{"id":4760,"date":"2014-11-28T10:09:09","date_gmt":"2014-11-28T15:09:09","guid":{"rendered":"http:\/\/matthewremski.com\/wordpress\/?p=4760"},"modified":"2014-11-28T10:09:09","modified_gmt":"2014-11-28T15:09:09","slug":"wawadia-update-22-the-prescriptive-kinesiognomy-of-mpy","status":"publish","type":"post","link":"https:\/\/matthewremski.com\/wordpress\/wawadia-update-22-the-prescriptive-kinesiognomy-of-mpy\/","title":{"rendered":"WAWADIA Update #22: The Prescriptive Kinesiognomy of Modern Postural Yoga"},"content":{"rendered":"<p><b>\u00a0<\/b><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><em>The <a href=\"https:\/\/www.indiegogo.com\/projects\/what-are-we-actually-doing-in-asana\/x\/1850453\">IGG campaign<\/a>\u00a0to support this coming book is galloping to its conclusion. (Four days left, 3K to go!) Thank you to every contributor so far, and to everyone who&#8217;s spread the word. Thank you especially to my crack editorial\/promotional team: Jason Hirsch, Carol Horton, Roseanne Harvey, Laura Shaw, and Alix Bemrose. <\/em><\/p>\n<p>_____<\/p>\n<p>&nbsp;<\/p>\n<h3 style=\"text-align: right;\"><em>Oh chosen one, oh frozen one \/ Oh\u00a0<\/em><em>tangle of matter and ghost.\u00a0<\/em><\/h3>\n<p style=\"text-align: right;\">&#8212; Leonard Cohen, &#8220;The Window&#8221;<\/p>\n<p>_____<\/p>\n<p><span class=\"dropcap size-1\" >I<\/span>\n\u2019m about to take some time off from the post-pushing phase of #WAWADIA to plunge into a few corners of quieter research. One of them will be this:<\/p>\n<p>A crucial but mostly-unacknowledged premise that roots the tree of modern postural yoga is the principle of <strong><em>prescriptive<\/em> <em>kinesiognomy<\/em><\/strong>.<\/p>\n<p>Of course, if I make up a term, I have to define it. &#8220;Kinesiognomy&#8221; would be: <em>The practice of assessing a person\u2019s character from the appearance of their movement<\/em>. MPY makes this practice <em>prescriptive<\/em> insofar as it suggests postural and movement solutions for insufficiencies of character. Anxiety, depression and poor self-esteem are presumed\u00a0to be remedied by altering the architecture and flow of physical poise. Freshly sculpted poise is taken as evidence of moral and emotional change.<\/p>\n<p>I believe\u00a0that analyzing\u00a0this premise is crucial to the discussion of why \u2013 beyond practicing with poor\u00a0instruction in\u00a0biomechanics or receiving harsh adjustments \u2013 some people injure themselves in asana. It\u2019s not enough to understand\u00a0that practitioners can drive towards postures and movements that are constitutionally inappropriate for them. It\u2019s not enough to understand\u00a0that some\u00a0are influenced by the charisma of teachers who are actually elite athletes affecting the public personae of therapists without appropriate training. It&#8217;s not enough to understand that many\u00a0hounded by an advertising discourse that relies on as much or more manipulative female bodily objectification as any other industry. Intense drive\u00a0on the mat is not only provoked by dreams of physical prowess or idealized visions of beauty or sexuality. Driven yogis are also breaking themselves against the physical premise of psychological virtue.<\/p>\n<p><!--more-->It&#8217;s been a common theme in the interviews I&#8217;ve conducted so far, but I&#8217;ll illustrate with\u00a0a personal example. Ten years ago, I greatly admired my teacher\u2019s ability to slide into Hanumanasana without warming up. We never\u00a0talked deeply about the philosophy or psychology of the pose, but\u00a0we didn&#8217;t need to. I unconsciously correlated his psychological openness and emotional intelligence to his postural mobility. So I began to pursue this posture and others like it with conviction, feeling that if I could be <em>that<\/em> \u201copen\u201d in the pelvis, I would have a renewed inner self. This feeling kept me working at the posture long after it began to tear up my hamstrings. I felt like my pelvis was a tangle, and that using the pose to loosen that material knot would loosen the etheric knot of my soul. Along the way, I surrendered to the fact\u00a0that it would be painful.<\/p>\n<p>Did the postural work fulfill the\u00a0expectation with which I burdened it? Not on the surface. Not according to the implicit claims of the Iyengar-influenced teachers I studied with.<\/p>\n<p>But then again, I\u2019ve often wondered whether meditating on the pain of that\u00a0posture eventually helped to push me towards psychotherapy, where my knots, which were interpersonal in origin, could actually be loosened\u00a0on their own terms. I gradually understood\u00a0that my flesh\u00a0held and perhaps had shaped itself around psychological meaning, but\u00a0that\u00a0forcing a new shape upon the flesh would only twist and complicate that meaning.<\/p>\n<p>&nbsp;<\/p>\n<p><span class=\"dropcap size-1\" >W<\/span>\nith kinesiognomy, MPY presents a newish take on an idea as old as the hills. <em>Physio<\/em>gnomy was the practice of assessing character according to physical and especially facial characteristics. It held pride of place within many pre-scientific-method medicines from East to West. In Greece, Aristotle set the stage for Galen\u2019s theory of \u201ctemperaments\u201d in the <a href=\"https:\/\/ebooks.adelaide.edu.au\/a\/aristotle\/a8pra\/\">Prior Analytics<\/a>, 2:27\u00a0<em>(trans. A.J. Jenkinson)<\/em>:<\/p>\n<blockquote><p>It is possible to infer character from features, if it is granted that the body and the soul are changed together by the natural affections.<\/p><\/blockquote>\n<p>In India, the earliest strains of Ayurveda related bodily proportions and features to predominances of <span class=\"Apple-style-span\">dh\u0101tu<\/span>\u00a0(the energy-textures of kapha, pitta, and vata), and then those predominances to psychosocial behaviour and affect. In a crude form, this theory remains in active service in today\u2019s global Ayurveda, played out in\u00a0countless dosha questionnaires and on the blogs of Ayurvedic hobbyists. It provides a way for selves to be diagnosed with a deterministic \u201cconstitution\u201d to which specialized products can be marketed. I analyzed this a bit\u00a0back in the spring with <a href=\"http:\/\/matthewremski.com\/wordpress\/reevaluating-constitution-a-challenge-to-popular-ayurveda\/\">this post<\/a>.<\/p>\n<p>Although some researchers \u2013 like psychologists Jerome Kagan and Hans Eysenck \u2013 have broken new ground in relating personality traits with physiological tendencies, physiognomy\u00a0in both\u00a0Eastern and\u00a0Western forms is now mainly regarded as pseudoscience. Yes: we feel we know things about others based upon their stature, features and movements, but these feelings are rife with cultural biases and cognitive fallacies that strip them of every power but that of poetic speculation. Yes: we encounter differences in others, and these differences mean something. They may even lead to rich therapeutic discourse. But we can never give positive definition\u00a0to these\u00a0differences\u00a0in any clinical way. Those who try are playing at the margins of the fascist eugenics that claims that physique equals destiny.<\/p>\n<p>Pseudoscience or not, the physiognomy of archaic\u00a0medicine has survived, morphed, and\u00a0thrived\u00a0through the prescriptive kinesiognomy of modern postural yoga. Today it is ignorant to the point of absurdity to suggest, for example, that a facial or structural (or racial!) feature of a person is evidence for a particular\u00a0emotional characteristic. Yet we have no hesitation in correlating\u00a0all kinds of character traits with\u00a0the achievement of posture. It just seems to feel right, and MPY alignment strategies capitalize upon this primal intuition.<\/p>\n<p>&nbsp;<\/p>\n<p><span class=\"dropcap size-1\" >M<\/span>\ny questions are:\u00a0Do we even know we&#8217;re practicing kinesiognomy? How does it impact our assessments of self and other? What embodied voices and needs do we override in light of this hidden premise?<\/p>\n<p>The roots of the phenomenon make sense. Early MPY figures\u00a0&#8212;\u00a0Krishnamacharya, Ghosh, Yogendra, and Kuvalyananda, among others &#8212;\u00a0sympathized\u00a0with the anti-colonialist Indian physical education ideals of the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Rashtriya_Swayamsevak_Sangh\"><span class=\"Apple-style-span\">Rashtriya Swayamsevak Sangh<\/span><\/a>, which viewed postural strength as being essential to the reclamation\u00a0of moral, spiritual, and cultural power in a land yearning for freedom and dignity.\u00a0(See Mark Singleton&#8217;s <em>Yoga Body<\/em>\u00a0for more on this.)\u00a0But today, kinesiognomy\u00a0has reached\u00a0far beyond this early revolutionary thrust.<\/p>\n<p>Beyond its\u00a0obvious display on the magazine stands, the elision between form and virtue is now pervasive in most\u00a0globalized branches of MPY, with the possible exceptions of the Sivananda\u00a0brand. It&#8217;s as prominent on\u00a0the vinyasa side of things &#8212; represented by the teachings of Jois and his students &#8212; as it is on\u00a0the alignment side, held by\u00a0the legacy of B.K.S. Iyengar.\u00a0Brad Ramsey, senior student of Jois, says\u00a0(in Stern and Donahaye, 2012): \u201cThe series is just a mold toward a body that meets the requirements for spiritual advancement, I believe.\u201d Iyengar says, while demonstrating a ramrod Tadasana (time cue 5:08 in\u00a0<a href=\"http:\/\/www.youtube.com\/%20watch?v=4t2OLXi2xvY&amp;feature=youtu.be\">this<\/a>\u00a0video): \u201cAll of these practices make us into a true human being, because we are still not fit for the divine level.\u201d Beyond the hallowed halls of Mysore and Pune, this attitude lurks in every studio where the air is thick with the teacher&#8217;s adjusting gaze, where\u00a0at times it feels\u00a0that you are there to be corrected more than you&#8217;re there to explore your uniqueness, or to simply play.<\/p>\n<p>To see how this premise has been furthered refined while being stripped of overt religious content, consider the marketing\u00a0of\u00a0David Regelin, which\u00a0is\u00a0taking the form = equals virtue meme to new and dizzying heights. For Regelin, virtue and posture combine at the horizon of geometrical abstraction. A few months ago he released this promotional video for his alignment-based method, which he calls \u201cVesica\u201d. The video is called the &#8220;Geometry of Yoga.&#8221;<br \/>\n<iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/nm8CnPFLXD4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Oh boy. There\u2019s so much to say here in terms of culture, aesthetics, and politics.<\/p>\n<p>The boutique-y feel. The incredible wealth of a\u00a0private lesson taking place in a two thousand square-foot repurposed working-class space that no working-class person can now afford to enter. The predictable assortment of physiques, belonging to (it seems, for this is how it is presented) slightly stiff guys\u00a0who want to be softer\u00a0men, and bendy yoga-model women who seem intent\u00a0on obsessing over\u00a0their perfections.<\/p>\n<p>Everybody is white. This accentuates\u00a0one of the most interesting ironies of cultural appropriation in MPY: the majority of folks who are employing the kenesiognomic technique are not using it to rise up out of the cultural humiliation of colonization, but rather to exercise\u00a0the surplus meaning\u00a0of privilege.<\/p>\n<p>Everything is impeccably clean, yet somehow not good enough. Every body part is\u00a0be placed <em>just-so<\/em> through an endless series of micro-adjustments, addressing flaws undetectable to the uninitiated. The corrections are so subtle, they <em>must<\/em> be referring to esoteric aims, visible only to some divine eye. The filming gives David\u00a0this\u00a0eye. His good looks are\u00a0exalted to Greek-god levels by his magical finger-wand that traces post-production Euclidean forms over his student\u2019s leggings and feet in a fantasy of symmetrical flesh. The graphics\u00a0are phallocentric: if circular forms exist, they emerge in perfection from <em>a priori<\/em> vertical lines.<\/p>\n<p>&nbsp;<\/p>\n<p><span class=\"dropcap size-1\" >T<\/span>\nhe optics are mesmerizing, but it\u2019s what Regelin says that\u2019s crucial to understanding the zeitgeist\u00a0of kinesiognomy today:<\/p>\n<blockquote><p>In any given posture my goal is to help the student find the centre of themselves. and from that centre you create a circumference, and you develop a radius from centre to circumference. This becomes a skill you develop, an imagery that you develop&#8230; that you can superimpose over your whole practice.<\/p>\n<p>The body is designed to fit together, and there are certain proportions that can be measured from left to right and from top to bottom&#8230;<\/p>\n<p>When you have a basic sense of this design, and you approach all of the postures with this in mind, you&#8217;re looking for a good fit in any given posture. You wouldn&#8217;t settle for a compromise. Yoga means to join to unite to link to bond things together. Art is the practice of putting things together. The word &#8220;vinyasa&#8221; means to put together in a special way\u2026<\/p>\n<p>People tend to use one hemisphere of the mind over the other. One hand over the other, ear over the other, one eye over the other. You start to actually use your mind in a different way. You see things differently, you hear things differently you consider yourself differently. And interestingly, people consider you differently. I believe that everyone is reacting to one another&#8217;s posture, and you learn to read by reading yourself, by examining yourself. Once you see the relationship between yourself and your own posture, you see it in other people, and I believe that this develops empathy and compassion. (0:44 to 3:51)<\/p><\/blockquote>\n<p>And:<\/p>\n<blockquote><p>Our body&#8217;s language is the transcription of our consciousness. So our particular posture is an articulation of our own personal narrative. Yoga offers an archetypal framework, a formal method based on universal ideals. Yoga postures are universal forms, which we as practitioners attempt to join, unite, and bind our personal form with. The role of a teacher is to leave people in a better position with regard to themselves and their surroundings. To guide, tune, and adjust them so they are more stable, well-adjusted, inspired, and insightful.<\/p>\n<p>When a musician has mastery over their instrument, it is a joy to play. Mastery, however, is attained effort precision, skill, grace, and inspired, intelligent practice. Yoga is an art, a science, a discipline, a path to self-knowledge, a means by which someone can reform and ultimately transform themselves.<\/p>\n<p>How one fits one&#8217;s body together with one&#8217;s mind: this is what it means to be &#8216;well-adjusted&#8217;. (4:29 to 5:33)<\/p><\/blockquote>\n<p>Here are the ideas, paraphrased:<\/p>\n<ol>\n<li>The &#8220;centre&#8221; of the body is correlated to the &#8220;centre&#8221; of the self. An asana teacher finds this centre\u00a0and extends the student&#8217;s self, through the body, from that centre, and encourages them to overlay their bodies with the fantasy of\u00a0perfected forms. Until one\u00a0does this, one&#8217;s\u00a0not fully alive.<\/li>\n<li>The body has a design, or is a designed object. If you learn this design you will be more able to exercise the artistry of yoga, I mean the science of yoga, which we can see inthese\u00a0artsy-sciency \u00a0diagrams. If you are aware of the design, you will understand and value symmetry, and your world will change. It will begin to appear well-designed. So will you. People will know your truer self by how you hold yourself and how you move.<\/li>\n<li>Postures are universal ideals, Platonic Forms, to which the disciplined student\u00a0moulds her own body. This process reveals\u00a0personhood. The change happens through a\u00a0discourse of mastery. Teachers adjust students towards revelation.<\/li>\n<\/ol>\n<p>Is this what we believe? At what cost to the variability and eccentricity of the body? To what extent can\u00a0we really know ourselves and each other through our shapes?<\/p>\n<p>&nbsp;<\/p>\n<p><span class=\"dropcap size-1\" >N<\/span>\no one would never deny that general mobility or stability-improving movements, along with easy breathing, have substantial\u00a0and immediate impacts upon one&#8217;s moment-to-moment psychology. No one would deny that these simple\u00a0changes can have a cumulative effect upon emotional resilience. Countless practitioners\u00a0feel the enormous benefit of standing a little taller, or being able to roll their arms just a little more outwards to relieve shoulder and neck tension. There are limitless\u00a0movements &#8212; gentle and strong, balancing and asymmetrical, assertive and receptive &#8212; that obviously release stress, impart confidence and ease, and seem to naturally if\u00a0fleetingly create the contemplative state that asana is supposed to invite. Some people benefit from\u00a0a lot of\u00a0formal guidance in exploring these movements, while others need less. Still others &#8212; including most of Krishnamacharya&#8217;s legacy students &#8212; seem to\u00a0figure them these movements\u00a0on their own, or make them up.<\/p>\n<p>So much\u00a0to ponder as the interviews continue.<\/p>\n<p>How\u00a0much farther are we going to push the importance of\u00a0postural finesse? Is the level\u00a0of\u00a0prescriptive kinesiognomy\u00a0expressed by Regelin the natural outcome of a market-saturated physicalist culture that cannot be\u00a0satisfied with asana as preparation for contemplation, or simply an adjunct to a functional life? Are we watching MPY paint itself into a highly artful corner? How much stress is involved in the micromanagement of posture? Where else could postural concern and refinement progress\u00a0after this video, this aesthetic?<\/p>\n<p>The kinesiognomy of MPY\u00a0projects a silent but\u00a0grandiose claim: that form\u00a0is a key to unlocking the value of the person. John Friend called it &#8220;finding the optimal blueprint&#8221;, by which the person can be bootstrapped into a higher realm. The blueprint may be\u00a0a paradox of uniqueness and universality, but &#8212; glory be! &#8212; the teacher can see it clearly, a shimmering\u00a0destiny, and they can encourage the student&#8217;s body to build it. But perhaps more importantly &#8212; to\u00a0<em>hold<\/em>\u00a0it, so that it expresses an\u00a0embodied teleology towards enlightenment. The reformed body that remembers its progress is on the\u00a0path.<\/p>\n<p>And\u00a0what happens with improvements that are held?\u00a0Can\u00a0we\u00a0stiffen into improvements we believe must continually reflect the permanence of ideal forms? Is\u00a0the internalized monologue of a\u00a0thousand postural tweaks the MPY superego &#8212; sculpting and moulding, whining and harping, convinced of its pious mission, even when\u00a0the body complains or simply wants to dance?<\/p>\n<p>&nbsp;<\/p>\n<p>_____<br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/www.indiegogo.com\/project\/what-are-we-actually-doing-in-asana\/embedded\/1850453\" width=\"222px\" height=\"445px\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Everything is impeccably clean, yet somehow not good enough. Every body part is be placed just-so through an endless series of micro-adjustments, addressing flaws undetectable to the uninitiated. The corrections are so subtle, they must be referring to esoteric aims, visible only to some divine eye. David apparently has the eye, and his Greek-god good looks seem exalted by his magical finger-wand that traces post-production Euclidean forms over his student\u2019s leggings and feet in a fantasy of symmetrical flesh. The graphics are phallocentric: if there are circular forms, they emerge in perfection from a priori vertical lines.<\/p>\n","protected":false},"author":2,"featured_media":4801,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"slim_seo":[],"footnotes":""},"categories":[41,21,23,24,1,27,19,28],"tags":[404,405,406,407,50,80],"class_list":["post-4760","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activism","category-articles","category-blog","category-featured","category-uncategorized","category-wawadia","category-yoga","category-yoga-philosophy","tag-david-regelin","tag-fascist-art","tag-kinesiognomy","tag-physiognomy","tag-yoga","tag-yoga-injuries"],"_links":{"self":[{"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/posts\/4760","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/comments?post=4760"}],"version-history":[{"count":0,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/posts\/4760\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/media\/4801"}],"wp:attachment":[{"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/media?parent=4760"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/categories?post=4760"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/matthewremski.com\/wordpress\/wp-json\/wp\/v2\/tags?post=4760"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}