Last week, I released the following video of the late Maty Ezraty puts Eddie Stern at a meeting of senior students in Mysore in the early 1990s, at which Jois’s abuses were openly discussed and acknowledged.
Ezraty recalls that she and Chuck Miller decided at that time to actively distance themselves from Jois. Stern went on to help Jois publish a book, to host Jois at U.S. events, and co-edit Guruji, a collection of interviews that glorify Jois.
Yesterday, Eddie Stern released a statement about the criminality of Pattabhi Jois. The statement is co-signed by his partner Jocelyne and can be found here on his site.
Through present-tense phrases like “The stories that are being reported on the actions of Pattabhi Jois…”, the Sterns imply that they have only become aware of Jois’s abuses recently, or since survivors like Anneke Lucas and Karen Rain have spoken up.
The Sterns’ statement was simultaneously published with this podcast excerpt with Eddie Stern, hosted by Leanne Woehlke.
In the podcast, Stern says:
I’ve read the reports of these women. I didn’t know what he was doing. And after reading the book, I could confidently know that — the Matthew Remski book — I could really confidently say I didn’t know about those things.
However, this same book recounts how Anneke Lucas went to Stern in 2001 after Jois assaulted her in New York. Here’s the relevant excerpt:
Anneke said that after Jois had returned to India, she went to Eddie Stern to report the groping incident. He was Jois’s host, after all.
According to Anneke, Stern’s wife – another senior Jois student – was also at the meeting.
“Eddie referred to ‘Guruji’s unfortunate problem’,” Anneke said, “apologized and told me I had done the right thing. His wife also offered words of sympathy.
“At the time,” Anneke said, “I was satisfied with the acknowledgment alone. But Eddie carries his share of responsibility by failing to warn me and others, and by persisting in spreading an image of Pattabhi Jois as though he was an enlightened guru.”
Nine years later, Anneke showed Stern a draft of the article she was about to publish.
“Eddie’s first question was ‘Why do you want to humiliate him like that?’ to which I answered: ‘He humiliated himself.’ Eddie agreed with me. (PAAIC, p. 319)
Additionally, Stern told me via email in July of 2016 that he had flagged the infamous Jois adjustment video as inappropriate content. The video was subsequently deleted from Vimeo, but is now reposted here (trigger warning).
“I am very happy that they pulled it down,” he wrote, “and I hope that you will reconsider the need to continue using that video to prove/make some kind of a point.”
In his open letter to John Scott, Guy Donahaye says that Stern was a source for confirming Jois’s assaults:
Eddie Stern acknowledged the abuse and supported my action although he has as yet been unable to make a proper public statement. He is also the person I turned to for confirmation about KPJ’s actions after Matthew Remski had contacted me.
The structure of the podcast focuses on Stern’s own pain and concerns that he has been “targeted” for enabling Jois over the years. He describes being in therapy, and how he’s learning to listen.
Woehlke expresses sympathy over Stern being held responsible for Jois’s actions. She worries aloud that the discourse over Jois’s criminality will “undermine the good of a practice that can help so many people and especially someone like yourself who has been one of the primary teachers of this form of the Ashtanga tradition.”
Stern told Woelke that the movement to remove images of Pattabhi Jois from shalas — initiated by Jois survivors like Karen Rain and Jubilee Cooke — constitutes a form of denialism:
I don’t think it should be brushed under the rug, which is what I believe people want to do when they want to take Pattabhi Jois’s photo off the wall and stop using the opening prayer.
Like, okay, you can’t just sweep the guru under the carpet and then like, everything’s going to get better.
When Woehlke and Stern begin to discuss solutions to the crisis, he has this to say about the consent movement in modern yoga:
I don’t know if consent cards are like the answer. Um, you know, I see people selling consent carbs like all over the place now and I’m like, what are you turning sexual abuse into another industry? And it’s just really weird to me. That cuts off an important line of communication to where, you know, I don’t have to, you know, I don’t want to, I don’t want to sound, say the wrong way, but by using a card and just putting it on your mat, all of a sudden now you’re not communicating with the person who’s supposed to be your teacher. You just start putting out a stop sign there. One of the reasons I think that we have so many problems in our societies because of difficulty communicating. Like we don’t know how to communicate. Um, in a lot of ways.
And sometimes there’s a lot of fear, there’s a lot of whatever. So I just question and I wonder: would working on communication be a better way to surmount these problems rather than something like consent cards? If people really like consent cards cause they, they’re truly not able to verbalize it, I don’t want to remove that from them. Um, I, I just am going to make that observation that people are turning sexual abuse into another industry by selling things like consent cards.
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.
(With thanks to Karen Rain for her editorial suggestions.)
In this Triyoga Talks podcast (transcript excerpt below), Jivamukti co-founder Sharon Gannon is asked about why the Jivamukti New York flagship studio has started using consent cards. Gannon throws the question to studio director Jason Morris, who takes the opportunity to present some rebranding talking points.
For Morris, Jivamukti “has been a safe haven” historically, and offering consent cards is a way for the brand to continue to be safe, and to be “at the forefront” of the conversation on consent.
This is a revisionist stretch.
In 2016, JYS settled a sexual harassment lawsuit against lead teacher and trainer (Gannon was also named in the suit) in 2016. In an interview, the plaintiff in the suit suggested that a culture of implied consent in relation to adjustments was a factor in the harassment.
The 2012 book Yoga Assists: A Complete Visual and Inspirational Guide to Yoga Asana Assists authored by Sharon Gannon and her Jivamukti co-founder David Life does not contain the word “consent”, nor any substantive discussion of power differentials in teaching. The book is currently on sale in their shop. Continue reading “Jivamukti Yoga Claims Position “At the Forefront” of the Consent Card Movement”
Christopher Wallis responded to my response to his article on guru-abuse prevention – check his comment here. We’re having a cordial exchange about an important topic — how strange for Yogaland! — and a lot of folks have seemed to appreciate the themes explored so far, so I’ll respond again. Wallis was kind enough to direct message with me to clarify certain points, so I’ll refer to those as well.
In my previous post, I offered a positional statement:
I’m writing here as a non-Indian yoga practitioner who has interacted with echoes of the Indian guru-shishya system that have been borrowed, adapted, appropriated, or manipulated during the globalization phase of yoga.
I’ll expand that to say:
I’m not qualified to comment on the content of Wallis’ religio-philosophy, so I’ll confine my focus to what he says about its pedagogy. My content ignorance may blinder me to some subtle mechanism of integrity that’s second nature to him. Or it may be a strength, insofar as spiritual content so often obscures the structure of material relations. I don’t know. Also: I’m writing as a two-time college-dropout who cycled through two cultic environments and spent the better part of the last decade healing from it in part by informally researching what cults are and how they work, and the last few years formally researching the shadows of yoga pedagogy for a book that started out as being about injuries but every day is becoming more about the embodied effects of patriarchy in modern yoga and how people reach out of them. I’ll let Wallis share as much about his own background relationships beyond his formal bio as he wants, but for now it suffices to say that we come at the guru problem from very different angles, which makes friendly dialogue all the more useful. Continue reading “Guru or Guide: What’s the Scope of Practice? A Second Response to Christopher Wallis”
For the master’s tools will never dismantle the master’s house. They may allow us to temporarily beat him at his own game, but they will never enable us to bring about genuine change.– Audre Lorde
Christopher Wallis asked me to respond to his eloquent piece on gurus-gone-bad, and how to stay away from them. I’m happy to do just that with this short post.
(Positional statement: I’m writing here as a non-Indian yoga practitioner who has interacted with echoes of the Indian guru-shishya system that have been borrowed, adapted, appropriated, or manipulated during the globalization phase of yoga.) Continue reading “Laying Down the Guru’s Tools, for a While – A Response to Christopher Wallis”