I wrote here about three things I didn’t (yet) get about ashtanga: driste, rolling over one’s toes, and tapas.  Well, it turns out, they’re all related, so no wonder I was struggling.

First, the easy one.  I figured out that toe-rolling and heat are linked.  When I finally got strong enough to keep my knees off the mat for all the chaturangas and up dogs, I got warmer.   Even the briefest of knee-touch-down on the floor for toe flipping decreased my temperature—like taking the lid off the pot, even for a second, lets out the heat.  Even if I try to stay engaged, bandhas and muscles strong, that touchdown is an energy leak.  So I stay up now.  Not warm, but warmer.

Next, driste. I ran across Richard Freeman talking about this on his Studio Talks disk on driste.  He says driste is “allowing your eyes to rest on a single point, externally or internally.”   “The eyes are a particular manifestation of the brain.  The movement and engagement of the eyes take the mind, very much, with them.  Practically instantaneously—” and then THIS: “To allow the eyes and mind to rest on a single point creates, very quickly, tapas, or heat.”  So there you go.  Me and my chilly yoga, me and my wandering gaze.  But check this, he also says, “Without tapas, you’ll simply be floundering…The engagement of the eyes creates heat or concentration of the mind, and it’s the concentration of the mind which actually makes the practice a yogic practice.”

Damn.  I’m just doing gymnastics!  Well, okay, that’s fine, I’ll get there.  Doing yoga in a room with two little kids, plus maybe Spongebob or a video game, or both, means to be distracted, to answer questions, to change the channel, to stop to wipe someone’s bum or get someone a glass of juice.  I don’t think I would be better off waiting to practice until I can practice uninterrupted.  Tapas-less yoga it is for the time-being.

But now that I know this, I’ve started noticing the distinct feeling of drops of heat building, and then being lost, when my focus is lost.  Like a bar filling on the bottom of a game screen.  I can actually feel my temperature going up and down depending on my mental focus.  This is so cool!  Yoga works!

And, wow, my mental focus sucks.

Moving on.  Intermediate.

In ashtanga, there are six series.  Primary is the one I’ve been working on, duh, because it comes first.  There is quite a mystery around Sixth, also called Advanced D, as, I think no one actually practices it (maybe Sharath does?).  Basically, for you non-yoga folks, in ashtanga yoga, you do 10 sun salutation, then the standing poses, then [insert series here, primary, intermediate, advanced A, etc], and finally everyone does the Finishing Sequence. I love the finishing sequence.  David Swenson says ashtanga is like a sandwich, with the surys and the standing poses the bread on one side, the finishing sequence the bread on the other side, and the series—primary, intermediate, etc—the sandwich filling in between.

Anyway, after six months of eating primary sandwiches, I’ve decided to nibble a few intermediate sandwiches.  Here’s the reason: (1) I can’t add poses to the end of first (the traditional way to begin Intermediate is to start adding new postures, one at a time, to the end of the first series, until you have enough to split it into two again) because my kids can’t tolerate me practicing that long.  (2) Rather than a longer form, what I really need is a shorter form for a couple of days a week when I don’t quite have time to do the whole thing (like on horseback riding days).  And, (3) I’m trying to work up to backbending, even though my back is like concrete, and hey, the first eight or nine poses of intermediate are heavy in back-opening poses. So, boom, I figured could do the first eight or nine asana of Intermediate and get my short form, and my backbending prep, a couple times a week.  Alakazam.

I did the whole Intermediate once, just for fun, using Swensen’s dvd, and it nearly killed me.  In a good way.  I mean, I can’t do 80% of the poses, just variations, but that was fine.  I was still trembling by the end.

But, oddly, I can do the first 8 poses pretty well, including the usually tricky Pasasana even with my feet completely flat.  Everyone gets a gimme pose, right?  This one, apparently, is mine.

Next is Krounchasana , doable, as long as my leg is far away from my chest.

A pathetically low Shalabhasana  A & B, is next, which feel like cracking cement:  much needed.

Bhekasana next, which feels freaking fantastic.  I do one leg at a time like this , then the traditional two leg version.

Followed by Dhanurasana , which for me is this wimpy, collapsed thing, a balloon with no air, but that’ll change.  And don’t even get me started on the Parsva version where I flop like a rustled calf onto one side then the other.  Hilarious.

Finally Ustrasana,  my nemesis pose, which I do three times, once up on a high block, once on a low block, once pressing my sacrum with my hands.  Maybe in a few months it won’t feel like I’m going to break when I do this. It feels desperately needed.

And that’s it for me for my intermediate filling, pretty skimpy, given what comes next in the series, but it feels great to get these backbends in.

I should add that about at this point, in the finishing postures, Sophie gets interested and comes to do her practice.  She does a full backbend, then lies on her tummy and rests her head on the soles of her feet (backwards), while I do my limping, supported Urdhva’s.  She does a handstand and a headstand while I do headstand against the wall (I can get off the wall, but I’m too scared to not have it there, just in case—she does not have this fear).  Then she does full splits, both out to the side and front to back.  And finally she does the three padmasanas of finishing with me, although I only do half lotus, and she does full.  And she can actually lift herself off the floor in Utpluti .  I have to leave one leg down.  Sophie is a total yogini badass.

I’m not sure I understand the choice in current ashtanga training of keeping the Intermediate poses back until you are really awesome at Primary.  They feel fantastic and just what my extremely stiff back wants.  Kapotasana, forget about it.  But since I know it’s going to take me years to get there anyway, I might as well start now with the prep poses.

Even if I have to wear a sweater.

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4 Responses to tapas and a bit of intermediate

  1. I’ve always wondered where Drishte came in. Krishnamacharya in his Makaranda doesn’t really have it, but then he mostly has Jalahandra (throat lock) on anyway so your drishte is usually down. Same with Ramaswami’s book which is supposed to reflect Later Krishnamacharya, again, mostly Jalahandra. Always wondered if Drishte or at least the development of it, was an addition of KPJ’s or just something Krishnamacharya came up with one and tried out for a little while. Of course, as with everything it gets justified later, same as the way Intermediate is taught presently, or being held back in poses etc. If you didn’t know any better you might assume it had been that way for centuries rather than a couple of decades.
    Perhaps it’s the sequencing. In VK your doing the same kind of asana throughout the sequence so your gaze is pretty much in the same place anyway, even if you weren’t doing Jalahandra. But with the Ashtanga sequences changing from one kind of pose to another perhaps it makes sense to formalize the gaze or you’ wouldn’t know where to look.

    Asana….it kind of is gymnastics, lets face it. Patanjali gives it, what, three sutras and he’s probably only talking about lotus anyway. Do your asana and THEN, get on and do some yoga. There does seem to be that move in Krishnamacharya though where he seems to want to incorporate the rest of Patanjali in and around asana. From a minor supporting role it becomes best actor and carries the movie (see what I did there : ) Was that his own special genius I wonder?

  2. maya says:

    Hi Grim!
    Richard Freeman has plenty of interesting things to say about driste. One of the big points that has stuck with me is that it isn’t the formal gazing point that is important to him, but the underlying ‘driste’ on the atman—if you’re gazing at the atman then if you miss the trad driste it won’t matter, but if you’re hitting the trad point for that asana and NOT gazing at the atman, it won’t help. But his emphasis on the driste as a mind control method makes sense to me. Not the importance of where you physically look, but the importance of turning of the real gaze inward. Maybe that’s why so many of the asana have tip of the nose? Or maybe it’s a joke, you know, Krishnamacharya was annoyed at some overly questioning student one day, “but guru, where should I look?” “Oh, just stare at the end of your nose, why don’t you!”

    On another note, I wonder if you have you read anything of A.G. Mohan’s? He was a 2 decade student of Krishnamacharya at the very end of K’s life, was at his 100th birthday etc. K wrote a forward, sort of, to Mohan’s book, Yoga, for Body Breath and Health, which is much more Indian than its cover and title suggest. I mention because I know you are interested in how K’s teaching changed over the years. Oh, and, I haven’t finished this book, but so far he hasn’t mentioned driste, either, so maybe you are onto something for it being part of his earlier methods.

  3. Yes, mohan, been wanting to read something by him. I saw this week he has a new book out on krishnamacharya and his teachings. Claudia has a link on her blog
    http://earthyogi.blogspot.com/2010/03/sweet-leaf-and-eddies-new-book.html

  4. maya says:

    Oh, thanks for that link, I didn’t know Eddie was doing a bio, that is marvelous. Hate that I have to wait till July.
    But about Mohan, I thought A.G.’s son was writing a book about K, something like From Here Flows a River or something? But then there is this book with A.G. as the author. Interesting, I wonder if it is the same book, ah, I see the fine print says ‘with Ganesh,’ must be the same book. That one has been on my list, yes!

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