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the stairwell is adorned with typical Indian scenes (featuring people wearing bright-
coloured saris and unique moustaches), as well as photos of Jois and his grandson, Sharat
Rangaswami (current director of the Ashtanga Yoga Research Institute, Mysore). For a
glimpse of her time with Jois, a photo montage is displayed of AT1‟s wife practicing
difficult postures under Jois‟ supervision while seven months pregnant. A large Nataraj
(Siva as Lord of Dance) statue is prominently placed near the door of the practice hall.
The second room, equally large with a high ceiling, is the practice hall. It can hold
twenty-five to thirty students. There are some straps and blocks at the back of the class
for students‟ use during the class. Again we find a small Nataraj in the corner of the
room. All along the window ledge that covers one side of the hall are placed little statues
of Hindu deities. Another portrait of Jois hangs at the front of the hall and a large yantra
(sacred geometric diagram) mural covers the wall opposite the windows.
The studio offers three Hatha-yoga classes per week in addition to their standard
one and a half hour Ashtanga classes. All classes are taught in English with the exception
of one class in Mandarin. The Ashtanga classes all follow the same format regardless of
level. They begin with a Sanskrit prayer to Patanjali, however the prayer was never
explained to students. The body is heated by five Surya Namaskara (Sun Salutations) A
and B before starting the standing poses. This is followed by the primary series and
concludes with finishing postures and a little relaxation. The primary series is a set
sequence of postures set by Pattabhi Jois; all the postures are held for five breaths and
linked together with vinyasas (the jump-back method). I attended several classes with
different teachers. The teachers always followed the same order but sometimes altered
which variations the class practiced. Although Jois mentions several finishing postures
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and fifteen are on the list, in every class I attended only the shoulder-stand was
performed. A short relaxation ended the class, sometimes with legs supported on the wall.
To conclude the entire class chanted Om (Hindu sacred syllable) three times.
The use of the vinyasas to link postures gives the class its dynamic and aerobic
characteristic. This element helps to attract students who are generally quite athletic.
Even though the room is not heated, students tend to sweat a great deal on account of the
repeated vinyasas. No specific moment is allotted to pranayama, however ujjayi
breathing is encouraged throughout the class. This technique is explained as making an
ocean like sound in back on the throat when breathing. Straps and blocks are used to help
students fit the posture; they are used so that students can get into a posture which their
bodily flexibility would not necessarily allow. As such, the teachers‟ adjustments tend to
be a little forced. Teachers always use Sanskrit names for the postures. I found that the
teachers‟ personalities really came through in their method. They used similar language
but had different ways of explaining how to do something. The studio encourages
individual development by having “Mysore” classes every morning during the week.
These classes allow students to come and practice under the supervision of the founders
without the contours of a led class. It is designed to simulate Jois‟ own teaching style.
The look of the studio and method of the classes is representative of the founders‟
relationship with India and their master. The style is very attractive to people who
appreciate movement and strength. Despite its older origin, Ashtanga started to gain
popularity in North America only after the late 1980‟s. The Ashtanga style is important
because many of the more muscular and dynamic styles currently practiced all over North
America are inspired by Jois‟ style.
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Centre de Yoga Iyengar de Montréal (Iyengar Yoga)
The Iyengar style of yoga is named for B. K. S. Iyengar (b. 1918) who, like
Pattabhi Jois, originally hailed from Karnataka and was the student of T.
Krishnamacharya. Iyengar eventually settle in Pune in 1937 but opened Ramamani
Iyengar Memorial Yoga Institute only in 1975. He became popular in the West through
the influence of the famous musician Yehudi Menuhin. He published one of the seminal
works of modern Hatha-yoga practice in 1966: Light on Yoga. It should also be noted
that this and all his subsequent publications have been in English, making his work easily
accessible to Western audiences. Iyengar was Krishnamacharya‟s brother-in-law and was
sent to Krishnamacharya on account of his own physical infirmity. Iyengar summarizes
his time with Krishnamacharya as follows: “I studied with him for two years when I was
fourteen, fifteen years old... during that two year period, he only taught me for about ten
or fifteen days... he only taught me a few asanas” (Summerbell 2004, p.9). Iyengar, who
suffered from poor health in his early years, developed his own style of yoga focusing on
health through bodily precision aided by the use of support props (straps, block, bolsters,
blankets and chairs). What is most interesting about this school of yoga is its
organizational structure and hierarchy. Each country (and often state or province) has an
Iyengar governing board. Every Iyengar studio must keep its official status with the
national governing body. In addition, all Iyengar teacher must remain attached to one of
these Iyengar recognized studios. The teachers also follow a strict hierarchy. They are
divided into 6 levels and a teacher must remain continually attached to a teacher of a
higher level to keep their Iyengar approval.
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