Welcome to Jeweler's Row, Philadelphia, the home of Ashtanga Yoga School of Philadelphia!
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| David and I at his annual Britenbush Hotsprings retreat, 2009. |
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| Joy mopping up the final touches for the opening practice, July 3, 2011. |
On July 3, David Garrigues, extraordinary Certified Ashtanga Yoga Teacher, and musician-skate board-rocker, opened the Ashtanga Yoga School of Philadelphia. This was a soft opening since there weren't any advertisements about the event - the main shala was finished but there was construction going on with the shower, the changing rooms, and within the smaller yoga studio outside of the main shala. The construction is still going-on now and though the project is coming together slowly, the main shala is in full working form - it is a place of calmness. The shala itself is glorious - there is a radiance that needs no words to describe. By the grand opening on August 28 (moon day, a Saturday), the Ashtanga Yoga School hopes to have most of it completed and in full function.
The shala is a spacious room on the third floor, with large windows and beautiful natural light. The building is 175+ years old with crooks and creaks; when you roll your mat out onto the floor, the wood planks below you bend and give. You feel as though this third floor room has been build for practice. The colors of the walls are painted a muted- yet-bright orange and blue, and white clean lines perimeter the ceiling and trim. Sounds from the vibrant city come into the ten-foot-plus floor windows and horns and people are heard from the street.
My favorite piece to this is that it is located right on Jeweler's Row, what is said to be, 'America's Oldest Diamond District' just blocks from the Liberty Bell and Independence Square. It makes clear sense to practice yoga in an old and historic place, and even more so, amongst some of the precious stones of the world: we too are shining ourselves as we practice, peeling away layers to get to the deepest and clearest part for reflection.
The shala is a spacious room on the third floor, with large windows and beautiful natural light. The building is 175+ years old with crooks and creaks; when you roll your mat out onto the floor, the wood planks below you bend and give. You feel as though this third floor room has been build for practice. The colors of the walls are painted a muted- yet-bright orange and blue, and white clean lines perimeter the ceiling and trim. Sounds from the vibrant city come into the ten-foot-plus floor windows and horns and people are heard from the street.
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| Students practicing in the morning glow. |
Mysore classes have been happening daily taught by David G and myself from 6:15-9:15 am. I have been teaching while he has been away. Students devotedly practice six days a week, and the shala is filled with willing and enthusiastic practitioners.
At first, I didn't know what it was going to be like to come into a studio and teach students I had never met before. But, as practitioners of ashtanga know, the language of ashtanga is unspoken; teachers connect with students via adjustments and students connect with teachers by coming to practice with them. The practice IS the language! It is practical to travel around the world or visit an ashtanga yoga shala, roll out your mat and begin practice. We don't necessarily need language to convey our needs, the practice is the voice.
At first, I didn't know what it was going to be like to come into a studio and teach students I had never met before. But, as practitioners of ashtanga know, the language of ashtanga is unspoken; teachers connect with students via adjustments and students connect with teachers by coming to practice with them. The practice IS the language! It is practical to travel around the world or visit an ashtanga yoga shala, roll out your mat and begin practice. We don't necessarily need language to convey our needs, the practice is the voice.
The first resolve I must share: why I chose Philadelphia and to leave the beautiful blue skies and striking mountains of Idaho. I came to learn the ashtanga third series from David and also to dive into a teaching apprenticeship with him. I came to teach Mysore while he is away on retreats and workshops and I came to enjoy a new city with a flavorful grit. Philadelphia is gritty and edgy! There is nothing tame about Philadelphia - even my friend Kathie Stearns in Boise asked me, "What! Philly! Why are you moving to Philly!"
The main reason: the unique teachings of David G. David always invigorates my practice in new ways that I don't know are possible. He is methodical, precise, and always pushes my practice in new ways. During our time together at Britenbush Hotsprings in Oregon, here is a little story to convey how impactful he has been:
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| Back in my days of pink pants: here I am doing a little "Supta Up!" and Marichy C up at Table Rock, in beautiful blue-skied Boise, Idaho. 2008. |
During an afternoon session of pranayama and exploration, David had us practicing Namaskar A and B blindfolded. I had never been blindfolded during yogic practice. To me, I thought:
“How ridiculous to let go of your drishti! What!?”
Little did I know that I would enjoy this invitation into a deeper inward reflection. Then, before Led Primary class three days later, there were bandanas in the front of the room. I have no idea why I chose to pick up one and blindfold myself. It was through David’s encouragement to enter the unknown, where the endless possibilities happen during practice - if and only if, you research and get out of the box. What always enfolds is a new way to dive deeper into the practice. Even with a mysterious tabla player in the room, the practice became intimately joyful and quiet; it was a time of safe and timeless reflection. I heard the "tic-ca-tica-ca...ta-ca-ca...ta-ca!" and of course, "Ekam...Dve....Trini!..." but mostly, I was carried to the banks of the Ganga where I was at the end of my trip to India in 2008, right there on the banks of the mighty Benares! I was transported to this divine place of memory where all time and place left my mind, and I felt yoga, only yoga.
“How ridiculous to let go of your drishti! What!?”
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| Here is me along the banks of the Ganga, from a boat. |
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| Some of the mystery and intrigue of the goddess River Ganga. |
Through practicing with David, I continue to get inspired to try something new, to expand my ideas of an asana, or to devote my meditations on the divine. For his unique gift to teach me these things, I am always grateful.
Besides learning the third series from David, I assist him during Sunday Mysore classes from 9-11 am. This is by far one of the highlights of my week: I watch closely just how and why he adjusts someone. Assisting underneath someone is a true art - you must be quiet at all times, you must be watching who he has helped and why, and I also am constantly panning the room to where I can be of assistance to the student, and to the greater whole of the group. This also translates to a deeper understanding of my own practice under David. I am diving into my practice in ways I haven't gone in a long time:
Me: I have lowered have way down in Karandavasana and then brought myself back up. I am not sure I have another go. I am doing all of second series, then the third series. I know I also have to go into backbending too. I know he will want to do it with me a few more times. I don't know if I have more tries to give!
David: "Sarah, let's do that one again." Of course I do it another three or four times.
In non-yoga terms: my practice is long, arduous, daily, and with very little room for distraction. I was sharing with my friend, Maria, that it is just as though we were in Mysore; every day you get up to give every part of your being to the practice, and the rest of the day trying to remember it. With my dog walking job (newly acquired - The Monster Minders - such badass dog walkers!) I am a little tired at the end of the day, but my mind is fixed on the morning's practice and meditation. This is one of the reasons that we practice during this golden hour so early in the morning - to place the stamp of inner reflection upon our day, early enough into the day, so that it can be remembered and captured the rest of the day. If we do this, and do this continually with a steady rhythm and discipline - this is what allows us to find ease, calmness and and good temperament in the face of any interaction. These are good things to have when you are living in a gritty city with angry taxi drivers, or working full-time, or being a parent, or having a difficult decision to make. All of these obstacles and hardships make the reason to practice more and more inviting. We don't stop our practice when things get difficult, we make more time for it. The practice teaches how to tap in.
Also in this first post, I want to share with my new friends in Philadelphia pictures of some of my other teachers (besides David) who have taught me how to teach, how to practice, and how to love myself. The art of adjusting is a pillar for our role as teachers. Guruji taught many people without the use of his voice, he mostly taught the practice through his hands. And to learn how to assist others in a posture that they are learning through the guidance of your hands is a true gift. Nancy Gilgoff and Christine Hoar have taught me, and now David is teaching me. (A great way to show this is in old videos of Guruji: check out the video: nowhere in this video is Guruji saying anything to distract the yogis.)
This is so important when most of us rely on a memory of a posture that we were put into or helped getting into in order for us to replicate it ourselves when our teacher is not with us. I have also studied with Tim Miller and Sharath Ragaswami and of course with Guruji when I went to Mysore in 2008 and traveled to New York for the practices with Guruji in 2002, but it is these people here who I have spent hours and hours with, and they in return have placed a yogic imprint upon me from their touch.
Me: I have lowered have way down in Karandavasana and then brought myself back up. I am not sure I have another go. I am doing all of second series, then the third series. I know I also have to go into backbending too. I know he will want to do it with me a few more times. I don't know if I have more tries to give!
David: "Sarah, let's do that one again." Of course I do it another three or four times.
In non-yoga terms: my practice is long, arduous, daily, and with very little room for distraction. I was sharing with my friend, Maria, that it is just as though we were in Mysore; every day you get up to give every part of your being to the practice, and the rest of the day trying to remember it. With my dog walking job (newly acquired - The Monster Minders - such badass dog walkers!) I am a little tired at the end of the day, but my mind is fixed on the morning's practice and meditation. This is one of the reasons that we practice during this golden hour so early in the morning - to place the stamp of inner reflection upon our day, early enough into the day, so that it can be remembered and captured the rest of the day. If we do this, and do this continually with a steady rhythm and discipline - this is what allows us to find ease, calmness and and good temperament in the face of any interaction. These are good things to have when you are living in a gritty city with angry taxi drivers, or working full-time, or being a parent, or having a difficult decision to make. All of these obstacles and hardships make the reason to practice more and more inviting. We don't stop our practice when things get difficult, we make more time for it. The practice teaches how to tap in.
Also in this first post, I want to share with my new friends in Philadelphia pictures of some of my other teachers (besides David) who have taught me how to teach, how to practice, and how to love myself. The art of adjusting is a pillar for our role as teachers. Guruji taught many people without the use of his voice, he mostly taught the practice through his hands. And to learn how to assist others in a posture that they are learning through the guidance of your hands is a true gift. Nancy Gilgoff and Christine Hoar have taught me, and now David is teaching me. (A great way to show this is in old videos of Guruji: check out the video: nowhere in this video is Guruji saying anything to distract the yogis.)
This is so important when most of us rely on a memory of a posture that we were put into or helped getting into in order for us to replicate it ourselves when our teacher is not with us. I have also studied with Tim Miller and Sharath Ragaswami and of course with Guruji when I went to Mysore in 2008 and traveled to New York for the practices with Guruji in 2002, but it is these people here who I have spent hours and hours with, and they in return have placed a yogic imprint upon me from their touch.
Here are photos of Nancy Gilgoff and Christine Hoar who have taught me the art of adjusting. Randa Chehab is also included here, the one who taught me how to commit to practicing at 5 am, who is also one of my first teachers. Through their tutelage, I am grateful for the ability to teach you all here in Philadelphia.
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| Here is Christine Hoar, Authorized Teacher, dear friend and incredible Ayurvedic practitioner. In this picture, Gracie is missing. Gracie is her dog. 2008. Find out about Christine at Bristol Yoga |
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A pillar of knowledge and joy; Certified teacher, Nancy Gilgoff. I am always grateful for her knowledgeable adjustments and touch! Nancy can be found at House of Yoga and Zen
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| Here is newly-Authorized teacher, Randa Chehab, Certified teacher, Lino Miele and I; Guruji too in the background at Lino's workshop in Bozeman, MT, 2008. Randa is at Down to Earth Yoga |
Lastly, I end my first blog post with a shout out to all the Idaho ashtangis out there. Practicing alongside you, teaching you, and getting to know you all has been such a wonderful experience! I am thinking of you all as I am out here in this big city - and very much hope you are all practicing together and not skipping your vinyasas. :) Jen Boyd, I hope you are using that altar for your backbends!
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| Here we all are at the old Ashtanga Yoga Boise shala, doing our Mysore thing, rock'in it. |