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Avauksia Joogan Estetiikkaan CORE Metadata, citation and similar papers at core.ac.uk Provided by Helsingin yliopiston digitaalinen arkisto Avauksia joogan estetiikkaan Somaesteettinen tutkielma esteettisestä kokemuksesta joogan harjoittamisessa, esimerkkinä astangajooga Noora-Helena Korpelainen Pro gradu -tutkielma Ohjaaja Prof. Arto Haapala Helsingin yliopisto Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Estetiikka Maaliskuu 2016 Tiedekunta – Fakultet – Faculty Laitos – Institution – Department Humainistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Tekijä – Författare – Author Noora-Helena Pauliina Korpelainen Työn nimi – Arbetets titel – Title Avauksia joogan estetiikkaan: Somaesteettinen tutkielma esteettisestä kokemuksesta joogan harjoittamisessa, esimerkkinä astangajooga Oppiaine – Läroämne – Subject Työn laji – Arbetets Art – Level Estetiikka pro gradu Työn ohjaaja – Arbetets handledare – Supervisor Aika – Datum – Month and Year Prof. Arto Haapala maaliskuu 2016 Tiivistelmä – Abstrakt – Abstract Esteettisyys vaikuttaa liittyvän moderniin joogaan ja sen harjoittamiseen. Erikoistase on siksi, että askeettisuudesta ponnistava joogan harjoittaminen voidaan käsittää sekä päämääriltään että ilmenemismuodoiltaan esteettistä vieroksuvaksi. Modernin asento- joogan popularisoitumisen ymmärtämiseksi esteettisen ja joogan yhteyden uudelleen- tulkinta näyttää kuitenkin tarpeelliselta. Tämän tutkimuksen tavoitteena oli selvittää joogaan liittyviä esteettisiä ulottuvuuksia. Erityisesti tutkimuksessa tarkasteltiin esteettisen kokemuksen merkitystä astangajoogan harjoittamisessa somaesteettisen tapaustutkimuksen avulla. Varsinaisena tutkimusmeto- dina oli kokemus- ja tekstianalyysi. Tekstuaalisina päälähteinä olivat Richard Shuster- manin teos Thinking through the Body (2012), Arnold Berleantin teos Art and Engagement (1991), Måns Broon suomentama ja kommentoima teos Patañjalin Yoga-sūtra — Joogan filosofia sekä Śrī K. Pattabhi Joisin teos Yoga Mala (2002). Kokemuksen osalta tutkimus perustuu tutkijan oman joogan harjoittamisen kokemuksen analyysiin. Tutkimuksen pohjalta joogaan liittyviä esteettisiä elementtejä näyttäisivät somaesteet- tisyyden vuoksi olevan moninaiset somaesteettiset havaintokokemukset, myyttinen ja metaforinen kuvasto ja käsitteistö sekä esteettisyyden kanssa keskustelevaan suhteeseen asettuva toiminta. Aineellisuuden, arvostavan, luovan ja esittävän ulottuvuuden tarkas- telun kautta joogan harjoittamiseen liittyvää esteettistä kokemista tuntuvat kuvaavan liminaalisuus, pyhyys, potentiaalin vapautuminen sekä tyylin muodostuminen. Jooga- harjoituksessa keskeinen tasapainon kokemus vaikuttaa analogiselta mittasuhteiden vä- lillä vallitsevana sopusointuna määrittyvän kauneuden kanssa. Joogan harjoittamista ja estetiikkaa näyttäisi yhdistävän praksiksen ja filosofian päällekkäisyys. Avainsanat – Nyckelord – Keywords somaestetiikka, esteettinen kokemus, moderni asentojooga, astangajooga, sitoutuminen, kauneus, populaarikulttuuri Säilytyspaikka – Förvaringsställe – Where deposited Helsingin yliopiston kirjasto – Helda / E-thesis (opinnäytteet) http://ethesis.helsinki.fi ॐ ग गणपत नमः ॐ Teatteri on meillä sisällä. Olemme eläimiä, joilla on etuoikeus olla toimijoita, koska toimimme koko ajan. Saman aikaan olemme myös toimintamme todistajia. Useim- mat eläimet eivät kykene tarkkailemaan omaa toimintaansa ––- ehkä vain delfiinit, elefantit ja — en tiedä mitkä kaikki. Niinpä teatteri on meillä sisällä, koska me näyt- telemme ja olemme tarkkailija; olemme katsojia. Kun kokoonnumme ja monet suun- taavat katseen samaan pisteeseen, he luovat tilan, joka on erilainen kuin fyysinen tila: se on enemmän. Se on ulottuvuuksista rakentunut, ei kolmesta ulottuvuudesta: siihen kuuluvat myös muisti ja mielikuvitus. Niinpä me luomme teatterillisuuden. Kolmanneksi me käytämme samaa kieltä kuin näyttelijät lavalla. Ei siis ole mitään eroa. Kun rakastamme jotakuta, puhumme eri tavalla kuin silloin, kun vihaamme henkilöä. Teemme siis kaiken sen, minkä näyttelijä lavalla paitsi, että näyttelijä on tietoinen siitä, emmekä me normaalissa elämässä ole. - - ’Me’ olemme me kaikki, ku- ka tahansa, mutta erityisesti meidän tapauksessamme kaikki sorretut. Me uskomme, että kaikkien ihmissuhteiden tulisi olla luonteeltaan dialogisia. Augusto Boal (Katso liite 2.) Kimmolle. Esipuhe Olen käyttänyt tutkielman latomiseenƎ X TEX-ohjelmaa. Se osoittautui paitsi teknisen toteutuksen myös ajattelun kannalta hyväksi työvälineeksi, sillä sen avul- la oli mahdollista pitää sisältö, sen ohjaus ja suunniteltu lopputulos toisistaan eril- lisinä. Tämän seurauksena minun oli helpompi tulla kirjoittajana jo työn aikana tietoiseksi prosessin etenemisestä. Erityisen hienolta tämä tuntui siksi, että se on linjassa työni sisällön kanssa. Suosittelen ohjelman käyttöä myös muille humanis- teille. Kirjaisin on Linux Libertine. Haluan kiittää tutkielman tekoon vaikuttaneita joogaopettajia Kimmo jaUlla Äyriä sekä Petri Räisästä. Kiitos kuuluu myös Eddie Sternille rohkaisevista sanois- ta, joiden avulla tartuin todella tutkielman tekoon. Lisäksi haluan kiittää sanskritin kielen opettaja Virpi Hämeen-Anttilaa sekä satsiopin opettajaani Pekka Miettistä, joka patisti minut teoreettisen opiskelun pariin. Kiitän myös lukuisia kannustavia opiskelijatovereitani. Erityiskiitos kuuluu tutkielmani ohjaajalle estetiikan professori Arto Haapalal- le, sekä siitä että hän näki tutkielmani aiheen vaivan arvoisena että siitä kaikesta tuesta, jonka olen häneltä opiskelujeni ja tutkielman teon aikana saanut. Kiitos myös Jussi — kärsivällisyydestäsi, tuestasi ja lämmöstäsi. Sisällysluettelo Sisällysluettelo 1 1 Johdanto 2 2 Esteettisen kokemuksen mahdollisuus 9 2.1 Somaesteettinen näkökulma ..................... 12 2.2 Kokemusten tunnistamisesta ..................... 17 2.3 Miksi kauneus? ............................ 25 3 Joogan harjoittaminen 30 3.1 Astangajooga modernin asentojoogan muotona .......... 34 3.2 Joogan harjoittamisen arkisuus .................... 39 3.3 Astangajooga-metodin somaesteettisyys .............. 43 3.4 Joogan harjoittamisen päämääristä ja arvosta ............ 52 4 Esteettisiä ulottuvuuksia joogan harjoittamisessa 61 4.1 Āsana ja liminaali aineellisuus .................... 63 4.2 Liikesarjaan osallistumisen pyhyys ................. 68 4.3 Luovuus potentiaalin vapautumisena tilaan ............. 75 4.4 Tasapaino joogan harjoittajan tyylin esityksenä .......... 82 5 Päätelmiä joogan estetiikasta 89 Lähteet 93 Liite 1: Astangamantrat 100 Liite 2: Inspiraation lähde 102 Liite 3: Kirjoittajan suhde joogaan 103 1 1 Johdanto Jooga on popularisoitunut viimeisten viidenkymmenen vuoden aikana. Joogama- tosta on tullut osa urbaania katukuvaa, siinä missä joogasaleista ja -kaupoista kuin joogamainoksistakin. Joogasta puhutaan enenevässä määrin paitsi sen harrasta- jien kesken (myös internetin keskustelupalstoilla) myös mediassa ja akateemises- ti¹. Intiassa, josta koko harjoitus on oletettavasti kotoisin, popularisoituminen on tapahtunut ehkä jopa yllättäen länsimaisten harrastajien kiinnostuksen tukema- na. Suosio on johtanut muun muassa siihen, että Intia nimitti marraskuussa 2014 ensimmäisen joogaministerin². Popularisoitumisen seurauksena joogasta on myös tullut vaikeasti hallittavaa toimintaa. Tätä kuvaa esimerkiksi Helsingin kaupungin sanoutuminen irti yhteistyöstä helsinkiläisen joogakoulun kanssa koulua vastaan nostettujen ihmiskaupparikosepäilyjen vuoksi³. Joogan kasvanutta suosiota käytetään enenevässä määrin hyväksi mitä erilai- simpiin tarkoituksiin ja näkyvimmin kaupallisesti. Esimerkiksi eräässä syksyllä 2014 Helsingin kaupunkikuvassa näkyneessä oluen mainoskuvassa puolipukeinen naishahmo istuu lootusasennossa pidellen säteilevää pullonkorkkia sormiensa vä- lissä. Naisen kasvoja ei kuvasta voinut nähdä, mutta katsoja saattoi aavistaa nai- sen katsovan taustaan levittyvää upeaa vuoristoista raikkaudesta ja puhtaudes- ta viestivää luontomaisemaa. Tavallinen kaupunkilainen törmää tämän kaltaiseen joogan esittämiseen ja joogan hyödyntämiseen jo mennessään tekemään päivit- täistavaraostoksiaan tai seisoessaan bussipysäkillä. Viimeistään joogan kaupalli- sen käytön seurauksena harjoitus, joka ei ole aina ollut avoin kenelle tahansa, on muuttumassa jatkuvasti arkipäiväisemmäksi. Joogaavan hahmon esittäminen myös kaupallisessa mielessä ei kuitenkaan ole uusi ilmiö. Sellainen on mahdollisesti tallennettu yli 4000 vuoden taakse ajoi- tettuun Paśupati-rasvakivisinettiin, joka oletettavasti toimi yhtenä kaupankäyn- nin välineenä Indus-kulttuurissa. Kyseisessä sinetissä puhvelisarvinen hahmo is- tuu padmāsanassa, lootusasennossa. Intian kansallismuseon internetsivut tarjoa- vat tulkinnan, jonka mukaan hahmon maata kohti osoittavat kädet, jooginen avo- sylinen asento ja hahmon päähineen käyrät sarvet kertovat voimasta ja osoittavat saavutettuun tasapainon tilaan. Sinetin ithyphallinen hahmo on identifioitu eläin- ten herran muodossa esiintyväksi hindumyyttien tuhoaja- ja luojajumala Śivaksi. Sinettiä pidetäänkin yhtenä varhaisimmista, ja siten Veda-kautta edeltävistä, todis- ¹Esimerkkinä joogan asettumisesta akateemiseen viitekehykseen voi mainita esimerkiksi Ca’Foscari yliopiston (Venetsia) ja Loyola Marymount yliopiston (Los Angeles) tarjoamat joogan maisteriohjelmat (Katso esim. Modern Yoga Research -internetsivut.) ²Intian joogaministerin, Shripad Yesso Naikin, tehtäviin kuuluu myös perinteisen luontaislää- kinnän, kuten āyurvedan ja naturopatian edistäminen. (Uutistoimisto AFP Helsingin Sanomissa, viitattu 10.11.2014.) Jooga oli pitkään Intiassa epäsuosiossa
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