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    Green Tomatoes

    ByElizabeth

    All the tomatoes were picked green. Those that are red changed color, but did not otherwise ripen. Still, cooked for a long time in the slow cooker with lots of red wine, they will make a fine sauce. 

    I am reminded by the tomatoes, I was reminded at a yoga workshop with Elena Brower that I attended this weekend, a really good question is what are you going to do with the resources you have?

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    The Capitoline Venus (and Sruti)

    ByElizabeth

    The Capitoline Venus arrived in DC last week from Rome–the first time this circa 200 CE sculpture has been out of Rome in nearly 200 years. What makes it especially beautiful is the apparent softness of flesh of the cool, carved marble, the seeming etherealness of the ancient solid stone.

    Looking at the Venus made me think about how carving in stone can help us understand the concept of sruti. The hindu scriptures generally are classified as either sruti (revealed) or smriti (remembered) and until recent centuries were passed on through oral tradition. Those scriptures that are sruti are said to have been revealed by a divine source to the original listener. They were already there as part of the wholeness of the universe and then manifested to a particular enlightened being in a way that could be witnessed and passed on. The essence of the text was always already present, but not tangible, until it was revealed in the mind of a listener, who then passed it on.

    Carving in marble takes both the emergence of idea and form in the mind/imagination of the artist and the revealing of that idea from the original stone by the craft of the artist. The sculptor has studied and practiced art and is always open to the emerging into consciousness of a particular image or idea, just as the great yogis continuously meditated and studied, open to what might be revealed.

    As the sculptor may find the block of marble first or have the idea and then go looking for the right stone to express the idea, the yogi pulses between experiencing spirit and enhancing the experience through practice. It is not just an act of imagination that builds and creates something out of nothing. To some extent, the form of the final sculpture is already there in the stone. The work of the artist is to remove that part of the stone that is obscuring the witnessing and expression of the exquisite shape revealed from within by the educated and painstaking act of making art.

    Peace and light, E — Posted with WordPress for BlackBerry.

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    It’s a Fine Line Between a Grimace and a Smile (and satcitananda murtaye)

    ByElizabeth

    The New York Times just published a blog entry on the perils of faking happiness.   The first problem with the article was that I could not get to the study to see if I agreed that the actual premise was that “faking a smile” was what led to a deterioration in mood or feeling unduly pressured by a need to do so regardless of what was going on inside was the problem.  The second is the definitional problem of what it means to “fake” a smile.  I think it not unlikely that contorting the face into a fake smile (i.e., grimacing) because one feels one has to do so does not improve mood when one is in physical or emotional pain.  According to the little cover blog, though, those that made an attempt to smile from the inside by thinking a positive though–even though it was a conscious effort– did experience an improvement in their mood.

    Any good method actor will tell you that to make an outer expression believable, one has to cultivate inner thoughts to go with it (though that is still “acting”).  Having been taught by my mother by age six in preparation for my first school play performance, that to act I should try to “be an apple” a la Stanislovski, I disagree that intentionally putting a smile on your face cannot help improve your mood. It’s all in how you fake it ’til you make it.  I have long advocated to my yoga students, based on my personal experience with the practice of smiling whether I think I mean it or not, to try smiling on the outside improve mood.  Even leaving aside the inner experience, just walk down the street with an open posture and a smile on your face and see how people respond, though I caution to do this at your peril in New York.  When you smile at people and be polite, they generally respond in kind.  You are then much more likely to feel good than if you are scowling and rude and people respond back in kind.

    What on earth (or in heaven’s name) does faking a smile until you feel one have to do with satcitananda, you may find yourself asking yourself at this point.  The second line of the Anusara invocation is “satcitananda murtaye.” Murtaye, from the same verbal root as murti or statue, here is usually translated as saying that Siva (from the first line) embodies the characteristics of satcitananda, being (what I like to call is-ness), absolute consciousness, and bliss.

    Another way of looking at this phrase, though, is that when we open to the possibility of discovering our siva nature, which is the reason we practice yoga, and when we use the principles of alignment to help do so, then we discover how to be, if even for a moment, simply present, fully conscious, and blissful with the consciousness of the ultimacy of being.  In a word, when we soften and look within, using the knowledge and experience of our teachers and our practices, a smile of recognition lights us up.  If we start out having a bad day, feeling stressed or anxious or in pain, or just plain grumpy from reading the news, we just have to practice with more depth and sincerity to find the smile and not beat ourselves up if we are struggling to find the smile despite our desire and the intensity of our practice.

    Is that faking a smile or being the smile?  Does trying to smile when we are feeling blue really make us more unhappy?  I think it is all in how we do it.

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    The Svadharma of the Pinky Toe (and Radical Affirmation)

    ByElizabeth

    Svadharma, from sva (self) and dharma (duty) means our personal path, duty, calling, or place.  The principle of svadharma is a significant teaching in various yoga texts, such as the Bhagavad Gita, especially emphasizing the importance in acting in accordance with one’s caste (for example, Arjuna needing to act in accordance with his dharma as a warrior) or one’s sex (consider Sita’s role in the Ramayana).

    Extrapolating this teaching and taking it onto the mat, during one of the practice sessions the previous week at the Certified Teachers’ Gathering, John Friend said that “every part of the the body has its own svadharma to increase the pranic flow.”  He then said that if you just took a photo of the feet of an Anusara yoga practitioner in any pose, you should be able to see that the whole body was fully engaged and active.  John Friend’s teaching here was not just using the yoga philosophy as a catalyst to better understand the body.  By using the principle to illuminate the practice, the practice reflectively illuminated the principle itself, without denying or denigrating its original context or getting bogged down in its historical baggage of perpetuating the caste system and demarcated, subservient roles for women.

    Thinking about the svadharma of the pinky toe has no such baggage.  The pinky toes are homely looking things, they do not fit well into most women’s shoes, they rather painfully bump into things, and they are hard to move independently.  They are not essential for living and do not have the emotional charge of the heart and brain, the exquisite connection to the world of the sense organs, or the connection to life itself of the lungs.  Despite this, the call to lift and spread the toes, to draw the pinky toe toward the heel, or the hip happens just about every time I go to the mat in my practice or teach a class.  Activating the pinky toe by opening it and spreading it apart from the other toes is a conscious act of opening that helps hug the shins to the midline.  In hugging the shins in by means of activating the pinky toe, the yogi on the mat can then safely move the thighs back and apart, creating an expansion of the pelvic floor that provides room for more strongly tucking under the tailbone to access core power.  The pinky toe thus is an important part of our practice, even if we could manage to get by without it.

    But the svadharma of the pinky toe on the mat is not just to be able to help us access the movement of “shins in” so that we can better do “thighs out,” although that is an important physical part of its essence.  The toe does not move on its own.  We have to start by bringing our awareness and consciousness to the toe.  Part of the pinky toe’s svadharma, then, is to invite the infusion of consciousness to show how full participation of even an apparently insignificant part of the body can lead us to a better understanding and personal experience of the pulsation between reaching out and hugging in and affirming ourselves.   By intentionally bringing our awareness to the power we can unleash in the pose by the movement of the pinky toe, we bring the opportunity for greater strength, expansion, and flow of energies.  This is why, I think, John Friend suggested that by just seeing the toes we should be able to know the engagement of the whole body and mind in a particular pose.

    As a practical and therapeutic matter, recognizing and bringing into play the svadharma of each and every part of the body serves to help us increase the flow of energy and expand our range of movement.  In addition, activating the parts of the body that are inclined to slack (for example, the pinky toe or the adductor and abdominal muscles) will bring ease to the muscles that tend to overwork to compensate, such as the neck and low back muscles.  We are not just stronger and more flexible when every part of the body does fulfills its svadharma, but we eliminate much pain and suffering.  (More to come on this particular concept in other posts.)

    Off the mat, when all parts of the whole are fully conscious of and know their svadharma, the whole will itself have more consciousness, more light, and better experience the bliss of being.  It is easy to see, without judgment or question, that the pinky toe cannot do the work of the heart, although when the pinky toe is working it can help contribute to an integration of mind and body that will further the opening of the heart and thus the whole person.  Finding our svadharma as a whole person within society does not have to be about conforming to preconceived social norms that no longer serve.  The better we are able to understand where we are in time, space, and the interconnected web of being, though, the more fully we can participate in leading society itself to a more conscious and light-filled place, just as bringing our conscious awareness to the actions of the pinky toe can do the same for us as individual yogis on the mat.  When we recognize and live out our true svadharma as such, we radically affirm ourselves, the community, and the very essence of all being.

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