Educational Media Reviews Online

You pretty much have to be living away from any connection to popular culture not to notice the resurgence of yoga in the U.S. in the past few years. I say resurgence because I’m old enough to remember my mother bringing home books on yoga in the 70s, and being captivated by the Lilias Yoga and You television show. Yoga studios are now popping up all over, and a wide variety of yoga classes are available with everything from yoga for kids to hot yoga, to senior classes. The film Yogawoman focuses on modern women and their relationship with yoga; as well as the leading women of the modern yoga movement. It highlights the power of the practice to transform lives, both in the U.S. and around the globe.

Yogawoman provides a broad sociocultural overview of women and yoga by first laying the foundation with a bit of history. An Indian tradition, yoga was at first open to anyone. Once Brahmanism arrived, it was reserved for men, and the door closed on females openly practicing. Very slowly women began to insist on learning more about yoga and in the 1930s Indra Devi brought yoga to the world. Today, there are phenomenal numbers of women practicing yoga—female teachers and students far outnumber males. Many find it a calming form of exercise in our overstimulated society—a way to strengthen not only the body through the postures, or asanas, but the entire being—body, mind, and soul. The film profiles the popular form of yoga taught originally by B.K.S. Iyengar, which leans towards yoga for health; and includes the researchers who have proven the benefits of regular yoga practice.

It is relatively common to hear about the personal benefits of yoga—everything from improved flexibility and balance to a more focused and calm mind to an inner peace and opening of the heart. A plethora of yoga videos extol these riches. One of the differences in Yogawoman is its highlighting of the various applications of yoga to specific groups of women, i.e. cancer patients, seniors, pregnant women, and children. It also profiles powerful projects that were born from the yogic tradition through the creative, and activist minds of modern yogis and include Off the Mat Into the World, the Africa Yoga Project, and The Art of Yoga Project.

Yoga is such a vast subject, and even limiting it to women and yoga is tackling a wide ocean of information. Here is where I think the film falters. It felt a little unfocused at times and I don’t think it is clear exactly who is the film’s target audience. Focusing on too broad a topic, perhaps—it provides a thorough introduction to women and yoga, yet lacks enough depth for academic use. The 85 minute running time is too long for one classroom sitting, however there are section breaks for selected in-class viewing. College and university library collections focusing on women’s studies, gender studies, or sociology will find it an interesting optional purchase. It is better suited for public and school libraries where community and school groups will find it a useful tool for community engagement or even as support for yoga in the schools. It is a perfect vehicle for sparking interest.

Some well-known yogis give their perspectives in Yogawoman: Seane Corn, Tari Prinster, Patricia Walden, Shiva Rea to name a few. This reviewer was pleased to see a brief comment from Lilias Folan too. These power hitters add credibility and authenticity to the film, and combined with the top-notch production values (the cinematography, graphics and music are all outstanding), make Yogawoman a beautiful film to watch.