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The
Alchemy Of Yoga |
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Over
twenty years ago I walked into my first Ashtanga yoga
class, a fairly
stressed-out, exhausted, toxic, and depressed individual. An
hour and a half later, I walked out, feeling relaxed, energized,
happy, and cleansed from the inside out. Ever since that first
class I’ve been fascinated by this transformative power of the
practice, what I call the alchemy of Ashtanga yoga.
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The
word alchemy evokes an image of a medieval conjurer murmuring
incantations over a boiling cauldron, attempting to turn lead
into gold. In a broader sense, alchemy refers to the process of
transmuting one thing into another through the kindling of a
vital transformative energy, known as Mercurius in the
alchemical tradition. Turning lead into gold is a metaphor for
the liberation of spirit from matter, which is the primary goal
of both alchemy and yoga. |
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Nataraja, the King of
Dancers, beautifully symbolizes the alchemy of Ashtanga yoga.
Natarajas dance activates dormant vital energy (kundalini shakti)
and becomes an act of both creation, symbolized by the upper
right hand holding a drum, and destruction, represented by the
flame held by the upper left hand. The lower right hand makes
abhaya mudra, bestowing peace and protection. The second left
hand points downward to the uplifted left foot, signifying
release. The right foot, planted on the prostrate body of
Apasmara Purusha, the demon of forgetfulness, symbolizes human
ignorance of our divine nature. A ring of flames and light
arises from and surrounds the dancer, representing the purifying
power of the dance. Natarajas face, meanwhile, remains calm,
quietly witnessing the tremendous display of his own energy with
just the hint of a smile. |
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The
first sutra of the second chapter of Patanjali’s Yoga Sutras (tapaha
swadhyaya ishwara pranidhanani kriya yogaha) is a recipe for
alchemy on three levels physical, mental, and spiritual. This
sutra describes three actions which are demonstrated by Nataraja.
Tapas, literally to burn, is physical alchemy. It relates to
purification in general and particularly in the practice of
asana. In the figure of Nataraja, tapas is indicated by the ring
of flames and the dance itself that generates the fire.
Traditionally tapas is likened to the refining of gold. The gold
ore is transformed from solid to liquid by heat, so the
impurities can be strained off. |
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In
the Ashtanga yoga system, asana practice begins with
Suryanamaskara (Sun Salutation), which generates enough heat to
transform the body into a more liquid state. The body softens
and begins to sweat. Perspiration strains out the bodys
impurities. The sequential movements of Suryanamaskara form the
basic vinyasa, or dancelike movements that link one posture to
the next breath and body moving together to liberate dormant
energy and feed the fire of tapas. |
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Amidst
the activity of asana practice, which can be thought of as a
metaphor for the varied situations we encounter in life, we must
develop swadhyaya, or self-observation. This is mental alchemy.
Swadhyaya involves a process of acquiring self-knowledge through
the ability to witness ourselves clearly and dispassionately in
all situations. Swadhyaya is represented by Natarajas face,
calmly witnessing the whirling dance. In the practice of
Ashtanga yoga, there are three basic techniques for developing
this clear and dispassionate state of mind: observation of
breath, posture, and gaze. The focused attention moves the mind
from distraction to attention, so we see ourselves more clearly.
This practice develops our capacity for swadhyaya in other
situations as well. |
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Ishwara
pranidhana, literally bowing to God, refers to spiritual
alchemy. When we transcend ego identification long enough to
discover that the divine creative power of the universe is
present within our own being, we are filled with joy and
reverence. Our natural impulse when this happens is to give
thanks. This expression of gratitude and humility becomes the
doorway for divine grace to enter our lives. In the figure of
Nataraja, ishwara pranidhana is indicated by the lower left hand
pointing to the uplifted left foot. The message
implied is that liberation can be gained by placing
our devotion at the feet of God. |
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Traditionally,
the guru is the intermediary between the student and the Divine.
In Ashtanga yoga, the prayer chanted before practice begins,
Vande Gurunam Charanaravinde (I bow to the lotus feet of my
teacher). The expression of gratitude and humility is a
prerequisite for spiritual alchemy. By touching the feet of the
guru we touch the feet of God. |
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I
recall my own first experience of this act when I met Pattabhi
Jois in 1978. For several days I watched students touching
Guruji's feet after class. (The gurus feet are considered to be
the repository of his shakti, or divine energy. By touching his
feet the student is said to receive shaktipat, a transmission of
that divine energy.) Like most Westerners, I had major
resistance to doing this myself. Finally one day I touched
Guruji's feet. Immediately I was overwhelmed with emotion.
Looking up into Guruji's face, my eyes filling with tears, I saw
pure love radiating from his eyes and I felt a deep sense of
gratitude. Guruji smiled and touched my shoulders as a blessing.
For me it was a profoundly liberating experience. |
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As
Pattabhi Jois says, however, God is the only guru. Our true
purpose in yoga is to awaken the guru within. This is what the
alchemical tradition refers to as turning lead into gold. |
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