A Quote by B.K.S. Iyengar
I also say with backbends, you have to be cautiously bold. Not carelessly bold. You have to descend to the dictation of the spine. You cannot command from the brain to do the poses. As you play with a child, guarding the child from injuries, similarly you have to play in backbends, guarding your spine.
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Backbends are not poses meant for expressionism. Backbends are meant to understand the back parts of our bodies. The front body can be seen with the eyes, but the back body can only be felt. That's why I say these are the most advanced postures, where the mind begins to look at the back.
That's the beauty of backbends. Emotionally we can never be disturbed, for the emotional centre becomes an extrovert. When you do Viparita Dandasana, your head looks backwards, but your conscious mind stretches everywhere. Study by observing how the mind gets regulated. You not only know the freedom in the spine, but also the freedom in the spirit.
Backbends are to be felt more than expressed. The other postures can be expressed and then felt. Like in meditation each person has to feel backbends.
Focus on keeping your spine straight. It is the job of the spine to keep the brain alert.
Every child has to disobey the father. Unless a child disobeys the father he never becomes mature. It is nothing, original, it is very simple and natural. It is very psychological. There comes an age when every child has to say NO to the parents. If he does not say no to the parents he will not have a spine; he will be spineless. If he cannot say no to the parents, he will be a slave his whole life. He will never attain to individuality.
People ask when I was younger in the league who my favourite player was to play against and it was Steve Nash. It wasn't necessarily that I was guarding him or he was guarding me it was more so getting to see up close and personal how he plays and how he approached the game. That was very exciting for me.
How many guards are doing what I'm doing guarding 1 through 5? How many bigs are guarding 1s the way I'm guarding 5s?
You are the age of your spine. You are as flexible as your spine. That transfers to other areas of your life.
The key to guarding Kevin Durant is to play really good team defense. One on one, it's just tough. So you try to get all five guys to play against him.
I play basketball. I play center, and if you haven't watched me play, I'm not a regular big man. I can move my feet. Not saying I can stop anyone out there who's in front of me, but trust me: I can really be a problem on the perimeter guarding somebody.
A child who does not play is not a child, but the man who doesn't play has lost forever the child who lived in him and who he will miss terribly.
Kuwait needs tougher guarding. Guarding that's not limited to weapons, soldiers and border control, but extends to every Kuwaiti soul with awareness, vigilance and anticipation
You see a child play, and it is so close to seeing an artist paint, for in play a child says things without uttering a word. You can see how he solves his problems. You can also see what's wrong. Young children, especially, have enormous creativity, and whatever's in them rises to the surface in free play.
Like a caring mother holding and guarding the life of her only child, so with a boundless heart of loving kindness, hold yourself and all beings as your beloved children.
Our brain comes hard-wired with an urge to play, one that hurls us into sociability. A child's play both demands and creates its own safe space, one in which she can confront threats, fears, and dangers, but always come through whole. Play offers a child a natural way to manage feared separations or abandonment, rendering them instead opportunities for mastery and self-discovery.
Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.
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