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ประวัติพี่บิวตี้ค่ะ
Supawalee Rochanavibhata
Present : Teacher at The Ballet School, Singapore
2017 State University of New York at Purchase, BFA in dance
2016 Nanyang Academy of Fine Arts (Singapore), Diploma in dance

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我哥之前因為陪朋友去考街頭藝人證照看到一些評審對街頭藝人的態度發聲 而上了新聞。我覺得他很勇敢的去做了一件對的事。

希望政府不會時間過了就不關心這些事情。希望我們都可以更客觀的去看藝術，尊重不一樣藝術和藝術家。我覺得以下我哥說的非常好，想跟大家分享。

想知道之前的事可看新聞連結：
http://www.storm.mg/article/270611

親愛的大家：


我想感謝所有支持我、以及給予我鼓勵意見的每個人；同時也要感謝熱情關注此事、協助揭露街頭表演者們應試處境問題的許多媒體與記者們。我很抱歉這些日子我保持著沉默—僅有一個原因：我並不希望這件事情，在台北市文化局正式給予溝通管道之前就發展到無法控制的程度；我很抱歉遲至今日我才發表這篇文章，但我確實需要一些時間來沉澱彙整我心中的感受和想法，而我也需要時間及一些協助使這篇文章能夠以中文來呈現。

在我採取更進一步的行動之前，我其實未曾預料到這件事情在媒體與社交媒體上的感染力如此龐大；我受寵若驚的感動能夠聽見發自你們每個人內心的聲音，而我也著實感到抱歉，面對著如潮水般湧來的各種訊息，似乎超過我所能負荷。請原諒我未能夠逐ㄧ去回應每個人的訊息，但我真的想讓你們知道，你們每ㄧ個人都讓我感到不可思議、帶給我深深的感動及感謝。

我不認為自己是一個勇敢的人，我也自知自己並非街頭藝人的代表或者發言人。但我是一個藝術創作者，一個表演藝術家，一個教育者，而最重要的，我身為一個 "人"。我的家人、朋友及師長們，總是教導我應該為正確的事情挺身而出。

我明白事情有時候總是不像我們所期待的永遠是非分明。但發生在5月21日星期天的街頭藝人評審事件，是對藝術群體的一種「極不尊重」。不論反面評論者所提出的藉口、理由或是文化差異等緣由，這些應試的表演者們，很顯然是被視為次等公民，或者（經驗與技能不夠成熟？）的學生等級。而與此同時，同樣非常清晰的是，街頭藝人評審制度或許是立意良善，但其審查過程的執行層面，卻是嚴重缺失連連。

藝術並非一種特權的這件事情如今已完全被遺忘。台北市文化局本應提倡所有具有文化及藝術可能性的事情，但它並未做到這ㄧ點。很顯然的，一個「對表演者的基本尊重」並不存在 — 許多表演者都如此感覺，有些人則深感受傷。

就算是得到全世界所有理應被如此對待的原因及理由，他們仍然感受到自己的不被尊重；因為這就是事實。

再一次的我想強調我並不是認定台北市文化局與該評審是一個「壞人」，我想強調的只是這個評審街頭藝人表演的執行環節，究竟有多麼的不妥當與糟糕。

我試著回應一個反面評論者所提到的觀點：若街頭藝人證照是ㄧ場「考試」、考試就會有考試的規則。評審無需與應試者惺惺相惜，掉頭就走是因為模擬街頭現場環境以及時間到了。再一次的，在我描述現場狀況的前ㄧ篇文章中，大家或許還記憶猶新：許多表演者根本沒有完整的短至一分半鐘的時間可以好好表演，遑論是超過2-5分鐘的時間限制了。

而這樣的回應是否也指出了另一個值得我們去思考的問題： 為什麼我們會將它視為一種「考試」，而不是ㄧ個表演者的「試鏡」呢？

首先，這些表演者們並不是學生。事實上，許多人更可能是一個專業的音樂家、舞者、或者正從事著表演藝術的人。當然，我不否認也可能會有些正在學習中的族群。但，最重要的是，當他們「在屬於他們應得的演出時間與機會裡 (而且還是付費才有的），他們就是ㄧ個真正的表演者。」

他們不應該被看待成一個不成熟的學生或者次等的公民。而就算一個人擁有著學生的身分，這個身分也不應該影響或侷限他或她，作為一個藝術創作者的身分及所有可能性。「藝術家」並非是透過一個人的職業身分或者社會地位來定義的。

所謂「考試」的這個字眼指涉著ㄧ個學術教育機構，而我們都知道台北市文化局所應該扮演的角色與作用，並非一個學術性的教育機構，也並非是用來教育藝術創作者們該知道些什麼？該怎麼表現？藝術教育及審美的養成也從來不是在追求填鴨式教育裡的ㄧ個標準答案。將街頭藝人的徵選視為「考試」的視角，或許本身就有待商榷。

評審的場所是在一個公共場合，許多居民與遊客都會圍觀欣賞著表演，其中有些人或許不了解藝術；因而這些人也許會將在場的評審們，視做為某種藝術的衡量標準；試問，當這些人看到評審對待表演藝術家的行為與態度，當他們看到評審總是任意打斷演出，並且掉頭就走不帶ㄧ句回應時，人們日後還能懂得尊重街頭表演藝術家嗎？

沒錯，我們都知道這是一場「考試」，我們也很清楚這些手上拿著計分表的人們就是評審；因此，事實上評審們根本無需「模擬」街頭現場那些會隨時走掉的陌生人們。

這些評審以及相關單位的人員，理應提倡藝術，並且作為ㄧ種示範與典範，讓普羅大眾都能夠看到該如何去欣賞ㄧ場演出。一個表演者並不會因為他選擇在街頭表演，就因此比不上一個在大舞台演出的藝術家。我自己就曾在世界各地超過百個不同的絢麗舞台演出過，但我仍然汗顏自己可能也不比這些街頭藝術家們來的優秀。

我曾擔任過ㄧ些國際比賽的評審，我也曾舉辦過專業的試鏡；我從來沒有聽過關於尊敬一個人的這件簡單事情，會需要在時間充裕的前提下才能夠發生。

如果一點表情會洩漏出評審成績的好惡，其實也真的可以不用笑或是無需在表演結束時說一聲謝謝。而評審也真的「不需要」與考證照的街頭藝人感覺惺惺相惜，因為這些都不是我想討論的重點。

我在意的是，表演者所需要的，只不過就是一個對人與對一個演出者的「基本尊重」而已。這樣的尊重存在與否，如人飲水冷暖自知，在人與人的接觸中就能直接感受的到，著實無需仰賴規則或語言的贅述。

我作為一個藝術創作者和教育者，穿梭各地工作超過15年的職業生涯經驗，或許會因此被視為一個外國人，但我的身分就是一個台灣公民。身為一個39歲的成年人，我可以分辨何謂尊重，而表達尊重甚至不需要浪費到任何一秒鐘。如果一個人會需要至少五分鐘以上的充足時間才有可能表達出對另外一個個體的尊重的話，那他可能需要重新再思考一下，尊重對他而言意謂著什麼？


再度回應一位也曾擔任過街頭藝人評審的老師所提出來「中途要求更換曲目或要求表演者改唱另ㄧ種語言的歌」的理由，是因為評審們不會希望一個街頭藝人一整年下來只會唱同一種語言、甚至是只唱同ㄧ首歌。

我所思考的是當一個街頭藝人遵守規定，付費且努力準備去應試時，他ㄧ定會準備了符合完整時間長度的、同時也是自己最擅長、最喜歡或者是最期待能被看見的那些內容；表演一首歌曲或者ㄧ種風格並不代表他就只會唱那ㄧ首歌；而且就算是當做他只會唱ㄧ種語言、ㄧ首歌，如果他能把這首歌反覆演繹的淋漓盡致時, 又有什麼不好呢？

難道我們不曾注意到百老匯的音樂劇就是同樣的那幾部，而獅子王也已經在舞台上展演了20年了嗎？許多同樣內容重複的音樂劇票房始終歷久不衰，持續帶給觀眾們心靈的滿足。而人氣歌手愛黛兒從頭到尾也只會用英文唱歌，而且幾乎都是類似的曲風，我們可曾在乎過她有沒有能力去唱中文歌呢？

ㄧ部舞蹈作品光在荷蘭本土就能有至少五十場大大小小的演出機會。但在台灣，ㄧ部作品如果能有五個場次的演出，可能已經算是很長壽了。這樣的環境迫使藝術創作者們必須不斷快速的「生產新作」，而將舊有積累的作品與經驗拋在腦後。就所有對於藝術的挹注與投資（不僅僅是金錢）來說，這樣的情況對藝術的生產是ㄧ種過度消耗與浪費，也並未真正教育到民眾如何去看待藝術的價值。

而最終，這樣的評審過程與態度並不僅僅是對街頭表演藝術者的不尊重，同時也是對於藝術的不尊重。

台北市文化局星期ㄧ曾經聯絡過我，親切向我表示將與我進一步聯絡並討論這件事情；他們要求我先將評審的照片拿掉—我答應取下照片，但前提是他們必須確實誠意的允諾一個面對面的溝通。這幾天我也暫時迴避了一些報導媒體的詢問（還請大家見諒）只因我衷心希望能先與台北市文化局及該評審當面談一談。我ㄧ直等待，但我也持續的看到了相關機構或人員回應給媒體的諸多理由與藉口； 自從將照片從網路上取下之後，直到今日都沒有人再跟我連繫過。慢慢的我突然明白星期一的那通電話，或許純粹只是ㄧ個希望我能將照片取下的操作手法，而並非真的試圖去了解整個經過以及解決問題。我對這個本應提倡藝術與文化的機構感到無比失望。

我知道我並非一個公眾人物，而我也不能代表所有想要考取街頭藝人執照的表演者們；自從我的臉書網頁訊息爆炸之後，我就不斷的在思考這件事情，我反覆思考自己是否該繼續爭執此事，這似乎並非與我切身相關的事情，然而，身為一個藝術教育者，我卻又感受到深切的責任。

經過反覆的思考以及與朋友們的討論，我意識到不論我們的展演形式如何不同，我們同樣都是表演藝術群體中的一分子。台北市文化局最後很可能將持續充耳不聞，而這位被我所抱怨的評審也可能繼續做他這些年來ㄧ直在做的事—用他ㄧ貫的態度。除非他們願意傾聽與改變，否則我無法改變任何人。

我真心相信有些事情值得改善，也可以改善。我必須強調我並不是想要攻擊或羞辱任何人。我只希望能有機會去討論如何讓審查的過程變的更適當。我看到台灣有許多優秀的藝術家，但環境對藝術和藝術家的不尊重不但打擊同時也限制了他們的發展；更遺憾的是，這一切可能是在許多疏忽之中造就出來的環境。

許多評審過程如果能夠在尊重藝術的前提之下思考和進行，事情或許會截然不同。
只要有一點點可能去拋開面子的問題，或許也就有機會明嘹我們所期待的結果其實是一樣的。

事實上我之所以說了這麼冗長的話語，並非是要不尊敬所謂的評審或師長，而正是因為我對藝術的尊敬，使我更深切的關注身為一個教育者所代表的意義。今天我看到了街頭表演藝術家是如何被不當的對待，而很顯然的我也不會是唯一的目擊者。某個程度上我的聲音似乎被放大了，但我也知道我的聲音並不是唯一的一個，我是許許多多的聲音中的ㄧ份子。

William

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Dear All,

I would like to thank you for all the encouraging messages and supportive comments. I would also like to thank all the journalists and reporters who are passionate about this issue and are so willing to expose the problem that was faced by these street performers. I am sorry that I have been quiet but with a reason: I don’t want it to get much bigger than it already was until I talked to the Taipei Cultural Affair. I apologize that it took me a while, but I needed some time to gather my thoughts and help to translate my writing into Chinese.

Before I go on any further, I never expected my story would go viral on the media and the social media. I am humbled and touched to hear from many of you. All the messages I’ve received have been overwhelming. I am not able to reply to all of them, but I’d like you to know that I am honored, thankful, and touched by every single one of them.

I do not consider myself as a brave person, nor do I consider myself a representative for the street performers. BUT I am an artist, a performer, educator, and most of all I am a human being.I have always been taught to stand for what’s right by my family, friends and mentors.

I understand things are not as black and white as we all wish sometimes. However, what happened on Sunday 21st of May was a disgrace to the art community. Regardless of all the excuses that were given or cultural differences, it was very obvious these performers were treated like lower-class citizens; if not, students. It was also very clear that the intention might be well, but the execution of the busker’s exam was done horribly.

Somehow the idea that ART is NOT a privilege had been forgotten. Taipei Cultural Affair is supposed to be advocating for all things cultural and artistic but it was not conveyed that day. It was very clear the respect was not there. Many felt it and some got their feelings hurt. Even with all the excuses there are in the world, many experienced the disrespect. That was the truth. Again I have to emphasize that I believe Taipei Department of Cultural Affair and its adjudicators are good people, but the execution of the exam was poor.

It brings to the question…. why is it called an exam? Shouldn’t it be an audition?

These performers were not students when they took the exam. Some of them were actually professional musicians, dancers, or performers. Just because one is a student, it doesn’t make him or her less of an artist. Artists are not defined by their social status or occupation.

The term exam suggests an educational institution, but we know Taipei Department of Cultural Affair is not an educational institution. They do not decide what these artists need to know. These performers were not given any materials to study, thus the term exam is very misleading.

The exam took place in a public space. Many tourists and residents were there to enjoy the event. Many do not understand arts. So they may look up to these adjudicators as role models who are experienced in the arts. When they saw how this exam was being done, do you think they would have any respect for these performers afterwards? They saw these adjudicators interrupting the performers and left without saying a “thank you.” We all knew it was an exam, we all knew these people were adjudicators. They did not need to pretend to be street spectators who just walk away. They all carried their score boards in their hands.

Just because a performer performs on the street, it doesn’t make that performer any less of a performer than someone who is performing on big stages. I myself have performed over hundreds of stages around the world and I do not dare to think myself better than these performers.

I have judged a handful of international competitions. I have also held professional auditions. I have never heard an excuse that respect can’t be shown when time is limited. You do not need to smile to simply say “thank you.” Since when, a smile means “I favor you.” What a performer need is respect. Over the 15 year span of my professional career as an educator and artist, and 39 years of being a human being, I know what respect looks like. It doesn’t take more than a second to show it. If it takes longer than 5 minutes to show what respect is, I think you may need to rethink what respect means to you.

Another excuse that was presented was that they don’t want a street artist performs only one kind of songs or genre throughout the year. Don’t they know broadway musicals? Lion King has been performed over 20 years. They’ve been doing the same musical numbers for years to sold out audiences. Adele has been singing the same genre of music and always in English. Does it matter that she doesn’t sing in other genre or sing in Chinese?

One dance production in the Netherlands can be performed up to 50 performances within the Netherlands itself. In Taiwan, a dance work only performed 5 times the most. They are forced to constantly create new works and leave the old works behind. That is a waste of arts funding and it doesn’t educate the public on the value of the arts. These performers is old enough to decide what they want to show these judges with their limited time.

In the end it wasn’t just disrespectful to the performers, but also to the arts.

I was contacted by the Taipei Cultural Affair on Monday, the representative spoke nicely promising that they would discuss further with me. He asked me to take the adjudicator’s picture down, I agreed with the condition of meeting in person to further discuss what could be done better. I have refused to talk to reporters for the last few days. I have been waiting but I then heard the excuses given to the media. Since I’ve taken down the picture of the head adjudicator, they haven’t made any attempt to contact me. I came into a realization that when they made the call, it wasn’t to address the problem but simply to manipulate me to take down his picture. I’m disappointed at this institution that was supposed to promote the arts and culture.

I realized I am not a public figure, nor am I responsible for the well being of all artists who want to get a busker license. After my Facebook post went viral, I’ve been thinking so much about this issue. I kept going back and forth questioning whether I should keep fighting for this. It doesn’t feel like my fight, but at the same time I feel responsible as an art educator.

I truly believe this can be fixed. I need to emphasize, I am not attacking anyone. And I don’t want to shame anyone. I want to start a discussion how to make it better. Taipei has some of the best performers I’ve seen, yet the lack of respect for the arts and artists has suppressed their ability to excel. And ironically, it’s often done unintentionally.

If the exam is done based on respect for the arts itself, things might have come out differently. And just maybe if we all let go the “face” culture, we could possibly see further to realize that we are all wanting the same thing.

I saw mistreatments towards performers that day. It was very obvious I wasn’t the only one witnessing it. It was not that I don’t respect these adjudicators/teachers, but because I respect the arts and the meaning of a teacher that is why I had to speak up. Somehow my voice had been amplified this week. But my voice wasn’t and isn’t singular. I am simply a voice amongst many.

Sincerely,
William Lü

Taipei National University of the Arts 國立台北藝術大學
寶藏巖國際藝術村 Treasure Hill Artist Village
Taipei National University of the Arts
臺北表演藝術中心 Taipei Performing Arts Center
National Theater and Concert Hall, Taipei
中正紀念堂 Chiang Kai-shek Memorial Hall
National Taiwan University of Arts
Department of Cultural Affairs, Taipei City Government

古時候的人，如果要尋找上師，往往得經過口耳相傳的探訪，再歷經千辛萬苦跋山涉水後，才得以拜見隱居於深山洞穴的上師並向其虛心問教；而現在的我們，只要彈指間連上網路，便可以從youtube的影片中飽覽無數名師的教學頻道，欣賞他們輕盈優雅的體位姿態。這樣的我們是幸運的，但從某個層面來說，也可能不是，關鍵在於我們在這些爆炸的資訊中，在這些聲光影像的感官刺激中，能否保有清明的覺知來辨別學習最終的意圖。

我們要來與大家介紹一位老師-Sharmila Desai，她是一位優秀的女性練習者，你或許不曾看過她的體位法影片，也甚少看到她在社群媒體上宣傳自己的教學。她從1997年開始與Guruji及Sharath學習，是KPJAYI的認證老師(Certified)，也在Sharath的委託指示下，編撰了一本關於八肢瑜伽與母親的專書-Yoga Sadhanas for Mothers. 本就低調的她，在結婚成家之後，更有感於Guruji的諄諄提醒「活在當下」，因而決定全心陪伴孩子成長，所以在前些年鮮少有公開的教學活動。

我們有幸於2015年在Mysore認識她，也因為信安與她擔任同時段的助教，而有了更深一層的連結和默契；感謝這次她邀請我們參與她在首次在果亞Purple Valley舉辦的瑜伽營，讓我們有機會與她更近距離地互動，貼近感受她的溫柔力量，以及她多年專注於練習所自然呈現在生活中的從容和智慧。

以下將分享一份Sharmila老師的訪談，她接受中國一個瑜伽相關的網路平台的越洋郵件專訪，她花了非常多的時間，完全無私地分享她練習八肢瑜伽的歷程和體會，特別是以女性及母親的角度為出發點，相信能讓更多人更了解八肢瑜伽帶給我們生命的轉化意義；她總是謙虛地說，這些瑜伽的智慧都是她向前人所學習來的，因而她有義務要將這些智慧分享給更多的人。

訪談全文共分為五個部分，我將依序分段連載；以下為第一部份。

(以下英文原文為Sharmila老師提供連結，由我轉錄自該網路平台，中文部分也重新整理翻譯。原訪談之中英文可參考連結，附於文末。）

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Part 1: The Ashtanga Path
第一部分：八肢瑜伽之路

How do you find the practice? Can you tell something about your days with Guruji?

您是怎麼開始練習八肢瑜伽的？可以分享您與Guruji學習的故事嗎？

I was living in India on a fellowship from Columbia University and working on a project celebrating fifty years of Indian Independence in 1997. It was also the year that I met my Guruji, Shri K. Pattabhi Jois, in Lakshmipuram Mysore who introduced me to the path of Self knowledge through Ashtanga yoga.

Meeting and learning from Guruji was everything I had been searching for and more - a heightened amalgamation of all the dancing, prayer, community service and study I had done previously. Guruji had the ability to have his students fully harness a one pointed concentration (ekagrata) and feel the divine (ishvara pranidhana) when he taught yoga. He aptly dispelled any darkness through the Light of his teachings.

I began learning yoga from Guruji in the afternoon class for Indian students in Lakshmipuram. I did not own a yoga mat at the time so I practiced on the carpet and I learned very slowly. I remember simply practicing suryanamaskara and sitting in padmasana for a long while. Time stood still. Guruji taught me more over the years and I am so grateful for that very gradual growth. It properly established the foundation of the practice with everything gently flowing to and from that base.

1997年時，我正以哥倫比亞的獎學金在印度生活，並為一個慶祝印度獨立五十週年的計劃工作著，就在那年，我在邁索爾的Lakshmipuram遇見了我的Guruji(上師)—Shri K. Pattabhi Jois，他透過八肢瑜伽引領我走向追尋自我的道路。

遇見Guruji並能與他學習，深入融合了我過往在舞蹈、祈禱、社會服務和學術研究的所有經驗，這正是我一直以來所希冀追尋的。Guruji教授瑜伽時，能讓學生全心專注投入，並且從中感受到至上神性，他的諄諄教誨，有如驅散黑暗的一盞明燈。

我最初和Guruji練習瑜伽，是在Laximipuram開設給印度籍學生的下午班，那時我甚至還沒有瑜伽墊，只在地毯上練習，而且進度十分緩慢，我記得我就只練習拜日式和蓮花坐姿好長一段時間，時間有如靜止一般，年復一年，Guruji慢慢教我更多東西，我很感激這樣漸進式的學習和成長，一切皆由根基溫和而生、自在流動，奠定了我練習的基礎。

You are an accomplished dancer, how do you see the connection between dancing and yoga on both physical and spiritual level?

您是一位傑出的舞蹈家，您認為舞蹈與瑜伽在物質和精神層面有什麼樣的連結？

The everyday discipline of Indian classical dance prepared me for Ashtanga yoga as taught by the Jois family. As sadhanas rooted in India they share common elements - both are steeped in Indian mythology, are expressions of devotion and connect the inner and outer worlds of consciousness. Studying Indian dance required tremendous self motivation with a daily practice of two to four hours outside of class and much like Ashtanga yoga one could only move forward after mastery of the present lesson as the Guru saw it. The method to learn was slow and thorough, daily with an emphasis on foundational expertise and also not necessarily in a linear pattern. Only through precision in form, rhythm and rasa could the Divine be invoked.

印度古典舞中的每日紀律，讓我做好準備向Jois家族學習八肢瑜伽。印度古典舞和八肢瑜伽皆是根植於印度的一種修煉形式，因而兩者之間有許多相同的元素：富含印度神話的色彩、並為奉獻的體現形式，用來連結內在和外在世界的意識。學習印度舞需要強大的自我驅策力來堅持每天課外二至四小時的練習，並且，只有當你的老師認為你已經完全掌握了目前所練習的部分之後，才能進階到下一個練習，這正和八肢瑜伽不謀而合。這樣的學習是緩慢而透徹的，日復一日著重於對於根基的徹底掌握，不強求線性的前進，唯有透過精確的形式、節奏和精髓，方能喚醒內在的神性。

You are the only Indian woman to be certified (among 48 certified teachers globally), what this certification means to you?

在全球48位認證老師中，您是唯一一位獲得認證（Certification）的印度女性，這對您來說有什麼意義？

On a physiological level Certification represents a lived understanding of the subtle energies in the Ashtanga yoga system that happens through commitment, respect and concentrated discipline over many years at the source. On a human level the certificate means to me a responsibility to bring the limbs of yoga into all aspects of life - to be a good human being who lives the positive transformation everyday.

Certification is not a course - it is not something you can plan for or measure in hours. You simply dedicate yourself to learning the tradition under the auspices of the teacher without expectations; If Certification is meant to happen along your path it will. And if so, you then keep steady in further studying the tradition. The path of yoga is eternal and one must always continue to seek and to be humbled.

We students are so fortunate that Sharathji and Saraswatiji continue to share with the world the purity of the lineage so we can experience a direct link to the ancient wisdom transmitted through successive generations.

在生理層面，認證代表了對於八肢瑜伽系統裡的精微能量體現於生命中的了解，而這是透過許多年的承諾、尊重，並且回歸源頭，專注於紀律的練習才能發生的。在人文的層面，認證對我來說，意味著我有責任要將瑜伽中的每一肢練習融入生活的各個面向，帶來正向的轉變，成為一個更好的人。

認證並不是一門課程，這不是你可以計畫預期或者通過時間的計量累積來達到的目標，你只需要在老師的協助之下專注學習這套系統，不懷抱任何的期待，若你注定要拿到認證，你就會拿到；而即便拿到了認證，你仍要持之以恆地深入學習傳統，瑜伽之路學無止境，我們必須永遠謙卑地探尋。

作為學生的我們是如此幸運，有Sharathji和Saraswatihi持續與全世界分享純淨正統的八肢瑜伽，讓我們得以經驗這世代相承的古老智慧，並且親身感受與其直接的連結。

You have some of the most “famous” students, such as Sting and his wife Trudie, can you share how is that experiences of teaching celebrities?

您有一些非常「有名的」學生，例如Sting和他的妻子Trudie，您能跟我們分享與這些名人的教學經驗嗎？

Many of the people who I teach and who excel in what they do have a depth and seriousness in their professions that spills into their yoga practice. That silence, dedication, quality of attention that has lead them to success replicates in their practice and in their reverence for the gift of life. Most of the bonds I form with people through yoga become familial grounded in our shared human values based in compassion and a holistic lifestyle.

許多我所教過的、並且在他們的專業領域表現出色的學生，將他們在其專業中所展現的的深度和認真，也帶進他們的瑜伽練習之中。那些引領他們走向成功的人格特質：沈靜、奉獻、專注，同樣呈現在他們的練習以及他們對於「瑜伽」這份生命至禮的虔誠之中。我透過瑜伽與人們建立的關係，大多變得越來越緊密，因為我們有著同樣的人文價值，那是建在慈悲心以及追求身心靈整體的生活形態。

Asana is a tool for us to find inner divine and Self, but sometimes asana can lead to ego and injury, how should we avoid this during our practice?

體位法是讓我們找到內在神性和真我的一樣工具，但有時候體位法也會導致我們膨脹自我或致使受傷，我們應該如何在練習時避免這些情況？

Learning from a true teacher - one who keeps the intent centered on the eight limbs and connects the practice to inner spiritual development - is essential. Everything we are seeking already exists when we are truly present. As a practitioner there is no need to grasp for anything or to push oneself in an asana causing injury. When we practice yoga with devotion and patience developing the tools of the tristhana method the asanas unfold in a non harming unitive way.

I personally find reading the scriptures also helps keep our intention clear. Ancient epics and yoga treatises direct our mind to support the path of the practice. Mythology imaginatively assures us of why we practice, helps us clarify our intent and guides us so we do not become attached to the fruits of our work.

向一位真正的老師來學習，一位專心致志於瑜伽的八肢、並且將練習與內在心靈發展相結合的老師，是非常重要的。當我們真正處於當下時，會發現所有我們追尋的一切皆已然存在，作為一個練習者，沒有必要去強求什麼，甚或為了迫使自己達到某個體位法而導致受傷；當你以奉獻和耐心練習瑜伽，並且建立起結合三大要素的練習方法（Tristhana），體位法便會自然和諧地呈現出來。

我個人認為閱讀經典也有助我們維持清明正確的意圖，古老的史詩和瑜伽專文能引導我們的心念，更堅定練習的道路；神話故事以跳躍想像的方式確立我們練習瑜伽的目的，幫助我們釐清思路並且引領我們，對於表象的成果不過度執著。

＃Tristhana: Asana, Breathing, and Dristhi (體位法，呼吸，以及凝視點）

～待續～

預告：下一部份是「八肢瑜伽與女性」，Sharmila老師將談到女性練習者最關心的話題，如生理期是否該練習？練習八肢瑜伽會導致生理期不正常嗎？練習八肢瑜伽會不會影響受孕？有興趣的同學請持續關注粉絲頁喔！


原文載於：http://mp.weixin.qq.com/s…

圖片來源：http://www.sharmiladesai.com

【発音マスタークラス】
発音のすべてがここにある。5,480円（税込）で見放題。
https://masterclass.atsueigo.com/pronunciation

【AccentHelp】
50を超える上級者向けのアクセント教材を提供（英語のみ）。パーソナルコーチングも。
https://www.accenthelp.com/

Jim Johnson
Professor of Voice and Accents

Jim Johnson is a professor of voice and accents at the University of Houston School of Theatre & Dance, where he received the Provost’s 2007 University Teaching Excellence Award and serves as the director of undergraduate programs for the School. Jim served as the director of the School of Theatre & Dance from 2013 – 2016. He works professionally as an actor and as a voice and dialect coach, and is a founder of AccentHelp, which offers over 40 sets of materials for different accents and dialects. Jim teaches and performs annually with the summer training institute of the Prague Shakespeare Company. He is an associate teacher of Fitzmaurice Voicework, an associate editor for the International Dialects of English Archive and a member of the Voice and Speech Trainers Association. He received his M.F.A. in acting from the University of Nebraska — Lincoln. He formerly served on the faculty of The Theatre School of DePaul University and taught at the Audition Studio in Chicago, Illinois. He is currently represented by Pastorini-Bosby Talent Agency and is a member of Actors’ Equity.

This performance is from 2018 Joint -University 2018 City University of Hong Kong Dancesoc Run U Team.
Dance Choreography by VickyLam ,Concept By Sammy Wong .

The pieces is talking about how we lean different style from different teacher over the world. Keep learning , keep work hard , we keep one goal in our mind: Work Hard Play Hard, One Day We Can Change the Game.

We also pay a tribute to the great choreographer in the World, We love JoJo Gomez. We believe learn dancing is not only steps, we need to study different culture from different country and different culture.

Videos Credit to: The open University of Hong Kong Dancesoc
Photo Credit : LEWIS

This performance is from 2018 Joint -University 2018 City University of Hong Kong Dancesoc Run U Team.
Dance Choreography by VickyLam ,Concept By Sammy Wong .

The pieces is talking about how we lean different style from different teacher over the world. Keep learning , keep work hard , we keep one goal in our mind: Work Hard Play Hard, One Day We Can Change the Game.

We also pay a tribute to the great choreographer in the World, We love JoJo Gomez. We believe learn dancing is not only steps, we need to study different culture from different country and different culture.

Videos Credit to: The open University of Hong Kong Dancesoc
Photo Credit : LEWIS