Interview with Guy Donahaye by Elise Espat Part 4

 

Reflections on "Guruji: A Portrait"
Interview of Guy Donahaye
by Elise Espat - Part IV
Originally published September 17, 2012 Mind Medicine Blog

Is there a point in the book that you feel is really crucial to understand Guruji, the system, or the practice?

I feel the book makes a few important points. Perhaps nothing new is said, although for many people there will be a lot of new material. The fact that we have 30 statements or interpretations, and that these statements are broadly in agreement, or together put pieces of the jigsaw in place, what we have as a result is a kind of "authoritative" text.

Interviewees were not always in agreement and at times completely contradict each other, however, I think you can trace at least 80% agreement on most of themes throughout the book.

In some respects you could say the interviews were research on my part. For instance, on the origin of the sequences: David Williams and Nancy Gilgoff believed that the sequences we practice (with some modifications) had been passed down directly from the Yoga Korunta, a text, 100s or 1000s of years old. This was the story I received when I first started practicing since my first teacher had learned from a student of David's. I asked Guruji about this several times and was never quite sure what he meant by his answers.

Apart from Nancy and David, everyone else who was interviewed believed that Guruji was involved in creating the system of asanas. Manju goes as far as to say that Krishnamacharya and Guruji sat down and went through various texts (Hatha Yoga Pradipika, Gheranda Samhita, Yoga Korunta, Yoga Rahasya) and made up the sequences based on Chikitsa and Shodhona. Norman Allen alludes to Norman Sjoman's book and its suggestion that this type of practice is a new creation modeled on gym training.

I think, through the interviews and my own conversations with Guruji,  a picture emerges that the Yoga Korunta contained  asanas and vinyasas grouped according to their therapeutic benefits but that the actual sequences we practice were created by Guruji under Krishnamacharya's supervision based on Chikitsa, Shodhona and so on.

It seems that Guruji did much of the work in organizing the sequences as well as in modifying the vinyasas. If you look at Yoga Makaranda - Krishnamacharya's book of 1934 - you can see how he sequences the asanas and structures the vinyasas quite differently. Shammie said he invented, or discovered the surya namaskar - I believe this is true - at least in the form that he taught.

One of the reasons I made the interviews was to establish a coherent picture and to correct some misconceptions about the nature of yoga, as taught by Guruji.

Guruji felt very strongly that yoga is a spiritual practice. It is perhaps ironic that someone who believed this so deeply, is sometimes seen as propagating a purely physical practice. Too many of my fellow practitioners in the early '90s tended to think this way, and maybe this is something which motivated me to initiate this project. For Guruji, the purpose of yoga was to make one fit for realization - that was his main interest - I think this is emphasized in the book.

For many people who never met Guruji, or whose contact with him was minimal, the anecdotes and stories about studying with him and about his character have brought him to life in vivid color. For those who did know him, the interviews reveal other facets of his teaching and has brought back many memories. I have received many emails from readers expressing gratitude for having been able to experience an intimate meeting with Guruji through these interviews.

Here is an email from John Scott:

Dear Guy,

Brilliant! Fanatastic! Congratulations!

Thank you Guy, I do think you and Eddie have put together a lovely and very valuable book.

It reminds me how much we learned from each other back in those days (the early 90s).

Guruji passed on so much wisdom to every individual student, and this was because he was always on-to-one with each student, and therefore the questions asked of him were all uniquely different. 

What is so nice,  is that Guruji's students love to share and pass on their personal experiences with everyone else.

The photo on the back cover looks great* and it's just as Guruji was for us back in those days.

Those were the days - the Lakshmipuram days

Photo By John Scott

I have already read a few of the pieces and have learn't so much more already

So again Thank You Thank You for sharing

Love John

Lucy India and Fynn

* This is John's photo



Guy Interview

Part 1

Part 2

Part 3

Interview with Guy Donahaye, Author of "Guruji: A Portrait"

Last year I had this idea to interview Guy Donahaye - my long-time teacher in New York City - about his process in creating his book "Guruji: A Portrait".  Our process went on for months and led down many roads.  By the end we had more than fifty pages of dialogue and a feeling that we were only getting started and perhaps we ought to just start over.  And yet, there is something interesting in the bumps and stumbles.  Perhaps it tells us just as much and maybe more than a polished finished product.  So here it is, piece by piece, one by one, the first question and an answer.  More to come, maybe.

Reflections on "Guruji: A Portrait"
Interview with Guy Donahaye by Elise Espat - Part I
http://yogamindmedicine.blogspot.com/2012/04/reflections-on-guruji-portrait.html

How and why did you choose to ask the questions you asked for the interviews?

When I arrived in Mysore in the early '90s Guruji used to give regular theory classes, but his ability to communicate was often thwarted by language problems.

Guruji spoke a little English but he had a strong accent which was often hard for English speakers to understand and mostly impossible to understand for non-native English speakers when he started to talk about philosophy.

In the first few years I was there, there were 15-20 students at his theory classes. We were French, German, English, American, Dutch, Swiss… a jumble of languages with varying limitations on the grasp of Guruji's broken English and Sanskrit. So his efforts were often mired in frustration. I felt for him (and for myself - I was also frustrated we were unable to learn more from him in this forum).

There were also increasing numbers of students who did not want to think too deeply. For them being in India with Guruji was perhaps a bit of a lark and not an opportunity to absorb the fullness of what he had to offer. Often they turned Guruji's theory classes into a bit of a circus.

Guruji was a scholar and had the desire to share the gems of the Upanishads or the Yoga Sutra with his students, but as time went by, the quality of the interest was often brought down to a lowest common denominator by questions such as "Guruji, what is the best kind of yoga clothing or mat to use?" or other perhaps important, yet mundane subjects.

In the end Guruji would often shake his head in frustration and resignation and say "You don't understand! Just do your practice and all is coming!" This was accepted by increasing numbers as a motto, and for some, as an invitation not to question any deeper. But I felt it was said in the context of frustration that direct teaching through the mind was not possible.

"Sat tu dirgha kala…" - perhaps Guruji's favorite words - "you practice for a long time! 10 years, 20 years, your life long, you practice!" He was able to convey this aspect of his teaching with absolute effectiveness - but what did he mean by "all is coming"? I think this is the subject of much of the book.

So my first motivation was to give Guruji a voice and to try to share his philosophy. Of course it is not his philosophy, it is the eternal teaching of the Vedas, Upanishads and other sacred literature of India, but unique in the way it came to expression through him.

Originally the interviews were part of a video documentary project. What I had in mind was to paint a portrait of Guruji, an Impressionistic image or collage, by juxtaposing different shades and hues of answers to the same questions. My questions were designed to be cut from the end result, leaving the interviewees to speak for themselves. You will notice there are very few questions which evoke a yes/no response.

I wanted to make the interviews as comprehensive as possible because I was not sure which parts I was going to want to use. When the interviews first started to take shape as an idea Guruji was still relatively unknown (Yoga Mala had not been translated into English) but by the time I started asking the first questions (1999), he was already traveling and teaching extensively and had become well known in the West.

While I had been motivated to write a book myself, I felt that the voices of others would give much greater authority and weight - and as it turns out also wisdom, eloquence and insight! The questions covered several areas such as: Guruji as teacher, the practice, theory, Guruji as family man, origins of the series and the individual experiences of the interviewees. As time went by the question list became more comprehensive, but it changed with each interview as I noted particular areas of interest or expertise. If I found the subject going in an interesting direction, I would follow it.

I have always known yoga as a spiritual practice, but many I have met on the path are more interested in the material benefits. Although the book is called "Guruji" and does contain biographical and anecdotal stories about his life, the larger part of the book is devoted to what he was teaching. What is yoga? And how should practice be applied? What are the benefits? And what is the metaphysical viewpoint which underpins the yogic knowledge? Guruji is the lens, the teacher,  but the main object of interest is yoga itself. Because there was no clearly (or universally) understood "Ashtanga Yoga Philosophy" amongst his students, his philosophy became summed up by many as 99% practice, 1% theory, do you practice and all is coming etc - and that was about it. I felt this imbalance needed correcting.

Guy Interview

Part 1

Part 2

Part 3