2 here
Yoga may be rooted in ancient India, but it’s morphed into something new in North America today.
Precisely what that might be, however, is difficult to say. Yoga is taught everywhere from spas to prisons, and foreverything from weight loss to spiritual transcendence. With its chameleon-like ability to adapt equally well to advertising, athletics, and ashrams, contemporary yoga is a fascinating phenomenon that invites investigation.
Written by experienced practitioners who are also teachers, therapists, activists, scholars, studio owners, and interfaith ministers, 21st Century Yoga is one of the first books to provide a multi-faceted examination of yoga as it actually exists in contemporary North America. Key themes addressed in the essays include:
The significance of the body in yoga culture
Yoga’s capacities and limitations as a healing modality
Mind/body splits in the yoga and Zen communities
Healing anorexia through yoga
Holistic recovery through yoga and the 12 Steps
Social engagement and interdependence
Imagination, rationality, and consciousness
Contemporary spirituality
Yoga and the practice of writing
About the Editors: Carol Horton, Ph.D., is the author of Yoga Ph.D.: Integrating the Life of the Mind and the Wisdom of the Body (Kleio Books, 2012), and Race and the Making of American Liberalism (Oxford University Press, 2005). Roseanne Harvey is the former editor of the leading Canadian yoga magazine, Ascent; founder of the popular blog, It’s All Yoga, Baby; and co-director of Yoga Festival Montreal.
And here's a link to a radio show that Angela was interviewed on concerning the book.
Are my arms too short? Paul Grilley DVD Anatomy for Yoga (FRIDAY, 2 JANUARY 2009)
![]() |
| Angela Jamison AYA2 |
Anonymous12 December 2012 18:24
First, I love your website and videos! Thank you so much!
I was looking at your jump back videos, and your arms are way long proportionally than people with "short" arms. I say this because in Dandasana, even when your hands are reached out in front of your hips, you can still bend the elbows.
For short armed people like me, where the heels of my palms are above ground at least one inch to be able to sit up back straight, jumping back feels like an impossible feat. Of course, proportionally, this means I have long torso and short limbs.
I have been practicing for over 20 years. But, I'd love it if you can share videos or advice from Ashtangis whose arms are truly short and can do a jump back. I would love to be able to finally do it some day if there's a way.
My response, fair point
Anthony Grim Hall13 December 2012 09:02
Hi Anon, thank you for your comment, amusing for me to look back on a post from a couple of years back, the other comments too, his guys.
I would be happy to post videos from short armed people, feel free to send one yourself, you can post it to youtube and send me the link. If I posted it others might have useful comments/suggestions.
More and more over the last couple of years I've come to feel that the jump back is about technique (bandhas just add the finesse/control), but the right technique for the right person. For a long time I was trying to lift up and jump back like Lino Miele, thought that was how it was done....still can't jump back like Lino.
You have to find the way that best workes for you, trying out all the different approaches you can but really trying them, and there are lots on youtube now, work at all of them and perhaps if your lucky bits and pieces from the different techniques will come together in some strange way that will work for you, that will make the difference. Later you can refine it.
Try and attend a workshop if you haven't done so already with those who focus on it, Kino , David Swenson, David Garrigues ( who has a good video on it this week in his Asnana kitchen.
http://davidgarrigues.com/blog/?p=2134
This video might be useful for you lots of curling of the torso
They should at least be able to tell you if it's going to be realistic for you or if your going to need to settle for a half jump back variation ( Which can still be smooth and elegant).
Everyone used to tell me in the beginning that it's not important and it's true but if you've stuck with the practice for twenty years you know that, still it's elegant and adds lightness to the practice and gives the practice that nice rhythm so I get why you want to keep working at it.
I'm guessing you have issues with jumping through too or is that Ok for some reason. I've switched around, a high Kino style for a while, then a clumsy straight leg version that was always ...clunky. These days I'm back with a simple, delicate little Sharath Jump through, such economy of effort, worth taking a look at again.
http://grimmly2007.blogspot.co.uk/2012/05/sharaths-jump-through.html
And then, because Angela had commented on the post when it originally came out and so would have seen Anon's comment above, she came back with her own short arm perspective.
(0v0) 13 December 2012 14:59
:-)
My arms are far shorter than my torso, and my posterior is far larger than most any other advanced practitioner. I'm a female, and I can clear many inches from the floor to pick up.
I would suggest to you that short arms do not exist. The people who have the most difficulty learning this technique use that term. Only very, very poor teachers tell students that this is a limitation.
Two suggestions for starters:
Make the torso shorter. Ut pluthi. Don't do it from the shoulders. Do it by shortening the torso. :)
Make the arms longer. Most people can get 1-2 inches of length by releasing the delts and any mounded-up stuff around the lower insertion of the traps (where at times they get all bunched up with the scaliness). Self massage, castor oil and deliberate stretching outside of practice will do this. Maybe some myofascial release with a skilled therapist, too, but bodywork shouldn't really be necessary.
Hope this helps. It pulls on my heart-strings a bit each time I encounter the idea of short arms. You can do this.
And then one more comment came in from Taiko
Taiko21 December 2012 08:08
Thank you Anthony and all!
Would love to see 0v0 post a video showing the jump back. I'd love to see the proportions of arms to torso and how the jump back is executed. I'm a petite woman. I measured the distance between the heels of my palms to the floor--it's two inches.
Again, I've been practicing for a looong time and very limber and strong; however, jump back is not one that I'm able to do despite the effort and various techniques. Having practiced as much as I have and taught for 14 years, body proportions do matter greatly and can often dictate the relative ease (or lack of) in a pose. Sure, limbs can be lengthened, but they can't grow longer, just like I can't make my body taller than my height.
By the way, Anthony, I can jump through with straight legs, no problem :-). The leverages of jumping through is different, hence, my short arms are not an issue as much since I don't land with the heels of my palms down.
Thanks again for the tips!
----------------------
Angela didn't get to make that video last weekend but here is one from the previous year at the same shala I believe, Breath in Motion in Toronto. It cuts off a bit suddenly at the end but there's enough to be going on with.
And check out that floatiest of straight leg jump through's, haven't tired of watching that yet. Tried it all through practice that morning.
I asked Angela if she had any more videos and she directed me to this one that unfortunately isn't on YouTube, oh and there's no fast forward feature to move about, but that's OK, find yourself a free ten minutes or so and enjoy. I love the setting and Angela's practice is rather wonderful, I've always loved the complete elimination of any faffing about, she's straight into the posture, check out kapo in particular and look how straight she stands up in Durvasana.
http://www.ashtangaannarbor.com/000.html
So I can't embed it but here are a couple of screenshots to entice you over.
I just love this space.
Angela is authorised to teach at level 2 by Sharath and teaches at AYA2
MYSORE STYLE ASHTANGA YOGA
Mysore Practice: Monday - Friday 6:30 - 8:30am.
Rest on Saturday, the new moon and the full moon.
Rest on Saturday, the new moon and the full moon.
Advanced Practice for Beginners: Sunday 9:30 - 10:45am.
We open our space for community self-practice three days per week.
All classes convene at the Phoenix Center.
New students are welcome. You must contact the instructor for details on attending.
To subscribe to our monthly newsletter, send an email.
Her Bio
My name is Angela Jamison. I was introduced to ashtanga yoga
in 2001 in Los Angeles, and have practiced six days a week
continuously since 2003.
in 2001 in Los Angeles, and have practiced six days a week
continuously since 2003.
In 2006, I completed intermediate series with Rolf Naujokat
before learning from him the ashtanga pranayama sequence.
I maintain a relatively modest pranayama practice.
before learning from him the ashtanga pranayama sequence.
I maintain a relatively modest pranayama practice.
Later in 2006, I met Dominic Corigliano, who taught me the
subtler layers of ashtanga practice, and eventually, slowly,
taught me to teach yoga. During 2009, I assisted Jörgen
Christiansson.
subtler layers of ashtanga practice, and eventually, slowly,
taught me to teach yoga. During 2009, I assisted Jörgen
Christiansson.
After retreats in the Zen, Vajrayana and Vipassana traditions,
I began working with the meditation teacher Shinzen Young
in 2009. I meditate daily, confer with Shinzen about my practice
every few months, and take annual silent retreats.
I began working with the meditation teacher Shinzen Young
in 2009. I meditate daily, confer with Shinzen about my practice
every few months, and take annual silent retreats.
I have made four long trips to Mysore to practice ashtanga with
R. Sharath Jois, and to study the history and philosophy
of yoga with M.A. Narasimhan and M.A. Jayashree. I will return
to Mysore regularly.
R. Sharath Jois, and to study the history and philosophy
of yoga with M.A. Narasimhan and M.A. Jayashree. I will return
to Mysore regularly.
In 2011, Sharath authorized me at Level 2, asking me to teach the
full intermediate series.
full intermediate series.
AY:A2
House Recommendations
by Angela
Here are a few more out-takes from the House Recommendations. The full document is available to regular Mysore students here upon request.
The House Recommendations are just some suggestions for mental hygiene, efficient learning, and honest practice. They are crafted for ashtangis in their first five years on the mat. If your mind feels closed just now, it’s not useful to read further. If you feel curious and open, then perhaps a few of these will be useful.
The main recommendation is: Streamline. Also…
BREATHING
Initiate movements with breath. Literally follow the breath with the movement. NB, practitioners who actually do this tend to be the same ones who can carry off solo self-practice without self-interruption.
Breath is white noise. If your mind is taking you for a ride, replace the auditory sensation of internal talk with the sound of breathing.
Get fascinated by breath in whatever way you can.
Learn to move from the deepest strength in the body: mulabandha and uddiyana bandha as they respond with the breath. This takes great concentration at first. Over time, breath, bandha and driste synthesize into one single practice.
MENTAL HYGIENE
Cultivate positive triggers. These are repeated sensory stimuli that shift you into the mind-body state of practice. The jolt of the car’s ignition, the quiet exhilaration of being awake in the still morning hours, the feel of the door in your hand. Any sensory feedback loop can entrain a state-shift. (Personally, my mornings start with nauli and trataka, followed by a one-woman blues rock dance party. The latter is not typical.) These associations will slowly strengthen your focus, and raise your energy, over time.
Guard your awareness before practice. In the morning, avoid anything that winds up discursive mind. Especially the internet. (If you’re disciplined about this, your verbal/ analytical mind will be smarter when you turn it on later. Mental hygiene increases cognitive function.)
The first part of drste is keeping the eyes in your own space, with only soft, peripheral vision engaged if you want a sense of the whole room. This is huge. Drste gets subtle, but at first it’s simply a commitment to keeping the eyes still. Eyes are powerful. Use them well.
Even as difficult emotions arise, stay in contact with the positive emotions of practice – gratitude, confidence, love, joy, humor, ecstasy, calm.
Let difficult emotions and thoughts arise and move on. Observe and note their patterns. Do not repress your experience – this deepens emotional blocks and increases unconsciousness.
Be cautious about repeating negative thoughts (or talk) in a compulsive manner. You have choices about the (inner) environment you inhabit. It’s funny, but physical practice is easiest when there’s a vibe of kindness and generosity to oneself and others. It is possible to cultivate positive emotions and thoughts while accepting and studying any negativity that arises.
Sutra 1.12. Abhyasa vairagyabhyam tat nirodhah. Roughly: It takes both will and surrender. Will doesn’t mean force: it is regular discipline. Surrender is not submission to authority: it is radical acceptance of whatever is happening now.
Another way to describe Sutra 1.12 is as a cheer for (1) concentration and (2) equanimity. These are practices. They’re deliberate choices. They can be life skills. Most westerners lack both. But most people drawn to Ashtanga yoga are intuitively interested in them.
RHYTHMS
Primary series can be difficult. I’m here because I believe it’s worth your effort. It is the most genius, exacting, and healing program I have found. Aches, tweaks and energy fluctuations diminish dramatically after a couple of years of consistent practice. Be gentle and mindful with any ups and downs.
If you take a break, or practice in an erratic rhythm, significant ups and downs (mental, emotional and physical) are likely. Don’t worry about it. Dial down expectations. Take a cool (detached) interest in the experience.
Practice in the body you have today. No matter what, you can accept and move with the body-mind that’s here right now.
If in doubt, come to class. It’s practice, not a performance. Modify for pain or fatigue if they actually arise. You might be surprised – they may have just been in your head.
To avoid injury: (1) Really know your unique breath pattern. There will be some kind of disruption in the pattern if you’re on the edge of injury. Meditating on the breath is a safety feature. (2) Practice in a regular pattern. If you fall off the wagon, be truthful to your moment-by-moment experience when you come back. Your body-mind needs time to remember things. (3)Toss the NSAIDS. They dull your perception and damage a healthy inflammation response. For muscle healing or soreness, use: rest, castor oil packs, warm Epsom salts baths, zyflamend, anti-inflammatory diet, the old RICE method (if your body responds to it – ayurveda would suggest otherwise), and focused relaxation of protective patterns when appropriate.
To see growth in practice: Relax about transformation. Really. Not only is this the whole practice of yoga, but paradoxically, this attitude is also necessary for developing ashtanga’s specific skillset. The Bhagavad Gita is a sort of mind-blowing story about this paradox.
This practice restores muscles to their full functional length. Strong parts become flexible; flexible parts, if they were weak, become strong. Both types of effort – creating flexibility, and creating strength – happen most efficiently with focus, repetition, and a relaxed attitude.
Three days of practice a week is the minimum to establish any sort of rhythm. Four or five days a week enable significant healing and vitality. Six makes a life practice. It is much more effective to practice a little bit every day than to do big practices every few days.
Ashtanga is a house-holder’s practice. In teaching, my job is to support people whose daily lives are far more complex than my own. As you figure out what level of intensity on the mat is right for you, please stay grounded. Ashtanga yoga is designed to support you in daily life with your family and work.
Experimentation. When you modify a personal habit or way of moving, give it a month of daily practice (or the equivalent) before you re-evaluate it. Otherwise, the judging mind will try to highjack the experiment before there’s enough data for a decent assessment.
TONE
The House suggests: treat yourself and the practice with care. Be aware of the vibe you give off. Be open. Do not be lazy. Be modest. Give space to each other literally and figuratively. Some helpful qualities are: spaciousness, implicit camaraderie, quiet loving-kindness.
Fellow practitioners are a resource. The quality of your practice is enhanced by the quality of theirs, so even out of narrowly defined self-interest you need to support them to support you. Here are two practices that have helped me. (1) I never talked to others about particulars of my asana practice orrelationships with teachers. I let go of that discipline when I became a teacher, because now my practice and lineage belong largely to you. (2) I set the same intention with yoga friends that my husband and I articulated in our wedding vows: to be in relationship in a way that promotes mutual awareness, growth, and service to others. This has helped me to find wonderful friends.
AFTER PRACTICE
Leave it on the mat. No need to review or evaluate practice after it’s done. During ashtanga, do ashtanga. Otherwise, do otherwise.
Regrets are a waste of energy. I don’t judge you; I don’t have the energy. Please take it easy on any self-reproach (and on looking down on others – a similar kind of drain). Just practice.
Superiority is poor quality fuel. Our esprit d’ corps comes from better sources. Even if looking down on others has given you energy in the past, eventually it takes more energy than it gives.
I don’t pretend that “it’s all good” out there. There’s probably a good amount of yoga delusion, confusion and egomania out there somewhere in the world. That’s fine. Totally not our business here. Let’s just practice.
Eight limbs. Practice on the mat encompasses limbs 3-5 and sometimes 6 of Patanjali’s classical system: asana, pranayama, pratyhara and (eventually, naturally arising) one-pointed focus.
If you get interested in the first two limbs (social ethics, and what I call the useful virtues), cool. They’re fundamental. If not, ok. Ashtanga method valuesyama and niyama a lot, but in a relaxed way. Most of the recommendations here actually derive from daily practice of yama and niyama. Virtue is practical, not theoretical. It helps to avoid being uptight about it. Ashtanga is not a religion.
Limbs 7 and 8 (absorption states and godknowswhat) arise on their own if at all—they’re not practices. But there are ways to increase the chances that the last two limbs will sprout. This has to do with developing strong concentration (an incredibly rare skill), and honest equanimity.
Watch the envelope. The boundary between practice and life might shift or go away. If you catch yourself just being fully alive to mundane activity, or emotional ups and downs get less dramatic; if you sleep better; if sometimes you notice you’re projecting instead of just buying in to your own judgements/emotions regarding others (i.e., if you don’t believe everything you think); if there is less experience of the mind reacting to experience with patterns of attraction/repulsion, love/hate, respect/disdain… well, this is all normal. You are doing it right. Come to practice.
---------------------
Angela also contributed to the book 21st Century Yoga, which I still haven't got around to reading btw (you know how I'm stuck in the past), though I'm told there's some good stuff in it, below are some details about the book.
Yoga may be rooted in ancient India, but it’s morphed into something new in North America today.
Precisely what that might be, however, is difficult to say. Yoga is taught everywhere from spas to prisons, and foreverything from weight loss to spiritual transcendence. With its chameleon-like ability to adapt equally well to advertising, athletics, and ashrams, contemporary yoga is a fascinating phenomenon that invites investigation.
Written by experienced practitioners who are also teachers, therapists, activists, scholars, studio owners, and interfaith ministers, 21st Century Yoga is one of the first books to provide a multi-faceted examination of yoga as it actually exists in contemporary North America. Key themes addressed in the essays include:
The significance of the body in yoga culture
Yoga’s capacities and limitations as a healing modality
Mind/body splits in the yoga and Zen communities
Healing anorexia through yoga
Holistic recovery through yoga and the 12 Steps
Social engagement and interdependence
Imagination, rationality, and consciousness
Contemporary spirituality
Yoga and the practice of writing
About the Editors: Carol Horton, Ph.D., is the author of Yoga Ph.D.: Integrating the Life of the Mind and the Wisdom of the Body (Kleio Books, 2012), and Race and the Making of American Liberalism (Oxford University Press, 2005). Roseanne Harvey is the former editor of the leading Canadian yoga magazine, Ascent; founder of the popular blog, It’s All Yoga, Baby; and co-director of Yoga Festival Montreal.
And here's a link to a radio show that Angela was interviewed on concerning the book.





11 comments:
Woah! Hi and thanks for this humungus post, Grim.
Somef notes:
1. I meant that the traps can get all mounded up with the scalenes (not "scaliness") and that lengthening out those tissues can allow the arm to lengthen. It's not just muscular - it's a whole way of learning to inhabit the shoulders. The shoulder blade also gets more mobile. Ultimately the humerus can drop down in the socket if and when it wants. The whole shoulder girdle just learns a sort of neutral attitude. It's not a trick, more like the outcome of deliberate practice.
2. We didn't make a pick-up vid at the workshop last weekend, because the school shooting in Connecticut happened just before the gathering started. The tone of the weekend was quite broken-hearted and tender - not a great time for silly side projects. That's I asked my brother to post the vid we made at his house last summer - I thought it had some pick-ups in it. Was wrong. Will make another vid with him next time I'm in Portland to visit.
3. The durvasasana isn't all that smooth - I almost fall out of it! Sharath has been known to joke around with me there a lot - including by telling jokes or trying ever so gently to knock me off balance. He is REALLY funny.
4. Karen and Grim and I have been talking about the whole notion of practicing quickly, and keeping extraneous movement/ attentional furry to a minimum. Yes. I was initially trained to be very analytical with the postures, and to value "correct form." The emphasis since Dominic started teaching me in 2007, and in Sharath started teaching me in 2009, has been clarity and simplicity of movement. And, yes, very strong fire. Which translates into a degree of speed.
Speed and simplicity are related, but sometimes there can be one without the other: I had a big injury in April 2011, so practice became very slow for a while, but there was still an emphasis on simplicity and clarity. Faffing around is both a sign of a cluttered mind, and a cause of it.
Much love, AJ
Garrigues is very keen on the the fire of practice -- and a kind of animal inhabitation of the body. I believe he specifically mentioned the straightforwardness of animal energy; no inertia due to thinky stuff, just confidence and a kind of joyful movement.
Thanks for the notes.
I remember you mentioning the scalenes (mac autocorrect really doesn't like that one), still wonder if the arm movements that Ramaswami so often uses throughout VK are useful there. I tend to do a five minute version of my ten minute version of his forty minute tadasana routine to loosen up and focus the breath as soon as I get on the mat in the morning, lots of shoulder rotation going on there. he has one I always forget to do where the arms come up above the head, fingers link and stretch up then the arms come down and out to the front in a kind of ark then there's a reversal of that movement. Mohan seems to do something similar in his Virabhadrasana sequence poster doing the rounds this week. I'll do a post on it in the new year.
You pick up a couple of times in the first video, properly too, lifting up and then bringing the legs back and crossed before taking them through. I've been too lazy to do that for a long time and tend to just lift up with legs crossed. i should get back into good habits.
Yes saw you wobble a little in the second Durvasana (smiled). I was the same, one would be OK but more often than not the other would see me hopping around the room. I don't practice it so much these days, occasionally add it on after eka parda sirsasana in 2nd as an extension. I was getting straight but not as straight as you manage here. Amused at the thought of Sharath teasing you.
Perhaps faffing was the wrong word ( but i like it, the word not faffing about itself) I try to keep my practice very...deliberate but I might take an extra breath here and there, in kapo say, a kind of focussed stretching and lengthening on the breath, in Mari D these days too. What amazes me with your kapo is how your straight in to the posture. Reminds me of iaido (sword drawing art I practiced in japan for a while). you don't take out your sword and wave it about a bit but at the right moment, sword comes out head or two comes off, blood shaken off and the sword returned...your kapo is something like that ( if that makes ANY sense at all).
http://youtu.be/K7cGxipO_IA
Hi Karen, Merry Christmas.
I like David's video's a lot, I found his dynamic approach to straight leg jump through useful for instance. Now, however, I've gone back to that delicate little jump through of Sharath's, almost a step through, no wasted energy at all which kind of characterises Sharath's approach to practice for me, I love his economy. I'm tempted to think of Sharath and David as polar opposites in their approach to practice ...but perhaps that's too simplistic.
'House recommendations' must be the best Ashtanga related read I've seen in ages. Thanks for posting it.
Balances out some of the nonsense I spout throughout the year.
Practcing late again this morning (too much Port) , going to feel it next week when I'm back at work and have to get on the mat early. Thankfully we're on short hours between Christmas and new year 10-4
No, no no, I didn't intend it to be a comparison to anything you post yourself at all Tony. If you start getting too intense for me, I turn the page, or take a break. Ha ha!
But I'm like you, to a certain extent; I don't see much of my teacher so, some of the tips within her 'house rules' help me to get more nourishment and understanding from my time on the mat. For that, I wanted to just drop in a comment showing some appreciation.
..... some of the 'mind' stuff has been bugging me a lot lately, and it helped there too.
Port?!! You reap what you sow mate. Over here Tequila flows a bit too freely in town!
Hi Grimmly, Merry Christmas!
I'd like to see a jump back post for people with long legs ;)
Like your note on Sharath's economy of movement. Yeah. He adjusts that way, too.
Kapo drama is legion. Shinzen is useful in this regard - learning to untangle the emotional, discursive and physical layers of congestion. Learning to move directly does cut through - iado or a kali skullcap move. But it's only appropriate for certain bodies on certain days, right? My Sunday kapo is pretty creaky lately.
Durvasa - fwiw, I've been practicing that posture pretty much every Mon, Tues, Weds and Thurs since 2006 (Dominic started working with me that fall, if I remember, not 2007). So it looks like it looks. But I still wobble and fall down pretty often. Such a big difference between the stills and the moving pictures, you know? As I mentioned, my brother made and posted the vid - he wanted to do it as a neverending loop that couldn't be fast-forwarded or re-wound, for viewers who would bother to just stop and watch it without... faffing around.
Your recent comment about Prashant Iyengar have me intrigued, btw. On which more later.
XO
Anyone with particularly long leg jump back's please apply within.
Couldn't resist sharing a little of Prashant's book with you, new post up here giving a peek inside.
http://grimmly2007.blogspot.co.uk/2012/12/a-peek-into-prashant-iyengars.html
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