Nest Community Feature - Celie Soghikian

Photo of Celie in Mexico, taken by Dad :)

Tell us about yourself, Celie.

I am a Swedish-Armenian-Dutch woman born in London but raised in Piedmont, CA. After getting my BFA from Chapman University, I moved to LA and spent the next five years working in video production before ultimately quitting my job and moving back to the Bay Area in 2024. I have since rediscovered my love of the outdoors, exercising, cooking and theater. I love the community at Nest and am so grateful to be working at such a uniquely wonderful studio.

What is your all time favorite movie, book, song or artist/artwork?

Favorite Musical Artist: Hozier

Favorite Book(s): When the Moon Hatched by Sarah A Parker and Parable of the Sower by Octavia E Butler.

What do you love the most about practicing yoga?

In yoga what I love the most is the breath work involved with the movement. It is very similar to how we address breath in theater, it not only drives our movement but our emotions as well. It helps me get through classes both physically and mentally.

What is your favorite yoga pose?

Runner's Lunge (I've got tight hips!)

What is your least favorite yoga pose?

Plank pose (just... yikes)

Visiting the Empire State Building in NYC for the first time

What is your favorite place to visit OR a place you'd like to go someday?

I love to visit my family in Sweden (in the summer). It's a magical place!

What is one thing people would be surprised to know about you?

I think people are surprised to know I was born out of the country and that half my family lives in Sweden.

What is your favorite quote, or your favorite piece of advice?

Be Curious, Not Critical

What else would you like our community to know about you?

It makes me so happy seeing our community of regulars in here each shift, it makes my day watching everyone converse and support each other. Thank you all for helping make Nest the wonderful place it is!

At my housewarming party with Kim when I moved back to Piedmont

Richard Rosen's Asana Breakdown: URDHVA PRASARITA EKA PADASANA 

URDHVA PRASARITA EKA PADASANA 

Like so many other modern poses, those that have been entered into the asana canon over the last century, the Sanskrit name given it doesn’t exactly roll off the tongue when translated to English. Urdhva means something like “raised, elevated,” prasarita “stretched out,” eka, “one” (the Sanskrit root of our “one”), and pada “foot” (the Sanskrit root of “pedestrian”). So what do you think? Raised Stretched Out One Foot Pose? Actually Kim, our director, when we were discussing if this pose would be our monthly offering offhandedly, dubbed this pose with a perfect name, one that had never crossed my mind before: from now on, at least here at Nest Yoga, this pose will be called in English the “Standing Splits Pose.” Let’s hope it catches on. 

As you can see, the Standing Splits is a balancing pose on one leg. As with all poses of this type, it will if practiced over time strengthen the muscles that straighten the knee. Also, one-leg balancing helps to strengthen some muscles around a joint we often don’t think of as needing strengthening, our ankle. With the raised leg we’ll stretch the front of the standing thigh and groin. 

PREPARATION

You’ll need two blocks. Stand at and facing one of the short edges of your mat, with a block on the floor just outside your left foot (if you’re right-handed, right foot if left-handed) in case of emergency. Firmly squeeze the second block between your thighs mid-way between your pubis and your knees. Inhale, lift through the top of your sternum, and creasing at the groins, exhale and lengthen your torso down into standing forward bend (uttanasana). As always, try as much as possible, as you fold over, to maintain the length of your front torso, especially between your pubis and navel. 

Now press your hands to your sacrum and spread the bone away from its vertical midline,  widening the back pelvis as you do. Repeat several times until you’re confident you can maintain the feeling of this width, then slide your hands to your outer hips. Ideally the hips should be relatively relaxed. It’s possible that if you’re squeezing the block too firmly, the hips will harden. If such is the case, reduce the legs’ pressure on the block, hopefully softening the hips somewhat. Now slide your hands down along the outer thighs until they’re opposite the block. 
Now we all know that it’s the muscles of the inner thighs, the ad-ductors, that are squeezing the block. So call on your yoga imagination and pretend it’s your outer thighs, the ab-ductors, doing the squeeze. Help this image along by pressing your hands against the thighs. Hold this pressure for awhile, resisting as much as possible any inclination to also squeeze the outer hips. Then very slowly, maintaining their pressure, slide your hands down the outer thighs to the ankles. Repeat the full stroke several times: away from the sacrum, down along the outer legs to the outer ankles. When you have a feeling for this, the descending outer leg channel, reach with your dominant hand and slide the block back and out, imparting a slight inward rotation to the thighs. Put the block on the floor on the outside of the same-side foot. Then bring your hands to your inner ankles and stroke up to the inner groins. Repeat several times. This is the ascending inner leg channel. 

Finally, combine the two channels into a circuit. Start at the sacrum, using either your hands or imagination, widen side to side across the sacrum, over the outer hips, down the outer legs to the outer ankles, then up the inner channel to the inner groins. At this point, imagination is called on again, and from the inner grois, imagine two lines of energy lifting through the interior of the pelvis to the sacrum, where they spread apart and whole circuit begins again. Repeat several times. If you need to bring your torso out of uttanasana for a break, you’re welcome to, and when you’re ready, fold back to uttanasana again, hands on the floor or blocks outside your feet. 

Shift your weight onto your right foot, and with an inhale raise your left leg more or less parallel to the floor. Your left hip may hike up a bit higher than the right, but that’s not a problem. You might try drawing the inner channel of the right leg more deeply into your pelvis. That may help lower the left hip.

Now slowly exhale and lower your left foot slowly toward the floor as if moving into a lunge. But don’t step your foot onto the floor. Instead, tap the tip of the big toe lightly against the floor, then inhale, slowly re-straighten the right leg and lift the left back to parallel. Do this a few more times, descending and raising the left leg slowly, exhaling on descent, inhaling on ascent, pressing actively through the left heel all the while. Remember, to straighten the bent right knee, be sure not to press back on the knee itself. Instead, resist the knee and press back on the topmost thigh right where it connects to the pelvis. 

At the end of this exercise, bring your leg and pelvis back to neutral, parallel to the floor. Then inhale and lift your left hip up until you feel a comfortable stretch across the inner right thigh and groin. Be sure not to force the hip too high, that may put strain on the knee. 

From here, bring the left hip back to neutral, then swing it toward the inner right thigh. Ideally you’ll feel a stretch on the outer right hip. To intensify that stretch, bring your left leg slightly behind the right. Recreate that feeling of squeezing the block, firming the outer thighs inward to help keep the base of the big toe firmly to the floor. Then repeat both exercises in turn 3-4 times, inhaling to open the pelvis, exhaling to bring the raised hip to the inner standing thigh. When you’ve done both sides for about equal time, return to uttanasana. Again if you need a quick rest for the forward bend, raise your torso up and maybe take a walk around the room.

FULL POSE

Now the full pose. From uttanasana, return the left leg to the raised, neutral position. If you feel sufficient stretch in the back of the standing leg with the raised leg parallel to the floor, then stay right there and be happy. But if you feel you can go farther without strain or struggle, then hold the right ankle with your left hand and VERY GENTLY draw your torso into a deeper fold. Remember not to pull your torso down; rather, release the torso from the depth of the inner right  groin. Imagine your torso hanging from the height of the groin, and as your torso descends, raise the left leg a little above parallel. 

As you take the leg higher, do what you can to keep the pelvis more or less parallel to the floor. To assist with that, maintain the depth of the inner right groin and release the outer right hip. Stay for 30 seconds to a minute, then slowly bring the left foot to the floor, and repeat with the left leg standing for approximately the same length of time.

SOMETHING TO TRY

This little trick may help you raise the raised leg a bit higher. From the neutral position, bend the raised knee and bring the heel close to the same side buttock. When there, lift the thigh just slightly higher, and doing what you can to maintain that little lift, straighten the raised knee. Did it work? Is the leg now slightly higher? Exercising the usual cautions, repeat as many times as possible. But as the Eagles sing, take it to the limit, but don’t force beyond what’s reasonable.

Nest Community Feature - Patricia Alvarez

Tell us about yourself, Patricia.

I have been practicing yoga since I was a child, but the last twelve years I have focused more seriously in my practice. I have a 200YTT. I am a retired judge but now mediate/arbitrate. I’m working harder than ever before, but still attend my yoga classes!

I taught yoga at the court and had classes in the courtroom up to the time of the pandemic. Our yoga classes were under the eyes of  official photos of appellate judges (all male) who served the last century!

I have been practicing at Nest Yoga since the pandemic. I love my zoom classes since I live in the Texas Hill Country. I started taking classes with Annie and Richard and have been Richard’s student ever since!!!  I still teach but now I teach three of my neighbors twice a week and for free - I love it!

What is your favorite movie, book, song or artist/artwork?

Movie & Music: Cinemma Paraiso and its music; Book: Any book!

What do you love the most about practicing yoga?

I love my yoga, it makes me happy, and it transports me to a positive and happy world.

What is your favorite yoga pose?

Trying very hard to conquer bakasana!

What is your least favorite yoga pose?

Vrschikasana (scorpion pose)

What is your favorite place to visit?

South of France (would love to live there someday). My dream is to either go to India to a yoga center and get my 500 hour OR obtain it through Nest yoga under the tutelage of Richard, Annie, Baxter and Leslie! I prefer the latter!

What is one thing people would be surprised to know about you?

I love to drive my Harley and I scuba dive!

What is your favorite quote, or your favorite piece of advice?

Anything can be fixed except death.

What else would you like our community to know about you?

I have one son and five grandchildren!!!

Asana Breakdown with Richard Rosen: UPAVISTHA KONASANA (Seated Angle Pose)

UPAVISHTHA KONASANA (Seated Angle pose)

Seated Angle (hereafter SA) is one of many poses added to the asana storehouse by T. Krishnamacharya (1888-1989. It makes its first appearance in a book he wrote in the mid-1930s, Yoga Rahasya (“Secret of Yoga”), the exact date is unknown for reasons too lengthy to explain in this column. There are no instructions for its practice, simply a photo of Mr Krishnamacharya in the pose. 

As its name strongly suggests, SA is a sitting pose that can be counted among the “kona family”: trikonasana, parshvakonasana, supta konasana, and so on. It’s a deep forward bend that to me seems like a natural accompaniment to Baddha Konasana, Bound Angle pose. We’ll have some fun with this pair at the conclusion of the column.

PREPARATION

It’s essential if you’re tighter in the back thighs and hips that you sit on a blanket or bolster lift. If you sit right on the floor, your pelvis will tend to tip backwards, i.e., your tail bone will be closer to the floor than your pubis. To do a forward bend when your pelvis is essentially in a back bend is a really bad idea, especially if repeated regularly over time. How high to sit? As high as needed to bring your pelvis to a relative neutral, i.e., the tail and pubis feel about equidistant from the floor. It’s a good idea then to sit a bit higher, just to be on the safe side. Have a yoga belt within reach.

FIRST STEP

How far should you widen your legs? As wide as comfortably possible, although all current and former ballet dancers shouldn’t overdo it. Press your left hand very firmly into your left groin, you must be directly in the hip crease for this exercise to be effective. Then with an exhale, twist your torso right, increasing the pressure on your left hand if the contact of your thigh seems to lighten on the floor. Remember to never twist from the lower back, all twists are rooted in the pelvis. Here, as you ground the left thigh, think of rolling your left hip point toward your right heel. Press your right hand to the floor beside the hip,  hold your torso perfectly upright. Draw the head of the left upper arm bone back into its socket and imagine reaching out from you mid-back, letting the entire left half of your back torso release into the arm. Stay here for at least 30 seconds, longer is better.

Now loop your belt around your right sole and and hold it in your left hand. As much as you can,  maintain the feeling that your left hand is still pressing the left groin, that’s your anchor. Very slowly begin to walk your left hand along the belt toward the foot. Keep your elbow completely extended (i.e., don’t bend your arm) and DON’T PULL yourself into the pose! Never force your body to do something it isn’t ready to do. Continue to lean your upper torso back a bit and press your right against the floor. 

If you can’t comfortably reach the foot with your hand, don’t struggle to get there. Use the belt to guide your forward. In every forward bend the goal is to maintain the length of your front torso; in fact, calling an exercise like this a forward “bend” is somewhat misleading. Better to call it a forward “extension.” Descend by degrees, i.e., exhale, slide your hand slightly down the belt, stop and lengthen, slide again and so on. Grip the outside of your foot with your left hand. As you do you may notice yourself rounding slightly to the right. This will inhibit your twist. So press your right hand more firmly to the floor, and use this pressure to lengthen the right side of your torso, drawing the left side in.

Hold this twist for at least 30 seconds to a minute. You can lower your torso over the thigh if you have the flexibility. When you’re ready to end this preliminary, DON’T LIFT STRAIGHT UP from the twist! De-rotate first by swinging your torso to the left to the neutral mid-point, then lift up from your tail bone with an inhale. Repeat to the left for approximately the same length of time.

FULL POSE

When you’re back to the upright starting place after having twisted to the sides, then you’re ready for the full pose. Press your hands to the floor on either side of your pelvis and lift your sitting bones off the floor. Imagine your thigh bones dropping heavily down and settle back on your lift, now imagining that you’re sitting more heavily on your back thighs than the sit bones. Rotate the thighs outwardly so your toes point straight up. Try to maintain this position as you descend into the pose. As you do you’ll feel your thighs turning slightly in, resist this with outward rotation. 

There are two ways (likely more I don’t know of) to enter the pose. The first is by grasping the big toes with your index and middle fingers, securing their grip with your thumb. I’m not a fan of ths technique, it tends to encourage pulling forward and I’ve already expressed my dislike of that. 

So instead, press your hands firmly to the floor between your legs and lift the top of your sternum up and out, lengthening especially between the pubis and navel. When it’s no longer possible for you to maintain this length, when you start to bend forward from your belly, you’ve reached the end of your SA road. It doesn’t matter at all how close your front torso is to the floor. Some students may finish with their torso almost upright. This is still a forward bend. 

Spread your palms on the floor and pressure them back toward your torso. Use this pressure to help lift the top sternum even farther up and out. Then pressure your hands back toward your torso and deepen your inner groins. Don’t forget about your legs. Keep them firm, press actively through your heels, try to keep your toes vertical. Continue to imagine you’re sitting more heavily on your thigh bones than your sitting bones. By the way, if you tend to hyper-extend your knees, your heels will lift slightly off the floor. Don’t do that. If you need some help, roll up a couple of wash cloths and wedge them under your knees. 

If you intend to hang out for awhile, you can lay your torso on a bolster or other support, as long as it allows you to maintain the length of your front torso. Stay for a minute or so, more if you have the time to spare, and come with an inhale, drawing the tail bone down with a long front torso. Lean back slighty, bend your knees slightly, and use your hands to scoop your legs together. Straighten them forward and bounce your knees a few times on the floor. 

FUN WITH SA

Sit in SA. Press your hands to the floor just behind your pelvis and simultaneously lift your heels off the floor, bend your knees, and bring your soles together in Bound Angle. Take a breath, again lean back on your hands, simultaneously lift your heels off the floor and reach out to SA. Be sure the heels touch down lightly on the floor. Repeat 100 times (just kidding, 4 to 5 will do). 

Hurry Up By Marti Z

Hurry up
As a mom reading to my little girls, I read a storybook about a woman who was always  in a rush. Every morning she would walk her little girl to school, the little 6 year old barely able to keep up with the rushed and measured heavy steps the woman took.

One two three one two three one two three like a metronome keeping track of a military march headed toward battle at PS 76 on boston post road and Adee avenue in the Bronx with rabid urgency to get there get back get  back clean the house shop for groceries prepare lunch dinner and plan weekend activities and repeat repeat repeat.


I’m always in a rush

no matter there's no fuss

I check the clock I check the phone

I’m always in a rush

Anyhow, one day the woman who was always in a rush accompanied the 6 year olds kindergarten class to visit a glue factory located a few blocks from PS 76 at the end of a dead end street where weeds grew as high as the fence surrounding an empty lot littered with beer cans, cigarette butts, and mounds candy bar wrappers. While the teacher lectured to yawning kids about how glue was made the woman who was always in a rush darted behind a closed door  marked “employes” to see what she could see because her tolerance for standing still with the rest of the class was nonexistent and she needed to see what was next on the tour of the glue factory, get the tour over with and rush back home to attend to her many tasks.


In a rush to get back to the kids and the teacher she made a wrong turn and found herself in a small windowless  room  with huge tubs of glue lined up against the wall. Thinking this was the fastest route back to the group she tripped over a  bright orange “caution” sign hedged against one of the tubs and found herself splat on the floor, her eyes searching for the closest thing to grab onto so she could pull herself up get back to the group, walk back to PS76 on boston boston post road and Adee avenue, kiss the 6 year old little girl goodbye rush off to the hardware store to pick up a new sponge with which to scrub the shower that she had to do after her morning shower because there was NO TIME NO TIME. and get back to PS 76  take the .6 year old girl  home offer her a healthy snack and while the the 6 year old girl ate her sliced apples and cheese, carry the laundry basket down to the basement where the two ancient yet functioning washing and dryer machines would launder  the clothes she would later iron for 6 year old girl to wear the next day 

I’m always in a rush

no matter there's no fuss

I check the clock I check my phone

I’m always in a rush

She reached for the wall behind her and with great effort  Peeled herself off the floor, stood up, tried to unstick her feet  and rush back to the group but her feet would not budge. With determination she straightened her spine, clenched her jaw and attempted to walk towards the exit sign but  her feet remained glued to the floor… Frozen in that spot for what seemed like an hour she was finally able to slowly, slowly, methodically pull first her right foot and then then her  left foot  from the floor and walk miserably and painstakingly  toward the room where the agitated  teacher  was winding down her lecture to the now unruly group of kids pushing and shoving each other or bopping each other on the head with their notebooks or pencil cases eager to get outside so they could use their outside voices and charge down the block screaming about how dumb it was to visit a glue factory which they did as soon as the front door was opened by the  teacher once kids stood silent in two straight lines one boys one girls.


The six year old girl noticed how the mother took a few slow steps, pausing between each step to lift one foot then the other. She watched her, questioning what she was seeing. Her mother was not rushing. The girl ran to embrace her. Her mother wrapped her arms around the six year old girl and her tight lipped grimace transformed into a smile.  


In the storybook ending the mother finally realizes that it is good to stop rushing and slow down and the mother and the six year old daughter live happily ever after.


But why was the mother always in a rush? And why is this story still lodged in my brain

I will never know but maybe I can look at my reasons for rushing. Be here now, stay in the present, these phrases are part of my vocabulary but my mind/body disobeys, or rebels or just plain ignores the advice of the mindful meditation practice I claim I have. And in fact I do all the right things. Do yoga, meditate, take walks in nature. 


It has occurred to me in moments of clarity that I am afraid to let nature take its course and age as all living beings do. Control freak? Me? Anorexia was my go to when as a dancer I was encouraged to be thin thin thin to not think, think, think to eat when my stomach growled and my blood sugar tanked so I passed out on the Lexington Avenue express back to the Bronx after too many dance classes and not enough fuel to nourish my near skeletal body.


How my own story ends has yet to unfold. Hopefully it will not take being glued to the ground to slow me down. Hopefully I can find another route to stop rushing to slow down my aging body.

 

My youngest daughter turns 53 today. How did I get so old, how did this body become a bag of bones with false teeth and saggy breasts this body of mine that 53 years ago birthed my youngest child, a little red lobster we called her fair like her father, my other daughter 2 years older with olive skin and dark hair with eyes like two cockroaches a petite brown skin woman said peeking into the hospital nursery with all the other newborns and singling out my first born child, born to the 23 year old mother I was, ignorant, innocent, no clue to what life held

the red lobster came home with me to the fifth floor walkup on barker avenue in the Bronx where we lived, the dark haired toddler, the soon to be institutionalized blond man who was her father, the dog who soon became mad with the man's madness circling the one bedroom apartment and me, the mother who fought to stay sane, sometimes successful, sometimes not but always showing up, the show must go and and did go on and does go on decade after decade year after year month after month and day after day. So what's the rush? Just keep moving. Hurry up.

Who is in this body that spins and swirls and can't sit still, that rules her monkey mind now that the red lobster herself has a spine that's fused and fixed with shiny hardware wired to her bones and this body has a bladder that's stitched up with thread and expertise hands yet missing a uterus which fell between her legs and was scooped out and tossed in a hazards waste bin never to be used again to nourish a fledgling soul or help in the creation of fingers or a brain.

Can I truly embrace her