Showing posts with label asana. Show all posts
Showing posts with label asana. Show all posts

Monday, September 3, 2012

Finding the Words for Pain

At the Met with Rodin and Robert Sturman two months post-op, Photo: www.RobertSturmanStudio.com

On Knees, Discomfort, and Language

I have spent the past few months thinking about pain, searching for words to describe its various tones and shadows. I have the luxury of doing this since the discomfort I am in is not ultimately as serious as many other experiences of bodily discomfort. But as an asana teacher, having an injury that offers an ongoing experience of what we refer to as pain calls upon many other significant aspects of my yoga—my meditation practices, my breath, my ability to observe and analyze, and my capacity to be receptive to the needs of my body.

A few months ago I was walking up some stairs when I felt a brief sharp sensation in my left knee and then a wet flooding feeling. Just like that, I had torn my left lateral meniscus. I spent a few weeks gathering medical opinions, curtailed my travel schedule, and scheduled the operation. I adjusted during this period, wearing a knee brace and moving in a very frontal manner. I became extremely verbally precise in my teaching since I could no longer just kick out a demo. Then I had the operation, and, despite my being assured a rapid recovery, I was sidelined with swelling and inflammation that has continued to surge unpredictably.
Post-Op Still Life on my Couch
I’ve been insisting that I am not in pain but in discomfort. To me, pain is something that you want to curl, arch, and crawl away from. It is sharp or piercing—hitting nerve endings and causing involuntary reflexive movement. Discomfort is what more accurately describes the bloated feeling in my knee that feels as if lead has been poured into it. I’ve described the sensation as a water balloon pressed to its limit and about to burst. I also mentioned to my doctor, when I called to say that I needed it reexamined and possibly drained, that my knee felt as if it had just consumed a sickeningly excessive Thanksgiving dinner.

By now I’ve been told by more than one medical expert that I have a “high pain threshold,” but I think that it’s just that I have so many different definitions of what pain is that I find it hard to describe my current state so simply. Pain is too general and too vague a term. To me, pain is not a singular experience, but a vast range of very particular sensations for which we lack specific language, so these sensations are best conveyed through metaphor, simile, or anecdote, as I have written above.
Pain Scale
Here are examples of different types of pain experiences: when I smash my toe against a piece of furniture, that thudding, nauseating sensation is pain. The piercing slice of a paper cut is pain. When I was little and snapped two bones in my arm, that shock and crunch was pain. When I had to have a chunk of my jaw cut out to remove my impacted wisdom teeth, that grinding feeling that gripped me in convulsive waves was pain. For the most part what I’m experiencing right now is a dense, stretched to the limit sensation of discomfort.
Pain Scale
In the past few months I have filled out countless sheets of questions asking me to rate my pain level. On a scale of 1-10, how would you rate your pain when you bend your knee to 90ยบ? When you squat? When you run? When you walk? When you stand? I’ve been crossing out the word pain and replacing it with the word discomfort. Only one of the questionnaires I’ve filled out has asked me to describe the quality or nature of my pain with examples of descriptive words to circle.  There is a problem with the vocabulary—we need a more effective semantics of pain.

Is it just because I am an asana teacher who spends enormous amounts of time working with my body that I notice this? It seems to me that there is a confounding of pain with discomfort. And just as there is a wide range of discomfort experiences, there is an equally vast spectrum of pain.
Pre-op teaching in Barcelona, left leg outstretched. Someday Lotus Pose will return...
I still have a way to go in my healing process, which is frustrating, but should ultimately be okay. Have I learned from this? Yes. I’ve learned the obvious things such as compassion and patience, but I’ve learned even more about language and how it shapes our ways of thinking. Some of what I’ve learned I will gladly abandon, relieved to spend more time moving on my mat and less time thinking on my couch, forgetful of this brief period of agitated mental movement within the stillness of sedentary days.

My deepest thanks to Robert Sturman for creating beautiful photos within the post-op limitations of my practice.

Monday, February 27, 2012

Leaving Anusara.

       


This has been the longest time I have gone without publishing a piece of writing in over two years. I kept trying to write this piece and that piece, and frankly, I have  pages of fabulously rich notes, scribbles, and thoughts to play with at some point. What has prevented me from drawing them coherently into an interesting piece of writing has been the bottom falling out of a central component of my life, namely Anusara Yoga. If you’re reading this, you know the rough outline of what has happened or perhaps you know the gritty details or the hints and shadows of them. In any case, every time I attempted to develop a piece of writing for the past few weeks, it felt forced, stilted, beside the point.

I realized tonight, as I wrote my resignation letter, that this would be a purging of blocked words, a letting go of things so that I could clear the way for new words to come, new ways of thinking to coalesce. And as I type this now, I feel relieved, renewed. I am creating instead of leaving, forming instead of dissolving. I’m entering the upswing of a new cycle.

The following is my letter to my community. Some people will like that I published it here and others will not. I wrote a piece here last year in which I spoke about the need to smash apart the old to begin again, and so this is what I’ve done. This is the way I need to deal with it to feel complete. Putting something into words makes it feel real to me. It seals the commitment. To those of you I love who are staying and those I love who have left, I hope it’s ok with you all. It’s the best I have to offer at the moment.

Chidambaram OM

Dear Friends,
This evening I came to a calm, yet profoundly sad decision to end my business affiliation with Anusara Yoga. This has been a painful process for me, involving the same anxiety, sleeplessness, and tears that so many of you are also experiencing. I love our system of asana and believe it to be the most elegant and intelligent one out there. I deeply love and admire our community as well, and for over ten years now I have been in a continual state of wonderment over the ocean of talent, intellect, and creativity that I have encountered in Anusara teachers and students. I cannot imagine my life without it and without all of you.

Furthermore, and the toughest point in all of this, is that I truly love, admire, and respect John. He has been supportive of me in many ways, and his teaching has helped me to heal when I was going through a couple of tough times. He has changed my life for the better. I am amazed at what he created, and I am forever grateful.

After several days of emotional turmoil, I realized that I was resisting leaving because of my deep love for the practice and for our community. The problem was, I had fallen out of love with the organization. Did you ever end a relationship because you and the other person were playing with different rulebooks? This is what I’m talking about. And this is why I have to leave.

I would like to be very clear. My resignation is a painful and carefully thought-out decision. It is a decision whose roots are in thoughts, feelings, and experiences that I’ve had over a few years. The events and revelations of the past couple of weeks have sealed it, but that tiny seed of thought indicating my eventual departure has been gestating for a while.

I pulled away from the initial cascade of resignations that began Sunday, feeling that I did not want to make a major life decision quickly, simply because so many of my close friends had left. What is necessary for me in any major life event is to get quiet, to make sure that I am in a thoughtful and grounded place, and to act from that place with informed certainty. I wrote, I meditated, I taught, I spoke with friends and family, and I’m in that place right now.

My reasons for leaving are rooted in my belief that an organization cannot successfully and healthily exist when one person has control over so many. I have felt like a bit of an outlier in the past few years because I have resisted some of Anusara’s philosophical underpinnings, specifically the Shiva-Shakti Primer. I have also disagreed with some of its financial initiatives, such as the 10% dues we are asked to pay on yoga products, when so many of us can barely make a living.

I have not felt empowered to publicly contest either of these policies without potentially damaging my career within Anusara, Inc., and that is a huge problem. I am a person who once spent six months on a picket line at the Museum of Modern Art fighting for my rights, and for me to feel, at this point in my life, that I can’t voice my dissent is not healthy. A silently fuming person is not the person who I wish to be. A person who says one thing and then does another is also not who I want to be. I believe in boundaries but I don’t believe in constraints. There is a difference. In addition, I feel that there has been a culture of fear and secrecy that is the opposite of the transparency I embrace. There are far too many moments for me to cite here, but I welcome anyone’s questions for clarification. This is about my personal integrity and about how I want to move through the world.
I am still a certified Anusara Yoga teacher, although I will be relinquishing my license. I will fulfill the teaching commitments that I have planned in the next few months that offer credit hours to those attending.

There is no other style of asana I wish to teach. I firmly believe that this brilliant alignment system is the best there is out there. I will continue to teach exactly how I teach right now. I will honor all that I have learned from John and from everyone, both teachers and students, who have been with me through this wild and beautiful ride. I love you all. Thank you. I’ll see you on the other side.
Out beyond ideas of wrongdoing
and rightdoing there is a field.
I’ll meet you there.
When the soul lies down in that grass
the world is too full to talk about.

- Rumi
With Love and Gratitude,
Susanna

Friday, December 16, 2011

My Double Life (or…Doing the Yoga of Art)

My Hummingbird Sky installation at Studio Salon – With Eastern Eyes  Nov 2011
"So you're not going to make art any more? You're just going to do yoga?"

I said something out loud about myself the other night that surprised me. It wasn’t that I was unaware of its truth, but the fact that I articulated it is as precisely and as forcefully as I did was somewhat arresting. I was perched on a stool at an art opening just in front of an installation of mine that ran along the side of a wall. I had been included in an exhibition called Studio Salon – With Eastern Eyes in Williamsburg, Brooklyn. Four of us had work in the exhibition and I was speaking with another one of the artists who, like me, had spent time in India and who combined her life as an artist with her life as a yogi. This was clearly reflected in our work and we immediately found that we had volumes to talk about.

We were discussing the art world and I was remarking upon the ways in which my relationship to it had changed since I had become a yoga teacher. I said, At this point, my artwork serves my yoga. I paused and looked at those words hovering in the space between us, startled that I had said them out loud. And then the funniest thing happened – some taut internal sensation gave way, and I felt utterly happy.

My Pink Victorine installation at  Studio Salon – With Eastern Eyes  Nov 2011
What I had said was some sort of art world treason. Most people in the art world don’t even want to hear that you have a day job. You are supposed to do whatever it takes to make your work and the work is the point. But any job you hold is supposed to be disposable, as opposed to a career or a lifestyle choice. Artists work as art movers, as waiters, as temps. There’s a good reason for this since all of these jobs involve marketable skills, but minimal commitment. You can take off for a residency or an exhibition in another city, knowing that you can find a new position when you return. Your job is supposed to serve your work.

Art is something like a religion involving sacrifice and single-mindedness. This works for many artists, and it functioned well for me for many years. But at a certain point in time, in the midst of my deepening involvement in yoga, this way of being and thinking ceased to sit comfortably for me, and somewhere in there a significant shift happened.

MoMA Sculpture Garden Garudasana
I have spent years trying to keep my yoga life and my art world life separate. I have told myself the story that the art world doesn’t want to have anything to do with my yoga life for a long time, and that I somehow wouldn’t be taken seriously as an artist anymore if I revealed the depths of my commitment to yoga. The link to the yoga part of my website is slightly hidden in my belief that the yogis will happily dig through the artwork to find it, but that it’s probably best if the art world doesn’t see it.

And frankly, there are good reasons why I’ve nurtured this separation (or dodged the connection), namely because this assumption of mine has proven art world conversation after art world conversation to be accurate, and also because there’s a lot of terrible yoga-driven art out there. I have huge issues with the rainbow-y aesthetic and low-end psychedelia of much of the art I see in the yoga world. It makes me cringe.

In front of Les Demoiselles d'Avignon (the best painting ever)
I spent years lecturing and writing for the Museum of Modern Art, and unabashedly still worship at the altar of Picasso. I made highly cerebral and conceptual work for years until yoga smoothed its brittle edges and filled it with both color and a greater physicality. I continue to be a tough critic of art that I see in Chelsea Galleries and can analyze in seconds what concepts artists are exploring, while being wildly over-opinionated about whether or not it seems to be working.

For the most part, the art world seems to find it interesting and vaguely provocative that I can organize my body parts into interesting shapes and patterns, and certain people ask my advice about beginning a yoga practice, but a number of my friends continue to be perplexed about the extent of my involvement in it. I was asked just a couple of years ago by a good friend, So you’re not going to make art any more? You’re just going to do yoga? I was taken aback and scrambled uncomfortably to explain that no, this was not the case AT ALL. But now if someone said that to me, I would just shrug it off, because beneath the question is a belief system that is simply different from mine. How do you debate in two different languages? Additionally, I’m so deeply in love with my yoga practice that I simply don’t care what people think about it anymore.

Puja with Dakshina Moorthi - with Douglas Brooks, July 2011
So how does my artwork serve my yoga? First of all, what needs saying is that yoga for me is far more than a physical practice. In addition to asana, my philosophical studies, meditation, pranayama, mantra, and mudra practices are huge parts of my daily life. The ideas that I explore and encounter in my studies of Hindu Tantra are mind-bendingly complex and can be applied to every conceivable aspect of my life. They are fascinating. And moving. And beautiful. And aesthetically ecstatic.

Inner Landscape #6 - one of my drawings
It is from this place of delighted inquiry and close attention that I make art now. This is how the art serves the yoga. The yoga is the thing that connects every aspect of my life – every breath, every gesture, every moment, every creative impulse, every line inscribed on paper, every delineated form. When I create from this place, I offer my best self. Everything that I am making right now is emerging from a fullness that was not previously realized or acknowledged, but now constitutes my center. And for that reason, I am making the best work of my life.

Hummingbird Sky Bakasana at Studio Salon – With Eastern Eyes  Nov 2011

Saturday, October 22, 2011

Saying Thank You - A Love Letter To My Teachers

 

Nataraja, Bristol, NY, July 2011 
Yes...That. I am that. That I am.

My Two Teachers
I have many teachers, but the two who are really the great teachers of my life are the ones who, when I first heard them speak, seemed to be voicing the contents of my brain. If you have had this experience, you know exactly what I am talking about. You are surprised, and think – wait – how did you…? but I…  and then – yes and yes again. Then the surprise gives way to a magnetic compulsion that makes you want to scrunch your chair or yoga blanket or whatever you happen to be perched on …right…up…close.

It makes you want to travel around the world to study with them and precipitates dramatic shifts in how you order your time and with whom you wish to spend it. Your initial amazement and delight pool into a profound sense of gratitude for this glimpse into the mysterious synchronicity of things. Resonance and Recognition. This is what happened when I met my teachers John Friend and Douglas Brooks.

To Backtrack for a Moment – Paris and Proust
I keep thinking about the first time I read Proust. I was studying in Paris and as I tackled the dense text, I suddenly realized that I was being moved by the quality of the language and by the beauty of the prose. For the first time reading in French – instead of translating in my head, instead of it being about comprehension – I had moved into a place of profound aesthetic appreciation. That was something.

The writing seemed strangely familiar. As I read, it felt as if someone had transcribed the phrases and ideas lining the inside of my brain. I was seeing myself reflected in his words – not just things I had thought about, but patterns of thought – an underlying structure that said – That is me! The differences between myself and a neurotic French writer born in 1871, who closeted himself in a silent cork-lined room so that he could write all 3000-some pages of his book were evident. Yet, the startling sense of recognition triggered a sensation of deep connectivity to the world around me, which is actually what he was writing about. And this experience is what I’m now talking about.


Post-practice with John Friend - Anusara Grand Circle-Wanderlust, VT, June 2011

On Recognition and Moving through Things
Many years later, I was going through a challenging period in my life – I had lost 3 people I cared about in 3 months in unrelated violent deaths. I was toughing it out, trying to be there for other people while I just barely kept it together myself. I felt as if I was held in place by lots of little overlapping pieces of psychic tape and messes of determined glue – a shifting collection of pieces.

I had been studying with John Friend for about 5 years, and had already had the above-mentioned recognition experience with him. He was in town teaching a series of workshops in Soho. Usually when I studied with John, I was like an excited puppy  – exponentially more bouncy and chatty than I normally am. This time I was in a place where I just wanted to find some peace – to stop grinding my teeth for a few hours and feel happy again. We put down our mats and gathered toward the front of the room.

As John began to speak, something in the tone of his voice shifted something for me, and my carefully taped together self began to come unstuck. I spent most of the morning crying and sweating in the bathroom, finally managing to fit in about 30 sniffling minutes of practice. He came over to me immediately at the break and I recall spilling some incoherent mess about what I was dealing with, as he took it in and held that space for me.

Exhausted, I went back to my apartment, showered, scrubbed everything off of myself, and when I returned for the afternoon session, I was on the other side of it – clear, clean, and actually slightly happy for the first time in months. The tone of recognition and acceptance within his voice had triggered a profound alchemical shift within me. He had invited me more deeply into a particular part of myself so that I could process what I needed to move through.

Great teachers speak to you from where you are. They don’t try to yank or push or pull you into where they want you to be. They remind you to move into the fullness of your experience, to embrace whatever rasa, or flavor of experience, you are in so that you can best figure out how to align with your current reality.


With Douglas Brooks - Swamimalai Subrahmanya Temple, Dec 2010, photo-Diane Stone

On Reflection and Thatness
I was in upstate New York studying with Douglas this past week. Near the beginning of a meditation practice that Douglas was guiding, there was a moment near the beginning when one thanks one’s teachers. He let us know that this was what he was doing and that we were welcome to do the same.

Look way back – he suggested – go to 2nd grade. I decided to really go for it, and it was amazing how many people I genuinely wanted to thank. I tried to pare it down to my parents, my high school English and Art teachers, my college Art History professor, several of my Anusara mentors, and Douglas and John. But then I thought about all of my teachers’ teachers, and that kept multiplying as well – lines and lines of them extending in every direction. It was endless.

I met Douglas when he was invited by Amy Ippoliti to kick off our Anusara® Teacher Training in January 2002. I have extremely vivid memories of being floored at every single thing he said. It was brilliant. And totally new. And yet utterly familiar. To conclude one evening, we were asked to give one word or phrase summarizing our experience. People said, inspired – intrigued – exhausted – perplexed – blown away, and more.  The one thing that I could truly say, was Yes…THAT. I am that. That I am.

You know in a minute flat when someone is going to be a great teacher in your life. You can learn from many, but the great ones – that is always clear. And there it was again and again, and here it still is again and again: the vimarsha shakti, which can be loosely defined as the energy of you being reflected back to you. Being around my teachers makes me a better person because of this endless mirroring and self-reflection, this sense of recognition, the inescapable resonance, the sweet invitation to that.


Jet-lagged but happy - with Douglas - Tirukalakundram Vedhagirishwar Hill Temple, Dec 2010

Saying Thank You
I was away traveling for much of this summer – Vermont-India-Paris–Boston-upstate NY, and had intended to write something like this for Gurupurnima, the traditional time of year to honor one’s teachers, so this is slightly late. But I honestly think about my teachers every day, which somehow blended with the nostalgia or longing that kicks in for me at the end of summer and the fading august light, so I felt compelled to write this belated thank-you note.

So here it goes  – thank you to Mom and Dad for being the most ridiculously fabulous parents anyone could wish for, to my sister Jen for being a model of integrity, thank you to my academic teachers who believed in my creativity and my skills – thank you to my yoga mentors and inspirations – Sianna Sherman, Elena Brower Amy Ippoliti, Lois Nesbitt, Vishali Varga, Ellen Saltonstall, and Sue Elkind. You have all given me so much.

And thank you John. Thank you Douglas. I thank you all for offering me myself.


With John - Anusara Grand Circle, VT June 2011

Every reader finds himself. The writer’s work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself. ~ Marcel Proust

Sunday, November 7, 2010

The Beauty of Yoga in the City of Light

Le Sainte Chapelle (Via Dimitry B..)

I want to be luminous. I want to glow. I want to be lit up like the Sainte-Chapelle, the extraordinary cathedral of stained glass in Paris, where I've been this week assisting my friend Sianna Sherman with an intense five-day Teacher Training. In Anusara yoga we have an expression, "Inner Body Bright." The expression is intended to evoke the energetic brilliance that resides at our core, to draw it to the surface, and to shine it out around us like a full-body halo. How do we access that inner light so that we can extend our talents and gifts out into the world? We do the yoga.

The yoga for me is asana practice, philosophy study, art making, and writing. For someone else, the yoga might be singing, cycling, or martial arts. Yoga means yoking, connecting. Doing the yoga is about creating internal and external unity. The details don’t really matter. What matters is choosing to do what lights you up.

This week in Paris we've discussed what inspires us, what resides so authentically at our center that even mentioning it creates an inspirational glow for those around us. When our teacher John Friend was here, he spoke of being bathed in the light of the Sainte-Chapelle. The luminosity of the building was more powerful than the stone architecture. The cathedral became a body, while the light was the energy enveloping the structure. Lumineux dans le corps interieur. Illuminated from within. Inner Body Bright

What illuminates you from the inside out? How do you do your yoga?