JOURNAL

10 poses to keep you grounded

when life moves too fast Can intention cause happiness? Challenge yourself with arm balances

The splits? Yes, you can!

Bonnie Raitt. Ziggy Marley. Mohy.

Maroon 5. and Alanis Morissette

Devotion in motion + 10 FREE soulful & funky chants

DISPLAY UNTIL SEPTEMBER�. 2011

(� WorldMags

Quiet your mind-one pose that works

Ala.nis Morissette

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ALWAYS MADE INTHE U.s.A_

vtSITntE HAROTAII. RETA ... STORf. THlRO STRUT PItOME.NADE SANTA MONICA

CORe POWER YOGA lONOOMONOO E STREET DENIM RfARENDS

ORISHTl BREATHE YOGA BIVOUAC THE SPORTS ClUBILA

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EQUINOX

DOUG'S 2 SALON-SPA Montgomery

RICH,UD JOSEPH SALON Birmingham

RICHARD JOSEPH SALON SPA Birmingham

TONYA JONES SALON & SPA Birmingham

CHEZ RITZ SALON SPA Anchorage

OARAE'S SALON & SPA Anchorage

ElEMENTS SALON Fairbanks

AVEDA EXPERIENCE CENTU-CHANOLER fASHION CENTER Chandler

.... VED .... EXPERIENCE CENTER-LA EN( .... NTAOA Tucson

AVEO .... EXPERIENCE CENTER-PARADISE VALLEY M .... Ll Phoeni.

AVED .... EXPERIENCE CENTER-PARK PLACE MALL Tucson

AVEO'" INSTITUTE TUt50n

DISTINCTIVE S ... LON & SPA Phoeni.

AVEDA EARTH MONT 11

Congratulations to each and every salon listed below! You've reached beyond your goals to help our network reach our goal of$4 million for clean water projects in our communities and around the world. We applaud your efforts and are amazed by your fierce and distinguished service as Water Warriors.

Learn more-and find Aveda-at 866.814.0506, aveda.com and facebook.com/aveda.

IMAGINE SALON AVEDA EXPERIENCE (ENT£R- GILA RUT SALON SHEAR BUSS Surprj�e GARDENS ON n PASEO

Palm Deser! San Diego San Franci5CO

MANE ATTRACTION SALON GILA RUT SALON- OfAY THE LE"'OING EDGE SALON Phoenix AVEDA EXPERIENCE CENTER- Chula Vista Santa Rosa

GLENDALE GAllERI" MOOD SWINGS Glendale GLENDALE SALON SPA VICARA SALON ANO SPA Tempe Glendale Rancho Cucamonga

AVEOA E�PERIENC( CENTU-OHANA SALON AND SPA HILLSDALE HAAS & COMPANY VIZ IONS ARTWEAR Scollsdale San Maleo HAIR DESIGN AND SALON

Los Angeles Menlo Park PERRY MONGE SALON AVED ... UPERIENCE CENTU-PhOMi. HOLLYWOOD & HIGHLAND HOT SHOTS S ... LON YOUNG ATTITUDES

Hollywood Vacaville La jolla UD OTS SALON Flagstaff .o.VED ... E�PERIENCE CENTU- KAREN ALLEN SALON & SPA

NORTH COUNTY FAIR Riverside Escondido AVEOA ACAOEMY

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Santa Barbara LEGAR SALON fLATIRON CROSSINGS AMENITIES-fiG GARDEN PaloAI!o Broomfield Fresno AVEDA [�PERIEN(E CENTER-

ROSEVILLE GALLERIA LU� SALON SPA AVEDA EXPERIENCE CENTO-ARTISTRY HAIR OESIGNS Roseville fullerton

PARK MEADOWS Fremonl Lone Tree

... VEOA E�PERIENCE CENTER- MIZU SALON UPTOWN AVALON SALON SOlfTH COAST PLAZA Half Moon Bay

AVEOA INSTITUTE Pallerson (osla Mesa Denver

NIRYANA .... VEOA E�PERIENCE CENTfR- .... VED ... EXPERIENCE CENTER- Los GalaS

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Los Angeles Thousand Oaks QUE BElLA SALON (ovina

BERENICES SALON ....VED ... E�PERIENCE CENT£R- AVEOA EXPERIENCE CENTER- Denver BROADWAY PLAZ .... V .... llEY fAIR RETREAT SALON & SPA Walnut Creek Sanla Clara Los AliOS

([NTH S ... LON ""'ada

AVED ... EXPERIENCE ([NTER- AVEO'" INSTITUTE SAlON ... MOUR' r ... SHION VAllEY Los Angeles Wainul Creek

CENTH 54LON-San Diego TIffANY PLAZA

ESSENZ ... SALON S ... LON ... NO ... LUCI ... Denver AVED'" EXPERIENCE CENTER- Vacaville La Crescenla rOURTH STREET SHOPS EMINENTlY HAIR Berkeley rUSION 3 SAlONSPA- SERENITY SALON & SPA La�ewood •

LIVERMOH Seal Beach 3

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[VOlliTiON SALON BHOND SALON Denver SI. Petersburg

HAIR TECHNOLOGY (AMllL ... DAY SPA 8. BODY SALON Westminster

Coral Springs

COLORIST HAIR STUDIO HEADLINES-THE West Palm Beach W,,"SHINGTON PARK SALON Denver DORION HAIR AND

COSMETICS LA flURA Boca Raton Highlands Ranch

DREW lAMES SALON-POMPADOURS HAIR SALON PLANTATION Boulder Forllauderd�le

S ... LON A�IS DREW I ... MES SALON-Edwards SHERID ... N

VEO'" S"'LON & SP ... -VO'" Hollywood

Colorado Springs ESCAPE S"'LON ANO SP'" Nokomis

VIOA SALON Denver FACE THE DAY SALON & SPA

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Linlelon GREEN PERIDOT SALON Tallahassee

I. CON S"'LON & SP", ... NEW BEGINNING St. Petersburg Bethel

MISSION S ... LON SHINES"'LON SI. Petersburg Ridgefield

P",NACHE S ... LON St. Augustine

... VEO ... INSTITUTE Washington DC

PURE AVEOA SALON MounlOora

PYURE SALON ... VEOA EXPERIENCE CENTU- BonON BeACH CHRISTIANA MALL Boynton Beach Newark

PVURE SALON THE SU ... ND COCONUT CREEK Wilmington Pompano Beach

PYURE SALON WEtliNGTOH

"'S YOU LIKE IT West Palm Beach

Mary Eslher S"'GE S ... LON

... THEN ... land O' L�kes

Tallahassee S"'LON 8 ... MBOO

... V ... NTG ... ROE S"'LON Naples

Destin TRUU SALON

... VEO ... EXPERIENCE CENTER- Hollywood

... VENTUR ... M ... LL V"'N MICH ... EL S ... LON Miami Miami Beach

... VEO ... EXPERIENCE CENTU- WHOLE S"'LONSP", FLORID ... M ... U Orlando

Oldsmar

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... VEOA EXPERIENCE CENlER- ... VEOA EXPERIENCE CENlER-INTERN ... TION ... L PLAZ ... TOWN CENTER ... T COBB Tampa Kennesaw

",VEO'" INSTITUT[- S ... LON C",RCI ... J ... CKSONVlllE Allanla SI. Petersburg

STEw ... RT & COMP ... NY ... VED'" INSTITUTE-OU"'NDO Allanla Winter Park

V ... N MIC�"'El-HIGHL"'NOS ... VED ... INSTITUTE- Atlanta SOUTH FLORID ... Davie V"'N MICH"'El-

S",NOY SPRINGS ... VEO ... INSTllUTE Sandy Springs SI. Petersburg

w. O ... LY S ... LON & SPA "'VED'" INSTITUTE Newnan Tallahassee (� WorldMags

(ONTEMPO STYLING SALON THE BLAn CAr HAIR STUDIO Dubuque Kailua OE$IGNWOUS

Dubuque

1t"'N SALON 8. SPA GROOVY �"'TZ SAlON Meridian Iowa Citv

l( Rfv[ SALON & SPA

AYALON SALON & DAY SPA Nor'h Uberty

Deer Park NADIA'S SALON & SPA

AveOA EXPERIENCE CENTU- Cedar Rapids

OA�8ROOK CENTER SALON "'�I'" Oa� BrOOk Davenport

8EN E S"'LON SP", S ... LON S[VEN'O Barrington Urbandale

DOLCE VITA SALON & DAY SP ... S"'LON W Sycamore Des Moines

FOX H""R SERENITY ... VEO ... Chicago liFESTYLE SALON

GOR�ON SAlONS & SPAS West Des Moines

Chicago TALKING HE ... OS SALON

INDIR ... S ... LON SPA Grimes

Chicago THE S ... GE TREE-86TH ST

JON ... TH ... N K"'NE S ... LON Johnston

& SP'" THE S ... GE TREE-GR"'NO flossmoor Des MOines

KE MERIOI ... N SAlON & SP ... THE S ... GE TREE-E"'ST Elmhurst Altoona

LADIES & GENTLEMEN TRIXIE'S Chicago Des Moines

MODERN WAVE HAIR SALON ZENOER'S SALON & SPA Cary Iowa City

NATURAL CONCEPTS Peoria

GAl ... S"'LON S ... LON BLISS Manhattan Gurnee

LAO ... S ... LON S"'LON EFTHIMI", lawrence Burr Ridge

LOU & CO S ... LON SOC ... Lawrence Chicago

NEV"'EH SPA BLEU leawood South Barrington

PAR US"'LONCE SP'" BLEU Overland Par� WestOundee

PAR EXS"'LONCE-O ... K P ... RK Overland Park

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PURE CONCEPTS S"'LON Shelbyville

Plainfield PURE S ... LON ... ND SP'"

WILDfLOWERS louisvil!e

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... VED ... IN5TlTun-8aton Rouge

DES MOINES BELLA STYlE West Oes Moines Slidell

BE ... UTY IS K W ... TTS Indianola Slidell

BODY & SOUL S"'LON KEITH NOON ... N SALON "'NO SP ... Melairie Siou� City

L· ... V ... NT ... GE SALON & SPA CITY LOOKS SALON- Covington LlNO"'LE Cedar Rapids p"'Rrs P"'RKER

(ITY lOOKS S"'LON-Mandeville

WESTD"'LE PARIS P ... RKER Cedar Rapids Metairie

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PA�IS PAR�ER �ew Orleans

SALOl< DIVUSIONS New Orleans

AVEDA EXPERIENCE (ENT[R-ANNAPOLIS "'All Annapolis

AVEDA EXPERIENCE ([NTER-TOWSON TOWN (ENTER Towson

ElAl ... VED ... Roc�ville

SERENI S"'LON & WElLNESS CENTER Hudson

... VED ... EXPERIENCE CENTER-COPLEY PLACE MALL Boston

PVARA SPA & SALON Burlington

PYARA SPA & S"'LON Cambridge

AVEOA EXPERIENCE CENTU-SOMHSH NORTH Troy

CIRC'" VI S"'LON SPA Battle Creek

DOUGLAS J AVEOA INSTITUH Grand Rapids

ElWEll S ... LON Banle Creek

LOCKWORX lansing

PERFECT IM ... G E S ... LON Plainwell

STEPHEN J ... MES Rochester

STnE M"'STERS Garden Cily

"'Otvl'" SP ... S"'LON Cambridge

... ·S ... LONNA Stillwater

AVEOA EXPERIENCE CENlER 81alne

... VED'" HPERIENCE (ENTER-M"'ll OF ... MUIC'" Bloomington

... VEO ... INSTITUn Minneapolis

BODY & SOL SALON/SPA Lakeyille

EXHILER ... TION S ... LON SP'" B�fMo

JUUT S ... LONSP ... 5t. Paul

L"'S ... T ... S"'LON & SP ... rNC Rochester

LEMON w ... TER S ... LON White Bear lake

lIV ... VEO ... S ... LON & SPA MankatG

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NEW REflE(TIONS SALON MARK PARDO HAIR SKIN AVEOA INSftTUTE SIMPLY SW.o.HK SALON & SPA AVALON SALON AND SPA MapleG'Dve BODY-COORS Charlone Hudson Dallas

Albuquerque IT'S ALL ABOUT YOU NEW REfUUIDNS SAWN AVANT GARDE SALON-

Minnetonka MARK PARDO HAIR SKIN Concord DOWNTOWN eODY-JUAN lABO AVEOA E�PERI[N([ CENTfR- Austin

NEW REflECTIONS S.o.LON Albuquerque I, THOMAS 8. COMPANY WOODL"NO HILLS MALL

Plvmouth Jacksonvi lle Tulsa AVA,NT GARDE SALON-MARK PARDO HAIR SKIN G"nWAY

RUE 48 SALON BOOY-PASCO I"CI( RABBIT S,",lOH IHlOH SALON AND DAY SPA Austin Minneapolis Albuquerque Monroe Norman

,",VANT GARDE SALON-SALOH CHEVEUK ROCK PAPU SCISSORS ,"DE IHlDFF SALON AND DAY 5PA- QU"UY VILLAGE Maplewood S"lDN5PA Greensboro

SOUTH MEMORIAL San Anlonio

Santa Fe Tulsa SANCTUARV SAlONSPA MOI)ERN SALON-PHilLIPS AVEI)A EXPERIENCE CENTER-Minneapolis Charlone

IHLOFF SALON ANO DAV SPA- BARTON CREE� SQUARE MAll UTICA SQUARE Auslin

S"NCTUARV SAlONSPA ARAME NOElVNE lTD" Tulsa

Tonka Bay PorI Jefferson Fayeueville AVEI)A EXPERIENCE CENTER-WlllOWBROO� MAll

TAl SALON & SPA AVEDA EXPERIENCE CENTU- TOTAllV CHIC Houslon COLUMBUS CiRClE AVEOA EXPERIENCE CENTER-Brooklyn Park NewVork

Calabash PIONEER PLACE Portland

AVEDA INSTITUTE

AVEOA INSTITUTE AUSlin

GINGER BAV SALON & SPA NewVor� A DAVID ANTHONV BE CHERISHEI) UC AVEDA INSTITUTE

Kirkwood Lorain AShland Houslon AVUIA VANDAM SALON

GERVAIS DAY SPA & SALON HAIRV'S SALON NewVork ACCENTS SALON Medford

BEAUTY INI)UlGENCE I)AV Lebanon Chagrin Falls SPA & SALON

AVEDA WEST BROADWAY Sugar Land INSPIRE SALON LIFESTYlE SALON & SPA AVANTI SALON Weldon Springs NewVork Chesterland ADOlf BIECI((R I)AVANTI SALON & SPA

nABI! DE BUARDINIS AVEDA EXPERIENCE CENTU- Slrafford Denlon

(layton Cheeklowaga BEACHWOOO PLACE ART .. SCIENCE GASTON"S SALON & SPA Beachwood Philadelphia New Braunfels

NATURAllV PURE ECO SALON WebSler Groves Bronx AVEOA EXPERIENCE CENTER- AVEDA EXPERIENCE CENHR- GEOMETRIX

EASTON TOWN CENTU ROSS PARK MAll ... " PAR EXSAlONCE-lONA ROSA ElEMENTS SALON & OAY SP" Columbus Pil lSburgh Kansas (ily Auburn HIATUS SPA. RETREAT

AVEDA EXPERIENCE CENTER- "VEOA EXPERIENCE CENlER- DaUas THE BODV NATURAL SALON EUPHORIA SALON & SPA SOUTHPARK CENTER WilLOW GROVE PARK & SPA Buffalo Strongsville Willow Grove IACKSON RUIZ SALON Washinglon ANO SPA

HAIR DESIGNS BV MICHElE AVEDA EXPERIENCE CENTER- JEAN MADElINE- Auslin Vorkville TUrTlE CROSSING PLYMOUTH MEETING

SANCTUARV SPA & SALON Dublin Plymouth Meeting IOSEPHINE"S DAV SPA liZ RUSSEll & SALON

Billings New Vork BHLACAPElLI STUDIO )5 Hcuslon

MIlliE'S All ABOUT YOU West lake Newlon

IDSEPHINE"S SALON lLC AVANT SALON & OAV SPA S/llON & SPA BENEfiT STUOIO "NO SALON Pearland Omaha College Poinl Cinclnnall

AVEOA EXPERIENCE CENTER- K CHARLES & CO EllE SALON & SPA NATURAL LOOK CASAL'S I)E SPA ANI) SALON PROVIDENCE PLACE San Anlonio Grand Island Elmhurst Warren Providence

CASAL'S SALON AND SPA LEMONGRASS SALON

FIVE SALON PARLOR Fort Worth

Omaha NewVork Canfield ORCHID SALON Port Royal

MOCA SALON SPA MAlT WAVNE SALON � SALON HAIR COMPANY SALON For l Worlh & DAV SPA WebSler ANO SPA

Omaha Urbana NEIl'S HAIR NOW SALON ALLURE AVEO/l EXPERIENCE CENlER- San Marcos

POSH S/llON William�ville H[AI) QUARTERS SALON OAK COURT MALL linCOln

AND SPA Memphis SERENITV SPRINGS SCOTT J SALONS Lorain Brownsville

SWAY HAIR SPA NewVor� AVEDA EXPERIENCE CENTER-Lincoln

IBI DAVID THE M/lll AT GREEN HillS STRAHDS TED & COMPANY Wesllake Nashville Port Neches Stalen 1�land

JOHN ROBERTS SALON ElEMENTS SALON TANGERINE SALON SALON FORTE TRU SALON Mayfield Heights Jackson Allen Henderson Pillsford

lAOIES ANO GENTLEMEN NATURAL ALTERNATIVES TANGERINE SALON & SPA Lyndhurst SALONS Coppell

AVEOA EXPERIENCE CENTU- AVEDA EXPERIENCE (ENTER- LADIES AND GENTLEMEN Knoxville

TANGERINE SAlON-BRIDGEWATH COMMONS CRABTREE VAllEY MAll Mentor NATURAL OASIS -NASHVillE HIGHLAND VillAGE

Bridgewater Raleigh Nashville Lewisville

LAURA lEE RIZZIERI AVEOA SCHOOL fOR AVEDA EXPERIENCE CENTU-

Cleveland Heighls BEAUTV & WEllNESS HANES MAll PAVO SALON THE CONSERVATORY DAY Memphis SPA & SAlOH

Voorhees Winston"Salem LIGHT SALON Avon RACHH'S HAIR DESIGNS

Kingwood

SOJOURN SALON AVED" EXPERIENCE CENTER-Barringlon SOUTH PAR� NURTUR SALON

Memphis THE DAV SPA@fOlAWNS

Charione Loveland San Anlon io

AVEDA EXPERIENCE CENTU- AUREA SALON & SPA THE WilliAM EDGE

CARMONAS SALON STREETS AT SOUTHPOINT RDMETR""S SALON AND SPA New Braunfels & DAV SPA Durham Westlake Houston (�'W��ldMagS

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WOI (HIC SALO�/sPA AQUA SALON & SPA ElIANE'S K"'I� & SPA AIIEOA EXPERIENCE CENTR[-Katy Oak (reek Vantouver EATON CENTH

,WEDA ACAOE"'V Toronlo WilliAM EDGE SALON- AVEDA EXPERIENCE CENTER- EUROPA SALON & SPA DALLAS MAYFAIR MAll Edmonton Kelowna AVEOA EXPERIENCE (ENTRE I,ving Wauwatosa AvEDA HPERIENCE (ENTRE- Ottawa

FARfAlLA HAIR & ESTHETICS BESPOKEN SALON & SPA HORN8Y

Whistler AveOA EXPERIENCE CENTRE-Cedarburg Vancouver SHERWAY GARDENS

IWEO" INSTITUTE-PROIiO JULIETTE'S HAIR STUDIO EtoblcOke Salt Lake City ClOUD 9 OA,V SPA AVEDA EXPERIENCE CENTRE-

Sal! Spring Island Sauk (ity

PARK ROYAL "'IIEO ... EXPERIENCE (EtiTRE-F!!H SPIRIT HOLISTIC West Yancouver OH"'R.o.5 VORKDALE MOUNTAIN SPA CRIMSON SALON & SPA Vernon North York Liberty Fori Atkinson

AIIEDA EXPERIENCECENTRE� WEST EDMONTON OXYGEN KAIR SALON CAPElli KAIR STUDIO

NATURAL liFESTYlES CV KAIR COMPANY EdmDntun Keluwna Cullin&wuud Murray Lake Mills BOULEVARD KAIR STUDIO POPPY HAIR BOUTIQUE CIVElLO SAlON SPA-

[CCO SAlON Calgary VanC'luver OAKVillE

STEPKEN & BURNS S ... LON Fitchburg CKROME HAIR DESIGN OaKville & SPA STUDIO ONE-SALT SPRING

Burlington ENTOURAGE SAlON & SPA Calgary Salt Spring Island CIVElLO SALON SPA�QUEEN Sheb'lygan T'lront'l CREATIVITY SALON TOTAL ['CliPS SAlON eNYE' SALON AND DAY SPA & SPA LTD. & DAY SPA-SPALL CIYElLO SALON SPA-

AYEDA EXPERIENCE CENTER- Waterf'lrd leduc Kel'lwna ROSEDALE MACARTHUR CENTER T'lr'lnt'l N'lrf'llk ERIK Of NDRWAY SALON SPA DIVA SALON SPA- XTOPHER'S S ... lON INC.

Mequ'ln NDUHLAND

VanC'luver CIVElLO SALON SPA-BEAU TOTALE Calgary UPTOWN Burke ESSENTIALS SALON

DIVA SALON SPA- Toronto Verona WEST MOUNT ROYAL FIRST IMPRESSIONS HAIR FAME INlL. SALON & SPA MAK'S PLACE

Alexandria GAIA MI(ROSPA Calgary & SKIN TEAM Stouffville Franklin EXALH LE SAlON

Winnipeg MANGO SALON MAOISON'S Richmond GEMINI SALON & SPA Edmontun RITUALS IN HAIR & SKIN Ottawa

Kenusha HAIR MANTRA Winnipeg

SALON on SOL MANE STAGE Richmond INDIRA SALON SPA Fort Saskatchewan SALON POP Stralford

Appleton MARUT MAll Winnipeg

SALON DEl SOL- M ... NE STREET HAIR STYLING SHORT PUMP INDIRA SALON SPA Calgary VIGI SALON & SPA IN(. Owen Sound RiChmond Green Bay Brandun

PRIMARY COlORZ HAIR ROMEO SALON SPA JASMINE SALON & SPA & BODY INC

Waterluu Lake Geneva Sherwuud Park

AVALON SALON SPA-NORTtt A BETTER DAY SAlON, LLC STORM ttAIR GROUP-COURT Lake Forest ParK KALYPSO SALON RAPUNZEl'S SAlON Fredericton St. Catharines

Green Bay Canmore AVALON SALON SPA-SOUTtt A LA MODE BOUTIQUE & SPA STORM ttAIR GROUP-

Yakima MCV SALON & SPA RED BLOOM SALON- Fredericton FONTHILL Sun Prairie

DOWNTOWN Pelham AVEOA EXPERIENCE CENTER- Calgary AVALON SALON SPA-ALOERWOOO MAll NEROLI SALON & SPA

UPTOWN STORM ttAIR GROUP-LAKE Lynnwood Milwaukee

�ED BLOOM SALON- Frederkt'ln 51. Catharines 1S1AVE

AYEOA EXPERIENCE CENTER- Calgary (CliPS STUDIO INC. THESPAAT Ttt( REIUVENATION SPA Oromocto PACifiC PLACE Madison INTE�CONTINENTAL

Seanle SALON MONTAGE-Toronto

SALON 511 SPRUCE GROVE ELEMENT 5 SPA AVEOA EXPERIENCE CENTER-

Sheboygan falls Spruce Grove Saint John TRESSES UNIVE�SITY VillAGE Etobico�e Seanle SALON & SPA ON SILVER SttEA�S LA SPA SALON AND S�A

�AIL�OAO ST�EET leduc Moncton BEllA VITA SALON

Eagle River Seattle SWIZZLESTrCKS AVEDA EXPERI�NCE CENTRE

SALON AURA Edmont'ln SOUND SALON SPA Montrul fOXflRE SALON & SPA

Appleton 51. John's Tacoma VIVID ttAIR & ESTHETICS AVEOA MONfRE ... L lIf£5TVLE-

SALONE' lloydminster SALON SPA. ACADEMY GARV MANUEl '" Montreal Milwaukee AYEOAINSTITUTE , BHeAf-RArLTOWN Seanle SERENITV DAY SPA AVEOA ... CAOEMV Wolfville

GA�Y MANUEL PttASE 3 WaUKesha Vancouver DAMARIS SPA AQUA SALON

Seattle THE rNSTITUU Of BEAUTY & WULNESS CENTRE Regina AVEDA EXPERIENCE CENTRE-& WElLNESS HORNBY Amherst BELLA SALON GARY MANUEL SALON

Seanle Milwaukee Vancouver HERITAGE HOUSE Regina

TOTAL LOO� CONCEPT SALON AVEDA £XPE�IENCE CENTRE- SALON 8 SPA CHU SALONSPA HAE\rTUDE SALON AND SPA

Neenah MAYfAIR MALL Middlet'ln Seanle Sas�atoon

Viuoria REVIVE H ... IR STUDIO JAX SALON 8 SPA

TRES JOLI[ SOLAn Sydney

EUTE SALON & SPA

Gig Harbor Thiensville AVEOA EX�ERIENCECENTRE- Humboldt

PAR� ROYAL

SALON & SPA OOLCHE ULTrM ... n SALON & S�A West Vantouve,

Everett Onalaska ALESCO

CHANGES H"IR STUDIO Thorold VICI AVEDA INSTITUTE Kamloops Greenfield AVEDA A'LA ..... OOE SALONSPA EGO lifESTYLE SALON STORE

New Richmond Vancouver (� WorldMags "'�--"'''-'--'-'''''''--''

·.V •

"

features sing the soul electric 88

, ,

An Amtrlun Imt"" revolution turns chantlnq

God's name into something hlp as well liS holy.

�y 5"'Anon 5ulon �nd Ann. Ou�r"nkv

take the leapl 72 Discover the transformat!ve power 01 devotion

by lettlnq your practice 01 HanuminaSllni be

Inspired by the Monkey God himself.

by Sornldltt. 81,noy

feel the vibration 80 To s urvive life on the road, many rock arwl pop

slars h,Wl' turllfd to yoqa and then let It Iud

Ihl!m del!pl!r. Her!!, a few sharf their storlts.

�y 01 ....... """, .....

'" rio'''''

II september 2011

on the cover 10 poses to kelp you

qrounded when life

moves too last (69)

Quilt your mind-ont

POSt thlt works (93) Can Inl.ntlon CIUS.

happiness? (105)

CI11111n91 yoursell with

arm bal.nus 54

Ttl. splits? Yu, you

cln! (72) Ttl. Music Issue: Bonnie

Raitt, ZlqQV M.rltv. Moby.

MUQon 5, and Allnls

Morlsslttl 80

Devotion In motIon (88)

Plus 10 fr.1 soulful

"funkv chAnts (91 )

m •• t our cover model AI.nls Morlssett. rellecls on hOw her VO)Q� pr.ctlce has kept her QrouMed Ihrough

QruellnQ lour SChedules.

prepped her lor mOlhflhood. ana helped her 10 cultlvale

her hlghesl qualities. find an

In'depll' InterView with the rocker beo,nnlllQ on PIqe 82.

credits Model, Alanis Monsse!!e; top: Alo

Sport; pants: Omo,rl: necklace:

Cleo; wardrobe stylist; Ta.a Swen'

nen; prop stylist Jenn"fI s"rqul'

a.tIII; haif: Jill Crosby: nwkeup:

CoINn C.mpbell-<llwell. PrIolO'"

O.� by DAYID Io'IARTlN(Z.

SEPTElUtR ZOIl

contents II september 2011

departments

Inspiration

am 21 Sound .IIects Access your deepest sell by

harmonizim� breath and music; muslcl.n

Garth Stevenson composts In class; a mlli·

tary wile rediscovers peace; bedtime yoqa.

style 32 3111(els 01 you The modern yoq. woman

has at lust IS many looks IS the qoddess

Ourqa has arms.

living yoga 49 Stepplnq up TMfe Ife no sh4rlcutl to

Irut knowlnq. so rel ••• nd t.ke It one step

at a time. loy lI.tt Hole_lit

reflection 61 I • New York Ten years alter the Iraqlc

events 01 September 11, a voql consIders t�

cllV's slrenqth, and Iraqilitv. Ity V.,.tlt Reh'

self-discovery 105 SO\II's duire Uncover your personal

blueprint for happiness and let It qulde

vou to bliu, b, R<HI Str,ke,

media 113 Reviews 01 the lalest books. CDs •• nd

DV05, includinq Ram Dass on the 8haqavad

Glta; a practical guide 10 the yoga sutras;

and pre·natal Voqa lor iii moms·to·be.

yoga scene 132 Flip side Keeplnq both sides 01 the 5ell io

balance with meditation arid Haodstand.

health

eating wisely 39 KkI's menu Ralsloq a child to ul hullhfully

muns beioq wllUnq to constantly rewrite

I� reCipe. by Charily rUt.ll.

practice

challenge pose 54 Shin. bl'lqht Fire up vour COfe strenqth n

VO\llly Into TJtUbhasana. by Kttlll.,ft 8u<11q

home practice with mc yogi and amanda gJaconum 69 CrO\lndloq qroovlS 50\1nd aod motion

come toqether to help vou find VO\lr center

amid a Whirlwind life. by Kafeo Mackllo

master class with lisa walford 93 O,.wn InSide Your mind and senses

pull10wan:\ when you experlmeot with

tortolselike p.atieoce In Kurmasana.

EDITOR'S LETTER (14 J

LETTERS

VOGA PAGES 112'S)

LIVING WEll

CLASSIFIEDS C 129)

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t.!C Yoql ls taklnq �Irr.n to ne.,. heiQhts.

Watch I video oj the qfoundlnq sequence

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CALM AT HEART

Listen to audio Instruction le.dlnq

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the Ma$t� Class s�uence (paqe 93) created by Lisa Walford.

YOIj·journ.l.c:om/llv.m.q

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editor's letter II Ka it l i n Quistga a r d

mUSIC, sweet musIC Let this special music issue move you when you stream the accompanying tunes online.

On days when I'm just not motivated to practice. I can rely on discipline to get

me to my mat, but it's a lot more fun to let musie coax me there. After the first few

beats of a song 1 love, I'm swa)'ing or tapping or outright dancing. 1I.lan)' a time

when I've played the MC Yogi song �Golden Sun-Surya Namaskar" (on YouTube)

and he gets to these lines: �Inhale, reach up, touch the sun. Exhale, shine your love

on e\·eryone. Sun Salutation. Raise the vibration." -I simply have to take the bait.

Before you know it, I'm deep into practice.

It's no seCret that music can inspire and heal. It

can invite spontaneous roy. a connection with your

creative self, a sense of well-being not unlike what

you discover when praeticingyoga. That might

explain why there is so much enthusiasm these days

for combining the twO, and so many festivals and

classes where yoga teachers and musicians come

together to create powerful experiences.

In this special music issue, ,,·Ie Yogi (a.k.a Nich­

olas Giacomini) and his wife, Amanda Giacomini,

who are both yoga teachers as well as artists, offer a Home Pranice with musical

accompaniment, sure to transport you into a calm, centered place. (Su -Grollnding

GrlXlvts" 01/ pagt 69 for thr StqllfnU and tbr web/ink to tbi strtamllblt mtlSk.)

\Ve look at the new wave of yoga music that's changing what the community is

listening to. In -Sing the Soul Electric.- we explore the burgeoningkin,m (call and

response chanting) scene. in which anciellt Sanskrit mantras are increasingly set

to hip-hop, funk, and reggae beats. \Ve ask, Could these trend), rhythms be erod­

ing the art form's spiritual roots? Or could pop kinan music inRuenee nonyogis to

look for the love? As kirtan artist Donna De Lory putS it, �People don't realize that

pop music is full of manrras, but the mantras arc things like 'I want (0 party all night:- She and other modern kirtan stars arc creating an alternative �high vibra­

tion" soundtrack for modern life-spiritual music that makes you want (0 rump

and shout! Go on our website (0 hear for yourself. Find the link (0 [0 free songs

on page 91, under the heading -Funky Love Songs.-

\Ve also spoke to a number of artists who say that yoga is their balm for the

downsides of rock stardom, offering moments of stillness in which to remember

themselves amid the chaos of travel, loud music, and eelebrity. Sec -Feel the

Vibration" on page 80 for yogic insights from (;Over moJcll\lanis Morissefte and

others. Let it all be an inspiration to dive back into your practice and )'oursel[ +

SEPTEIoIBER 2011

W ... d ....

('cf WorldMags

letters I I

risin�up

Joyous " R ising" J am :1 professor of African studies and have worked in and on Rwanda since '994. What a joy to read �Rising Vp� (June 'II)!

The article giv(:s me 11 way 10 bring yoga inro mydassroom as [ teach my students the skills (coumge, kindness, and open­ness) needed to work with peopl<: who\-c survived war and OIhcr forms of violence. Yoga and meditation arc pari orille tool­ki t of my emerging researchers, and for­tunatcly, l-IampshircCollcgc offcrshatha yoga as a credit course for ilS srudents. The anicle was a good rcminocrof all that l owe to myown practice. '[banks. Susan Thomson Pelham. r.tassacllu§ells

Divine Recognition I have no words to express the change in my :luilUdc that occurred after I read your article on goddess meditation ("Goddess. Where Art Thou?� \Visdom, June ',.). Sally Kempton's Story direns us to the power generated by love, not possessiveness. You helped me connect to my innermost Self and live with a bliss that I never experienced before. Please continue to publish such inspiring works. Nulu R.n.n

Norll'! Brunswick. New Jersey

I am a Mormon wife who docs not take for granletl that I should PUI my hus­band's needs before my own. The notion that the wife should give up e"erylhing for the husband is cultural, not doctrinal. ('� ::",�ru'P7�'hl''''=-

perpetuated in YofllJour­

npl eGoddess, Where Art Thou?"). My under­standing of my religion is that spouses work as equal partners, in a give­and-take that has noth­ing to do with gender

and everything to do with recognizing the Divine in each other. There was no reason to bring religion inlO the discus­sion-�old-fashioned, � �repressed, � or "subservienl� would have carried the point. "Mormon� should not be used as a synonym for these words. Cryst.1 Radley Provo, Utah

Farewell, Friend Thank rou for printing the remembr:am;:e of Larry Schultz (""Rocket Man," OmJunc 'tt). \Ve grew up on the same block, and he was one of my closest friends. I W;ltehed him transform himself from "wild man Schultzie" to a yoga teacherwoo had found

his voice and his calling. His students told me countless times how tarry hadehangcd their lives. G"v BerQer San rranclsco, Call1ornia

Man Enough? "Look, Mom, Ihere's a man on the cover o( your yoga magazine," cheered my son, age four, on seeing Mati Pcsendian as the cover model (March 'tt), His voice was laden with glee, which surprised me, I had no idea that male role models were an cle­ment of practice missing (or him. Thanks for the [esson, 1"811 JOllrnlll. Am,nd. SI'!,pherd LonQ Beacl'!. California

\'(fhile I support using female and male models with a varicty ofboJyl)'pcs, I saw too much in "Fear No Backbend� Qune 'II). Call me a prude, but a man doing baekbcnds in Lyera pants i5 more than I care 10 sec. Please use more discretion. Ann rranke Woodland, Call1orniOi

Looking Good I have had serious concerns about the images o( women in your magazine. , am happy to say that the "'lay issue is greatly improved! My students lead a lener­writing activist campaign against nega· tive images of women in advertisements, because these ads have a measurable im­pact on girls' and women's self-image. Yogil Journlll is now off the target list. Thanks for practicing what you leach. Stfph.nl, A. Sellers, PhO

GettysburQ. Pflnnsylvanla

Riverdance I am a preschool tC3eher, and my class has been learning about the OCCOIn. After

T� "en;/w mSlr.-:tions.-.cl ;od'<lce I)<flefIteclln tl"lis 'NOIlInI! are de1JoMd lor """"""' wtlo are Inqood IINIth and �Iy r .... T� .... ' not intenoeG to substitute lor meokat counSfllno. The <mlon. pro<Iuc�!.. partld' pant!.. and di$trit)utOf"$ 01 \tIool Jootflll Olsc�im • .., liaCillty tOl lOSt Of Injury In < __ lion with the �.� $hown Of t'" tnSlf\ICtion.-.cl � e'PfflH(I lItreln.

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letters

reading �29 \'(1ays to Step Up and Protect Our $cas, Streams & \'(1ater Supply" (May 'II), I decided that tor one week wewould toeus on choices we can make (even at ages four and five) to help save Earth's water. OUT preschool is located ncar the Animas River, and we spent a lot of time picking up trash. \'(1e changed our anti­bacterial hand soap to a "fish friendly" biodegradable version, and a few days

latcr the entire school switched over. Onc morning I sat the children down by the water to feel respect for the river. One girl said. "We want to help you stay clean, River.� I fclt overjoyed seeing these chil­dren develop a sense of responsibility for protecting Earth's water. Klmberlle HoI/man Durango, Colorado

Tender Memories Thank you for your article about pairing yoga with ad,·entures. �Call of the \'(1jld� (June ',,) triggered tender memories from my experience teaching at Lake Alpine in the California Sierras each Septem­ber. Invigorated by the mountain air and

wamled by the lake's sunny reRection on our backs, we relax into a stillness that allows us to access our inner thoughts. l...ater on, this cnergy comes spilling out

in our wTiting and painting challenges. Jean Warren Bodega Bay, California

Enlightened Officials �Going Inside� (Alay'I') caught my atten­tion bc<:ause my nephew is currently serv­ing a five-year prison sentence. During

his incarceration he has foond yoga to be a useful anger-management and mood­changing tool. l\'ly wish for all incarcer­ated persons is that they have wardens and prison directors as open and as en­lightened as S. M. Salinas at Deuel Voca­tional lnstitotion. Name Withheld Williamson, New York

SEND fEEDBACK TO L.mfs. YogaJournal. 4i$ Silnrom. Strul. Suilt 8$0. s'm Frunr;J(D. CA 94" '; .mllil· kncf!;@yo&"joumal.con\·

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SWEET H A R M O N Y The power of music is undeniable. Jo.lusic moves

us. nut lIS effects go far berond oursurfacc: experience

of song and rhythm. If you've been to a symphony per­formance, you've heard the musicians simultaneously

runing their instruments to the same note before thlJ' begin playing together. If one instrument is slightly out of runc, the other instruments pull that instrument inlO tunc, in a seemingly magical but actually natural phenomenon known as ·cnHainmcnt,� the process of waveforms coming into sync. The result is a harmonious expression of sound.

On a visccral lcvd. WI:'vc experienced something sim· ilar when our breath or heartbeat naturally falls into sync with that of our loved ones, or when we've clapped or tapped our (ecI in rime at a concen or kirton. As

human beings. we instinc!i\'elyexpcrience synchronic­ity through bOlh hcaringsounds and fceling rh)'thms in our bodies. In no place is this more intcnsely and pro­foundly experienced for yogis than in a group roga cbss.

-:::- by Alanlla Kait'alya

or dMags

Ltl fOllnd and rhythm Itad yOIl

lowardjoy.

\'({hen we practice togcther, moving and breathing as one. we naturally (ome into

rhythm with one another-whether we're practicing to a Led Zeppelin soundtrack. a classic Sanskrit hbJjJn, or simply to the

sounds of our coordinated Ujjayi breathing. This visceral experience of oneness

through rhythm and sound is like a signpost pointing us to the deeper experience of yoga, the state of enlightenment. I had my first

hintsofthis in my firstJivamukti Yoga class, when the instructor seemed to perfectly time

the rhythm of our movements and breath with the driving beat of Krishna Das's �Raba I-I:muman� chant. By the end of class. I felt as though I could lie perfectly content in

YOGAJOUIINAl.COM 2 1

t. music

sweet harmony

e Savasana until the codoftimc. I've

had other moments like this while ..... aTking with groups to coordinate Sun Salutations without instruction, led only by our synchronous breath. A body of students moving and breath­ing in unison is similar to the mOl'e­rnent of a school of fish. The idea of leaders and followers falls away, and even if only (or a few momcnrs, every­one fcds what il is to move as one.

Nada yoga. or the yoga of sound, is 11 practice of engaging in (his natural pull ioward harmony. From this point of view, the goal of yoga, enlighten­ment or ultimate freedom, is to be in sync with all that is. It is perfect bal­ance or alignment. It is the dissolution of resistance, It is, as Sri Brahmananda Sarasvlni, the foundcr of Ananda Ash­ram, has said, �thc state where we arc missing nOlhing.�

We first learn to access this har­mony through outer means like music, chaming. kirtan, ;lIld even our coonii­nated Ujjayi breathing. As we go deeper in our practice, we deyelop a deeper Slate of awareness, a kind of inner listening that allows us to touch a perfect harmony within. E\'entually we can align ourselves with the most subtle vibrJlion of the un;''Crsc: what )'Ogis and mystics have described for millennia as the sound of am. This is the experience of music and yoga. It is profound and yet profoundly sim­ple. II is perhaps the sweetest kind ofjourne)\ because it is the one that will ultim3ldy lead us home.

AI".,u K";",,,'P il" yog3 .",J pbi/�/lIphy ""rbtr. " Ji.grr. II IlIngu.,.ifrr. ""Ii Ibt

IIufhorll!The Myths of the Asan:l$. Sb. il ixmJ it, Nt'W York Cily.

• I n sync DIscover a deeper connection

to yourself and others when you

focus on the rhythm 01 your breath.

SIT ne.t 10 a friend PICK a favorite song

or loved one and and do a Sun Saluta'

quietly notice how ATTEND a yoga tion while aligning

quickly your breath' class with a friend your breath with Ihe

ing falls into sync. and make a pact rhythm of the song.

You may also Iry to breathe in sync Notice how your

placing one hand with each other. A mood and energy

on your heart and nicely audible Ujjayi shirt when you

one hand on theirs breath will assist create this kind of

to feel how quickly with this. Lislen to rhythmic alignment.

your heartbeats fall your friend's breath

into rhythm. and, as you coordi·

nale movement and

breathing, see how

this focus changes

the energy of the

practice and deep·

ens your connection

with your friend.

S ( P T U U U I Z O I I

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'. people

movement A mUlicilln (OmpDm II IIJundtrllck to yoga pril{fi(t,

as muse

» (HIrth Stevenson's music has bun Influenced by YOQi since he first

brouqht his bns to. elen t.t,lQhI by Anus.,. VOQa tucher Elena Brower

at ill Wanderlust festival In 2009. Since then. the 2a-rear-old C"Mell'rI­

born Improvlutlon.1 �rlormer .nd composei'" !\as played his ethereal,

mlnlm.llst $Oundsc.pes (Ieoaturlnq double bass layered with ambient

wund) In danes .round the country. His new album, flylnt}. Includes 12

tricks conc.lv.cl thrOUQh Improvisation at Brower's Vir.YOQ' studio in

New York City, where Stevenson lives. The 78-mlrll,lle album (aY�IIIIi1ble on

lTunes) mimics the Ire o f . clau Irom warm-up IhrouQh deep relauUon,

allowlm� thlden!s everywhere to enjoy I'Ils Inspired accompaniment.

How did you compose tile music

on Fly/nq? The Iitie track I lmpro­

vised durlnQ Savasana one day,

Several people came up 10 me

afterwards and said, "Where can I

find that sonQ?" OurlnQ two years

of playlnQ In YOQa classes, when I'd pl;,y somethlnQ InteresllnQ, I'd

take It home, break It apart, and

record It properly In Ihe studio,

How does playlnQ I1ve durlnll

yoqa reed your crtalivt process? It's like IIvt scorlnq a silent 111m

for mt, Thtre's so much 10 dr;,w

from musically, I played In a class

of Kevin Courtney's that slarted

with ql 1I0nq, everyont 9'l!ttlnll

Into a breathlnll pattern, I played

rlQht alonll with them, and It turned Into this Qroove-all 01 us

In the same rhythm with a stronll

be<lt. The music went 10 <I place

I wouldn'l h<lve stumbled on playlnll

alone or in a traditional concert.

Why do you describe the teacher

and students as your "bandmates"?

lIkt Improvlslnll with any other musician, sometimes you Imlt<lle,

sometimes you oller a counter­

point. They 110 into Downw<lrd DoI;J,

I hit the lowest note on bass; every­

one's <lrms 110 up, the mUSiC 1I0es up, Bui ll they're In a strenuous pose, I mlllht play somethlnll oppo'

slte-beautllul and slow-to ease

Ihe Intensity. When everyone's

1I0lnll Inlo lull Whel!-l, I'll create a muslc.' arch to 110 with their physl'

(II movemellt. Pe-ople say, "I dldll't

thlllk I could do ttliJl ttllrd Wlleel,

but tile music helped me lIet up,"

How dots music ellhlnce the medllilive e.perlenct? Siudellts

h<lve said about my music durlnQ

Savuana, "I lell IIkt I was lIylllQ,"

or, "I was underwater surroullded

by humpback whales," or evell, "I complelely lorllol wllere I wu <lnd

who I was," Music, like YOlla, can

transporl people, For me, music Is

my meditation and Is enhanced by the prestf\Ct of the sludellts, II's <I mutu.' tXCh;'lllle, SARAH SAHIA�

a l isten " Iree dowllioad ol lhe Iitle trick 01 Fly/Illl (Ill be lound al yoqaJournal,com/linmaq,

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·. d iary

basic training

Far from home, a military

will!' rI!dlscovers the

heart of her practice.

» "two years ago J left behind my friends, my family, and the studio where I taught yog."I and moved to Germany to support my husband, who is on active duty in the US Aml)' \,({hen I arrh'ed al the military base. I encountered a sea ofidcntical uni­forms and speech full of mystcrious acronyms. Even telling time-using the 14-hour dock-was confusing.

With my husband's help, I searched for the local yoga communiry: Although I knew there were many yoga studios in Germany's large cities, we found none in the small rown near the base.

Disconnected from the life I was used to, I stayed in our apartment alone. Shiva Rca danced a(ross my lap­rop screen, and I chanted the Gayatri mantra bycandJe­light, uut neither ignited my spirit. Aly husband tried to enooumgc me, but our talks often turned into arguments that gmduallyescalated. until one day ' screamed at him, �This is not my Iife!� At that moment, I realized I had fallen off the mat. '·d stopped living my yoga.

The next da), J went to the base gym and asked if I eould teach yoga to the other armyspouscs. The man­ager smiled wamll}� �\"(fe need )"ou,� she said.

Mycl:lss included many women who were on constant alert, serving as their parmers' first line of communica­tion and support. Yoga gave them a quiet place of solace, achance to fccl connected 10 themselves and each other.

I hadn't bonded with the other wh·es before, but now I opened my heart to them and they reCiprocated. At the end of each class, I drank in the Sight of everyone smiling, hearts lifted and hands in namasu!. One day a student told me, "You make people's lives here bcttcr.� I realized then that I was truly living my life. My fcllow spouscshad made meayogi again. [!11K'" LIE'"

YOGA DIARV Shafl� your personal stories with us at yo�aJournll.com/submlnlonli.

. !J! •

• • • • •

love what is When you are going

through a difficult time,

sometimes nothing you

do to Salve your prob-

lems seems to help.

You struggle. but the

changes don't come. Can

you stop struggling lor a

moment and recognize

the goodness in the tife

you have right now? Try

this centering practice

for 3 to 5 minutes to

open to the beauty of

your life exactly as it is.

a l isten A n audio Yerslon o f Ihls med­

Itation can be found online al yo�aJournll.com/ll ... mI9.

Take a very dnp breath III

arid a very slow breath out.

Sit up very stralqht. Notke

that as your spine lenqthens,

your hearl OpellS.

Now breathe Inlo Ihe space

of an Opell heart-feel illto

the space of an open heart.

A heart thllt Is empty, a heart

that holds the whole world.

Breathe into a heart that

can hold the whole world.

Fnl illto a heart that call

Ilold tl"lt wllole world.

Breathe Illto the 5wntneSS

of this moment.

FHl inio the swntllfss of

this mOmtmt.

Allow yoursell to bf whole·

heartl!dly IIl1ye and well

In the life you hay\!, 1I0W. ROlr G-'.HS

s t P T U I 8 E II 2011

('� World Mags

We call this Chacolignment. chacos.com

• , •

'. kids

t he ABCs of zzz Yoga at bedtimt

ttllchu tirtd kids to soothe ,h,mstlfJtS.

» 1,'s a common source of stress for parents :as the school year begins: You want )'ourchildrcn to get a good night's sleep. but scttling down at the close of a busy day can be a struggle for many kids. If your child has trouble windingdown. try making a shorl evening yoga practice part of your bedtime routine.

MYOg.1 gives kids a tool to self-soothe. It's a way of let ring their bodies slow down al a nat­ural pacc,M says 1�,uricJordan, a children's yoga tcacher in Connecticut and 3uthor ofthc bed­lime yoga book Yawning 1il8'"

Jordan suggestS crcatinga 10- to Is-minute practice indudinga few asanas, breathing prac· tices, and visualiutions.

Younger kids can expel excess energy through

as:lnas and relaxation practices such as tensing and releasing muscles.jordan suggests playfully adapting simple poses. Happy 8aby Pose 0Ul be a -Bedtime Bug� that rocks back and forth; Standing Forward Bend becomes a monkey with long arms. For older kids, breathingprnctiees and visualizarionsean help them process the emotions of the day. Ask kids to spend time picturing themselves going to a place where they feel safe and happy.

'In close the session,jordan suggests this centering practice: l'lave your child rub her palms together and cup them over hercycs. Then have her rub her palms together again, first massaging the neck and finally placing the handsgentiyover her heart. KATHeRINe RA(

•

child's play EncouraQe your chlld's yoQa

practIce with kid'friendly media.

\f'rl-ub Alt Do Yoga, by Bobby

Clenne!! (Roomell Press. 2010).

A chceryyogini practices yoga with herdad and mom, and the family dog,

in this channing book. Wriuen and illustrated by an Iyengar Yoga teacher. the Story encourage kids to try 12 (6 �" 'oo, 0' .;';'� p�o"

Yogiiios: Yogafor Youth .. Tbt Story

ofGalluba, produced by Elizabeth

Reesl! (Yoqil'ios: Yoqa lor Youth. 2010).

This bilingual DVD includes a 15-minutc yoga sequence led by Elizabeth Rccsc­

founder of a popuw kids' yoga curric­ulum-and individual instruction for 11 poses.. The sequence includes a retelling of the story ofGanesh and features music by Donflll. Dc Lory.

jason Corcoran, and MC Yogi.

Holdi"g SliII lo "'ret Ibe BUlltrfly:

Altdilatiolls for Squirmy Kids, by EVI! Eliot (COSaby. 2010).

In a captivating voicc, meditation teacher Eve Eliot paints word pie­[ures that k.ids

will get lost in, allowing them to relax body and mind. This audio CD includes visualizations such as seeing yourself as a cat in the sun, rasdngand breathing favoritc colors, and pre­tending to be a bunerAy in a cocoon.

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I " • •

�

-.......... _ ... -......... ,.,.,. ..........

-- -

Men's One-

t.wel lness

DON'T BE A SLOUCH

Slave off back and neck pain with better posture.

» III today's screc:n-centric culNre, nearly everything we do-from working for hours at the computer to looking up movie times on smartphoncs­invitcs ouT upper bodies to round forward. And daily life rnrcly offers opportunities to streich up and arch 00(11:.

As a result, many people develop a nC3r-conStant hunched posture, which can contribute to back and ned pain as well as headaches. Often the stump is made worse by "forward head"; The head protrudes in from of the shoul­ders, and itS wdght pulls the chest inlo a deeper slump. And with the chin jutting forward, the' neck is stressed even more. This posture can contribute to the risk of developing repet­itive stress injuries such as car­pal tunnel syndrome. because it shortens the muscles in the

f

front of the chest and putS pressure on the nerves and blood vessels in the arms. Sit­ting crunched forward can also comprcss internal organs, con­tributing to rcspil"1ltory, cireu­lator); and digesth'e problems.

Yoga can help you break the hunching habit by teaching you to pay attention to your alignment, not JUSt when you're on the mat but all through the day. In addition, poses to counter:act slouching can cultivate strength and suppleness in the museles that support good postural align­ment. Try this sequence-daily, if you can-to stretch and strengthen your back and chest and enhance the mobilityof your shoulders.

Cuol K,.,uof!;s J yoga IMrup;sllll

Dukt I"" gru'it.� Md;r;ou Il"J IMIl"Ib.Jr,,/I-lraling Yoga for

Ned and Shoulder Pain.

/

S.I.bhlll.n. (Locust Pose)

WHY Strenqlhens the

back and core mustles. HOW Root dowrI through

your pubic bone as you

lilt your head arid chest.

Gomukh.un. (Cow f.ce Pose)

WMV Opens Ihe shoulders

and upper chest.

HOW Clasp your hands or

linqertips. or ust' a strap 10 bring your hands loqelher.

'- . Adho Muhha Sw.nlll.n. (Downward'faclng Oog) WHY Stretches your back,

.rms. and shoulders.

HOW Press evenly Into the base of your fingers as you

reach back with your hips.

Support.d Supln. Baekblnd

WHY Gently opens your

upper back and chest.

HOW Get comfortable with e_tra blankets If necessary.

and st.y lor 5 to 10 minutes.

5 [ P T EM B U I 2 0 1 1

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•

eating wisely II bV C h a rity Ferreira

kid 's menu Raisinga child to tol healthfllily

nItans being willing 10 constantly rr..vritt the rtdpt.

I have committed acts that, if you had predicted them to me five years ilgO, I would have said you were crazy. I have used a $100 All-Clad saucepan to make blue play dough. I have served macaroni and cheese from a box to adults I am not related to. I have ended relationships because ] couldn't bear to hearonc morc Story about how somconc's toddler gobbled up every­thing from spinysca urchin lopicklcdasparagus, while mine greeted every meal with thinly veiled suspicion thaI I was tryingto poison him.

�Don't make mcahimc a banlc.� said all the books. �Don'l lake your child's picky eating personally"­advice J found prcposlC�rouS. I'm a passionate (and

profesSionally trained) cook. I grew every single cell of this kid in myown body. How is that not personal?

In thebeg;nn;ng, mv child was a voracious and appreciative eater, and introducing him to the foods

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[ loved was a delight. I didn't believe in bland food for babies; whatever I made at mealtimes, J just mashed up a little bit, and he ate it. Roasted golden beets in tangerine vinaigrette. Garlicky white beans and greens. Vc�,'ctablc-packcd soups, stews. curries, «ahls. It was no surprise that his first words were all foods (one of the cutest being Mchickpca":l.

And then came toddlcrhood-thc age, experts agree, when picky eating begins, Toddlcrs arc on thc go, frcqucntly snack­ing, and thcy'vcgot lotsof stored baby fat to subsist on, all of which makcs them less likclyto sit still fora full meal. They're also just beginning to experiment with how much control they have over their envi· ronmcnt. �Toddlers are naturally rcsistant to Illany of the things their parents do," says Dr, Bob Scars, son of thc renowned pediatrician Dr, William Scars, co-author of Thr Portable Ptdiat,.ici,ln, and father of three. �Refusing foods is JUSt part of the toddler mind-set."

Around the time my son became a toddler, my work schedule gOt busier. If I camc home latc, I'd make us something fast and easy, likc a quesadilla or a grilled checse sandwich. I'd use whole grain bread and organic cheese, so .... -c weren't exactly eating fast food every night, but it wasn't what you'd call a balanced diet. \Vhen I did cook, he'd refuse 90 per­cent of it, and while ;n principle I firmly believed ;n saying, "This is what we arc having for dinner-you're welcome to cat it or not, as you choose," the practi­cal reality was that when his blood sugar dropped, I had a pint·size sociopath on my hands. So I"d let him fill up on a few fail·safe foods. Before [ knew it, those were the only foods he would cat. I hov­ercd. I wheedled [ argued, Frustrated and dispirited, I began to dread dinner. It was a battle, and, oh boy, was il personal!

A HEALTHY START

Every day, we hear Illore about the links betwecn dict and long-term health-the benefits of eating a well·balanccd and plant-based diet, and the negative effccts of consuming processed foods that have been stripped of their nutrienrs. Studies suggest that what you cat while pregnant

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and breastfccding can affect the Aavors your toddler will tolerate. So can a baby's first exposure to solid foods, which iswhy some C1<pcrts advise introducing baby to vegetables before fruit. Even genetics is now thought coplaya role in picky eating. There's no shortage of advice about how to cajole, entice. or frick kids inlO eating a healthful, well-balanced diet-and no shortage of guilt forthc momswhosc kids stand firm in their rcfus.aL

But most e"perts agree that as long as you're orfcringyour kids a varicl)'of whole foods [Q choose from-and Jlot making an

tips, not tricks You ciln f�ed your kids well ilnd keep your sanity In the process.

• fEED YOURSELf fiRST II's jusl like that safety talk they give you on the airplane aoout putting on your own oxygen mask before assls\lng your

child. Take care of yourself by choosing

the wholnome foods that please and

sustain you. SIretch your own boundar­ies by experimenting with new lIavors. In the process, you'll be modeling healthful eating lIablts.

• BE PATIENT BUT TENACIOUS "I

served kale or collards or some kind of green to my kids every day for almost two years before tlley ate tllem," says

Terry Walters, the author of Clelln Food

lind Cllllln Start. "I nevllr made Ihem IIal lt. But I wantlld them to know that this is what dinner looks like." Studies show that repeated exposure to foods

really does affect how likely kids are to eat thllm, so kllep trying.

• SNACK SMART Olnner Isn't Ihe only time to think about nutrition. Or. Bob Sears rllmlnds parents thai snacks arll

a low-pressure opportunlly to gilt In more of Ihll good slull (and avoid the bad). Here are some ideas to try: apple slices with almond butter; fruit and vegetable smoothles; raw veggles dipped in mashed black beans or hum­

mus; yogurt, with a little honey and cinnamon sUrred In.

issue of what they will or won't cat-the picky-eating phase is just that, a phase. -llley'll likely come out of it by the age of four or five, says Scars, who added that my dilemma was far from uncommon. The trick, he says, is bcingwilling to kC(!p your eycs on the biggcr goal of raising a healthy cater. �'IOddlcrhood is when par­ents come to a crossroads," he told me. �Oo thcy stick with offcring the hcalthy foods they were committed to, and let their kid barely cat for a couple of years? Or do they bring out thc less hcalthy foods they know their kids will cat, JUSt

• MAKE A COOKING CATE Choosll a

new reCipe each week and Involve the

whole famlly in peeling. mixing. grating. and stirring. Then sit down together and enjoy tile fruits of your laOOr.

• THINK �GO-TO," NOT "TO GO" In

Tile Cleaner Plate Club: More Than 100 Recipes for Real FOOd Real KidS Will Love, Beth Bader and All Benjamin sug' gllst having a handfUl of " fastllr Ihan

drlve-througll dlnnllrs" ln your wllek'

night repertoire, Including meals like poached or scrambled eggs over sau­

t�ed greens or steamed rice and veg' gles topped with feta chlleSe.

• GIVE YOURSELF A BREAK '"Lei go of the idea that you're going to be per­fe<:t 100 percent of the time, because It's just not going to happen," says

Bader. "I\'s kind of nltll 10 say. 'I'm

doing a good job, and I'm headed In

the righl direcllon: SOmetimes It just

feels good to be In that place.'"

S E P T E IoI B E R 2011

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to get in those calories? In my opinion, it's much better for a child to pick his way through a healthy meal, even ifhe barely eats anything.�

I was tired of arguing over every stalk of broccoli, tired of preparing endless iterations of bread and cheese. But more than that, I didn't want to lose sight, in this battle of wills, of what was really at stake. Gelling my recalcitrant offspring to take a bitc ofspinach might bea victory in the short term, but I knew that in the long fun it wasn't the way to teach him to appreciate the taste of good food and to recognize how it feels in his body. \'(Ihen it's no longer my job to feed him, J want him to have learned how to feed himsel(

ATTITUDE ADJUSTMENT

JUSt as I can't pinpoint el<actly when I went astray, so the way back was subtle, too. Graduall}\ I backed off a little. I lctgo of the worry over what my kid would and wouldn't cat, and started paying attention to my own appetite again. I made what sounded good to me and watched as my

son was drawn in to the tactile process of cooking. The question of dinner changed from what to feed him to what we could make together, and in the process we both discovered some new favorite dishes.

Perched attentively on a stool at the kitchen counter, he tore chard leaves from their stems and sprinkled Parmesan cheese and bread crumbs over the top of agratin. He stirred slivers of toasted almonds and

dried apricots into a sunny yellow (luinoa pilaf with saffron and orange zest. He scooped balls of fragrant cantaloupe and honeydew melons ro make asalad. He has become a pesto pro, feeding fresh basil, parsley, and even steamed broccoli into the food proccssorwith almonds and olive oil. I respect his likes (mushrooms and leafy greens) and dislikes (tomatoes and olives). \"'(Ie talk a lot about fresh, home­made, whole food-how it tastes and why it's good foryou.

Sweets and treats are on the menu. too, but they're almost always something we've made together. And once in a while, on the nights ,,",'C're iust tOO tired to cook, "'C have

"craz), dinner� (raisin bran and sliced wa­termelon was one especiall)' memorable

meaO, when anything in the fridge or the p.1ntry is up for grabs. This arrangement has an added 1>cnefit: I'm much less likely to make an impulSive junk food purchase at thegrocerysrorewhen [ know that bag of marshmallows could become dinner. My son is almost seven now, and while I can't daim heeats everything we cook to­gether, I'm happ)' to say that dinncrtimc is fun again.

Last night I gOt home late. I steamed some butternut squash tamales we had gotten at the farmers' market over the weekend and hastily heated pinto beans from a can. �Did you make thcse or buy them?" m)'son asked, prodding the tamale on his plate with a hint of the old suspi­cion. I started to el<plain that I hadn't made them but that someone else had, when [ saw that hewasalreadyeatingand I realized how far we'd come. +

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to help make this salad.

M-'KES 6 TO 8 SERVINCS

4 cups mixed baby lettuces

I y, cups cantaloupe balls I cup pecan halves. chopped

II> cup extra virgin olive oil

Y. cup honey Y. cup white balsamic vinegar

Salt ano pepper

Blue cheese crumbles (optional)

1 Arrange greens on 3 planer 3nd top with the cantaloupe and pecans. Z Whisk together the oil, honey, and vinegar in a small bowl orcup, and sea­son with salt and pepper to taste. Dress the salad with as much dressing as )'ou like (refrigerate any leftover dressing)

and sprinkl e with blue cheese, if desired.

Greens Gratin Tearing the leaves from the stems

Is a great Job for Uttle hands.

M-'KES 8 SERVINCS

2 pounds lealy greens (beet greens.

tumip greens. collard greens. chard.

kale. or a mix!. 10m into bite'size

pieces. tough ribs removed

1 tablespoon butter

2 scallions, whites and 1 inCh of

the greens. chopped

2 tablespoons unbleaChed

all-purpose Iiour

'J. cup whole milk

Y. teaspoon ground nutmeg

y, teaspoon salt

freshly ground black pepper

y, cup grated Parmesan cheese

2 ounces feta cheese. crumbled

(a!>out y. cup)

Y. cup walnuts

Preheat the oven to 350"F. Z Put a couple of inches of water into a (� �:,g, �', ��"'?b"k" i, i" " d

bring to a boil. Set the greens in the bas­ket, cover, and let steam for 5 minutes until beginning to wilt. Place [he greens in a 9-inch S(luare baking dish.

J Heat the butter in a small saucepan. Add the scallions and saute JUSt umil

translucent. Add the Rour and stir until the mixture turns golden brown. Slowly add the milk, stirring with a whisk to make it smooth.

4 Add the nutmeg, salt, and pepper to taste. Add the Parmesan. Stir until smooth, then taste and adjust the sea­sonings as desired. 5 Pour the sauce over the greens evenly. (You will have alot more greens than sauce.) Sprinkle with feta and walnuts, 6 Bake for 20 minutes, until the greens arc tender but not mushy and the feta

JUSt gets golden in places. Sen'e warm.

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Saffron Quinoa with Apricots and Almonds Saffron th�ads give this pilaf

a fun and sunny hue, MA,I\ [ S . StRVIN(lS

Yo cup Iresh orange juice

y. teaspoon turmeric

Pinch saffron threads. crushed

1 cup water

I cup qulnOil, rinsed

'h cup slivered almonds, toasted

'h cup thinly sliced dried apricots

Y. cup currants or QOlden raisins

1 tablespoon of olive oil

1 tablespoon lemon juice

Minced zest from 1 orange

Salt and pepper

In a medium saucepan, bring juice. tur­meric, saffron, and I cup water toa boiL

Add quinoa, cover, reduce heat. and sim­mer until liquid is absorbed, 10 minutes. 2 Stir in almonds, apricots, currants, oil, lemon juice, and orange zest. Season to taste with salt and pepper.

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Vitarka vicara ananda

asmitarupa anugamat

samprajnatah

In order to reach a state of

complete understandinq,

we must qo through a pro­

cess that progresses from

a superficial understand­

ing to increasingly greater

refinement and subtlety of

comprehension, until our

understanding becomes

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Tog" SlItr" [, 17'

l i v i n g yoga II b y Kate H o l c o m b e

A few weeks ago, a colleague and I were working on a grant proposal. We emailed it to a third person for review, who returned it to me in a format I didn't know how to work with. The next day, I apologized to my colleague for not making the suggested changes. "I'm so sorry; I'm not teehnologieallyeom]lCtent enough to work with this program." I said.

She calmly looked at me and asked, KHas anyone ever taught you how to usc this program?" [ admitted that I'd never encountered it before. K\Vell, then, how could you be expected ro know how [0

stepping up There art no sbortclIlJ to true knowing, so relax aud take it olle step at a time.

work with it?" she asked reasonably. A light bulb went on for me-how many times had I felt bad e\'en, and you can movea linle more C]uieklyand

about myself or apologized for something I couldn't do, when I simply had not gone through the process oflearning how to do it? I immediately thought of Yoga Sutra 1.17, which says thai bcforeyou can know something, you first have [0 learn it; that understanding is necessarily a process of steps; and that this process takes time.

Patanjali explains that to learn anything, whether it's the practice of ),oga, Aueney in a language, or proficiency at a craft, everyone has to progress through certain stages of understanding. These stages are perhaps most casil),understood when yuu apply them at the most praetical leve!. \'(rhen you start learning [0 play the piano or knit, for cxample, you begin at a very gross level (vil"rk,,). Your cfforts are clums), and awkward, and you make many mistakes. As ),ou practice and progress to a more refined level of understanding (vic"r,,), your fingcring or your stitches become smoother and more

..

Ot dMags

e,'en get into a rhythm as you become more and more comfortable. As you conti nuc to practice, cvcntuallyyou come toa place of joy in the work (Pn"nda)-you arc so pleased with the results of )"our efforts that all ),ou want to do is pIa), the piano orknit.

WIth continued practice and effort over time, playi ng or knitting becomes so ingrained (psm;­

t"rllpa) that you are able to play complicated picees by heart or have a conversation while knitting abscm-mindedly. E"entually, through continued practice and effort-if the dcdication and the innate capability arc therc-you prog­rCllS to a level of undcrstanding and knowledge so

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deeply ingrained that it almost becomes 3 part of you Vllmprujmuab).

One of this sutra's prifl'\;lry kssons lies in the idea that the amount of lime the process takes varies. depending on both the person aJld the undertaking. One pcr­son picks up knining or a new computer program quickly and seems to go straight to the asmitarupa In'd, while another person seems stuck forc"crat thc clumsy beginning stage. Dcpending on the lask at hand, )"Our innate ability, :md the lcvel of effort you are indined to put into it, the process can be swift and caseful, or it can be a long, hard struggle. Regard­less, Patanjali makes it clear that you must progress through each of these stages in order to come to a place of total and com­plete understanding.

THE LONG ROAD TO THE SELF"

Of course, while it can be helpful to apply this sutra to juSt about anything you undertake in your life, from improving your communication skills to learning to play an instrument, what Patanjali is

ultimately talking about here is the pro­cess of refining the mind as you progress to higher states of yoga.

\Ve know that yoga is about refining the mind and cultivating dear perception SO that "'"Cean connect with,andact from, the place of the true Self. An important step in this process is changing our habits: replacing old ways of acting and reacting

with new habits that serve us better. Palanjali reminds us that this process

of personal growth and development, of refining the mind and changing our hab­its, is something that happens gradually, over a long period of time. And, un like learning to knit, it's a process offits and starts. There is a R.ash of clarity, followed by a period of nondarity. Then you might have another flash of clarity, followed by another period of nonclarity. Even as the flashes of darity get more frequent. you can still feci as though you're laking one step back for every tWO steps forward.

As you work with the mind and be­gin to notice your habits. you start to notice yourself responding to situations

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l i v i n g yoga

practice PATI ENCE and COM PASS ION

ONE OF THE IMPORTANT LESSONS In Yoga

Sutra 1.17 Is that you are not su"posed to be

able to master I!verythlnl� Immediately-and

I······ . • . . . . . • . . . •

your Choices. Instead 01 leelinGl down about your­self, do you want to put

In the effort to cMnGle? (Take a class to Improve your computer Skills?

Spend time practlclnGl your Spanish?) Or can you be content with the

skill level you have and be Iree of self'crltlclsm?

no Dill' else Is, either! Shift a pattern of being

critical of yourself or others by noticing when

thaI judqml!ntal voice starts 10 pop up and

Immediately courllerlnQ II with a true and posi­

tive thou9ht. II you lind vourself getting Impa­

tient at the Checkout line becausE! the cashl!!r Is

slow, lotus on the lact thaI she Is thorouqtl aod

,arelul. If you're feeling critical of your child's

teacher lor not rt'Spondlm� to I!malls ln a tlml!ly

manner, think about how great she Is In the

classroom. And II you're frustrated with yourseU

because you're having difficulty with something,

remind yourself of your other valuable Skills.

If you're frustrated by the lack of proQress ln your yoqa practice or In any other endeavor, cultl· vate patience and self' compassion by remlndlnq yourself that InsiGlhls You can also try this more formal

practice: Sit comfortably and take a lew relaxed breaths. As you continue breathing comlortably, a!low the mind

to sl!Ul1! on onl! pl!rson or arl!a whl!rl! you are lel!!im;J Impatience. criticism. or judGlment.

Over the course of the ned few breaths, acknowledge this situation or person "as Is" and then try to look at thl! SI!I!mlnGl dl!flclency Irom a morl! positive anGlle. lf lt is a quality In your­self you are unhappy wllh. uamlne

differently. You have some sueeess� responding to a tense situation from :I place of calm rather than reactivity, per­haps. Maybe you even pat yourself on the back for how far you'vc comc. And thcn comes a setback�you lose your temper,

or fall back into an old pattern of playing the victim, or revert to some other habit that isn't serving you.

Patanjali's lesson is to be patient�with yourself and with others. For most of us, there is no rushing the process of refining the mind, no skipping ahead to the next

stage, no quick fix. It takes faith,strenb'th, and steadfastness to achieve higher lev­els of proficienq, refinement, and under­standing, And by definition, your process cannot be compared with anyone else's.

and chanql! will coml! In their own time with continued dlllGlence.

This practice, whether you do It formally or simply reflect on It peri­odically as you QO about your day, can help to counteract the perfec­

tionism, Impatience. and hiGlh expec­tations that kel!p you from belnGl patient and compassionate with your­self and others. Ultimately It can

lead you to Glreater peace 01 mind In the midst 01 all your pursuits.

on the path of your own personal growth. It's also a good rcmindcr not to compare yourself with others who have skills dif­ferent from your own, or who find them­selves at a different stage in their own process. And it can help you extend this

s,1me patience and compassion to others, whether they're your co-workers, r.,mily members, friends, or children.

In this way, you can move away from an anitude of judgment and comparison to one of appreciation for your efforts and the efforts of others. You can feel empowered by the knowledge that you are enough. And you ean find spacious­ness in the feeling that so much is possible with determination and patience. +

Understanding this sutra can help you K<lU Ifokonthr is IIx foulldr�and prtsidtlll of

remember to respect your own process tht 1I000profil liralillg Yoga Foulld,,(iOll ill Sail and timeline, to be gentle with yourself Fr"urisctl fhcalingyoga.orgl.

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Tittlbhasana Is a demandinQ pose. It requires a good deal of strength in your core, hip flexors, and arms to lift your pelvis high and bring your thighs parallel (0 the floor.

Fire up your core strength as YOII fly into Tittibhasana.

It's a pose (ha[ asks you (0 give a lot, so I recom­mend saving it for days when rourenergy is high and you feel really Strong. But see if you can soften your mcntal approach to thc pose.

You can do this in rvmways. First and foremost, maintain your connection [0 your breath through­out the sequcnce, Second, focus on manifesting the actual name of the pose -FircA): \'("e all havc an inner light waiting ro be fired up, To shine this light around you, you m:ed to access the energy within you. So, compact your hips up into the pose, recycling cnergy into yourself, as you eXlcnd and reach the legs out into space, inviting energy to shine OUi. You'll also feci a nourishing energy as the legs hug the arms. As

YOII S(]uecl'!e in with the legs, imagine that you draw this nourishing energy in, Asyou e>':fend the legs out, imagine thaI your light shines brighter, making an offering. Confidence will build along with case and lightness in the posture. As you take Right, you're likely to find that you've been shining all along.

watch

c h a l l e n g e p o s e

BEGIN YOUR PRACTICE

by w.rmlng up your legs, hips, .nd core wllh " lew

rounds of Sun S.'ul.tlon.

T.ke Coli-Cow Pow Ifter

your fJ�1 Adho Mukhl Sv.­nlwnl (DownwarcH'KlnQ

DOQ Pose). Then continue by wuvlng Ihe loll owing

posu lnto your Sun Slluta'

tlon vlnyasa: AnJanevaSlna

(Low Lunge), ParlVftla P.rsvakonasana (Revol�d

Side Angle Pose) with the b.ck heel 1llled, Ind High

Lunge. After your IIn.'

Down Dog In Ihe I.st round

01 your Sun Salutes. lake

MlllSanl (G.rland Pon) for 5 10 10 breaths to open your lower b.ck .nd spine.

Then come b.ck to Down

DOC) .nd continue wilh Ihe

following sequence.

« bUQ walk You'll conlinue 10 open your hips IS you

encour.c�e more mobility " ong your spine

In Bug W.lk, ' standing v.rl.tlon of TIWb­

haWrII. From Down Dog, w " k your leet

toward your hands, slep Ihe feet hip-width

apart, and lold Inlo Ult.nawn. (Slalldlng

Forward Bend). Bend your knees and take

both .rms between your legs, wr.pplng

your .rms .round the outside of the shins

,nd piKing tile palms on your feel, with

the fingers and lou pointing In the SiIIme

direction. II thl$ l$ 100 Inlense, keep your

h.nds behind your c.'ves.

Once you've set up your torso .nd .rms,

starl 10 gently utend Ihe baCks 01 Ihe

1"9$, moving them toward str.tlght. Extend

Ihe sternum and gaze lorw.rd, keeping

your neck solt. At this point, you'll look like

W .... d ....

• turtle poking lis head out Into Ihe world

to we whll's going on. You mly want to

stlY right where you are now Ind simply

enfoy the opening In your lower bkk and

hamllrlnqs; or, II you feel rel •• ed and con­

nected with your breath, you c.n t.k.

yourseU for • little walk. Keeping .very­

thing In position and starting with your

right fOOl, walk .round I n . elrel •• When

you come back to your starting poInt, lIft

tne left foot fI�t .1Id walk yoursell .roulId

in Ihe opposlt. direction. Then slowly r,­

luse your arms and torso Irom between

your legs and fold into Ullanasana lor

B to 10 breaths. From here, step blck

to Chaturlnga and then move throuqh

Up Dog and Down Dog. Then st.p or hop

to the top 01 your molt into Ultanasana.

sEPTU'a[R 2011

c h a l l e n g e p o s e

tlttlbhasana (firefly pose), preparation » This preparatory position brlnljls your body weight onto

your arms, setting up your torso and Il!gs for flight. Bend

your knees, take the arms between your legs, and push

your hands, one at a time, Into your calves to move your

shoulders behind your legs. rold here as deeply as possible

while remalnlnQ comfortable. Place your palms on the mat.

shoulder'wldth apart. Hug your shoulders with your Innl!r

thighs and bend your knees to slowly lower thl! hips.

Lift your right foot off the floor, kl!l!plng thl! knee bl!nt as

you hug your Innl!r thighs toward thl! midline of your body.

Thl!n 11ft your Il!ft foot from Ihe floor, kl!l!plng thl! knee bl!nt

and your gaze forward. Round the UPPN back on an I!xhala'

tlon, as you would In Cat POSI!. Shlnl! bright from within

through your breath-you'rl! almost there! If you'rl! at your

I!dge, bend your elbowS to releasl!, slttinq on the floor behind

you. Then move into Balasana (Child's Pose) to rest bl!forl!

finishing your practice. If you're stili fl!ellng strong, stay bal­

ancing on your hands to 11ft and open Inlo f'lrelly from herl!.

•

« tittlbhasana (firefly pose) flrl! up thl! strength In your corl! and hlp fjl!xors

and pull your energy In toward the midline of

the body by hugging your Inner thlqhs around

your arms. Kel!p your gaze and the weight of

thl! body moving slightly forward-this will help

you lilt your pelvis away from the 1I00r. AI

the saml! time, exaggerate the rounding of your

upper back-this will help you activate your

core and keep your legs parallel to the Iloor .

from there, prns your palms deeply Into

the ground to straighten your arms. Relax your

eyes and continue to breathe. feel thl! bright

sensation of lightness that comes from con'

necting to your Internal strength through your

breath as you fly In Tlttlbhasana. Hold for 8

breaths, and then bend your knees to gently

set your feet down In front of you and fold

forward into Uttanasana.

If � .. � � fiNISH YOUR PRACTICE by releasing any tension that's developed from this strong pose by moving with your breath

through Chaturanga and Up Dog, and then back 10 Down Dog for 3 10 5 bruths. With your bl!lIy relaxed and your spine long, bend your knees and resl ln Child's Pose for 1 minute.

Kathryn Budig Is a vin­vasa flow teacher who Is based In Los Angeles.

Learn more about her at �athrynbuclj9.com_

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Then. 11ft your torso and sit I n Val' rasana (Thundl!rboit POS!!) with your thighs togethl!r. big toes touching and heelS apart. Take a moment to obse�e the powerful eflect 01 this pose and

feel gratitude for the opportunity to explore the brightness of a firefly. +

S E P T E Io4 B E R 2011

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UII years after the tragic event.s of September 11, II yogi cOllsiders the

city's strellgth, alld fragility.

new york

The dust was everywhere. Fillingside­walk planters. fogging store windows, set­tling deep into cracks. It was doing what dust docs best: cover, coat, infiltrate. The consistcncy of talc, the color of concrete, it was like toxic snow that was blanketing lowest Manhattan.

\,(,hen I saw the mind-hailing moon­scape a few days after the attacks, I imme­diately thought of vihbllti, or sacred ash. Several years before, when I was living on Maui as a posteollegiate fledgling yogi, a friend brought me alinle baggieofwhitish ]lOwder (rom India. To ashram-cnchanted me, this was primo stuff. And indeed it is to Hindus: Vibhuti issupposed to heal. It's often made from burned cow dung, but sometimes ghee is added, or Ayurvedic herbs. Thosc photos you've seen of naked Jlldbmcovered in ash?That"svibhuti. In its most potent form, it's made from crema-

!

tion ashes and is called the pnlllld, or sacred food, of fire. It's sup-­posed to represent the transcendence of death and karma-the God essence that remains once everything changeable has burned away. My baggie of ash smelled a bit sweet, like crushed roses.

\,(,hen I returned to my native New York from "Iaui, the spiritual dimeoogcamewith me. I groped into the real world-got adot-com job and scored a tiny apartment downtown. Then the tech bubble burst, and I freelanced. On the morning of September 11, lOOl, [ woke pondering deep questions: lip-gloss or lipstick? black skirt ordenim? I'd been at my temp job on the loath floor of the \'<forld Trade Center'ssouth rower foracoupleof weeks. It wasOK-there was a cute guy to impress (hence the fashion crisis). My supervi­sor, Lizie, and I had shared leftover conference-room papaya the

" Ot dMags

•

• •

week before. And my cubicle mate, Denise. was a devout Christian with a sense of humor. One day when J screwed up, I said, �Jesus!� And then, remembering the crosses on her desk. quickly added, �Pardon my French.� She gave me a sly smile and said, "I don', ,hink that's French.�

BYlhe time I entered the \VorldTrade Center concourse that morning, newsstand workers were yelling, �No! Don'teome in here!� Asa New Yorker who is hard to fate, I reluctantly turned and headed outside, on the off chance it was more than a broken pipe or a fake bomb scare. I looked up and saw the north tower burning

YOGAJOURHAL.COIoi 61

reflection

against a clear blue sky. Everyone was stopped, staring up. It was nearly silent, and the only movement was officI' papcr raining down from the sky.

I was officially fazed. As I Aed nonh, I called my mom, remembering that my last email to her had said: �I had no idea how gorgeous the view from the 100th Aoor would be." \Vhile I was reassuring her, I heard an explosion behind me and didn't look back.

I gathered news from car radios. There had been an accident. A plane had Rown illlo the tower. No, it was twO planes, two towers: It was an attack. An attack like nothing we had known. I decided my apartment, 20 blocks away, was too dose. I landed at a church in the Villagc. Its doors opened to Fifth Avenue, with a view of the lOwers above the \Vashing­ton Square arch. Crouched on the Roor of a pew for protection, I ate the hard­boiled egg I had packed for lunch. Then I heard the screams of a terrified crowd from the street outside. My mind Ripped through possibilities: armed gunmen,

worse. As I dosed my eyes and breathed, a vision materialized behind my lids. I saw beings made of light, like paramcdic angels, swarming thc site of thc attacks in what seemed to me an extraordinary spiritual rescue effort. The vision lasted only moments. bot it left me feeling more peaceful and less alone. \'(Ihen I opened my eyes, a chureh employee was yelling: �They're down! The towers arc down!�

The moment opened into an incom­prehensible maw. I later learncd that my colleagues Lizie and Denise, along with 17} others from the company, did not get our. I've stared at pictures and counted windows, and gone over the timing, and realized that the boom I heard was likely Ihe end of thcir lives.

OUT OF THE ASHES Then, the un-uniteable ciry united. Our usually disparate, chaotic, jostling me­tropolis felt like a giant platonic ideal of a yoga center. There was eye contact, hog­ging, doors held open meaningfully, and �How arc you?" asked with a pause for a

real answer. �The whole city was reall), in a satsang,� says Ruth Laoer-Manenti, ajivamukti Yoga teacher and the author of the book of essays Sweepi'lg Ihl Dlisl. �There was this gentle, hopeful feeling. New York City did not want retaliation. I think the city saw that the),were made upof nonviolent people. Everywhere you went there was gentleness."

Byall reports, in the midst of dost and smoke and fear and grief, yoga centers were packed like never before. Indeed, anecdotal reporls said the only New York businesses thriving pOSI-9h I were bars and yoga studios. I would guess, though, that plenty of us who felt too overwhelmed for halha yoga had a nearly unprcccdented opportunilY to put our practice into practice: simply breathing into our pain, finding solace in a connec­tion to something greater, offering com­passion where we could.

Yoga teacher Sadie Nardini says her yoga studies helped her find the equilib­rium to walk 200 blocks downtown the day after thc attacks to help, as so many

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New Yorkers did, and make sandwiches for rescue workers at a roadside tent on

the West Side Highway, where ash, debris, and smoke werc hanging in the air. She used a Rumi quotation in hcr C13S5CS: \'I'lhcrcvcr you stand, be the soul of that place. "W'hcrcvcryou stand is not always going to be quiet and peaceful." she says. "How <:an we remain in aureore integrity while the world swirls around us?"

COMMON GROUND

Everyyogi in thccitylikclygrapplcd with similar questions. People often speak of the New York yoga community as if it were Oll(, entiey, when in fact the city is

a honeycomb of more than 200 studios, and within those, dozens of communities exist. [',;jch responded to the day in differ­ent ways with 11 similar heart.

The Ashtangis had synchronicity on their side-their belo"ed teacher, Sri K. PattabhiJois, was in town for the month of September teaching a workshop. � It was such a hlessing that he was in New York, � remembers Lauer-Manenti. �And

then he JUSt became leader, healer, source of strength. parent, teacher. � On Septem­ber 12,Jois held a Narayana Bali ceremony atAshtanga Yoga New York topray for and release the souls of those who had died a sudden or violent death. It proved heal­

ing for rhe Jiving, too. Classes resumed on the I)th and continued throughout the month. Ultimately, more than 1,000 students passed through his sweat)\ loving teachings. On the last day, he paired his usual short-shorts with an FDNY shirt.

Cynui Lee, the founder ofOA\ Yoga, hosted a sold-out benefit for a nearby fire station that had lost nine firefighters. She found the practice a powerful way to work with her own anxiety and PTSD. o;\'(.'e didn't try to make sense of it through language but JUSt sat together in silence and were processing it cellularly, � she says. ""It was just about being alive. Findingsta­bility, finding conncction.�

At least one downtown studio was, quite literally, born from the toxic ashes. Schuyler Grant was inspired to open a Stu­dio after watching the events from her Brooklyn rooftop. �The feelings of moti­vation and helplessness were so intense,"

S E P T E Io4 S E R 2011

Name: Ann Va., Valken ur9

Hometown:

Bonita CA

Who was I In my past life? F ' the 6 ye r!;' prior to be 11 "9 a yoga tea h .r, I was �) rY.f '9 up smooth,es as the General Manager

and lra "i!r at Jamba JULce

Why did I start teaching yoga? 1 fe In love with Yt.'9a r ght away Whenever I am

pa '�nate about something, I Immediately want to

share It I always wanted a career domg som€th 19 I love and that IS a part of me now

What special quality do I bring to the Yoga Works teacher training? Patlene e paSSion, humor and each training becomes a

t 9ht knit family

My favorite thing about the Yoga Works

Teacher Training? I h.,,,e two On .; the connection and bond that

c )mes w th ea h group of trainees and how each

train n� s u"\IQue The se ond that by te ling, I tim

Ie rr: '19 every C1:ly

A fun fact about me? I 'led In Eng -j Jntl! I wa 5 ane: 5 �e the age of .3 r ',orses a I tt- way through high -hool

I h d dr med I be ng a rof ssonal

show U'1lper

My 2011 teacher training schedule? I u .. taJght a 200·h ur tra,nllg

" C rbondale. CO, and Will be teaCrllng 3nother tramm9 In

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For more of Anne story (

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ref lection

Grant says. �Everyone wanted to do some­thing but didn't know what lO do." She rented spaee in a building four blocks from Ground Zero and started construction for Kula Yoga Proiect in January 2002. �One of the things that kept giving us pause was having a space that was about health and breathing in a part of the city where the air was so eompromiscd,� says Grant. So she bought air purifiers and sponged the dust herscl( The studio be­gan slowl)' but was instantly dose-knit. "It's hard to forge a scnse of camarade­rie in New York sometimes,� Grant says. �nut because of the situation therewas an immediate sense of tribe."

NEVER F"ORGET

Throughout the City, bumper stickers, tattoos, and murals implore us to �Never Forget� September II, but those words land odd on the cars of yogiS. �The truth is the opposite-it's not that you must remember; it's that it's impossible to for­get," says Stefanic Syman, author ofThl' Sub/If B()dy: Tbt St()ry ()jYo8" in America.

'''Never forget' feels like a way to whip up a certain kind of animosity, which is not productive in anyway."

In the weeks following the attaeks,our memories were scared by inlages from the TV news. \Ve watched as the planes crashed into the towers over and over again. \Ve saw the survivors covered in ash, hoMing their shoes, trudging north. \Vith Ouma bin Laden having been killed in May, our memories arc fresher than ever. In the immediate wake of his death, yoga teachers in most elasses I attended spoke out against celebrating anrone's death, and these words were on the Facebook page of pretty much every New York rogi I know: "Returning hate for hate multiplies hate, adding deeper darkness to a night alreadydcvoid of stars. Dark ness cannot drive out darkness; only light can do that. Hate cannot drive Out hate; only 10\'e can do that."

For those of us turned offby thc war, politics, nationalism, and profiteering that followed the attacks, yoga contin­ues to offer refuge, with its teachings on

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TRANSCENDENCE

A few years ago, after a period of an orf� again, oll�again yoga practice and being thrown by a life�threatening illness, I became a regular at the sweatY7 a.m. class at Kula Yoga Project's original Tribeca location. In that formerly dusted place, cleared for juSt this purpose, I regained my balance, I deepened my breath, I reunited with my body. That's what the whole city has done, in the spaces that were cleared of the ashes that baptized us into death.

Like the sadhus who cover their bodies in "ibhuti tosymbolize our ability to ffan� Kend death and karma through enlight­enment, we breathed those ashes and they taught us about losing, about being reborn, about our tenuous mortality.

u:c remembers the fragility oCher stu­dents on the day after the attacks. �PcQple did not do Savasana, � she says. "It was a

little tOO vulnerable to lie down on your back like that.�

Today, the dust is gone, along with the towers, m.1ny beloveds, and our illusion of a clear separation between life and death. \Ve are s(fonger in the knowledge that at our core, we arc what remains afterevery­thing burns away.

I don't know how many other yogis read the Book o/Common Pr4yer, but I find comfort in this funereal ode to loss, the cycles of life, and all that nel'er changes: "Earth to earth, ashes to ashes, dust to dust; in sure and certain hope orthe Res­urrection into eternal life."

Indeed, "'.cwill never forget. But I pre­(erthe otherslogan that circulated during that time, a poster that rcad: �I Love NY t\lore Than Ever," with the word "love" represented by a singed hean:. That's how the city (eels to me now-whole, and yet more tender forthe imperfect truth: The most infallible city in the world is fallible and, also, resilient. As we all arc. +

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" Ot dMags

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Their formula for prnctidng can be effective for any­one: When thcyneed stabilitv, theyprncticestanding and balance poses. \'(Ihen exhaustion hovers around them, they wring themselves out with twisting poses. When life calls for surrender, they refresh theirenergy with inversions. Forward bends and hip openen; help alleviate constriction in the lower back and hips.

1b balance your own groove, practice their sequence 10 a selection of MC Yogi's old and new world music with hip-hop beats and conscious lyrics (itt /illk ht/ow). If you long TO feel grounded, try holding the standing

poses a bit longer. I( you're depleted, go easy on the standing poses and spend more time in the forward bends and inven;ions. You can also, as Amanda sug­gests, select music that cithercalms you or makes you feel more invigorated. KAR£N MACKLIN

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Y O G " J O U R N " L . C O N 69

home pra c t i ce II w i t h M e Yogi a n d A m a n d a Giacomini

Adho Mukha Svanasana (Downward-Facing Dog Pose) Starl in Bal.nana (Child's Pose) with your arms reachinq forward.

Roll your shOUlders away from your ears as you lilt yoor hips

up ilnd lengthen your spine. Keep your knees bent aml lill your

slUmg bones, brlnQln\l a Qentll' arch 10 your lower baCk. Tl'len

gradually straighten your legs. Let your neck relax and talcl'

5 to 10 slow. deep breaths. feel the mind begin to quiet and

the back body elongate and release.

2 Utthlta Trikonasana (Extended Triangle Pose) St,lnd with your feet parallel and wide apart. rlQll1 foot oul90

degrees and lefl loot in slighlly. Ground t/'lrough all four corners

of your leel and bru'lll your arms Into a T shape at shoulder

height. Reach your ril;lhl arm forw/lrd and place your riclhl hand

on your ri9ht shtn or on the 11001'". Extend your teft arm up.

Take 5 to 8 deep breaths; then press into VOUI' feet to slowly corne

up. Repeat on the lefl side; tllen brlnq your leet back to parallel.

3 Utthita Parsvakonasana (Extended Side Angie Pose) Turn your rlQnt loot out "nd your teft loot In. Bend your rlQht

knee until it Is above your rlQht an�le and your thiQhbone Is

parallel to the lloor. Rest your rlQht forearm on your thiQh and

stretch your left arm over your ear. creatinQ a stronQ liJ'lE! of

enerqy Irom your lefl heel ali lhe way out to your left finQertips.

TClke 5 to 8 breaths and press Into your leet to slowly come up.

Repeal on the left side.

4 Ardha Chandrasana (Half Moon Pose) Turn your rlQht loot to the rlQht. bend your rlQht knee. and place

your riQht hand Clbout a loot In front of your riQhl pinky toe. lift

2

your left leQ and edend your leI! arm up. Firm your lower belly.

activate both leqs. and radiate enerQY out from your center to

your hands and feet. Feel a sense of Qroundinq through the right

hand and foot white you expand Ihrouqh Ihe left hand and loot.

Hold for 5 to 10 breaths. release. Md then repeat on the left side.

5 Prasarlta Padottanasana (Wide-legged Standing Forward Bend) Stand with your feet parallel and your hands on your hips. Inhale.

press down on your hips. and lenqthen tile sides of your waist up.

Exhale. fold forward. and place your hands on the floor. shoulder'

distance aparl. lnhale. extend your spine and reach your heart

lorward. Exhale. let your neck relu, releas1rIQ the top of your

head tOward tile lloor. Take 5 to 8 slow breaths. To come up. take

your hands to your hips. press throuqh your feet. and rise up.

6 Vrksasana (Tree Pose) Step or hop Into Tadasana (Mountain Pose). Firm your leI! leq

and place your riQht foot to tne inside 01 your left thiQh. Oraw

tile lOwer belly up and in. "nd IenQtnen your tailbone down.

Press your palms toqether at your heart. If you leel steady. lill

your arms up. Press the standlrIQ loot lirmly Into the floor. as II

you are rootlnQ down Into the universal enerQY that connects

us all. Take 5 breaths; then release and repeat on the lelt side.

7 Janu Sirsasana (Head-of-the-Knee Pose) 511 on the floor wilh your leQs extended. Send your rl!Jht knee

and place your rlQht loot to the Inside 01 your Inner lell IhlQh.

Inhale. and lill your arms up. Exhale. and fold forward. Hold your

$ [ P T U U U I 2 0 1 1

3

left wrist with your right haod or. il you can't reach. hold a strap

wrapped around thE! lelt loot. Press your right hip down and

firm your left thigh to thE' floor. Ta�e 5 10 8 breaths. tohal!! as

you come up and out of the pose. Repl!(li on the left side.

8 8addha Konasana (Bound Angle Pose) Bend your �nees and draw the soles of your feet toqether. 1I your

hips are light and it's difficull to sit up tall. sit on the edge of

a blan�el. Press the pinky-Ioe edges of the feet together and use

your thumbs 10 genlly open tne soles of the feel to the sky.

Slowly extend your heart forward toward your feet. Imagine

you are bowing to your inner teacher and coming home to your­

self. Take 5 to 8 slow breaths; Ihen Inhale to come back up.

9 Recllnlnq Twist Pose Lie on your b<lck and draw both �nees toward your ches!. lower

your knees to the ri�ht, keepinq them In line with your hips. II

you reel any strain in your lower back, place a bolster or blanket

between your knees, Take your len arm out to the side, Relax

here lor l to 5 minutes. let qo or any stress and remember this

mantra: What we hold in our back is what's holdinq us back.

Repeat on tne lell Side.

10 Viparita Karani (Legs-up-the-Wa1i Pose), variation Uft your lower leqs onto a chair. Aliqn your body symmetrically

and release your shoulder blades down your back. Turn your

head slowly from left to riqht a few times; then let your head rest

in a neutral position. Close your eyes and turn your attention

Inward. Inhale as you breathe love into yourself: exhale and shine

that love out toward the world. Relax here 5 to 10 minutes.

9

4 5

6

7 8

Y O � "' J O U R N "' l . � O M 71

(�world

.... .

('� World Mags

\ ..

If, wbtll you su ptoplt slide Into the �plilS. >'ou think thai they must be memhcrs of II different 'pc<:ies., you

might �hy awa�- from Ilanumanasana ()\Ionkcy God Pose). ii's II challenging auna and can be frumlltingl�' awk .... 'ard. But whether or not you eyer arrive in J full split with )"our (X'ivis roou'd 10 the ground and your hell" rising maJCsticall)- upward, you will find power in prncticing Hanurnanasana.

II:mumanasana isn't an casy poo;c . ..ar' !\oah Maze. II well-known Anusara Yoga Icachcrwho makes (,\'cry­IhlllS look effortless. YCt. he I.llys, he )0"'('\ it dC\pitc ,t� bei ng so difficult. 'Inc pose requires kccpingyour pdvi� balanced whIle your from lc� move, �lrajghl forward into deep flexion and )'our back leg goes directly back into dccpcxtcnsion, which means thai both )'our ham­,'rings and your hip flc:<ors need 10 he open.

yc�, Ilanunmnasana i$ (Iuite a �tret(;h ti)r Ol(ht of II'>, demanding intcMC dfo" and he:ln(clt dedication. Perhaps not coincidentall); the�e are among the ,·e�· :ttuibutc$ that students of yoga revcrc in 'lanuman, the l!indu deity for whom the pos.c i\ named. I bnu· man, who lakc� the form of a monkey. i� known a\ the emlxxliment of dC'"otion and service. \Vhcn �·ou

by Bernadelfe Birney @ pholography by Michael Winokur

··41 . . ..,.

practice this postUtl:, which resembles thegrcat Hying leap across the ocean that Ilanuman once made, with an undentanding of what he represents, the pose can become an exploration of your own de"Olion and com­mitment to service. It offcnan opponunity for you to consider what your practice, and indeed yourvery life. is devoted to and offered in service o[

the monkey's tale To get [0 this fertiicground,you need [O acquaint your­

sclfwith the legend of I I anum an, which is [Old through oneoflndia's most cclcbra[(:d texts, the Ramayalla. It's a I1Ipturous talc-an epic love Story filled with outra­geous chal""Jctcrs, dramatic plot twists, alld all mallner of magic and superhuman feats. Good translations of it read like literary novels. with such compelling action that you'll find it hard to put down. And the unfoldingdrnmas provide a magnificent backdrop for the protagonist, Lord Rama (a human incarnation of the Hindu god Vishnu and the prince of a vast king­dom). to model divine behavior, deliver philosophic:.U diseourscs, and test his mculcwhenconfronted by the most provocative and dire of events. h is a spiritual teaching s[Ory par excellencc.

\'(te meet Ilanuman in the founhjunda.orbook. of the lUmayana. At this point in the talc, Lord Rama (or just R.vn)has been banished from his kingdom. and his wife, Queen Siu, has been abducted by demons. Ram is searching for hcr all o\'er India, unaware that she has actually been spirited aw�y to the island of Lanka (modern..<J�y Sri Lanka).

There arc many versions of the story, but in one common telling, l l anuman meets Ram and immedi­ately discerns the prince's divine nature. \'(thi[e RlIm's origins lire indeed godly, his divinity is not something he wears on his shirtslceve, and many characters he meets tTelll him as they wouid any other prince. That I-lanuman recogni7.es the godlincss in Ram is our first due that Hanuman is tuned in, able [0 perceive some­thing greater than appearances.

Hanuman soon offers both his allegiance and his assistance to Ram in the quest to findSita. After fruit­lessly scouring the landscape, they at last learn that

your Journey starts here

Take a comfOflable seat all(! sit quletlv IOf several

breaths. Then Open 10 Grace (see "PIa ring with the

Principles," on P80e 76). feel lhe support of the

enerl�V around you. Turn inward and sel an intention

lor your practice. If you can't think 01 an intention,

consider embodying Hanuman's Qualities of courage,

dedication, and service today.

Warm up your body with J to 5 rounds of Surya

Namaskar (Sun Salutation) and a few standing poses

such as Utthita Parsvakonasana (Extended Side

Angle Pose)' Utthita Trlkonasana (Edended Triangle

Pose). and Virabhadrasana II (Warrior Pose tI).

I.!i' sequence bySfacey Rosenberg >

Sila was secn Hying south in the sky chariot of the demon god Ravana. Realizing that they mllSt cross the ocean to find her, Ram bcsccches the gods to dry up the ocean or to make it part for him. \'(then hisprnyersgo unans .... ered. he falls into an agonil:ing depression.

the I,ower of devotion Hanuman. from the depth of his devotion to Ram, taps into an inner power that allows him to grow to many times his normal size and leap across the ocean to Lanka in a single bound. This is the moment o( the talc that most yogis hear about, becausc the pose I lanumanas..1na is nalllcd for llanu­man's bold leap.

Once he lands on Lanka, Hanuman quickly finds Sita and introduces himself as Ram's servant, who has come to rescue her. Sita is grateful but refuses to go, insi5ling thai it is her husband's duty rosa"e hcr. I lanuman rcluetantlyleaves her in the handsof the demons but begins an attack on the kingdom.

Hanuman eventually leaps back across the ocean to Ram. There, he joins an army of monkeys and bears who construct abridge to Lanka, so thai Rani can march to the demon king­dom. Hanuman remains by Ram's side throughout the jout­ney and the dcv.!stating battles that r:age between Ram and Ravana.At one point, Ilwuman Ales all the waym the Hima­layas for medicinal herbs TO heal Ram's wounded brother. In thcend,Sita is Il:scued and Ram regains hishappincss and his kingdom, thanks largely 10 Ilanuman's de"Oled serviec. And

S E P T El U t R ZOIl

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ParivrttaAnjaneyasana (low lunge twist) From Uttaoasana step your left leQ back aod set your knee on the floor. keeping your loes curled under. Lilt your spine, bring your hands onto your fronl thigh, and take a sweet Inhalation 10 fill your Inner

•i.;; body. Theo eXhale and softeo your outer body. Place your left forearm or elbow 00 the outside of your

'" right leq, breathing Into your back body for a few

� J cycles of breath. Wilh each Inllalallon, Isometrically

:i draw your leg muscles up Into your hips. With eacll � �':;;�;:�i'''qy b,,"o", ;,to tho

Uttanasana (standing forward bend), variation Roll a blanket or a sticky mat into a firm, 119M roll. With your fel'l hlp'wldth apart and parallel, place your metatarsals (toe mounds) on top of the roll and YOllr heels on the floor.

Fold forward over your leQs and touch the !foar in Iront 01 you with your fingerUps, or place your Ilaods on bloCkS If you can't reach the floor. Lift and spread your toes and activate the muscles on all sides 01 your leqs. Press the mounds 01 your toes firmly into the roll to em;Jage your calves and ham­strings. At the same time, E'Ktend down througl'l your heels 10 stretch the baCkS 01 your lells. Breathe Into the pose lor at least ! minute with full presence and commitment. Stl!P olf the roll and feel lhe

dilferl'nell' In your leljls.

fouodation 01 the pose as you lengthen your sploe through the crown of your head and spiral your torso open. Spend 3 breaths here; then tilt your back thigh and straighten your knee for a few more breaths.

Keep hugging your shins toward the midline, whlcll will not only line up the tlssue of your hamstrings

and widen your Ihll�hs. hips. and pelvis, bui ll will also remind you 01 your commillment 10 your endeavor. This dedlcatloo paves the way for a more

thorough unfolding later In the practice. Maintain this commitment as you Inhale and release the pose by lowering your back knee down and bringing your fingertips to either side of your front shin.

Y O C; A J O U R " A l . C O M 7 5

not only Sita, Ram, and Hanuman, but the whole kingdom rejoices and takes comfort in the sense that all has been madc right in the world.

You eould intcrpret the storyofHanuman, thcn, as a parablc of what happens whcn you rceogni�c the divinc naturc of life, o(fcryourselfin se .... ,ice to it, and allow it to transform you in ways you never thought possible, so that you arc even more capa­ble of serving your highest ideals. And when you approach the pose with such inspiration, you're likely to cnjoy your journey, no maHcr how �far" you go in the pose.

playillgwith the pl'inciples Howexactlydoyou cultivate the qualities ofHanu­man in your practice? One approach is to weave in the Universal Principles of Alignment from Anusara Yoga as you sequence your way toward Hanumanasana. Ut's begin with Anusara's first principlc, Opcn to Gracc. This involvcs taking a fcw momCntS to become <luiec, listcn inwardly,

surrender, and connect with something bigger than yourself. Th(" first thing you learn about Hanuman in the Ramayana is that hc recognizes Ram's divine

naturc, which is another way of saying he is open to grace. He could sec the divine where others saw the mundane.

Stacey Rosenberg, the certified Anusara Yoga teacher who created the sequence on these pages, emphasizes that taking the time to Open to Grace before you begin the physical sequence is essential, because it sets the stage for all of thc other prin­ciples to unfold. She refers to this time of turning

inward as the �inner leap" -you shift your energy and attention away from the external world and go inside yourscl( You deepen your breath, soften your mind, and discover an intention forpracticing. You might dedicate your practice to casing some­one's pain, or to scrvingyour highest ideals or your community's greatest needs. Or you might devote yourself w moving toward Hanumanasana with

fOil/iII/wi 01/ /Mgt ,8

Ardha Hanumanasana (half monkey god pose)

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from low lunge, straIghten your rlght leg and lIe� your loot. See that your back knee

Is underneath your hlp or slightly behind It.

Press your right heel Into the earth and Iso' metritally drag It toward the back of your mat. Spread and press out through the mounds of your toes. As you inhale, engage your leg muscles, hug your shins to the midline, and draw energy from your foot up into your hips. Malntalnlnq the deditation that you tultivated In the previous pose, take your rlqht hand and manually give yourself an Inner Spiral:

Wrap your fingers around the back of your right thigh and widen your hamstrings Irom

the Inner thigh to the outer thlQh. Keep tnat

width and then use your hand to apply the

Outer Spiral: With your fingers stili presslnQ Into thl' top 01 your hamstrings, draw your right hlp back and press the hlp and thigh down, toward the ground.

Scoop your bullock under, extending fully through your reg bones. As the right bullock wraps under, lilt the front of your pelvis, shift

your belly and ribs to the right, and with a long spine, pour your devoted heart over your

rlqht leg. Take 5 breaths as you stay deeply present and committed to the pose, noticing your thoughts and leelings liS they arise.

S E P T E Io4 B E R 2011

Pigeon Pose From Downward-fating Dog brinQ your right knee to the outside of YOUf right Mnd and lower your lelt knee to the ground. Bring your right shin as parallel to Ihl! fronl 01 your mat as your hips

allow. This wider base hl!lps to open the pelvis. It's perfeclly OK lor the pelvis to be 011 the IIOOf here. In fact. It's better to keep your pelvis square toward the front of your mat and off the floor than to resl thl! pelvis on the lIoor unl!vl!nly.

Flex your right loot and tuck your back toes under. With an inhalation, lsometrl­cally draQ your knees toward eaCh other,

Anjaneyasana (low lunge), variation

and draw your power and resources Into the core of your pelvis. To prepare lor his leap, Hanuman first has to draw deep Inside himself. Use his example to call on the strength within you to widen your thighs, hips, and pelvis. Then e�hale, lengthen your taHbone down, and extend your torso forward. Let your pelviS get heavy as you root It toward your back leg.

Lift the front of your pelviS up and extend your torso forward, sottenlng your heart between your shoulder blades. Stay here for 5 breaths; then step back to Downward Dog and repeat the pose on the other side. v

Inhale as you lift your torso; exhale as you bend your right knee Into a Low Lunge. With your left hand on the Iloor

(or a block), twist to the rlqht, bend your lefl knee, and hold the IItlle-toe side of your lefl foot wllh your rlqhl hand. (Use a slrap 10 bridge the qap between your

hand and foot If necessary.)

Press your rlqht heel and left knee Into

the earth and enerqellcally puil ihem toward each olher. Srlnq your lefl heel close 10 your outer left hip, even II you

have to move your hips back 10 make that connection.

Once aqaln, with commitment and dedi­cation, draw your shins 10 the midline and widen your thighs. Lenglhen your tailbone down throuqh the left knee and press your lool lnlo your hand. To deepen the pose, keep your b-ack hlp and heel toqelher and allow your pelvis to move forward loward the Iront 01 your mat. II It feels appropriate to your body to deepen Ihe pose, place your left forearm on the Iloor.

Take a lew breaths here 10 turn Inside

yourself. Soften between your shoulder blades while you release down through your pelviS. Then actively rool down through your leqs and exlend through your torso. With your shoulder blades on

your b-ack, turn your heart to the sky.

After several breaths here, slowly release your back 1001, place bolh hands on the ground, and slep your lefl foot forward 10 Utlanasana. Then repeat the same three'po$e sequence on the other side. When you've done the sequence on both sides, step back (nto Adho Mukha Svanasana (Downward-fadnq Doq Pose).

Y O C; A J O U R " A l . C O M 7 7

,

Anjaneyasana (low lunge)

When you build this simple pose from

the Illsloe out, the outer form becomes ;II m,lnlfest,t!orl 01 your hurl. from Downward Dog step your right loot for­

ward. sell!nq your lett knee down on your mal with your back toes pointed. Look back at yOUf lelt leg and m,ke sure vour 'Dol Is pointing straight blIck.

Pause and f.call your Intention u you settle Into tne post. Then pull lnio your center 'lnd summoll support on III

51d('$ 01 your le-qs.. Tllis wili lifl you out ollhe PQ$ture ill little bit, but It will help you to reestabliSh alignment. M,inl,ln your physic., lnle-qrity as you lengthen your tailbone down .nd root your back I� ind loot Into Ih. urill. KHp widen­Ing your back leQ ,nd hlp IS you edend your pelvis lind Iront knee fOfw,rd.

PIKe your llaods on your hips .nd 1111 tht

inn!!f body with breath illS you lengltlen Ihe sIdes of your lono.

Draw the huds 01 your arm bones blCk until your colillr­bones brolden and your shoulder blldes come toward the spIne. Lift your chIn sllQhtly and open your IhrolL Use your hinds to press your hips down IS you 11ft your heart up tow;lrd the sky. Stretch your arms OVtrhfld and shine your bfluty out In III directions.

Stay here for S breaths: then release .nd step back to Down­

woJrd Oeq before performing the posture on the second side,

d 95.

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t""li"u�Jfrom /Jugt ;6 self-compassion and a gemle attitude. \'(Ihatcver arises. Ihis firSI principle gives you a chance 10 devote yourself to Ihe journcybeforc I:tkingaction-just as Hanuman did.

From there,you begin the physical sequence and incor­poTate the next four principles into each pose. The sec­ond principle of Anusara Yoga is Muscular I�ncrgy, which involves drawing power from the periphery of your body 10 the core to create a suble and balanced foundation for your poses. Throughout this sequence. Rosenberg offers the Muscular I�nergy cue of drawing the shins in toward the midlinc. (This action helps align the lissues of the hamslrings and gives you greater access to the Ihird prin­Ciple, which is Inner Spira!.> It's a challenging action that requires strength and dedication not unlike I-Ianuman's, and il provides a sense of stability and inlcgril)' that will serve you well for the final pose. If you're Rexiblc, main­taining Museular Energy will prevent you from uncon­sciously flopping into Ilanumanasana in a misaligned 1'.'3);

S [ P T EM B U I 2 0 1 1

which can put you at risk for injul)' Muscular Energy symbolizes I-lanuman', devolion and willingness 10 stick with the journey and 10 persevere, despite the many obstacles in his wa)t

The principle of Inner Spiral is an e\'er-cxpanding current of energy going from the feet through the pel­visand up tothe waistline. lneach pose in Rosenberg's sequence, )"ou'll engage Inner Spiral by rotating your legs inward and drawi ng ruur inner thighs in and back.

Once you've established Inner Spiral in a pose, you apply the fourth principle, Outer Spiral, which is an ever-narrowing energy current that runs frOIll the waistline down to the feet. Outer Spiral rOtateS the legs outward, moves the tailbone down and the thighs forward, and draws the thighs toward each other. You apply Outer Spiral as you maintain thl' action of hug­gingtheshins in. Inner Spiral and OuterSpiral may fed like opposing actions, but they arc meant to balance each other. and when applicd IOgether should bring you into your ideal alignment.

Rosenberg likens applying Inner and Outer Spi­ral to aligning all of your rt'sources-your body, your mind, and yourspirit-bcfort' you m�ke that final lcap

fQ"ti, .. uJI)"Pilgr IlJ

or dMags

v

Hanumanasana (monkey god pose)

ThIs post asks you to draw Inward and (all upon the resources of your body, heart. alltl mind In ordl!!" to pour your heart Into till! qreat leap of thls experl,nc,.

With your rlqht leq forward and your lell leq bKk. place your !lnqer­Ups on the floor or on blocks.. WherfVl!r yOU are. paust and soften. Renew your dedication to your intention.

Embody Hanuman's steadfast determination as you enqaqe the muscles on all sIdes of your leqs and 11ft sllqhtly out of the pose. With this ntra lilt. you will be able to reestablish Muscular Enerqy. Inner Spiral. ,nd Outer Spiral: Huq the shin bones In; widen your thlqhs, hips, and pelvl5; and then draw your outer thlqhs and pelvis back and down.

Press your hands down to IUt your torso up, curllnq open throuqh your couraqeous heart. Then lenqthen your tailbone down, extend' Inq lully throuqh your leq5 to lower yourself toward the floor.

Keep the muscles toned and your leq5 ,xtendlnq so you are enqaq­Inq and stretchlnq simultaneously, Take S 10llq, deep breaths, allow­Inq your pelyls to qet hta�y and your heart 10 be IIqM. As you open your hurt Into the bac�bfnd, sn If you can connect to the Inten' tlon you set at the beqlnnlnq of your practice.

KHp the lull fnqaC}ement of your leq muscles as you pull yourself up and out of the pose. By learnlnq to mllintain ,nqaqement throuqh the tr,nsltlon, you practice staylnq dedlcat,d to your vision, even In the face of your qrfltest challenqts,

Take a lew breaths In Down Ooq and feel th, dlll'rence In your leqs and hips. TllI!n do the other side. If time allows, repeat till! whole sequence 2 or 3 tlmts; otherwise r,pelt Hanumanasana 3 times.

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V O G A J O U R N A L.COM 79

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To survive life on the road, many rock and pop .� "'\ stars have turned to yoga and then let it lead

them deeper. Here, a few share their stories.

ALANIS MORISSEITE, 37, was thrust into star­dom's spotnqht back In 1995. maklnq rock history with Jaqged Llttlf!! Pili, which sold 33 million copies worldwide to become the bes!-sellinq debut album by a female artist. The pop-rock anthem "You Ouqhta Know" embodied the raw emotion and the conflicted leellnQs of a spurned lover. Althouqh disc Jockeys may have blf'eped out the most eJ[plicit words, they gave the som� widespread radio play, and listeners around the world found themselves Identllyinq with the younq Canadian's tale of hearl­break. At the lime, Morissette was Just 21.

Her ascent to stardom was qruellnq and lelt pre­cious little time to unwind or retlect. Looklnq back, she says she's qlad she qot to meet so many people and Sl!!!' the world, but admlh that tourinq blasted

her body and soul. The Intensity was wearlnq.

Cravlnq some alone time, she would hide out back­staqe, In hotel rooms, or even In bathroom stalls­anywhere that she could qet some distance from the madness and tune back In to herself. She needed to recharqe between performances, inter-

'-

views, and all the demands on her enerqy, and at some point she realized that, rather than hldinq out. she needed to truly reJuvenale herselr. "I wanled 10 find a practice that was both physical and spiritual. Yoqa was perfect tor that," she says. "I leit like I was born to do yoqa."

Her flrsl taste 01 the practice was Yoqa Mind & Body, a DVD made by the aclress All MacGraw with renowned yoqa teaCher Erich Schlffmann, whiCh Morissette dlscoverecl towarcl the encl 01 the Jat;/t;/ed Uttle Pili tour. Since then, she has tried everythlnq from Ashtanqa to Blkram to Kundallnl, Iyenqar, Shaclow, and Yin, ancl she has studied with a variety of well-known teachers, Inclucllnq Kathryn Bucllq, Sara Ivanhoe, Matt Pesendlan, Nicki Doane, and Eddie Modestln!. She loves vlnyasa flow.

fortunately, Morissette's twin brother, Wade Imre Morissette, Is a yoqa teacher and kfrtan arllst. He Is, she says, one 01 her favorite teachers, not Jusl

because of their close connection but also because he combines a respect for tradition with "a recoqni­tlon of the re-alllies of modern lIIe."

The re-atltles of Morissette's busy life- now Include marrlaqe, to rapper Marlo "MC Sooleye" Treadway,

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Once the poster girl for growling rock. Alanis Morissette now enjoys finding her edge and settling in.

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and a new baby, Enr Imre, born on Christmas Day 2010 ilIt home In Los Anqeles. Morissette's new album

will be released this winter.

She's been committed to YOQa fOf years now, somelhlnQ

that was evident when she rocked a full Eka Pada Rajaka­potasanill (One-LeqQed Klnq PIQeon Pose) with bolh hands clasplnQ her foot on the day of her cover shoot. Her husband has started practlclnQ, and you /iQure It's just ill matler of time before Ever Qels on the mat, too.

WHAT DO YOU LOVE: MOST ABOUT YOUR PRACTICE:?

It qlves me a qreat microcosmic snapshot, a clear picture

of what·s Qolnq on In my tile. II I push myself on the mat,

It·s likely I'm pushlnq myself off the mat as well-a cue to be qenUe. When I don't practice, there's a lack of check­inQ In on my part. How I approach my lime on the mat Qives me a qllmpse of my nuds. It's a Qreat Invitation to tune In to what's really qolnq on.

HAS IT AFr(CT(O YOUR CREATIVE PROCESS? The impe­tus to do yoqa comes from Ihe same place where my sonqs are birthed. Whtn I'm wrltll'lQ sonQS or dolnQ YOQa, I'm curious about what's re<llly qolnQ on: What's happen­

Inq In my body? What's happenlnq In my heart? What's

happenlnQ In my life? What's happenlnq In the larQer con­text 01 the planet? What's happenlnQ In the evolution of consciousness? What's happenlnq In my knee? It's all the same muscle of curiosity.

That's the most powerful Quality I brlnQ to my own cre­ative process. It's just thIs curiosity that shows up, which I love. There's also a lack of jUdQment. When I was 21 and dolnq yoqa, I would kick my ass because I wasn't fle.lble enouQh or becilluse I was depleted. Now, I just notice.

HAS YOGA HELPED YOU IN RELATIONSHIPS? I think that the more mature qualities, such as curiosity, nonjudq­mentalness, and notlclnQ-those benlqn qualities help, In my moments of conftlct with the people I love, I aspire to manliest those qualities,

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My commitment to the practIce definitely pays off in my relationships because It requires me to be couraQeous and

push myself to my edqe, but aiso to cui myself a lot of

slaCk and be qentle. So I push myself to my edqe and then relax Into It-that's kind of how I live my life these days.

HOW 010 YOU ARRIVE IN A PLACE WHERE YOU WERE READY

TO BE IN A RELATIONSHIP? Oh, by messlnQ up left, rlqhl, and center for years and years In a row. Belnq a love addict. Belnq a co-dependent. Not havlnQ enouqh self·knowledQe. As I moved toward more sell-knowledqe, I realized I'm an alpha female. There's no way around that one. I started to flqure out who would be a Qood teammate In Ihls journey, And I waited to find the kind of person who would be an incredible man to be the fillther to my future children.

Until I knew who I really was, I had no Idea who would be

the perfect complement to me, I had to !lqure out how to be responsible for my sensitivity and lor what I needed around my career and self-care. The more I knew what I needed, the more 11 became Innate.

Before, If I dated someone and there was chemistry, I would just QO lor It. Chemistry Is hUQely Important. but I moved beyond the "Wow, his eyes are so deep, and I just wanna make 01,11," you know? Later, the first Question I'd always ask became "What's your mission?" I didn't want someone overly obsessed with work or travel. When my future hus­

band said his mission was 10 be an Incredible husband and father and to be of service throuqh his art, I was like, "Whoa, this really warrants monr time and enerqy."

010 YOGA HELP YOU DURING YOUR PREGNANCY? It·s all about awareness, I am a naturally flexible person, and re­

laxin, thillt hormone released durlnq preqnancy, made me more so. I had to learn not to overstretch or Injure myself,

I've always attempted to locus on the spiritual-ascension

process and philosophy ilInd Intellectualism-ali heady pur­suits, you know? But I'd have these moments of revelation when I was taklnQ a walk, when II would hll me like a ton

of bricks: I'm an animal. There's a physloloQY to me, DNA, Qenetlc predisposition, muscles, bones, IIQaments, and hor­mones, I turned Into this science experlmentl

HOW HAS YOUR PRACTlC( CHANGEO OVER THE YEARS? There's a Quiet power that I hadn't really CUltivated 10 or 15 years aQo. Back then, everythlnq was kind 01 balls to

the wall, soldier style. Now I can call upon the soldier when I need It, but It's not Ihe default position I QO to.

These days, my practice Isn't uninterrupted. I'll practice for 35 minutes, aod then I'll have to breasUeed. Then I'll qo back to my yoqa. The mat just stays there, and I just keep comlnQ back to II.

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SEPTElUIER ZOll

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MOBY, the master 01 ambient electron­Ica, sold 10 million copies 01 his 1999 album

Play and lias been tourlnQ the Qlobe creat· lnQ awesome musical mixes ever since. He released his latest album, Destroyed, In May. A native New Yorker now livlnQ In LA, Moby (born Rlcllard Melville Hall) Is a 10nQ'

time veQan and animal rlQhts activist.

One 01 his oldest friends Is Eddie Stern, director of AshtanQa YOQa New York; they were drlnklnQ buddies In their preYOQa days. Over the years, Stern has instructed him In AshlanQa, and Moby says he's tried Kundalinl and many other styles, endlnQ up with "my own stranQe, cobbled-tOQet�er

practice that I do five times a week:'

WHAT INSPIRES YOU TO PRACTICE? I enjoy the Quiet strenQth, both physical

and mental, that results. I'm reminded that I'm human and need to be patient with myself. The constant reminder to focus on the breath Is key. YOQa Infuses my IIle with a Qreater sense 01 calm. II's quiet and meditative, and 11 makes me a little less anxious, less inclined to IndulQe anQer and fear. It's certainly turned the volume down on the more desperate thouQhts.

ARE YOU PLACUED WITH THOSE? I used to be. I went to the Academy Awards this

year. I had a few Qood conversations and. at a certain point, I was perfectly happy to QO home and read my favorite book, the

Tao Te ChlnQ, which makes me lauQh and reminds me what my orientation to myself and the universe should be. Belore I had

a YOQa or meditation practice, I'd want to stay out until six o'clock in the mornlnQ

and desperately Qrab every last bit of fun I could-with selfish behavior and really

(OlllillUrd (}II /hJgt 84

Mixmaster Moby says yoga makes him more

compaSSionate.

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MOBY continued WHAT IS YOUR �ORIENTATION TO YOURSELr ANO THE UNIVERSEH? Listen to tile quiet vokes �nd try to conserve your en"gy, not was" It, Ultl­mattly, in all tllings, don't take yourself too Sfrl' ously and, whenever possible, don't !Hd your f'Qo,

THAT'S GOT TO BE HARO IN THE LA MUSIC SCENE, Ii's u$V for me because I'm bald and I don't sinQ very wen, It'd be lIarder If I w". 22, gor­geous, dilnted well, and sang beilutlfuuy, aut my limitations ilft always clearly in front of me, Humil­ity Is Illrust UpOn me left and rlqht.

YOU'RE A PASSIONATE VEGAN, And yoQiI lIeips wllh my activism, My Incllniltfon Is to be really lIarsll and JudQmentill, but unfortunil!ely I'm nol omniscient, so whenever I'm harsll and Judgmentill, I Just end up m�klng a lot of mlstakn, Yoga ilnd meditation remind me not to be harsh, not to be Judgmenlal. Even If I disagree wltll someone, I don't have 10 be a Jerk about It.

If I mHI someone eath'lg a bacon sandwkh, who lo .... s Glenn Beck, IIIInkS Obama WilS born In Kenya, and firmly believes that Saddilm Hussein was behInd 9/11, I might disagrH on all pOInts, but gelling �InQry donn't accomplish anything, I've I.ilrned, over time, 10 be a more decent, more effecllve advoc:ate lor tile causes I believe In. My approaCh In tile past was to yell at people. I've learned Illal when you yell at p-eople, you Jusl make Ihem defensive. So I try not to yell as mucll,

I'VE READ YOU'RE CHRISTIAN. I love the teath­Ings 01 Cllrlst, but the universe Is IS billion years old and complicated beyond anylhlng I Cln under­stlnd. I like the leachlngs 01 Christ, Buddha. everv­thing. I'm wary lbout calling mysetl a Chrlstliln; when someone calls themselves by a label, they are Implying tllat they are rlQht.

I do nol for a minute think thilt I'm rlgM about ilnylhlng. Mavbe we die and go to huven, and a QUy ""itll" 10nQ, flowing beard sits In Judgment 01 us, but I doubt It.

I have I feeling the universe Is more forgIvIng and loving thiln we have traditionallv. culturilly, Qlven II credit for. If God ended up being petty ilnd ,nQrv. It'd be so sad. If you are God and you understand how everylhlng In tile universe works. ""hV would you JudQe these pool, stumbllnq, shortslqhted humans who are Just blindly trylnq to 11Qure out no"" to stay alive from one day to Ille ne_1?

(� WorldMags

Son ofthe legendary reggae sensation Bob Marley; Ziggy Marley, 42, says yoga has long been inAuential in his life.

As a young man, Ziggy and his siblings formed a group called the Melody Makers and sang positive songs with consciousness-raising lyr­ics, creating hits like "Give a Little Love" and "Reggae Revolution." Since 2003, Marley has released four albums on his own, including the Grammy-winningLove Is My Religion (2006), which was a major hit with the yoga community and is still in heavy rotation in many studios. I lis 2009 release, Falllily Tillie, featured Paul Simon, \Villie Nelson, andJackJohnson and won a Grammy for best children's album. I lis new album is called Wild and Frtt. Marley and his wife, Orly, have six children, and they split their time between Miami and Los Angeles.

"I didn't get into yoga for the exercise," says Marley. "For me, it was about spirituality, not poses. I got into the poses after." lie was seek­ing wisdom and started reading books about

• • •

yoga when he was in high school inJamaica. Alitohiogropby of n Yogi was one standour. "Then r started doing the postures and got meditation from books, which was especially beneficiaL" Marley's favorite poses arc the inversions Plow and Headstand, which he finds energize his brain. An avid soccer player and frequent runner, Marley says his body is tight. "The pOStures opcn up energy centers and help keep me on an even keel. Very, very calm. Very centered. I just accept that I feel good and calm."

Nicki Doane and Eddie Modcstini arc among his favorite teachers and have joined

�wOrldMagS

him on tour, but Marley is basically self-taught, with no set routine. He praCtices because it fccls good. "I have to sa.y, it gives me a high. It docs make me feci a nice feeling, a high. And then I ean settle down to meditate."

His kids occasionally join in. "They are much more flexible than I am," he jokes. But he likes that yoga helps him feci alive and good. "I JUSt feci bener when I do it. Myown philosophy is love. Yoga was a part of me reaching that full realization that love is the ultimate thing, the only thing that lasts. And yoga helps us realize the big questions of life, and yoga helped me realize love is the answer."

Los AnQeles rotk band 1-4lroon 5 won I Grlmmy as best new IrUst In 2005 lor Its debul ,Ibum, Sonos Aboul Jlne. In 2006, some of tile band mates took up yoqa as I balm 101' Ille lour-lleavy life tllat lias lIelped Ille Qroup sell nearly 15 million Ilbums worldwide. fronlman Adam Levine, 32, an avid welQhtliller, IIld broken Ills sterrlum, and Ills trainer sUQQesled YOQI to keep him In Shape and release tension. He elme to love It. Now, keyboard-151 Jesse Clrmlclllel, 32, has completed teacller train­Ing and hopes to make YOQa a reQular part of tllelr touring lIIe. And there's tllk of a Twitter contest for fans to Join In I backstlQe cllSs belore Shows.

YOU START[D PRACTICING IN THE LAST FEW YEARS. ADAlro4 lEVINE A fot of thlnQs I'm passionate about I didn't set out to dO Ind mlyb, ,y,n reSisted. SlnQlnQ wasn'l , mlJor IspirlllOf'1-t w,nled to play quilar, but I sanf;J bKlUst I could. Slm, willi yoqa. 1 was welglllllll­InQ when my Irllner r'commended yoqa for Ilglllness. After my first ylnylSol dIn, lnal 'illS It. I was tolally blown Iway Ind never worked out wilh wekjllls again. 1 1,11 e.lllusled but Iiso puetlul Ind r,ll.ed.lt cllanqed my wllole IpprOlcll to 111,. (6·WotldM g&.

Maroon 5 takes yoga on tour,

WHAT CHANGES DID YOU NOTICE? LEVINE I won't Ue: At tile beQlnnlnQ, It 'illS 100 percenl pllyslnl lor me. I had laelk acid Irom worklnq oul. I couldn't louch my loes. People who sly Ihal Ih'y don'l do yoql for the physical benelits are full of It. It makes you look Qrtal, whkll is cool, bui lt also makes you leel Qreat. 80lh Ire Iwesome.

II puts me In a completely different place menially now. The practice slows me down. I have 10 locus 50 Intently, I'm not IlIlnklnQ aboul anythlnQ else. My mind Is Iree 01

Ille lypkallhouQhts. Yoga really revolutfonlzed my life.

WHEN YOU'RE ON TOUR, WHEN DO YOU PRACTICE? LEVINE RiQlI1 belore I qo onstaqe. II's my prep, abso­lulely. �rformlng Is an unnllural thlnf;J to do for a IIvlnq. You Qel up onsllge with brkjht IiQhts. 11'5 loud and people are screamlnq. 1I's not a peaetful environment, you know? So If you can create Ihlt for yourself Ind have a bit of silence before Qolng oul lhere, II's I QOOd thing.

11'5 nlet 10 ",ve routfnes 10 come back 10 when you Ire In a constlnUy fluclultlnf;J sllte. I'm here, Ihere, on a bus. on a plane, In a holel. ll's sensory overload. An lIour or 5001 YOQI I dly rtlily recenters m"

5EPTElUIER ZOIl

o , "

'. ..

Blueswoman Bonnie Raitt taps her creative

wellspring with yoga.

IT SEEMS LIKE A LOT Of MUSICIANS TURN TO YOGA ON TOUR. JESSE CARMICHAEL So much of Ihe weirdness of the tourlnQ I!Kperlence has to do with the lime differences travl'llnq around the world. The fliCk 01 rools can make you leel pretty unqfounded. Yoqa Ins!llls the Idea of belnq In the now. So I don'! Qet as lost In the welrdnen ollourlllQ. Plus, Just physically. It helps keep up endurance lor 1M shows. And my mf'dltaUon practice helps me centet Ind connecl.

Rlqht now, I'm worklnq on the mlntr., "May I be filled with lovlnqklndness. May I be well. May I be fillf'll with peace and ease. May I be Ilappy." Next, " II expand ,md InClude people around me belnq well until �eryDne Is Included. It sorl 01 reminds me of the securlly video In .Irpl.nes; Secure your own m.lk Ilrst,

WHAT DO YOU ENJOY MOST A80UT YOUR YOGA? CARMICHAEL Yoqa Is an excltlrlQ mystery th.t helps me physically, emotlonallV, and spiritually, I don't worrvas much about tM future or Ihe past, II helps me wllh mv sense ollmpiltlence, Thln"s chan"e slowly. lmprovln" ilS a muslcliln, .nd as. Voqi, is iI "radu.1 process. Thai's what I'm most "ratelul about. And the Idea of structure or discipline h.s Clrrled over Into mv creative life, Structure Is like Ihe sides of the river. In order for the river to flow, you have to hilve these Sides. Otherwise, the river would Just spread out and evaporate. Whenever you Introduce structure, your enen;ly can Ilow.

IS THERE SUCH A THING AS A YOGI ROCKER? LEVlNE WMn I'm on the road, I practice every day to keep me Sanf', But I'm also nol a saint: I drink and party and do stUpid stuff eYf'rv onef' In a while. Sut I bal.nce il oul.

Everyone thinks, "Oh, you do yo"a; you must be serenf'." 11 any thin", yoqa makes me more Inlense. II's such a primal practice. It dellnltely puts me In a com' lortable placf', bui lt makes me even more spirited, It maQnilles aspects 01 mv personalltv that ilre fiery, and It brlnQ! out my natural tendencies. Your nilture shines IhrouQh when you do yoqa a 101. It's made me rtlllv conlldent and comfortable wllh woo f am.

"

,,' . ... . ..,: ....

•

Gullarlsl and slnQer Bonnie Raitt, 61, Is somf'lhln" 01 a music leQf'nd, with 18 albums and nine GrlmmV Awards to her credit as well as a spol ln the Rock .nd Roll Hall 01 of Fame, She's played wllh such leQends ilS Muddy Waters, John Ln Hooker, and Stevie RaV VauQhan. Committed to poliliCiI activism as well as mUSiC, Raitt lives In Northern Camornla ilnd is a passionate vo,,1.

'.:.

TELL US A80UT YOUR YOGA PRACTICE. I've been prac­tlclnq VOQa since ilround '91, when I was off the road, and . Irlend invlled me to share htt home prlclice, She was a wonodf'rlul teaciler, and soon illter, I beQ.n cl,sSf'S .1 my 10CII VOQ' sludlos, l felt Ihe bl'nellls immedlately .nd knf'w Ih.1 this was. way for me 10 be able 10 both "et and stay III 'nd to .Iso det'pen on a splrllu.l .nd creative level.

I've enjoyed InvesliQatinQ dillereni stvles, like IvenQar, hath., Yin, vlnyasa, and various blends. I like mlllnQ up my teachers .nd stvles, as I feel II enriches both my pracllce and mV understandlnQ of Ihe sulr.s .nd yoqa tradition.

The lasl 15 years or sO, l've mostly bun priICtlcln" an Intermedl.If'-leYf'1 vlnyasa Ilow ilbout three tlmf'S I week when I'm oome, 'nod I carry mv mat and props with me to pracllce In my lIotel on the road,

I occasionally drop in on classes when I'm ltillvelln", but I lind, In my sltuilllon, usinQ OVOs and Just creatlnq my own proqtillm works line.

AlthOltQh I don't usually "et a full hour .nd • h.lf 01 prac­tice outside class, somelhln" I'd IIlce to get bettef '1, I find dolnQ lillie "yo"i! bits" during my walks or In between busi­ness or household chores also brlnQS Qreat benefits. It's amulnQ lIow mucll privacy you CiIIn get on . lIlklnQ Irall,

(DllfilllltJ"n JHlgr III

V O C: A J O U It N A L , C O M 87

'.

...

An American

turns chanting God's name into something

hip as well as holy. by

Shanllon Sex/on

uckle your bhakti belt! There's ", revolution under way in the land of American kirltlll, and as yoga's calJ-and-rcsponsc foml of devotional chanting evolves in fun and funky ways, it's being wholeheartedly em­braced by [he yoga communiry and indie music fans alike. People whom you'd ncvcrcxpcc[ to hang out sing­ing chants to God have turned this typcoftraditionallndian hymning into the coolest form of music on the yoga block.

At a kinan performance in Cleve­land, Ohio, an electric bassist plays groovy, bluesy riffs to a chant called �Shiva Shambo," while a singer named Ginsh suggests chat you "get

&Al111a Dubrovsky

up and shake your Buddha." In Los Angeles. a drcadlockcd dude named Joey Lugassy leads a Sanskrit chant

• phOtOS by Amir MagaJ (� WorldMags

to the Hindu deity Ganesha, then throws a pop-music cufveball, weav­ing in a verse (rom the Beatles classic "Dear Prudence.M Under a hot-pink spotlight in the desert of Joshua Tree, California, during the Bhakti Fest kirtan extravaganza. Donna De Lory (who spent 20 years as a backup singer (or Madonna) joyfully sere­nades the audience with mantra music and breaks into a sultry rap fearuring Hindu names of the Divine Mother. A far cry from the dhoti-clad Indian temple singers who chant the names of God at ashrams and reli­gious festivals, American-style kirtan

wlll/ubs (leaders) are reenvisioning­and perhaps reinvigonning-an ancient spiritual practicc with the rhythms and grooves that "''ere born on American soil. And although pur­ists might argue otherwise, kirtan's new gener:lI ion of musicians believes that these genre-bending chants are srill connecting our heans to God­and spreading a compelling form of positive, spiritual musk around the country and, increasingly, the world.

- a brief history Although it's difficult to tTaee the history of an oral tradition likc kir­tan, some schobrs believe it emerged 35 a popular spiritual practice during the bhakti (devotion) movement that began in the 7th and 8th centuries and spread like wildfire between the [llh and lith centuries. �Much of the kinan explosion in America is inspired by whar happened during that later time, and many of the songs we sing are inspired by music com­posed in that era," says Russill Paul, a kirtan wallah inAustin, Texas., and the author ofTbt Togu DfSDund.

"Through Idrtan and other devo­tional practices, the bhakti teachers were echoing the fundamental prem­ise of Patanja[i's Yoga Sutra, that spir­itual realization docs not rCXluire an external mediator. God is inside you. Tney used kirtan as a way to get in touch with God's presence and showed everyday people that they could have the same levds ofSdf­realization and the same depths of mystical experience as a Ikahmin performings:u;red ritual or a yogi in deep meditation.�This approach was considered radical, he says: After thousands of years, the spiritual

('� l,l 0 dMags

u GS Enjoy 10 free tracks from some rockin'

kinan anin$.

power of chanting was no longer guankd by a small dite; anyone could experience a 1o''C affair with God.

In Tbt Sbllmhbu/u Guidt tD Tog", scholar Georg Feuerstein writes, �The path ofbhakti >,oga is constant remembrance of the Divine." It is "the way or the heart,� intended to channel and purify emotions through singing, dancing, meditation, and other activities that can help us merge with the Beloved. Kinan is one ofbhakti yoga's nine limbs.

Chris MHarees.h� Wallis, a scholar of Indian n::ligions who lives in Oak­land, California, says that most of the "lyrics· sung in medieval Kirtan were names for God-sacred mantras that evoked devotion to 3 particular form of me Divine. lraditionally. the kir­t3n leadereallcd out 3 seriC$ of divine names, and e, .. eryone responded by singing it back, again and again, O''er

simple melodies and simple inSfru­mentation. Some seekers chose to chant the names of a particular deity. he says, while others sang the names of different deities for different pur­poses-for example, Gancsha for auspicious beginnings or Hanuman for coumge and devotion. It was said that the effects of chanting were multiplied when many hearts wcre calling out the same mantraS at once.

Over the centuries, kinan devel­oped into many different forms, JUSt like a5ana. Some branchesofk.irtan emphasized introspection; thcirslow, ",'eet melodies drew the singers into a State of meditath'C stillness, says Wallis. Other Styles "'ere celebratory. and participants would often hold hands and dance. So while purists may cringe to think about Western­ers leaving their own bold imprint on

font;nurdtln fNlgr 118

Rudlng about th, modern klrt.n revolution Is cool, but hurlng Is believing, To slrum IlIIs ID-$.OIlCj set 01 d.ncuble manlra music, go 10

VOQa]ourn.l.com/klrtanHmpltr and get your groov, on.

"Ganapatl Om (Atom Smllh .tomlc mix)" Donn, De Lory

"Stop and Talk (Hey Nltha)" G,ura Vanl ' As Kindred Spirits

"Oueen 01 Hearts (Radh! Radhe)" Jal Ultal

"Govlnda" SRI Klrtan

"Shlva Sh.nk.r. (Transformallon)" Stln Johnson and Th. Wild

Lotus e.nd

"Rock On H.numanM Me Vogi with I>\rlshn. DIS

MJal Radh. M.dh.v (O",.rl Dwellers R.mb)M [)eva Pr.mal

UH.rl OmM Pra]na Vieira .nd B'n L.lnbich

a l isten STREAM the whol. collection at

Voq.journal.com/klrtanHmpler or ICln the tag pictured below wllh vour sm" tphone to g.t live 01 the trackS, find the .pp .t qelfolll.mobl.

VOG/t.JOU'H./tL,CON 91

w i t h lisa Walford

drawn ( Ancient sages frequently namctlasanas after shapes or (IUalitics that they nbscr\'ctl in nature. Kurmasana ("Ionoisc Po�c) is named for an ani­mal that withdraws into its shell when startled or threatened. II's flOt surprising, then, that when you take the phy�ical shape of the tortoise in this pose. )'OU will oftcn cxpcricncc an exquisite feeling of moving inward mentally-as though the world around you is moving out of focus as your inner world becomes more audible and dear.

When your attention mo\'cs inwud like this. you experience prJty"Nrll. or sense withdrawal, which IS the fifth oflhc eight limbs of classical yoga th:ll Pataniali tlcS(:ribcs in the Yoga Sutra.

s ide • I n Pratyaharn is the threshold 10 your inner world. Your mind becomes lc�� reactive to the swirling distractions of t he world around you, and as a result, you fed quiet and centered. Like the tortoise, you e:reperience prntyah:lra in this pose by drawing the

limbs of your perception-your eyes, cars, skin, nose, mouth, and consequently your mind-into the shell of the limitless landscape within you.

\Vhen you first start practicing Kurmasana, quiet centeredness can prove ehallenging­the pose requires pinning the arms and Ie� down to the earth and curving the baek like a shell. You may face reSistance, feel stuck or fearful, and per­haps e,'en wonder why some yoga students .seem E>

l isten Go 1 0 Voq./ournal.comJllnmaq and practice Ilonq to .n audio version 01 LIsa Wallord's "'asler CIlSs.

or dMags V O G A J O U R N A L , C O Jol. 93

m a ster c l a s s II w i t h L i s a Walford

1 Malasana (Garland Pose) Begin in Tadasana. Bend both knees and

release the pelvis into a squat. Lean lor'

ward slightly and place your hands on a

wall or on the 1l00r. 1I your heels come off

the lloor, slide a blanket beneath them.

To help widen your lower back alld release

the hlp Joints. use your leet and isometri­

cally spread the Inner heels away from

eacn other. Notice how the back muscles

wldefl with this leg actiOfl. E�hale deeply

to sollen your t);ack muscles, afld release

the grip Irom your jaw aM hips.

3 Baddha Konasana (Bound Angle Pose) From Oandasafla. briflg the SOles of your

feet together dfld release your legs toward

the lIoor. To isolate movemeflt ifl the hip

sockets, aflchor your sittiflg bOfles dowfl.

lengthen your iflner thighs toward your

iMer knees aflo press your heels aqaiflst

each other. Press the back of your thighs

afld shifls toward Ihe floor afld e�tefld your

spifle forward. Lift your pubic bone toward

Ihe navel to widen your lower back. Rest

your head on the floor or a block. Eventually,

you may even rest your chin on the lloor.

2 Marichyasana I Slt in Oar'ldasana. Bend your right kr'lee and

place your heel aQainst your inner left thigh.

Inhale, lift your arms up, and exhale. lenQthen­

inQ forward over your left leQ. Sweep your right

arm around your right shin and wrap your lell

arm behInd you. Clasp your left wrist with

your right hand. Press your right arm against

the shin and reach back through both arms

to extend and free the bottom ribs UP off tne

abdomen. Breathe evenly and quietly. LearninQ

to release tension around the eyes and Jaw will

encourage you to feeT. reflect and accept the

sensations that lell you when to back off and

when to move deeper. Come back to Oandasana

before takim� the second side.

S E P T E I<I B E R 2011

5

5 Kurmasana (Tortoise Pose) Silln Oandasana with your le�s slightly wider apart than your

hips. Bend both knees, hinge forward slightly. and slide your

arms one at a time beneath your knees. Reach your arms out

and slowly slide the heels forward on the floor. Lilt your

pubic bone tow<lfd the navel as you lenQlhen your torso lor­

ward, eventually pinning your arms beneath your legs. With

YOtJf physical body contained. practice shilting the sense

oo;!ans inward. When you practice lamin9 and Irainirlq your

senses. you invite a quiet mind that enables you to reunite

with the e�pansive true nature of conSCiousness.

4

(

4 Upavlstha Konasana (Wide-Angle Seated Forward Bend) Begin in Oandasana and spread your

legs wide. Press the entire length of

each leg down. Squeeze the outer hips

in toward the buttocks to stabilize your

pelviS and fold forward. Either support

your torso With a bolster or continue

to fold and clasp your big toes. Do

nol allow your thighs 10 roll in or out.

Inhale and lift your pubis, navel, dia·

phragm, and sternum up. Exhale and

fold forward toward the !loor. Observe

sensations as they arise with a quiet,

neutral. and objective mind. so Ihal

you krlOW. on and oil the mat, when 10 wait and when to act.

( benefits ) Strengthens Ihe b<lck

Tones ttte abdominal organs

Encouraqes l!e�iblUty in the IIlps

Quiets the mind

contraindications ) Menstruation or preqnancy

Herniated disks

Strained 10wer·l)ack muscles

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f) to find it easy. Punice watching the alignment of your mind as much as that of your body, encouraging equanimity in order to maintain your vigor.

I nstead of reacting to and identify­ing with the resistance that may come up, sequence your actions this way: First move, then feel, and then reflect on the sensations. This gives you time to per­ceive and respond appropriately to cues your body gives rou.

Take note of what the ancients called Ihe "portals": eyes. mouth, nostrils, and (;\"cn cars. If these areas feci Tense, encour­age them to soften. \Vhen the portals arc relaxed and the scnsory channels arc calm, you train your senses and mind to remain renceri ... c and neutral rather than reac­tive. And when you develop the ability to stay neutral in the face of difficulty, ),ou can assess your choices and respond to any situation with insight and conscious action rather than from emotional reac­tivity. In literature and mythology, tor­toises and turtles arc often depi<::ted as patient and even-tempered creatures­who (Quid forget �The 'Iortoisc and the Hare�? As you work through this challeng­ingscquencc, try to emulate their serenity and fortitude. You'll notice a resounding benefit when you face difficult situations both on and off the mat.

BEFORE YOU BEGIN

'10 warm up and releasc the hips, thighs, and back bodyforthc followingsequcnce, take 8 to rl brcaths in Utbtasana (Chair Posc), Garudasana (Eagle Posc), Una­nasana (Standing Forward BcntO, Adho Mukha Svanasana (Downward-Facing Dog Pose), and Unhita Parsvakonasana (Extended Side Angle Pose), takingasym­metrical poses on both sides before mov­ing on to the next pose.

MAlASANA (Garland POSt)

As the weight of your pelvis brings you deeper into Mabsana, )'ou·1I fccl a beautiful

passive opening in your hips and in the muscles of your back. You·1I need this opening in order to fold deeply enough to reach your arlllS under your legs in Kunnas.1na. Remembcrto mo\'e p3tiently into the pose, take time to feel, and then reflect on each sensation toguiderou into your next movement.

Stand in Tadasana (l\lountain Pose) and touch the inner edges of your feet together. Bend both knees and lower your pelvis toward rour heels. Spread your knees apart JUSt enough to release the pel­vis toward your feet into a squat, and lean forward to counterbalance [he weight of your hips. If your heels lift off the Roor, slide a folded blanket beneath them so that you can press the inner heels down. Release your tailbone toward the floor and stretch your arms forward between your knees. Place your hands on a wall for suppOrt or, if you ean release deeply enough, reSt your hands on the Roor.

Spread your inner hcels away from each other, as if you were stretching the mat. This isometric action helps your inner thighs release in tow�lrd the side ribs. It will also facilitate the eng.1gement of your outer hips and the wideningof )'Our inner back thighS. W'idening the area around the hamstring muscles releases them, which allows the pelvis to move more fr(.'(ly. Notice how the back museles also widen with this leg action_ You'll usc this movement again in Kurmasana.

Keep your heels anchored, lower your head toward the floor, ami start to wrap your arms around your shins. If you feel a great deal of resisranee, you lIlay want to stay with your hands at the wall or on the floor in front of you. If you release deeply enough, you may have the spaee to elasp your ankles. Press your upper arms against your shins to spread the upper baek muscles as you press the inner heels down to widen the lower baek. Release the shoulder blades away from your cars. Ground your heels firmly as you balance your weight e"enlyon your feet so that you do not sit down on the Roor.

You may eventually release deeply enough that you can wrap your arms around your legs and clasp your hands be� hind your sacrum. like agarland adorning

S E P T E IoI B E R 2011

the body. This requires very supple hips, loose shoulders. and flexible back mus­des. (All the poStures in this sequence encourage flexibility in these joints.) But if you find yourself overreaching into the bind, consider holding your ankl es in the 5implervariation.

Wherever you arc in the pose. main­tain a feeling of softness in your sensory organs and a quiet, refleet;"e (IUality to your mind. Take it 510100: Listen with your muscles and feel how the smallest action can affect the entire body. Even as your hips grip, relax your inner groins toward the Roor so that your pelvis can release. Look for the sweet spot where you arc able to maintain a soft breath.

Can you maintain a neutral mind and accept your uni{luc abilities, independent of how others might practice the pose? Malasana can be intense. Start by holding for a Illinute or less. Then, release your buttocks 0010 the Roor and extend your legs forward into Dandasana (StaffPosc). If you're sitting on the backs of your sit­ting bones and your lower back is round­ing. sit up on folded blankets to bringyour pelvis into a neutral position.

MAAI CHYASANA I

Marichyasana I also develops Rexibilil)' in your hips and back museles, and in addition. stretches your halllstrings. It's more active than Malasana, offering the opportunity to work under slightly more challenging circumstances. Similar to a petulant puppy in training, your hips and your senses will learn to yield with prac­tice, time, and perseverance.

From Dandasana, bend the right knee in toward yourehcst and place your fOOl flat on the floor, close to the perineum. Press the middle seam of the left leg, from the hip to the heel. down toward the floor. Ttle right sining bone will lift slightly. On an inhalation, cxtend your arms O\'erhcad toclongateyourspineand stretch out the

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torso. Then, on an exhalation, lengthen your toT$O forward over the !cft leg.

As you lengthen forward, release the right legslighdy away (rom the torso and turn the right side of the abdomen toward the left legso that both sides of the lower belly can lengthen freely. Notice how your back, hips, and left leg respond. Hold the left foot with both hands. If this causes strain, loop a belt around the left foot and hold on to the belt with both hands.

Press the inner edge of the right heel down to bring tht· right thigh back along� side the torso. Lengthen your torso over the left leg and roll your right shoulder in and down toward the floor. Release your right hand from the belt or the left foot and sweep your right arm dose to the floor and around the right shin.

Then, reach your left arm behind you and hold the le ft wristw;th the right hand. (Alternativcly,you can elasp the belt with both hands.) Roll the inner arms toward the outer arms into extt'rnal rotation, and then draw your shouMers back. Stretch your anns behind you as you n::ach forward with the chest. Lift the bottom of your sternum toward yourehin to lengthen the front of your torso.

Hold for one to two minutes as you extend both sides of the waist evenly, rolling the right side of the navel toward the left and then forward. Press the right arm against the right leg as you did in J\hlasana, and use your breath to help you gauge the length of your waist. On an inhalation, lift your chest off the waist. On a deep exhalation, connect more directly to the base of your abdomen. Release to Dandasana before taking the seeond side.

SAOOHA KONASANA

(Bollnd Angle POst)

Baddha Konasana is a deep stretch forthe hips and back muscles that will prepare you [Q fold your torso forward in Kurma­sana. From Dan&lsana, press the soles of

S E P T E IoI B E R 2011

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your feet together as you bend your knees, rcleasingyour legs out to the side. If your knees are much higher than your hips, sit up on the support offolded blankets.

Touch the outer edges of the feet to­gether and open the inner edges toward your face, as if you were rcading a book. This preparatory phase encourages ex­ternal rotation in the hip sockets and a rcleasein the inner groins. Keep the entire

spine of the book-the outer edge of {he feet-intact, especially the outer heels, and work the soles of the feet co face the ceiling. As you spread the skin on the soles of the feet open, simultaneously lengthen from the inner groin coward your inner knee. Then, maintain the length of the inner thighs and slowly press the soles of the feet back co coueh each other, as if the soles were sayingllllmllJle.

Interhlce your hands around your feet. Straighten your arms and lift the torso up against the pull of the arms to lengthen your abdomen and the full length of your spine. Press the thighs and shins down toward the Aoor as you begin to bend for­ward. Go slowly, and as you move, watch

to sec if you have space to fold deeper or if you feci stuck. Sometimes, when you arc faced with resistance. a momem of consdou$ breathing will [et you sec dearly whether it's wiser to move in deeper or to

back offinsteaJ. Place your forearms on your thighs

and sHde the elbows slightly toward the knees to lengthen the inner thighs and release the groins. Release the outer thighs toward the Aoor. [fyou feel that space continues CO open for you to move deeper into the pose, keep releasing into the forward fold. You can rest your head on a block, oryou lIlay even rest the fore­head, the nose, and perhaps eventually the chin on the Aoor.

Wherevcr you arc in the pose, stay for at least a minute as you anchor the sit­ting bones onto the Aoor. The grounded siuing bones give you a firm base from

which to extend the bottom ribs up and off the diaphragm to help you breathe more frecly. Rcleaseyour shoulderb[ades down your back and soften the neck. Then lift the torso up and extend your (� �'���;;�;t�"'

U PAVI 5THA KONA5ANA

(Wide-AI/8ft Stllud Forwllrd Belld) )-

You'll get a deep stretch in your ham­strings and lower back as Upavistha

Konasana brings you one step closer to Kurmasana. From Oandasana, spread your legs so that they form a wide angle. Usc this preparatory phase to ensure a solid base from which you can hinge

your torso forward. Press the entire back seam of each leg, from the sitting bones through the heels, I1rmly into the Roar. Iron both legs down, as if they were heavy logs sinking into the earth.

If you're very flexib[e, you'll want to contain your Rexibility and instead work on developing control and strength in the outer hips. From the outer knee, draw

the outer thigh in toward the hip and

lengthen the inner shin [Oward the inner heel. Theouterhips should I1rm in [Oward the buuocks [0 stabilize the pelvis. Avoid collapsing on the inner groins. Rather, support the base of your pelvis by lifting the pubic bone ;lnd lower belly up toward the navel as you pin the outer hips in.

If you arc less flexible, you may feel

yoursel fbeing pulled onto the back of the Sitting bones and the outer edge of the legs. If thal's happening, sit up on folded blankets to elevate your hips. \"Q'iden the inner back thighs [Oward the outer thighs

as you did in Malasana to help release the sitting bones away from each other. Draw

the sacrum in toward the pubic bone and sit tall as you lengthen your spine.

On an inhalation, lift the front of the torso up as you anchor the outer edge of your buttocks down. On an exhalation, start to fold forward toward the floor. Hold for one to lhree minutes, moving, watching, and then respondingappropri­ate]y, either coming in deeper or lifting the torso to back 0([ If you feel restric­tion in the legs or lower back, support your abdomenwitha bolster. [fyourbody continues to release into the forward fold,

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clasp your big toes. Touch Ihe head and maybe ellen the chin to the floor as the torso lengthens forward.

To come out of the pose, press your legs firmly down and place your hands under­neath your shoulders. Use the strength of your arms to lift your torso; then slide your hands beneath your inner knees, using your hands to bend the knees, and bring your legs tOgether into Dandasana. If you find a lot of resistance to folding forward deeply in Upallistha Konasana, you may wam to eominue to practice the first four poses of this sequence and rellisit Kurmasana when your back. hips, and hamslrings arc fecling more rt'{;Cptille to the deep forward bend.

KURhlASANA (Jor/oiu POSt)

Draw from the suppleness you'lle been cultillating in your back, hips, and legs. and release into Kurmasana instead of pulling yourself into it. Let your body emulale the softness you feci when )'ou draw your senses inward.

l:rom Dandasana, spread your legs a linle more than the width of your shoul­ders. Bend your knees slightl)·. and lift your belly off your thighs. Lengthen your torso and fold forward. Slide one arm at a time, palms facing down, beneath the thighs and walk the palms out to the side

as far as possible. Widen acrossyourehest and release your shoulders toward the floor and away from your ears.

If you sense that you'rc starting topush in order to mOlle deeper, pause and check the sensations around your eyes, mouth, cars, nose, hips, and back. Work with

softening around these areas and take an honest assessment of whether you should mOlle deeper or not. You may decide to Slay right where you are, or perhaps e,'en back out of the pose.

Whereller you arc in the pose, widen the backs of your thighs and rotatc your (� �,g�; �'�:�i'" ,"d '"" poi",

straight up. Stretch your legs out from your hips and widen your arms so Ihat your limbs help ro spread the back mus­cles and lengthen your front body. Usc an inhalation to lengthen your sternum and chin forward. Usc an exhalation to slide the heels along the Roor. 'lauch the forehead, and perhaps someday your chin and cheSI, onto Ihe floor.

If you feel stuck in this contained phase

of the pose, soften the edges around your breath, your jaw, and ellen your Cl<peeta­tions about how things should be. \Xlhat you perceille as astuck place can be trans­formed by welcoming a shift of attcmion. Like turning on a switch. releasing the tension in the sensory organs will quiet your mind, and you'lI be beller able ro considcr whcre, or cven whether, to move deeper into the pose. Breathe softly, rela:, your face, and practice patience. Take a few gentle and sk ilIful breaths 10 help )'ou discollerwhere you can mOlle.

'la come out of the pose, bend )'our knces and start 10 lift )'our torso. As you

emerge, sit (Iuiedy in Oandasana. Take Bharadvajasana I (Bharadvaja's Twist I) twice as a release for any residual tension in your back. Finish )'our practice by tak­ing Halasana (Plow Pose), Salamba Sar­Ilangasana (Supported Shoulderstand). and Salamba Sew Bandha Sarllangasana (Supported Bridge Pose) on a block.

As you learn 10 redirect the senses, you'll be better able to establish a quiet focus while still engaging with your yoga practice and the demands of daily life. \�hen you receille an upselling email, halle an emotional exchange, or expe­rience a situation Ihat creates conflict, you can learn to pause before reacting. In this way, at least for a mOment, you arc tree from reacting to the external

world around you. This persistent prac· tice will strengthen your ability to choose what is beneficial, ellen ifit is difficult or unwanted, as )'ou mOllc through your life with diseriminatingawareness. +

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self ·d i scoverv I I b y Rod Stryker

sou l 's des ire Un(O'/Jer your fNrIona/

blueprint for huppi"ess a"d let it guide )'ou to bliII.

Happiness. We all scek it. There is no more basic or unh"Crsal drive than the desire to be happy. It is inherent, something ""C are compelled to want by vinue of who and what we arc. E,·erything that human beings ha,·e accomplished and aspired to, our e'·ery endeavor. has been and always will be rooted in the impulse to sar­isty our longing for happiness. We desire love, pleasure. beaut)' friend­ship, accomplishment, wisdom, and power. Each of us longs for an abiding sense of purpose and meaning, peace, health. and security. At some level. we also aspire to free­dom, to a greater capacity to shape our destiny, and to a connection with something greater than ourselves, which somc call Source, Sdf, or God.

As the IJth-centurypoct Rumi 0b­served: ,;The wings of humankind is its aspiration.� Aspiration was responsible for the creation of language, society, culture, science, architecture, the world's spiritual traditions, and even walking on the moon. Everythingthat humanity hasacromplishedisthe legacy of its enduringclcsire for fulfillment.

The yoga tradition pll)\'ides one ofhumankind·s most effect,,'e systems forachicving happiness in every aspect oflife. In the same way that the physical practice of yoga so effectively benefits your body and mind, the larger science of yoga is Similarly powerful in unlocking the vast potential of your body. mind, and spirit to help )'Ou achieve your best life imaginable. Yoga's supreme objective is

. o .

to awaken an exalted state of spiritual realiza­tion, )"Ct the tradition also recognizes that this state docs nOt exist in isolation from the world and ,,'Orldly matters. Thus, the science of yoga teaches you how to live and how to shape your life with a commandingscnsc of purpose, capac­ity, and meaning. In short, yoga has less to do with what you can do with your body orwith the ability to still )'our mind than it has to do with the happiness that unfolds from rcalizingyour full potential. There maybe: no more important

H P T U U U I 2 0 1 1

('� WorliJ ' ags •

s e l f - d i covel Y

$tep to achieving ultimate fulfillment than accepting what the Vedas teach us about desires- that some desires are inspired byyoursoul.

THE FOUR DESIRES

According to the Vedas, your soul has four distinct desires, which arc collectively described in the tradition aspllrllshar­tha, ;'for the purpose of the soul." The

first of these four desires is dharma, the desire to become who you were meant to be. It is the longing to thrive and, in the process, to fulfill your unique purpose; it is the drive to fulfill your destiny. The second is arrha, the desire for the means (such as money, security, health) to help you fulfill your dharma. The third desire is kama, the longing for pleasure in any and all forms. The fourth is IIIQksha, the desire for spiritual realization and ulti­mate freedom; it is the intrinsic desire to be free from the burdens of the world, even as you participate fully in it, and to experience a state beyond the reach of the other three desires.

According to the Vedic tradition, the four desires arc inherent aspects of your soul, or essence. Your soul uses them to fulfill its unique potentiaL Learning to honor the fourdesires allows yOIl to thrive at every level and leads you to a complete and balanced life. It's important to under­stand that, from the viewpoin! of the Vedas, all four kinds of desires, including desires formaterial prosperity; if pursued mindfully, can be spiritual because they can pave the way for your soul to express itself on Earth. Of course, not all desires lead (Q happiness. Desires can and do result in pain and frustration. However, according to the ancient tradition, attach­ment to desire, not desire itself, is the underlying cause of practkall)' all of our pain and suffering.

The tradition also speaks at great length about the necessity of understanding your life's deeper purpose, because true hap­piness is dependen! on your fulfilling it. Indeed. it is myobscrvation that the fail ure to develop a clear understanding of their life's purpose is the reason many people

arc unable to achieve and sustain the hap­piness that the); (leep in thcirhearts, seck. The challenge we all face is to learn how to take into account [he full measure of who wc arc and use the positivc force of all four of our soul's desires to lead us to our best life.

THE POWER OF INTENTION

The place to start harnessing your power to determine your destiny, to achieve any intention as well as lasting fulfillment, is your own mind. According to the Vedic tradition, the most profound way to affect the course of your life is by harnessing the powerof resolution or intention, which in Sanskrit is calledsankalpa.

Sankalpa is the compound of tv.'o $;ln­skrit words;kalpa, which means "a wayof proceeding" or, more revealingly, "the rule to be observed abo,'c or beforc anyothcr rule," andJan, which refers toaconcept or idea formed in thc heart. Thus, sanka/pa means detemlination orwill: an intention, a conviction, a vow, or most commonly, a rcsolution-one that reflects your highest

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OMEBA S E P T E Io4 B E R 2011

aspirations. In pra(tical rerms,a sankalpa the average American makes 1.8 resolu­is a declarative statement, resolution, or tions per year. \Ve create intentions to intention in whi(h you vow or (om mit los<: weight, find a more rcwardingcareer, (to yoursdf, your teacher, a ... . . . . . . . . . . . . . . . . . . . . . •. get organi�ed, or attraCt th( prkst, orcven God) to fulfill ideal partner. \Ve resolve to a specific goal. change our diet, be more dis-

The ancient concept of ciplined, work harder, work sankalpa is predicated on the less hard, spend more time in principle that your mind has nature or with our families, a measureless capacity to af- enrich ourspiritual life, stop feet the quality and the eon- smoking, be a greater force tent of your life, The ancient for good in the world, or do traditions-including Veda, This column Is any one of countless other 'I:mtra, and yoga-venerated adapted from things we aspire to aecorn-the mind and appealed to Rod Stryker's pJish. However, it's critical the Divine for the mind to be filled with Mauspicious thoughts," because they saw the mind as the chief ar-

latest book, The

'our Desires:

Creatinqa Ufe

of Purpose, Hap'

plness, Prosper-

to note that research shows that at least 80 percent of us do not achieve our reso-IUlions. Despite all that you

chitccr of our lives. In other Ity. andF"reedom. may havc heard or read in words, they viewed your

..................... ".. praise ofthe limitless power mind as the ruler of your fate. "The mind of intention, this statistic means that

is that voe too often focus on fulfi11ingour desires without giving much thought to how our desires s<:rve the greater meaning and purpose of our lives. Another reason, from the perspective of (heTantTie tradi­tion, is that there is a science to manifest­ing intention, and if you don't apply it, you will likely end up as part of the 80 percent who don't see their resolutions fulfilled.

A sankalpa, by definition, foc;uscs your mental and energetic resources and, in the process, the forces of nature, toward a specific end. I've worked with people who have successfully applied sankalpa to achieve everything from healing a life-threatening illness to enriching their

spiritual 1ife or finding their dream job. Nowcomes the critical question: How

do you identify the specific desire that would best s<:rve actualizing your poten­tial? Morespeeifieally, what-if you could achieve it in the next 6 to 18 Olonths-

is everything. What you think, you be­come,� said the Buddha.

\Ve arc all familiar with the concept of intention or resolution. [t is said rhat

fewer than one in five of us achieve what would enrich you and, in the process, we set out 10 achieve. contribute to fulfilling the meaning and

\'<1hat explains this failure to fulfill our purpose of your life? At first glance, the resolutions? One very important reason answer might seem obvious. If you're

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financially strapped, wouldn't you just crcatl' a sankalpa to make more money

at your current joh, find 11 beuer-paying one, or win the lonery-in other words, a sankalpa that focuses on achieving a desire in the realm of artha (finances and material security)? Not necessarily. \'(Ihcn it comes to desires, the obvious answer isn't always the right one. That's because until you learn to do otherwise,

the obvious answer almost always comes from your intellect, and your intellect isn't completely capablc of knowing which intcmion will best scrve you. Your saul, ho ..... 'Cver, has a way of always know­ing what you need to serve your higher purposc and, at the same time, what your next best step should be in order toexpc­

rience the lasting happiness you seek. The point is, we all know; more or less, what we want; we don't always know what we need.

CHOOSING YOUR RIGHT DESIRE

One of my students, Victoria, was in her mid-50s when she was told she would

nClleragain walk without thc aid of acanc

or crutches. A few days earlier, she had been hit by a car, which broke her hip and several ribs, and crushed the bones in one ofherlegs.

Victoria had, in the past, worked with

the process of The Four Desires and ful­filled several sanblpas, incJudingsuccess­fullyereating and navigating a challenging career transition. Her intention now was to usc her power of resolve to help her­sclfheal. Unwilling to accept the doctor's prognosis, she assumed, quite logically, that her sankaJpashould focus onartha­

which entails health and well-being. Her goal was to learn to walk comfort­ably ag.1in, resume playing golf, and even dance. In combinat.ion with her sankalpa, I suggested to Victoria that she usc Yoga Nidra. an extraordinary deep-relaxation technique that empowers sanblpa.

A month orsa bter, Victoria and I spoke. -me work she was doing was not having the

effect on her body that she had hoped for. I was tempted toask hcrto be patient but stopped short when she acknowledged something that her relaxation practice had revealed: Being completely depen­dent on those around her had forced her

S E P T E Io4 S E R 2011

inquire within .............. . , This meditation will help you listen

to your soul as it points you In the direction of your true desire.

CLOSE YOUR EVES. Become aware 01 your body. Srint;! your attention to your breath. Become aware of your eliortltoss breathlnq for one to two minutes, until you feel slill.

Now, brlnQ your attention to your

forehead in the space between your eyebrows. As you hold your atten­tion thlm!, become aware of your body brealhlnQ. Rela�. Don't force

or Iry to shape your breath. Allow your awareness to connect

your breath to the pOint between your eyebrows. When you notice the body breatlling in, your aware­ness movl'S from the polnl betwel!n your eyebrows to the midbrain, a point rOUQhl.,. betWeen your tem­ples that Is sometimes called the third eye. When you notice your body breathing out, sl!nsl! your awarl!nl!ss moving from that point back to the point between your eyebrows. Continue to feel your

awarenl!SS move from one point to another on the movement of your breath. As you breathe In, aware­

ness moves from thl! point between the eYl!brows to the midbrain. As you breathe out, awareness moves from the midbrain to thl! point between the eyebrows.

As your mind settles, ful the

practice bl!coming morl! I!ffort­less; leel a growing sense 01 calm.

When you e�perlence this. become aware 01 presence slowly unfolding In the midbrain. ContlnUI! to watch, feel, and listen.

Once you I!nter Into a rhythm

of dl!l!p pl!ace and effortil!ssness, begin to sense that your awareness. at the point bl!tween your eye­brows, moves In and out on Its own, Indl!pl!ndl!nt 01 the breath. EVl!ntu' ally, stop thinking about the breath and just be aware of a kind 01 ef­fortless pulse moving In and out 01 the third-eye center. Graduatly leel a sense of bliss unloldlng, your wholl! being 1I00dl!d with a bound'

less sl!nse 01 contentml!nt and joy. Don't try. Just be aware and, at the

same time. completely relaxl!d. Contentment will continue to unfold the more completely you let your' self go Into effortlessness.

Now, become aware that the soull:e of this contentml!nt and joy you arl! eKpl!rlenclng Is actually you. Continue letting go until you leel that you are the source of

joy and bliss. In the IInal stage of this practice, you are completely absorbed Into a state of joy and bliss, such that you no longer e�pI!­rlence being separate from the universe 01 which you are a part. Eventually, you npl!rience being bliss itself-unbounded, you are the bliss that the ancient teachings tell us Is the nature of all things.

Now, established In this state, tune In to your "wisdom center"­the place of knowlngness within you. For many people, It's In the gut. For others, It may be In thl! heart or thlrd'eye center. The Important

thing Is to just settle and tune In to a feellnq 01 knowlngness and cer­tainty within you. Resting In a deep state of contentment, experience the pari 01 you that knows I!xactly what you need and What you don', need. feel connected to the Inner core of truth that Is always ready and fully capable of guiding you to

your best Ille. Continue to rest In contentml!nl

as you pose the fOllOwing question to your higher Self. Calmly ask: "Which one of the lour desires, If It wl!re to be fulfilled In the next 6 to 18 months, would best servl! my highest purpose, or dharma?"

Allow your Inner voice to provide you with an answer that pinpoints the particular desire that will best servl! your highest purpose. Don't let your rational mind take over this process; it must be organic and intuitive. The response from your soul will be decisive and Clear.

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to see something that until then she had been unwilling to admit, whkh was that her boyfrien(1 of 14 years had long been distant and unsupportive; now that she

re'llly needed him, he was more distant and less nurturing than ever.

Despite being "lOgether� with him, VielOria had fclt alone for a long time. She realized that she needed to heal her relationship with relationship. She rec­

ognized that she needed to focus hcr attention on the fulfillment of kama, the second desire, which relates 10 love, intimaC)\ and relationship. The more we spoke, the more obvious it seemed that ViclOria's first step to healing was less ahout her body and more about her heart.

If she was going to walk again, she had to be strong enough to "walk away� from a less-rhan-nurturing relationship. 1 helped her craft a new sankalpa. Her resolve would no longer be �I am com­pletely healed from physical injuries.� Her new resolve became;'1 feel loved. I stand, walk, and dance happily on my own, sur­rounded only by people who care for me.�

From the moment she refocused her sankalpa and began to methodkally apply it, Victoria's physical healingacceleTatcd. Almost instantJ), she felt different. She was now inspired and uplifted; most im­portant, she was now prepared to face the physical challenge oflearning to walk again and stand completely on her own. Less than twO years later, Victoria not only stands without a canc but walks, plays golf, and practiccs and tcaches yoga. Her former boyfriend is no longer part of her life. Victoria's story shows that when you collect your resolve, commit all of your resources, and direct them properly, you can create lasting and meaningful changc.

SEEK WITHIN

So how do you know when you \"e chosen the correct focus for your sankalpa? Con­sider Matthew 6:3) from the Christian New "Iestament: MEnter the kingdom of Hea'"en and righteousness and all things shall be added on to thee. � The Vedic scriptural source, Chandogya Upanishad,

conveys the exact same principle this way:

�His desires arc right desires, and his de­sires arc fulfilled.�The terms "righteous­

ness� and "right desires" point us back to the fact that the right desires arc in line with our higher purpose. The Sanskrit term for such desires iSJotyokolllno, which means "true desire.�The will to act on such desires is called 10lYdJdllkolpd, or �true resolve.� How do you find your sat­yakamna, your true desire?The answer is to ask )'our soul. Steeped in soul, you no longer have to try todiStinb'llish �thy"will from "my" will; soul is where universal will

and individual desire merge. As Lord Krishna states in the Bhagavad Gita, "I am desire itself, if that desire is in har­mony with the purpose oflife.�

If you have little or no meditation ex­

perience, you might assume that the soul is accessible only to those few who have

dedicated their lives to finding and expe­riencing it. The good news is that this is not the case. One of the greatest yogic tens, the Yoga Vasishtha, puts it this way: "'This Selfis neither far nor ncar; it is not inaccessible nor is it in distant places: It

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is what in oneself appears to be the expe­rience of bliss and is therefore realized

in oneself." In other words, anytime YOll experience profound happiness or bliss in your life, you arc actually experiencing your soul. You may not know it, but the joy you 3fe feeling is coming from you. It is you. The key is to learn to be able to access it wheneveryou want. T"is is where the practke of meditation comes in.

It's possible foranyone, in asingle med­itation session, toget at least aglimpse of stillness-and of a unique kind of con­tentment, the contentment that is your soul's nature. This is a critical point in achieving both spiritual and material fulfillment since, according to Vedic wis­dom, we are each born with a blueprint to achieve a full and contented life. Your

soul holds that blueprint, and the higher aspects of your mind-specifically, your

intuition-arc the means bywhieh you can read that blueprint and let it guide you to fulfill its master plm.

Thus, by learning to apply the simple steps of meditation that I will lead you

through (lit the sidthar, '"Inqllire W!itbin, �

on page I09) and by learning to �sce" those

desires that are inspired by)"our soul, your desires can become the means by which

your shOff-term goals. in any of the four categories of desire, become your way of manifesting your soul's uverriding pur­pose, or dharma.

THE PATH TO A FULFILLED LIFE

�I()'ou cling to a eeruin thought with dynamic Willpower, it finally assumes a

tangible outward form,u said Parama­hansa Yogananda. '"When you arc able to employ your will always for constructive purposes, you become the controller of

your destiny." The vows YOll hold dear. when you are deeply committed to them, speak directly w the universe, eompcl­ling it to act on your behalf. \Vhen such

conviction islinked wdharma, theaspira­tion to become the best you can be, you will be led to a life of;oyous fulfillment and accomplishment. Strengthened and focused by your sankalpa, or resolution,

you will eventually learn to see how all

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things. all experknces-even those that are challenging or might at first appear to be obstacles in the path to aehievingyour

desircs-are actually helping to guide you. In the process, you'll develop faith. As

you hecome more capable and powerful in the service of a higher ideal, your resolu­tions will help you become a morc power­ful force for good in the world and enable you to realize the ultimate promise of yoga, which the Srimad Bhagavatam, one of India's most revered tens, describes this way: '"t\ human being is born to dive deep into the stream oflife, find the hidden trea­sure, and attain eternal fulfillment.�

Eternal fulfillment is both an art and a science. When you learn toskillfullyapply the science, you become an artist. Your

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Shirodhara upert. The relax.ing Shirodhara trealmenl helps

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m:l3 THE PATH or THE YOGA

SUTRAS: A Praetlcal GuIde to th.

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For many ccmurics, students and teachers alike have revered l'atan­jali's Yoga Sutra as one of yoga's most profound philosophical t(,xts. But with morc than 100 English translaTions and commentaries on the market, Jowc rcally need anO[hcronc? Sanskrit scholar and yoga philosophy tcacher Nicolai Bachman has cOllie up with a no\'c! idea: Instead of writing another

•

- a Overcoming Trauma

through Yoga

Reclaiming Your Body

linc-by-linc study guide, he's ex­tracTed what he identifies as 51 key principles from the sacred text, creating a sclr-help guidebook that enables readers to explore the foundations of yoga philosophy and apply the teachings to their everyday lives.

Bachman cncapsulateS each pTinciple in a single Sanskrit word and thcn unpacks the word in a bite-sizc essay tlmt includes a down-to-earth explanation of the concept; three brief, sutralike �thoughts� or affirmations; and a handful of exercises that help read­ers Contemplate the essay's teach­ingand use it in daily life. Bachman begins with a general illtroduction to Patanjali"s brand of yoga, then addresscs the topics of suffering, the Jail/as (restraints), the niyall1as ("personal practices"), asana, and pranayama. The final section

reviews I I books + m u s i c + v i d e o s

describes the progress of yoga meditation and its ultimate goal Qlaivalya, or �permanent oneness").

Along the way, Bachman ex­plains how to live with integrity,

bring clarity to the heart and mind, ami turn inward to "understand the true nature of the inner Sclf.� This book is an insightful com­mentary on and a handy pranke guide to the Yoga Surra, suitable for students of all experience levels. RICHARD ROSEN

om OVERCOI.4ING TRAUMA

THROUGH YOGA: Reeillmlnq Your

Body, by David Emerson and Elizabeth

Hopper, PhD. North Allanlle Book5;

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In the past decade, trauma expertS have begun to prescribe yoga as a complementary therapy for a range of trauma survivors- from Iraq and Afghanisun veterans to people affected by 911 I. natural disasters, and sexual abuse. \'(Ihy? l3c<:ause although talk therapy addresses the cognitive and emotional as­peels of trauma, it often doesn't treat the physiological dimension of trauma. Research suggesrs that ),oga can quiet the Ixxl}ls alarm sys­tems, helping trauma surv;"ors feel calmer and more comfortable in both body and mind.

I.n this timely book, David Emerson (a yoga teacher) and Eliza­beth Hopper, PhD (a clinical psy­chologist) outline the principles of �trauma-sensitive yoga,� an adap­tive practice that Emerson and PTSD researcher Bessel van der Kolk developed while working with f)

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home. Another gives clinicians ideas for incorporating yoga techniques into talk therapy. The final chapter tells yoga teach­ers how to modify instructions, assists, and other potential triggers for trauma survivors, and explains how to help a stu­dent manage a crisis if one comes up. This book is a prActical guide for anyone seek­ing to heal from trauma-and for yoga teachers and clinicians trying to help them. M,l.THERINE GR1HIN

m TEARS or LOVE, by Prema Hara. MantraloQY; mantral09y.com Joy and devotion infuse every song in Prema Hara's second album, T(ors of Love. Named afler oneof the thousand namesof Radha, the eternal love of the Hindu god Lord Krishna, Prema 1·lara is composcd of husband-and-wife duo Keshavacharya

Das and Kamaniya, and percussionist Sri Rama Gonzale�. They arc joined by multiple guests, including accomplished musicians such as BcnjyWenheimer, and the I) voices of the Cosmic Kinan Cho­rus, who gracefully bridge the gap that can sometimes be fclt between live and recorded kirton. New York "conscious rap� artist Srikala also joins the fun, add­ing his lyrics, vocals, and production work 10 Ihe album and solidifying ils place in modem devotional music.

Keshavacharya Das and Kamaniya har­monize in an enchanted alchemy. I.ndian instruments such as the esraj, harmo­nium, mridanga, and tabla cavan with the cello, clarinet, and piano to create a musical vibration both ancient and cur­

rent, and one thai knows no borders. The opening track, �Prayers ofGratitude,� is six minutes of sweet and humble suppli­cation, while �Bajarangi Hanuman� and �Shiva Vibrations� entice the listener to join in thesacrcdsong. The Hare Krishna

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J\1aha mantra is represented twice, once in the tirle track and again in the grace­ful �Seek the Essence.� A lovclysecond album, indeed. KATHERINE RAE

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Treating yourself with yoga therapy through a DVD isa challenging task.Jus­tine Shelton, a registered yoga therapist certified by the American Viniyoga Insti­tute, docs a very credible job with these �,'entle yoga videos. Each dist offers three practice sessions, each of which runs for 8 to 20 minutes and concludes with

a la-minute relaxation in Corpse Pose. (Incidentally, Shelton's DVD isoneofthe few I've reviewed I3telythat devotes such a generous amount of rime to this seminal pose.) The asanas and asana-bascd exer­cises are, for the most pan, performed either kneeling or reclining, although

there arc a few simple standing poses designed to help the knees and hips. The sequences should be accessible to Stu­dents of aJl IC\·els. Nevertheless, Shelton is the soul of caution, diligently suggest­ing alternatives to any exercise wit h a hint of difficult)' and recommending props to make the practice safe. The information she provides, including the purpose and benefits of each exercise, and her specific instructions (with an emphasis on align­ment and breath awareness) are first-rate. Recommended for students of ail levcls and ages. 11.11.

m LOVE, SERVICE, DEVOTION, AND

THE ULTIMATE SURRENDER: Ram DaSl

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Now, he gave a series of captivating lec­tures at Naropa Institute (now Naropa

Univerisity) on the essential teachings of the Bhagavad Gita, one of India's most beloved sacred texts and a must-read for serious yoga students. Lovt. Stroirt, Dt1.IOlion, alld tht Ullin/a/f Sarrendtr is a digitally remastered lo-CD audio learn­ing course culled from those talks, which tT;lnscend rime and embody the Gila as a living expression of the powerful, eternal

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•

young Ram Dass offers wisdom teachings on !apics such as karma,

dharma, and selfless service; mantra yoga; devotion to the guru;

death and dying; uustingyour heart; and surrender. He interweaves quotes from recognized masters across the ages and uaditions while sharing stories from the

Gita and from his own journey through science, psychedelics, and spiritual dis­

cipline. Ultimately, he helps us recog­nize the individuated nature of spiritual awakening-and reminds liS that we arc already in a state of grace. This inspiring 12-hour course offers concrete insights into the questions all seekers face on the spiritual path. It can (and perhaps even should) scrve as a lifelong companion on yourownyoga joumcy. KATE VOGT

1m BE BLOOM A WELL PRENATAL

YOGA, with Sarah Longacre. Blooma Media:

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Yoga can help moms-to-be prepare their bodies and minds-not only for the rig­

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Salutations, a strenuous standing-pose sequence,and several roundsof�mommy

pushups. � Those new to yoga may find it a bit difficult to keep up with these gals, because postures arc held without the aid of props or modi­I1cations that arc com­monly recommended in a prenatal practice.

That said, moms-to­be who arc looking for

a yoga workout and have a solid knowl­edge of postural alignment will be happy to break a swear with the Blooma mamas.

Longacre's lo'"e, respect, and reveTCnce for motherhood come shining through in her teaching. Her DVD includes informa­tion about natural childbirth and doulas;

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rOllti"urJ from pllgr 91 kirtan today, �kirtan is a tradition that constantly reinvents itself,� says \X1allis. \'V'e are simply witnessing another stage in the evolution of a sacred practice.

-heading west Kirran began gaining popularity in the \'l7cst in the late '90S, when artists such as Krishna Das,Jai Unal, Wah!, and Dave Stringer-Americans who had discovered yoga and Indian chanting-began bring­ing kirtan to US yoga studios. They sang mantras and chanted the many names of God with small groups, just as Indian tem­ple musicians have done for centuries, in the traditional call-and-response format. These /\meriean kinan wallahs taught their fans about the musical branch of bhakti yoga through direct experience. Over time, the crowds grew, the music evolved, and the musicians multiplied.

Today, many American kirtans rend to look and feel more like pop concerts than spirirualgatherings. And the chants have t.'Volved to include undercurrentS of soul, rnp, hi[)-hop, electtonica, rock 'n' roll, and country. The distinctly American influ­ence on traditional kirtan seems to be attracting crowds of people who wouldn·t typically find themselves hooked on yoga'ssacred ehants. Do they understand the meaning behind it� Maybe, maybe not. But regardless, musicians like)ai Unal, who was nominated foraGrammyin lOo4 for his kirtan album Mondo Rllmd, believe that people can still experience kirtan's benefits just by chanting mantra together

as a commUlllty. "It gives people 3 joyful, easy way to

break down the walls around their hearts, � says Unal, whose new album, !flgun of H,"rtJ, sho""Cases a blend he calls reg­gae kirtan. �AII you have to do is create a beautiful melody and a really rockin' rhythm scction, and people start singing and dancing. Then the mantras, they get in there and do theirown work and allow our hearts to be opened to the spirit that is always around us and inside us.�

In fact, many of the kirtan artists we interviewed for this story expressed a belief that there is something beyond the

tanc:y stagingand the funky grooves that keeps people coming 1>'1ek for more, even if they can't quite �rrie\l­late what it is, �People are unconsciously tapping into the vibration of the mantras,� says recording artist Reema Datta, a claSSically trained Imlian American singer and yoga teacher who has released two mantra music CDs. "Once they get a direct experience of oneness from kirtan, they're like, 'Give me more of that!'�

Perhaps the positive effect comes from the vibration, or from the content of the chants themselves. As lshwari, the lead singer of SR I Kirran, observes, "A lot of secular music is negative: It's about sad­ness, heartache, and loss." Kinan, on the other hand, has a positive vibration. De Loryagrees: "Pcopledon't realize that pop music is full of mantras, but the mantras are things like 'I want to party all night' and 'I want to rock your body.' Imagine if we were all walking around singing, 'I am divine love:�

-mantra's melting pot Kinan festivals and weeklongworkshops are also helping pop-influenced kinan gain traction. Last year, Hhakti Fest-a kirtan festival held inJoshua -Iree, Cali­fornia-drew 3.500 people, and as many as ),000 people are expected to show up thisScptember. Dc Lorycalls Bhakti Fest �the \'l700dstock of this b'CneTation, except this rime it's without the drugs,�Vendors peddle ruffl.ed skirts, bell-bottom stretch pants, feather earrings. and vegetarian eats, while festival-gecrs chant together. lounging on blankets or beach chairs un til the music compels them to jump to their feet and dance to the heat. Sometimes, the crowd morphs into a rave, and the psy­chedelic main stage, with its neon tapes­tries of Hindu deities, further enhances the groovy, pop-culturc vioc.

Krishna Das says these large-scale fes­tivals have their pros and cons. �There's one section of people who will JUSt be there for the mating and the dating and, let's face it, the party. But there's also a

S E P T E Io4 B E R 2011

group of people who arc coming for the bhakti. the real devotional offering, and the entrance into a sacred space. As time goes on, there will I>c a shift. and more people will feel a tleeper thing going on and move toward thal.� New \'<'orltl Kirtan podcasl host Kiuic Stern, who has altended [1,00'0 Bhakti Fens, says she enjoys gathering with a �Iribe� of like­minded people to "Sing, talk, laugh with each other, and be filled up with lo\'e.� And lltlending a we<:kend kirtan festival is markedly differenl from attending a [1,Oo'o-hour kirtan in a theater, she points out. "It's hard to explain. but something really positive is happening in the col­leerive consciousness� when thousands of people chant mantras together for an extended pcriod of time, "There is a really strong presence of spirit.�

Festivals like I�hakti Fest and Ecstatic Chant at Omega Institute in Rhinel>cck, New York. have the atlded benefit of bringing together diversc musicians who arc rarely in the same city at the same time, says Dave Stringer, an internation­ally lOuring singer whose siKth album oomesoul inScptembcr,lknuse they get a chance to sil in on each other's sessions and eollaboratc, "iI'S already starting to shifl some of the sounds,� he says.

In the meantime, workshops and train­ings arc nurturing a new general ion of kinan artists. Chant lovers can attend a kinan-eentric bhakti ),oga retreat with Krishna Das or Sikh sensation Snatam Kaur, Other well-known wallahs lead wet:klong kirtan ·eamps,· ·eol1e�,.es,� and other immersions where students learn how to play the harmonium, cymbals, or hand drums; pronounce mantras prop­erly; write their own chants; and guide a group of people through a transforma­tive musical experience. The alumni of kirnn immersions-which take place slateside and in locations like the Baha­mas-include more than a doten emerg­ing chant artistS, including California's Prajna Vieira, whose duct album with mantra musk producer Ben Leinbach is eoming OUt this fall. Partly because of thesc trainings, there arc kirtan bands starting all o,'er the country--not JUSt in the Northeast or on the \'<'est Coast

or dMags

but in Mobile, Alabama; Reno. Nevada; and Green Ba)" \Vi5oConsin,· says Stringer.

-going deeper Of course, the ecle<:tie. di-'erse, and con­stantlyevolvingsryles of American kinan arc not without controversy. Leinbach says he occasionally runs into traditional kirtan practitioners who think \X'cstern innovators arc trivializ.ing the tradition or lessening its spiritual impact. �But I think there's a huge amount of positive, hean­opening, unifying music happening," he says. Many American trailblazers agree.

�Somctimes tradition gets froten and rigid. h loses its flexibilil);"sa),sScanJohn­son. whose Wild Lotus Band became the first kirtan group to pcrfoml at the New Orleans Jatz Festi"al last year. �Thcn 3 wave of pioneers comes along and shakes it up, and something new is created." Not everything that emerges will stand the test of time or even qualify as kirtan. he says, but he believes that yoga's sacred chants will benefit from \'<'estem innova­tion in the long run. aA lot of musicians an: passionate about being bridge builders for kinan bysharing the power of mall! ras through genres that speak naturally 10 W'C"Stem ears.-

\'<'hat'S the next step in America's kir­Ian revolution? Russil1 Paul says, -People who are singing kinan should spcnd time improving their pronunciation of the mantras. Some people say it docsn·t mat­ter, but Indian mantra tradition is about the refinement of sacred sound. Ameri­cans have spent so much time straighten­ing theirspincsand refining thcirpracticc: of asana that many of them arc on par with Indian halha yogis, Now it's time to straighten the spine of our mantras."

�Chanting is a powerful spiritual prae­rice,· says Krishna Das, "It can look like rock 'n' roll and sound like rock 'n' roll, but it isn't." If )'01.1 practice kirtan regularly. with sincerity and opcn-heartedness, he says, "every repetition of these mantras will have an effect and will bring real fruits to your heart, sooner or larer." +

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outward in Hanumanasana. �You Opcn to Grace and think about )'our intention, your big vision, Thcn )'OU pull inward with Muscular Encrgy and dedieatc yourself to that vision,� shc says, �\Vith Inner and Outer Spiral, you get yourself in align­ment with the action you want to create_ And then-you lcap!�

expand and offer With your body, mind, and heart in align­ment, you radiate energy outward with a sense of expansion and freedom, This is Anusara Yoga's fifth principle-Organic Energy-and it is the perfect place from which to take the figurative and literal leap into Hanumanasana,

In technical tcrms, Organic Energy is an outward cxtcnsion of cnergy from the corc to the periphery of your body­think the OU{emlOSt planes of your body, including your fingers and your toes, It is thought to increase expansion. flex­ibility, and freedom in the pose. \Vhen Rosenberg teaches this stagc of the pose,

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she reminds her students that, no mat­ter how dose to or far from thc ground the)' are, this final stage is really about the offering. In fan, Roscnberg encour­ages her studems to usc as many props as necessary (blocks under the hands and under the pelvis will often do the trick) so that they can safely lift the upperchest into a backbend without any strain on the lower back. \Vhen the pose is taught this way-that is, when you can feel its heaTl-opening aspects regardless of how low you go-you can literally make the pose a heartfelt offering to whatever your imention is. From that uplifted place,you may sense a natural connection to your most inspired dreams and intentions. The radiant,expansiveencrgy you cultivate in the pose is, metaphorically spcaking, thc same energy that enabled I-Ianuman to grow gigantic and perform a superhuman feat in service to something that WlIS far greater than himself.

\Vhen you arc in the pose, notice the effor! and grace you arc capable of; notice the transformation and expansion that

occur in your body. heart. and mind whcn you devote yoursc1fto practice. Then ask yourself, "To what do you WlInt to devote yourself, your life?� You are capable of so mueh effort, so much grace, so much expansion! As you offer your effort to this Hanumanasana practice, you might con­sider the ways in which you want to offer your efforts off the mat-to your family. yourcommunity, )'our dreams. To what do you want to offer your dedicated effon and c)(pansi\'e heart in service?

As Rosenberg says. "It doesn't matter where the final form of [he pose lies. It doesn't matter how many blocks you arc lifted on. What's really important is that you've decided to rake this journey. \Vher­ever you arc in the pose, remember what you're in scrvicc of. Think of the pose as an emblem of your heart.� +

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December 201( february 2012 March 2012

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Seplember 14, 2011 October 26, 20n November 30, 201(

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c l a s s i f i e d a d v e r t i s i n g

issue date Oecem�r 2011 rebruary ZOl2 March Z0I2

deadline' Septem�r 14, zon Octo�r Z6, 2011 November 30, 2011

G ROW YO U R YOGA B U S I N ESS YOGA J O U R NAL'S A N N U A L YOGA DIRECTORY

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to kHP bot� stein 01 myself in bll.nce. The mfdil�tlOn pose reminds me to stay tJrouncled. Handstand Is about turnlntJ mysell upside down In posltlYe wavs and trylntJ new thlnQ5. J(NNIHR (ALO(RON

(pictured twice) 01 Valencia. (alilornil

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