Shifting balance

I often remind my students that balance isn’t static. Many of us (myself included) would like to imagine that balance is a goal, an endgame, and that—whether standing on one leg, on our hands, on our toes, or even simply with both feet flat—if we work hard enough, we’ll at some point reach some magic moment of equilibrium, and never have to work at balance again.

Kakum National Park Canopy Walk, Ghana

Of course the reality is that balance is more like reaching for some point on the horizon. We can focus on that point, while we continue to ground, to expand, to adjust… One day we feel pretty steady and then the next, well, we can feel like a real mess again.  We may know that we are capable of being strong, steady beings, and yet on any given day, our minds wander, our legs wobble, and we lose compassion for ourselves as we begin to cling and accost ourselves for not being what we think is our “best.”

As I get older, and my body inevitably weaker, I acknowledge this internal narrative. I recognize how being able to step out of myself and observe may help me release a little bit of unconstructive anger or aggression. But I still feel what I feel, and sometimes the frustration, the disappointment, and even occasionally fear take hold, and I still let myself chase those emotions.

This happened for me in a big way last week in ballet class. I still go to ballet classes several days a week simply because it’s always been part of who I am and what makes me whole. I get depressed when I can’t go (even when I am otherwise off having a lot of fun!), and part of my efforts to maintain life Balance includes making time in my busy schedule of work, teaching, and travel, to make sure I have my ballet. Like many dancers, that means I go to class and try to do my best even when something hurts, which is pretty much always…

So last week, I felt a little twinge – something new, a calf muscle starting to pull. And as I kept coming back to class for Balance during a stressful week at work, a little voice told me to be careful. But I wanted, needed to dance, to feel whole. Not surprisingly, but quite suddenly, three classes later that twinge exploded into something more. I was afraid even to try to walk, and knew immediately that ballet class, as well as a more active yoga practice, are simply off the table for me for a few weeks. Even though my calf hurt, I found myself crying because it’s hard to know who I am without these things that I believe are so important to my Balance.

So important that I sometimes cling and fight and forget about making other parts of my life equally whole. And here it is, a lesson from the universe, a reminder not only that I need to give enough to my work to be able to love that a little as well (or at least like it, because I am indeed blessed to be working in a very interesting and rewarding field), but also that I need to give myself some opportunity to rest.

I am allowed to be a little teary that, between this injury and upcoming travel, I may be missing out on some of the favorite parts of my routine for the next month, or even longer. But something was out of balance, without my even knowing it, and perhaps I needed this reminder—needed to have no choice but to slow down, rest, give more attention to other things that bring me joy. I’ll be back in class when it’s time, but for now this is where I get to wobble and ground and expand and focus on today’s horizon.

Class playlist 7/11/12

Song Artist Album Time
Dance of Shiva Karmacosmic Yoga Salon 5:57
Streamside The Album Leaf In a Safe Place 3:34
Latin Flavour Funkanzazenji Putumayo Presents: Latin Groove 3:04
Let Love Rule Lenny Kravitz Let Love Rule 5:42
Near The Black Forest Vanessa Daou Zipless 4:50
Angel (Lust) Joe Jackson, Suzanne Vega, Dawn Upshaw Heaven and Hell 7:11
By Your Side (Cottonbelly’s Fola Mix) [Edit] Sade Red Hot + Riot: The Music and Spirit of Fela Kuti 4:40
Black Night (DJ Baba G & Dan The Automator Remix) Badar Ali Kahn Putumayo Presents: Asian Groove 4:36
Home Depeche Mode The Singles 86>98 5:46
Signs Of Love Moby 18 4:26
Take My Hand Dido No Angel 6:43
Gatekeeper Feist Let It Die 2:16
Dear Prudence The Beatles The Beatles (White Album) [Disc 1] 3:56
La Valse D’Amélie [Piano Version] Amélie Soundtrack Amélie Soundtrack 2:39
A Warm Place Nine Inch Nails The Downward Spiral 3:23
On The Nature Of Daylight Max Richter The Blue Notebooks 6:12


Teaching yoga like a lawyer?

There were many things I resisted when I first went to law school, although it ultimately put me on a fascinating and rewarding, if not altogether conventional, career path that supports women’s rights, development, and learning programs. Looking back, I even see the groundwork it laid in my decision to become a yoga teacher: I first heard, during a moot court practice (known for 1Ls’ manifestation of insecurity with either fully bared rhetorical fangs or complete meltdowns), that my “argument” was so calmly delivered that, to my surprise, I sounded like a yoga teacher. My first experience in a community activism project in sub-Saharan Africa made me recognize I had a few more of my mother’s “teacher genes” than I realized, and that I in fact had a passion for adult learning and empowerment methodologies. And when—still not quite knowing what to with myself after I graduated, but that I had no interest in working for a law firm—I found myself struggling to communicate and connect with a group of Berber artisans in the rural, High Atlas mountains of Morocco, I started practicing yoga with them, watching these incredibly strong women pull off amazing feats, and even greet me by telling me that they were “exercising” at home now and their bellies were getting smaller. There is no easy translation of “downward dog” into Tamazight, but I made do, and in the end learned more than I realized.

Of course I learned more than I realized in law school as well (and probably have forgotten twice as much!). One of my biggest points of resistance, particularly during my first year, was the “CRAC” model of legal writing: Conclusion, Rule, Analysis, Conclusion. Boring, choppy stuff. No drama. Yawn. You see, I love writing in circles, building up, diverting, keeping the reader guessing about what grand conclusion I am leading up to, while I continue to weave my tapestry of thoughts. That said, every now and then I come across an old college paper—usually something I thought was brilliant at the time—that 15+ years later and with a Harvard Law degree under my belt, I cannot begin to understand. (Never mind that I wrote it!) I still get feedback on my professional writing that I have a bizarre capacity for writing sentences that should, instead, be paragraphs, but which are nevertheless grammatically correct. And I think back to law school, and realize there was something to the idea of simplicity: if you make it too hard for people to read your work (or listen to you), then they won’t! Even those who are most motivated to hear what you have to share will become frustrated, perhaps even blame themselves, and pass over it superficially if not altogether give up.

When I began my formal yoga teacher training, despite years of experience in practice (and a body awareness bolstered by just as many years of formal dance training), I was a little distressed to discover that my experience in practice and facility with words in other contexts did not automatically merge into any capacity for clarity in my languaging as a teacher. Indeed, there were and continue to be days that I don’t feel like I am able to speak to my students any more clearly than I did when I was trying to teach in Tamazight (and, embarrassingly, I far too frequently forget the names of simple body parts even in English)! As I began to teach, I observed (usually with the best of humor) how wrong things can go if I don’t keep things simple and clear. Importantly, I have learned that what resonates for me as a student is also least likely to cause trouble when I teach: as we move through various sequences, I tell the class where I am taking them with each posture, and then tell them how to get there. So here I am using CRAC when I teach!

No matter how much we resist, life gives us the lessons we need, sometimes unexpected foundations for paths not yet contemplated… I am not a great lawyer, but I am constantly discovering the many ways in which law school taught me how to teach.

Lean on Me

Zoja Trofimiuk, glass panel, 2001, from TWO FAIR LADIES series, PAS de DEUX, via Wikimedia Commons

In my emerging life as a yoga teacher, I very much enjoy assisting classes with some of my mentors at Tranquil Space in Washington, DC. This is a wonderful way to focus on the physical side of teaching, and as someone who has been the recipient of both very bad assists—often by teachers who spot the dancer in me and try to force me into some crazy overstretched pose rather than, well, assist me in finding it—as well as many amazing ones (particularly at Tranquil Space, which is one of the reasons I completed my RYT-200 certification there), I love this opportunity to hone these skills and connect with yogis bringing a range of experience to their mats.

My type-A ballet upbringing, which was with me on my own mat for the first decade of my yoga practice (and still creeps in a bit some days), makes me a stickler for alignment, and I still work on not overwhelming students with too many alignment-motivated tweaks, pokes, and tugs. But as one of my mentors puts it, assisting—particularly in vinyasa practice—can be like a bit of a dance with the student, and more and more I find both the sense of connection and support, when it works, often makes me think of partnering. With that sense, one of my goals when assisting students is to provide that same sense of stabilization and grounding that allows students to find an opening to explore alignment.

As with, for example, a supported arabesque, the real strength is with the person executing the pose, but psychologically, she feels so much more secure with a well-placed hand or hip support, that suddenly she blossoms. This is especially evident in twisting postures and standing balances, and when it works, the opening, the grounding, the alignment, is evident not only in the yogi’s body, but also in her face, and I take such joy in seeing someone shine like that. It is one of the reasons I decided to teach, because, in my own dancing and yoga practice, I know there is nothing quite like really feeling something click and work in a new way—in knowing without seeing how beautiful the line can become…

I write this because, after one of those classes this weekend, when every student seemed so grounded on the mat, and when every assist I delivered seemed to be received with such trust (which is not always the case!), someone came to me, beaming, after class about her trikonasana, and I knew it, because I was there with her. Is it selfish of me, to want to be this type of ‘dancing partner’ in someone else’s practice?

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