I am selling my CD collection. Why? I want to free up physical space in my life, getting rid of physical goods I don’t need, making space for movement. I’m gradually ripping my collection to a computer and listing the CD’s here. You are welcome to checkout the complete list and let me know if you want anything.
Mystery White Boy (+bonus CD)
Live at Sin-e (2cd + DVD)
Sketches of my Sweetheart the Drunk
John Cale – Fragments of a Rainy Season
Nick Cave & the Bad Seeds
Let Love In
No More Shall We Part
The Good Son
Where the Wild Roses Grow (single)
The Wonderful World of Nick Cave (collection)
What a Wonderful World (single)
The Boatman’s Call
Just One Night (2 cd)
The Cream of Clapton
From the Cradle
Rush – Movie Soundtrack
Songs of Love & Hate
Death of a Ladies Man
New Skin for Old Ceremony
Live In Concert
Field Commander Cohen: Tour of 1979
I’m Your Man
Ten New Songs
My preferred setting to teach Yoga is one-on-one. In my first years practicing yoga I attended weekly group-classes. Later, soon after I met my teacher, I began studying one-on-one, practicing on a daily basis and left the weekly classes behind. I believe that one-on-one creates opportunities for deeper and more personalized teachings.
A core idea in my teaching tradition is that at the heart of Yoga is a practitioner (rather then a practice). I was given an extensive set of practice tools which can be methodically applied in many forms and variations. As a teacher I make choices about which tools are best suitable for a student. Group teaching is a setting that requires compromise, an average choice that caters to the needs of a group of individuals. One-on-one teaching is a setting in which tools are selected and tailored specifically for the needs of one individual. It gives me an opportunity to get familiar with a student, to develop a practice over a period of time and to respond to the ever-changing life settings into which Yoga practices are introduced.
Ultimately, when teaching one-on-one, my intention is to provide a student with a practice that can be introduced into day-to-day life. This may take on different meanings and forms for different people – but it is the best way to go deeper into Yoga and experience reflections of practice in life.
Usually, the first few sessions are dedicated to acquiring basic skills of breath and movement – which are the basics of practice. From the end of the first session a student is given a daily practice – usually a short and accessible practice. As basic skills are acquired, I get better acquainted with a student, a student gets better acquainted with me and with Yoga and I am able to offer a relevant practice. For some people one practice is enough, other people may require two options (for example: a short practice for weekdays and a longer practice for weekends).
The first few sessions are most effective when they are close together – to sustain a substantial learning experience. Then a student is free to explore. Some people come back after a few weeks for a review and possible modification of the process. Some people don’t come back for months (some people don’t come back at all). Some people stay in touch via phone or email. Sometimes I refer people to a Yoga teacher near their homes for additional support.
It is up to a student to choose Yoga, to maintain a practice, to constantly seek inspiration and new knowledge.
I was taught, practice & teach Yoga asana sequences with stops between postures and groups of postures. Stops are an opportunity for me to observe what is happening in my body, to recollect into awareness my experience of postures I just completed, to let my breath settle and to make a conscious choice when to move into the next postures. Stops can be peaceful waits and they can be disturbing.
I gained more insight to these stops as a Yoga teacher. As a teacher I am privileged to be dominantly in a role of observer. Observing a group of practitioners who have just stopped moving is amusing and inspiring time and again. I see people scratching, organizing their clothes, looking around … it’s as if there is a group effort to avoid stillness. Pointing this out affects people differently. Some people will collect themselves and become still, others will switch to other, more subtle twitching movements. In some cases the twitching is so subtle that people don’t notice it at all. I’ve stood next to a practitioner who’s entire body is still – but the fingertips are moving nervously – as if playing on some invisible instrument – while they were convinced they were perfectly still.
Some disturbances, such as straightening a shirt are rooted in habit, others are an indication of nervous energy in the body (which can be expected after energetic practices). Either way, they can be very slippery and difficult to catch. Trying to catch them is also a disturbing activity which can actually make them worse. This is an opportunity to a soft and gradual learning process:
- Notice your movements – be curious about them, this is a big first step – and will usually have a short term tempering affect.
- Observe their fruits – though you may not be conscious of it, your movements satisfy something – it can be a shyness about your body, deeply rooted mannerisms, physical discomfort, an agitated mind … ask yourself what your movements have achieved for you.
- Notice your impulses to move – movement is preceded by an impulse to move – there is an impulse for straightening your shirt that comes before you actually do it.
- Recognize an option for choice – there is a window of opportunity between and impulse and an action to make a choice. Usually there is a default choice that is to act on an impulse, but you may come to realize that there is an opportunity to make another choice.
These “disturbances” are expressions of deeper patterns – their physical manifestation is an ending of a process that is rooted in deep motivations. Instead of insisting on subduing them you can try and stay with them until some more information about their true nature appears before you. Follow them patiently and they will lead you into deeper learning and subtle change. Stillness can be much more then an absence of disturbances.
I recall reading a speech given by Sting in which he suggests that silence between sounds is as much a part of music as the sounds themselves. Similarly, to experience and appreciate the melody of Yoga we need to develop stillness as well as movement.
I will be joining a group of talented, inspiring and free spirited performers on stage. Saturday – Mar 13th Tmuna Theatre Tel-Aviv. Tickets are 55 NIS. You are invited