YO: The term Spiritual Bypassing (SB) is becoming more common – what does it mean?
MR: I want to say up front that I’m not that fond of how the term is used. Typically it reinforces an individualistic diagnosis of what’s really social problem. I’m a cult survivor and that’s my research area, and so my approach is to look at SB not as something individuals do because they’re psychologically lazy, but as something they are taught to do by spirituality organizations that benefit from indoctrinating them into the idea that their product will answer all questions.
That said; SB is when a spiritual ideology, jargon, or community leader encourages a person to believe that all problems are solved or solvable. But what’s really happening is that the person is avoiding or defending against more obvious and entrenched psychological or physical wounds. Continue reading “How Do You Know If You’re Spiritually Bypassing?”
It was Brian Culkin who first got me thinking in socio-economic terms about modern yoga. He talks about yoga as the de facto religion of neoliberalism: preaching individualistic empowerment through flexibility, adaptability, leaning-in to challenges, self-reliance, lowering expectations for structural support and change, and creating facsimiles of community where real communities used to be. Later, my thinking was bumped along by an amazing essay by Lavrence and Lozanski on how Lululemon, especially in earlier days, wove these themes into its athleisure fabrics and stitched it all up with random orientalist clichés.
Along this trajectory it became clear that yoga infrastructure was inseparable from urban gentrification. I remember Diane Bruni telling me how much rent Downward Dog had to pay for its two-studio space in Toronto’s Parkdale in the mid 2000s. It was something like 10K/mo. She said that making that rent in the summers was touch-and-go. I was shocked: this was Toronto’s most popular/lucrative yoga space, and they were just hanging on? Moreover: this was their second home.
They had moved west and down-rent along Queen St. from their first space on Spadina, which was in a building that used to house garment factories. So the studio itself owed its birth to the shuttering of manufacturing in Toronto’s downtown core. They practiced in the rooms that used to make the clothes that they practiced in. Downward Dog was actually featured by Naomi Klein in the first pages of No Logo, who gives it as an example of who and what moves into a North American urban space when jobs get shipped to the lowest-paying labour market. Continue reading “Listening to Survivors is a Survival Test (Or: Neoliberalism and Yoga Rise and Implode Together)”
In an email sent out to members last night, the IYNAUS Executive Council for the first time apologized directly to the women who gave their testimonies to the independent investigation into Manouso Manos. The email also details commitments to reform. Its content resonates with several of the guidelines laid out by Karen Rain and Jubilee Cooke in their recent article “How to Respond to Sexual Abuse Within a Yoga or Spiritual Community With Competency and Accountability.”
The apology coincided with a speech given by Abhijata Iyengar at the current convention in Dallas, which continues through Wednesday. By email, IYNAUS President David Carpenter reported that Iyengar
devoted 30 minutes or so to discussing her own experience being molested, stating unequivocally that sexual touch is unacceptable, telling individuals not to fear coming forward with complaints, expressing empathy for victims, and reemphasizing the centrality of physical adjustments in Iyengar Yoga and their benefits.
A transcript of Iyengar’s remarks is forthcoming. Continue reading “Update: IYNAUS Apologizes to Manos Victims; Abhijata Iyengar Acknowledges Abuse at Convention”
“A Hamster Wheel of Self-Help.” Conversation with Rachel Bernstein on IndoctriNation Podcast (Pt. 2)
If you haven’t heard: the professional independent and investigation (trigger warning) into decades of allegations of sexual assault by Manouso Manos under the guise of “yoga adjustments” has found enough credible evidence and corroboration to paint a picture of serial criminality, enabled by the propaganda of his genius and the silencing of his survivors.
The report has forced IYNAUS to oust him, and the Iyengar family to withdraw permission to use their trademark. Neither IYNAUS or the Iyengars have offered any public words of apology, support, or restorative justice to the women who gave their testimony. Neither organization has used the appropriate terminology to describe what the investigation substantiated, relying on euphemisms like “inappropriate sexual touching” instead of assault or digital rape.
Perhaps the careful language is meant to shield both organizations against civil suits. But along with the absent apology, the overall impact is the suggestion that Iyengar Yoga and the legacy of BKS Iyengar are the true victims of Manouso Manos — not women like Ann West, whose 2018 assault complaint against Manos was initially dismissed by the IYNAUS Ethics Committee. Continue reading “After Manouso: Questions for Iyengar Yoga Teachers and Leaders”
“Those Wounds Are A Kind Of Ink.” Conversation with Rachel Bernstein on IndoctriNation Podcast (Pt. 1)
I’ve been an avid follower of Rachel Bernstein’s IndoctriNation podcast for a year now. She’s doing something very unique and healing in the cult-studies sphere: using her therapy and counselling chops to create really intimate and relaxed interviews with survivors and researchers. I’ve learned a ton from it. Please consider supporting her work by subscribing to the podcast via Patreon.
So I was honoured to be invited on as guest, and wasn’t surprised to be as at-ease as her other guests sound. This is the first part of our conversation. Continue reading ““Those Wounds Are A Kind Of Ink.” Conversation with Rachel Bernstein on IndoctriNation Podcast (Pt. 1)”
The moderators at r/ShambhalaBuddhism kindly invited me to do an AMA on March 20, 2019. Here’s my opening comment, followed by the questions and answers that I worked on for about a week prior to the event. I’ve edited slightly and left out secondary exchanges. The whole thread can be found here.
Two things off the top:
Firstly: I’ve worked on these answers throughout the week, as they’ve come in. The reports from An Olive Branch were released yesterday. I’ve scanned them but not in enough detail to better inform my answers where appropriate. If it’s useful, I may return to these answers later to add citations from the reports. On first glance, it’s clear that the reports offer compelling evidence for what many Shambhala survivors have been saying for about a year now: that the organization’s dubious claims to spiritual lineage are eclipsed by the shadow of intergenerational trauma and abuse. Shambhala members are going to have to start asking whether the former was a fiction that functioned to cover over the latter. Continue reading “reddit AMA: 21 Questions on Shambhala”
Facing Investigation into Allegations of Sexual Assault, Manouso Manos Goes Full DARVO. IYNAUS Is Having None of It.
On March 8th, Manouso Manos posted a letter on his website, announcing his resignation from the Iyengar Yoga National Association of the United States. In its claims and defensive-aggressive tone, the letter positions Manos as the target of an unfair independent investigation into allegations of sexual assault potentially dating back to 1992. It also pits him against IYNAUS as the legitimate representative of the Iyengar family’s wishes, wisdom, and legacy.
Manos’s statements were elaborated in a 23-page support statement from his lawyers. Together, the documents present an object lesson in what psychologist Jennifer Freyd has defined as DARVO: a strategy used by those accused of crimes to turn back scrutiny and accountability. Continue reading “Facing Investigation into Allegations of Sexual Assault, Manouso Manos Goes Full DARVO. IYNAUS Is Having None of It.”
Back in August, I analyzed a dharma talk given by Judith Simmer-Brown in Boulder. The talk was given on the heels of a convulsive July for Shambhala International. Mipham Mukpo (the “Sakyong”) had just announced a then-temporary (now perhaps permanent) resignation from his administrative duties amidst further allegations of sexual assault and an announcement from the Interim Board of Directors that he would be the subject of a third-party investigation. Buddhist Project Sunshine had already produced numerous and credible allegations against Mukpo in its Phase 2 & 3 Reports.
Simmer-Brown’s talk sought to provide an insider’s reassurance of the basic goodness of the organization amidst escalating criticism and international news coverage. The core message, repeated from many different angles, was that in the eye of the storm, Shambhala members should keep practicing the content that Chogyam Trungpa had given the organization, and that she as a group leader and Mipham Mukpo had spent many years nurturing (and commodifying). As per custom, she tied her comments to the ancientness of a Buddhist teaching called “The Four Reliances”, which encourages student to look beyond the everyday world for their hope and salvation. Deploying this text at this time implied that digging into the details of systemic abuse constitutes an abandonment of spirituality. Simmer-Brown also spoke of the dangers of the kind of doubt that could lead a practitioner to abandon their path.
Simmer-Brown’s talk bolstered the premise that the teaching content of an organization rife with institutional abuse is an appropriate response to that abuse. This is despite the fact that spiritual teaching content is consistently used to suppress abuse testimonies in yoga and Buddhist groups. Continue reading “Preserving Magic vs. Supporting Victims: A Judith Simmer-Brown Article, Annotated”
Note: I wrote this as an epilogue to Practice and All is Coming. For me, it rounded off the narrative journey of this 3+ years process. I’d gotten to know Karen Rain over several interviews, dozens of phone calls, and hundreds of emails. It was extraordinary to meet her in person finally, and go with her to a movement space where she didn’t have to speak her story anymore, but could show me something of what had helped her heal from being abused within the Ashtanga world. It really felt like the last word. However, as the book developed, its ending swerved away from the personal and towards the study of community health best practices. My editor and I eventually decided that this piece was ultimately distracting from that arc — even though it feels like the beating heart of how it all came together. So here it is, on its own, opening with a quote from Kathleen Rea, who hosted us that night.
Explorations of different themes, such as intimacy, sensuality, surrendering control, anger, fighting, being contained, grief etc. are welcome as long as they are not explicitly sexual, and are created through a step-by-step verbal or non-verbal consent building process. Please note that a newcomer to contact dance improvisation sometimes has not yet acquired the language or skill through which to build consent for dances exploring intense themes. We, therefore, ask that you limit exploring intense themes with newcomers.
— Kathleen Rea, “Wednesday Contact Dance Improvisation Jam Boundary Guidelines”
It’s a Wednesday evening in Toronto, mid-March. It’s chilly, and Karen clutches her bulky sweater close as we walk from the car to Dovercourt House in Toronto’s west end. On Friday we’ll be filming our big interview at Diane Bruni’s house. We’re chatting about it, going over the questions. The plan for the interview is to have something raw and humanizing to accompany The Walrus article when it drops. We know that people will try to discredit her, and me, and we’ve calculated that the in-person format will minimize that. We know what it feels like to talk with each other, and we’re thinking that if people can eavesdrop, they’ll get it.
But she’s nervous about it, and I can feel she wants to stop talking. The evening is crystal clear. We’re heading to a dance.
It’s a Contact Improv Jam, to be specific. The host is Kathleen Rea. She was in the ballet world, and is now a psychotherapist. We slip out of our coats and shoes and into her class in the enormous third floor room, and watch from the sides as she guides a small group. The dancers pair off and turn around each other, touching hands, arms, hips, backs, slumping together, pushing off gently, rolling down to the ground, supporting each other, trading weight back and forth. I feel relaxed and slightly mesmerized.
The class ends and Rea announces that the Improv session will be starting in ten minutes. She asks that if anyone is new to the experience that they meet with her outside to hear the intro talk and some ground rules.
As we file back out into the hallway, more people arrive. A musician begins to set up. It’s Jeff Burke, who locals know from his haunting busking on the subway. He has dreadlocks reaching down to his ankles. He’s smiling and melancholic, and bent low under an enormous dufflebag. As he unpacks it seems like some musical tickle trunk that can never be completely empty. He draws out a black bassoon, a tin whistle, and a theremin.
Karen and I sit down cross-legged in the hallway with three millenials, also first-timers to this space. Karen isn’t new to Contact Improv, which, she’s told me, has been very helpful in her healing process, post-Ashtanga. It’s helped her feel her body in relation to other bodies again. In public spaces, in safety, in sensual but non-sexual ways. Karen suggested we come to Rea’s class because Rea is famous in the Contact Jam world for the clarity with which she runs her space. Like Rain, she has been a reformer, calling out abuses and problems with consent in her subculture.
Rea starts her intro talk from the groundwork of affirmative consent. This is an art-form, she explains, in which touch is common. It’s often evocative and nourishing, but it’s also not essential. She says that any dancer can and should say no to an invitation to dance at any time, and can also express withdrawal verbally or non-verbally. She says that we might notice that people who have been coming for a long time have unique and complex dance-stories that have evolved between them. That can be cool to watch, but probably not to try to imitate.
She explains that Contact Improv can bring up all kinds of complex sensations, feelings, and thoughts, some of which might be sexual in nature. This is nothing to be ashamed of, she says. But in this space we agree that those feelings will not be acted out. There are spaces in the subculture in which that’s part of the scene, she says. But here, sexualized contact is strictly forbidden. She assures us that while she’ll be participating in the dance, she’ll also be available for questions and to help us process any complexity that comes up.
So I’m sitting there and it’s starting to sink in. How extraordinary it is to be here with Karen, listening to a teacher give us a ten-minute safer-space talk about touch and consent. How would Karen’s life have turned out, I wonder, if this level of clarity had been available twenty-five years ago in the Ashtanga world?
I can feel also something else. A terror has built up in me while writing this book that there is no safety to be found in this world. That yoga classes and dance jams are somehow always and forever strained by unconscious desires and aggressions fanned by unequal power dynamics, and that there’s nothing to be done about it.
This is not true. We can do lots of things about it.
Rea checks in to see if we have any further questions. A young woman asks about feeling shy or out of place. Rea nods and says, “You can just watch, too. And you can just wait for someone to ask, and see how you feel.”
I like that answer. It’s also for me.
We file back in and sit down against the wall. Jeff Burke has started to play. There’s a pickup plugged into the mouth of his bassoon. It sends a low drone through an amp and into a loop machine to keep it going. Some of the dancers are already up and at it.
I feel shy, not only about the dance, but about sitting there with Karen, not talking about Jois. We’ve put aside the history, and now there’s music.
Two days later, after our interview and over lunch, Karen summed up our awkward moment, and a few others.
“So when we stop talking about Ashtanga,” she says with wry smile, “will we have anything else to talk about? How likely is it that we’ll be friends after this is all over? Do we have anything else in common? I’m queer and you’re a straight guy with a partner and kids and very little free time. You’re also still in the yoga world.”
Half sad, half elated, I laughed. Of the many things this whole experience had done to and for Karen, it had above all else made her brutally honest. I know she doesn’t like this word, but I can’t think of any other that fits: for Karen, honesty is the highest form of spirituality.
As I drove her to the airport the day after that lunch, we talked about the sacrifice this spirituality demands. We were talking about the pros and cons of having gone through all of this, especially for her. How much it cost to disclose everything and remember, and retell, and weather the denials and rationalizations all over again. But also: how much clarity it had provided. How it had helped to change an entire culture.
“When I first dialed your number,” I said, “I had no idea that all this would happen.”
“Neither did I,” Karen said.
The landscape hurtled by.
“What can I say?” said Karen. “I hate you for this and I also love you for this.”
We laugh and cry.
Back in that dance room on that Wednesday night, I remember my shyness slowly turning into a pre-teen-style goofball shame that I wasn’t just getting up and dancing.
“So are you going to dance?” Karen asked me.
“I think I’m waiting for someone to ask me.”
“Okay.” She smiles. I’m sure I look funny to her. Just another man, used to thinking of himself as so confident. But really, deep down, afraid to dance.
“Would you like to dance with me?”
“Look,” she said. “I feel safe with you. I don’t think you’re a creep. But don’t give me all your body weight. You’re a big guy.”
I still felt too shy to look her in the eye. That was okay. We went to the centre of the room and sat down, back to back. The bassoon got louder and Karen leaned into me. As she pushed her back into mine I felt a flush of warmth and resolution and friendship.
And I was surprised, in a new way, by how strong she was.