It’s Only Yoga

If you do much structured yoga asana, you may have had this experience in a class.

You are part way through a session, and getting into the really challenging pose.  You’re doing something particularly difficult (maybe a tricky inversion or an arm balance or both), and the teacher, in the spirit of encouragement, tells you not to fret if you can’t do the pose because, “It’s only yoga.

It’s only yoga.  I am pretty sure that I know what teachers mean when they say that.  They mean that it’s only a physical exercise; it’s only asana; it’s only a practice.  But, what they often say is, “It’s only yoga.”  And every time I hear it, I have the same internal monologue.

Yoga is union.  Yoga is the connection between (self and divine, me and you, this and that, body and spirit).  Yoga is everything. What we are practicing is getting out of our own way so that we can see this connection that is already there.

So maybe, more appropriately, we should say, “It’s all yoga.”

Rockabilly Playlist – Thoughts?

I’ve been working on a rockabilly playlist for a yoga and music class.  This is what I have right now.  Let me know if I’m missing someone/something major that should be added!

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Before Class

Johnny Got a Boom Boom – Imelda May
Zoot Suit Riot – Cherry Poppin’ Daddies
Woo Hoo – Rock*A*Teens
Big Old Town – Dibbs Preston & the Detonators
Rumblin Bass – Lee Rocker
Rock Billy Boogie – Robert Gordon
My Baby Left Me – Chris Isaak
Straight A’s In Love – Johnny Cash
Hot Rod Hillbilly – Billy Burnette
Drinkin’ & Smokin’ Cigarettes – Reverend Horton Heat

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During Class (90 minute class)

Crazy Little Thing Called Love – Queen
Going Up The Country – Kitty, Daisy, and Lewis
New York City Girls – Reverend Horton Heat
Stop, Look, and Listen – Patsy Cline
The Shape I’m In – Johnny Restivo
Rave On – Buddy Holly
20 Flight Rock – Eddie Cochran
Sunglasses After Dark – Dwight Pullen
Fujiyama Mama – Wanda Jackson
Ooby Dooby – Roy Orbison
Everybody’s Trying to be My Baby – Carl Perkins
Drugstore Rock N Roll – Janis Martin
Be-Bop-A-Lula – Gene Vincent
Rock-A-Bop – Sparkle Moore
The Dirty Boogie – Brian Setzer Orchestra
Hot Rock – Johnny Carroll
She’s Sexy & 17 – Stray Cats
The Train Kept a Rollin’ – Johnny Burnette
Mayhem – Imelda May
Rockabilly Guy – Polecats
7 Nights to Rock – Nick Lowe
Real Wild Child – Brian Setzer Orchestra
Whole Lotta Shakin Goin On – Jerry Lee Lewis
Wake Up, Little Susie – Everly Brothers
Not Fade Away – Buddy Holly
That’s All Right – Elvis Presley
Blue Suede Shoes – Carl Perkins
The Worrying Kind – Robert Gordon
I’ll Tell You When _ Kim Lenz
Walking After Midnight – Patsy Cline
Knock 123 – Imelda May

But, Where is My Normal Teacher?

When we were young, in early elementary school, having a substitute teacher was a little unnerving.  We knew the regular teacher; we had certain expectations of her/him.  We probably felt safe in his/her classroom and with the way that things were managed there.  Later, in middle school and high school, we started to like having a substitute teacher, because it often meant that no work would be getting done, assignments/tests would be put off, and some of the kids would misbehave in (possibly) entertaining ways – with very little consequence.

In the yoga classroom, from what I can tell, most of us return to that early school frame of mind.  As I consider my own reaction to finding a substitute in my classes, and what I see on the faces of other students (when I’m sharing the class with them, or when I am the substitute), it seems that having an unexpected yoga instructor creates concern and possibly even annoyance.  I know that I have thought to myself, “but I came today specifically to take a class with ________,”  or “I hope that this class isn’t more/less challenging (or zen or calming or fun) than __________’s class.”  When I took over a class a few weeks ago, about 50% of the students who entered asked, with some fear and stress in their voices, “Where is ________?  Will he be back next week?”

It’s perfectly reasonable, because teaching styles can vary so widely in a way that goes beyond just what sort of language is used (is this teacher more anatomical or more metaphorical?), whether there is chanting, what kind of music is played, or whether there is more/less demonstration of poses.  In a class that is labeled as vinyasa, for example, one teacher may have more of an ashtanga influence, while another may be more influenced by anusara, and a third Iyengar.  Even for teachers who ostensibly teach the exact same style, the lineage of learning impacts how that style unfolds in a class session.  Those are differences that make a difference to a student in the room.  The first time I encountered a class that did not begin with sun salutations of some sort, I was completely confused.  I didn’t know where we were going and I didn’t feel settled in the class.  It’s normal to feel a little thrown.  We do select particular classes and instructors because the style suits our individual needs.  Sure, some of it is about the time of day and the location of the studio, but if the class doesn’t fit for us, we aren’t likely to keep going back.  A substitute can feel like a wrench in the gears.

However, while having a sub in class can be a little unnerving, it’s also an amazing opportunity.  We don’t always find the time to go try out other classes.  Once we find a few that feel ok, it’s easy enough to just stick to them without exposing ourselves to the full range of selections.  Having a substitute instructor brings that diversity of selection to us, instead of us needing to go seek it out.  We can check out another way of practicing and another style of teaching while remaining in our comfortable time and place.  Having a different teacher in class may also draw our attention more firmly to the mat.  If we are really accustomed to a particular instructor’s style, we may feel like we can predict what is coming next in a practice, and that might allow the mind to wander a bit more.  A new teacher in the room requires full attention to follow along.  Last, but not least, having a substitute instructor is an excellent chance to work our equanimity.  Can we maintain our focus on what brings us to yoga in the first place and avoid thinking about how different this teacher is, or that she seems louder (or quieter or more nervous or more bold) than our usual instructor?  Can we let go of the critical chatter that might come up (“If that Lorin says ‘your edge’ one more time, I might lose my mind!”  “Why in the world are we holding utkatasana so long?!”) and embrace our own unity with the substitute?  After all, we’re all there from a love for yoga.

Like most everything, having a different yoga teacher from the one you anticipated can be a challenge, but it’s also a chance to grow and learn.  In the end, we may conclude that the alternate teacher’s style just isn’t for us, that it is amazing and we can’t wait to take another class with him/her, or something in between.  But, regardless, the experience has value if we remain open to it.

Namaste,

L