Pages

Sunday, August 17, 2008

Remember, everything is made up.

Even cool stuff, like yoga. Doesn't mean it's not good... doesn't mean it's not useful... but it's made up.

In brief, the "unchanging" 5000 year old art and traditions of yoga, the asanas/positions specifically, are probably really things that have been cobbled together over the last few hundred years, with influences from sources as diverse as Indian wrestling and the British physical education system.

I've never understood those who have put so much faith and value in "ancient" traditions. Certainly there's a lot to be learned there, but... first, the idea that anything survives daily human usage and interpretation unchanged is a huge fallacy, and second, it seems fairly clear that eclectic systems, styles and things that adapt, improvise and piecemeal things together are usually vastly superior to the "traditional." But that's probably just something made obvious to me through my limited martial arts experiences. [Yay UFC.]

Ah well, regardless of the "truth" it's worth remembering you can never go wrong with stretching and breathing.

Namaste.

Yoga Journal - New Light on Yoga:
"...According to yoga scholars, even the yoga postures—the basic vocabulary of modern hatha yoga—have evolved and proliferated over time. In fact, only a handful of these now-familiar postures are described in the ancient texts. Patanjali's second-century Yoga Sutra mentions no poses at all, other than the seated meditation posture... The fourteenth-century Hatha Yoga Pradipika—the ultimate classical hatha yoga manual—lists only 15 asanas (most of them variations of the cross-legged sitting position), for which it gives very sketchy instructions. The seventeenth-century Gheranda Samhita, another such manual, lists only 32...

Rumors abound about lost, ancient texts that describe asanas in detail—the Ashtanga vinyasa system taught by Pattabhi Jois, for example, is allegedly based on a palm-leaf manuscript called the Yoga Korunta that Jois's teacher, renowned yoga master T. Krishnamacharya, unearthed in a Calcutta library. But this manuscript has reportedly been eaten by ants; not even a copy of it exists. In fact, there's no objective evidence that such a document ever existed. In all his voluminous writings on yoga—which contain extensive bibliographies of all the texts that have influenced his work—Krishnamacharya himself never mentions or quotes from it. Many of Krishnamacharya's other teachings are based on an ancient text called the Yoga Rahasya—but this text too had been lost for centuries, until it was dictated to Krishnamacharya in a trance by the ghost of an ancestor who had been dead nearly a thousand years (a method of textual reclamation that will satisfy devotees, but not scholars).

In general, the textual documentation of hatha yoga is scanty and obscure... yoga students are left to take the antiquity of the asanas on faith, like fundamentalist Christians who believe that the Earth was created in seven days.

...Given this lack of a clear historical lineage, how do we know what is "traditional" in hatha yoga? Where did our modern proliferation of poses and practices come from? Are they a twentieth-century invention? Or have they been handed down intact, from generation to generation, as part of an oral tradition that never made it into print?
The Mysore Palace

...I came across a dense little book called The Yoga Tradition of the Mysore Palace (South Asia Books, 1996) by a Sanskrit scholar and hatha yoga student named Norman Sjoman. The book presents the first English translation of a yoga manual from the 1800s, which includes instructions for and illustrations of 122 postures—making it by far the most elaborate text on asanas in existence before the twentieth century. Entitled the Sritattvanidhi (pronounced "shree-tot-van-EE-dee"), the exquisitely illustrated manual was written by a prince in the Mysore Palace—a member of the same royal family that, a century later, would become the patron of yoga master Krishnamacharya and his world-famous students, B.K.S. Iyengar and Pattabhi Jois.

...The Sritattvanidhi includes instructions for 122 yoga poses, illustrated by stylized drawings of an Indian man in a topknot and loincloth. Most of these poses—which include handstands, backbends, foot-behind-the-head poses, Lotus variations, and rope exercises—are familiar to modern practitioners (although most of the Sanskrit names are different from the ones they are known by today). But they are far more elaborate than anything depicted in other pre-twentieth-century texts. The Sritattvanidhi, as Norman Sjoman instantly realized, was a missing link in the fragmented history of hatha yoga.

...According to Sjoman, the Sritattvanidhi—or the broader yoga tradition it reflects—appears to be one of the sources for the yoga techniques taught by Krishnamacharya and passed on by Iyengar and Jois. In fact, the manuscript is listed as a resource in the bibliography of Krishnamacharya's very first book on yoga, which was published—under the patronage of the Maharaja of Mysore—in the early 1930s. The Sritattvanidhi depicts dozens of poses that are depicted in Light on Yoga and practiced as part of the Ashtanga vinyasa series, but that don't show up in any older texts.

But while the Sritattvanidhi extends the written history of the asanas a hundred years further back than has previously been documented, it does not support the popular myth of a monolithic, unchanging tradition of yoga poses. Rather, Sjoman says that the yoga section of the Sritattvanidhi is itself clearly a compilation, drawing on techniques from a wide range of disparate traditions. In addition to variations on poses from earlier yogic texts, it includes such things as the rope exercises used by Indian wrestlers and the danda push-ups developed at the vyayamasalas, the indigenous Indian gymnasiums. (In the twentieth century, these push-ups begin to show up as Chaturanga Dandasana, part of the Sun Salutation). In the Sritattvanidhi, these physical techniques are for the first time given yogic names and symbolism and incorporated into the body of yogic knowledge. The text reflects a practice tradition that is dynamic, creative, and syncretistic, rather than fixed and static. It does not limit itself to the asana systems described in more ancient texts: Instead, it builds on them.

...Along the way, claims Sjoman, Krishnamacharya also seems to have incorporated into the yogic canon specific techniques drawn from British gymnastics. In addition to being a patron of yoga, the Mysore royal family was a great patron of gymnastics. In the early 1900s, they hired a British gymnast to teach the young princes. When Krishnamacharya was brought to the palace to start a yoga school in the 1920s, his schoolroom was the former palace gymnastics hall, complete with wall ropes and other gymnastic aids, which Krishnamacharya used as yoga props. He was also given access to the Western gymnastics manual written by the Mysore Palace gymnasts. This manual—excerpted in Sjoman's book—gives detailed instructions and illustrations for physical maneuvers that Sjoman argues quickly found their way into Krishnamacharya's teachings, and passed on to Iyengar and Jois: for example, lolasana, the cross-legged jumpback that helps link together the vinyasa in the Ashtanga series, and Iyengar's technique of walking the hands backward down a wall into a back arch.

Modern hatha yoga draws on British gymnastics? The yoga of Iyengar, Pattabhi Jois, and Krishnamacharya influenced by a potpourri that included Indian wrestlers? These are claims guaranteed to send a frisson of horror up the limber spine of any yoga fundamentalist. But according to Sjoman, his book is meant not to debunk yoga—but to pay tribute to it as a dynamic, growing, and ever-changing art...

...yoga is like a twisted old banyan tree, whose hundreds of branches each support a full load of texts, teachers, and traditions—often influencing one another, just as often contradicting one another. ("Be celibate," admonishes one scripture. "Get enlightened through sex," urges another.) Like snapshots of a dance, different texts freeze and capture different aspects of a living, breathing, changing tradition.

This realization can be unsettling at first. If there's no one way to do things—well, then how do we know if we're doing them right?..

But on another level it's liberating to realize that yoga, like life itself, is infinitely creative, expressing itself in a multitude of forms, re-creating itself to meet the needs of different times and cultures. It's liberating to realize that the yoga poses are not fossils—they're alive and bursting with possibility..."

No comments:

Post a Comment