Newsletter Archive

 


 

8+1 things I learned about the body

by Brandy Leary

 

 

Over the past 12 years I have moved between Canada and India to train, study, teach, perform and choreograph work that integrates the dance styles of Chhau (Seraikella and Mayurbhanj), Kalarippayattu(South Indian Martial Art) and Mallakhamb (Indian Aerial rope).  All of these movement idioms pay homage to the ancient practice of yoga through their systems of training, philosophical frameworks, meditative practices, mythologies and physical vocabularies.


            Throughout this journey I have been blessed with many great teachers who have given openly, respectfully, wisely and with great reverence and even greater discipline.  I have lived for many months at a time in semi tribal villages without running water or electricity, danced in temperatures of 50C plus, performed before Kings and Queens, been witness to ancient rituals of seemingly impossible feats and learned deeply about the humbleness of practice and its transformative dimensions.  I thank Scott and Matthew for asking me to think on this subject, it was a joyous distillation.

 

8+1


2. Physical vocabularies that have been refined through thousands of bodies over hundreds of years are fluid and powerful systems with infinite combinations.
For me this falls into the idea of collective resonance, where a movement idiom can accumulate  deeper dimensions of energy, richness or significance through the contribution and participation of many, over long periods of time.  It first occurred to me in a consideration of the vocabulary of Modern/Contemporary dance and that of Indian dance.  As a vocabulary system Western Modern Dance is a 20th century evolution  where  Indian Dance forms have had a longer development path over the past few hundred (some claim thousands) of years.*  This experience for me is similar to being in an ancient temple or church that is still in use today and then being in one that is brand new.  Both are places where people gather to worship, both often are stunningly beautiful, breath taking even, but somehow different.  The difference for me lies in the layers of energy that have washed through and saturated a place or in the case of a physical vocabulary, the body.  This energetic layering is not just the viewpoint or energy of a few, but of hundreds and thousands of participants over vast periods of time resulting in endless permutations, fluidity and combinations.

* this does not ignore the fact that many Indian Dance forms as known today are the result of revival and reconstruction in the early 20th century as part of the Indian Dance Renaissance. However this period of codification drew on pre-existing dance traditions and vocabulary.

 

3. The poetry of the body springs from the finely tuned energetic system  and not solely from external physicality.  Inner grace fills out the physical manifestation of form.
We all love virtuosity to some degree.  Brilliant feats of physical prowess slightly tinged with an edge of danger are truly  exciting.  However thrilling these experiences can be I often find them fleeting, like a sugar high that has an intense rush but then a deflating and sometimes disappointing crash. It is like perfection.  Watching perfect technique  is really only interesting  for about five minutes, unless there is something more underneath.  This is not to say that poor technique should ever reign supreme but  if it is not supported with an inner grace or expression it can appear as empty form; beautiful but lacking in substance.  This inner depth and grace opens the body up to a multitude of truths, meanings and questions that create transformational moments.  The ability to drop into this level of working comes from not only tuning the physical instrument but also from tuning the energetic one, our subtle and expansive body.

 

4. Every form, every movement you create should have rasa.
Rasa is a fundamental  aesthetic concept of the Indian performing and visual arts.  It derives from the Sanskrit word which literally translates as  'juice' or 'essence'.  It is the inner life of the work, the movement or the moment being created and is that which gives it a fullness, a  depth, and is the essential element  for something to be transformative   It is the ineffable inner grace. It is also a relationship. What you create with your forms should have its essence translated to those viewing them, allowing the  event to be revolutionary for both the participant and the viewer. 

 

5.Patience is required for opening and evolving. Practice (riyaz) is required to cultivate patience.
Patience is the great gift of any practice.
Riyaz is the offering.  Riyaz is the countless hours of effort and practice put into any activity.  It requires sincerity, humbleness, dedication and discipline. Riyaz is our contemporary 10,000 hours. Riyaz is repetition.  It is work and joy and joyous work. It is a requirement.

 

6.Repetition
Repetition is reverence.  Repetition is depth.

 

7. Bhagavad Gita Chapter 4.18
karmany akarma yah pasyed akarmani ca karma yah/
sa buddhiman manusyesu sa yuktah krtsna-karma-krt//
One who perceives inaction in action and action in inaction is wise. Such a person is spiritually situated while engaged in all types of work.
This is the Gita verse that resonates throughout all of my endeavours.  I have read many translations of it which offer beautiful interpretations but perhaps the most stunning  is Eknath Easwaran's in which he translates action and inaction as movement and stillness. I look for this quality in everything and seek it in my performers when I am creating.


8.The quality of power has many different interpretations and expressions.
Power in the west is often viewed as competitive,  physical, militaristic, corporate or political.  Our images of physical power are often about exerted force, bulging muscles and extreme feats; amazing or dangerous, often better if they are both.  Indian movement languages offer different and multi layered explorations of what power is, how it is created and how it is expressed.  Central to these practices is the element of tapas or the creation of intense heat often through physical tasks  that master perceived limitations of physicality by drawing on inner resources, control and fortitude. This heat or fire is the transformative element.  It  involves the resources of both the body and the mind.  Power is an inner quality as well as outer, a spiritual element as well as a physical one.

 

9. There is truth in the body.
 Consciously or Unconsciously we all know this.

 

1. The body is not real.
At the age of 24, I spent an extended period of time studying in the remote village of Seraikella.  Originally part of Orissa, now in the modern day state of Jharkhand, Seraikella is in the tantric belt of eastern India spilling out of Bengal and through Orissa.  The annual Chhau dance festival is associated with the  the spring ritual rites of the Chaitra Parva celebrations that occur throughout this area.  The rituals are ancient and have shifted over the years but root themselves in the relationship of Shiv/Shakti through numerous tantric and bhakti rites. There are many physical tests that the participants under go through out the festival period including two weeks of prescribed fasting and on the final day a series of rituals that involve walking over hot coals, lying on beds of nails (that have been split and sharpened) and piercing the flesh with hooks while suspended from great heights.  These activities occur on the morning after the dances have finished, when the community has been up all night witnessing and dancing the stories of their world, ending always with the Mahishasura Mardini (Durga's slaying of the Buffalo Demon).


            At the time I was just beginning to get an inkling of the possibilities that you can transcend seemingly physical limitation; hours of intense dance practice in gruelling heat was opening up my body and mind to that possibility.  Hours of repetition of the same movement phrase confronted my ego and deepened me. However, after two weeks of rituals, three nights of dance festivities and the culmination of the rites where I stood in a crowd of thousands watching the Bhakti s move through logically impossible physical feats, all accompanied with intense heat and drumming where members of the crowd, young and old, female and male, were falling into trance did I truly realize, there is more.  The body as we know it is not real.

 

 

A dynamic artist of diverse talents, Brandy is a pioneering Choreographer, Director, Dramaturge and an engaging Performer. Her work has been called soulful and sensual by John Rockwell of the New York Times, impressive by EYE weekly, fascinating by NOW Magazine, and more then thrilling by The Times of India. Seamlessly combining the ancient and the innovative, she integrates a mature use of various performance styles, combining them skillfully to create highly experimental and poignant performance experiences. She holds a BA Honors from York University where she specialized in Direction and Asian Theatre. Over the past decade Brandy has split her time between Canada and India to continue artistic training, performance and collaboration. She is an exponent of the Chhau dance form in both the Seraikella and Mayurbhanj styles. She has more than a decade of experience with the practice of Hatha Yoga and integrates both these physical languages into her innovative creations as well as serves the community as professional Yoga Instructor. She is the founder and Artistic Director of Anandam since 2000.

 


 

 

Creation, the Heart of Yoga

by Cresence Krueger

 

As I sit here in the humid heat of summer, my mind drifts…my birthday is next week...

One afternoon, in a summer long ago, when the thickness of the air was cut open by a thunderstorm, I pressed through my mother and was born.  Drugged into unconsciousness, she has no memory of this.  Perhaps the mystery of myexistence doesn’t loom largest for me, but for her.  Later that night, she remembers the nurses telling her that they’d never heard a baby cry so loud.  Through my childhood, I repeatedly looked to the story of my birth for clues to my identity.  But it wasn’t until I myself became the source, the force that drove my daughter through the universe to land, soft and moist and calm, between my feet, that I understood who I am. 

 

I knew then that I wasn’t separate from the immense power and intelligence of this world. 

 

I wasn’t separate from love.  It took many more years and my meeting Mark Whitwell to know that the most sophisticated understanding of yoga is in this same knowing, the visceral feeling of the heart that comes through direct participation in life.  It is simple.  When we have the strength to receive life, we experience its wholeness. Integration is effortless because it is our natural state.  Yoga, or union, is a Given and it is given most clearly when a woman gives birth. Consciousness moves into the world through her and as her.  She is the nurturing Source, the Goddess, Shakti, Truth, Reality.

Really. Literally.  Because the seen and the unseen are one condition.

Please let this sink in!  The means to yoga is through the Feminine.  Much of the yoga we practice is still rooted in a denial of the fact that we are an expression of Life in all its wholeness.  The young Brahmin men who brought yoga to the west had incomplete yoga educations framed in the patriarchal paradigms of their social and religious backgrounds.

They believed spiritual experience was only possible through a denial of the Feminine, a denial of sex and women and the Life that moves so clearly in the ebb and flow of our fertility.  In this denial of what we are, both men and women lose the profound spiritual ground of our own embodiment and experience.

 

The principles of practice enunciated by Krishnamacharya recognize that yoga happens in the merge of Ha and Tha, the Masculine and Feminine polarities of Life.  Of course, this is how new Life comes in.  When a woman’s egg is penetrated by a man’s sperm, the egg absorbs it and the resulting fusion reinvents the universe in the form of you and me.  We can enact creation daily when we let the exhalation, the Masculine, merge into the inhalation, the Feminine.  In the process, our mind is absorbed into the consciousness of the body and the full force of Life is free to move through us.  This is the point of yoga practice and it is also the challenge inherent in giving birth.

 

There is nothing to achieve by practicing yoga, only everything to feel.  U.G. Krishnamurti, a good friend of Krishnamacharya’s, felt a wholeness that was obvious, both to himself and  to the Hindu orthodoxy, who called him a living Buddha. Krishnamacharya said he was the greatest living Yogi he had ever met.  U.G., however, rejected the idea of enlightenment because he rightly understood that it is impossible to be separate from anything.  Recognizing your unity with all experience is simply the natural and rational thing to do because your unity is a fact of life. 

You began life as an expression of the union of your mother and father, and grew in the complete embrace of your mother’s womb.  The idea that we are born “clinging” expresses the fear and trauma that so many of us are born into, not our original state.For the disintegrated Masculine, disassociated from Life, the feeling of separation from the Feminine is terrifying.  Of course the mind grasps and nothing is ever enough.  But we do not come into the world alone.  A mother and child are born as one.  Linked to our mother by the umbilical cord and rooted into her by the placenta, even our emotions are one shared experience of the same hormonal flow.  Just because we leave our mother’s body at birth doesn’t mean we separate from her either.  The Life force continues to weave us as one.  The beauty and the wonder of this life is that we are individuals inextricably linked to one another.  Midwives and doulas speak of the “motherbaby” as one entity.  Breastfeeding makes the unified state of mother and child obvious but as a child grows and expresses its own autonomy, the Life force simplybecomes more refined.  Life is one thing and the Feminine lives in the reality of this, enfolding the Masculine in her embrace.

 

Relationship then, is the condition of Life.  It is real.  No polarity exists independent of its opposite.  When we acknowledge the union within us, the outer polarities link up too. We come into synch with everyone.  Vairagya, often translated as “detachment”, is best understood, Mark says, as “freedom relative to all experience”.  It does not mean to remove yourself from experience.  This is impossible, and the attempt to do so will cause you and those who love you, a lot of pain.  Understanding this is crucial to the relational structures we teach in, love in, birth in and raise our children in.  Real relationship is peace and it is therefore crucial to the survival and well-being of our world.   To be free with experience, merge with experience.  Doing this in the birth process lets the healing force of Life move you into a deeper connection with all that is. Let your child pull you into Life like the moon pulls the tide, in a wash of pure love!

 

 Death is often presented as a peak spiritual opportunity with no mention made of its original source.  In having the strength to receive Life when we give birth, women have the opportunity of passing on the receptivity needed for our continued regeneration. At the end of our life, we then have something to give back.  This receptivity is nourished in an intimacy of experience not accessed through conceptual philosophy or belief but in the fiercely delicate dance of relationship that sustains our world.  This is yoga.

 

Crescence teaches Yoga, works as a Doula and writes. Giving birth to her daughter at home in 1991 started it all. Two years later, she began to be with other women as they gave birth. Her intimate connection to Life is the blood and bones of her understanding of Yoga. Mark Whitwells transmission of the intellectual clarity of Krishnamacharya and the freedom of U.G. Krishnamurti supports her understanding. She only teaches what she has directly experienced. Ancient wisdom comes to life in each of us, uniquely expressed. Sharing this is strong motivation for her to get up in the morning.
http://heartofbirth.org/html/teacher_training.htm

 

 

 

Having trouble reading the the newsletter pdf? Download Adobe Acrobat Reader here for free.

 

Read Past Newsletter Articles:

•Michael Stone's May newsletter article on "Freeing the Body, Freeing the Mind"

•Matthew Remski's June newsletter article in "An Ayurvedic View of Cancer"

Heidi Bornstein's July newsletter article on "Bringing Yoga into the Schools"



 

 

 

 

 





HomeAbout UsMembership2010 FestivalCommunityPressContact
��Yoga Festival Toronto Inc.