onlYoga eNewsletter

Vol. 31 • April • 2009

springnews09

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The Spring Schedule Goes Into Effect Wednesday April 1, 2009
Please Note: Evening Classes Now Begin Between 5, 5:30, & 6pm
Quarterly Special eVents Are Listed On The Activities Page
The onlYoga Online Calendar Contains The Most Up To Date Schedule Information

© John Merideth • onlYoga, llc 2009
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SUTRA 2.51

Then the veil lifts from the mind’s luminosity.

tataï kæîyate
prakâåâvarañam
tataï = therefore, from these, from that

kæîyate = disappears

prakâåa = brightness

âvarañam = covering, veil, layer


-Patanjali

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Ashlee Goite - Senior Instructor
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photograph by Harriet Leibowitz ©
AHIMSA
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“To practice ahimsa, first of all we have to practice it within ourselves... If we want to head north, we can use the North Star as our guide.  Our effort is only to proceed in that direction”

-Thich Nhat Hanh, The Path of Harmlessness

Through the course of your yoga practice, have you ever been so into the flow of your practice, so on your yoga “high” that you’ve pushed yourself too hard, too fast?  You’re breathing, you’re moving, you’re “vinyasa-ing” and suddenly you can fold deeper and twist further than you ever have before.  Everything is going beautifully.  Then, without quite knowing when, or how it happened,  you find yourself with pain, soreness or even an injury—from your yoga practice!  Few non-yogis would think to associate yoga with serious injury, but for those it’s happened to, it can be all too frustrating.  However, an injury offers a chance to return to the place of compassion and patience encouraged by ahimsa.

In the classical sense, ahimsa means non-injury, non-violence, or harmlessness.  When we hear the word ahimsa, we most often think of non-violence toward our fellow human beings: no violence, no killing, no war.  Of course, it is vitally important to avoid non-violence toward others in order to promote peace and understanding in our society; but in order to truly embody this ideal, shouldn’t we also apply this first of Patanjali’s yamas to ourselves?  In terms of our daily lives and activities, including yoga, this means we must know, understand, and respect our Selves and our bodies.  So often in yoga, we think we should push past our limits because that’s the only way to “progress” in a posture. Or, we see the person next to us can hook their ankle behind their head, and we feel that surely I can do that, too.  Unfortunately, it is this inner, almost subconscious, competition within our minds that goes against the principle of ahimsa. When we have a deep understanding of these things closest to us, we can know and sense our own strengths and boundaries.  From here, we can work with our limitations, taking our practice to the edge without falling off it and into injury, and employing this same principle to our other activities and relationships.

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A selection of songs from one of John's Spring 09 Class Mixes.

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onlYoga Boot Camp In Piedmont Park Begins April 8th
6:15 - 7:30pm
John Merideth

Spring Only
50 Classes
$499
 (Save $7/class)

16 Classes
$178
(Save $20 or $6/class)

10% OFF
6 Month Unlimited
$658
 (Reg. $731 - Save $73)

15% OFF
 Manduka Mats $81
 (Reg. $95 - Save $14)

15% OFF
 Yogitoes Mat Towels
$51
(Reg. $60 - Save $9)

10% OFF
 Manduka Towels
 $36
(Reg. $40 - Save $4

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200px-Rilke.jpg
Rilke's (4 December 1875 – 29 December 1926) is considered one of the German language's greatest 20th century poets. His haunting images focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety — themes that tend to position him as a transitional figure between the traditional and the modernist poets. He wrote in both verse and a highly lyrical prose. His two most famous verse sequences are the Sonnets to Orpheus and the Duino Elegies
Dates To Remember
Early Spring

-Rainer Maria Rilke


Harshness vanished. A sudden softness
has replaced the meadows' wintry grey.
Little rivulets of water changed
their singing accents. Tendernesses,

hesitantly, reach toward the earth
from space, and country lanes are showing
these unexpected subtle risings
that find expression in the empty trees.

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