This approach to yoga focuses on developing pranayama
(Sanskrit for control of life-force, or breath)
through those asanas (fluid postures)
that foster the greatest expansion and flexibility
for the parts of the body performers use most
(thoracic region, support mechanism, face, and limbs);
while avoiding asanas that may be less useful
or even compromising for performers.
For example, asanas that may not initially
be practical for larger bodies, or that
may put in jeopardy the cervical spine, neck muscles,
wrists, knees, and critical musculature
around the vocal folds are not a part of this practice.
Once a performer is familiar with yoga,
more advanced postures can be incorporated.
YFP was developed by Robert Swedberg in 2003
as an outgrowth of many years training singing-actors.
Focusing on the aspects of yoga
that might be best incorporated into that training,
the practice features asanas for flexibility,
strength building, balance and coordination,
with breath and mindfulness being central attributes.
In 2008 Yoga For Performers
was added to the curriculum at the School of Music,
Theatre & Dance at the University of Michigan,
where Swedberg was Associate Professor of Music
(Opera Director and developer of the Opera Studio)
YFP was a class for credit, offered each semester
to 90 student and faculty participants.
As the practice developed, the process was expanded
to help meet the needs of instrumentalists,
actors, and dancers as well.
YFP has been offered at a number of universities,
and also featured at NATS, Classical Singer,
Opera America, and NOA Conferences.
Many people who have not experienced yoga
have an image of super-flexible (usually skinny)
people sitting in lotus position
in some state of relaxed meditation.
Yoga does lead to greater flexibility and relaxation,
but it offers so much more than that.
Those who practice regularly find yoga
also builds stamina, better balance,
easier coordination, a stronger immune system,
and better weight control.
These are all attributes
that are of the utmost importance to performers.
Yoga practice can be slow, relaxed, docile;
fast, aerobic and hot; or some variation of all of these.
It is a very practical exercise system,
since you can take it anywhere with you
and practice whenever you have a chance.
In fact, a yoga frame of mind
that extends through-out your day
is one of the goals of yoga practice.
It requires no special equipment or clothing,
and once a practice is developed
by working with instruction,
it doesn't have to cost anything.
Performers tend to be very competitive people.
Training the technical side of the performer
is usually an intense endeavor with methods,
exercises, etudes, vocalizes, and texts
to guide in development of highly complex,
disciplined, left-brained activity.
It is important to let all of that go
as you experience yoga.
If you bend over to touch your toes
and find you don't go very far at first,
there is no need for concern.
If you take several deep breaths
into a slow stretch in that direction
(after warming up) and reach your "edge,"
you will derive the same benefit that
a more experienced yogi or yogina finds if her "edge"
allows her to take her hands flat to the floor.
Yoga is not a competitive sport,
and as it is an individual practice,
there is no need for comparison of one pose
or another with poses of anyone else.
Thus, no one is "good at yoga" or "bad at yoga."
The pretzel poses that we may see
on the covers of yoga magazines
are interesting and admirable,
but are really of no consequence
in the whole scheme of things.
Enlightened yogis actually find it counterproductive
to "show off," as truly healthy yoga practice
is more about the breath in a pose than the pose itself.
That is why yoga practice is ideal for performers,
as our art
is based on extraordinary development of breath.
One merely spends time
(ideally measured in breaths rather than minutes)
enjoying the benefits of calming the mind,
expanding the spirit,
and purposefully becoming more aware of the body.
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