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The Montreal Iyengar studio is unusual compared to most yoga studios. The
overall impression is that it is a very plain and simple space. The changing rooms and
bathroom are both very small and cramped. There is no boutique, nor a much of a
reception area apart from a desk. They only teach Iyengar style classes. Drop-in classes
are discouraged with their twenty-five dollar price; this is meant to support registration
for the courses. However, courses are thirty-three weeks in duration and demand a great
deal of commitment from students. The practice hall can fit twelve to fifteen students but
their classes are very poorly attended. The walls of the practice hall are painted a dull
white colour and around the room, a foot from the ceiling, are photos of Iyengar
performing difficult postures. Along the walls are two rows of strong white rope each
about two and a half feet in length. The first row is two feet from the floor and the second
about six feet from the floor and gives a slight impression of a torture chamber. A small
room adjoining the practice hall is filled with props: belts, blankets, blocks and chairs. In
the corner of the practice hall, on a little shelf, is a small Vishnu statue. Students also find
a Ganesha on the reception desk and a little Nataraj above the coat rack. Two other
framed collages of Iyengar photos are prominently displayed in the studio.
The studio‟s classes are almost entirely taught in French with one weekly English
class. The Iyengar class is very focused on bodily alignment. The style attracts people
who are inflexible, who have suffered an injury or who are afraid of being injured. All
students must take an assortment of props by their side in preparation for the class. There
is no prayer or chant to start or end the class but Sanskrit names for postures are used
throughout (chanting is introduced in level three classes). There is no specific warm-up as
the class immediately begins with a short series of standing postures, each held for only
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thirty seconds. Following the standing series, students only practice two to four postures
in any given class. All of these are demonstrated by the teacher beforehand and all are
heavily supported by props. Students would then step away from the mat, come to the
centre of the room and stand around listening and watching the teacher‟s demonstration.
Then they would return to their mats and try the posture. After that they would have to
stop again and wait for another long and detailed explanation. This made the class seem
very broken up; it was like a baseball game, with a lot of waiting around interrupted by a
little action. The teachers spoke non-stop during the class in a very strict and serious tone.
The teachers gave the impression of being impatient with the students and were almost
aggressive with their instructions. The teacher who taught the English class was
somewhat friendly with students before and after the class, during the class however, her
tone was cold and serious. In one case, I witnessed a teacher grab the foot of a student
and forcefully turn it outward because the student did not respond to verbal instruction.
The teachers tend to treat students as though they are helpless and sometimes they
themselves adjust props for the students, or run to your side if you are not using them
correctly. The teaching style does not encourage students to feel self-confident and
capable of practicing on their own.
The postures were described in detail in terms of anatomical precision and health
benefits. The class ended with a short relaxation with students‟ legs supported by the
wall. The combination of the studio‟s decor and ambiance with the teacher‟s approach,
voice and attitude make the experience at the Iyengar centre very serious. This is
definitely a contributing factor to why the formal Iyengar style is not so popular today.
However, Iyengar did help to popularize postural yoga in the West and his physiological
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understanding of postures has influenced how most students practice. Despite similar
origins to Ashtanga, the way the studio is set up and the style itself convey the message
that the style is based not so much on the classical yoga tradition of India as it is on Mr.
Iyengar himself.
What the three studios share in common is the attempt to give students a
sanctuary from their daily troubles. All three studios are located on the second floor,
above store fronts, on very busy commercial streets. Students have the common
experience of walking in from the sights, sounds and smells of a busy urban street to a
place that has another kind of atmosphere. The senses are led in a new direction with the
smell of incense, accompanied by the gentle sights and sounds of a yoga studio. Students
are asked to remove their shoes at the door, again giving the impression of sanctity. They
come to the practice hall barefoot and in changed clothes. This separation between daily
life and time spent in the studio contributes to what students refer to somewhat vaguely
as feelings of “goodness” and “wellness”.
The three studios differ in a few ways in terms of style and presentation. The
Iyengar studio is especially distinctive but at the same time it is not very popular. Unlike
the other two studios, the space is plain and bare: there is no boutique and not much of a
community surrounding the studio. With respect to the class, Iyengar does not have any
warm-up for the body. However, it is not really necessary as students don‟t seem to do
that much during their classes. All three styles have different relations to their perceived
tradition and origin. Moksha is a new manifestation, whereas Ashtanga claims an ancient
heritage. Iyengar yoga seems to be the project of one man. The authenticity of Iyengar
Yoga is represented through the international governing system and Mr. Iyengar himself,
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