The art of observing. The art of assisting.

What is observation? 

The art of observation can be both subtle and profound. It’s value in social research spans from Baudelaire’s Parisian flaneurs, transparent in texture as they drift the streets following life’s unfolding, to a more scientific observation based approach with clear objectives, research questions and methodologies. Crucially, the observer is impartial. 

In a yoga context, it gives us the opportunity to step back from the roles of student and teacher and instead observe, without participating, as the class unfolds. This is a truly fascinating space to inhabit and I’ve found the practice completely eye-opening as I’ve spent the last few weeks observing Jean Hall’s beautiful Sunday Vinyasa class at Mission. Watching the room move and breathe together can be truly powerful. There is also a wonderful opportunity to notice the uniqueness of each body and acknowledge the difference we all find in poses that can appear similar from the outside.

The art of observation comes with a warning on projection. It’s important to acknowledge our observations are only through our own experiential perspective - and that which we are observing in others can never truly be felt from the outside. Rather than labelling, projecting or assuming anything about another’s experience we can simply explore its effect on ourselves. How does what we are seeing make us feel? 

As a relatively new teacher, it gives the opportunity to notice the skills and nuance of our own teachers with full awareness. Without participating in the class, I was able to follow the mirroring and demonstration techniques Jean applies in her classes, as well as watching her hands on adjustments as she moved through the room. I also clearly noticed use of sound to highlight movement.

Observing with the same teacher for several weeks gives time for the observations to unfold. I have been focussing my awareness on the sense of ease of movement in the room. How is this facilitated by language, intelligent krama sequencing and repetition of movements? There is a notable ease that drops into the room when students are given space to repeat a movement again and again, allowing it to become familiar - rather than focussed on composite moving parts the students appear to flow through whole, organic somatic patterns.

“For the perfect flâneur, for the passionate observer, it’s an immense pleasure to take up residence in multiplicity, in whatever is seething, moving, evanescent and infinite: you’re not at home, but you feel at home everywhere, you’re at the centre of everything yet you remain hidden from everybody.”
Charles Baudelaire.

What is assisting?

After spending time practising and observing to deeply connect with a teacher's style and pace, assisting can be a valuable way to develop teaching skills - as well as provide a second pair of eyes and hands in the room. As an assistant, consider how best you can support your teacher in class, remembering this is their class and as much as you are there to learn, the most important thing is to support them as best you can. This might involve helping with any technology needed for a livestream class, maintaining an appropriate temperature in the room and helping new students set up with plenty of space and all the props they will need. 

Assisting could also involve giving hands on support to students in the class. When done well this can be such a brilliant teaching tool and the memory of a well placed assist can last long beyond the pose itself. I found it really helpful to start at the ground, spending the first few weeks giving simple guidance on the placement of hands and feet in key poses before moving towards more whole body assists in repetitions of downward facing dog and guiding any lost students with simple demonstrations alongside their mat. As an assistant you can also be a supportive sound to the breath in the room - encouraging a soft ujjayi to build in the space and feed into the communal rhythm of breath.

I’ve been lucky enough to assist with the wonderful Elle Daniel every Thursday morning at triyoga and have learnt so much from the experience so far. It’s been so valuable to really synchronise with another teacher (practising weekly with Elle has helped with this too!) so that the assisting feels very natural, unforced and a familiar space for me to assist in. There’s a comfortable-ness in not over-assisting for the sake of it, but choosing a handful of careful hands on assists, each with a clear benefit for the student. I’ll usually spend the first 10 minutes of class observing, making a little plan in my head of which assists students might need as the class builds, leaving space to move away from this depending on how the class moves. Presence is key here, just as with teaching and practising, to follow the uniqueness of each moment and body in the room.

Since spending time observing and assisting, I’ve found myself moving around the room in my own classes much more comfortably and have developed the skill to give hands on assists to a single student whilst keeping the flow and presence with the rest of the room. Having done a serious portion of my first teacher training online, this is something that has really taken some time and practice to get familiar with.

“To pay attention, this is our endless and proper work.”
Mary Oliver.

You’ll find me assisting (and occasionally covering!) Elle’s class every Thursday 9.45am at triyoga in Shoreditch.